History before the Revolutionary Era essays

History before the Revolutionary Era essays John Locke, the philosopher, stated that all individuals have the right to Life, Liberty, and the pursuit of Property. Thomas Jefferson, former President, suggested that Happiness should replace Property in Lockes statement. Most of Americans depend on property to achieve happiness. For instance, before the American Revolution, slavery was used as a form of property, congregations did not have the freedom to explore other churches or religions, and the government set regulations that were not in the best interest of the public. The conflict between self-interest and public interest is a key reason to why the American Revolution began. Although, those that were more concerned with what was in the best interest of the public, the Republicans, won the American Revolution, conflict still arose from undergoing Republican ideology or the change for the better. The American Revolution attempted to escape political chaos due to the Loyalist Exodus, which ended support for the restoration of monarchy or kingdom. In May 1776, Congress passed a resolution calling for the authority to be totally suppressed and all the powers of government exerted under the authority of the people. Republican institutions did absorb the energy and intellect of an entire generation. However, Congress decision of, Who should rule at home?, or who would control the new representative institutions of government, led a generation of rival camps between the state and the central government. During the 1790s Alexander Hamiltons, secretary of the Treasury under George Washington, system of public finance and the ideas of the French Revolution also divided Americans into warring camps which led to organized political parties. The national government had reduced the rights of organized political parties and had almost gone to war with France until the election of Thomas Jeffe...

11 ways to stop procrastinating and get writing

11 ways to stop procrastinating and get writing 11 ways to stop procrastinating and get writing Do you ever feel like youre always in a face-off with your word processor – and losing? If so, you wont be surprised to hear that one of the biggest problems nearly everyone faces when they have something to write is getting started. Call it writers block. Call it finding your muse. Call it spending two hours on Facebook for every two lines you write. Whatever you call it, getting started is hard. Most of us are guilty of procrastinating sometimes – especially when we have something important to write. Thankfully, there are lots of ways you can tackle this problem. Dont think that finding the writing process horribly painful is inevitable. Its not. By using the right tools and techniques and going in with the right mindset, you can be more productive and spend less time agonising about your writing. Ive put together eleven of the best ways of doing this. Some get you unstuck. Some get your thinking clear. Others just kill distractions. Together, they attack the problem of getting started from multiple angles. Try them. Get writing. And spend less time staring into the blank whiteness of Document1.doc. 1) Use a timer A lot of the time, it feels like the only real finishing line in writing is when youve finally hit send on an email or handed in a report. That reward is a long way away and youre not sure when its coming. Its no wonder its hard to stay motivated. However, writing is much easier if you give yourself a clear finishing line – or a few of them. A timer can help. Heres how to do it: Write down a mini-task thats related to writing your document – say, researching some figures or writing your first draft. Use a timer (like this one) and set it for 25 minutes. Work on the mini-task you wrote down until the timer goes off. Take a break. You dont have to complete the mini-task. Thats not what counts as success here. Success is now defined as working on the problem for twenty-five minutes. Its far easier than just aiming for a really distant finishing line. Try it. Many people find it works. You can extend this method even further by trying the Pomodoro Technique. 2) Get your research done first Research can be the biggest part of your preparation. So if youre really not sure what it is youre writing about, you need to get back to the drawing board. Too many people struggle on, trying to make everything come together in one go. But lets say you have your ideas together, and you cant get unstuck because you cant figure out what needs to go in. Read on. 3) Write a mind map If writing is the problem, then try not writing. I know this sounds strange. But there are several ways you can move forward without having to write a single word of your document. Mind maps are one. Theyre a versatile tool (we go into lots of detail about these in our online-training programme e360). But the core idea is very simple. To create a mind map, follow these steps: Note down the subject in the middle of the page. Write the aspects of the subject around it. Look at each aspect and think about it. Draw a line for each new idea or piece of information and continue this process, radiating outwards. Keep asking questions such as Why?, How?, What?, When?, Where? and Who? until you’re satisfied you’ve put down everything you know about the subject. Just getting something down on paper will help you get into the flow. The same applies when youre face to face with your dreaded nemesis: the blank screen 4) Write absolute gibberish Hwgeuwhfeouwfewlfjewfn. Blub blub blub blub flep flep flep flep. Trolololololo. Feel better? Great. The relief of filling up the white space and getting your fingers moving can be good in itself for banishing the fear of getting going. (Ditch any idea that this is inherently ridiculous – if it gets you started, that’s all that matters.) The next tactic shows how you can take this complete freedom even further. 5) Get a draft written first: it doesnt have to be perfect If you write total gibberish, writing is as easy as randomly mashing the keyboard. If you aim for perfect writing first time, writing seems almost impossible. Thats because it is very, very hard to write brilliant, error-free content first time. Excellent content comes with gradual refinement by revising and editing your writing. But if you try and do writing and editing at the same time, youre paralysing yourself for no good reason. So draft freely. Try drafting more quickly than youre comfortable with, leaving spelling mistakes or sentences that dont sound that great behind – knowing you will return to fix your writing later. And take some pressure off yourself: 6) Stop aiming for the perfect document: the 90 per cent rule Trying to give 100 per cent can be a recipe for failure. The sports psychologist Robert Kriegel saw this while working with some Olympic sprinting hopefuls. The sprinters were tense and tight during practice runs. So Kriegel told them to try running at 90 per cent of their normal intensity. It had surprising results. The group ran faster when they were trying less. In fact, one sprinter even set an unofficial world record. Its the same with writing. Trying to be the 100 per cent complete greatest professional who will write the best of all possible documents is too much pressure. Youll do better by giving yourself (just a little) bit of slack. 7) Ask whoever needs the document what they want If youre really stuck, it may just be because you dont really know what you should write and why. Thats a pretty hard thing to admit, especially if youre deep in the writing process. But for some documents, it can be best to pull yourself away from your screen and ask whomever youre writing for what they want. This can be something as simple as, ‘Youve asked for a report on the incident, so Im going to write what happened and why it happened, interview everyone who was involved and ask them what they did, and give some recommendations to make sure it doesnt happen again.’ At this point, you might find out that youre missing a big section, or conversely that what youre writing is more detail than they want. Either way, getting some clarity on what’s expected will make every other part of your writing easier. (But what if you cant ask them? In that case, you can profile the reader in your head.) 8) Discipline yourself: install something that will force you to get focused Some of the best engineers, psychologists, designers and marketers in the world have collaborated to make the most distracting websites possible. Theyve developed ways of systematically undermining your willpower and keeping you hooked. And theyre getting better all the time. This can occasionally cause minor problems in staying focused. So, instead of fighting the siren call of these websites with your willpower, it can be best just to block all such sites completely. The tools RescueTime and SelfControl both help you do this. Many people find the compulsion to flip to their favourite wasting-time site fades once theyve run into a few messages telling them that its blocked. After a while, it gets easier to get into a state of flow and get on with your writing. 9) Take away your options: stop playing with fonts One of the most popular articles weve ever written is The best fonts for business documents – in the time youve been reading this, its very likely that several people have read that article. Were happy people are interested in looking professional, and any reduction in the number of serious business documents written in Comic Sans is a good thing. But, unfortunately, too many people look at formatting first, rather than last. Instead of drafting your document in Word, which is constantly offering you a range of seductive fonts and line heights and margin sizes and bullet-point options (and on and on and on), it can be better just to strip all this out. Draft does this. Its a site that lets you write documents in your browser, and we swear by it at Emphasis. The interface limits your formatting options and lets you get on with writing. (You can read our review of it here.) Best of all? A completely functional version is free (its the one I used to write this article). 10) Speak to someone As children, we communicated our ideas by speaking long before we started doing so in writing. For many people, speaking still comes more naturally and easily than writing once they’re adults. So if youre struggling, stop typing and talk to someone. Tell them the main points of what youre writing about and why. Youll find that, when youre speaking more conversationally, you cant get away with being vague or speaking in professionalese. Then, once the ideas are flowing, transfer them to the page. If you havent got anyone to talk to, you can imagine talking to someone. (Or talk to yourself – though doing this unannounced in the middle of the office might make it look like the pressure of writing has really got to you.) 11) Remind yourself why youre writing Too often, we can get so lost in the process of writing that we dont remember why were writing. But its good to keep your why in mind. If you have a to-do list for your document, try writing at the top make the customer feel happy or get basics of information to manager so we can get this project moving – or whatever applies to your piece of work. Moving away from your words and back to the main purpose of what youre doing makes it easier to get on with mini subtasks (like writing a first draft). Thats because you can see what youre doing in the context of something more meaningful. Try something new If you find yourself habitually procrastinating, you need to change at least some of your writing habits. This can feel scary. A good example is writing faster than youre comfortable with, leaving imperfect sentences in your wake. If youre used to writing something really, really good and deleting each sentence and re-writing as you go, its going to be tough when you first try writing more freely. But you should try. If theres anything to be learned from the extremely diverse habits of famous authors, its that they found their own best habits for writing well. Youre just as much a unique individual as they are. Try some of the ideas here, find what works for you, and get writing. If youd like to learn more about how to tackle other challenges in writing, check out our in-person courses for individuals and companies or our online-training programme e360 – or just get in touch. 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Reflective Portfolio Essay Example | Topics and Well Written Essays - 2250 words

Reflective Portfolio - Essay Example To make the best use of the funds as well as for the provision of the best care at care homes the public care body introduced numerous policy initiatives. This is made more visible by the National Health Systems (NHS) Plan as well as the reaction of the government towards the Royal Commission on the Long Term Care. The reason behind this has been the helplessness of the residents, the impacts of the demographic changes upon the number of the old people requiring residential care such as subsidy. It has further been noted that there is high cost associated with such care. Therefore, it is quite important to comprehend the key aspects of such health care provisions (Personal Social Services Research Unit, 2001). With the partnership among the local authority and the NHS, the social care related services are generally provided in Cambridgeshire. It has been evident that the Cambridgeshire Community Services NHS Trust aims at serving the older people with all the necessary health as well as the social care related support that can be made available at one place (Cambridgeshire Country Council, 2011). However, it has been noted that there is discrepancy in the provision of the services to the people under the NHS scheme. ... B. Framework of Legislation, Codes Of Practice Influencing Social Care I. National Care Standards Commission Regulations and Standards It is worth mentioning that the care homes for the older people need to meet the National Minimum Standards that have been identified by the National Care Standards Commission in order to determine if the care homes tend to meet the needs of such standards, as well as work for the welfare of the people living there. The standards tend to verify that whether the care homes consist of the individuals who may work at unique and complex situations. In addition to this the individuals need to possess specific skills and knowledge that may be required to deliver individually tailored as well as all-inclusive services. There are various themes that support the drafting of the National Minimum Standards for the care home of the elderly people. The regulators are supposed to comply with the various themes that have been drafted. While applying the standards it is important for the regulator to prove that the policies, the activities the facilities as well as the services that the care centre provides will deliver positive results. While applying the standards the inspector may ask for evidences that prove that the care homes are meeting the needs of the service users and their changing needs are taken care of. Since it is the manager along with the staffs who are responsible for looking after the old age people in such care homes, therefore in implementing the standards the regulators may look for the evidences that tend to show that the managers as well as the staffs of the particular health care organisation have achieved TOPSS requirement which is understood as The National Training Organisation for social care (Department of

Spain culture and traditions Research Paper Example | Topics and Well Written Essays - 250 words

Spain culture and traditions - Research Paper Example The bull is usually killed at the end of the occasion. This activity usually takes place between the months of April and October, and the Spaniards usually prepare for this event with excitement. There have been several occasions when this tradition has been banned by governments, but progressive ones allow its reinstitution. This is an indicator that the practice is ingrained in the Spanish culture and it is not easy to get rid of it (Whittaker 2008 p 67). Traditional songs and dance are also core components of Spanish culture. They vary from region to region, and the music is mainly focused on conveying particular messages to the listeners. For example in the 20th century, Spanish traditional music was largely used to spread propaganda regarding the totalitarian rule. These include Jota, Fandango, and Sardana amongst others (Moffitt 1999 p 43). The Spanish folk dance was a significant indicator of unity and identity. Annual festivals are held every year, providing an avenue for the Spaniards to demonstrate their culture. In such occasions, they demonstrate their cultural music and dances, fireworks, paintings amongst other traditional activities. The culture and traditions of the Spaniards is an important factor that gives them a sense of identity of the nation (Nash 2001 p 56). It generates personality and uniqueness amongst the Spain nationals. It also helps in building strong social institutions through establishing the nationâ₠¬â„¢s behavioral

Becoming Mexican American Essay Example for Free

Becoming Mexican American Essay Becoming Mexican American: A study into the cultural developments of Mexican immigrants to the United States The purpose of this paper is to review and discuss the inviting work of George Sanchez, Becoming Mexican American: Ethnicity, Culture and Identity in Chicano Los Angeles, 1900-1945. While reviewing this work of Sanchez, the essay will make use of an article written by Grace Pena Delgado relating to the immigration issues of the United States in the early twentieth century. Delgado`s article, ‘_At Exclusion’s Southern Gate: Changing Categories of Race and Class among Chinese Froterizos_’ discusses the Chinese immigrants in northern Mexico. To provide the reader with accurate and concise information the original works of the two authors will be used extensively, as the purpose of the essay is to criticize these works. The essay will also make use of a number of internet web-sites for general information on the Mexican and American historiesof the early twentieth century. A detailed list of books and resources used in writing this paper will be provided at the end, in the form of a bibliography. In conclusion, the essay’s purpose is to provide detailed and concise criticism of George Sanchez’s book, Becoming Mexican American, while supporting the criticism with Grace Delgado’s article. Ceren Keskin 207138579 BIBLIOGRAPHY Sanchez, George. Becoming Mexican American: Ethnicity, Culture and Identity in Chicano Los Angeles, 1900-1945. Oxford University Press, 1995. Delgado, Grace Pena. â€Å"At Exclusion’s Southern Gate: Changing Categories of Race and Class among Chinese Froterizos_†__. _In the Continental Crossroads, 183-200. Duke University Press, 2004.

The Catcher In The Rye :: essays research papers

Some may say that the main character of J.D. Salinger’s novel The Catcher in the Rye, Holden Caulfield, is merely the average teenager, although he seems to think about sex and women quite a lot for his age of sixteen. This point can be easily argued in many ways, one example being the time Holden called a perfect stranger, Faith Cavendish, to get together at an unruly time of night. Another example of the main character’s perversion is when he hired a prostitute named Sunny, and never actually accomplished anything. One last example could be Caulfield’s overall impression and cockiness when it comes to sex and women. In conclusion Holden Caulfield is engrossed in sexual thought. The protagonist’s fixation with members of the opposite sex can first be argued when he phone’s a girl who’s number he received from a guy he meet once at a party; he said that the girl was â€Å"not exactly a whore or anything but didn’t mind doing it once in a while†. After Holden had spent a good amount of time trying to persuade her to meet him, because he was â€Å"feeling pretty horny†, the girl, Faith Cavendish, finally got him to register the answer of no into his brain. At this point Faith asked the main character if he would like to meet for drinks the next day, but he declined, because the next day he may not be feeling horny anymore. Obviously, the main character was so determined to do something sexy that night he turned down a friendly invitation, which proves that Holden Caulfield is fascinated by sex and women. Over all because the protagonist called an unknown woman for sex, then refused her proposal for a get together the ne xt day; Holden is obviously fixated with both sex and women. Second, another example of Holden’s perversion is when he hires a prostitute named Sunny from the elevator man at his hotel. Although some may say that calling a stranger in the middle of the night, like Holden did with Faith, is normal, but hiring a prostitute when one is sixteen years old is far from average. After the prostitute, Sunny, arrived in Holden’s room and had stripped off her dress Holden lied to her saying that he had an injured â€Å"clavichord† so that he could back out of doing the deed, instead of admitting that he didn’t want to; this caused vexation from both Sunny and the elevator man (Sunny’s pimp), Maurice, and resulted in Holden getting beat up by Maurice because he didn’t pay the full price.

Love in the English Medieval Period Essay

INTRODUCTION The romance of Courtly Love practiced during the Middle Ages was combined with the Code of Chivalry. There were strict rules of courtly love and the members of the courts practiced the art of courtly love across Europe during the Middle Ages. The romance, rules and art of courtly love allowed knights and ladies to show their admiration regardless of their marital state. It was a common occurrence for a married lady to give a token to a knight of her choice to be worn during a medieval tournament. There were rules, which governed courtly love, but sometimes the parties, who started their relationship with such elements of courtly love, would become deeply involved. Examples of relationships, which were stirred by romantic courtly love, chivalry and romance, are described in Sir Gawain and the Green Knight and Chaucer’s Wife of Bath. Many illicit court romances were fuelled by the practice and art of courtly love. The most fertile field of the romance genre was the Arthurian rom ance. Closely related to the romance tradition were two idealized standards of behavior: chivalry and courtly love. Many modern people think of chivalry as referring to a man’s gallant treatment of  women, and although that sense is derived from the medieval chivalric ideal, chivalry includes more than that. Many modern people think of chivalry as referring to a man’s gallant treatment of women, and although that sense is derived from the medieval chivalric ideal, chivalry includes more than that. Broadly speaking, chivalry, derived from the old French term for a soldier mounted on horseback, was a knight’s code of conduct. There was no single set of chivalric rules, but the existence of popular medieval chivalric handbooks testifies that chivalry was a well-known concept. Knights formed a distinct segment of medieval society, which was often thought of as being composed of three classes: those who pray (the clergy), those who fight (the nobility), and those who work (the peasants). Most knights belonged to the nobility, if only because a knight’s equipment horses, weapons, armor, required considerable resources to fund. Violence, often bloody and horrific violence, was at the heart of what knights did. As highly skilled and well-armed fighting men, knights could be a force either for creating social chaos or for maintaining public order. Unit 1- Background research on courtly love and chivalry 1.1 Courtly love developed in the twelfth century among the troubadours of southern France, but soon spread into the neighboring countries and eventually colored the literature of most of Western Europe for centuries. It originated in the writings of the poet Ovid Ars Amatoria (‘The Art of Love’). Andrà © the Chaplain (or Andreas Cappellanus), took as his model, Ovid’s ‘Ars Amatoria ‘ (the Art of Loving). Ovid’s work concerns how to seduce a woman, and among its rules are appropriate forms of dress, approach, conversation, and toying with a lady’s affections, all designed to amuse. In the Ars Amatoria, the man is in control, and the woman is simply his prey. But Andrà © turned the Ars Amatoria upside-down. In his â€Å"Liber de arte honeste amandi et reprobatione inhonesti amoris† (â€Å"Book of the Art of Loving Nobly and the Reprobation of Dishonourable Love†), the woman becomes the mistress of the game. It is she who sets the rules and passes judgment on the hopeful suitor. In Ovid’s work the lover sighs with passion for his pursuit, but in le Chapelain’s Liber the passion is pure and entirely for the love of a lady. The rules outlined in Andrà ©Ã¢â‚¬â„¢s work are in many ways far  from the reality of the times. In the medieval world, women rarely had any power to speak of. The nobility were warriors, and the arts of war, leadership and politics occupied their minds. More often than not, a noblemen thought of his wife, (or future wife) as a breeder, a servant, and a source of sexual gratification (his, not hers). Fidelity on her part was absolutely necessary to ensure the validity of the bloodline. Fidelity on his part wasn’t an issue. Under any other circumstances, le Chapelain’s Liber might have remained an interesting literary exercise (as Ovid’s Ars Amatoria was intended to be); or it might have been ignored or laughed out of serious literary circles. But with the historical background at precisely the right stage of development, in the court of Eleanor and under the guidance of Marie, Andrà ©Ã¢â‚¬â„¢s ‘Art of Loving Nobly’ was literature to be lived. Two women who had a particular influence on the development of romance were Eleanor of Aquitaine, queen first of France and then of England, and her daughter Marie, Countess of Champagne (in Eastern France). Eleanor brought to the English court her interest in poetry, music and the arts, all of which were cultivated at the court of Aquitaine where she grew up (her grandfather William was the first known troubadour poet). In the vernacular narratives that were written for and dedicated to Eleanor-early ‘romances’-we find an emphasis on the sort of love relationship that is depicted in troubadour poetry, commonly known as ‘courtly love’ (fin’amors in Provenà §al, the language of troubadour poetry). The ‘courtly love’ relationship is modeled on the feudal relationship between a knight and his liege lord. The knight serves his courtly lady (love service) with the same obedience and loyalty, which he owes to his liege lord. She is in complete control of the love relationship, while he owes her obedience and submission (a literary convention that did not correspond to actual practice!) The knight’s love for the lady inspires him to do great deeds, in order to be worthy of her love or to win her favor. Thus ‘courtly love’ was originally construed as an ennobling force whether or not it was consummated, and even whether or not the lady knew about the knight’s love or loved him in return. The ‘courtly love’ relationship typically was not between husband and wife, not because the poets and the audience were inherently immoral, but because  it was an idealized sort of relationship that could not exist within the context of ‘real life’ medieval marriages. In the middle ages, marriages amongst the nobility were typically based on practical and dynastic concerns rather than on love. The idea that a marriage could be based on love was a radical notion. But the audience for romance was perfectly aware that these romances were fictions, not models for actual behavior. The adulterous aspect that bothers many 20th-century readers was somewhat beside the point, which was to explore the potential influence of love on human behavior. Social historians such as Eric Kà ¶hler and Georges Duby have hypothesized that â€Å"courtly love† may have served a useful social purpose: providing a model of behavior for a class of unmarried young men that might otherwise have threatened social stability. Knights were typically younger brothers without land of their own (hence unable to support a wife) who became members of the household of the feudal lords whom they served. One reason why the lady in the courtly love relationship is typically older, married and of higher social status than the knight may be because she was modeled on the wife of the feudal lord, who might naturally become the focus of the young, unmarried knights’ desire. Kà ¶hler and Duby posit that the literary model of the courtly love relationship may have been invented in part to provide these young men with a model for appropriate behavior, teaching them to sublimate their desires and to channel their energy into socially useful behavior ( love service rather than wandering around the countryside, stealing or raping women like the knight in the ‘ Wife of Bath’s tale). Ovid described the â€Å"symptoms† of love as if it were a sickness. The â€Å"lovesick† knight became a conventional figure in medieval romance. Typical symptoms: sighing, turning pale, turning red, fever, inability to sleep, eat or drink. Romances often contained long interior monologues in which the lovers describe their feelings. For the troubadours of 12th C France who introduced it into literature, Courtly love had two basic, essential characteristics: Love is irresistible and it is an ennobling force. No one is exempt from the service of the God of love who rules this world and extramarital sexual love, sinful to Christians, is the sole source of worldly worth and excellence. All the other characteristics of love that appear in the Canterbury Tales, for example, are simply trappings  decorations. These belong to the general body of love literature. Yet these trappings, so ludicrous when exaggerated, have caused courtly love to be confused with romantic love and have brought it into disrepute. Since love is irresistible, nothing done under its compulsion can be immoral; since humans are worthless unless they acts under this compulsion, the necessity of practicing love in incumbent on each person. Courtly love not only approves and encourages whatever fans and provokes sensual desire, it not only condones fornication, adultery, and sacrilege, but it represents them as necessary sources of what it calls virtue. Love is a union of heart and mind as well as body. Sensuality for its own sake, the enjoyment of fleshly delights of and for themselves, is contrary to courtly love. The wanton and the promiscuous practice such love. Hence, in the courtly love code fidelity is its greatest virtue and infidelity its greatest vice. Yet the Roman Church formally condemned both principles of courtly love. Archbishop Stephen Tempier at Paris condemned the irresistibility of love and love as the sole source of human worth on March 7, 1277. 1.2 What is Chivalry? Chivalry is a system of discipline and social interaction that is derived from the warrior class of medieval times, especially and primarily the class of trained warriors who participated in the Crusades (12th-14th centuries). Chivalry has a discipline because those ancient soldiers trained themselves daily through learning and practicing the arts of attack and self-defense. These arts gave rise to the idea of control of the body, mind, and speech in the Knight. Further, the idea of social interaction developed because the Knight originally followed carefully the orders of his superiors who were interested only in battle with those who were eligible to fight, that is, civilians were not to be engaged in battle. From this idea of engaging only other Knights developed the idea of treating enemies and friends fairly and equally. Men who excelled in battle were honored with Knighthood, an honor first granted by Knights only. Then, later, as the honor of being a Knight grew, both Monarchy and the Church (Eastern Orthodox as well as Roman Catholic) began to participate in the selection and creation of Knights. While the ideals of Knighthood were often violated by the Knight warriors themselves, yet the  ideals survived as Knighthood came to be thought of as an honor to be bestowed upon those who had proven themselves worthy. When the practice of the volunteer army and the need for Knights as warriors faded away, the concept of the honorable and self-disciplined Knight remained, and the rank and status of Knight began to take on aspects of minor Nobility that one could achieve (rather than having to be born into). As an honor and status that men sought, Knighthood became a valuable gift and boon for Kings and Church to grant, either individually as a ‘Knight Bachelor’ or as membership in an Order of Chivalry. Chivalry sets a standard of conduct that transcends era or culture. It maintains a code of conduct that traditionally [upholds] a practical guide to living in a changing world, and it provides discipline within an undisciplined environment. Chivalry embraces a spiritual path of personal development that combines bravery and gentleness with a fierce compassion for the welfare of others. The knight’s interest and goal in life is to protect those who cannot defend, be it physical, spiritual, or economical and to fulfill a desire for personal excellence. UNIT 2 – The chivalrous ideal and courtly love in ’’Sir gawain and the Green Knight’’ and ’’The Wife of Bath ’’ 2.1 A knight’s behavior toward women, at least in the romance tradition, was governed by another standard known as courtly love. Medieval writers did not necessarily use that term, but it is a convenient modern label for an idea that appears frequently in medieval literature. In Sir Gawain and the Green Knight, the poet’s term for it is â€Å"courtesy.† Scholars have debated whether courtly love was a social reality or purely a literary fiction, but in either case, it was a pervasive and influential notion. The ties between the romance genre and the courtly love tradition were well established even at this time, for when Cappellanus offered his â€Å"rules of love,† he brackets them with a story involving a knight on the way to the court of King Arthur. The courtly lover was a man (often a knight) who devoted himself to the service of his beloved lady, making himself her servant; if he was a knight; all of his brave deeds were dedicated to his lady. Marriage to others was not a barrier to such love affairs, which were to be kept secret, with clandestine meetings and messages between the lovers relayed by go-betweens.  The lovers usually exchanged gifts or favors, normally a personal item such as a ring, glove, or girdle, all of which appear in Sir Gawain and the Green Knight. True lovers became faint or sick with the strength of their love; sleeplessness, lack of appetite, and jealousy were all symptoms of true love. A lover was expected to have fine manners and display perfect gentility. As with chivalry, the tension between courtly love and Christian morality was unavoidable. Much of the courtly love tradition assumed that the lovers would consummate their relationship sexually, regardless of whether they were married. A more Christianized version of courtly love placed the lover in courteous but decidedly chaste service to his beloved. Like chivalry, courtly love may have been more of an ideal than an actual practice, but that did not lessen its cultural importance. At first glance, Sir Gawain and the Green Knight seem to be a relatively simple story about the quest of a knight in Arthurian Camelot. Upon further examination, however, it becomes clear that interwoven within the simple plotline is an intricate relationship between men and women with an emphasis on the values of the time. Throughout this work, we are privy to a variety of literal and figurative dichotomies including those between men and women, court values and church values, girdle and pentacle, the Green Knight and Sir Gawain, Guinevere and Morgan de Fay, and the Virgin Mary and Lady Bertilak. During the medieval period, the court and the church were of utmost importance – codes of chivalry in the court were substantial factors in dictating the etiquette and specific behaviors of people – as demonstrated through its literature. What seems to have happened in medieval literature is this: the pre-courtly love literature presented a fairly accurate portrait of women’s role in society. Then, with the advent of courtly love some authors felt the need to conform the role of women in literature to that which was assigned to them by the philosophy of courtly love. (Malcor). In a sense, the medieval work in question does not seem to draw exclusively from either the pre-courtly or courtly genres in its discussion of the role of women, rather we see a multitude of different women portrayed in clearly contrasting manners. Most notably, Lady Bertalik becomes a major figure of this work, as well as a symbol of knightly virtues, or lack thereof. In the third part of Sir Gawain  and the Green Knight, the story turns to Sir Gawain and Lady Bertalik; on three successive days, Lady Bertalik meets Sir Gawain in his bedchambers and attempts to seduce him. During the first two days, though tempting, Gawain manages to remain a model of both courtly and religious restraint and behavior; meanwhile, Lady Bertalik extends herself as the aforementioned ‘’fairly accurate portrait of women’s role in society.’’ While some women of the time succeeded in being entirely pure, it was not uncommon for damsels to try and seduce men as they traveled about the lands. The third morning, however, Gawain succumbs to his own fear of death and accepts the â€Å"lesser† of two gifts offered by Lady Bertalik on promises that the magical girdle will protect him from all harm. ‘’[The girdle] was wrought of green silk, and gold, only braided by the fingers, and that she offered to the knight, and besought him though it were of little worth that he would take it,’’ while in reality, Lady Bertalik is knowingly tricking the unsuspecting knight (Weston, Part III). In addition, Lady Bertalik’s gift is a strong symbol of womanhood and parallels both facets of pre-courtly and courtly literature. Like Lady Bertalik, the girdle is similar to the depiction of pre-courtly realism – in which women maintained their outward appearance, but also had inner, wild sexual desires that were often unleashed – as it is meant to be tied, but then removed to allow for free movement and expression. In slight contrast, the girdle may also illustrate the more courtly and idealistic viewpoint due to its restrictive qualities, which in theory, forces the girdle-clad to appear as a woman. The idea of the girdle enforcing a female faà §ade is lost, however, when Gawain, himself, dons the green article; thereby, excusing the idea that the girdle has any semblance of courtly qualities. For purposes of this argument – that Sir Gawain and the Green Knight entertains two separate depictions of society through literature, the realistic and the philosophical – it is Guinevere who plays Lady Bertilak’s opposite. Though she appears only briefly in this text, her role in courtly society is quite obvious. Seen at the opening feast given by her husband, King Arthur, Guinevere sits regally, but quietly beside her husband. While she expresses some momentary discontent – when Arthur first offers himself up to the Green Knight – it is almost entirely based upon her role as a  woman and the wife of the king. In this particular piece of Arthurian literature, Guinevere is defined by specific binaries; she is only what the king is not and she behaves the way that Lady Bertalik does not. Given this role, Guinevere exemplifies the pre-courtly disposition of behavior and remains the passive and silent, but â€Å"perfect† queen. As demonstrated through the actions and general social conduct of Lady Bertalik and Guinevere, Sir Gawain and the Green Knight displays a variety of women in several blatantly contrasting roles. While this, does substantiate the suggestion that the behavior of women has been projected differently throughout medieval literature. Like most medieval literature, Sir Gawain and the Green Knight participate in several important literary traditions that its original audience would have instantly recognized. Medieval poets were expected to re-use established source materials in their own works. Modern readers sometimes mistakenly take this as evidence of how lacking in creativity and originality the Middle Ages were. In reality, much of the interest of medieval literature comes from recognizing how one work of literature pulls against those that came before it, makes subtle changes from its sources, and invests old material with new meanings. One can read Sir Gawain and the Green Knight as simply a rollicking tale of adventure and magic or, alternatively, as a lesson in moral growth. However, understanding some of the literary and cultural background that Sir Gawain and the Green Knight draws upon can provide modern readers with a fuller view of the poem’s meaning. 2.2 The Prologue and Tale of the Wife of Bath are among the most popular parts of The Canterbury Tales, and also cause a lot of trouble for critics. There are many various opinions about the character of Alison, ranging from utter individuality of the character to her being only a refined archetype of the old go-between. Many consider the disparity of her Prologue and Tale so problematic that there is need to explain the duality of her personality, and again many others focus on the common features of the Prologue and Tale. Probably the only thing about Wife of Bath’s Tale on which the critics agree is that its narrative voice and choice of topic is distinctly feminine, the  world of her tale is inhabited by women with occasional obedient men. Alison is a feminist of her own making. Although many say that in the end she still submits to the rule of the patriarchal world, they do not take into account the time of her creation. When Alison struggles for respect in her own household, there is absolutely no awareness of feminine desire for equality, and it will still need several centuries before the Precieuses movement starts in France, influencing the whole Europe. Alison lives in a patriarchal world with strict views of women, and her domestic revolution seems outrageous in her times. Yet, in her Prologue, she argues that there is need for a distinctly feminine voice and tradition. Judging by Alison’s Prologue, it seems extremely difficult for a woman to accept her position in the male tradition. In her Prologue, she therefore uses the traditional patriarchal ideas and expression, and yet she bends them to suit her purpose. When she argues for marriage as an equally important alternative to virginity, she quotes St. Paul, the major male authority that prefers virginity. But it is obvious that the educated account of texts she shows the reader is only knowledge acquired from her husbands, as the read er is later to realize. She is incapable of reading the texts for herself; otherwise she would not use Jerome’s interpretation of the encounter of Jesus and the Samaritan woman beside a well. She would use the source text to impeach Jerome’s interpretation. But the Wife of Bath lacks the knowledge that it was not Jesus but the Samaritan woman herself who said she had no husband. Although the mind of the Wife is captured in medieval paradigms about women, she would gladly argue with Jerome just like she argued with her clerk husband, had she the knowledge of the original biblical text. The Wife also draws a decisive line between the biblical texts, which in no way express any obligation concerning the number of marriages, and the Church tradition created by men with no experience of marriage. What St. Paul says is not a rule, it is only advice: â€Å"Advice is no commandment in my view./ He left it in our judgment what to do† (CT, 278). After her biblical lecture where the Wife uses many examples from the Old Testament to show there are no strict rules established about marriage, she moves on to what she promises at the beginning of her Prologue, to experience: If there were no authority on earth Except experience; mine, for what it’s worth, And that’s enough for me, all goes to show That marriage is a misery and a woe; (CT,  276) Yet, as she has also shown, women’s reputation for zealous confessing paradoxically opened up opportunities of empowerment, as a number of female sham mystics, working with their attend- ant priests, created a lucrative theatre of spirituality in which the woman was the center of attention. The Wife of Bath’s Tale itself is another genre-experiment, which enacts the Wife’s speculation: By God! If women had written stories, As clerkes han withinne hire oratories, They wolde han written of men moore wikkednesse Than al the mark of Adam may redresse. (III (D), 693–6) The Tale is the retelling of a fairy mistress tale in which a knight finds that he can save his life only if he can find the answer to the question of what women want most. He goes on a quest in search of the answer and meets a loathsome old hag who tells him that women most want to have control over men. The knight escapes death at the hands of his enemies, but in return must marry the old hag. In bed on their marriage night, she persuades him to face her, whereupon he finds that she has transformed into a beautiful young girl. She asks him whether he would prefer to have her beautiful by day or by night, but tired by now of trick questions, the knight leaves the decision in her hands. Because he has capitulated to her, she promises to stay young and beautiful always, and they live happily ever after. What a synopsis effaces is the way in which this story can be adapted to prompt various responses. In the anonymous Sir Gawain and the Green Knight, the narrative framework is deployed to allow Gawain, as hero, to demonstrate extreme chivalric behavior and win audience approval. Chaucer’s adaptation is more radical. The hero is a rapist, forced into the bargain set by the ladies of the court to save his life. There is no indication that he is remorseful, nor that the quest is penitential. He comes upon the hag because he spies on some young girls dancing in a wood, and much less emphasis is put on the grotesque appearance of the hag than in other romance versions. The radical change, however, is that he walks into the bargain with the hag without knowing his part in advance. She accompanies him back to the court where the bargain is uttered in public. The quest is, therefore, manipulated so that instead of being morally enhanced, the hero is humiliated. He has no chance to dem onstrate Florent’s stoicism as all his opportunities for displaying bravery and chivalry are pre-empted by powerful and cynical  women. The values of chivalry are transposed ironically into a lecture given by the transformed hag to her husband on their wedding night in bed. The relationship between Prologue and Tale is not so much the simple matter of the Tale being adapted as the wish-fulfillment of the invented narrator; rather the two sit in parallel, drawing attention through their internal juxtapositions of authorities and lived experiences, to the gap between official society and its mores, as enshrined in textual traditions, and the operation of other behaviors and performances. Her struggle is not one for domination in the relationship, as both her Prologue and Tale show. It is a struggle for love. She wants to be treated like a beloved lady in the courtly tradition, and repay her loving husband with respect and obedience. The essentially better view is that â€Å"as a kind of special representative of Chaucer in the matter, she believes in harmony between partners, however it is arrived at† (Stone, 85). Of course, it is difficult to pass judgment on Chaucer’s personal views, as Chaucer was very careful about revealing his opinions, but the choice of the topic, and the portrayal of the shrewish wife as an understandable and rather likeable character might be a certain sign of Chaucer’s own attitude. For all the problems in her first four marriages, Alison does not lose hope yet. In her climactic marriage with Jankin, the only one that ends up as a success, she is looking for love. She already has enough money and a good social standing, she could be very satisfied as a widow, a woman no longer subjected to any man’s whim, and yet she decides to marry again. Alison needs her own money and the independence it gives. The General Prologue suggests that she also needs her own work and the status that goes with success. But she wants love as well and, in her relationship with Jankin, is romantic enough to believe that it will make money irrelevant .When Alison finds out she lost not only her money, which by the right of marriage now belongs to her husband, but also her integrity as her young husband tries to change her into an obedient wife with no life of her own, she starts to fight him. But before the physical struggle is described, Chaucer gives us a mental picture of Alison’s state, a picture of a tormented woman who lacks the words to defend herself, while her husband has all the available verbal weapons. CONCLUSION The poet positions Gawain at the center of the unresolved tensions between chivalry, courtly love, and Christianity. Gawain is famed as the most courteous of knights. In one sense, this creates the expectation that his behavior will be irreproachable; in another, it assumes that he will be the most delightful of lovers for the lady who can snare him. The Lady of Haut desert exploits this tension to the fullest as she attempts to seduce Gawain. But the poet has also made clear that the beloved lady whom Gawain serves first is the Virgin Mary. As a thoroughly Christianized knight, he is forced to walk a fine line in defending himself. He cannot offend a lady, but neither can he give his hostess what she wants, because in doing so, he would be committing a sexual sin, as well as breaking chivalric loyalty and honor by betraying his host. Sir Gawain and the Green Knight cannot, therefore, be called a straightforward romance. It makes use of most of the conventions and ideals of the Arthurian romance, yet also points out its contradictions and failings. Sir Gawain and the Green Knight is not an anti-romance, however, nor is it a parody, despite its lightness and good humor. When Chaucer laughs at Sir Thopas, he is mocking a tired genre, but when the Gawain-poet laughs, it is the generous laughter of friendship. The poet’s conservative and traditional approach to his timeworn material is what allows him to make it so engaging: He understands and thoroughly appreciates the conventions of his genre. Sir Gawain and the Green Knight manages to highlight the weakest points of the chivalric tradition while still appreciating everything that makes chivalry so attractive, especially its uncompromising devotion to the highest ideals, even if those ideals are not necessarily attainable (accomplished). Andreas got the Christian world to accept his concept of love by the device of the â€Å"double truth.† Although Christian teaching and his De Amore are basically irreconcilable, they may exist side by side each in its own sphere. His main purpose was to provide a pseudo-psychological and logical basis for the ideas and ideals of the troubadours. Reasoning and building on the nature of love and of humanity, he showed that love is the greatest good in this world, that it constitutes earthly happiness, and that it is the place of origin of all earthly good. Andreas proposed logically that if humans are viewed solely as rational and natural creatures, subject  only to the laws of nature and reason, then they must enroll in the army of the god of love and seek the pleasures of the flesh so that they may be ennobled and grow in virtue and in worth. Aware of the immoral and heretical implications of his work, Andreas wrote On the Rejection of Love where he condemned Courtly love a nd implicitly retracted all he had written. A strong possibility exists that Chaucer knew of the so-called double truth. He would have been aware of the dangers involved in writing romances of Courtly Love, the risk of an accusation of upholding immorality and heresy. He possibly set out to meet these dangers: 1. He is not interested in giving Courtly love a logical and philosophical grounding; he simply uses it as a vehicle for his love stories. 2. Andreas suggests he writes from experience. Chaucer states again and again that he is not writing on love from personal knowledge from experience or from his own feelings on the subject. Chaucer’s status is always as a non-participant in love–a rank outsider. His relationship to love and lovers is to be their clerk, their servant and instrument to gladden them and advance them in their individual cause. He doesn’t participate because he is unsuitable. Chaucer did strive for religious orthodoxy when, in the words of the Parson’s Tale, he protests that he â€Å"will stand for correction.† If his repudiation is not in fear, it might be a salve to a Christian conscience revolted at the utter incompatibility of Courtly Love with the tenets of Christian morality and faith. SUFFERING Love brings with it love melancholy or suffering. This was studied and in fact written on at length during the Renaissance, but it was known and made part of the fictional lover during Chaucer’s time. All in all, Chaucer’s attitude to women in The Canterbury Tales can hardly be judged as anti ­feminist. His portrayals of women are splendid and still attractive centuries after. He does not assert the male dominance in all his tales but he realistically employs different narrators to express different attitudes. Some of the tales question the medieval system of authorities, yet none of them is openly subversive. Chaucer’s female narrators cannot be judged by today’s standards of feminism and when they are looked at from the medieval point of view, the undertone of feminism in their behavior and tales emerges. They are concerned with bettering the conditions for women; they challenge the authorities in their tales. And although the women of the male tales are no revolutionaries, they are still humane enough for a modern  reader to enjoy. Chaucer does not portray women’s struggle for self-assertion, he unfolds the complex web of his society. Chaucer’s attitude to women as shown in his works is more complex than that of his contemporaries, and at the same time remains within the borders given by the society. Chaucer is a very careful poet and as such may be found inconvenient by some modern feminists. BIBLIOGRAPHY: Primary sources: Sri Gawain and the Green Knight Wife of Bath Secondary sources: Umbetro, Eco. Cum se face o teza de licenta, Polirom, Bucuresti, 2006 Dutu, Carmen. Eseuri si dizertatii. Metodologia crearii unei lucrari stintifice, Editura Universitara Bucuresti, 2012 G. C. Thornley and Gwyneth Roberts. An Outline of English Literature, Longman, Essex, 2008 Chretien de Troyes. Arthurian romances, Penguin Books Ltd, Englad 1991 Andreas Capellanus, The art of courtly love, Columbia University Press, New York 1960 Bruce J. Douglas. Evolution of Arthurian romance from the beginnings down to the year 1300, Gloucester, Mass Peter Smith 1958 Michel, Pastoureanu. La vie quotidienne en France et en Angleterre au temps des chevaliers de la Table Ronde, Hachette, Paris, 1976 ——————————————– [ 1 ]. Courtly love. Modern term popularized by C. S. Lewis to describe the various kinds of love between man and woman described in the works of *trou- badours and others between the 11c and the 13c. The range of feeling ran from the dutiful respect owed a lord’s wife, to the adulterously sexual. One relationship was excluded, that between husband and wife. The genre first appeared in Provence and then spread through Europe. Appearing at much the same time as Arthurian tales, the two created a potent and memorable mix of *chivalry and romance. The French phrase amour courtois is a 19c coin- age. – Cf. Aubade; Pastourelle [ 2 ]. b. 43 BCE, Roman who wrote a parody on the technical treatises on loving. [ 3 ]. The Ars amatoria (English: The Art of Love) is an instructional book series elegy in three books by Ancient Roman poet Ovid. It was written in 2 AD. It is about teaching basic Gentlemanly male and female relationship skills and techniques. [ 4 ]. Andreas Capellanus was the 12th-century author of a treatise commonly known as De amore (â€Å"About Love†), and often known in English, somewhat misleadingly, as The Art of Courtly Love, though its realistic, somewhat cynical tone suggests that it is in some measure an antidote to courtly love. [ 5 ]. Eleanor of Aquitaine was one of the wealthiest and most powerful women in Western Europe during the High Middle Ages . As well as being Duchess of Aquitaine in her own right, she was queen consort of France (1137–1152) and of England (1154–1189). She was the patroness of such literary figures as Wace, Benoà ®t de Sainte-Maure, and Bernart de Ventadorn. She belonged to the French House of Poitiers, the Ramnulfids. [ 6 ]. Marie of France, Countess of Champagne (1145 – March 11, 1198) was the elder daughter of Louis VII of France and his first wife, Eleanor of Aquitaine. [ 8 ]. French bishop of Paris during the 13th century. He was Chancellor of the Sorbonne from 1263 and bisho p of Paris from 1268.He is best remembered for promulgating a Condemnation of 219 philosophical and theological propositions (or articles) that addressed ideas and concepts that were being discussed and disputed in the faculty of Arts at the University of Paris. [ 9 ]. Chivalry is as much about the skills and manners of a warrior class as with a literature derived from the deeds of those warriors, but presented in an idealized fashion which returned to define the manners of the warriors. Chivalry was a collocation of qualities made into a coherent ideal: skill and courage, and a craving for glory or fame acquired through knightly skills and its necessary courage. [ 10 ]. Linda Ann Malcor Ph. D is an American scholar of Arthurian legend. She was selected as an Overseas Associate Member of the Late Antiquity Research Group.

Privacy And Islam Essay

Islam is a religion that teaches respect, that recognizes the importance of individual rights and that preaches the honoring of freedom and equality. In the article the author attempts to examine the importance and sacredness of privacy in Islam. He also tries to locate the extent to which the right to privacy has been regulated in different Islamic countries and the methods of regulation used. Pakistan is used a case study to examine how laws pertaining to data protection have been drafted with the European market in mind. The author attempts to analyze whether the laws are in accordance with and based on Islamic principles of privacy.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The article first outlines the references to privacy in the Holy Quran. These range from verses stressing the importance of privacy in the home and of family members. The importance of chastity and modesty is stressed upon, as is the magnitude of guarding against the spreading of private information, especially, that which concerns an individual’s wrongs. The author argues that private information can be recognized as a form of property and that according to Islam individuals are completely free to do as they please in their own private spheres of life.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The author then analyses the data protection and information law in Pakistan using the country as a case study. He shows how the areas identified for regulation and control include banking, data protection, cyber crime etc. He goes on to outline the main features of the law including the fact that it applies to data processing taking place within Pakistan and also focusing on how it facilitates without regulating. The author concludes that the law has been drafted to help in the growth of the outsourcing industries in Pakistan and that the law is in keeping with the Islamic principles of the Holy Quran and Sunnah. The criticism of the law is restrained to the fact that it is applicable only to the private sector and not the public sector.

Using Command-Line Arguments in Java

Using Command-Line Arguments in Java Command-line arguments can be a way of specifying configuration properties for an application, and Java is no different. Instead of clicking on an application icon from the operating system, you can run the Java application  from a terminal window. Along with the application name, a number of arguments can follow which are then passed to the applications starting point (i.e., the main method, in the case of Java). For example, NetBeans has a number of startup parameters that can be passed to the application when it is run from a terminal window (e.g., specifies a version of the JDK to be used instead of the default JDK associated with the NetBeans application). The Main Method Lets examine the main method  to see where the arguments passed to an application appear: The command-line arguments can be found in the called For example, lets consider an application called whose only action is to print out the command-line arguments passed to it: public class CommandLineArgs {   Ã‚  Ã‚  public static void main(String[] args) {//check to see if the String array is emptyif (args.length 0){System.out.println(There were no commandline arguments passed!);}   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  //For each String in the String array//print out the String.for(String argument: args){System.out.println(argument);}}}   Syntax of Command Line Arguments The Java Runtime Engine (JRE) expects arguments to be passed following a particular syntax, like so: java ProgramName value1 value2 Above, java invokes the JRE, which is followed by the name of the program you are calling. These are followed by any arguments to the program. There is no limit to the number of arguments a program can take, but the order is critical. The JRE passes the arguments in the order in which they appear on the command line.  For example, consider this code snippet from above: public class CommandLineArgs2 {​   Ã‚  Ã‚  public static void main(String[] args) {if (args.length 0){System.out.println(There were no commandline arguments passed!);} When arguments are passed to a Java program, args[0] is the first element of the array (value1 above), args[1] is the second element (value2), and so on. The code args.length() defines the length of the array. Passing Command-Line Arguments In NetBeans, we can pass command-line arguments without having to build the application and run it from a terminal window. To specify the command-line arguments: Right-click on the project folder in the Projects window.Choose the Properties option to  open  Project Properties window.  In the Categories list on the right-hand side, choose RunIn the Arguments textbox that appears, specify the command-line arguments you want to pass to the application. For example, if we enter Apple Banana Carrot in the Arguments textbox and run the CommandLineArgs program listed above, we will get the output: Parsing the Command-Line Arguments Typically, a command line argument is passed with some information about what to do with the value being passed. The argument informing the application what the argument is for typically has a hyphen or two before its name. For example, the NetBeans example for the startup parameter specifying the JDK path is This means youll need to parse the command-line arguments to figure out what to do with the values. There are several Java command-line frameworks for parsing command-line arguments. Or you could write a simple command-line parser if the arguments you need to pass are not that many: The code above either prints the arguments or add them together if they are integers. For example, this command line argument would add the numbers: java CommandLineArgs -addnumbers 11 22 33 44

Definition and Examples of Judicial Rhetoric

Definition and Examples of Judicial Rhetoric According to Aristotle, judicial rhetoric is one of the three main branches of rhetoric: speech or writing that considers the justice or injustice of a certain charge or accusation. (The other two branches are deliberative and epideictic.) Also known as  forensic, legal, or judicial discourse. In the modern era, judicial  discourse is primarily employed by lawyers in trials decided by a judge or jury. See the observations below. Also see: ArgumentClassical RhetoricDeclamationDefinitions of Rhetoric in Ancient Greece and RomeWhat Are the Three Branches of Rhetoric? Etymology:  From the Latin, judgment. Judicial Rhetoric in Ancient Greece and Rome Anyone reading the classical rhetorics soon discovers that the branch of rhetoric that received the most attention was the judicial, the oratory of the courtroom. Litigations in court in Greece and Rome were an extremely common experience for even the ordinary free citizenusually the male head of a householdand it was a rare citizen who did not go to court at least a half a dozen times during the course of his adult life. Moreover, the ordinary citizen was often expected to serve as his own advocate before a judge or jury. The ordinary citizen did not possess the comprehensive knowledge of the law and its technicalities that the professional lawyer did, but it was greatly to his advantage to have a general knowledge of the strategies of defense and prosecution. As a result the schools of rhetoric did a flourishing business in training the layperson to defend himself in court or to prosecute an offending neighbor.(Edward P.J. Corbett and Robert J. Connors, Classical Rhetoric for the M odern Student, 4th ed. Oxford University Press, 1999) Aristotle on Judicial Rhetoric and the Enthymeme [J]udicial rhetoric promotes justice and identifies injustice by appealing to the law. Forensic speech accepts as given the laws of the polis, so the section on judicial rhetoric uses enthymemes to adjust particular cases to general laws (Aristotles Rhetoric). Aristotle addresses accusation and defense as well as the sources from which their enthymemes should be drawn, investigating for what, and how many, purposes people do wrong . . . how these persons are [mentally] disposed, and what kind of persons they wrong and what these people are like (On Rhetoric, 1. 10. 1368b). Because Aristotle is interested in causation in order to explain wrong-doing, he finds enthymemes particularly useful in judicial rhetoric.(Wendy Olmsted, Rhetoric: An Historical Introduction. Blackwell, 2006) The Focus on the Past in Judicial Rhetoric Judicial rhetoric concerns only past fact and the application of uncontentious moral principles, so that it affords the ideal Aristotelian orator no grounds for uncertainty. But perhaps deliberative rhetoric, since it concerns future contingencies and the more or less likely outcomes of alternative policies, is a better prospect for comparison with dialectic.(Robert Wardy, Mighty Is the Truth and It Shall Prevail? Essays on Aristotles Rhetoric, ed. by Amà ©lie Oksenberg Rorty. University of California Press, 1996) Prosecution and Defense in Judicial Rhetoric In judicial rhetoric, prosecutors often try to evoke assent to the truth of a statement such as the following: John killed Mary. That is, prosecutors try to persuade their audiences to agree with their representations of reality. Some form of resistance to their arguments is implicit in their situations because opposing arguments are expected from the defense. Aristotle emphasized the notion of dispute or debate inherent in judicial rhetoric: In the law court there is either accusation or defense; for it is necessary for the disputants to offer one or the other of these (Rhetoric, I,3,3). This sense of the word persuasion is among its more common senses.(Merrill Whitburn, Rhetorical Scope and Performance. Ablex, 2000) The Model for Practical Reason While contemporary students of practical reasoning rarely think about rhetoric, judicial reasoning is the model for modern practical reason. We typically assume that practical reasoning has to proceed from rule to case and that the point of practical reasoning is to justify our actions. . . . For Aristotle deliberation is the model for practical reason because there the Aristotelian combination of the personal and the moral is real and fundamental, while in judicial rhetoric that combination is only created by the speaker.(Eugene Carver, Aristotles Practical Reason. Rereading Aristotles Rhetoric, ed. by Alan G. Gross and Arthur E. Walzer. Southern Illinois University Press, 2000) Pronunciation: joo-dish-ul

The Use of the Internet as a Social Activity and Self-expression Essay

The Use of the Internet as a Social Activity and Self-expression - Essay Example ss the statement: â€Å"the internet has presented individuals with real possibilities for self-expression, conversation and creative work.† To appreciate its relevance, a brief history of the origins of the Internet would initially be discussed. Other various uses of the Internet, aside from the focal points, would also be presented. What is exciting in this technological development is that it has not stopped evolving and there is still a vast future ahead. A lot of stakeholders have the desire to continue their quest to discover new applications and uses which would define the future of the Internet. However, the consequences of information overload and accessibility to data have tremendous effects on the traditional concepts of culture. Our way of life, due to the technology provided by the Internet, will never be the same. written by J.C.R. Licklider of MIT in August 1962. According to Leiner, et.al. (2003), the history of the Internet revolves around four distinct aspects: the technological aspect, operational and management aspect, social aspect, and commercialization aspect. The emergence of new media technologies such as the cable, satellite and the Internet has a tremendous impact on the traditional forms of mass media. In a book on Media and Cultural Theory, Freedman wrote that â€Å"a combination of technological innovations (concerning digitization) and cultural shifts (towards a more individualistic consumer society) appear to have handed new media technologies a competitive advantage over their predecessors† (â€Å"Internet Transformations†, 275). With more and more people utilizing the Internet for various purposes, there had been significant declines in primetime viewing of broadcast networks and circulations in magazines and broadsheets. The Internet boasts of a variety of uses for a wide range of clientele. From among the famous users of the Internet, our teenagers of today are seen to be the primary consumers of the Internet. A study