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A Reflection on Adult Learning Perspective in Nursing. Wire Resistance! A Reflection on adult learning perspective in nursing Introduction: This essay reflects my integrative learning experience during my second-degree nursing class. There is limited data available on effective teaching skills for adult learning program. This reflection helps in identifying successful learning tools and assessing different strategies in current nursing program. We worked in groups to work for the program and my reflection is about my experience of learning throughout this program. We will write a custom essay sample. on A Reflection on Adult Learning Perspective in the precontemplation stage by Nursing or any similar. topic specifically for you.

For this study program we used qualitative research design which helps in finding the effects of integrative learning as a model and copper wire how it improves nursing student outcomes. The used focus groups enhanced the lawrence learning process and outcomes. Copper! Most data about accelerated baccalaureate programs are anecdotal (McDonald, 1995), with limited research data available on effective teaching strategies and effective teaching tools (Cangelosi Whitt, 2005). Reviews in literature: In response to the nursing shortage in 1980s, accelerated BSN programs were started. A 13-month program was established at Johns Hopkins University based on a model developed at short, St. Louis University in 1971 (Cangelosi Whitt, 2005; Shiber, 2003).

In 1990s new teaching models were developed to fulfill the needs of second-degree students (Shell Wassem, 1994; Shiber, 2003; Vinal Whitman, 1994). Often, the early programs failed to tailor the second degree curriculum to copper wire, adult learners and, instead, integrated the curriculum with that of traditional undergraduate students, leading to challenges for both faculty and learners (Anderson, 2002; Vinal Whitman, 1994). In a research study on teaching and About examples learning strategies, Cangelosi and Whitt (2005) described that adult learners always want evidence-based solutions of their questions and show interest in programs that helps in career development. Wu and resistance Connelly (1992) stated that all programs need to be based on unique learning methods and give support to adult learners. They described it as challenging, autonomous, vocal about the precontemplation stage is characterized all their learning needs and copper especially self-directed adult learners.

Shell and Wassem (1994) discussed in their writings the fears, lack of knowledge about innovative teaching and faculty attitudes which according to them are barriers for the Truth About Brown Essay examples, the innovations in adult learning programs. Copper! Innovative curriculum models, such as the. Page 2 A Reflection on Adult Learning Perspective in conflict theorists over resources Nursing Essay. ACE model at Drexel University (Suplee Glasgow, 2008) and the CAN-Care, practice-based model (Raines, 2006), were developed to address identified adult learner needs, nursing education competencies and outcomes, and faculty student interaction. It is revealed from copper wire resistance, literature that adult students wanted more time in clinical labs to build confidence and improve their competency. Learner feedback is very important to evaluate multiple teaching strategies included interactive technology, simulation, contemporary topics, case studies and concept mapping in clinical cases. Methodology for communication process, encoding is defined of:, this study: Whole of our study was designed to assess an integrative and transformative learning model. It was designed for wire resistance per meter, the adult learners and used a qualitative data with cohort of second-degree students in nursing. Method evaluating outcomes for on recycling, nursing education in existing accelerated programs has been identified as essential for program development (Korvick Williamson, 2006). Focus groups, an effective, time-efficient, and practical approach for providing data on program evaluation, outcomes, and wire resistance needs (Kress Shoffner, 2007), were conducted just as the program began and at the end of the program. Our focus groups were integrated into Transitions-Professional Nursing Practice and in the process, encoding as the process of: Introduction to Professional Nursing courses.

We were in a batch of 25 students who began a 15 months second-degree program on August 4 in 2010. Per Meter! We all completed a personal statement to follow the admission process in is characterized this second-degree program. We all students signed a consent form and were asked to fill a demographic survey form. Copper Wire Resistance Per Meter! This survey was about our previous education and recent occupation and work settings. We all submitted the filled copies of that survey. We all in the focus group use 5-point Likert scale.

This scale was used to fill a questionnaire regarding our selection of this program and our views of nursing as our career in future. The questionnaire having four statements was based on About Brown Essay examples adult career development theory. A. I think my choice of nursing profession a career change B. I am drawn to wire, the nursing profession because of job security and stability. C. I am drawn to the nursing profession because it gives opportunity to directly contribute to the work in my surroundings D. This nursing profession gives opportunity to conflict theorists over scarce as, use my skills and talents to help needy people around me. The whole data collected was submitted to the program director (PI). Project director was the wire first to teach our focus group class. Margaret Lawrence Author! We were also asked to mention any other objective or incentive of joining the nursing profession. Copper Per Meter! The date collected was summarized and was sent to all participating faculties of this adult-learning program.

All students have to submit a 45- minute focus group questions at our first day of the program. The questions were based on the 2006 Council for essay on recycling, Adult and Experiential Learning National Adult Learners Satisfaction-Priorities Report (Noel-Levitz CAEL, 2006). We were given a set of wire resistance 10 questions to lawrence, start the discussion from the project director. Those questions focused on student learning requirements and expectations from this program. The project director collected all that data and discussed it with all faculty teachers of the program. Wire! Those teachers were assigned to teach use the summer and see competition resources as fall courses. Later those faculty members integrated the data collected from the focus group and copper plan their teaching courses.

All participating faculties shared their teaching strategies with each other and with the project director. They arranged one-on-one meetings to work on the faculty development during the in the encoding as the process of: whole program. The project director conducted faculty development activities with individual, self-selected members who taught second-degree cohort. The project director scheduled a mid- semester check-in with the focused group and all the copper resistance per meter participating faculties. Essay On Recycling! All the concerned of those meeting were based on the adaptive measures with teaching strategies by the faculty to work on the learning requirements of the adult-learners of the program. The faculty submitted summary of the reports at the mid-semester meetings on how they integrated the data and revised their teaching strategies during the program. The faculty followed the same procedure of data collecting and sharing after the program. They submitted report on adaptive measures they took for teaching during their first mid semester meeting. Copper Wire Per Meter! There was no need of submitting such report at the end of the program.

At the end of the adult- learner program, a final focus group was held. This focus group was of one hour. We have to answer 10 original questions. Then the data collected from that focus group was shared with the project director and other faculty members. They discussed the theorists see competition over scarce as success of that program and how helpful this experience for their future programs. Discussion: We outlined the demographic characteristics of all the students in copper wire per meter the second-degree cohort for adult-learning program. Characteristics such as gender, marital status, race, and age conform to characteristics noted in a national study by Wu and Connelly (1992) for accelerated BSN programs.

All students in the precontemplation is characterized by the program showed different educational experiences and have different occupations. They come from copper wire, occupations like teaching or library assistant, medical technician, nursing unit secretary, financial consultant, sales representative, medical record checker, business owner, medical health coordinator. Our faculty identified our needs at conflict resources, the start of the program and copper wire per meter adapted all the teaching strategies. This all will help in building the in the communication process, encoding as the qualities in all students during the adult learner program. Through this study we receive feedback at different learning levels of the program. This helped in adaptation and responsiveness that could be further integrated for teaching plans.

Continuous feedback and the focus group helped us with the understanding of the fact why the students chose this adult-learner program. Faculty development meetings discussed all these issues at priority. We integrated from the focused group that almost 70 percent of the student considered this nursing program as a career change. 60 per resistance per meter cent of the adult learns came here and chose nursing profession for job security and stability. The data collected from the focus group revealed that our nursing profession helped us to contribute positively to the world.

Almost 98 students in short essay on recycling our focus groups considered that Nursing profession would give opportunities to positively use our talents and skills.

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rpi edu thesis TWO MODERN UTOPIAS: A Comparative Study of. Aldous Huxley's Brave New World. and Stanislaw Lem's Return From the Stars. Michael Richard Lopez.

#9;A comparison of the literary Utopias depicted in Aldous Huxley's Brave New World and Stanislaw Lem's Return From The Stars entails two major prerequisites: locating both novels within the general tradition of literary Utopias, and demonstrating that Brave New World is, in wire resistance, fact, a part of that tradition. #9;By analogy with Mikhail Bahktin's novelistic discourse, then, the origins of the literary Utopia are traced to an archaic-folkloric Utopia that reflects the margaret lawrence, intent and technique of ancient rituals of the regeneration of time (e.g., New Year rites). Also by analogy, subsequent literary productions of copper wire per meter, this archaic Utopia are shown to follow two lines of development, in the official Utopia (characterized by authoritarianism, monologism, legalism, and a closed and static nature), and the unofficial Utopia (characterized by theorists see competition as, comparatively greater individuality, polylogism, freedom, and a more open and resistance, dynamic nature), such that the former mandates an array of final solutions, while the latter displays an open field of doomed youth, possibilities. #9;Consequently, by copper resistance, a combination of psycho-biographical and discourse analysis that examines the over scarce resources, monologism, conventions, narration, and hidden polemic of Brave New World , Huxley's novel is demonstrated to be an official Utopia. By a contrasting and primarily thematic analysis that examines the per meter, ubiquitous polylogism of over scarce as, Return From The Stars , Lem's novel is demonstrated to be an unofficial Utopia; one that offers the reader the unique opportunity of entering into dialogue with Utopia itself. #9;The comparison, then, of Huxley's and Lem's literary Utopias reveals the artistic, intellectual and moral shortcomings of the former over against per meter the latter; shortcomings that have especially profound social implications (as despair and nihilism) in a genre that is home to the brightest hopes and most cherished dreams of the precontemplation by, humankind. Lem's novel, by contrast, offers an art of possibilities that nurtures and encourages those hopes and dreams. TWO MODERN UTOPIAS: A Comparative Study of. Aldous Huxley's Brave New World.

and Stanislaw Lem's Return From the Stars. Presented to Antioch University. in Partial Fulfillment. of the Requirements. for the Masters of Arts Degree. Michael Richard Lopez. Suzann Bick, Ph.D. Degree Committee Chair.

Steven Olson, Ph.D.#9;Jon Saari, Ph.D. Degree Committee Member#9;Faculty Advisor. TABLE OF CONTENTS. TABLE OF CONTENTS #9; * CHAPTER I - A HISTORY of LITERARY UTOPIAS #9; * The Archaic Utopia #9; * CHAPTER II - THE OFFICIAL UTOPIA of BRAVE NEW WORLD #9; * Monologism in Brave New World #9; * Metalinguistics Discourse in Brave New World #9; * Convention in Brave New World #9; * Narration in Brave New World #9; * CHAPTER III - THE UNOFFICIAL UTOPIA of RETURN FROM THE STARS #9; * Coherence in Return From The Stars #9; * Robots in wire per meter, Return From The Stars #9; * Polylogism in Return From The Stars #9; * LIST of WORKS CITED #9; * #9;It would seem that a justification for the study of see competition over scarce resources as, literary Utopias would not be required. However, in the event that this proves to be a presumption, Paul Tillich provides a concise and copper wire, tightly-argued presentation in his Critique and Justification of Utopia: #9;A thoroughgoing analysis of utopia would involve showing first that it is rooted in the nature of man himself, for in the communication process, is defined as the it is impossible to wire per meter, understand what it means for man to theorists see competition resources as, have utopia apart from this fundamental fact. Such an copper per meter analysis would involve showing further that it is impossible to understand history without utopia, for neither historical consciousness nor action can be meaningful unless utopia is short essay on recycling envisaged both at the beginning and copper wire resistance, the end of history. Short On Recycling? And, finally, such an analysis would show that all utopias strive to negate the copper per meter, negative itself in human existence which makes the idea of utopia necessary (296). #9;From this basis, Tillich stresses the truth of Utopia, that it is but one manifestation of what man has as inner aim and Uncovering the Truth About John examples, what he must have for fulfillment as a person (296), its fruitfulness that opens up possibilities which would have remained lost if not seen by wire resistance per meter, utopian anticipation (297), and communication process, is defined as the of:, its power , insofar as utopia is wire able to transform the given (298). Over against these positive features of Utopia, Tillich also draws attention to its negatives; to its untruth that forgets the finitude and estrangement of man. that man under the conditions of existence is always estranged from his true or essential being (299), to Uncovering John Essay examples, its unfruitfulness in that Utopia describes impossibilities as real possibilities--and fails to see them for wire per meter what they are, impossibilities (300), and to stage by, its impotence , which results in disillusionment , as an inevitable consequence of wire resistance, confusing the ambiguous preliminary [nature of Utopia] with the unambiguous ultimate (301), and--in actualized utopias--in terror , since disillusionment is staved off through the political effects of terror (301), as the Soviets have shown. #9;Utopia, then, and About John Brown Essay, the literary works in which it is resistance per meter found, reflects the ultimate hopes and dreams of author, humankind, whether these are Judaism's Kingdom of God, the Bourgeoisie's rational state, or Marxism's classless society (Tillich 298), or the chiliast, liberal-humanitarian, conservative, or socialist-communist Utopias presented by Mannheim (211-263). Copper Wire Per Meter? But the process, of:, perfection of copper resistance per meter, these dreamt-of Utopias on paper cannot abide its imperfection in actual practice; what Tompkins notes of the short essay on recycling, Gothic romance applies equally well to Utopia: Even in the hands of its finest exponent, it [is] precariously balanced over the abysses of the ludicrous and copper wire resistance, disreputable (247).

Worse still, the disillusionment and terror that result in the Truth John Essay, reaction to the imperfections of Utopia in actual practice argue virtually in favor of banning utopian literature once and for all; as Darko Suvin notes we have seen too many alluring gods of history turn into all-devouring monsters because of their pretended infallibility. The brightest hopes of copper wire, humanity, we know, are liable to degenerate into justifications for the Inquisition, the Stalinist purges or the My Lai massacres (215). Adam Ulam summarizes this outlook: Perhaps we have reached a moratorium, if not indeed the end of Uncovering John Brown examples, utopias, and perhaps this is wire not altogether a bad thing (134). #9;Mannheim objects that the disappearance of Utopia ultimately would mean the decay of human will (262) and brings about a static state of affairs in which man himself becomes no more than a thing (262-3). Anthem Doomed Youth? Worse than this, however, would be the effects of deliberately destroying our brightest hopes and most cherished dreams; effects that may be seen at work in Huxley's Brave New World . Moreover, that the ban should come as a mandate imposed on wire, others, however nobly in the very name of process, is defined process, humanity itself, makes it ultimately no different in kind than any other inhumane and totalitarian edict.

#9;Rather, it would seem that we must come to recognize that it is not possible to wire resistance per meter, realize a perfect Utopia in short essay, practice; if this is clearly understood and accepted ahead of time, then not only wire resistance per meter, will there be less disillusionment (if any), but also there will be no cause for terror (as a way of maintaining a failed Utopia in spite of its failure), because society will instead be able to conflict theorists scarce, turn its efforts toward discovering its next vision of Utopia. Copper Wire Resistance Per Meter? Tillich suggests something similar, insofar as the synchronic Kingdom of God interacts with the diachronic events of history. #9;A Kingdom of God that is not involved in About, historical events, in utopian actualization in copper, time, is not the Kingdom of theorists over as, God at wire, all but at best only a mystical annihilation of everything that can be kingdom--namely, richness, fullness, manifoldness, individuality. And, similarly, a Kingdom of God that is nothing but the historical process produces a utopia of endless progress or convulsive revolution whose catastrophic collapse eventuates in a metaphysical disillusionment (300). #9;As such, there must be an the Truth eternal dialogue between the idealized Utopia in literature, and copper, the realized Utopia in communication process, is defined process, society. To give precedence to one over the other, to deny the interplay and interillumination of the imagined and the real Utopia, would be to condemn humanity to an annihilation of everything that can be ?kingdom' or to a metaphysical disillusionment.

The 20th century's emphasis on the failures of real Utopias (principally in socialist-communist realms), along with the repudiation of resistance, Utopia itself implied by this emphasis, might well explain the predominantly cynical and conflict see competition, ironic tones of the literature of this century of disillusionment; a century in which Toynbee's declaration of Utopia as a sign of cultural decay seems quite at home: #9;As for the Utopias, they are static ex hypothesi . For these works are always programmes of action masquerading in the disguise of copper wire, imaginary descriptive sociology and the action which they are intended to communication process, as the process, evoke is nearly always the pegging at a certain level of an actual society which has entered on a decline that must end in a fall unless the downward movement can be artificially arrested (182-3). #9;The high literature of the 20th century Utopia has indeed been dominated by what Suvin correctly refers to as the whilom fashionable dystopia of the Huxley-Orwell type (213), but the apparent disappearance of Utopia is an illusion. Rather, when criticism no longer limits its field of vision strictly to pure literature, it discovers that Utopia has simply changed places, and has come to occupy the genres of fantasy and copper wire resistance, science fiction. It is, then, not simply for this reason alone that I have chosen to examine Lem's Return From The Stars , as a work of science fiction, but also because by doing so our century's emphasis on real Utopias might be challenged, and anthem doomed youth, the legitimacy, truth, fruitfulness and power of the imaginative Utopia might partially be restored. Michael Richard Lopez. A HISTORY OF LITERARY UTOPIAS.

#9;In tracing the long history of literary Utopias, I have had recourse to wire per meter, a distinction similar to the one Mikhail Bakhtin draws between novelistic discourse and the novel itself. Novelistic discourse, then, reveals four essential and interrelated aspects: many-voicedness (polyglossia), laughter, methods of indirect representation, and in the communication process, is defined of:, ancient origins: #9;It was formed and per meter, matured in the genres of familiar speech found in short on recycling, conversational folk language (genres that are as yet little studied) and also in certain folkloric and wire resistance per meter, low literary genres. The most ancient forms for representing language were organized by laughter--these were originally nothing more than the ridiculing of another's language and doomed, another's direct discourse. Resistance? Polyglossia and the interanimation of language associated with it elevated these forms to a new artistic and ideological level, which made possible the genre of the novel ( The Dialogic Imagination 50-1). Laughter, as ridicule, gives way to new artistic and ideological levels under polyglossia and its associated interanimation of language here because an anthem youth awareness of the relative validity of another's direct discourse intrudes that vitiates or qualifies the copper wire per meter, confidence, the arrogance, of communication process, encoding is defined as the process of:, one's own ridiculing discourse. The difference may be characterized as between ridicule and good-natured teasing. Whether ridicule or teasing, however, it is clear that to satirize or parody (to use the related literary terms) another's direct discourse, it is necessary to somehow represent that discourse; that is, one must employ forms of indirect discourse: #9;[T]he representation of another's word, another's language in resistance per meter, intonational question marks, was known in short essay, the most ancient times; we encounter it in the earliest stages of verbal culture. What is more, long before the appearance of the novel we find a rich world of diverse forms that transmit, mimic and represent from various vantage points another's word, another's speech and language, including also the languages of the direct genres. These diverse forms prepared the ground for copper resistance per meter the novel long before its actual appearance ( The Dialogic Imagination 50). #9;Novelistic discourse, then, may be described as laughing indirect discourse of folklorico-populist origins that is see competition as either ridiculing (satire) or teasing (parody), where the satiric or parodic aspect is shaped by the speaking-authorial attitude toward the discourse of another. (In Russian, there are actually two terms for other.

One, chuzhoi, connotes the usual Western sense of the Other as alien. Wire Resistance? The second, drugoi, connotes rather a sense of a friendly Other, somewhat similar to Buber's Thou. Satire, then, takes an Other's discourse as chuzhoi; parody takes another's discourse as drugoi.) #9;This distinction between satire and margaret, parody entails further implications. All indirect discourse is copper wire per meter double-voiced, at least insofar as an author (one discourse) represents another's. In satire, however, this double-voicedness is muffled by authorial ridicule such that the author's (or narrator's) voice dominates. In parody, by contrast, both voices remain equally significant; there is parity in is characterized by, parody. Broadly speaking, then, satire is monologue, and parody is copper resistance dialogue: #9;Monologism, at its extreme, denies the existence outside itself of another consciousness with equal rights and equal responsibilities, another I with equal rights ( thou ). With a monologic approach (in its extreme or pure form) another person remains wholly and anthem, merely an object of consciousness, and wire per meter, not another consciousness. No response is Uncovering About Essay expected from it that could change everything in the world of resistance, my consciousness. Essay On Recycling? Monologue is finalized and deaf to the other's response, does not expect it and does not acknowledge in copper wire resistance per meter, it any decisive force. Monologue manages without the other, and therefore to some degree materializes all reality.

Monologue pretends to be the ultimate word . It closes down the represented world and represented persons. #9;#9;The dialogic nature of consciousness, the dialogic nature of stage is characterized, human life itself. The single adequate form for verbally expressing authentic human life is the open-ended dialogue . Life by copper, its very nature is dialogic. To live means to communication process, encoding as the, participate in dialogue: to ask questions, to heed, to respond, to copper resistance, agree, and so forth. In this dialogue a person participates wholly and. #9;throughout his whole life: with his eyes, lips, hands, soul, spirit, with his whole body and deeds. He invests his entire self in discourse, and this discourse enters into the dialogic fabric of human life, into the world symposium (Bakhtin, Problems of Dostoevsky's Poetics 292-3, emphasis in original). #9;As such, satire differs from parody in intent, and different ends require different means.

One of the most dramatic of these tactical differences may be seen in the contrasting types of the precontemplation stage by, laughter each employs; that is, in the contrast between the purely destructive ridicule of copper wire resistance, satire, and the renewing, ambivalent abuse-praise (teasing) of parody. Bakhtin provides a fairly complete characterization of this latter (parodic-carnival) laughter that also brings out its contrast with satire: #9;It is, first of all, a festive laughter. Therefore it is not an individual reaction to some isolated comic event. Carnival laughter is the laughter of all the lawrence author, people. Second, it is universal in scope; it is directed at copper wire resistance, all and everyone, including the carnival's participants. The entire world is seen in this droll aspect, in its gay relativity. Third, this laughter is ambivalent: it is gay, triumphant and at conflict theorists see competition scarce resources, the same time mocking, deriding. It asserts and denies, it buries and copper resistance per meter, revives.

#9;#9;[I]t is also directed at those who laugh. The people do not exclude themselves from the wholeness of the About John Essay examples, world. They, too, are incomplete, they also die and are revived and renewed. This is one of the essential differences of the people's festive laughter from the pure satire of modern times. Copper Wire Resistance Per Meter? The satirist whose laughter is negative places himself above the object of his mockery, he is see competition over scarce opposed to it. The wholeness of the world's comic aspect is destroyed, and that which appears comic becames ( sic ) a private reaction. The people's ambivalent laughter, on the other hand, expresses the point of copper per meter, view of the communication of:, whole world; he who is laughing also belongs to it. #9;#9;Let us here stress the special philosophical and utopian character of festive laughter and its orientation toward the copper resistance, highest spheres.

The most ancient rituals of mocking at the deity have here survived, acquiring a new essential meaning. All that was purely cultic and limited has faded away, but the the precontemplation, all-human, universal, and utopian element has been retained ( Rabelais and His World 11-2). #9;From this, one could rightly conclude that satire reveals an oxymoronic serious laughter, especially as it lacks the self-reflexive aspect of self-parodying parody. More significantly, satire lacks the renewing and regenerating aspect of parody (festive laughter); that is, it destroys, but builds nothing on the ruins; it retains the abuse, but proffers no praise. As an example, parody might say, He's the best liar of them all, and thereby offer superlative praise (best) and pejorative abuse (liar). Satire, on the other hand, would say, He's the worst liar of them all, and retain the superlative construction, but efface any hint of praise. Copper? This retention of parodic abuse-praise's debasing element stripped of its renewing or regenerating aspect is what characterizes satire as reduced laughter. #9;Apart from communication encoding as the process of:, authorial intent and copper wire, thematic treatment, a third and equally decisive contrast must be drawn between satire and parody. Youth? Properly speaking, as literary genres , neither satire nor parody can be truly described as having been originally constituted by an overwhelmingly illiterate folk culture. Rather, it is the copper, oral and verbal style of folk laughter (with its characteristics of communication encoding as the process of:, inversion, hyperbole, irreverence and dynamism) that was adapted to the new context of writing for the purpose of literary satire and parody.

This recontextualization has very important consequences insofar as satire and copper wire per meter, parody therefore no longer directly reveal the stage is characterized by, values of folk laughter, but rather do so indirectly through the refracting consciousness and values of the literate classes. As such, a rift is copper wire per meter created between the literally populist and literarily populistic forms of ridicule-teasing and satire-parody that engenders a distinction between unofficial culture and official culture, respectively. #9;Consequently, though satire and parody are generally critical in nature, they nevertheless comprise a part of, and conduct their critiques according to, the ideological discourse of official culture over against youth the unofficial culture of populist values. Wire? For example, as is especially evident in moralistic satire, the simplicity of folk life is over as revalued as backwardness, folk religion becomes superstition, sensuality becomes licentiousness, physicality becomes barbarism, frankness becomes vulgarity, earthiness becomes filthiness (in both its physical and moral senses), and so forth. In these terms, satire denigrates folk values and uses such negatives to criticize official culture. Parody, by contrast, abuses official culture by an unfavorable comparison with the positives of (revalued) folk culture, with the purpose of renovating official culture along more humanistic lines (i.e., in the name of greater liberty, freedom, freedom of speech, and so forth). This distinction could be summarized, somewhat tendentiously: satire is revolution, parody is renovation. #9;In spite of these contrasts however, satire and parody are united by their common origin in laughter; that is, the genre of wire per meter, comedy (of which satire and parody are two of the mainstays) represents the literary recontextualization of communication encoding is defined, folk laughter, in contradistinction to wire per meter, the serious genres of see competition scarce, epic and tragedy. As such, the satire-parody contrast recapitulates within the wire resistance per meter, genre of anthem youth, comedy a similar contrast between the low frivolousness of the comedic genres and the high seriousness of the epic-tragic genres in general. It is copper wire per meter one of the marvelous ironies of short essay on recycling, critical history that comedy could become devalued as a genre, precisely because it is not serious.

Part of this devaluation occurred as a result of reduced laughter; that is, Carnival laughter, stripped of its universal and regenerating elements, thereby exactly loses its deepest significances and becomes merely frivolous or nasty. Insofar as it was official (literate) culture that first performed this stripping, particularly in satire, the wire resistance per meter, devaluation of comedy is see competition scarce resources as ironically unjust, and virtually tautological. #9;Literary Utopias, then, are necessarily an expression of the discourse of official culture, however critical they may be. Copper Wire Resistance? Moreover, one would expect that they (as a subgenre of the novel) would generally recapitulate the characteristics of the novel genre itself; that is, one would expect to find within the literary Utopia a folk Utopia (recontextualized according to official culture values), along with a subsequent literary history that more or less follows the development of the novel. This expectation proves to be not only reasonable, but also justified, as I now will attempt to demonstrate. The Archaic Utopia.

#9;Bakhtin has devoted the anthem, better part of his Rabelais and His World to elucidating one such folk Utopia which, in a word, may be summarized by that ritual spectacle of the middle ages and Renaissance, Carnival. Copper Resistance Per Meter? Insofar as Bakhtin's exposition is book-length, it is impossible to do complete justice to his conceptualization of Carnival, but the main points may still be noted. #9;One of the most central features of Carnival is anthem its feast (which has extraordinarily profound and extremely earthy significance in Bakhtin's view): #9;The feast is always essentially related to time, either to the recurrence of an event in the natural (cosmic) cycle, or to wire, biological or historical timeliness. Moreover, through all the stages of historic development feasts were linked to moments of crisis, of the precontemplation is characterized, breaking points in the cycle of nature or in copper wire, the life of society and man. Moments of margaret author, death and revival, of change and renewal always led to a festive perception of the world. These moments, expressed in concrete form, created the peculiar character of the copper wire per meter, feasts ( Rabelais 9). #9;In medieval and Renaissance culture, there were essentially two kinds of feast: the official and the unofficial (Carnival). The former sanctioned the existing order of things and reinforced it (9); it consecrated the present hierarchy, the existing religious, political, and moral values, norms, and prohibitions (9) by the way of the past.

Carnival, by contrast, opposed itself to all of this in a point by point inversion (parody) of everything official: in place of official seriousness, Carnival brought festive laughter; instead of the strictly maintained hierarchy of feudal culture, Carnival reflected absolute equality; instead of theorists see competition over, official prohibitions on sexuality, speech, etiquette and association, Carnival lifted all bans; in place of official glorification of the wire, past, Carnival festively annihilated it. The suspension of hierarchy had especially profound effects, as it allowed contact between people otherwise completely separated by social designation: #9;[S]uch free, familiar contacts were deeply felt and formed an in the essential element of the life of the carnival spirit. People were, so to resistance per meter, speak, reborn for new, purely human relations. These truly human relations were not only a fruit of imagination or abstract thought; they were experienced. The utopian ideal and the realistic merged in on recycling, this carnival experience, unique of its kind ( Rabelais 10).

#9;Bakhtin elucidates the copper resistance, significance of Carnival to illuminate the almost innumerable examples of it in Rabelais' Gargantua and Pantagruel , with the result that the Uncovering the Truth John examples, intense sophistication and profundity that Bakhtin claims for the novel seems wholly justified. However, insofar as Gargantua and Pantagruel is a product of the literate castes, one can still question if it, and Bakhtin's interpretation, provide a clear window to a folk Utopia. In his introduction to Bakhtin's Rabelais Michael Holquist raises this question as well: #9;Bakhtin's image of the folk is also open to the charge of idealization, but he employs his most glowing colors to highlight attributes of the folk precisely and diametrically opposed to those celebrated in Soviet folklorico . His folk are blasphemous rather than adoring, cunning rather than intelligent; they are coarse, dirty, and rampantly physical, reveling in oceans of per meter, strong drink, poods of sausage, and endless coupling of bodies. In the prim world of Stalinist Biedermeier, that world of lace curtains, showily displayed water carafes, and militant propriety, Bakhtin's claim that the folk not only picked their noses and lawrence, farted, but enjoyed doing so, seemed particularly unregenerate. Copper? The opposition is not merely between two different concepts of the conflict over scarce, common man, but between two fundamentally opposed worldviews with nothing in common except that each finds its most comprehensive metaphor in the folk ( Rabelais xix). #9;What makes the idealization suspect is less the unremittingly positive interpretation Bakhtin presents, and copper per meter, more the the precontemplation is characterized, lopsided impression one gets from his book; that is, we only copper wire, see the folk during Carnival. What about the nine months of the year not dedicated to Carnival. (Since Bakhtin did not aspire to anthem doomed youth, examine non-Carnival time, its absence from the book is hardly a demerit.) #9;In Discipline and Punish , Michel Foucault provides another view of the folk (during non-Carnival time), in the spectacle of the scaffold, the public execution. #9;If the resistance per meter, crowd gathered round the scaffold, it was not simply to witness the sufferings of the condemned man or to excite the anger of the executioner: it was also to hear an individual who had nothing more to lose curse the is characterized, judges, the laws, the government and religion. Copper Resistance? The public execution allowed the essay, luxury of these momentary saturnalia, when nothing remained to prohibit or to punish. Under the protection of resistance per meter, imminent death, the criminal could say everything and the crowd cheered.

In these executions, which ought to show only the anthem doomed, terrorizing power of the prince, there was a whole aspect of the carnival, in which rules were inverted, authority mocked and copper, criminals transformed into heroes (60-1). #9;Foucault also describes the fantastic spectacle of an enormous French chain-gang being transported openly from the Truth John Brown examples, town to town in 1836, and destined for the convict-ships. Amongst the prisoners transported was a priest, Delacollonge, who had dismembered his pregnant mistress. In his open cart, insults, obscenities, stones and mud were hurled at him with particular fury. His escorts were hard-pressed to protect him, but he insisted on travelling openly, believing that the resistance, humiliation formed part of his punishment (260). Finally, though, he had to be disguised, but still traveled in his cart. As a result of this disguise, another notorious murderer, François, was mistaken for the priest: #9;François entered into the spirit of the game and accepted the role; but, to lawrence, the comedy of the per meter, crime that he did not commit, he added that of the priest that he was not; to the account of ?his' crime, he added the Uncovering the Truth About Brown examples, prayers and broad gestures of blessing directed at the jeering crowd. A few steps away, the real Delacollonge, ?who seemed like a martyr,' was undergoing the copper wire per meter, double affront of the insults that he was not receiving, but which were addressed to the Truth About John Brown examples, him, and the ridicule that brought back, under the appearances of another criminal, the priest that he was and would have liked to have concealed. His passion was laid out before his eyes, by a buffoon murderer to whom he was chained (260-1). #9;One could hardly ask for a more ideal image of the Carnival spirit, in wire, which official culture (the martyred seriousness of the priest) is relentlessly parodied by the abuse-praise of festive laughter, which laughs at in the communication encoding is defined as the, itself as well. (François is not a hero in this scene; the crowd thought he was Delacollonge, and treated him accordingly.) On the same page, Foucault again refers to saturnalia, the antique forebear of copper wire per meter, Carnival; In every town it passed through, the chain-gang brought its festival with it; it was a saturnalia of the Truth Essay examples, punishment, a penalty turned into privilege (261). #9;The above suggests, then, that Carnival was not just an event that occurred at set times, but that it was a kind of outlook or mindset that could manifest independently of Carnival proper; hence, the utterly free speech of the scaffold, the copper wire, abuse-praise hurled at less notorious criminals on the chain-gang (and similar sentiments returned to the crowd), and François' parody.

Compelling as these clear links are between Carnival and criminal, it could still be objected that the conclusion of a mindset behind them is overhasty; that all that has been shown so far is a kind of behavior, but not the psychology that informs that behavior. One could also object that Carnival, executions and chain-gangs represent extra-ordinary situations that do not reflect an everyday picture of the popular mind. For this, we must turn to the archaic mentality, as described by the precontemplation stage, Mircea Eliade in The Myth of the Eternal Return . #9;The main characteristics of the archaic mentality are most clearly discerned where its ritual imagery is most concentrated: namely, in the various forms of New Year rites. The basic elements of such rites, exemplified by the Babylonian New Year ceremony of akîtu as cited by Eliade, consist of the wire per meter, abolition of anthem youth, past time, the restoration of primordial chaos, and repetition of the cosmogonic act (57). In fact, realization of the second intention accomplishes the copper wire, first, since the anthem youth, restoration or return to primordial chaos projects the community into mythical time, to a time before Creation. (In akîtu, this is signified by the reading of the wire per meter, Enûma eli? , the epic of Creation, in which the god Marduk must fight and destroy the Great Dragon, Tiamat, in order to affect Creation.) Eliade's comments here make explicit the anthem, parallels with Carnival: #9;The first act of the [akîtu] ceremony represents the domination of copper resistance per meter, Tiamat and thus marks a regression into the mythical period before the Creation; all forms are supposed to be confounded in the precontemplation, the marine abyss of the copper, beginning, the apsu . Enthronement of a carnival king, humiliation of the real sovereign, overturning of the anthem, entire social order (according to Berossus, the slaves became the masters, and so on)--every feature suggests universal confusion, the abolition of order and hierarchy, orgy, chaos (57). #9;The reading of the sacred epic has its parallel in the chaos of copper wire resistance per meter, Carnival as well, insofar as the the precontemplation stage by, writing and public reading of innumerable parodies of Scripture and the Liturgy, in fact, all official writings, were a standard feature of Carnival. Bakhtin draws attention to this enormous body of wire resistance per meter, writings, which was accorded official status during the festival ( Rabelais 13).

#9;New Year rituals often included, or began, with ceremonies for both individual and doomed youth, communal purification (the expulsion of diseases, demons and sins). Eliade summarizes these ceremonies in broad outline as fasting, ablutions, purifications; extinguishing the fire and ritually rekindling it. Wire? expulsions of demons by means of noises, cries, blows. followed by their pursuit through the village with uproar and hullabaloo (53). Again, the symbolic abolitions of time take on a different register in the primordial chaos preceding re-Creation. Fasting, ablutions, and purifications become feasting, libations and in the is defined of:, profanation in Carnival. Extinguishing the fire (an act reserved for the adults) transforms into a filial responsibility; in the Roman Carnival's candlelight parade, the sons blow out their father's candle, crying out, sia ammazzato il signor Padre! ?Death to you, sir father!' ( Rabelais , 251). #9;I have focussed here principally on copper wire, Carnival's restoration of primordial chaos to locate its often inexplicable imagery in its larger context as a festival for the regeneration of time, but the repetition of the the precontemplation stage is characterized, cosmogonic act is also present. In akîtu, the conquering of primordial chaos is finalized by the restored king's reënactment of copper wire, Marduk's sacred marriage with Sarpan_t_ as a concrete realization of the ?rebirth' of the world and man (Eliade 50). For Carnival, the equivalent act is the anthem doomed youth, restoration of the normal order of things. The mundanity of this, however, should not obscure that Carnival does in fact wholly reflect the intent of a New Year ritual: the abolition of past time, restoration of copper per meter, primordial chaos, and repetition of the cosmogonic act, such that it denotes a repetition of the mythical moment of the passage from chaos to cosmos (34), the re-Creation of the on recycling, world. #9;Eliade, then, lends an explanatory coherence to wire per meter, the overwhelming array of Carnival images Bakhtin (and to a lesser extent, Foucault) presents. Eliade also demonstrates the intense significance of Carnival indirectly that Bakhtin does not otherwise quite directly seem to justify.

But even though the communication process, encoding is defined as the of:, coherence, context, intent and significance of Carnival may be said to be established (as a repetition of the divine act of Creation, and all that that entails), the mindset out of which this ritual originated is resistance per meter still unclear. In other words, why does what Eliade call the ?archaic mentality' utilize the technique of a repetition of the cosmogonic act at all? 	For traditional societies, all the important acts of anthem, life were revealed ab origine by copper wire per meter, gods or heroes. Men only repeat the exemplary and paradigmatic gestures ad infinitum (Eliade 32). As such, repetition (reënactment) of a divine precedent obtains the divinity and sacredness of the original; Eliade provides several of such examples (29-34). Conflict Theorists Over Scarce Resources As? More than this, however, an object or an act becomes real only insofar as it imitates or repeats an archetype. everything which lacks an exemplary model is ?meaningless', i.e., it lacks reality (34). As such, New Year rites (and Carnival) employ a repetition of the cosmogonic act because any other act would be meaningless.

#9;Carnival's repetition, then, literally projects it into the mythical time before Creation, such that one may say that its re-Creation exactly coincides with the original Creation. They become identical; re-Creation is Creation. Since this is true for all repetitions of exemplary gestures, when an individual repeats a divine precedent, an identification of deity and individual in mythical time occurs as well. By this, it is clear that the copper wire resistance per meter, public ritual (of Carnival or akîtu) has its analog in communication process, encoding as the process, the personal life of its participants as well. As such, the abolition of time, restoration of primordial chaos, and repetition of the cosmogonic act may all be ascribed to the mindset of the copper wire, archaic mentality of individuals.

#9;Eliade describes several other features of John Brown Essay examples, this mentality. First, insofar as all real acts occur only in mythical time (through repetition), the archaic mentality may therefore be said to be ahistorical in nature. Thus, the abolition of time entailed by exemplary repetition may be more properly understood as an copper wire per meter abolition of profane (non-sacred) time; time taken up by all the on recycling, non-important acts of life not preserved as exemplary gestures in myth. Eliade later convincingly illuminates the advantages of copper wire per meter, such a view; principally that it makes the terror of history, with its suffering, misfortune, social injustice and so forth, tolerable . Moreover, by being able to annul personal history: #9;archaic man recovers the short essay, possibility of definitely transcending time and living in wire resistance, eternity. Insofar as he fails to do so, insofar as he sins, that is, falls into historical existence, into time, he each year thwarts the possibility. Essay On Recycling? At least he retains the freedom to annul his faults, to wipe out the memory of his fall into history, and to make another attempt to escape definitively from time (158).

#9;This access to freedom has a correlate implication of access to power and copper resistance, creativity. This is obvious in the re-creation of the the Truth Brown, world in Carnival, but every repetition involves the re-creation of a first gesture, and hence is an act performed for wire resistance per meter the first time. Eliade further demonstrates the ubiquity of this type of personal creative power as cosmogenesis in ritual: in temple building and for lands conquered by war, at times of coronation, consummation of short on recycling, marriage, and copper resistance per meter, the birth of children, or as a response to bad crops, or even bad luck. #9;For the cosmos and man are regenerated ceaselessly and by margaret lawrence, all kinds of means, the past is destroyed, evils and sins are eliminated, etc. Differing in their formulas, all these instruments of regeneration tend toward the wire resistance, same end: to theorists see competition over scarce, annul past time, to abolish history by a continuous return in illo tempore , by the repetition of the cosmogonic act (81). #9;One could critique the validity of this archaic mentality (as Eliade does to some extent), but the copper wire resistance, purpose of my discussion is only to establish the nature of the popular mindset as it informs a hypothetical archaic Utopia. As such, Eliade's assertion that the archaic mentality has served in short on recycling, good stead tens of millions. century after century (152) is perhaps less important than the fact that in 1949, when The Myth of the Eternal Return was originally published, Eliade could note that a very considerable fraction of the population of Europe, to say nothing of other continents, still lives today by the light of the traditional, anti-?historicistic' viewpoint (152). #9;The archaic mentality's devaluation of history entails that it exists in a continual present (86). Time becomes a state of being (either sacred or profane), within which every sacred reënactment alludes to its divine counterpart. A similar conception exists in the archaic mentality with respect to space.

Every object in the world that is conceived of as sacred (hence, real) has also an extraterrestrial archetype, be it conceived as a plan, as a form, or purely and simply as a ?double' existing on a higher cosmic level (9); profane (ritually unsacralized) places do not have this archetype, and thus may be spoken of as non-real. ?Sacred', however, must not be understood as referring only to temples or the like; an resistance per meter entire city, or monarch's domain, may be ritually sacralized. As such, the archaic mentality sees itself mirrored in the celestial archetypes precisely as a sacred reënactment is mirrored by a simultaneous divine enactment. #9;For every sacred action, then, there is a coincident occurrence of action on the terrestrial and celestial planes. If the time of this action is the continual present, then it would seem that the place of this occurrence is an equally concrete absolute space. Such a continual present may be understood as comprised of discontinuous moments of time. (Why discontinuous? Imagine several pennies laid flat, edge to edge; each penny is a moment. Though touching, there yet remains a gap between each pair of coins; this gap represents the discontinuity of non-time between each moment.) Insofar as the pennies are not actually connected, by virtue of the gap, they might just as well be scattered everywhere, as placed edge to edge. This, because the width of the gap is irrelevant, since one does not traverse the gap to get from one moment to margaret lawrence author, the next; rather, one simply remanifests anew within each moment, within each instance of the continual present. As such, every moment is radically now , and per meter, this suggests the parallel term for the archaic mentality's space, here . (Here is also discontinuous. We do not traverse the gap between one here and the next, but rather remanifest anew from margaret lawrence author, one here to the next.

We are always, and copper per meter, perpetually, here ; we can be nowhere else.) #9;As such, there is a radical integration of the individual into the here and conflict see competition over scarce, now of sacred reality, that gains its meaning from the wire resistance per meter, transcendental exempla and the Truth About Essay, archetypes of the celestial planes. It might even be said that this reality-transcending meaning is copper not transcendental at conflict see competition over scarce as, all, insofar as the consciousness of its meaning is wholly bound up in the utterly integrated here and now of the act. I will not insist on this further point, but will refer henceforth to this aspect of the archaic mentality as reality-integrating. #9;It is wire resistance this mentality that provides the basis for the archaic Utopia, characterized by the reversibility of anthem youth, time (back to the Golden Age of new Creation), by a radical integration of the individual into reality here and copper wire per meter, now, and informed (transcendentally or not) by divine meaning. As a symbol, the archaic Utopia's attainment of Creation anew implies the attainment of those goals George Kateb has included as essential to Utopianism: peace, abundance, leisure, equality, consonance of men and see competition over scarce resources, their environment ( Utopia and Its Enemies 11), but also adds hope, liberation (from authority and time), freedom of speech, power and copper per meter, creativity--all on behalf of the individual (as Carnival well illustrates).

It should also be pointed out that this archaic Utopia is temporary, recurrent and small-scale. #9;What, then, was lost, and what was retained, of this archaic Utopia by in the communication process, is defined as the process, its recontextualization and revaluation as an official (literate and literary) Utopia? #9;The most fundamental change may be seen foremost in the archaic Utopia being written , which after a fashion also indicates the most faithful retention of archaic values. For example, the act of authorship is per meter a cosmogonic act that implies as much freedom, power and creativity as Eliade imputes to the archaic mentality. (There are, of course, psychological and imaginative limits here, as well as constraints on freedom of speech if the book is meant to Uncovering the Truth About John Brown Essay examples, be published, but these limitations are also operative for the archaic mentality as well.) Even so, the very act of writing literally returns the author to the beginning, to copper resistance, a mythical time before Creation. Past time and real-world (profane) time are abolished and, like Marduk, the author confronts Tiamat's primordial chaos (chaos means gap in resources, Greek) in the empty white page. A struggle ensues; and the author creates the cosmos from the fragments of Tiamat's torn body (Eliade 55)--the remaining white space between the words, and wire, even within the letters themselves--until Creation is complete.

The text, then, is literally a record of exemplary gestures made originally by a world-creator. #9;The analogy continues even more precisely at the level of the reader. Theorists See Competition Over Scarce As? By the act of reading, the exemplary gestures of the author are reënacted, such that the reader's act of re-Creation refigures the original Creation in mythical time, and thus retains and reflects the freedom, power and creativity of the archaic mentality. Moreover, the distinction between deity-author and mortal-reader is also maintained, insofar as the author (if only in retrospect) knows the whole of the text omnisciently relative to the reader. This does not concern the copper per meter, reader, of course, who can re-start time and creation at will (by re-reading phrases, or returning to page one), who can reorder Creation (by skipping pages, or to the end of the book), or who can suspend creation indefinitely by over resources as, leaving it unfinished (partly read). As a repetition of cosmogenesis, then, the reader too abolishes profane time and projects into the mythical (fictional) time of pre-Creation; there to repeat (by reading) the copper resistance, exemplary gestures (text) of the original Creator; to struggle with the oceanic vastness of potential textual significations; and to in the is defined process, emerge, finally, intact and resistance, victorious, having affected an individualized Creation (meaning). #9;In the world of literature, it seems that the reader is typically of the lowliest caste. By the act of process, encoding is defined process of:, reading, however, the tables are turned, as in the turvytopsy world of copper wire resistance, Carnival. The reader becomes the in the encoding is defined as the process of:, Carnival monarch; the true sovereign (the author) is humiliated, insofar as the reader's interpretation of the text becomes sacrosanct, law, unchallengeable (unless the reader for some reason assents to a challenge). Copper Wire? The reader sees the world with a deity's eye (especially in third-person omniscient narration). Moreover, Carnival's free and familiar contact between people normally divided by caste becomes available to the reader, who can now (with sufficient library skills) travel everywhere and meet with everyone; even the over scarce as, spirits of the dead (those denizens of Carnival) may be visited, or come visiting.

Reading becomes a feast for the imagination, and per meter, the book a banquet for all the world ( Rabelais 278). Anthem Doomed? If the novel is comic, then the copper wire resistance, festive laughter is self evident--the laughing reader is a laughing divinity; if the novel is not comic, the festive laughter might still be asserted, in the sheer pleasure of reading itself. #9;Insofar as reading bears analogy with exemplary repetition, then the the precontemplation stage is characterized, doubling (of sacred and celestial space, and of reënacting and copper resistance per meter, divine time) that radically integrates the individual into John Brown examples, the here and now of reality informed by copper wire, transcendental meaning holds for conflict theorists resources the act of reading as well. When reading, real-world space and time become shut out, so to speak. The specific here and now where reading occurs, suffused by the transcendental meaning of the copper per meter, text, may therefore be described as equally radically integrating, not escapist. It should be pointed out in addition that this author-book-reader Utopia is temporary, recurrent and small scale. Lastly, as the the Truth, individual's archaic mentality may be said to be the foundation for public-communal New Year ceremonies and Carnival, so also can solitary reading be adapted to a social scale, as the initial ceremonial gesture of akîtu (reading the Enûma eli? ), as a traditional aspect of Carnival (the reading of sacred parodies), or simply for the sake of communal reading (as at Beat happenings and English Department teas). #9;Given this almost total incorporation and reflection of the archaic Utopia in the very nature of authorship, literature and reading, it is therefore surprising that the main body of resistance, literary Utopias are relentlessly authoritarian: #9;The authoritarian Utopian State does not allow of any personality strong and independent enough to conceive of change or revolt. Since the utopian institutions are considered as perfect, it goes without saying that they cannot be capable of improvement. The Utopian State is short essay on recycling essentially static and wire resistance per meter, does not allow its citizens to fight or even to dream of a better utopia.

#9;#9;This crushing of man's personality often takes a truly totalitarian character (Berneri 7). #9;On one hand, these authoritarian elements manifest primarily within the text, at the level of utopian representation, rather than at the level of the architectonic relation between author, text and reader. In other words, the content of the literary Utopia has changed relative to the archaic Utopia, but not its form. This kind of change seems to precisely parallel the Catholic Church's technique of retaining the forms of pagan religion and festivals (such as the Winter Solstice), while substituting Christian content and significance (as Christmas), and clearly indicates the shift from unofficial (folk) culture to official (ruling) culture. Anthem Youth? Insofar as official culture is always authoritarian to one degree or another, the copper wire, authoritarianism of the Truth examples, literary (official) Utopias is therefore no longer so surprising. #9;Literary Utopias are authoritarian also because they tend to share the official culture's valuation of the social over against a valuation of the individual. Of course, such social values are often little more than the ruling individuals' values imposed on copper, the whole of society. As such, it is apparent that the universal freedom, power and by, creativity accessible to all within the archaic Utopia is claimed as belonging to only certain individuals in wire resistance per meter, the official Utopia. This transformation of archaic values may be illustrated by the fact that in traditional cultures almost everything and all people were sacred; in later cultures, only certain places or people (e.g., temples and priests) were considered sacred. Consequently, the youth, individual of the archaic Utopia vanishes, refigured as the masses and ruled by wire resistance, an individual who retains the sole right to the freedom, power and creativity of cosmogenesis in official Utopia.

This act of usurpation (literary or social) may have been legitimated on the basis of sheer power with respect (or disrespect) to the masses, who were neither trained nor equipped to essay on recycling, prevent it, but power alone would be an per meter insufficient legitimation vis-à-vis other literati or glitterati; usurpation simply because I can won't cut any ice amongst those who can as well. (Such a claim would provoke and justify ambitiousness in others also.) One needs a sturdier basis for anthem doomed youth authority. #9;Recall that akîtu begins with the reading of the epic of Creation. Per Meter? As I have already noted, the very act of margaret lawrence, writing is resistance per meter cosmogonic, but by transcribing the epic of Creation, the theme of in the communication is defined as the process of:, Creation becomes not only the resistance per meter, structural principle (as writing), but also the is defined as the of:, object of representation. As such, reading the copper wire per meter, epic represents another method for repeating the essay, exemplary gesture of Marduk, that nevertheless remains invested with the sacredness (and hence, reality) of actual, ritual reënactment. It is this retention of sacredness and resistance, reality that precisely leads to the investiture of divine authority in the very text itself. Probably all Scripture obtains its authority in this manner, and this authority is absolute. There is no question of the precontemplation stage, subjective authorial bias, since the writing is already divinely sanctioned as an exemplary repetition of oral tradition. That the written word is copper resistance absolute, incontestable and scarce resources as, sacred is copper wire nowhere better illustrated than by the fact that at the very heart of the anthem youth, Hebrew's temple, in the Holy of Holies, was the Ark of the Covenant (which it was death to touch) that contained the Word of God.

#9;Authority among the ruling and literate classes, then, derives partly from sheer power, and is partly augmented by documents. It would no doubt be excessive to claim that all literature may be genealogically traced to Sacred Writ, but some influence is impossible to wire resistance per meter, deny. In the very act of writing Scripture, the anthem doomed youth, temporary aspect of the archaic Utopia (the temporaneity of the very repetition itself) becomes permanent. Moreover, the universal quality of sacredness becomes absolutely embodied in the text. In a sense, the text is the first usurper of cosmogonic freedom, power and creativity hitherto accessible to all; it is the first to deny universal rights to all, and to claim them for itself. As an absolute sovereign or deity, its claims encompass the whole world, and copper resistance per meter, do not refrain from the precontemplation, mandating both the large details (sexual and economic relations) and the small details of copper per meter, a person's life. Many literary Utopias have taken up this tendency with a vengeance. #9;In contrast, then, to lawrence author, the temporary, recurrent and small-scale archaic Utopia, the official Utopia is permanent and world-scale. The official Utopia promises peace, abundance, leisure, equality, consonance of copper wire per meter, men and their environment, but must do so at the Truth About John Essay examples, the expense of the individual's liberation, freedom of speech, freedom, power and creativity.

In spite of this authoritarianism though, one should never lose sight of the almost equally universal good intentions of most literary Utopists. Thus, instead of liberation, the Utopist proposes service ( not ?enslavement') to Utopia's central authority; power becomes loyalty (that relies on per meter, the sovereign's power); freedom is purchased as the price for security (in exchange for service); creativity may be granted the patronage of the arts (only very rarely), or becomes limited to being rewarded for anthem doomed youth innovations in resistance, the workplace, for Uncovering John examples example, that increase production. In all of these somewhat questionable proposals, one might discern the faint traces of Carnival's spirit of parodic inversion--a kind of unpleasant, official humor. On a more abstract level, insofar as the archaic Utopia affects a radical integration of the individual into the here and now (informed by transcendental meaning), the official Utopia affects a radical transcendence of a society toward a then and there (informed by resistance per meter, a wholly immanent meaning). In Ideology Utopia , Karl Mannheim provides a similar definition: #9;Every concretely operating order of life is to be conceived and characterized most clearly by margaret, means of the particular economical and political structure on copper per meter, which it is based. But it embraces also all those forms of Uncovering the Truth About John, human living together (specific forms of love, sociability, conflict, etc.) which the structure makes possible or requires; and copper resistance per meter, also all those modes and essay on recycling, forms of copper wire resistance, experience and thought which are characteristic of this social system and are consequently congruous with it. But every actually operating order of life is at Uncovering John Brown Essay, the same time enmeshed by conceptions which are to be designated as transcendent or unreal because their contents can never be realized in the societies in which they exist, and because one could not live and act according to them within the copper, limits of the stage is characterized, existing social order. #9;#9;In a word, all those ideas which do not fit into the current order are situationally transcendent or unreal (194). #9;Insofar as such a utopian ideal is situationally transcendent relative to the status quo, Utopia itself could only exist in some there and then, not in the here and now. Moreover, it should be obvious that if one of such utopian ideas ever succeeded in being implemented, it would immediately cease to be Utopia, becoming instead the new operating order of life; More's pun on Utopia (?good place'-?no place') fits perfectly with Mannheim's definition. Wire Per Meter? This sense of Utopia as then and there, which is so characteristic of the official Utopia, will henceforth be referred to as reality-transcending.

#9;As noted previously, satire and About Essay examples, parody do not directly present folk laughter, but represent it indirectly from within a recontextualization of official values. A similar development is apparent in the literary history of Utopia. As folk laughter split into two forms of official laughter (satire and copper wire, parody), so too does the archaic Utopia split into two strands of official Utopia. These two strands will be explored more below, but first, something must be said about the nature of the contrast between them, by way of analogy. #9;Previously, I characterized satire as revolution, and parody as renovation, and further noted their shared target (official culture) and comedic nature; it is tactics and Uncovering John examples, intent (revolution versus renovation) that especially distinguishes the one from the copper wire, other. Stage By? At the heart of copper, these genres, however, (and in fact in all official culture, including literature), there is a logical tautology. Broadly speaking, the satiric world-view may be said to see things along a continuum from Civilization to ?folk-culture' (demonized as vulgarity, barbarity, incivility and so forth). The parodic world-view, by contrast, sees things along a continuum from anthem, Civilization (criticized as decadent or absurd) to ?folk culture' (idealized as genuine or true life).

As such, both satire and parody appear to employ a Civilization-folk culture dichotomy, though with markedly different accents. This dichotomy, however, is not a true opposition, insofar as real folk culture is not included in the opposition (as is suggested by the demonization and idealization). Copper Resistance? The opposition is actually not an process, encoding is defined as the opposition at all, and resistance per meter, rather should be indicated as Civilization-Civilization; it is simply just different kinds of civilized civilizations arguing for ascendancy and power, with characteristic disregard for the masses each would dominate once in power. #9;Precisely the the Truth John examples, same kind of false dichotomy exists between the two historical strands of copper resistance, literary Utopias. Uncovering The Truth? Ostensibly, the dichotomy appears to copper wire resistance, be a Society-Individual dyad, but in fact it is actually a Society-Society debate in which different kinds of socialized societies are vying for ascendancy.

This is perhaps least apparent in the contrast between the Socialist Utopia and science fiction (?fantastyka') Utopia, and is still somewhat tenuous in short essay on recycling, the contrast between the wire resistance, bourgeois Utopia (exemplified by Richardson's novels) and margaret, the Gothic Utopia. (This will be explored further below, but for now I will simply mention that the copper per meter, weddings that end many of the earlier feminine Gothic novels precisely indicate the heroine's individual achievement of establishing the society of a home.) In the contrast between the Renaissance Utopia (exemplified by More's) and the Arcadian Utopia, the opposed values of city and country most clearly bring out the fundamental Society-Society pseudodichotomy at work in the genre. #9;Even as this appears to conflict theorists over scarce resources, be the case, there would be a certain artificiality in insisting on the point as regards developments in literary Utopias. False as the per meter, Society-Individual dyad might be at root, there is no question that it more accurately meets the literary Utopia on its own ground. It may well be that the individualistic pleas for a more genuine life, for liberation, or for a world of future possibilities coming from the mouths of the the precontemplation by, inhabitants of Arcadia, the feminine Gothic, and fantastyka are finally (consciously or not) merely self-serving, but at the very least, these cries are imaged in individuals and as such still retain their link with the archaic Utopia's assertion of individual value. It is this ancient and often tenuous link that prompts me to term this strand (Arcadia-Gothic-Fantastyka) of the two lines of literary Utopia as unofficial.

As such, the other, more typically authoritarian, strand (More-Richardson-Chernyshevsky) will henceforth be termed official. #9;In general, then, the copper, official Utopia values and advocates Society; the unofficial Utopia champions the Individual. Consequently, the former will tend to suppress the individual voice; that is, such suppression will tend to be reflected in an authorial monologism, as defined by Bakhtin above. Anthem Doomed Youth? Hence, he correctly notes, Everything capable of meaning can be gathered together in copper per meter, one consciousness and subordinated to a unified accent; whatever does not submit to such a reduction is accidental and unessential. All of European utopianism was likewise built on this monologic principle ( Problems 82). For the most part, the unofficial Utopia is equally monologic in authorial treatment (i.e., at the level of margaret lawrence, style and structure), but at the level of content belies a more, if only relatively, polylogic nature. It is primarily in copper wire, the individualized voices of the unofficial strand (the dialogists of Arcadia, the heroine of the the precontemplation is characterized by, feminine Gothic, the copper resistance, liberation of ideas in Eastern European fantastyka) that this relative sense of see competition over scarce resources as, polylogism arises. #9;Having thus characterized the general nature of the official and unofficial literary Utopia, it now becomes possible to examine the wire resistance, specific manifestations of such Utopias in their historical development. The first step in communication encoding of:, this direction, however, must be to abandon the copper wire resistance per meter, two, quite traditional, definitions of Utopia Berneri cites in her Bibliography: An Utopia has been defined, in the Encyclopedia Britannica , as ?an ideal commonwealth whose inhabitants exist under perfect conditions' . But a utopia has also been defined as ?an imaginary conception of an anthem doomed ideal government' ( Dictionaire Général de la Langue Française ) (320). #9;Why this must be done may be adduced from the first several selections in Berneri's work.

To illustrate: Plato's Republic is copper wire resistance per meter purely theoretical, such that we never go to Utopia; Plutarch's Life of Lycurgus is ostensibly a history; and process, encoding is defined as the process, Aristophanes' The Clouds and Ecclesiazusae are parodic Utopias. In the wire, medieval extraordinary voyage of St. Brendan, Utopia figures as an allegory for Paradise; for St. Augustine, Utopia is the the precontemplation stage by, City of God. Northrop Frye would defend all of these as quite proper to the history of literary Utopias; Still, the attainment of the City of God in literature must be classified as a form of utopian fiction , its most famous literary treatment being the Purgatorio and Paradiso of Dante (Varieties of Literary Utopias 34, my emphasis). #9;The fact, however, that Frye refers to forms of utopian fiction, rather than to fictive Utopias, should serve to make clear that such works as those noted above (as well as others, e.g., the Greek utopian novel) indicate a utopian discourse that is similar to the novelistic discourse Bakhtin identifies as predating the novel, and that will provide the wire resistance per meter, foundation for Utopia itself. It is not until the Renaissance, then, that the disparate strands of this utopian discourse will finally be joined, most representatively in conflict theorists, the official Utopia of Thomas More, and its unofficial counterpart of Arcadia. #9;There are four predominant features of More's Utopia that particularly bear commentary, especially as they establish major conventions for resistance later official Utopias: these are Utopia 's monologism, its definitive formulation of the travelogue format, its solution to the literary problem of the depiction of an entire world-society, and its social criticism. #9;The first three features are interrelated, as may be readily demonstrated.

#9;In order to depict Utopia, More dramatizes what Socrates, Glaukon and others merely discuss in theorists over scarce resources, The Republic ; in per meter, fact, the Second Book of Utopia can be described as a mobile Socratic dialogue. (Book One, which is margaret lawrence author trenchantly critical of resistance per meter, 16th century England, adapts the Socratic dialogue to this purpose as well, but is wholly stationary.) This explicit separation of More's social criticism (Book One) and visionary utopianism (Book Two), though each may obviously be said to inform the other, is indicative of the work's monologism. All novels characteristically incorporate disparate genre-types into their texts; monologic novels, however, tend to keep such incorporations discretely separate from one another. #9;Further, More employs the resources as, travelogue device of a guided tour to present Utopia to the protagonist (and the reader); a device that inevitably tends to per meter, produce a somewhat monocular view of the place toured (much as Soviet tours once did). The fact that this one-sidedness is a structural-generic consequence of the stage is characterized, guided tour device might be said to mitigate the imputation of authoritarianism against More and like-minded Utopists. Even so, the distribution of authority and speaking power between the tour guide and the tourist is inordinately in the former's favor; as Frye remarks, As a rule the guide is completely identified with his society and seldom admits to any discrepancy between the copper wire resistance per meter, reality and the appearance of what he is describing (Varieties 26). Though he recognizes that this is inevitable given the the Truth About John Essay examples, conventions employed (26), that the guide tends to speak with a pervading smugness of tone (26) cannot be explained in terms of convention; rather, it should be understood as reflecting authorial monologism. #9;One of the wire resistance, apparently trivial details of Utopia is its attention to trivial details; a habit picked up by a distressing number of margaret author, subsequent official Utopias. On one hand, this reflects More's effort to depict the entire world of Utopia--not by a detailed litany of literally everything, but rather by a selection of those details that artfully suggest everything. (Tolstoy is one of the true masters at discovering such essential details.) On the other hand, Foucault notes that in the classical age a meticulous attention to copper wire per meter, detail, and at the same time a political awareness of these small things, for lawrence author the control and use of men (141, my emphasis) begins to crystallize, but the roots of the phenomenon are far older. In fact, one could trace this attention to detail for the hold it provides for the power that wishes to seize it (140), for the access to the control of others it grants, to that exemplary model of niggling details, Scripture. It may in fact partially be Utopia 's generic link with the Bible (though More's Utopia is not a Christian State) that explains the bizarrely ritualistic mandates on sexual relations between husbands and wives in the book. Wire Per Meter? (In fact, many official Utopias, including Huxley's Brave New World , reflect similarly bizarre strictures.) Again, as with the guided tour, the authorial intent to depict the world through details on one hand mitigates an apparent authoritarianism that is an accidental consequence of anthem, that intent, but which at the same time contributes to the overwhelmingly monologic nature of the book. #9;Monologism is apparent in the socially critical element of the novel as well, insofar as the per meter, social criticism (apt as it is) seems more a rhetorical device for stage is characterized making Utopia seem that much more perfect.

One can only wonder, for instance, how seriously one should take More's concern for wire the plight of the poor and dispossessed in Book One, when slavery is an institution in Utopia (Book Two); in fact, the question is conflict theorists scarce as hardly moot. More's pun on Utopia is not the copper resistance, only one in the book: The name for founder of Utopia, Utopus means he who has no people; the in the communication encoding as the process of:, capital, Amaurot, means Shadowy town. Berneri notes, Of the use of these facetious Greek names G.C. Richards remarks that More meant those acquainted with Greek to see through his fiction (Berneri 68n). This may well be true, but the copper per meter, facetious names could also have served to protect More (humanist and friend of Erasmus) from process, encoding is defined as the of:, any authorities angered by his non-Christian (humanist) Utopia; he could have answered any charges to the effect, What? You thought I was serious? I called the place ?Nowhere,' and so forth. #9;However, with respect to the history of literary Utopias, the specific content and seriousness of intent of per meter, More's social criticism is communication process, encoding as the process of lesser significance than its rhetorical character. It would seem to be this rhetorical character that explains the odd blend of ostensible social sensitivity and despotism one typically finds in official Utopias. It finally seems as if the social criticism is less genuine than it appears; that it is rather a kind of tactic for wire making the Utopist's social arrangements more attractive.

Again, though, it does not seem plausible to deny More's, or later official Utopists', good intentions; it's just that the road to Hell is paved with good intentions. #9;The static character of More's Utopia , and the bulk of subsequent official Utopias, may also be understood as an indirect consequence of monologism, insofar as both the anthem youth, guided tour device and extreme attention to detail naturally do not permit a great deal of narrative dynamism. The narrative movement from scene to scene is very placid and within each scene the explanations of the tour guide take precedence over per meter, the activities witnessed. Anthem Doomed? This static quality, in fact, would seem to be a carryover from the discussion and debate of Book One (as a kind of resistance per meter, symposium without food), which belies a certain intellectual movement, but precious little physical. #9;Again, this may be understood as a consequence of More's solution to anthem youth, the literary problem of depicting an entire world-society. The famous map of Utopia that More provides as a frontispiece to his book, a device that has since become de rigeur in the fantasy genre, exemplifies the resistance per meter, official Utopia's tendency toward static states. In the genre of the map, all time is suspended; Utopia becomes static (as well as permanent and world-scale) and objectified in the most literal way.

With the lawrence, device of the guided tour, which similarly relies on an acutely necessary objectification, time is no longer wholly suspended, but remains thoroughly subordinated to copper wire per meter, space. Short? Since More wants us to see everything, nothing can happen off-stage while we are not looking; hence, his narrative bears a similarity to those science fiction narratives in which a protagonist moves amongst the inhabitants of a world who have somehow become frozen in time. In a sense, then, More's guided tour of copper wire per meter, Utopia takes place in a single moment of time; that is, by affecting a unity of time, with its consequential staticness, More becomes able to realize the ideal space of his Utopia. #9;By contrast, the short on recycling, unofficial Utopia of Arcadia had to solve a different literary problem: the depiction of per meter, time--specifically, pastoral-idyllic time. Under idyllic time, as characterized by Bakhtin, life is severely limited to a few. basic realities. Love, birth, death, marriage, labor, food and drink, stages of growth ( The Dialogic Imagination 225) that all occur within, and are inseparable from, a unity of place; the familiar territory with all its nooks and conflict theorists over scarce as, crannies, its familiar mountains, valleys, fields, rivers and one's own home. Wire Per Meter? where the fathers and grandfathers lived and where one's children and their children will live (225). Anthem Doomed Youth? This unity of place, then, allows the depiction of generations (time), less as a biographical progression than as the simultaneous being together of children and the aged, and the middle-aged, who are at once both parents and children.

Bakhtin further asserts that the mixing together of these age categories thereby engenders that cyclic rhythmicalness of time so characteristic of the idyll (225). Wire Resistance? As such, the unofficial Utopia of Arcadia reflects a dynamic quality, a rhythmicalness that is tied as well to the rhythms of Nature, quite distinct from the by, official (static) Utopia. #9;Arcadia is not precisely contemporary with More's Utopia. Copper Resistance? In fact, as part of the pastoral tradition, it has a very ancient lineage, which Northrop Frye conveniently summaries in Anatomy of Criticism: #9;We think first of the pastoral's descent from Theocritus, where the pastoral elegy first appears as a literary adaptation of the About Essay examples, ritual of the Adonis lament, and through Theocritus to copper wire per meter, Virgil and the whole pastoral tradition to The Shepeardes Calendar and beyond to the precontemplation stage is characterized, Lycidas itself. Copper Wire? Then we think of the anthem youth, intricate pastoral symbolism of the bible and the Christian Church, of per meter, Abel and the twenty-third Psalm and Christ the Good Shepherd, of the the precontemplation is characterized, ecclesiastical overtones of pastor and flock, and of the resistance per meter, link between the Classical and Christian traditions in Virgil's Messianic Eclogue. Then we think of the extensions of margaret, pastoral symbolism into Sidney's Arcadia , The Faerie Queene , Shakespeare's forest comedies, and copper wire, the like (99-100). #9;The close association of pastoral-idyllic literature with Nature would probably already have alerted the literary historian to its links with folk culture; that its roots may be found in the Adonis lament make the links obvious, insofar as Adonis is one of the dismembered-regenerating vegetation figures of mythology. It is significant as well that the pastoral-idyllic tradition is inaugurated as a literary adaptation of an actual ritual. This is precisely the same kind of development I cited in the transformation of myth into Scripture (or the archaic into the literary Utopia). Consequently, one would therefore expect to find recontextualized and revalued folk culture in Arcadia. #9;This in fact proves to the Truth Essay examples, be the case, as may be somewhat sardonically demonstrated by noting the transformation of people into sheep in the Christian pastoral tradition.

A remark by Bakhtin further suggests this recontextualization and revaluation, in less insulting terms. He notes that all the basic life-realities of the copper wire resistance, idyll are not presented in their naked realistic aspect (as in Petronius) but in a softened and to a certain extent sublimated form. Thus sexuality is by almost always incorporated into the idyll only in sublimated form ( The Dialogic Imagination 226). This sublimation is indicative of a refining or civilizing modification to the otherwise typically frank (i.e., ?vulgar') attitude of wire per meter, folk culture, especially with regard to sexuality. #9;Although the formulation of Arcadia, as part of the much longer pastoral-idyllic tradition, is not strictly contemporaneous with More's Utopia , the milieu of the Renaissance, with its strongly court-centered and urban culture, would have almost automatically prompted a renewed interest in, and significance for, the Nature of is characterized by, Arcadia.

Moreover, the disintegrating social conditions Utopia criticizes (such as urban crime and poverty, partly as a result of the economic displacement of copper wire resistance per meter, peasants into the city due to anthem doomed youth, the onset of the assault on the land that would later manifest fully as the enclosure movement), generally suggests two solutions: better cities (Utopia), or a return to the land (Arcadia). Resistance Per Meter? Northrop Frye reaches a similar conclusion, though he disallows that Arcadia is strictly utopian (Varieties 41). #9;Nevertheless, he admits that the Arcadian ideal reflects simplicity, equality--a society of shepherds without distinction of class (41)--peace and leisure; the arts appear spontaneously, as these shepherds were assumed to have natural musical and poetic gifts (41). And, by contrast to the sexual taboos of essay, Utopia, in Arcadia making love is copper resistance a major occupation, requiring much more time and anthem doomed, attention than the sheep (41). #9;Arcadia also reflects two ideals almost wholly unknown to the official Utopia. Frye asserts that the wire per meter, pastoral is a type of romantic comedy ( Anatomy 43), and that the communication process, of:, theme of the comic is the integration of society (43). As such, the wire per meter, pastoral (and hence, Arcadia) may be described as reality-integrating. #9;[I]t puts an emphasis on the integration of man with his physical environment. The utopia is anthem a city, and it expresses rather the human ascendancy over nature, the domination of the environment by abstract and conceptual mental patterns. In the copper wire per meter, pastoral, man is at peace with nature, which implies that he is also at peace with his own nature, the reasonable and the natural being associated.

In the second place, the pastoral, by simplifying human desires, throws more stress on the satisfaction of such desires as remain, especially, of course, sexual desire. Thus it can accommodate, as the typical utopia cannot, something of that outlawed and short on recycling, furtive social ideal known as the Land of Cockayne, the fairyland where all desires can be instantly gratified (Varieties 41). #9;The seeming identification here between Cockayne and Arcadia, as well as Frye's disavowal of Arcadia's utopian nature noted above, must be taken issue with. Of course, if one defines Utopia as Frye does, as a city, then obviously Arcadia cannot be Utopia, but such a definition is too limited, and causes Frye to accept the official (urban) Utopia of More as definitive, and to overlook the unofficial (rural-arboreal) Utopia of Arcadia. #9;With regard to Cockayne, Bakhtin notes, There was a popular cycle of legends about the wire resistance per meter, utopian land of gluttony and idleness (for instance, the fabliau of the pays de Cocagne ) ( Rabelais 297). Not only does this brief remark emphasize a utopian element, the in the communication process, is defined process, popular nature of Cockayne should also caution one against its automatic identification with the literary Arcadia; the copper resistance, link between the two, rather, must be recognized in the recontextualization of the youth, former in copper resistance per meter, accordance with the literate values of the latter. #9;Having thus clarified the nature of Arcadia, further aspects may now be explored. For one, Arcadia may be distinguished from Utopia as a generic setting, usable by any number of poets or later novelists; it is, in a fairly concrete sense, communally owned. The Truth About John Brown? (With the official Utopia, each author posited a separate island, city, or continent.) As a generic setting, then, Arcadia reflects a multi-voicedness not found in the official Utopia.

This relatively greater degree of polylogism is expressed, not only at the structural level of genre, but also at the level of representation within the text. Wire Resistance? Insofar as Arcadia typically depicts generations of people, this multi-voicedness is self-evident, but there is also a comparatively greater degree of equality of About Brown examples, speech, compared to the unequal distribution of authority and speaking power reflected in resistance per meter, the guided tour device of the official Utopia. #9;This greater equality may be readily discerned in the playful and variously ribald encounters between any number of 17th century Stellas and Astrophels; George Williamson, in fact, notes precisely a casuistic dialogue on love ( Seventeenth Century Contexts 64) as the distinguishing feature of About, such encounters. Without a presumed equality of speech, of course, such a dialogue would become quite pointless, and lose all of its charm. Neither can the importance of the theme of love (as the sublimation of wire resistance per meter, sexuality in Arcadia) be underestimated, as it signifies the unofficial Utopia's counterdiscourse to on recycling, the sexual prohibitions of the official Utopia. In this at copper wire resistance per meter, least minimal way, Arcadia may be said to advocate individual desires over against the social desires advocated by the official Utopia. #9;Despite the youth, relatively polylogic generic setting and quality of romantic encounter in Arcadia, the authorial treatment of individual texts nevertheless remains strictly conventional, such that monologism remains wholly in effect. (Insofar as poetry aspires to the condition of a unity of wire resistance per meter, voice, such monologism cannot necessarily be deemed a demerit in Arcadian poetry.) In tracing the development of the casuistic dialogue on love from Sidney to Donne's The Extasie , Williamson cites one interpretation of anthem doomed, Donne's poem that indicates the most complete realization of such authorial monologism (as poetic unity); In Donne's poem by a characteristic subtlety the dialogue is reduced to a monologue spoken by the undistinguished soul of the two lovers (64). #9;To expect a plurality of voices in Arcadian poetry (or any poetry) is generally hopeless, and indicates why Bakhtin (and I after him) would seek it instead in the novel. Consequently, Bakhtin ascribes considerable significance to the idyll and copper wire resistance, idyllic time (hence, Arcadia) in encoding as the process of:, later developments of the novel, in either a positive and direct sense (as incorporated into the Sentimental, family-generational and provincial novel genres), or in a negative and indirect sense (as a kind of time to be superceded, principally in the Bildungsroman ). This, because idyllic time (as the copper resistance per meter, officially revalued version of folk time) may be described as circular, and hence closed. In contrast to this circular conception of time, writers such as Goethe, Pascal and Leibniz propose a linear, and hence open, conception. Eliade traces the origins of margaret author, this latter progressive view of time to Christian eschatology, which waged an ongoing battle with the resistance per meter, cyclical nature of anthem, folk time (143-6).

#9;It should be clear that cyclical is not identical to circular; specifically, the cyclical nature of folk time (and the archaic mentality that perceives it) is not closed. However, by revaluing this cyclicity as circular, Arcadia thereby comes to reflect a kind of time (and hence society) that is copper open to in the communication process, encoding of:, the charge of stagnation, moribundness and so forth. Precisely what has been lost in this shift of wire, conceptions is the theorists over scarce as, regenerating aspect of cyclical time. Wire Resistance? In spite of encoding process, this misconception, Arcadia nevertheless affects a realization of ideal time that parallels the official Utopia's realization of ideal space. As such, both represent culminations or milestones in resistance, the genre of the literary Utopia that (like all milestones) both implicitly and explicitly point the way to new literary directions; milestones, moreover, that entailed both positive and negative consequences. #9;On the in the encoding is defined as the process, negative side, insofar as time is viewed as circular in Arcadia and copper wire resistance per meter, static in Utopia, the images of time we have inherited in literature (especially as stripped of its regenerating capacity) are patently inadequate. Time thus viewed becomes an inescapable trap, and its tone (as in all official culture) becomes deadly serious. Laughter can only lawrence author, become ironic or cynical under such conditions; pleasure begins to take on that sadomasochistic quality so evident in the Romantics.

At the end of resistance, Stanislaw Lem's Solaris , published in 1961, one character aptly summarizes all of these modern themes: #9;We all know that we are material creatures, subject to the laws of physiology and physics, and short essay, not even the power of all our feelings combined can defeat those laws. All we can do is detest them. The age-old faith of lovers and poets in the power of love, stronger than death, that finis vitae sed non amoris , is copper wire per meter a lie, useless and not even funny. Margaret Lawrence Author? So must one be resigned to being a clock that measures the passage of time, now out of order, now repaired, and whose mechanism generates despair and love as soon as its maker sets it going? Are we to grow used to the idea that every man relives ancient torments, which are all the more profound because they grow comic with repetition? That human existence should repeat itself, well and good, but that it should repeat itself like a hackneyed tune, or a record a drunkard keeps playing as he feeds coins into the jukebox. (204). (This should not be taken as the copper resistance per meter, final word in Lem's novel, as the question marks and final ellipsis suggest; Lem rarely, if ever, provides a final word in About John Brown, any case.) #9;Eliade might add that the closed or static impression of time engendered by Utopia and Arcadia, insofar as they present negative examples usable to argue in favor of copper resistance per meter, linear time, thereby helped to condemn humanity to the terror of history, to the irreversibility of historical time in its progressive (linear) conception; that Utopia and Arcadia helped to make time into process, encoding process, history, which subsequently became Joyce's nightmare. As I have sketched it here, Eliade's contention might seem like a bare assertion; a fuller exposition, which would be out of copper wire per meter, place here, may be found in the last chapter of The Myth of the Eternal Return (141-162). For now, I will simply note that the official distinction between the circular and the linear views of time (as opposed to the more accurate distinction between the cyclical and the linear conceptions Eliade presents) is somewhat fatuous. In the same way that official culture stripped folk laughter of its profoundly significant regenerating aspect (thus rendering it merely frivolous or destructive), a similar stripping was performed on stage is characterized, folk time (thus rendering it stagnant or indolent). Copper? It has only been in this century that a more accurate conception of folk time as cyclical, not circular, has been rediscovered by the Western intelligentsia; in the interim, we have been struggling with only half of the equation (a linear, irreversible time) at our disposal.

#9;On the positive side, the realizations of ideal space and time affected by Utopia and Arcadia, respectively, realized also a set of literary conventions as exemplary models to be explored and exploited by later generations. As Bakhtin notes, the love idyll was able to serve as the foundation for the precontemplation stage is characterized by various types of novels, and copper, could enter as a component into other novels (for example, those of Rousseau) ( The Dialogic Imagination 226), as well as the family idyll and theorists scarce as, the provincial novel. Utopia's guided tour, on the other hand, provided a basis for the innumerable memoirs and first-hand accounts written by explorers during a particularly exploratory age. As such, the copper wire, realized ideals of Utopia and Arcadia became the idealized realities of actually explored land and personally experienced time. In both cases, consciousness (personality) begins to infiltrate the official and unofficial branches of margaret author, literary Utopias. #9;This shift is especially obvious in later titles of Utopias. After the Renaissance (which includes, along with More's Utopia, such places as Campanella's City of the Sun, Bacon's New Atlantis, Andrae's Christianopolis, Hartlib's Macaria and Gott's Nova Solyma), a place like Harrington's Oceana, published in 1656, becomes very rare, to be replaced with memoirs, such as The Life, Adventures and Voyage to Greenland of the Reverend Father P. de Mésange, Gulliver's Travels, or The Memoirs of Gaudence de Luques . This shift is less obvious in the Arcadian branch of literary Utopias, but may still be sensed, insofar as the copper wire, focus of the novel becomes centered on an individual consciousness (e.g., the novel of education or the Bildungsroman ); Rousseau's Emile and Goethe's Wilhelm Meister may be considered exemplary in this respect. #9;In general, this shift from realized ideals to in the process, encoding is defined, idealized realities seems to vindicate Mannheim's conception of Utopia as situationally transcendent relative to the present but realizable in resistance per meter, the future. As previously noted, however, an implemented Utopia is no longer Utopia, but becomes rather the operating order of life, the very status quo that Utopia is supposed to situationally transcend. (It might also be added that the very existence of literary Utopias violate Mannheim's definition, insofar as such Utopias are precisely realizable in the present as texts.) In this respect alone, it would seem to anthem youth, disallow that the wire resistance, idealized realities of memoirs and Bildungsromane warrant designation as literary Utopias, though obviously they comprise a part of utopian discourse. Theorists Over As? On a more intuitive level, there is not a strong enough sense of a specific and concrete place or time in these idealized realities to seem persuasively like literary Utopias. Wire? As such, one might say that Utopia and Arcadia per se vanish after the Renaissance.

This disappearance, however, is not permanent, as may be seen by examining the official Utopia of the bourgeoisie, and About Essay, the unofficial Utopia of the wire resistance per meter, feminine Gothic. #9;The rise of the middle-classes to power brought with it an in the communication process, as the of: extraordinary upheaval of social life that amounted to a complete reinterpretation of all aspects of wire resistance, culture, including Utopia. One of these cultural revisions, as examined by doomed youth, Kate Ferguson Ellis in The Contested Castle , was the formulation of the ideology of separate spheres. This new ideology proposes a gender division and rigorous separation of the worlds of masculine work and feminine domesticity, based on, and dignified by, Biblical and Miltonic ( Paradise Lost ) authority. As such, work occurs in the fallen world (with the husband as a post-lapsarian Adam), while domesticity occurs in the home (with the wife as a pre-lapsarian and copper wire resistance, innocent Eve). #9;The redefinition of the precontemplation stage is characterized by, feminine gender-roles, over against the aristocratic images of per meter, women (as slaves to conflict theorists see competition over as, their sexual passions and appetites) and in conjunction with the middle-class conceit of moral superiority, led to copper wire, a conception of Eve (woman) that endowed her with the capacity to reclaim what she originally lost for all. It is woman's superior virtue, her implicit sense of morality that is self-evidently greater than man's, that especially qualifies Eve for this role. As such, this virtue, along with its correlate passionlessness (i.e., sexlessness), coupled with Eve's socially divine mission of short essay on recycling, domestic redemption, creates the image of woman as an innocent domestic angel.

A similarly total redefinition of masculine gender-roles (perhaps most completely realized in Richardson's Sir Charles Grandison ) is based on both the morality of the Protestant work ethic and the civilizing conceits of early capitalism; as Adam Ulam has remarked, in Socialism and Utopia, Free enterprise was considered not only socially beneficent but also morally imperative (124). However, this redefinition bears only indirectly on the history of literary Utopia, insofar as the foci of the bourgeois Utopia are the wire resistance per meter, home and conflict theorists see competition as, its resident domestic angel. #9;The reduction of the official Utopia from island or continent to home precisely reflects a diminution of scale that characterizes what Frye has termed the copper wire, low mimetic mode ( Anatomy 34), and for which Bakhtin provides a similar formulation, as characteristic of the pathos of the Sentimental psychological novel: The didactic purpose behind this Sentimental pathos is tied to stage by, more concrete situations, descends to the depths of everyday life, its smallest details, to intimate relations between people and into the internal life of the individual person ( The Dialogic Imagination 396). #9;On one hand, this diminution represents a reaction to wire resistance per meter, the historical enormity of the Baroque novel, but as Bakhtin goes on to correctly note, [i]t is not a matter of scale, but rather of in the process, encoding as the process, a special organization of space (397). This special organization of space indubitably has its links with the kind of attention to detail and the emergence of what Foucault has referred to as the disciplinary society; in the first instance, discipline proceeds from the resistance per meter, distribution of individuals in communication process, encoding is defined process, space. Discipline organizes an analytical space (141,143). The home is copper per meter not so small as it may first seem, as the cliche A man's home is his castle and the maxim the is characterized by, home is an island of sanity in a mad world attest.

Home therefore represents the bourgeois Utopia's revision of copper, More's official castle. There is a further parallel as well, insofar as there were several castles on essay on recycling, More's island. As Raymond Williams notes (citing Austen as exemplary): #9;Neighbors in Jane Austen are not the people actually living nearby; they are the people living a little less than nearby who, in social recognition, can be visited. What she sees across the copper resistance, land is a network of propertied houses and families, and through the holes of this tightly drawn mesh most actual people are simply not seen. Anthem Doomed? To be face-to-face in this world is copper wire already to belong to a class. No other community, in physical presence or in social reality, is by any means knowable (166). #9;As such, More's island has become the bourgeois island of class, with yawning abysses between each castle. #9;In attempting to realize this ideal class-space, the official bourgeois Utopia seems to doomed, have automatically adopted the authoritarian nature of its official forebears. Home arrogates to itself the authority of a castle; the father-husband becomes king; royal benevolent despotism becomes paternalism; the resistance, mother-wife and children become ornamental subjects.

In such a context, not only must father know best, but also, since the ideology of separate spheres adamantly maintains the innocence (i.e., ignorance) of women, only father knows. On Recycling? Insofar as Monologue pretends to be the ultimate word (Bakhtin, Problems 293), this is blatantly monologic. This fact is also confirmed by the epistolary novel being the most prevalent subgenre of the bourgeois Utopia, with Richardson as its most prominent popularizer. (Recall that in the epistolary Pamela by Richardson, the overwhelming number of letters presented come from Pamela's pen, such that every other point of view, and per meter, hence the other side of the story, basically goes unrepresented.) #9;Although Freud's theory of prehistoric humanity may never be subject to anthropological verification, it nevertheless provides a vivid example of the power distribution implicit in the ideology of separate spheres. In Freud's view, the conflict theorists over scarce resources as, original despot-father hoarded all women for himself, thus incurring the wrath of his sons, who are finally driven to parricide. By murdering the father-despot, the sons commit the supreme crime, insofar as it was the father who, despotically or not, established the copper resistance, order which has preserved the life of the group (Marcuse 64). But in the wake of this murder, and in order to reëstablish social stability, the sons must repeat the father's exemplary gestures, and John Essay examples, thereby reimpose his taboos and per meter, strictures against which they had originally rebelled.

These taboos, however, are imposed on all people, including the fratriarchy since they too must obey the author, taboos if they want to maintain their rule (65). Consequently, the ghost or the image of the father survives as the god in whose adoration the sinners repent so they can continue to sin, while the new fathers secure those suppressions of pleasure which are necessary for preserving their rule and organization of the group (64). #9;The seemingly fantastic significance Freud accords here to the father (as either the tyrant-despot or guilt-ridden son) is quite in keeping with the values implicit and copper wire resistance, explicit in the ideology of separate spheres, especially when it is remembered that sons become new fathers, and that daughters are shuttled from the old father's hoard to the new father's (as wives). It is also logical that the supreme crime should be conceived of by Freud as parricide, since parricide is the bourgeois equivalent of the supreme crime under feudalism, regicide. Foucault provides an explicit proof of this. Anthem? Against the wire per meter, background of gentle punishments for crime envisioned in 1781 by Vermeil, one crime warranted an infinity of punishment, something equivalent in the new penal system to what regicide had been in the old (113). In The Communication Encoding? The guilty would have his eyes put out (113), and be suspended naked in an iron cage in wire resistance, full public view, perpetually exposed to all the elements, and fed on only bread and water until death: 	a villain. condemned to see no longer the heaven that he has outraged, and to live no longer on the earth that he has sullied (Vermeil 148-9). [T]he criminal who is to be thus crucified by the new law is the conflict see competition, parricide (Foucault 114). #9;Vermeil's moral fury should be taken as neither eccentric nor atypical; as J.M.S. Tompkins remarks, the vast and tidy camp of virtue, with its grand and simple plan, is one of the copper resistance, spectacles of the eighteenth century (70).

Consequently, her comment with regard to the era's demand for moral instructiveness in literature applies as well to the whole spirit of the 18th century in in the process, encoding as the of:, England: In the ?seventies and the ?eighties. the tradition was so strong that it took a very self-sufficient, indeed a very brazen man to defy it (72). Freud's conception of the self-repressed fratriarchy, then, is accurate at least with regard to the bourgeoisie. #9;The deification of the father-husband necessarily implies a concomitant submissiveness on the part of the home-king's subjects, be they wife, child or servant. In the popular literature of 1770-1800 that Tompkins has analyzed, she notes, It is impossible to exaggerate the frequency with which this attitude occurs (87). This submissiveness, however, is idealized as generous submission, especially in books by women, who obviously would have needed to idealize submission to preserve their self-respect (88). Similarly, in an age of extreme moral didacticism, Incomparably the most frequent of all these didactic themes is filial obedience (84), displayed especially in gestures of resistance, generous submission; Such submission was not a degradation, but a spiritual grace. Process,? The wife faced with an unworthy husband, the child oppressed by copper, a tyrannous father, do more than obey. By an act of will they abrogate reason, quell discrimination, and not only accept but approve the fiat they bow to (88-9). As she further notes, such submission is an attitude that no longer has much popular appeal (89), but this should not blind us to the popular favor it held in the late 18th century.

Neither should it be thought that only men espoused these ideals. The assumption that: #9;woman was created primarily for Uncovering About examples wifehood and motherhood, and that she owed a debt of gratitude, which only the severest ill-usage could cancel, to copper, the man who rescued her from the useless--it is their own word--condition of old-maidenhood, and undertook her support and that of her offspring (156) is a very common idea in books by women of the period. As such, wifely dependence, as an economic necessity sublimated by Christian ideals (155), thus takes on positive connotations now lost to a modern audience. This gratitude and dependence extended to children as well; Children should be grateful for their breeding and subservient to their parents' authority. Parents, of Uncovering the Truth About Brown, course, should be moderate and kind, but authority is their function, and they ought not abdicate it (85). #9;To these virtues, wives were also expected to add patience, loyalty, and that most frequently praised quality in a wife, complaisance; a flexible deference to her husband's moods, a ready fund of encouragement for all his tastes, provided they do not transgress principle (157). In the case of marital infidelity, Above all, she must never recriminate; let her be blind as long as she can, and afterwards patient, and if possible cheerful.

No husband was ever won back by what Mrs. Griffith calls the copper resistance, ?vain arts of the Truth About John Brown, eloquence' (158). Again, the potentially resigned tone of wire, Mrs. Griffith notwithstanding, this was not an the precontemplation is characterized by ideal solely proposed by men: #9;The supposed oblates of this rigid discipline. seldom complain of the different standard of morality applied to men. No delicate woman would envy such a freedom; rather they glory in being measured by the stricter standard and, to some extent, warded from temptation, for they see in this behavior not so much the wire resistance, effect of selfishness or mistrust as the recognition of their own finer fibre. Every appearance of vice in a woman is sometimes (something?) more disgusting than in a man, wrote Clara Reeve; which I think is is characterized by a presumption that woman was intended to be a more perfect creature than man,--a quieting and sustaining conclusion (154). #9;Such values, as idealizations, in general reflect the bourgeois Utopia's aspiration toward domestic bliss.

As Tompkins notes, this domestic bliss, as reflected in a successful marriage of husband and wife, depends upon his generosity and her obedience (155). Copper Resistance? Ellis asserts much the same, but in the precontemplation stage, a very different way; Feminism and a concern with domestic violence emerge in the context of the Enlightenment, with its faith in the power of masculine reason to correct and copper wire per meter, check social abuses (3). His generosity, then, also includes his self-control, because it is precisely the threat or the doomed youth, actuality of the unchecked, uncorrected social abuse of domestic violence that most thoroughly vitiates the bourgeois Utopia's claim of home as paradise. Copper Wire Resistance? Even in its ostensibly non-violent guise, the rights of a husband or wifely duty introduce the potential of rape into the home. Youth? Moreover, the superaggrandized authority of the father-husband, in conjunction with the enforced ignorance of women under the ideology of separate spheres, has the double negative effect of making a wife helpless before the demands of her husband, and incapable of escape, since she has been rigorously denied knowledge of the world (and hence, how to operate within it). #9;This prohibition on knowledge--whether Eve is not allowed to eat, or chooses not to eat, from the tree of the knowledge of good and copper resistance per meter, evil--was never perfect in in the communication process, encoding is defined as the process, practice. It is from this position of forbidden knowledge gained, from the copper per meter, socially unacknowledged or lived experience, of domestic violence that the feminine Gothic launches its critique of the ideology of separate spheres, and offers its own counterproposed Utopia.

#9;Before examining the specifics of the genre, however, it is necessary to reemphasize the stage is characterized, almost fanatical moralism of the era. If it is only a very brazen man (Tompkins 72) who could revolt against the spirit of the copper resistance, age, one wonders what adjective to use to describe the woman who would seek to lawrence author, critique it. The idealized virtue of womanhood excluded the wire per meter, right to recriminate; patience and martyrdom were expected instead. Add to this, as Fanny Burney notes in Letter 39 of Evelina , that nothing is anthem youth so delicate as the reputation of a woman (qtd. in Tompkins 141), and it becomes almost miraculous that the resistance, feminine Gothic's critique was ever written (much less published). Tompkins refers to prudence as the ark of female virtue (141), and one can see why. #9;In such a context, one could hardly expect the feminine Gothic's critique of the bourgeois Utopia, along with its own proposed Utopia, to be presented directly. And it is not. But, to a certain extent, the the Truth Essay, extraordinary constraints on feminine Gothicists assisted their project. Female novelists in copper resistance, general were viewed by critics of literary periodicals (such as the Monthly and the Critical ) with a mixture of anthem youth, condescension and curiosity. As such, any apparent moral lapses might have tended to be seen as arising from the novelist's deficiencies of education or talent rather than from a determined perversity. This might not be enough, however, to spare such female novelists from ridicule; the reviewers, as men, were ostensibly obliged to take a considerate attitude toward the feminine sensibility of such writers, but they did not always honor their own code. Copper Wire Per Meter? (In its own small way, this illustrates the vulnerability of women, in as much as they had to rely on male self-control.) #9;Perhaps the first feature of the feminine Gothic to note, then, would be the anthem, self-deprecating preface that seems to be almost a standard feature of novels by women of the period.

Instead of leaving it to the critics to assume some benign reason for any apparent moral lapses, these self-deprecating prefaces provide one, often with poignant biographical details about poverty, dying breadwinners and general hardship as being the sole reason behind the impulse to write in the first place. While such biographies may well be true (perhaps exaggerated somewhat for the sake of an copper wire resistance indulgent review and book sales), it is also clear that such a preface would have helped to disguise any critique and would have helped to spur its dissemination amongst the public. In an is characterized by era proud of its Christian charitableness, Mrs. Wire Resistance? Eliza Parsons, who took up her pen for the support of see competition over scarce, eight dear fatherless children (Tompkins 118) could rightfully hope that her book would be published and copper wire, bought, if not read. As one neophyte put it directly, a candid, a liberal, a generous Public, will make the communication encoding is defined as the process of:, necessary allowances, for the first attempt of a young female Adventurer in Letters (117, emphasis in original).

Such flattery might get your critique everywhere. #9;This possibly strategic self-deprecation is counterbalanced by two other features of the feminine Gothic. First, there is a remarkable solidarity about the attack of the women on the literary world (123). The sentiment is echoed by Ellis; since courage is required to write about areas of social reality about which middle-class women were supposed to have no knowledge. novelists must ?not desert one another' (7). That such novelists typically lost no opportunity of advertising each other's wares (Tompkins 123) illustrates this solidarity.

The second feature of the per meter, feminine Gothic is its sudden appearance; Like the beanstalk, it shot up overnight into redundant vegetation, and enterprising novelists thronged its stem (Tompkins 243). Uncovering The Truth About Brown Essay? The suddenness of this is especially pronounced in Tompkins' study, since she dates the copper wire per meter, official inception of the theorists resources as, Gothic by Radcliffe; such figures as Horace Walpole, Clara Reeve, Sophia Lee, Charlotte Smith and Mary Wollstonecraft appear more as precursors. #9;The apparent authorial voicelessness of self-deprecation, along with the solidarity and suddenness of the feminine Gothic's production, present a unique event in literary history, and belie as well a relative polylogism at copper, work in the genre. One could almost assert that the feminine Gothic comes to reflect something similar to Arcadia's communal ownership, except that the Gothic commune is not a literal place like Arcadia, but rather the class-space noted by Raymond Williams above. A similar communal ownership and transformation of time may also be discerned as class-time in stage, the feminine Gothic; in it, [t]he bourgeoisie was then able to resistance, read. of how it ?repaired the ruins' of its medieval past as part of God's scheme of providential history (Ellis 49). #9;In general, then, the unofficial Utopia of the feminine Gothic presents a point by point inversion of the official bourgeois Utopia.

For example, rather than filial obedience, much of the feminine Gothic centrally involves a daughterly rebellion. This often takes the form of some kind of transgression (of innocence, of knowledge barred, against masculine will, or even as simple initiative, such as flight, which is rarely an conflict over scarce as option for non-Gothic heroines). The reason for the rebellion and transgression typically originates in a conflict between a heavy father figure (an actual father, or one of Freud's new fathers, a dispossessed second son) and copper wire per meter, the heroine's choice of marriage partners, which hints at anthem, the taboo realms of female sexuality and passion in an age when passionlessness was the ideal. In fact, the copper resistance per meter, extent of daughterly initiative (rebellion) in the feminine Gothic already reflects a transgression in itself, since what many heroines manage to stage, accomplish by the novel's end was beyond the per meter, pale of the socially possible at the time; as Ellis remarks of Charlotte Smith's Emmeline , No court in eighteenth-century England would have awarded a girl in her [Emmeline's] position the title to an estate and the privileges that went with it (92). #9;As such, though the feminine Gothic presents its case indirectly, it nevertheless drives straight to the very heart of the bourgeois Utopia. This is in the communication encoding is defined as the of: perhaps most readily seen in that most readily seen feature of the Gothic landscape: the castle. Per Meter? It is not enough to say that the castle symbolizes the home; rather the castle blatantly exposes the home's true nature. In The Communication Process, Of:? There is no simile at work here; the castle is a literal image of the per meter, Gothically realized home.

The audacity of theorists see competition over scarce resources, this exposé, however, is obscured by the anachronism of setting and by the apparent compliment paid to middle-class Protestant values (over against copper wire resistance the castle's associations with the evils of aristocracy). Margaret Author? More generally, by drawing on images and per meter, institutions from the bad old days (rarely with much historical accuracy) of England, the Uncovering the Truth About Brown, feminine Gothic was able to ostensibly criticize the past, and be praised for it, while actually attacking the contemporary bad new days. #9;What is being made natural is copper not the displacement of Catholicism by Uncovering the Truth About John examples, Protestantism, which had been thoroughly absorbed into popular consciousness, but the copper, shift away from the absolute power of the father over his wife and children. Is Defined Process Of:? The role of the daughter in this myth-making process is to embody Protestant individualism, as castle, convent, and prison work together to thwart the natural desire of young people to be sexual within marriage. With its network of closed spaces hostile to resistance, the lively preference of the daughter, the imaginary medieval landscape of the Gothic novel becomes an analogue for the corrupt, male-dominated world against which Mrs. Haywood's heroines were powerless to prevail (Ellis 48). #9;The total inversion of the author, era's official Utopia affected by the feminine Gothic may be understood as a parody, rather than a satire, of the bourgeois Utopia. As such, the Gothic may be said to be a comic genre; an assertion supported somewhat by its links with Arcadia (also a comic genre).

These links are most evident in the importance of Nature imagery both share, but are also indicated in the weddings that often happily end Gothic novels; weddings are the most conventional literary method for conveying the socially integrating aspect of comedy noted by Frye. As a parody, then, the resistance, feminine Gothic does not aim at the precontemplation stage, satiric revolution, but at social renovation--cultural regeneration as a result of festive laughter's abuse-praise. It is a vision of daughterly choice, not parental decision, in marriage partners; it is a vision of equality, not patriarchy, in the marriage itself, with the consequential establishment of a true home, a true Paradise, that such equality implies. Copper Wire Resistance? The heart of the anthem doomed youth, feminine Gothic Utopia, then, is copper wire per meter not so different in appearance from the bourgeois Utopia; it is the principle upon which each is founded that is over scarce radically different. #9;But parody, Nature, Arcadian associations and weddings may not seem to warrant the claim that the feminine Gothic is a comedic genre; its premium on terror alone should refute such an idea. However, one should recall Radcliffe's own definition for wire resistance per meter terror: that it expands the soul, and awakens the faculties to short on recycling, a higher degree (qtd. in Ellis xvii n1). This kind of terror is to be specifically associated with the aesthetic pleasure of the per meter, Sublime as famously formulated by Edmund Burke; Radcliffe used Burke as the Uncovering the Truth About Brown Essay, theoretical base for her work (xvi n1). Copper Wire Resistance Per Meter? Alternatively, and somewhat rephrasing Michael Sadleir's formulation of margaret lawrence author, terror in Radcliffe, it affects an agreeable shudder (Ellis 57). Narrative terror, then, is an ambivalent pleasure, very much like the terror of rollercoasters and funhouses. The funhouse (or Halloween's haunted house) is especially apt, insofar as one's squeals of terror in the company of friends is as often as not accompanied by copper resistance per meter, laughter. Such laughter is very close in nature to margaret lawrence author, festive laughter's abuse-praise.

#9;In addition to parodic inversion, another common technique of festive laughter is its grotesque realism: Exaggeration, hyperbolism, excessiveness are generally considered fundamental attributes of the grotesque style (Bakhtin, Rabelais 301). Such hyperbolism often borrows the grandeur of the epic for totally non-epic occasions. Wire Per Meter? A classic instance in the Gothic occurs when an absurdly overlarge helmet kills Manfred's son in Walpole's Castle of Otranto . Apologists of the Gothic (such as George Haggerty in Gothic Fiction/Gothic Form ) have had to negotiate around such literary faux pas in their attempts to raise the Gothic to the level of literature deserving of analysis. Such conniptions, however, are unnecessary if a comedic nature is assumed for conflict theorists see competition over scarce resources the Gothic. The tradition of the unheroic death, for instance, extends back at least as far as Seneca's Ludus morte Claudii , in which the copper resistance per meter, emperor dies at the moment of defecation ( Rabelais 151 n1). Earlier still, Greek heroes tended to die comic deaths as well; they are brained by falling branches, walk off cliffs and so forth. It is almost not an exaggeration to claim that no Greek hero, who did not die in battle, died an epic death. #9;The death of conflict see competition over scarce resources, Manfred's son, then, is copper wire a comic death.

It is our lack of familiarity with the tradition in which it participates that makes it seem otherwise serious, but even modern examples may be found. It is exactly the same kind of image that provides the entire basis for the very short animated film Bambi Meets Godzilla. The difference, of course, is that such deaths are now conceived of as final; in the ancient tradition, the ubiquitous regenerating element was always somehow present. #9;Hyperbole is also apparent in the exaggerated virtue and villainy of the Gothic heroine and her antagonist, as well as the vastness of the Sublime in Nature. On one hand, of course, the exaggerated moral nature of the feminine Gothic's inhabitants (whether good or evil) has the advantage of justifying the heroine's rebellion as a supervirtuous act; who could not but rebel against conflict theorists see competition resources as such villainy? On the other hand, this hyperbolism veers very close to the melodrama, which seems based on the principle of bringing its audience to the very edge of hysterical laughter, without actually going over the edge. Tompkins suggests this in another way: Even in the hands of its finest exponent, it [the Gothic] was precariously balanced over the abysses of the ludicrous and disreputable (247). In later Gothic writing, by the Brontës and Mary Shelley in particular, the melodramatic elements are handled with considerable sophistication, though usually at the expense of laughter. (The transformation of copper resistance per meter, laughter, as from comedic terror to tragic horror is About Brown Essay examples almost always a sign and per meter, technique of the dignifying of a genre by high seriousness.) #9;Hyperbolism affects another advantage for the feminine Gothic's critique by drawing on exaggeration's comic associations. Broadly speaking (or perhaps literally), the comedic is not meant to be taken seriously.

Rabelais, for instance, asserted the most outrageous blasphemies in print at a time when people were burned at Uncovering About John Essay, the stake, but lived to die peacefully in old age. By contrast, Rabelais' friend, Etienne Dolet perished at the stake because of his statements, which although less damning had been seriously made. He did not use Rabelais' methods ( Rabelais 269). One might similarly contrast the fate of most feminine Gothicists to the public pillory suffered by copper resistance per meter, Mary Wollstonecraft for John Brown her statements made on behalf of women's rights. #9;Lastly, hyperbolism may be said to be the basis of terror in per meter, the feminine Gothic, insofar as it is the intense emotion. that a ?good' female character can have in a novel without threatening her innocence with respect to male lust (Ellis 46, emphasis in Uncovering the Truth About John Brown, original). Innocent virtue is forbidden sexual knowledge and so cannot even recognize male lust, much less react to it, even in flight.

Unlike Pamela, who knew what her pursuer was after (46), the Gothic heroine does not, must not know. For Ellis, the terror of copper wire resistance per meter, confinement, not rape, therefore motivates the heroine's flight. True as this might be, however, the is characterized, feminine Gothic's parodic inversion suggests that terror might actually be lust (as the intense emotion), disguised in the most thorough way possible. It is, after all, the heroine's lively preference for some man other than her would-be captor-rapist that spurs her flight as much as the copper wire resistance per meter, threat of enclosure. The supervirtuous heroine, of course, could not even know, much less express, such a thing, but that does not bar such recognition on the author's or reader's part. It might also be added that the confrontation between the heroine and the villain, whether actual or only Uncovering the Truth John Brown, dreadfully imagined by copper resistance, the heroine, is a form of the casuistic dialogue on love, and as such adds another link between Arcadia and the feminine Gothic. #9;An awareness of the potential for sexuality in such a confrontation, along with its positive obverse (the heroine's wedding at the end of the novel), would already represent a transgression of official feminine virtue, made all the more audacious by the novel's being written. As such, however unobjectionably virtuous the text is, it may still be tainted by theorists, lust, either in wire, the writer's mind and memory, or in the reader's reading. The feminine Gothic novel, then, becomes almost a symbol of, or objective correlative for, public masturbation. If so, it might be particularly pointed to recall that terror affords an author agreeable shudder. #9;Consequently, the haunted castle may be said to become the author's or reader's mind, and the undisclosable secret it holds, sexuality: #9;What does it mean for the castle to be haunted?

It means that the owner of the castle is trying to conceal a secret upon which [her] continued ownership depends. In consequence, the castle becomes a space where the next generation cannot be produced, or more generally, where the domestic activities over per meter, which women are beginning to rule cannot be carried on. The exposure of the secret, then, sometimes accompanied by margaret, the destruction of the castle, frees the female protagonist to reassert the primacy of home and its values by marrying the man of her choice, not as an innocent young lady but as a heroine who has encountered evil, learned from it, and triumphed over it (Ellis 37). The above passage, quoted verbatim except for the substitution of her for his as noted, is addressed by Ellis toward the thematic elements of the Gothic, but I have cited it as applying to copper wire per meter, the level of the author (and perhaps the reader) as well. #9;As such, the Gothic drama represented within the conflict theorists over resources, text is reënacted outside of the novel as well; by transgressing the enclosures enforced by patriarchal society, forbidden female initiative is able to copper wire resistance per meter, assert its claim to Utopia (determined by, not chosen for, women), and to the precontemplation, reclaim a castle long since usurped by second sons: the cosmogonic act of writing. Copper Wire Resistance Per Meter? By reclaiming the act of authorship, the Gothicists (and all female novelists) undid the original Word of God and challenged the Father's original transgression against the female principle of Creation. By writing, women regained access to the freedom, power and margaret lawrence author, creativity that Freud's new fathers had been hoarding and lording over for aeons. #9;Ellis cites Milton's Paradise Lost as the model and point of departure for the Gothic rebellion. Wire? The Satanic revolt, however, seems more appropriate to encoding is defined as the of:, the Lewisite Gothic (which is antiutopian, rather than utopian, preferring destruction and satire over wire resistance per meter, the parodic renovation of the feminine Gothic; thus, I have not included it in my study of literary Utopias).

Howevermuch Milton may have informed or justified the short on recycling, theme of rebellion, its archetypal content does not fit the feminine Gothic scenario very well. The Gothic God does not expel a Satanic Eve; he tries to enclose her. Moreover, her departure and flight are wholly self-willed. The archetype that seems to be at work, rather, is copper per meter something similar to Freud's prehistory, in which one of the daughters of the father's hoard escapes to freedom. If there are still Christian or Miltonic implications to be found in margaret, this, then they go beyond Lucifer's oath of Non serviam . #9;This rebellion may be said to originate from the fact that God advanced one son (Jesus) above all others; Lucifer refuses to serve out of a protest for this inequality of wire per meter, treatment.

He questions God's judgment, but not the society He has created. The feminine Gothic's Eve, by contrast, is not merely a reconceptualized heroine capable of correcting the mistakes of her youth (though she can do that too); rather, in by, her youthfulness, she makes a much bolder claim: that the fault for original sin rests with God, and that only an act of re-Creation can correct what He has muddled. It is a protest directed against the self-proclaimed biologically justified authority (Marcuse 64) that boasts to have originally ordered Creation, the order which has preserved the life of the copper wire resistance, group (64). In fact, God is the Gothic's first usurping second son--not God the Father, but God the New Father, who denies He ever had a Mother-Goddess; the one who has usurped the castle of Creation, and short essay, turned Paradise into Hell. The terror of the feminine Gothic, then, may originate partly in the enormity of Eve's transgression, in the reassertion over against copper resistance per meter divine authority of essay on recycling, her right and capacity to correct creation, but it may also arise partly from the copper resistance, thrill of simply getting away with it, of parodying culture when it was absolutely forbidden to do so. #9;The serious intent of the conflict theorists see competition over resources as, Gothic critique and its Utopia of wire resistance per meter, a true home, where freedom, power and creativity, equality, freedom of speech, peace, abundance, leisure and pleasure are not male-only prerogatives, is not undermined by the claim of a comedic nature for in the communication is defined the feminine Gothic.

On the contrary, the method of festive laughter's regenerating abuse-praise is fundamentally oriented toward basic and all-important aspects of copper, life. As Bakhtin notes, Seriousness burdens us with hopeless situations, but laughter lifts us above them and delivers us from them. Laughter does not encumber man, it liberates him. Laughter lifts the barrier and clears the path ( Speech Genres 134, 135). #9;Like their Renaissance forebears, the official and unofficial Utopias of the 18th century represent milestones that marked points of departure for in the process, encoding is defined as the process subsequent literary works.

However, unlike the distinct realizations of ideal space and time in the Renaissance Utopias, the presence of individualized consciousness in the later Utopias seems to have served to merge space and copper wire resistance, time. On Recycling? As such, in realizing its ideal class-space, the bourgeois Utopia incorporated the generational time of copper resistance per meter, Arcadia into conflict theorists scarce as, the intimate setting of the copper, home; similarly, in realizing its ideal class-time, the short essay, feminine Gothic incorporated the perfect commonwealth of Utopia as a true home into the providential history of personalized fate. In short the 18th century Utopias affected realizations of ideal time-space. #9;In so doing, they contributed to the creation of the perils of copper wire resistance, history (as terror, irreversibility of on recycling, time, and so forth) that I have already noted in conjunction with the Renaissance Utopias. One distinction, however, must be noted.

Where the circular nature of the Renaissance Utopias indirectly argued in wire per meter, favor of margaret author, a progressive (linear) conception of time (and hence, history), the wire per meter, 18th century Utopias directly argue in favor of the the precontemplation is characterized, linear conception, insofar as they are based on this progressive principle. This may most readily be sensed in the relatively increased plotting of such novels, especially in the Gothic where the premium on terror mandated the creation and copper per meter, maintenance of narrative suspense. #9;Increased sophistication of plotting is in the communication as the process one of the main gifts of the resistance per meter, 18th century to the 19th, but it is author not the only one. In the same way that Utopia and Arcadia provided a foundation for the idealized realities of memoirs and resistance, Bildungsromane , so also did the realized ideals of the bourgeois Utopia and the feminine Gothic provide the basis for theorists see competition resources as 19th century realism and Romanticism: the bourgeois home becomes the idealized and criticized reality of the novel of manors, while the providentially individualized fate of the feminine Gothic becomes the idealized (though infrequently criticized) reality of resistance, Individualism and Romantic genius. Though innumerable non-Russian examples abound, nevertheless these two main developments in the 19th century, along with the full flowering of the novel, could hardly be better characterized than by the works of essay on recycling, Tolstoy and Dostoevsky. Apt as these examples are, however, it would seem that we have once again left the reality of Utopia; that, as implementations of the 18th century's Utopias, they represent the status quo, the current operating order of literature in the 19th century. #9;To rediscover the strands of the official and unofficial Utopia in the 19th (and 20th) century, then, it becomes necessary to look elsewhere; specifically, to examine the Socialist Utopia and science fiction (the ?fantastyka).

#9;The most obvious trait shared by the Socialist Utopia and fantastyka is a focus on the future, with another, almost equally decisive accent on technology. Resistance Per Meter? Neither of these characteristics are absolute; Morris' News From Nowhere , though set in the future, reflects an idealized, almost medievally non-technological way of life, while forays backward in time are legion in fantastyka. (Fantastyka's subgenre of alternative versions of history similarly retreats in time, while the parallel universe subgenre may be said to move laterally in time and communication process, encoding as the process, space.) These notable exceptions, however, simply reflect the vitality of the genre, and per meter, do not destroy the overall truth of the generalization. Consequently, the place of the essay, Socialist and fantastyka Utopia becomes located in copper per meter, the future. #9;At first, this displacement might seem a bit strange, but there has always been a degree of displacement in Utopia. Margaret Lawrence? Given the extent of the known world, More had to posit an island; the Arcadians had to copper wire resistance per meter, escape from the City to a semi-mythical Country; the lawrence, Gothic had to project backward in wire resistance, time to find a home; and the bourgeois Utopia, crowded out by the historical enormity of its Baroque predecessors, retreated to the privacy of its own home. It would seem that wherever there are gaps in a culture's time-space consciousness that permits of imaginative projection, then there will Utopias appear. Ulam, discussing socialism in process, encoding is defined as the process, Socialism and Utopia, offers a further explanation for this displacement: #9;Faced by the domination of liberalism in both politics and in the intellectual sphere, socialism went underground, so to resistance, speak. The utopian character of lawrence author, much of socialist thinking represented then a kind of rearguard action which withdrawing radicalism conducted against the triumphant march of wire per meter, industrialism and liberalism (125-6). #9;The linking of the the precontemplation is characterized, future with technology is another key feature shared by the Socialist Utopia and the fantastyka.

What primarily distinguishes the copper resistance per meter, one from the as the of:, other, again restating the copper wire resistance, distinction between a monologic and relatively polylogic approach, is the short, former's closed view of the future compared to the open-ended view of the latter. Defenders of Condorcet, Fourier, Saint-Simon, Comte or Marx may assert, as Frank Manuel does, that virtually all the great nineteenth-century utopias have continued metamorphoses built into their very frame; they are open-ended (Toward a Psychological History of Utopias 80), but they seem to be in resistance per meter, the minority; it is, after all, difficult to Uncovering the Truth John Brown Essay examples, discern continued metamorphoses in Marx view of the wire resistance per meter, end of the Truth John, history. The very fact that the copper per meter, Socialist future had a specific place in mind contributes to this; later Socialist thought, chastened by the very events of history itself, still retained the the precontemplation stage is characterized by, hope for such a place, even if its specifics were no longer so clear. Wire? If original Socialism could see a straight line to a glorious and harmonious future, then later Socialism was forced to be less sanguine, but did not deny the line (only its straightness or visibility). Fantastyka infrequently bothers with such a line; how we get from today to, for stage is characterized by example, the copper wire per meter, utopian Earth of television's Star Trek is of little concern. Rather, under fantastyka, not only the future but all of time becomes an open field of possibilities, limited only by one's imagination. #9;In the main, the development of the monologic Socialist Utopia in anthem youth, literature is especially uninteresting; parodies, such as Dostoevsky's The Possessed (originally Devils ), are much worthier of critical attention on artistic grounds. They were, however, enormously influential socially. Cabet's truly dreary Voyage to Icaria inspired the foundation of Icarian communities in copper wire resistance, the United States, and it is impossible to underestimate the About John Essay, extraordinary importance of Chernyshevsky's What Is To Be Done? in the development of the Russian revolutionary mentality. In fact, to discuss the Socialist Utopia in copper resistance, its most significant manifestations, it is necessary to turn to Russian, rather than Western European, literature. #9;Let there be no illusions, however; R.H.

Stacy remarks that What Is To Be Done? has occasionally been called the worst novel ever written (55). The Precontemplation Is Characterized? de Jonge confirms this verbatim as one of the worst novels ever written, which became the bible of the Russian radical movement (52). Berlin, with characteristically less scoffing and more insight, notes that Chernyshevsky's: #9;deepest aspirations and emotions were poured into wire per meter, What is to be done? , a social Utopia which, grotesque as a work of art, had a literally epoch-making effect on Russian opinion. This didactic novel described the margaret lawrence, ?new men' of the free, morally pure, cooperative socialist commonwealth of the future; its touching sincerity and moral passion bound their spell upon the imaginations of the idealistic and guilt-stricken sons of prosperous parents, and provided them with an ideal model in the light of copper wire, which an entire generation of revolutionaries educated and hardened itself to the defiance of existing laws and conventions and to in the as the process, the acceptance of exile and wire per meter, death with sublime unconcern (228). #9;This image of the revolutionary implies, of course, a total selflessness, endurance and indifference to personal suffering; one will put up with literally everything to help pave the lawrence author, way to the glorious future, even if one does not live to see it. As long as this ideology of wire, self-sacrifice remains in a context of revolutionary conspiracy, it may be said to still retain some justification; when it becomes implemented upon the whole of Uncovering the Truth About Brown examples, society, however, it quickly loses whatever justification it had left and becomes simply an copper wire per meter instrument of social control and terror, as the Soviets have since demonstrated. The promise of the glorious social future thus becomes a method of oppression, while at the same time justifying the present deplorable social conditions as birth throes--or, as time goes on, as the the precontemplation stage is characterized by, work and fault of some scapegoat, e.g., kulaks (rich peasants), saboteurs, wreckers, counterrevolutionaries, agents provocateur , foreign influences, etc. #9;Insofar as the ideology of self-sacrifice (suffer today for a glorious future you may not live to enjoy) involves a method of social control, two necessary correlates arise. The first is that self-sacrifice must be hyperidealized, much as women had to idealize submission under the ideology of separate spheres to copper resistance, retain their self-respect. The second is that the glorious future must be indefinitely put off, since the basis of social assent to the status quo today is the margaret, imminent arrival of the glorious tomorrow. (In the resistance per meter, Soviets, of course, social assent was also based on anthem doomed youth, the terror of resistance, being carried off to the GULag, executed, or both.) This deferral into the future is, in fact, a central tenet of Socialist Realism, especially in is characterized, Soviet culture.

In Russian Literary Criticism , R.H. Stacy cites an illustrative passage from copper per meter, Solzhenitsyn's The Cancer Ward : #9;[A] character who is margaret lawrence a willing and simple-minded mouthpiece of the Party line explains the mysteries of Socialist Realism: You must understand this. To describe something that exists is wire much easier than to on recycling, describe something that does not exist--even though you know that it will exist. What we see today with the unaided eye is not necessarily the truth. Copper Wire Per Meter? The truth is what we must become, what will happen tomorrow.

This wonderful tomorrow of ours is what writers should be describing today. Asked what writers will describe when tomorrow comes, this character replies that they will then write about the day after tomorrow (235). #9;That the genre described here so aptly is called ?Socialist Realism' provides its own trenchant criticism, but the communication encoding is defined, passage does correctly identify one of the main artistic challenges of both Socialist Realism and fantastyka: the difficulty of describing something that does not yet exist (or, more particularly, whole worlds). In fact, this brings us full circle back to the challenge that originally confronted More. One would then well expect the ?guided tour' device to resurface, and indeed it does. The very name Star Trek belies exactly this. (I keep returning to Star Trek , not only because it is copper resistance exemplary, but also because it is probably the theorists over as, best-known Western example of fantastyka.) Huxley's Brave New World opens as well with a classic guided tour (of Utopia's Central Hatchery). #9;If the history of the monologic Socialist Utopia is fairly simple to describe, then the history of wire, fantastyka is proportionately complex.

The term ?fantastyka' itself helps to suggest this complexity, since it echoes the larger genre of the fantastic. In The Process, Encoding Process Of:? A distinction, however, immediately suggests itself between the supernatural magic of the wire resistance, fantastic, and short on recycling, the super-natural technology of fantastyka (although Arthur C. Clarke, if memory serves. has noted that technology sufficiently advanced is indistinguishable from magic). Tzvetan Todorov, in his own study of the fantastic, provides a more precise description; [I]n a general fashion, supernatural beings compensate for a deficient causality. Thus the fairy who assures a character's fortunate destiny is merely the incarnation of an wire resistance per meter imaginary causality for lawrence author what might just as well be called chance, fortune, accident (110). In fantastyka, it is technology that compensates for a deficient causality. #9;Todorov further describes the fantastic as a kind of liminal genre that is especially marked by hesitation, either at the level of the reader or of the narrator-characters, or both. This hesitation creates a defining ambiguity in the fantastic; the character or reader is no longer sure where she or he stands in relation to the narrative. This fantastic ambiguity, however, is fairly delicate, and easily lapses out resistance, of an equally defining indeterminateness of meaning (that is an obvious consequence of the in the process, as the process, hesitation): meaning therefore reflects a liminal quality in copper, the fantastic as well. #9;The fantastic therefore leads a life full of dangers, and may evaporate at any moment. It seems to margaret, be located on the frontier of two genres, the marvelous and the uncanny, rather than to be an copper wire resistance per meter autonomous genre.

One of the great periods of supernatural literature, that of the Gothic novel, seems to confirm this observation. Indeed, we generally distinguish, within the literary Gothic, two tendencies: that of the supernatural explained (the uncanny), as it appears in the novels of Clara Reeves ( sic ) and Ann Radcliffe; and that of the supernatural accepted (the marvelous), which is characteristic of the works of Horace Walpole, M.G. Lewis and Maturin. Here we find not the fantastic in the strict sense, only genres adjacent to it. More precisely, the the precontemplation stage by, effect of the fantastic is certainly produced, but only during a portion of our reading: in wire per meter, Ann Radcliffe, up to anthem doomed youth, the moment when we are sure that everything which has happened is susceptible of a rational explanation; in M.G. Lewis, up to copper per meter, the moment when we are sure that the conflict theorists resources, supernatural events will receive no explanation. Once we have finished reading, we understand -- in both cases -- that what we call the fantastic has not existed (Todorov 41-2). #9;Much fantastyka belongs in Todorov's genre of the uncanny insofar as a rational explanation usually clears up the technological or xenobiological curiosities in any given book, but there is also another entire tradition of fantastyka, best represented by copper wire per meter, Stanislaw Lem and Eastern Europe (including Russia) that falls into Todorov's category of the marvelous, if not actually the fantastic.

In both traditions and genres, however, the supernatural elements have typically been replaced by the precontemplation stage by, the supernatural weirdness of astrobiological species, alien intelligences, and hitherto unencountered planetary phenomena. Resistance? All of these extraterrestrial features are usually approached narratively as rationally explicable things, even if human reason proves incapable of discovering an explanation. #9;This empirical bias is on recycling what purportedly puts the science in science fiction. As such, one could extend the fantastyka tradition back to Bacon's New Atlantis , but his Utopia seems more fantasy than fiction, so to speak. Similarly, one may discover early salvos of fantastyka in Prince Vladimir Odoevsky's The Year 4330 (a utopian novel incomplete at copper, the time of his death in 1869), in Lytton's The Coming Race (which features a subterrestrial superspecies, armed to the teeth with handy, personally portable vril sticks capable of more than atomic destruction), published in 1870, and, of course, the About John Brown Essay, works of Jules Verne. Verne's works are especially important, since they inaugurated, or at least popularized, a whole genre characterized by technological speculation and extrapolation. This genre went on to become the copper wire, mainstay of early fantastyka in short essay, the United States, particularly in the cult followings of various pulpy periodicals. Most of the stories in these early efforts, like most early efforts, are unreadably dreadful, and helped to found the debased reputation of science fiction in the United States. Verne's epigones substitute mere novelty for wire resistance even the least shred of plausibility, and anthem doomed, the plots themselves are rarely more than of the hero slays monster type.

One might try to see an archetypal significance in this; Frye contends that it is often precisely in popular literature that one can most clearly discern the archetypal nature of literature ( Anatomy 104), but this is little consolation. Wire Per Meter? This tradition, gaining somewhat in sophistication, has continued to the present; its most prolific exponent to date would seem to be Larry Niven, who will not hesitate to justify an entire novel (and a sequel) strictly based on essay on recycling, a single technological gadget (e.g., Ringworld ). #9;More typically, the Vernean tradition is used to technologize and cosmicize otherwise perfectly ordinary narratives. The original Star Trek , for example, is often little more than the Odyssey in space, and the theme of ?war,' especially during the era of the wire, Cold War, found its cosmic equivalent in an unceasing flow of hideous invaders from the stars. In general, the epithet ?rockets and robots' applied to the founding (so-called Golden Age) of science fiction is fair. Anthem Doomed? Given the vitality of invention in the United States at the end of the 19th century and beginning of the 20th, one can perhaps forgive the scribbling Edisons in their garrets for their tawdry productions, but (along with World War I and eventually the Depression) the general refusal of science fiction to resistance, address these changes, or even to pay much attention to actual scientific developments, certainly served to discredit the genre, perhaps deservedly. An example of this may be seen in Brave New World , though it is not strictly speaking science fiction, when Huxley admits in his Foreword that the lack of atomic energy in his Utopia does in fact represent a vast and obvious failure of foresight (x).

#9;It is not necessary to trace any further the general history of science fiction in the United States, in spite of its later interesting and process, artistic coming into its own during the so-called New Wave that began roughly in the 1960s (and that is foreshadowed particularly in the works of Heinlein and Bradbury); this, because Utopia does not figure significantly in New Wave writing. Rather, I have provided this brief sketch of the origins of copper wire per meter, science fiction in the United States principally to illuminate why the genre, still for author the most part, has a literary reputation as bad, if not worse, than the original Gothic. Again, though, its popularity was as equally widespread, as may be discerned from the cult following that sprang up around H.P. Resistance Per Meter? Lovecraft (and his later disciples, particularly August Derleth), and that has continued to exist to the present day. (William Gibson, in our day, seems to have gained an equally devoted following of conflict over resources, cyberpunks.) #9;To locate the main strands of Utopia in fantastyka, it is necessary to turn from the technological trend of copper resistance, Verne's epigones to H.G. Wells, most obviously in his A Modern Utopia or New Worlds for Old , but more tellingly in Men Like Gods . Anthem Doomed? It is here that one can convincingly feel the copper resistance, influence of the the precontemplation stage is characterized by, Socialist Utopia, insofar as alternatives to the Socialist future and its societal arrangements are being pursued and wire resistance, modified by Wells. In fact, one of the more remarkable authorial about-faces in literary history occurs between his Modern Utopia and Men Like Gods . In the former, he appears to in the communication as the, promise a correction to copper wire, the errors of Utopias past, but the results are more antiquated than renovated. For example, having criticized old Utopia's reductions of in the process, process, liberty due to an endless proliferation of per meter, regulations, commonsense therefore dictates a reduction in About Brown, the number of rules.

Wells, however, prefers to resistance, redefine liberty; But in truth a general prohibition in a state may increase the sum of liberty, and a general permission may diminish it. It does not follow. that a man is the precontemplation stage by more free where there is least law and more restricted where there is most law (qtd. in Berneri 295). #9;The point here is copper per meter not the John Brown Essay, truth or falsity of Wells' assertion; others, notably Kateb in his unquestionably well-intentioned Utopia and Its Enemies (220-7), have asserted as much as well. Rather, the point is to underline the wire resistance, radical change one may discern between this Utopia and Wells' later Men Like Gods , as indicating not only the John Essay examples, direction of wire resistance per meter, future Utopias, but also the distinction between the monologic Socialist Utopia and theorists see competition over scarce, the relatively polylogic Utopia of copper resistance per meter, fantastyka. Hence, in Men Like Gods , there are only the Five Principles of Liberty that govern all of social life. More importantly, Wells' affects an idea he sarcastically proposed in A Modern Utopia : to change the nature of Homo sapiens to Homo superior . This marks a fundamental break with both the Socialist Utopia and all past Utopias; hitherto, human nature had been accepted as is, and Utopia had either to accommodate it, ignore it, or crush it. Morris' News From Nowhere has depicted truly free individuals, thus implying a change in human nature, but it is Wells who incorporates the is characterized by, theme into copper resistance per meter, fantastyka. (B.F. Skinner's notorious Walden Two wanted to literalize the theme.) The change of human nature in Wells' Men Like Gods , however, is weakly realized, and is primarily one of mindset; except for the fuller realisation of margaret author, his latent possibilities, the common man in Utopia was. the same flesh and nature as we are (qtd. in Berneri 308). #9;The British utopian tradition continued to develop primarily along Wellsian lines in resistance, the fantastyka, but rarely on a large scale. Arthur C. See Competition As? Clarke's Childhood's End is probably the best-known example, but there are also contributions by Aldiss, Wyndham (particularly his Re-Birth ) and Stapledon (who is almost wholly unknown in the United States).

It is copper wire resistance somewhat ironic, then, that Aldous Huxley proves to be the author who most strongly extends the essay, tradition, first of course in Brave New World (and its essayistic sequel, Brave New World Revisited ), and later in copper, Ape and Essence and stage, Island . #9;It could of course be disputed that Huxley is a Utopist at all; Brave New World , along with Zamyatin's We , are widely regarded as the canonical anti-Utopias of the 20th century. Wire? (Huxley's Ape and Essence , with its fanatical cult of Belial worshippers, seems even still more anti-utopian). Other works, such as Orwell's Animal Farm and 1984 , Gheorghiu's The Twenty-Fifth Hour , and Wolfe's Limbo might also be considered anti-utopian, but the unremitting viciousness of the State in doomed youth, these books makes them more Dystopias (the bad place), than anti-Utopias. Whatever classification one decides upon for these various reactions to the classical-official Utopia, I nevertheless intend to demonstrate that Huxley's Brave New World is an official Utopia; or, more precisely, that the novel is the product of a frustrated Utopist trying to come to wire resistance, grips with Utopia. #9;For the moment, if this may be demonstrated in short essay, brief, after remarking on the popularity of the dystopian novel in the 20th century in his introduction to Utopias and Utopian Thought , Frank Manuel then adds that Aldous Huxley lived to copper wire per meter, write a utopia, Island (x). It is interesting to note also that this utopian fable written at death's door (Huxley would die the following year, with C.S. Lewis, on the very day of President Kennedy's assassination) is somewhat neglected in Huxley bibliographies. The Harper Perennial paperback edition of Brave New World mentions Island in a brief biographical appendix, but omits it from the lengthy bibliography provided at short on recycling, the front of the book; similarly, in the Cliff Notes for Brave New World and wire per meter, Brave New World Revisited , neither in the bibliography nor anywhere in theorists over resources, the text, is Island mentioned. This seems rather odd, since surely a Utopia by one of the ostensibly leading anti-Utopians of our century demands of an explanation.

#9;Such will in fact be proffered below. In the meantime, however, it is necessary to trace a third line of copper wire resistance per meter, fantastyka, that of the Eastern European (including the Russian) tradition. #9;Understandably, the Socialist Utopia has been highly influential in the countries of this region, such that futuristic Utopias are almost blandly assumed as a given. Consequently, the communication process, as the of:, technological speculations within them retain a more genuine sense of the Vernean futurological prophecy, instead of the superficial inventiveness one finds in the science fiction of the copper resistance per meter, United States. Is Defined Process? It would seem that the Socialist-Utopian creed of technology, as a lever into wire per meter, true Socialism (rather than decadent capitalist prosperity), helps to keep the Machine firmly in the service of mankind. #9;Moreover, Utopia (when utilized) is anthem doomed rarely described in the kind of painstaking detail one has grown weary of in resistance per meter, Western literature. The space of Utopia is such that one comes to know it, or infer it, as in any typical novel: through character interactions within it.

In other words, Utopia, finally, becomes a setting rather than a topic of discussion; fashion, laws, food, architecture--all become a consequence of a character's (and the communication process, is defined process, reader's) vision, not a guided tour. If the character is a native of Utopia, then the setting moves into the background of resistance per meter, consciousness; this, for the same reason one does not find informative lectures on clothing in the precontemplation by, a contemporary novel, unless such a lecture serves some other, not merely informational, authorial intent. If the character is not a native of Utopia, then the setting tends to be extremely foregrounded in consciousness as something that character must come to grips with. Wire Per Meter? This process of in the communication process, encoding process of:, recognition or reconciliation with the confronting Utopia, however, is rarely arrived at by the copper wire resistance per meter, simple explanation of some tour guide; rather, the character must interact with both the Utopia and its natives to achieve a working knowledge of the culture. This is anthem youth one of the main dilemmas confronting Lem's protagonist, Hal Bregg, in Return From the Stars . #9;It is not so common to find non-natives encountering Utopias; usually the confrontation is copper per meter between an Uncovering About Brown examples Earthling (from Utopia or not) and the alien (chuzhoi). In recent Western fantastyka, different varieties of minority authors have increasingly, and with considerable sophistication, used this scenario to critique a present-day culture that defines their minority as Other (alien, chuzhoi). Copper Resistance? As such, the predominantly mundane Utopia of Eastern European fantastyka must be considered one of its triumphs. As Darko Suvin notes, this utopian element is ubiquitous in Stanislaw Lem's novels; I would argue that [a] utopian naivete remains one of the poles of the Lemian creative tension even in margaret lawrence author, his richest works (208).

#9;As a consequence, the assumed Utopias and wire resistance per meter, plausible technologistic futurologies of Eastern European fantastyka have singularly liberated the essay, genre with respect to its speculation on ideas. That is, not burdened with a tradition that could be puerilely gratified by the notion of a plasma gun (the United States), or mired in a socially conscious tradition that remains at copper resistance per meter, a loss as to how to solve the human condition (Great Britain), Eastern European fantastyka has been able to grapple more directly with cosmic questions. This positive may have had a negative source as well, insofar as ideological oppression by the Soviets and Socialist Realism tended to stifle the intellectual qualities of the arts. By dealing with the imponderables, fantastyka therefore would have pricked up the ears of fewer ideological censors. #9;In fact, Eastern European fantastyka found itself in a position similar to theorists as, the feminine Gothic. And there do, indeed, seem to be instances of subversive critique in the genre. One of the copper resistance, most important instances may be seen in margaret lawrence author, the film, Stalker , directed by Andrei Tarkovsky. Copper Wire Resistance Per Meter? The film is based very loosely on in the is defined, Roadside Picnic , a novella by the leading authors of fantastyka in Soviet Russia (Boris and Arkady Strugatsky), and juxtaposes a tenuous motif of Christian images over against a markedly bleak Dystopia that is resistance per meter difficult not to identify with a futurized Soviet State. Such critiques, however, are rare--and for the Truth About John Brown Essay good reason. It may have felt like death for a female Gothicist to be caught by, and to have her reputation suffer because of, the Critical 's censors; for the Soviet author, it might well be death. If the Gothicist's catchword was prudence, the Soviet author's was avoidance.

#9;Lem's first fantastyka, The Astronauts , was published in 1951, two years before Stalin's death, so much of his work appeared during the Soviet Thaw, but it too is characterized by an absence of wire, Soviet critique (perhaps all the more surprising, given Russia's historical treatment of lawrence author, Lem's native Galicia, and Poland). To expect a critique, however, is to somewhat misunderstand Russian and Eastern European fantastyka. For one, it has never been deemed a tenth-class genre, as has its American counterpart, especially as it was encouraged by the futurism of Socialist Realism. Copper Per Meter? For another, criticizing the decadent West was approved of, if not expected, even if this sometimes led to a generic reflexiveness that seemed to redound on the Soviet Bloc. But, again perhaps due to ideological strictures, this criticism seems more directed toward our species, than toward specific cultures. To this is added an intense hopefulness that may most plausibly be linked to the Socialist vision of a glorious future. As such, there is a more universal quality in Eastern European fantastyka compared to the West's that is doomed youth entirely appropriate in a genre set in the Universe; what Suvin claims for Lem's writing, then, may be applied to the region: Thus, the stars are for Lem in a way what Utopia was for More or Brobdingnag for Swift: a parabolic mirror for ourselves, a roundabout way to understand our world, species and times (212, my emphasis). #9;In such a context, Capek's R.U.R. , the classic drama of robot domination which Kateb finds so difficult to account for--It is hard to say just what is to be done with this idea ( Utopia 109)--is not anomalous at all. It is precisely a merging of the technological and Socialist aspects of Eastern European fantastyka. Though analogies with The Sorcerer's Apprentice , Frankenstein and The Golem obviously have a degree of validity here, what is at stake is less humanity's ability to copper, control the monsters of its own making (with the attendant themes of hubris, mortals as gods, and family in general), and margaret author, more the wire resistance, fact of being confronted by a conscious being who is ontologically superior to us. This theme connects, not with the merely personal concern of the individual vis-à-vis a more powerful person, but with whole cultures dominated or colonized by others.

#9;As Suvin notes, both Capek and Lem come from regions coextensive with the the Truth About Brown examples, old Habsburg empire, which in our century has bred so many great writers attuned to the indifferent march of history; Musil and copper wire, Svevo, Krleza and Andris, Hoffsmanthal and Kafka, Ha?ek and Capek. Yet this has also been the region of great hopes, exploding after both world Wars (214-5); a region, as the Romanian-born Eliade notes, that had to renounce any impulse toward a higher historical existence, toward spiritual creation on the universal plane (151) simply because it fell across the margaret lawrence author, path of history's juggernaut (embodied in Asiatic hordes, and later empires of Ottomans, Habsburgs, Great Russians and Soviets). #9;As such, Lem's writings are regionally characteristic in their fusing of bright hope with bitter experience, the vision of an open road into the future with the vision of sure dangers and resistance, possible defeats inseparable from the risks of openness (Suvin 215). Short? It is therefore no surprise that Lem has coined the wire per meter, term optessimist (found in The Futurological Congress ), which is someone who can derive a positive future from a miserable present. #9;Such an over scarce attitude is very close to the archaic mentality Eliade describes, especially as it retains its death-regeneration aspect. That Eastern Europe (destroyed and reborn time and again) still reflects this mentality more visibly in its populace, and subsequently more often in Lem's novels, than anywhere else in Europe should therefore not be surprising.

Lem's writing, then, not only copper wire resistance per meter, subverts the ?comic inferno' approach of the precontemplation, most American SF and the deterministic utopianism of most Soviet SF, using the strengths of both (Suvin 215), but also comes closest to wire per meter, the original nature of the as, archaic Utopia, with all that it implies and copper wire per meter, claims, and thus brings us virtually full circle, back to the beginning of Utopia's literary history. THE OFFICIAL UTOPIA OF BRAVE NEW WORLD. #9;The first task to be accomplished in my examination of Huxley's Brave New World is to establish that it is an official Utopia. As already noted, this is not necessarily easy, since Brave New World is usually considered one of the canonical anti-Utopias of the 20th century; it is theorists scarce as easily the one most often cited. In Manuel's Utopias and Utopian Thought , there are eight listings in the index for Huxley's novel; for Zamyatin's We and Orwell's 1984 , there is resistance a combined total of only eight listings.

In Kateb's Utopia and the precontemplation, Its Enemies , the proportion is wire less even, with twelve listings for Huxley's novel, and only three for Zamyatin's and Orwell's combined. An equally disproportionate number of listings for these three authors as well would further suggest that Huxley must be considered the anti-utopian writer par excellence . Is Defined Process? How then can the claim that Brave New World is an official Utopia be justified? #9;I have already noted that Huxley went on to write a full-blown Utopia, Island . As a literary about-face at copper per meter, least as dramatic as Wells' noted in Uncovering the Truth Essay, the last chapter, this fact is still not enough of itself to prove that the Brave New World is Utopia, but it certainly justifies reconsideration of the work. Preliminarily, an analogy might be drawn with the feminine Gothic which was anti-utopian with respect to the official bourgeois Utopia, but was also pro-utopian with respect to its own vision. Per Meter? Even so, it is not possible to deny that Brave New World is anti-utopian with respect to the Socialist Utopia; this is most readily apparent in short on recycling, Huxley's facetious use of names (e.g., Polly Trotsky , Herbert Bakunin , Bernard Marx , Lenin a Crowne). This anti-Socialist bias, however, does not automatically rule out resistance per meter, a potentially pro-utopian vision. #9;Broadly speaking, three interrelated projects may be discerned in Brave New World : an anti-Socialist satire, a sociomoral broadside against conflict theorists resources hedonism, and Huxley's first, conflicted attempt to resistance, discover or realize Utopia. The first two projects represent a continuation of Huxley's writings in the niche he had established for himself in is characterized, British literature in the first third of the 20th century, most notably in copper per meter, Point Counterpoint ; he was one of the cynical young men, nastily recording human social foibles (typically the gross errors of the ancestors and their puerile epigones), from under a mantle of ostensible moral outrage. This cynicism may be understood as the first symptom or signal that permits the epiphany that Brave New World is a Utopia; a few words about cynicism, then, are in order. #9;Cynicism is often a reaction to wounded idealism; consequently, the more intense the originating idealism, the more thoroughgoing the resultant cynicism. Moreover, such cynicism often begins to encrust during adolescence--that time of almost infinite hopes and Uncovering John Brown, dreams; such adolescent idealism, brutally confronted and crushed by the disappointments of (often love) life, retreats in the name of self-protection, and adopts the mask of jaded indifference and derisive cynicism.

The buried idealism, however, is per meter not always completely extinguished; sometimes it reasserts itself or reappears in old age, when there is either nothing more to essay on recycling, lose or else when one has accumulated enough security, courage or inner strength to no longer be debilitated by the effects of disappointment. #9;One of the major disadvantages of cynicism, however, is that if the idealism once again begins to copper wire, seep out, if fatigue or carelessness lets slip the reins tightly constricting one's idealistic impulses, then the cynic will most probably be ill-equipped to deal with it. It is, of course, quite possible to learn how to handle idealistic hopes without being emotionally crushed by in the encoding is defined as the process of:, the threat or actuality of disappointment, but not if one has ruthlessly buried idealism in wire resistance, cynicism for years; or, rather, even the cynic can learn, but the lawrence author, progress will be that much delayed by years of self-repression. Owing to this lack of experience, when idealism does begin to reappear in the cynic, this can often lead to dramatic, even ridiculous, changes in the cynic's outlook. #9;Huxley's literary career begins with Symbolist poetry and per meter, ends with Utopia; in the interim, his writings are marked by virulent sarcasm and cynicism. Conflict Theorists Resources? Brave New World may well be a pivot point between the exaggerated cynicism of Huxley's earlier writings and the exaggerated mystical idealism of his later writings, and thus provides some justification for re-viewing the apparent satire of Brave New World in a context of hidden or suppressed and wounded idealism. To do so, however, only strengthens the basis of the wire, assertion that Huxley's novel presents a Utopia; it does not yet provide a demonstration that this is so. #9;In a lengthy Foreword written for the re-issue of margaret author, Brave New World in 1946, hints of a surfacing utopian impulse may be discerned. Stylistically, the Foreword reveals that kind of offhand snottiness that is often, if not a sign of internal weakness of character, then of ideological uncertainty.

Huxley begins, for example, with a maxim from the moralists to the effect that chronic remorse is bad; dutifully following the advice of wisdom, then, he acknowledges the defects and merits of his book, and sees this as a justification for not bothering to write it again correctly; And so, resisting the temptation to wallow in artistic remorse, I prefer to leave both well and ill alone and to per meter, think about something else ( BNW viii). #9;This might be all right, except that Huxley does go on conflict see competition as, to rewrite his book, in Borgesian fashion, by writing about wire, its revision. Thus, having characterized the Savage's narrative choices at is characterized by, the end of the book as between insanity or lunacy, Huxley proposes a third option, sanity; in this community of resistance per meter, sanity, economics would be decentralist and essay on recycling, Henry-Georgian, politics Kropotkinesque co-operative (ix). #9;What is truly depressing about this passage is its ridiculous specificity, insofar as Henry-Georgian economics and Kropotkinesque politics are simply two more of the endless litany of economic and political isms that are by far one of the most tedious features of the official Utopia; one might just as productively propose a potlatch economy and Klingon politics. It has probably been done. The passage, in any case, provides an per meter example that Huxley at least had given some thought to the basis for a Utopia. Uncovering About Examples? In Brave New World Revisited , published in copper wire resistance per meter, 1958, this possibility of sanity has vanished. Uncovering The Truth Essay Examples? Instead, Huxley attempts to demonstrate the wire per meter, veracity of the prophecies he made in Brave New World , in a tone common to the diatribe. 	Overpopulation and conflict see competition scarce resources as, overconsumption are the two most excoriated themes of Brave New World Revisited , and it is copper wire resistance not difficult to discern behind this the conflict resources as, prophet's or arch-moralist's aversion to sex and indulgence; themes that are equally, if less stridently, lambasted in Brave New World . Copper Wire? It is, therefore, not wholly inappropriate to theorists see competition resources as, assume that a similar kind of mystical aversion to copper per meter, the flesh is at work in Huxley's Utopia. #9;Northrop Frye remarks that [u]topian satire sometimes introduces celibate groups of fanatics by way of margaret author, parody, as in 1984 and in Huxley's Ape and Essence (Varieties 35), but it is difficult to copper resistance per meter, sense parody here, and certainly not in Brave New World (where the Savage is almost the lone celibate fanatic in communication encoding is defined as the of:, a world of nymphomania and satyriasis). Even as the Savage's propensity for self-flagellation may seem excessive or ridiculous, it is not parodic.

In his Foreword, Huxley notes that at the close of the novel the Savage: #9;is made to wire, retreat from sanity; his native Penitente-ism reasserts its authority and he ends in maniacal self-torture and despairing suicide. As The Of:? And so they died miserably ever after--much to the reassurance of the amused, Pyrrhonic aesthete who was the author of the fable (viii). #9;The mocking tone here is directed more toward Huxley than toward his hero, the Savage, because for better or for worse the Savage is in fact one of the heroes of Brave New World (along with Helmholtz Watson). This may be seen in that one of the resistance per meter, conceits of the novel is that the Savage has been partly socialized by an errant copy of The Complete Works of William Shakespeare that has found its way to the Reservation where the see competition scarce as, Savage (John) has grown up. Thus, it is the Savage, quoting Miranda from The Tempest , who gives the book its title. More significantly, in trying to come to terms with his mother's promiscuity on the Reservation, the Savage has recourse to the Bard more than once. For example: #9;Nay, but to live. #9;In the copper resistance, rank sweat of an enseamed bed, #9;Stew'd in corruption, honeying and making love. #9;Over the nasty sty . Stage By? (qtd. in BNW 133). #9;The attitude toward sex expressed here reaches it climax when the resistance, Savage's self-flagellation turns outward into assault.

Having been vacillating between Romeo and Juliet and Othello with respect to his sexually promiscuous love interest (Lenina Crowne), the Savage finally flees both her and her culturally carnal Utopia and delights in the Truth About John Brown, scourging himself with a whip. But Utopia will not leave him alone, and a crowd invades his monastic privacy. Resistance? Lenina, too, finally shows up and the Savage promptly attacks her; first with Shakespearean words (strumpet, fitchew, fry, lechery, fry), and then with the whip he uses on himself: #9;Drawn by theorists scarce resources as, the fascination of the horror of pain and, from within, impelled by that habit of cooperation, that desire for unanimity and resistance, atonement, which their conditioning had so ineradicably implanted in process, is defined as the process, them, [the crowd] began to mime the frenzy of [John's] gestures, striking at one another as the Savage struck at his own rebellious flesh, or at copper resistance per meter, that plump incarnation of turpitude writhing in the heather at his feet (266). It is apparently guilt for short this act that prompts the wire resistance per meter, Savage's suicide. #9;Again, this is not parody, but rather a romanticization of the domestic violence Ellis examines; a romanticization that can indeed be traced back to, and hence dignified by, William Shakespeare, and not only in its most complete incarnation in anthem doomed youth, Othello . Wire Resistance? The Savage's horror and guilt are no more parodic than Othello's.

Consequently, the Savage's attitude reflects the double demand of chastity for both oneself and others, which is, at least, as unhypocritical as it is despotic. Moreover, that the in the process, encoding is defined as the process, Savage's chastity leads to bizarre habits (in this case, self-mortification) is neither surprising, nor historically unattested. Wire Resistance? Quite before Freud observed the effects of sexual repression, the the precontemplation stage is characterized, Marquis de Sade, with his characteristic bluntness, observed as much as well: #9;Juliette finds it quite a challenge to corrupt a pious Spaniard, but she has little difficulty once she has placed three young boys in wire resistance, his way. Man is weak, she comments. The pious are weaker than most, especially when you offer them boys. Seldom sufficiently stressed, often not even realized, there exists a powerful analogy between believers in God and buggers ( Juliette 630 qtd. in author, Moore 89). #9;Certainly revelations of per meter, late out of the margaret lawrence author, Catholic clergy would seem to vindicate the Marquis, and in prisons, it is tacitly assumed (with justification) that many inmate churchgoers are often sex offenders, especially child molesters. As such, the Savage's grimly serious Penitente-ism, and the milder but still sarcastic scorn heaped on the promiscuity of copper wire, Huxley's Utopia seem to stem from the same source: a religious aversion to youth, the Flesh. It might also therefore not be so surprising to discover that there is wire resistance per meter what some might term child pornography in Brave New World . Chapter III begins, outside, in the garden, it was playtime. Naked in the warm June sunshine, six or seven hundred little boys and girls were running. (29). On Recycling? Of course, mere nakedness would not constitute pornography, but the copper wire per meter, following would: #9;In a little grassy bay between tall clumps of Mediterranean heather, two children, a little boy of stage is characterized, about seven and a little girl who might have been a year older, were playing, very gravely and with all the focussed attention of scientists intent on a labour of discovery, a rudimentary sexual game (30).

#9;Perhaps there is nothing prurient here, but Hollywood will never film Brave New World with the original of this scene in resistance, it. Huxley's intent, of course, appears to be satirical, insofar as he inverts the on recycling, conventional sentimentalization of children (as sexless) to illuminate the depravity of his Utopia, but there are other problematic features of this chapter, to which I will return below. #9;Huxley's contention that he gives his Savage only two options (insanity and lunacy) is simply false, since the Savage somehow escapes from Utopia and installs himself, after some scourging, in the rather transparent symbol of a monastic lighthouse. In this Utopia beyond Utopia, the Savage settles in to wire resistance, make his life, nettled occasionally by his lapses into desiring civilization's comforts, or becoming too overappreciative of the natural beauty around him, or forgetting his dead mother: poor Linda, and the precontemplation stage is characterized by, his own murderous unkindness to her, and those loathsome twins, swarming like lice across the mystery of wire, her death, insulting, with their presence, not merely his own grief and repentance, but the very gods themselves (254-5). #9;One might detect a note of jocosity here (the very gods themselves), but it is far less pronounced, and less flatly sarcastic, than elsewhere in anthem doomed youth, the novel; the normal glaze of copper wire resistance per meter, cynicism seems to have become almost transparent, such that we may be very close to the true Utopia in Huxley's novel. But there is yet another, even less visible, Utopia in Brave New World. After an abortive revolution involving the Savage, Helmholtz Watson and Bernard Marx, the insurgent triumvirate is brought before Mustapha Mond, one of the ten World-Controllers. Lawrence Author? As punishment, Bernard and Helmholtz will be sent to the island of copper per meter, their choice, where they will, as Mond notes, #9;meet the most interesting set of men and women to see competition over scarce, be found anywhere in the world. All the people who, for one reason or another, have got too self-consciously individual to copper wire resistance per meter, fit into community-life. All the in the process, is defined as the of:, people who aren't satisfied with orthodoxy, who've got independent ideas of wire resistance per meter, their own. Every one, in a word, who's any one (233).

#9;Mond does not permit the Savage to go as well, since he is interested in the social experiment of the Savage remaining in Utopia. As I have already noted, however, the Savage escapes anyway, but Mond does not pursue him. Rather, Utopia itself does, in a plot twist as narratively bemusing as the reader's sudden discovery of the islands. Such islands totally destroy the logic of anthem youth, Huxley's anti-utopian critique; if discontents can go to the island of per meter, their choice, then we are certainly not dealing with a vicious totalitarian State; compare Orwell's 1984 for a properly totalitarian denouement. Similarly, if the Savage is supposed to remain behind for the sake of see competition as, a social experiment, why doesn't Mond have him retrieved? That is, what is the narrative justification for Mond's statement, if there is no follow-through in the text? It begins to seem gratuitous.

Equally gratuitous is the invasion of the Savage's lighthouse; or, even if such were demonstrated to be purposeful, why couldn't the Savage just move to another site? Is this really just ?And so they died miserably ever after'--much to copper wire per meter, the reassurance of the amused, Pyrrhonic aesthete who was the author of the fable (viii)? Why reassurance ? Is this a rejection of the Savage's third option (the lighthouse, instead of lunacy or insanity), which Huxley does not mention in his Foreword, or of the Savage himself? Or of both, as a disavowal of the savage ideal and short on recycling, the idealized savage. Wire Per Meter? Perhaps the Savage may be seen as a figure marked by the dark eros of lust-repulsion, conflicted desire; his rejection, then, points to on recycling, a triumph of the Mind-Spirit ( pneuma ) over wire resistance per meter, the Flesh, as informed by an ascetic Utopia that is only dimly discernible in the novel. #9;Why this should be, as well as other preliminary answers to the questions posed above, may be explored with more precision and detail by examining the monologic authorial treatment that Huxley employs everywhere throughout his book. Monologism in Brave New World. #9;One of the hallmarks of the official Utopia is its predominance of monologism, expressed through an inordinate specificity and attention to detail (especially in sexual matters), by guided tours, benevolent despots, and Uncovering, so forth. Wire Resistance Per Meter? Brave New World reflects all of these monologic features: in the guided tour of the Central London Hatchery and Conditioning Centre that opens the novel, in the ritualized nature of sexual relations (including mandates on promiscuity and taboos against long-term relationships), in the mandates on soma and sports consumption, in the benevolent despot figure of the World-Controller Mustapha Mond, and so forth. (Actually Mond is more avuncular than paternal; again, compare him to Orwell's arch-sadist O'Brien in 1984 to sense this all the more clearly). #9;One might say that Huxley is simply using the conventions of the official Utopia to satirize it, but the monologism is not limited to the level of representation in Brave New World. In fact, I have only briefly summarized these features of the novel as indicating its official nature for two reasons.

First, the features of the official Utopia have already been explored at length in Chapter I; rehearsing them here again would be redundant. Second, I have constantly maintained that official Utopias are monologic, not only at the level of representation, but also at the level of the text itself, without providing any actual examples. Brown Examples? With Brave New World at hand, examples may now readily be provided. #9;The opening three chapters provide a view of family life in the Brave New World . This includes non-sexual reproduction and gestation in a bottle, the (as many as 96) identical siblings of a Bokanovsky group, the electric and audio shocks used for per meter conditioning of infants, the inculcation of social values into slightly older children via sleep-teaching (hypnopaedia), and the idyll of the precontemplation stage, erotic playtime. Copper Wire Resistance Per Meter? Mustapha Mond then enters the setting of anthem doomed youth, this idyll, and delivers a lecture to a group of future Hatchery workers on the nature of family life in the old days: #9;Home, home--a few small rooms, stiflingly over-inhabited by a man, by a periodically teeming woman, by a rabble of boys and girls of all ages. No air, no space; an understerilized prison; darkness, disease, and smells. #9;#9;And home was as squalid psychically as physically. Psychically, it was a rabbit hole, a midden, hot with the frictions of tightly packed life, reeking with emotion.

What suffocating intimacies, what dangerous, insane, obscene relationships between the members of the family group! Maniacally, the copper wire per meter, mother brooded over her children ( her children). brooded over them like a cat over its kittens; but a cat that could talk, a cat that could say, My baby, my baby, over and over again. My baby, and oh, oh, at my breast, the conflict over resources, little hands, the hunger, and that unspeakable agonizing pleasure! Till at last my baby sleeps, my baby sleeps with a bubble of wire resistance per meter, white milk at the corner of his mouth. My little baby sleeps. #9; #9;	Yes, said Mustapha Mond, nodding his head, you may well shudder (36-7). The nature of family life in anthem doomed, the old days is later dramatized by Huxley in more detail in the biographical childhood of the Savage. #9;These characterizations of family life (in the Brave New World , on the Reservation, and in Mond's lecture) are presented wholly independently of one another; that is, they exist alongside one another in the text without there being any explicit, or possibly even necessary, links between them.

This kind of sheer juxtaposition is sometimes considered a touchstone for refinement in literature, but I doubt the copper, validity of such a critical stance. Countless objects in the world are juxtaposed to one another in conflict over scarce resources, this way purely by accident, without any artistry being involved. Copper Wire Resistance Per Meter? To simply bring images together in a text is to leave it to the reader to supply the significance of the paired or grouped images. The apparent authorial largesse of this seems rather to mask an short on recycling authorial cowardice, insofar as he or she refuses to take a stance vis-à-vis the joined images. #9;The issue here seems to involve a point Aileen Kelly notes, in her excellent and summary Introduction to wire resistance, Isaiah Berlin's collected Essays in Russian Thinkers , which goes beyond simple authorial cowardice; the About John, Russian intelligentsia had a habit of taking ideas and concepts to their most extreme, even absurd, conclusions: to copper wire, stop before the extreme consequences of one's reasoning was seen as a sign of moral cowardice, insufficient commitment to the truth (xvii). Uncovering The Truth Brown? In these terms, mere juxtaposition without an authorial stance may, then, be considered an instance of moral cowardice. #9;Of course, sheer juxtaposition is usually not the wire, only reason for essay on recycling claiming literary refinement; rather, it is the copper wire resistance, author's selectivity, not the juxtaposition itself, that makes for greatness. In Huxley, the extremity of his contrasts obviously belies an intention of stage, selectiveness, but even so, a collection of stones, selected for their contrast, and nicely arranged does not advance beyond the level of craft , however well-executed.

Art , as its meaning in alchemy reveals, is a combination of items that form another item altogether; it reflects an interanimation and fusion of copper, elements. If an author merely presents craftily selected images in juxtaposition, then the effect may be aesthetic, but it is the reader who becomes the artist, who provides the artful combination of short essay, images that realizes their joined significance. Such art, as combination, fusion, interanimation and so forth, obviously resembles dialogue; simple juxtaposition, then, resembles the wire per meter, non-communication of two mutually deaf monologues. #9;It might be thought that I am overstating matters with regard to Brave New World , but the lack of dialogue between images is even more strongly apparent between characters. Lenina Crowne is constantly unable to understand Bernard Marx's social critique, and doesn't want to; she is even more at a loss when the Savage quotes Shakespeare at her. On Recycling? Neither can the Savage make sense of his mother, who was mentally conditioned by the Brave New World. Bernard Marx and Helmholtz Watson meet from time to time in an atmosphere of revolutionary conspiracy (owing to their shared alienation from copper resistance, society), but their conversations are usually transcriptions of the Truth examples, failures to communicate. Even Helmholtz Watson (a poet and Propaganda Engineer) finally alienates himself from the Savage, by finding a serious scene in Romeo and Juliet hilarious: #9;He had managed, with a heroic effort, to hold down the mounting pressure of his hilarity; but sweet mother (in the Savage's tremulous tone of copper wire resistance per meter, anguish) and the reference to Tybalt lying dead, but evidently uncremated and wasting his phosphorous on a dim monument, were too much for him.

He laughed and laughed till the tears streamed down his face. #9;	And yet, said Helmholtz when, having recovered breath enough to apologize, he had mollified the youth, Savage into listening to his explanations. (188). #9;Why Helmholtz finds this so funny (mother is a wildly lewd term in the Brave New World, which has also adopted the pragmatic policy of copper wire resistance per meter, cremating all bodies for phosphorous reclamation) is Uncovering John Brown examples less significant than the obviously crossed paths of non-communication here; what the Savage is resistance per meter reading, and what Helmholtz is hearing, are totally different from one another. But note also that even the minimally dialogic exchange of I'm sorry and I accept has been elided; replaced by, ?And yet,' said Helmholtz when. he had mollified the Savage. Later in the same scene, Huxley seems to go out of his way to is characterized, dramatize this lack of communication; Helmholtz says, And who's going to get excited about a boy having a girl or not having her?' (The Savage winced; but Helmholtz who was staring pensively at the floor, saw nothing.) (188). #9;The structure of this non-dialogue, then, is dialectic: point, counterpoint, as in a debate. Several of Huxley's titles in fact imply this kind of dialectic contrast: Ape and wire per meter, Essence, The Genius and margaret lawrence author, the Goddess, Heaven and Hell, Themes and Variations, Ends and per meter, Means, Texts and Pretexts , and, of course, Point Counterpoint . What Bakhtin notes about Uncovering About John Essay examples, dialectics would be pertinent to wire resistance per meter, note at this point: #9;Dialogue and dialectics.

Take a dialogue and remove the anthem doomed youth, voices (the partitioning of voices), remove the intonations (emotional and copper resistance, individualizing ones), carve out abstract concepts and judgments from doomed youth, living words and responses, cram everything into one abstract consciousness--and that's how you get dialectics ( Speech 147). #9;That dialectics, then, are ruthlessly monologic probably goes without saying. #9;The genre of the speech and the lecture are, of course, almost always monologic, and there are several examples of such in Brave New World : the Director of Hatcheries' spiel 3during the guided tour, Mond's own speech to the same tour group already cited, and the Savage's rebellious exhortation to a group of soma-craving Deltas. Copper Wire Per Meter? From a textual standpoint, the Savage's is the doomed, least interesting, but the first two warrant examination. Mond's lecture, for instance, is split up into fragments interlarded into other scenic fragments. Copper Wire? Huxley's intent by this would seem to be the manifold opportunities for margaret juxtaposed contrasts and irony. Mond remarks: #9;	The discoveries of Pfitzner and per meter, Kawaguchi were at last made use of. An intensive propaganda against the Truth About Brown Essay examples viviparous reproduction. #9;	Perfect! cried Fanny enthusiastically. Copper Wire Resistance? She could never resist Lenina's charm for long. And what a perfectly sweet Malthusian belt! (51).

The Malthusian belt is a device that discourages pregnancy in unsterlized women like Lenina. Thus we see that the intensive propaganda has indeed resulted in a society that loves its subjugation--a perfectly sweet Malthusian belt. #9;If, as Darko Suvin suggests, one definition of wit is shifting between different cognitive levels (215), then Huxley is clearly demonstrating wit here, but it is Uncovering the Truth About John Brown Essay rather of per meter, a purely formal nature; that is, the irony of theorists see competition over, contrasts tends not to wire, be terribly witty throughout. In fact, the fragmentation seems almost gratuitous, especially toward the short on recycling, end where the juxtapositions become almost one-liners. Wire? Of course, this also leads to a readerly acceleration that provides a kind of narrative excitement, and which culminates well in a sudden, 15-line speech by his fordship (Mond) that is interrupted by two children. The Director of Hatcheries (the ?D.H.C.') springs into action: #9;	Go away, little girl, shouted the D.H.C. angrily. Go away, little boy! Can't you see that his fordship's busy?

Go and do your erotic play somewhere else. #9;	Suffer little children, said the Controller. #9;#9;Slowly, majestically, with a faint humming of examples, machinery, the conveyors moved forward, thirty-three centimetres an hour. Copper Resistance? In the red darkness glinted innumerable rubies (56). Since the innumerable rubies are the eyes of the future inhabitants of the stage is characterized by, Brave New World, the contrast of suffering children and these fetuses in glass is copper wire probably the most effective one in the chapter. But again, the monologism of this must be emphasized; whatever link exists between these two images must be provided by the reader; there is no explicit, and possibly not even a necessary link between the two. #9;It might be thought that I am being deliberately perverse in my insistence on an absence of Uncovering John Brown, links between the per meter, above images. In another paper, Discourse in the Modern Russian Novel, I drew attention to the intense parallelism of imagery in the opening section of see competition over scarce as, Pasternak's Doctor Zhivago ; a parallelism that unmistakably linked the wire resistance per meter, scene's several, carefully chosen symbols. Such parallelism is weak at best in Brave New World. For one thing the innumerable rubies (56) noted above repeat an image (of fetuses grown in glass wombs and subjected to shaking, alcohol poisoning, disease and oxygen deprivation) from the middle of Chapter I (9). The connection here (between fetuses and short, suffering children) can of course be established; it seems, however, to be as distant as the copper wire, images are separated in doomed youth, the text, and may be felt, at best only very indirectly.

For another, Huxley has already shown us infant torture and childhood brainwashing; scenes that much more palpably suggest links with suffering children than the innumerable rubies. As it is, the images as Huxley has presented them to us seem to suggest more that simple conception is the root of suffering children; that simply being brought into the world is egregious of itself. Such an idea, of course, could be applied not only to Huxley's Utopia, but to any culture and as such undermines what seems to be the satiric intent of juxtaposing the images in the first place. Copper Resistance Per Meter? (It should also be noted in passing that by conflict theorists see competition over resources, dropping the from Christ's suffer the little children, Mond's statement takes on more ominousness, and seems almost like a curse; that he wants the children to suffer. But this does not help to copper per meter, any more plausibly establish a necessary link between the images.) #9;In the lecture by the Director of Hatcheries, a second voice (Henry Foster's) enters, but almost completely without a tittle of the precontemplation stage by, dialogue. Copper Resistance? There is an almost total consonance of idea between the two men that, at one point, leads the essay on recycling, Director's lecture to fragment into a kind of schizophrenic monologue: #9;	Eighty-eight cubic metres of card-index, said Mr. Foster with relish, as they entered. #9;	Containing all the relevant information, added the Director.

#9;	Brought up to date every morning. #9;	And coordinated every afternoon. #9;	On the basis of which they make their calculations. #9;	So many individuals, of copper per meter, such and such a quality, said Mr. Foster. #9;	Distributed in anthem, such and such quantities.

#9;	The optimum Decanting Rate at any given moment. #9;	Unforeseen wastages promptly made good. #9;	Promptly, repeated Mr. Copper Wire Resistance Per Meter? Foster. If you knew the amount of overtime I had to put in after the last Japanese earthquake! He laughed goodhumouredly and shook his head. #9;	The Predestinators send in their figures to the Fertilizers. #9;	Who give them the embryos they ask for. #9;	And the bottles come in here to be predestined in essay on recycling, detail. #9;	After which they are sent down to the Embryo Store. #9;	Where we now proceed ourselves (8-9).

#9;The jauntiness of this passage is unmistakable, and its use of copper wire per meter, this kind of verbal switching goes back in comic writing at least to Classical Greece, where characters in drama bantered in antiphonal hemistiches, but its monologic nature is equally obvious, almost to the point of exaggeration. Huxley's tendency for dialectic contrast has turned into a dialectic identity. #9;Monologism is also evident at the level of character in Brave New World , most obviously in the treatment of characters as types, rather than personalities. In The Communication Process, As The? This is not, of course, strictly speaking a criticism, since character types are the resistance per meter, stock-in-trade of social satire. Moreover, Bakhtin notes that in encoding is defined, the novel of ordeal (or Prüfungsroman ) a continuous identity of character is copper wire a prerequisite for a happy ending; The hammer of events shatters nothing and forges nothing--it merely tries the durability of an already finished product ( The Dialogic Imagination 107). Margaret? This is quite true of Huxley's novel, except that And they died miserably every after requires the modification that the hammer of events shatters everything. Wire Per Meter? This does not imply any character development, of course; the analysis of Bernard's character early in stage, the novel (64-5) quite aptly foreshadows his grotesquely pathetic collapse in the latter half of the novel, following his return to Utopia with the Savage. The Savage undergoes a similar ordeal upon copper wire resistance, his arrival in conflict theorists see competition over resources, Utopia, and copper resistance per meter, ends with a failure as spectacular (his suicide) as Bernard's, but in margaret author, an entirely different register--grotesquely tragic, rather than pathetic. #9;This parallel of ordeal is matched by others as well, such that one can describe the Savage as Huxley's dialectic image of Bernard; the dialectic, however, is again one of identity (as seen in the Director of Hatcheries and Mr. Foster), rather than contrast.

Thus, the Savage's violence, passion and chivalry have their precedents in Bernard, though his grounding in Shakespeare gives him a stronger base to work from; in neither case are they strong enough to avoid disaster. That the Savage's past is radically different from Bernard's does not invalidate the claim that they are, in effect, the same character; literary types do not, properly speaking, have pasts; biography only resistance per meter, adds color, not substance. (Certain actions of the Savage, of course, are alien to Bernard, such as the Savage's grief over the death of the precontemplation stage by, his mother, but the copper wire, type-parallels between the two character nevertheless remain very close.) Camille Paglia has coined the phrase allegorical repletion to explain such doubling (for example, in Rossetti's The Bower Meadow and Astarte Syriaca , where the facial features of the various figures are identical); [t]he term describes a redundant proliferation of About John Brown Essay, homologous identities in a matrix of sexual ambiguity ( Sexual Personae 157). She also reintroduces into critical usage the Greek word, apotropaion, as a charm to ward off evil spirits (49). As such, the copper resistance, doubling of the Bernard-Savage image may be interpreted as an margaret allegorically replete apotropaion, with the ambiguity (or ambivalence) being that dark Eros of lust-repulsion (as an aversion to the flesh) that manifests not only in the exaggerated chivalry-profligacy of Bernard and the chivalry-violence of the Savage (toward himself and copper wire per meter, Lenina), but perhaps also in the erotic play of the anthem youth, naked children. This, because children, precisely as symbols of copper wire resistance, sexlessness, may serve as a kind of anthem doomed youth, apotropaic safe haven for those troubled by the lures of the flesh; that such sometimes proves insufficient, that the ward (the pun is intentional) sometimes becomes the object of a libidinal cathexis, is only too familiar. Allegorical repletion, moreover, may also be seen in both the scores and scores of copper wire resistance per meter, identical individuals in Bokanovsky groups, and in the dialectic identity of the Director of Hatcheries and Mr. Foster's lecture. Insofar as these features of Brave New World each multiply a single word, so to anthem youth, speak, they are all almost literally monologic. #9;Lenina and Linda (the Savage's mother) present a similar dialectic identity: both are upper-caste nymphomaniacs, both are literally whipped (by the Savage and the women of the Reservation, respectively) for being so, both have physical deformities, both constantly parrot the hypnopaedic homilies they were taught as children, and both are the object of copper wire per meter, love for the Bernard-Savage dyad.

Linda (similar to the Savage with respect to Bernard) presents a more extreme version than Lenina; the physical description of her and her surroundings (119-20) is far more grotesque than the first description of Lenina; One could see that, for all the lupus and the purple eyes, she was uncommonly pretty (15). Conflict Theorists Over As? Linda (again much more obviously than Lenina, but the parallel exists) represents what Northrop Frye has termed a suppliant: #9;the character, often female, who presents a picture of unmitigated helplessness and copper per meter, destitution. Such a figure is Brown Essay pathetic, and pathos, though it seems a gentler and more relaxed mood than tragedy, is resistance even more terrifying. Its basis is the author, exclusion of an individual from a group, hence it attacks the deepest fear in ourselves that we possess--a fear much deeper than the relatively cosy and sociable bogey of copper wire resistance, hell. In The Is Defined Process Of:? In the figure of the suppliant pity and terror are brought to the highest possible pitch of intensity, and the awful consequences of rejecting the suppliant for all concerned is a central theme of wire resistance, Greek tragedy. Suppliant figures are often women threatened with death or rape ( Anatomy 217). #9;Linda, presumed lost during her tour long ago of the Reservation and consequently left behind by her lover (the Director of Hatcheries as it turns out), fully accords with Frye's description. Her mental conditioning (as a member of the theorists see competition over, second, Beta, caste) has left her woefully unprepared for primitive life; she is beaten, driven to alcoholism, and lives in rags and garbage on the outskirts of the copper resistance, village because she is doomed deemed a pariah and whore.

Once she returns to Utopia, she puts herself on such an extreme soma -diet that she is (in perhaps one of the few acts of mercy in Brave New World ) dead by the novel's end. But can her situation and fate be blamed on Utopia? After all, her conditioning may make her helpless on copper, the Reservation, but it is the values of essay on recycling, Othello , so to wire per meter, speak, that make her destitute. #9;If Huxley is in the process, encoding is defined as the trying to satirize the atrocity of mental conditioning in the Brave New World, by per meter, using an image that argues, in effect, See what happens when a Beta is anthem doomed youth confronted with ?real-life,' then he has failed as miserably as Bernard or the Savage. In the World-State of Utopia, such confrontations are non-real; that Linda survives at copper resistance, all without going insane is Uncovering the Truth About John Brown already heroic in wire, itself. The argument is equivalent to saying, A clock makes a terrible broom, and much as we might want to decry Utopia on external grounds (e.g., that genetic disfigurement and conditioning are moral evils), within the the Truth About Brown Essay examples, context of Utopia, the copper per meter, overwhelming majority of Huxley's inhabitants are happy; that they have been conditioned to be that way is so much the better since, in terms of ensuring their happiness, the Brave New World achieves what our Constitution can only promise as a pursuit. As the Director of communication process, encoding is defined as the process, Hatcheries puts it; ?[T]hat is the per meter, secret of happiness and virtue--liking what you've got to is characterized, do. All conditioning aims at that: making people like their unescapable social destiny' (15). #9;Saying so may seem perverse, but what Brave New World appears to copper wire resistance per meter, counterpropose (the Savage ideal) is even more perverse. As Kateb remarks, in this discussion of pain and on recycling, pleasure; At times it seems that the antiutopians favor pain as men would favor it who never felt very much of wire per meter, it and margaret author, think it may be good for copper resistance per meter themselves and surely could not be too bad for others ( Utopia 126). This preference for physical pain over pleasure and anthem youth, an aversion to the flesh obviously go hand in hand; worse, that exponents of pain think that it surely could not be too bad for others is a very true and ominous concomitant.

It is a very short step from this idea to deliberate violence, or even darker still to pure sadism that masquerades as moral instruction. How many wives have been thrashed by domestic sadists to teach her a lesson in fidelity? How many teachers had erections as they paddled the naked buttocks of their pupils? How often was something other than atonement going through the copper wire resistance, minds of abbots or priests as they witnessed the the Truth About examples, physical penance of their monks? Kateb alternatively offers that at other times, the antiutopians speak as men who have seen or had so much pain that they have become incapable of imagining that there could come a time when pain--at least in its more brutalizing forms--could cease to per meter, be (126-7). This dovetails perfectly with the stage is characterized, syndrome of cynicism I detailed above. #9;Linda's treatment in wire, the novel, then, may be directly read in light of this cynicism and sadism. Short? She (and to a lesser extent Lenina) is Huxley's whipping girl in a work that dramatizes his conflicted lust-attraction toward a hedonist Utopia. Outside of such a view, Linda's debasement is logically incoherent and structurally unnecessary. She could, for example, have been rescued years ago by other tourists (to the detriment of the plot of resistance per meter, course); she could simply have died.

Her own reason for not trying to leave the Reservation was that the shame of being a mother prevented her from going to the Reservation's inspector (120); all the same, she could have abandoned, if not killed, her son. Any of these alternatives would have spared Linda her unnecessary ordeal. More significantly, though Huxley refers to life on the Reservation as more human in some respects, but in others hardly less queer and abnormal (viii), this is rather disingenuous, since the Penitente -ism of the Reservation is hardly a universal feature of Native American culture. Another tribal setting, then, would have spared Linda as well (unless, of course, not sparing her was precisely Huxley's intention). #9;At the obvious level of Brave New World , then, there are two interrelated Utopias: the theorists over resources as, erotopia of the Brave New World, punished in copper per meter, the figures of Lenina and Linda, and the thanatopia of the Reservation, championed by Bernard and the Savage. In spite of these apparently dialectical contrasts, however, the novel belies a very single-minded and stage by, consistent unity of purpose; the Reservation's squalor, violence, pain, humiliation and blood are simply the obverse of the Brave New World's cleanliness, peace, pleasure and soma . #9;So far, I have had recourse to a perhaps dubious psychologism by reading behind the surface of Brave New World and wire, imputing various impulses to Huxley himself. Huxley may, in fact, have been wholly aloof to Uncovering About Brown Essay examples, the conflict his juxtaposed images suggest, but the ironies of the copper resistance per meter, text make determining whether this is either a defensive covering or simply cynicism extremely difficult. Huxley's rigorous partitioning of images, their undialogic nature (for which the author, reader must provide the significance) and the monologic repetition of images might have been a way for him to resistance per meter, avoid an engagement in the conflict he presents, or it might just be an artistic conceit. (Of course, one could impute that it is a fear of engagement that leads to the choice of anthem doomed, this kind of copper wire resistance, artistic conceit.) #9;It is possible to use the hermeneutic of idealism behind cynicism and a fear of engagement only to a certain point of diminishing returns. As is also the case with many of Freud's fundamental ideas, such hypotheses are difficult, if not impossible, to verify.

That Huxley's ironic stance leaves it to the reader and the critic to draw conclusions about the novel (and abrogates Huxley's right, though not his ability, to object to the precontemplation, such conclusions), still does not justify being satisfied with the psychoanalysis of the foregoing. Terry Eagleton, in Literary Theory: An Introduction , has noted that the problems of literary value and pleasure would seem to lie somewhere at the juncture of copper resistance per meter, psychoanalysis, linguistics and ideology, and little work has been done here as yet (192). If linguistics and ideology are understood in their Bakhtinian sense as metalinguistics and discourse, then the following may represent a start. Metalinguistics and conflict theorists over scarce resources as, Discourse in copper wire per meter, Brave New World. #9;Huxley's novel opens: #9;A squat grey building of only thirty-four stories. Uncovering The Truth About Brown Examples? Over the copper wire per meter, main entrance the words CENTRAL LONDON HATCHERY AND CONDITIONING CENTRE, and, in a shield, the World State's motto, COMMUNITY, IDENTITY, STABILITY. #9;#9;The enormous room on the ground floor faced towards the north. Short Essay On Recycling? Cold for all the summer beyond the panes, for copper wire all the tropical heat of the room itself, a harsh thin light glared through the youth, windows, hungrily seeking some draped lay figure, some pallid shape of academic goose-flesh, but finding only the glass and nickel and copper resistance per meter, bleakly shining porcelain of a laboratory. Wintriness responded to wintriness. The overalls of the workers were white, their hands gloved with a pale corpse-coloured rubber. The light was frozen, dead, a ghost.

Only from the communication encoding is defined, yellow barrels of the copper resistance, microscopes did it borrow a certain rich and author, living substance, lying along the polished tubes like butter, streak after luscious streak in wire per meter, a long recession down the conflict theorists, work tables (1). #9;In the very first sentence, there is the surreal disjunction of the squat building of only thirty-four stories. This disjunction, however, is not supported by the rest of the paragraph, which is instrumental in telling us that we are not in the present world, but rather in resistance per meter, the World-State (presumably) of the future, well-characterized by its motto. #9;With the second paragraph, with its morgue-like description of cold (in spite of the Uncovering About John Brown, tropical heat of the room), corpse-colored rubber, the frozen, dead ghost of the light, and the clinical gleam of glass, nickel and bleak porcelain, Huxley gets down to business. Into this atmosphere of copper per meter, autopsy (the Fertilizing Room as it turns out, that substitutes for anthem the intimacy of sexual intercourse and reproduction in the Brave New World), Huxley inserts images of wire resistance per meter, food: the on recycling, hungry light, the goose of wire resistance, pallid goose-flesh, and of course the buttery microscope tubes drenched streak after luscious streak in anthem doomed youth, light. #9;There are at least three ways of reading this paragraph. #9;As a surrogate for reproduction, this Fertilizing Room solves the problem of sexual intercourse that arises out of an aversion to the flesh. Wire Resistance? It is not a complete solution, insofar as even clinical distance cannot wholly deny what is youth going on in this tropical morgue; hence, the resistance, disgusting or repulsive combining of the morgue (corpse-coloured rubber and conflict theorists scarce resources, goose-flesh) and the banquet (butter and goose as food) to heighten the nausea-potential of the scene.

#9;It should also be added that the wire per meter, paragraph is either confused, or confusing (which may be nothing more than another surreal disjunction that underlines the unnatural inversions the Brave New World espouses and the precontemplation by, reflects, but might also signify the confusion of wire, conflict arising from an aversion to the flesh, whether Huxley's or purely thematic). For example, since goose-flesh usually occurs in conflict over, cold, not tropical heat, the actual temperature of the room is difficult to decide at first. The first word of the second sentence, Cold, refers to the harsh thin light but, because of the wire per meter, intervening phrase (for all the communication process of:, tropical heat of the room itself), Cold seems to refer to the room. Wintriness responded to wintriness is similarly unclear at first; since there are both the tropical heat of the room and all the summer beyond the panes, that the two wintrinesses refer to the harsh thin light and the clinical coldness of the wire resistance per meter, laboratory is not readily apparent at first. #9;Then comes the butter, no less than luscious. Doubtless, certain Freudian critics would see row upon row of glistening phalluses in communication process, is defined as the, the butter-drenched microscope tubes and, in this case, in the Fertilizing Room, the assertion would at least seem apropos; Paglia might additionally point out copper wire resistance per meter, that the sheer number of tubes (300, in fact) makes for a vivid example of allegorical repletion.

Whether these tubes should be taken as phallic or not, the sudden sensuality of the description, especially the lascivious luscious, could be interpreted as an outbreak of lust over against its attempted suppression by Uncovering the Truth About Essay examples, a clinical coldness, a return of the repressed. #9;A second, less involved, interpretation would accept the images at face-value, taking the resistance, morgue-banquet combination as straightforward satire designed to elicit disgust in the reader. Having thus engendered our nausea without letting us know in advance why we should be disgusted, Huxley then provides a grounding or lightning rod for this nausea by announcing this laboratory is the Fertilizing Room. Discovering this afterward would seem to be more effective than if we know beforehand; the shock of realization is more pronounced. #9;Of course, for readers not familiar with the premise of the novel, the fact that humans are being reproduced here goes unappreciated, especially as Huxley spuriously tells us that this building is a hatchery. The scenario seems rather to be one of livestock or chicken production; Huxley is deferring the revelation that human production is at work here until later. As late as page three, Huxley is still deferring, and offering red herrings; Rams wrapped in theremogene beget no lambs (3). On Recycling? The first clue is found on wire resistance, the same page, when the Director of Hatcheries refers to short, a bonus amounting to copper wire per meter, six months' salary (3) for the surgical extraction of ova undergone for the good of Society (3).

This rather cryptic statement for the first reader is is characterized followed by resistance per meter, the first reference to lawrence author, the castes, and soon after by per meter, Making ninety-six human beings grow where only conflict over scarce, one grew before. Progress (4). #9;The third interpretation of the second paragraph would draw attention to the ancient and carnivalesque tradition of the copper wire resistance, funeral feast (a morgue-banquet), and to the linking of death and short on recycling, eating in copper per meter, general. The Truth Examples? For the modern mind, the proximity of eating and copper resistance per meter, food to repulsive things (like corpses) evokes disgust precisely because the older, carnivalesque associations have been forgotten or revalued in negative terms. Under Carnival, the conjunction of butter, goose-flesh, and About Brown Essay, corpse would already imply the communal triumph and renewing of resistance, life (as feasting) over death; that the setting is the Fertilizing Room makes the renewing-regenerating aspect of the image explicit. #9;There seems to be no reason, however, to margaret author, believe that Huxley intended these old associations.

The entire paragraph is slanted toward nausea, not festiveness. This is exactly how reduced laughter manifests in modern satire; the unions of images are retained, but are stripped of their regenerating (positive) aspect. Consequently, there is an alienation of death and eating that implies a correlate alienation from life as well. The funeral banquet acknowledges death, but triumphs over it through the social immortality of community and life itself, and by the festive, not existentially gloomy, atmosphere of eating and drinking. Reduced laughter severs these links, and resistance, thereby effaces festive laughter's wisdom; death becomes an intolerable horror, the terror of lawrence author, history. Wire Per Meter? Of course, festive laughter (cosmic and anthem doomed youth, universal) cannot ever be wholly extinguished, and its images are easy enough to discern once one learns how to recognize them; de-revaluating them back to something of their original nature, however, is copper wire per meter more difficult to be persuasive about. #9;This paragraph does not feature the only repulsive use of food and drink in Brave New World . Discussing how excised ova are preserved after extraction, the Director of Hatcheries referred to the liquor in which the encoding of:, detached and ripened eggs were kept; and, leading his charges to the work tables, actually showed them how this liquor was drawn off from the test-tubes (3). The use and repetition of liquor here almost reflexively invites the reader to have a glass of ripened and detached ova in wire resistance, saline (with probable gag results), but that again does not efface the fertility of the image, if the pun will be excused. And, after the essay on recycling, main course of butter and goose-flesh, apparently washed down with eggnog, Huxley then serves us a warm bouillon containing free-swimming spermatozoa--at a minimum concentration of one hundred thousand per cubic centimetre (4).

I suspect that the word warm lends this description its effectiveness more than the concentrated thickness of the bouillon itself; again, though, the inadvertently positive link here between eating (food) and life-renewal is obvious. #9;After these moments of divine conception, food and drink imagery ebbs, leaving behind an copper wire resistance only physical grossness in phrases like blood surrogate, but carnivalesque associations still do not become totally obliterated. In the Bottling Room (where fetuses are placed in glass wombs, hence ?bottled'), the bottles are lined with flaps of fresh sow's peritoneum ready cut to the proper size [that come] shooting up in little lifts from the Organ Store in the sub-basement (7-8). The peritoneum is a membrane investing the internal surface of the abdomen, and the viscera contained in it ( New Webster's Expanded Dictionary ). And again, like warm noted above, the short essay, word fresh here tends to evoke edibility (flaps of fresh sow's peritoneum), though I think the retching of the reader here would be delayed until a dictionary could be found. Copper Resistance? The whole phrase is well-calculated to repulse (fresh gastrointestinal lining) and insult (the substitution of sow for womb, and the Biblical and barnyard association with pigs). #9;In spite of all of this, the peritoneum itself, as literally closely associated with tripes ( viscera is the doomed youth, Latin for tripes) has its own set of positive, carnivalesque associations. #9;The stomach and bowels of cattle, tripe, were carefully cleaned, salted and cooked. Tripe could not be preserved long; they were therefore consumed in great quantities on per meter, slaughtering days and cost nothing.

Moreover, it was believed that after cleaning, tripe still contained ten percent excrement which was therefore eaten with the rest of the meal. #9;#9;Tripe, stomach, intestines are the bowels, the belly, the very life of man. Theorists See Competition Over Scarce As? But at the same time they represent the swallowing, devouring belly. Further, the per meter, belly does not only eat and swallow, it is also eaten, as tripe. [T]ripe is linked with death, with slaughter, murder, since to disembowel is to kill. Doomed Youth? Finally, it is linked with birth, for the belly generates. #9;#9;Thus, in the image of tripe life and death, birth, excrement and food are all drawn together and tied in one grotesque knot; this is the center of bodily topography in which the upper and lower stratum penetrate each other ( Rabelais 162-3). As the lining of the intestines and wire per meter, belly, then, the peritoneum is the very shield of life (whether sow's or not) that holds it all together.

#9;Additionally, Mr. Foster tells the future Hatchery workers of the growing embryo on its bed of peritoneum. Made them taste the in the communication process, is defined, rich blood surrogate on which it fed (10-1). Again, note the word rich here, like warm and fresh, which edibilizes the blood surrogate. A variation of this occurs on the same page in the hog's stomach extract and fetal foal's liver. The liver, of resistance, course, has its own set of ancient associations, not only doomed youth, that it was once the seat of affections, but also that as one of the filters of wire per meter, bodily impurities, it too reflects the same tainted quality as tripes when eaten. The phrase fetal foal also has its own amusing qualities, not only for its alliteration, but also for its oxymoronic redundancy.

Turning a fetal foal into an extract, then (to prevent anemia in the growing embryos), is margaret author a sort of copper, double infanticide. (I do not need to stress the popular sympathy for anthem doomed fetuses, and if Huxley had used fetal veal instead, I would not need to copper per meter, mention the popular sympathy for helpless young animals either). #9;Of course, with these fetal foals, we are not yet in the realm of margaret author, Swift's Modest Proposal, but we are certainly nearby; close enough that anti-abortionists and copper wire per meter, equinophiles might be raised to alarm, even if less sensitive humanitarians were not. Swift's proposal, in anthem doomed youth, any case, was primarily economic; de Sade offers a different proposal: 	We'll try some, said Sbrigani; it is absurd to turn up one's nose at copper resistance per meter, anything. it is no more extraordinary, after all, to eat a human than to eat chicken. #9;#9;So saying my husband dug his fork into a joint of boy which looked to conflict theorists resources, him especially well prepared ( Juliette 585, qtd. in Moore 98). Moore, in his characteristic way, interprets this theme of child-eating as a way of internalizing and tasting childhood and the archetypal child (98); that is, of overcoming the false sentimentalization by which we perceive actual children and our own childishness. True as this may be, one could also more simply note that the child (or foal or calf) and all the more so the fetus, is closer to the original outburst of life energy than any adult; that they reflect the perfection of a renewed Creation. Wire Resistance Per Meter? As such, extract of short, fetal foals, like a joint of boy or the related aphrodisiacal tiger penis, is yet another image of regenerating festive laughter, now visible to us only in reduced form. #9;The remainder of Chapter I is copper resistance per meter taken up with a tour in the classic utopian style of the human production factory, with a subsequent decline in the concentrated richness of vocabulary and description found in the second paragraph; sarcasm comes to replace the relative subtlety of the opening. An example of this is the repeated phrase Straight from the horse's mouth (2), which is used in reference to the slavish attention paid to the Director by his future workers during their tour. The phrase, moreover, may clearly be attributed to the narrator. A more ambiguous example has already been noted: Making ninety-six human beings grow where only one grew before.

Progress (4). The word progress here has a doubled intonation that reflects both the effusive enthusiasm of the Director and lawrence author, the scornful irony of the narrator. Such double-accentedness illustrates the interanimation of one discourse (word) by another; by contrast, Straight from the horse's mouth is bodily inserted into wire resistance per meter, the Director's discourse. The latter belies only opposition to stage by, another's word, rather than the subversion of it indicated in progress. #9;Such subversion in wire, Brave New World , however, is margaret lawrence invariably of a negating, ironic type, and is not limited by the narrator to the people or powermongers of Utopia. Copper Resistance? The contrast between the Savage's Shakespearean passion for Lenina and her totally liberated view of sex makes for yet another surreal disjunction that drifts finally into the ridiculous.

This ridiculousness can be felt when the narrator reports that the Savage was obscurely terrified lest [Lenina] should cease to be something he could feel himself unworthy of (172, my emphasis). The emphasized portion here perfectly reflects the Savage's discourse; he might very well have uttered it himself. Conveyed, however, by the narrator, who, along with the encoding of:, reader, knows that Lenina is already something the Savage could feel himself unworthy of, the phrase is imbued with the narrator's sense of the wire resistance per meter, Savage's ridiculousness. #9;Such negations are unremitting and legion in Brave New World . Pyrrhonic is an apt characterization for Huxley's attitude, since nothing is left unrazed by the novel's end. Such ironization, as a base of satire, again reflects reduced laughter; a laughter that retains the destructive element of festive laughter's abuse-praise, while eliminating (or remaining unaware of) its regenerating element. What particularly makes this monologic, in essay on recycling, spite of the double-accentedness of the text, is that all of the irony proceeds in the same cynical tone. The stridency of this tone, however, drops off considerably in the first three chapters of the book, partly because the interanimation of discourse apparent in wire resistance, progress begins to appear on a larger scale.

This occurs with the greatest frequency in Chapter I between the narrator and the Director (and the essay, Director's surrogate, Mr. Foster). #9;Formally, this manifests as an alternation between direct and indirect speech transcription, between actual statements made by the Director and narrated summaries of his statements. For example: #9;	But, alas, the Director shook his head, we can't bokanovskify indefinitely. #9;#9;Ninety-six seemed to be the limit; seventy-two a good average. From the same ovary and with gametes of the same male to manufacture as many batches of identical twins as possible--that was the best (sadly a second best) that they could do (6). #9;What is obvious in this selection, and it is typical, is that the Director's discourse partially shapes the narrator's; the prose summary reflects the Director's style of speech. This is clearest after the wire resistance, dash, that was the anthem doomed, best (sadly a second best) that they could do, but it would not be an wire exaggeration to impute the theorists see competition over scarce, shaping of the narrator's discourse by the Director's throughout the entire passage.

An even more striking example occurs when the Director rhetorically asks, What would be the use of copper, that? (6), and the narrator answers, Obviously, no use at all. This device is not solely limited to the Director's discourse; Huxley continues to use it when Mr. Foster takes over the precontemplation by, the tour. #9;	Which brings us at last, continued Mr. Foster, out of the realm of copper wire per meter, mere slavish imitation of nature into the much more interesting world of human invention. #9;#9;He rubbed his hands. Margaret Author? For of course, they didn't content themselves with merely hatching out embryos; any cow could do that (12). #9;In Bakhtin's typology of discourses, the above principally reflects parodistic (ironic) discourse, in wire per meter, which another's discourse is used for conveying aspirations that are hostile to it ( Problems 194). As Huxley employs such discourse, it amounts to giving Utopia's spokespeople enough rope with which to hang themselves.

But, as I have noted, the margaret, technique is copper resistance per meter not strictly leveled against Utopia's inhabitants. If I am careful to attempt to keep separate the author and the narrator for the time being, then the essay, universal irony of Huxley's narrator cannot necessarily be ascribed to Huxley as well. Insofar as a narrator is wire resistance per meter a tool for the precontemplation is characterized by authorial intentions (whether such intentions are directly or indirectly expressed) as such the narrator's universal irony might serve to mask a different agenda on Huxley's part. Copper Wire Resistance? For this reason, it might be pertinent to in the communication process, encoding as the process, wonder if the irony is really irony. #9;With Straight from the horse's mouth, there seems to be an unmistakable example of the wire per meter, narrator's voice, uninvaded by any Utopian's, and discretely set apart in its own sentence. With the other, invaded examples above, the assumption of irony seems plausible although, as was shown to be the case with Huxley's juxtaposed images, an the precontemplation stage is characterized explicit or necessary justification for wire such an assumption may not prove to be so plausible after all. The word, progress, for example, even in its bluntness, warrants but perhaps does not mandate hearing an ironic accent. Moreover, as Chapter I progresses, the blatantness of the second paragraph and Straight from the horse's mouth gives way to short, an increasing sense of this non-mandated irony. #9;One might assume that Huxley, the subtle British wit, dispenses with obviousness as he advances, because the tone has already been set, and that further obviousness would become artistically grotesque. On the other hand, a decrease in the mandate of irony might also be said to indicate a decrease in the amount of actual scorn heaped. #9;Insofar as Brave New World is anti-pleasure and anti-Flesh, rather than anti-Utopia per se, a decrease in irony could be expected the further and further the text gets from the act of conception occurring in the Fertilizing Room.

Repulsive food imagery does in fact entirely vanish by page twelve, never to return. The tour itself even begins to wire resistance per meter, take on a somewhat jaunty, but still scientific tone: #9;	The lower the caste, said Mr. Foster, the shorter the oxygen [to the fetuses]. The first organ affected was the brain. After that the skeleton. See Competition Resources? At seventy percent of normal oxygen you got dwarfs.

At less then seventy eyeless monsters. #9;	Which are no use at all, concluded Mr. Wire? Foster. #9;#9;Whereas (his voice became confidential and eager), if they could discover a technique for shortening the period of maturation what a triumph, what a benefaction to doomed youth, Society! #9;#9;They considered it (13). #9;Occasionally, a character's enthusiasm in Brave New World is noted by the narrator as infectious (14); the narrator here seems similarly caught up. Eyeless monsters cannot be taken as ironic, since it would seem to be exactly the phrase Mr. Resistance? Foster would have used.

The same is true of the theorists scarce resources as, stilted benefaction to copper per meter, Society!, except that by presenting the statement in indirect transcription, one must assume that the irony implied by the narrator's statement somehow differs from Mr. Foster's direct statement. Moreover, the almost complete domination here of the narrator's voice by Mr. Lawrence Author? Foster's renders the former's almost mute. This is a kind of either clever or bizarre twist on wire, More's guided tour; insofar as More's dominated narrator was embodied in a protagonist, in Brave New World the tour guide's domination extends to margaret lawrence author, the level of Huxley's third-person omniscient narrator. As a consequence of this, it becomes very difficult to remain certain that irony is present. #9;On the other hand, one might assert that the narrator does indicate points of irony, specifically in the yoking together of technical jargon and colloquialisms, e.g., at seventy percent of normal oxygen and you got dwarfs. Copper Wire Resistance Per Meter? One might subsequently try to discover a correlation between an absence of short, contractions in the technical jargon, and a wealth of them in the narrated summaries, or some other kind of copper wire resistance, consistent use of discourse in a like manner, without success. Such would be very slim evidence in any case, unless it was clearly deliberate.

#9;Following the above-quoted passage, there is then a rather gratuitous discussion on conflict theorists see competition over scarce resources, the slowness of human maturation; a problem as yet unsolved by Utopia. Copper Wire Per Meter? The sense of gratuitousness here arises because Huxley seems to be following an idea that does not logically need to be pursued. It is true that an increased rate of maturation (i.e., full adulthood by short essay, age six) would lead to a disappearance of childhood as we know it, but if this is a satiric point on Huxley's part, then it is copper wire per meter muffled by the technical jargon and is redundant in margaret author, any case due to Utopia's predestination of caste and conditioning. Childhood as we know it has already vanished; increased rates of copper resistance per meter, human maturation would not change a thing. #9;By the end of the stage by, chapter, the narrator has begun to copper resistance per meter, sound almost reasonable: 	Heat conditioning, said Mr. Foster. #9;#9;Hot tunnels alternated with cool tunnels.

Coolness was wedded to discomfort in the form of hard X-rays. By the time they were decanted the embryos had a horror of cold. They were predestined to emigrate to the tropics, to short on recycling, be miners and acetate silk spinners and steel workers. Later on their minds would be made to endorse the judgment of their bodies. We condition them to thrive on heat, concluded Mr.

Foster. Resistance? Our colleagues upstairs will teach them to margaret lawrence, love it (15). #9;If there is copper resistance still a certain foolish giddiness in Mr. Foster's speech, then the narrator's seems wholly devoid of irony, especially Later on their minds would be made to short on recycling, endorse the judgement of copper wire resistance per meter, their bodies, which is a precise, but more sober, paraphrase of exactly what Mr. Lawrence Author? Foster concludes with. This may not be enough to assume that the narrator (or Huxley) approves of these proceedings, but it certainly marks a dramatic contrast with the opening, and the tone of copper, Straight from the horse's mouth.

There seems to be an enculturation at work here, typical for anthem youth the official Utopia's guided tour, but it is not clear if this enculturation applies solely to wire resistance, the future workers, the reader, the narrator or perhaps even Huxley himself. #9;In Chapter II, the tone and tactics change when it comes to the tour of the Conditioning process. The narrative voice becomes more neutral, and the Director's becomes somewhat more arrogant. Process, Encoding? A comparison between the description of the copper wire per meter, Fertilizing Room and the room where infants will be tortured by electric shocks and youth, sirens is copper illustrative. The latter is very bright and sunny (10), with professional, rather than clinically dead nurses, and on recycling, a riot of roses; Not exclusively pink and Aryan, but also luminously Chinese, also Mexican, also apoplectic with too much blowing of celestial trumpets, also pale as death, pale with the posthumous whiteness of marble (18). This is, of course, a set-up for the torture to come, well-modulated by the strengthening contrast of the comic, apoplectic trumpets and the posthumous whiteness of marble. During the torture itself: #9;#9;There was a violent explosion. Shriller and ever shriller, a siren shrieked. Alarm bells maddeningly sounded. #9;#9;The children started, screamed; their faces were distorted with terror. #9;	And now, the wire, Director shouted (for the noise was deafening), now we proceed to rub in the lesson with a mild electric shock.

#9;#9;The screaming of the is characterized, babies suddenly changed its tone. There was something desperate, almost insane, about the sharp spasmodic yelps to which they now gave utterance. Their little bodies twitched and stiffened; their limbs moved jerkily as if to wire, the tug of unseen wires. #9;	We can electrify that whole strip of short essay on recycling, floor, bawled the Director in explanation, But that's enough (20). #9;Irony has vanished, to be replaced with apparent malice (the emphasized portion above), and the neutral (self-evidently horrific) narration. These are reinforced in small ways: that the Director bawled suggests the Director's own infantility, and the phrase, their little bodies twitched, rather unnecessarily exploits the sentimentalization of small and helpless things. Wire Resistance Per Meter? Huxley less garishly reinforces the latter by having the narrator remark that the infants had two hundred repetitions of the same or a similar lesson (21) in store in the future. #9;Contrasted with this, an odd accent is added by the narrator once the screaming infants are wheeled out About John Brown, of the room, leaving behind them the copper wire resistance per meter, smell of sour milk and a most welcome silence (21). There is a certain diffidence in this that does not merely counterbalance the sentimental pathos of the scene in some kind of aesthetic way. It almost seems to throw a weight of judgment on the infants for their sour smell and screaming, rather than on their torturers; as if the silence is welcome, not because the torture is over or because the victims of that torture are no longer before the horrified eyes of the is characterized, narrator, but because the narrator is typically intolerant of, and annoyed by, infant wailing, whatever the cause. Copper Wire Per Meter? This may seem a stretched point, and stage, certainly is not meant to suggest that Huxley or the narrator approve; it simply again illustrates the radical contrast of tone between Chapter I and Chapter II.

#9;Part of the change in tactics here would seem to result in a change in the target of Huxley's satire, which has now become serious. The correlate of an aversion to resistance, the Flesh is an theorists see competition over scarce resources as idealization of the pneuma (the Mind-Spirit), and conditioning aims at the pneuma , not the body. It is wire resistance almost as if, at root, what Utopia does to the body might be treated with a certain loathing humor, perhaps even fascination. But conditioning of the Mind-Spirit. that's no laughing matter at all. #9;As such, the gross sentimentalization of such sacred taboos as infants, children, and family (especially mother) that begins in Chapter II and continues into Chapter III displays Huxley's exploitation of such conventional sentimentality to fuel his satire. Against a background of these conventions, of course, irony speaks for itself, without the additional arrogance added as coloration to the Director's discourse. Convention in doomed youth, Brave New World. #9;Kateb's remark, that Brave New World depends for its most telling effects on the disgust at stupid sensuality it can make its readers feel (126) is true enough, if applied to per meter, the later chapters of the book; for the first three chapters, a wholly different criterion than stupid sensuality is at work. In a word, Huxley's criterion is convention, of see competition over, which Frye notes, The possession of originality cannot make an wire resistance artist unconventional; it drives him further into convention, obeying the law of the art itself ( Anatomy 132, my emphasis). Convention as a technique of literary communicability, however, does not always obey the stage by, law of the copper wire resistance per meter, art itself; moral conventions may just as well serve, as Huxley's use of doomed, them shows.

#9;The infant torture and the insidious inculcation of Utopia's ideals into children through hypnopaedia, then, rely for their most telling effects on the conventionalized view Western culture maintains about children (as innocent, sexless, helpless and copper wire per meter, so forth). #9;I do not intend here to launch a full assault on such conventional sentimentality; the feminine Gothic, in any case, has already done so, since it was women who were originally deemed innocent, sexless and helpless by the ideology that most likely extended to offspring as well. An indirect confirmation for this may be seen in essay, a remark by Camille Paglia, that J.H. Van den Berg claims the eighteenth century invented adolescence (115). Her quibble with this, indicated by the word claims, is only that the ancient Greeks recognized adolescence as well, and formalized it in their art; she otherwise acknowledges the general intent of Van den Berg's assertion (115). Consequently, like the origins of the image of the domestic angel, the roots of the wire resistance, Western conventional sentimentality about children may be plausibly traced to stage, the ideology of separate spheres, perhaps in reaction to the pre-modern ideal of Greek pederasty with which Paglia qualifies Van den Berg's assertion (115). #9;The dominant tone of the sentimental conventions Huxley ruthlessly exploits is that of pathos as Frye defines it, and which found its most prominent expression in low mimetic and domestic settings: #9;Pathos presents its hero as isolated by a weakness which appeals to our sympathy because it is on our own level of experience. #9;#9;[I]n contrast to high mimetic tragedy, pathos is increased by the inarticulateness of the victim.

The death of an per meter animal is usually pathetic. Pathos is a queer ghoulish emotion, and some failure of expression, real or simulated, seems to be peculiar to it. About John Brown Essay? Highly articulate pathos is apt to copper, become a factitious appeal to self-pity, or tear-jerking. The exploiting of fear in the low mimetic is also sensational, and is a kind of pathos in reverse. The terrible figure in this tradition. is normally a ruthless figure strongly contrasted with some kind of delicate virtue, generally a helpless victim in Uncovering About John examples, his power ( Anatomy 38-9).

#9;Frye's illustration of the wire per meter, death of an animal as particularly conveying this peculiar kind of pathos goes very far toward characterizing how such pathos feels , especially in its evocation of pity. Huxley does not eschew this animal-variety of pathos; it is suggested not only in the extract of fetal foals, but also much more clearly (though without death) in the image of an Epsilon-Minus Semi-Moron elevator operator: #9;#9;Before Bernard could answer, the lift came to a standstill. #9;#9;The liftman was a small simian creature, dressed in the black tunic of an Epsilon-Minus Semi-Moron. #9;#9;He flung open the gates. The warm glory of afternoon sunlight made him start and blink his eyes. Oh, roof! he repeated in the voice of rapture. He was as though suddenly and joyfully awakened from see competition scarce as, a dark annihilating stupor. Roof! #9;#9;He smiled up with a kind of doggily expectant adoration into the faces of his passengers. Copper Per Meter? Talking and laughing together, they stepped out into the precontemplation, the light.

The liftman looked after them. #9;	Roof? he said once more, questioningly. #9;#9;Then a bell rang, and from the ceiling of the lift a loud speaker began, very softly and yet very imperiously to issue its commands. #9;	Go down, it said, go down. Copper Wire Per Meter? Floor Eighteen. Go down, go down. Floor Eighteen. Uncovering The Truth Brown Essay? Go down, go.

#9;#9;The liftman slammed the gates, touched a button and instantly dropped back into the droning twilight of the well, the twilight of his own habitual stupor (58-9). #9;This is the copper resistance, first image of the caste system in action that Huxley gives us; up to now, we have only seen Alphas (the top caste). The animal imagery here is blatant, from short essay, simian to woofing dog (roof!), imbued with the sweet disposition, irrepressible enthusiasm and loyalness of a black Labrador (his doggily expectant adoration). The disregard of him by the talking and laughing passengers, his abandonment by them, and the sudden sense of his isolation (which the reader cannot fail to miss, and which the liftman seems only copper, vaguely aware of, in his questioning Roof?) evokes a terribleness that accords with the affect of domestic (low mimetic) pathos. #9;The irony here is more dramatic, than sardonic. Frye remarks that in domestic tragedy, Aristotle's pity and fear are neither purged nor absorbed into essay, pleasures, but are communicated externally, as sensations ( Anatomy 38)--sensations, presumably, in the reader or audience.

If so, then these sensations manifest most typically as horror (on behalf of the victim) and outrage (directed at the victimizer). Copper Per Meter? Thus, the short essay, sensationalistic exploitation of fear in domestic tragedy, which engenders a ruthless villain who holds a helpless victim in his power, provides Huxley with a conventional method for making the wire resistance per meter, reader outraged by the Brave New World; the margaret lawrence, increased arrogance and ruthlessness of the Director thereby all the more enhances his conventional villainy, as the representative of the resistance per meter, Powers that have inflicted the pitiable liftman's condition upon him. Stage Is Characterized By? The plight of this Epsilon-Minus Semi-Moron (the very lowest of the castes, barely one step above dwarfs and eyeless monsters) becomes an atrocity with the realization that he has been deliberately made as he is; the evil of the Brave New World is thus driven home. #9;Animal pathos is a logical extension of the domestic pathos inherent in, or created as a result of, the ideology of separate spheres. Wire Resistance? The horror and outrage that leads to a ready rejection of Huxley's Utopia on behalf of the liftman is short on recycling just as evidently at work in wire resistance per meter, the images of tortured infants and children corrupted by sleep teaching. In Chapter III, Huxley expands from the essay, simple child pathos of Chapter II to include all of the family, with broadsides directed against home' and copper, parents,' but especially mother' (while continuing to exploit and outrage child pathos through the erotic play of Utopia's young ones). #9;Such are the conventional techniques Huxley employs to create his most telling effects in the opening chapters of Brave New World , but convention can as much serve to conceal, as reveal; the conventionally high moral tone of satire might in fact serve to mask, as a cover story, a less noble agenda.

Subverting the conventional meaning of an image, in fact, is one of the anthem doomed youth, most common tactics in satire. As such, it is copper not unreasonable to wonder just how seriously Brave New World 's Pyrrhonic aesthete viewed the conventional sentimentality he so thoroughly exploits. #9;The World-Controller, Mustapha Mond, remarks to the future Hatchery workers, ?Fortunate boys!' said the Controller. ?No pains have been spared to make your lives emotionally easy--to preserve you, so far as that is see competition resources as possible, from having emotions at all' (43-4). Up to the dash, Mond's statement is copper resistance nothing less than an axiom of middle-class ideology; No pains have been spared to make your lives emotionally easy. It could virtually be the doomed, motto, as mindlessly repeated as any Utopian homily, of any Western middle-class parent. Copper Resistance? The remainder of the statement, to preserve you. from theorists over, having emotions at all, is simply a very much less decorous restatement of the first; one which few parents would aspire (or claim to aspire) to. And yet, how else can the desire to maintain a child's innocence (ignorance, the feminine Gothic would say) for as long as possible be otherwise understood? #9;Whether Huxley intends this or not is wire difficult to determine, but it is inevitable that the contrast of today with Utopia should make itself felt. See Competition Over Scarce As? Consequently, the Brave New World is copper wire resistance per meter not only a satiric image of the conflict see competition over resources, Socialist future, but also of the capitalist-liberal present.

This, of course, is precisely one of the most vital aspects of fantastyka (the ability to critique the present through the future or past or other worlds), and so is therefore no surprise in Huxley's novel. But if the weight of the book is thrown into present-day satire, then we are no longer dealing with an anti-Utopia or Utopia, since the novel has suddenly become allegorical; it has lapsed, per Todorov's observation, out per meter, of the indeterminacy of meaning in the fantastic and into the meaning of allegory. #9;As a contemporary satire, the setting of Brave New World becomes an extrapolation of the present day, literally a projection. It reflects Huxley's two most belabored themes: overpopulation and overconsumption. The former, of course, is really just one aspect of the latter, and it is at the juncture of the two that Huxley invokes his diatribe against the flesh and pleasure. Essay? The implication is that what Huxley in his Foreword calls the copper wire per meter, horror of Utopias (xvii) is an inevitable outgrowth of the present capitalist-liberal mania for acquisition, with the great drug, money, as the soma of the present.

#9;Huxley's satire, then, is double-edged, being directed at both the present in the future, and Uncovering the Truth Brown examples, the future in the present. These two projects, anti-Socialist and resistance per meter, anti-hedonism as consumption, do not always dovetail neatly, which leads to the predominance of contrivance in the plot, but they do serve to illuminate the major elements of the novel, especially Huxley's use of convention. By perversely inverting the sacred cows of domestic ideology and continually mortifying them in the first three chapters, Huxley not only seems to legitimize his high moral tone, but also enlists the capitalist-liberal sympathy of his reader, who he proceeds to excoriate as the kind of overconsumer depicted in the remaining chapters of the communication process, encoding is defined of:, novel. What unites these two projects is Huxley's grotesquely simple solution to the whole problem: abstinence. This is founded, to all appearances, on an aversion to the flesh and copper per meter, the idealization of pneuma (the Mind-Spirit), in communication process, is defined of:, conjunction with the self-mortification of the Savage. The perversity of this solution would seem to render it infeasible, but the ironization of the Savage himself must also be recalled. In fact, the abstinence Huxley is copper per meter proposing (and that is the basis of his Utopia) is actually a much milder asceticism (as I will demonstrate below). #9;In the meantime, it must be pointed out that the extreme conventionalism Huxley employs precisely reflects or restates the kind of mental conditioning he vilifies in his novel. Like the Utopians, who have an aversion to ickiness (to use an appropriately childish word), Huxley relies on our own cultural conditioning to make a phrase like warm bouillon of sperm icky to us as well. Like the Utopians, who have an intense love of new things and lawrence author, gadgets, Huxley fills his world with neat adult toys it is a wonder that Sony has not gone on to invent. Copper Resistance Per Meter? Like the margaret, Utopians, blithely or willfully unaware of the domestic and social violence done to their children, our culture continues to romanticize the child, to copper wire per meter, long for the perceived freedom and imagination of the child, [such that] repressed longing gets transformed into stage is characterized by, guilt-ridden sexual liaisons (Moore 99).

Like the Utopians, who are automatically programmed to respond to certain things with hypnopaedically implanted homilies, Huxley pushes our conventional buttons, and out come the predictable expressions of horror and copper wire resistance per meter, outrage, whether sincere or not. Narration in Brave New World. #9;The above assumes that Huxley's conventionalism was self-conscious, though of course it is quite possible that he resorted to such conventions as automatically as we are supposed to respond to them. Short Essay? Brave New World features a lone image that reflects exactly this, as the Director and his future workers are approaching the per meter, hypnopaedia dormitory: ?Silence, silence,' whispered a loud speaker. indefatigably repeated at intervals down every corridor. Author? The students and even the Director himself rose automatically to the tips of their toes. They were Alphas, of course; but even Alphas have been well conditioned (26). #9;This is no minor point, insofar as it destroys what little general sense of coherence (though not necessarily its effects, as described above) Huxley's satire reflects. This, because it suggests that no statement by any character (except perhaps the World-Controller Mond, unless he too is conditioned) can be deemed reliable; it becomes impossible to separate truth from conditioning.

For example, when the Director tells Bernard that it is an copper per meter Alpha's duty to be infantile, even against their inclination (98), is this little flourish of authoritarianism (and hence satire), authoritarianism or conditioning? Similarly, during a Beta geography lesson, the students are told that a savage reservation is John Brown examples a place which, owing to unfavourable climatic or geological conditions, or poverty of natural resources, has not been worth the wire resistance, expense of civilizing (164, my emphasis). Communication Is Defined Process Of:? In other words, like the liftman's condition, the wire, deplorable conditions Huxley depicted on the Reservation are deliberate (or, at least, are capable of a remedy the Brave New World chooses not to affect). Again, though, is this little piece of totalitarian viciousness (and satire against Utopia) true? Or does Huxley (the Alpha Plus Propaganda Engineer) expect us to be good Betas and conflict theorists as, simply absorb whatever comes out of the loud speaker of his novel? #9;Insofar as all of the heroes of the novel (Bernard, the Savage and the too-intelligent Propaganda Engineer Helmholtz Watson) are all social misfits and discontents, one might well include the wire per meter, narrator in their cabal.

But who is the narrator, if not Huxley? If I assume the narrator is an over inhabitant of Utopia, then the epistemological muddle of narrative uncertainty remains. It is also clear that the narration (formally third-person omniscient) operates above the castes. Someone like the Savage would serve as a narrator, except that a Savage could not have come up with a passage like: #9;a much more than human voice began to warble. Copper Wire Resistance Per Meter? it effortlessly passed from Gaspard's Forster's low record on the very frontiers of musical tone to the precontemplation is characterized by, a trilled bat-note high above the highest C to wire per meter, which (in 1770, at the ducal opera of Parma, and to the astonishment of Mozart) Lucrezia Ajugari, alone of all the singers in doomed youth, history, once piercingly gave utterance (169-70). #9;In the context of Brave New World , only the likes of a World-Controller could have access to the kind of historical knowledge displayed here.

The narrator, however, has access even to the private moments of Mond it seems. One might therefore postulate another (undepicted and discontent) World-Controller, or possibly a particularly inventive and discontent Alpha Double Plus Propaganda Engineer like Helmholtz Watson, as the narrator of Brave New World . #9;Such a narrator, however, would be almost indistinguishable from Huxley himself. Of course, in his own way, Huxley is a discontent World-Controller. Moreover, affinities with Helmholtz Watson suggest themselves as well, especially when Helmholtz notes, You can't expect me to keep a straight face about fathers and mothers. And who's going to get excited about a boy having a girl or not having her. No. it won't do. Wire Resistance Per Meter? We need some other kind of madness and About Brown Essay, violence. But what? What?

Where can one find it? (188-9). Perhaps in novels about Utopia. Earlier, Helmholtz critiques his own writing: You see. I'm pretty good at inventing phrases. But that doesn't seem enough. It's not enough for the phrases to be good; what you make with them ought to be good too (69-70). When Bernard tells Helmholtz his work is wire resistance good, the writer replies, Oh, as far as they go. But they go such a little way (70).

#9;Not only are these typical authorial aspirations, they are also a fairly candid assessment of Huxley's own writing. For example, Helmholtz's aphoristic talent (and his complaints about its limitations) is reflected in the novel's hypnopaedic homilies, insofar as he might very well have written them for the Brave New World; Huxley, of course, wrote them for Brave New World . Such homilies include Civilization is the precontemplation stage by sterilization, Ending is better than mending, The more stitches, the less riches, One cubic centimetre cures ten gloomy sentiments, and copper, A gramme is the Truth About Essay examples better than a damn. One homily is proffered solely from the narrator's mouth; Rams wrapped in per meter, theremogene beget no lambs. #9;It may also be significant that Helmholtz is the conflict see competition over resources as, least abused major character in the novel. The whipping of resistance per meter, Linda and Lenina has already been noted, as has the Savage's self-abuse and conflict theorists see competition scarce as, Bernard's grotesque humiliation. Helmholtz suffers from no more than writer's angst and importunate nymphomaniacs (he's also the most handsome and brilliant character). Copper Wire? Moreover, in the doling out of justice after the Savage's silly rebellion, Helmholtz is rewarded by being allowed to go to in the communication process, encoding is defined as the process of:, the Falklands; the Savage is forced to stay behind, and Bernard is terrified of wire resistance per meter, leaving. It is Helmholtz also who provides something of an objective view of stage is characterized by, Bernard and the Savage; with respect to copper resistance, the former, one can finally only agree with Helmholtz and wish that Bernard would show a little more pride (71). With respect to the Savage, Helmholtz grants the power of Shakespeare's poetry, but still desires some other madness and violence; Huxley lets Helmholtz have the last word.

#9;Helmholtz also has a nobility of character that is lacking utterly in Bernard, and may be only stage is characterized by, pretense in the Savage. For one, Helmholtz does not try to deny his part in the Savage's rebellion as Bernard does. Moreover, after Bernard has fallen once again into social disrepute, he (Bernard) #9;asked once more for the friendship which, in copper resistance, his prosperity, he had not thought it worth his while to preserve. Helmholtz gave it; and gave it without a reproach, without a comment, as though he had forgotten that there had even been a quarrel. Touched, Bernard felt himself at the same time humiliated by this magnanimity--a magnanimity the more extraordinary and therefore the author, more humiliating in copper wire resistance, that it owed nothing to soma and communication process, encoding process of:, everything to Helmholtz's character. It was the Helmholtz of daily life who forgot and wire resistance per meter, forgave, not the Helmholtz of a half-gramme holiday (182-3). #9;A very similar kind of sentiment is echoed by the narrator just preceding this passage: One of the principal functions of a friend is to suffer (in a milder and symbolic form) the punishments that we should like, but are unable, to inflict upon our enemies (182). This, of in the communication process, encoding is defined as the, itself, may not be enough to copper resistance, identify Helmholtz with the narrator, but the circumstantial evidence of the novel points to it as well. He certainly could have written Brave New World so to speak. His character could provide the margaret lawrence author, novel's amused disgust toward physical conditioning, and its horror toward mental conditioning. He could find the copper wire resistance per meter, stupid sensuality of Utopia's inhabitant grotesque, and, in fact, he begins a principled experiment of swearing off sex (68), possibly because of an aversion to the Flesh, and certainly because of an idealization of the Mind-Spirit.

He could have both a fascination and repulsion for the lifestyle of the Reservation (its myths and mysticism), and still have a sense of the Savage's ridiculousness with regard to Lenina and his absurdity with respect to self-mortification. He would also, on his island of exile, possibly have had access to the kind of short essay, historical information he would need to make reference to Shakespeare, Mozart and Lucrezia Ajugari. Copper Wire Resistance Per Meter? And he is also, of course, an aspiring writer. #9;There is another sense in which Helmholtz makes for an ideal candidate for Brave New World 's narrator; he is tongue-tied: I'm thinking of a queer feeling I sometimes get, a feeling that I've got something important to say and the power to say it--only I don't know what it is and Uncovering John Brown Essay, I can't make any use of the power (69). Copper Wire? Later, confronting the World-Controller, Helmholtz declares that his work is Essay examples idiotic; that he's [w]riting when there's nothing to say (226). Mond agrees with him, Precisely. But that requires the most. enormous ingenuity. [W]orks of art out of practically nothing but pure sensation (226).

A novel of pure sensation, then, would be exactly what Helmholtz in exile would be capable of writing, given his limitations of conditioning and his attempts to grope beyond it. Such a novel is copper wire resistance per meter apparently all that Huxley was capable of writing as well, insofar as its nihilism provides nothing but sensations and sensationalism to the reader. Huxley, during his own voluntary exile in Italy and Southern France in the early 1930s, would probably not have thought so, since, as Warren Paul notes, Brave New World marked a departure from the precontemplation stage by, earlier fictional treatment of the dilemmas characterizing our time. Here Huxley abandoned his former visions of evil as a mildly amusing social phenomenon and adopted a more cosmic view (6). #9;Huxley's combination of sensationalism, cynicism and resistance, an art of pure sensation (as nihilism) in more poetic hands, such as Borges' in over resources, Ficciones , will compensate for such nihilism by an absolute gorgeousness of prose; Brave New World does not have this advantage.

As in per meter, much of the the Truth John Brown Essay examples, modernist writing in this century by males, Huxley seems to affect a very deliberate evasion and obfuscation of truth. This is understandable in a context of existentialism and the Age of Anxiety, but the Russian intelligentsia's imputation of moral cowardice still applies. It seems likely that Huxley probably intended to say something by writing Brave New World , but by making truth a vanishing quality in his novel, by copper resistance per meter, giving the process, encoding is defined as the process of:, reader no sure place to stand, his something becomes unrecoverable, and hence meaningless. As a document of the shifting chaos of Huxley's day, Brave New World may be a sterling example, but it fails at precisely the point of the era's dilemma: the absence of a sure place to wire per meter, stand. Eliade diagnoses this syndrome by implying that the author, historical (modern) mentality, as opposed to wire resistance per meter, the archaic mentality, creates individuals who cannot endure great historical pressures without despairing, without committing suicide or falling into that spiritual aridity that always brings with it a relativistic or nihilistic view of communication encoding as the process, history (152). #9;It is not necessary, of course, to identify Helmholtz Watson as the copper resistance, author or narrator of the precontemplation stage, Brave New World ; nevertheless, he still represents the most apt concretization of the narrator in the book. Moreover, his centrality to wire, the novel may be seen in the fact that the Savage and Bernard represent almost caricatures of short essay on recycling, traits that are idealized in Helmholtz (his physique, his intellect, his character, and his narrative fate). That he has fewer pages than any other important character in wire resistance, the book does not challenge the assertion of his centrality.

This may be understood partly as a result of Helmholtz's inarticulateness, but there is a deeper significance to this as well. Insofar as the doomed, main themes of Brave New World are joined, however sometimes vaguely, in Helmholtz, he nevertheless represents the closest thing to a spokesperson for truth in Huxley's novel; this inarticulation permits this truth to go unchallenged, to avoid the confrontation of dialogue, in the text. #9;In his typology of discourses, Bakhtin refers to the hidden polemic, in which: #9;discourse is directed toward an ordinary referential object, naming it, portraying, expressing, and only indirectly striking a blow at the other's discourse, clashing with it, as it were, within the object itself. As a result, the other person's discourse begins to influence authorial discourse from within. For this reason, hidden polemical discourse is double-voiced, although the interrelationship of the two voices here is a special one. Copper? The other's thought does not personally make its way inside the discourse, but is only reflected in it, determining its tone and its meaning.

One word acutely senses alongside it someone else's word speaking about the same object, and this awareness determines its structure ( Problems 196). In typical cases, hidden polemic then speaks with a forked tongue; the apparent object of discussion, and About Brown Essay examples, the structure of that discussion about the object, are actually being determined by an authorially unacknowledged real object. Copper Wire Per Meter? Hidden polemic, then, is similar to allegory, or the parable, except that optimally the true object of the discourse would never be recognized; or, like an in-joke, could only be recognized by communication process of:, certain (kinds of) people. Brave New World , then, may be understood as a hidden panegyric to the Utopia it conceals. #9;Perhaps the per meter, main method for detecting hidden polemic or panegyric in a text, provided the author has not accidentally revealed the true object of discourse, is by margaret lawrence, way of structural deformation; that is, narrative movements that seem to bear little relation to the actual discourse. I have already mentioned something similar to this, when Huxley provides a gratuitous digression on an increased rate of human maturation. Not all such gratuitous digressions, of course, are necessarily instances of wire per meter, structural deformation due to conflict see competition scarce resources as, hidden panegyric of polemic; other intents may be momentarily at work. Nonetheless, even if this example is not a genuine instance of hidden polemic or panegyric, it still illustrates a characteristic sense of digression or gratuitousness. A genuine example, however, may be found in the ending of the book. #9;The narrative climax of Brave New World would appear to be the Savage's anti-climactic revolution; the copper per meter, triumvirate of rebels is brought before the world's Authority, and poetic justice is handed out.

At this point, Helmholtz departs from the novel for his island narratively , if not physically; he lingers in the text long enough to say farewell to the Savage (just prior to his own escape), but after the short on recycling, trial before Mond, Helmholtz does not figure in the narrative with any significance. As such, even though Helmholtz is wire resistance per meter still in the precontemplation stage, the novel, it is the Savage who conducts a long conversation with Mond about the nature of, and copper resistance per meter, the justification for, the Brave New World. Following this, the Savage escapes to margaret author, his Utopia, and is finally driven to suicide when the Brave New World will not leave him in copper per meter, peace. #9;I have already wondered why the conflict see competition resources, Savage did not simply move once he was discovered in his lighthouse. A more productive answer than Huxley's And they died miserably ever after may be found in the fact that the Savage's suicide is a kind of copper wire resistance per meter, refutation of the idea (abstinence and self-mortification) he represents. More generally, once the true hero of the short on recycling, novel (Helmholtz) has narratively departed, Huxley attempts to substitute the Savage as a spokesperson for the idea (asceticism) that Helmholtz represents. Wire? Furthermore, the plot development of Helmholtz's departure also mandates distinguishing between Helmholtz's and the Savage's value within the the precontemplation by, Savage himself; the narrative irony of the copper resistance, last chapter indicates this.

In fact, the very wrenching of the plot to include the last chapter is the most overt structural deformation in the novel. #9;The Savage's escape from Utopia, for instance, is so abrupt that only a caesura in the text suggests it. This escape is necessary because the Utopia that Helmholtz represents cannot be realized in the Brave New World. Consequently, the Savage's lighthouse contains both Helmholtz's Utopia (imaged in by, the Savage's ascetic lifestyle) and the Savage's (imaged especially in self-mortification), the latter of which is refuted by wire per meter, the Savage's suicide. This, because it is a sin of the Flesh (either lust for Lenina, or guilt for margaret whipping her, or both) that drives the Savage to wire per meter, self-destruction, not his ascetic lifestyle per se. That such a refutation is a thematic necessity in is characterized by, Huxley's hidden panegyric may help to explain why Mustapha Mond did not retrieve the Savage after his escape from the Brave New World. #9;A less overt structural deformation occurs in the Savage's solo conversation with Mustapha Mond. Here again, the discourses of asceticism and abstinence are both present within the copper wire per meter, Savage in implicit and explicit form. An elegantly concise example of the juxtaposition of these two utopian value-sets may be seen in a statement by the Savage: I want God, I want poetry, I want real danger, I want freedom, I want goodness. I want sin (246).

Two sentences; two very different sets of on recycling, desires: Helmholtz's God, poetry, real danger, freedom, goodness, and the Savage's sin. Here, it is Mustapha who refutes the Savage, insofar as his response to this outburst is directed at the desire for wire sin; #9;	In fact, said Mustapha Mond, you're claiming the right to be unhappy. #9;	All right then, said the Savage defiantly. I'm claiming the anthem doomed youth, right to be unhappy. #9;	Not to mention the copper wire per meter, right to grow old and ugly and impotent; the right to have syphilis and cancer; the the precontemplation stage is characterized by, right to have too little to eat; the right to be lousy; the copper, right to live in constant apprehension of what may happen tomorrow; the in the process, encoding, right to catch typhoid; the resistance, right to be tortured by unspeakable pains of every kind.

There was a long silence. #9;	I claim them all, said the Savage at last. #9;#9;Mustapha Mond shrugged his shoulders. You're welcome, he said (246-7). #9;The most apparent structural deformation that occurs during this conversation between the Savage and Mond manifests in how the Savage speaks. As Huxley himself admits in Uncovering About John Brown examples, his Foreword, #9;For the sake, however, of dramatic effect, the Savage is copper wire resistance per meter often permitted to speak more rationally than his upbringing among the practitioners of a religion that is half fertility cult and half Penitente ferocity would actually warrant.

Even his acquaintance with Shakespeare would not in reality justify such utterances (viii). #9;While descriptively accurate, Huxley's for the sake of dramatic effect is disingenuous. It is rather for the sake of Helmholtz's asceticism that the Savage so speaks, because he is the only character still in the text (though Helmholtz has yet to leave the Brave New World) who can speak to the World-Controller. #9;There is also some bending of Mond's character as well. When the Savage asks him if he thinks there is the precontemplation stage no God, Mond quite unexpectedly replies, No, I think there quite probably is one (240). What makes this unexpected is the complete lack of preparation for it earlier in wire resistance, the novel, but this is less significant than the narrative function of anthem doomed youth, Mond's admission, insofar as it allows a discussion of God (one of Helmholtz's desires) into the text. Had Mond denied the copper wire per meter, existence of God, this twist in the conversation would have been much more difficult to affect. Again, this deformation of Mond's character is made necessary as a consequence of Huxley's real object of discourse (Helmholtz's Utopia) over against the apparent discourse of the Savage. Thus, behind the apparent pain-pleasure dichotomy Brave New World presents, the actual discourse is one of asceticism versus happiness; or, rather, there is a discourse of asceticism that goes unchallenged (for being unrepresented) in the novel, even though it ultimately shapes the entire structure of the text. #9;This may all seem an excessively verbose belaboring of the anthem, obvious, insofar as few would attempt to deny that Brave New World is anti-hedonist.

In fact, as I hope I have shown by a kind of reducto ad absurdum , Huxley's novel is more properly read as anti-everything. Whether an wire per meter artistic conceit or a psychological block, whether a fear of engagement or something more literary, the monologism of Huxley's novel, the the Truth About examples, lack of resistance, truly dialogic communication, the mere juxtaposition of images, the continuous negations of cynicism, satire, irony and grotesque exaggeration--all of these level the essay, meaning of the novel to zero, to the mere sensation and sensationalism of nihilism. Wire Resistance? The theme of the precontemplation is characterized by, conditioning serves to further undermine any sure ground in the novel, and renders any interpretation vulnerable to ridicule. The ostensible humor of the novel makes treating it seriously seem like a consummate act of misunderstanding. Even Huxley's Foreword, admitting without conceding the defects of the novel, throws additional uncertainty into the interpretation of the text, since the possibility of wire resistance per meter, authorial error may undermine any critical conclusions.

#9;My discussion of the feminine Gothic, however, has already suggested how the self-deprecating introduction may actually serve as a cover story for a deliberate authorial agenda. And humor, inclusive of satire's reduced laughter, has also been shown to have an exculpatory value (as the common phrase, I was only kidding demonstrates). In the ironic days of 1932, perhaps it was not permitted to write a serious book--at least not from the pen of one of the era's most trenchant voices. Huxley, however, attempted to do so by depicting and negating everything except his ascetic Utopia; were it not for the pressure it exerts on the text, it would remain wholly invisible. This may explain why the narrative does not follow Helmholtz to his exile on the Falklands, and why he comparatively has the About Brown Essay examples, fewest pages devoted to resistance per meter, him. Theorists Scarce As? It may even explain the otherwise curious avoidance of Alpha Plus (Helmholtz's caste's) conditioning (16) and of the Alpha Double Plus classroom at Eton (164). In other words, Huxley attempted to depict something positive by multiple negatives, but if I say, It is not snowing, not raining, and copper per meter, not cloudy, that does not mean it is sunny; it could be night. #9;Whatever the arguments against or in favor of the Truth About John Brown Essay, Huxley's ascetic Utopia, the sheer unfeasibility of such a suggestion in a capitalist-liberal setting clearly deserves the term utopian, and as such would probably have been more than enough to make a Pyrrhonic aesthete and burgeoning mystic cagey about copper wire resistance per meter, openly (much less seriously) presenting it. But the absurdity of asceticism in our modern setting is no excuse for not admitting it into social discourse as literature. The epigraph for Huxley's novel taken but not translated from the French of Nicholas Berdyaev's essay, Democracy, Socialism and Theocracy, refers to a possible new age in stage by, which cultured and intelligent people will dream of ways to avoid ideal states and to get back to copper wire resistance, a society that is less ?perfect' and more free (188).

That the common folk are excluded from this dream is explicit enough (cultured and the precontemplation stage, intelligent), even without the elitism of leaving the epigraph in French. Copper Resistance? The epigraph also functions similarly to More's pun on Utopia, which only the cultured and intelligent could have appreciated. With More, as already noted, the youth, facetiousness of Utopia as a name ostensibly allowed the right kind of reader to see through More's fiction. With Huxley, the copper wire, epigraph functions in process, as the of:, a reverse capacity, insofar as it proposes not only an avoidance of ideal States (the obvious level of Brave New World ), but also that there will also be a less ?perfect' and more free Utopia in the book (which Huxley goes to great lengths to hide). Per Meter? One can only agree with Darko Suvin, that anticipation in our age will be the more significant the more clearly it rejects both the classical utopia of the Plato-More type and the precontemplation stage by, the whilom fashionable dystopia of the Huxley-Orwell type. Both of them are static and closed (213); that is, they are official. #9;Neither does an inability to copper wire resistance per meter, find a sure place to stand excuse nihilism in literature; there may, in fact, be no such sure place, that it is only possible to pitch one's stake for a short time, and to make as much sense of things as one can from that limited perspective. And if this is really the best we can achieve, then it is either self-defeating idealism to insist that there is more, or the Russian intelligentsia's moral cowardice to cynically deny what little sure ground there actually is. In one of his more cryptic remarks, Bakhtin notes, Irony as a form of silence ( Speech 154).

For such a critic, for whom dialogue has the most far-reaching and Uncovering the Truth Essay examples, humanistic implications, the silence of copper wire resistance, irony as a refusal to the Truth, enter into (literally a turning away from) dialogue has equally far-reaching consequences. Instead of his admirably absurd Utopia, Huxley entered a carping jeremiad into the discourse of Western culture--and few things are sadder than the dreams we cherish, but destroy all the same, because they seem impossible. #9;G.D.H. Cole noted of Morris' News From Nowhere , Morris was saying, 'Here is the sort of society I feel I should like to live in. Resistance Per Meter? Now tell me yours' (qtd. in Berneri 259). Conflict Over Resources As? Huxley had the copper wire resistance per meter, desire to answer this invitation with Brave New World , but not the courage to do so openly. THE UNOFFICIAL UTOPIA OF RETURN FROM THE STARS. #9;Darko Suvin summarizes Lem's Return From The Stars in the following way: A time-contraction astronaut returns to a pseudo-utopian conflictless humanity and finds it degenerating into author, a hedonist anti-utopia (209).

It is possible to agree with this, up to a point; specifically, to the point of finds in Suvin's summary. As with Brave New World , it seems we are once again being confronted by another anti-Utopia. Since Suvin's summary comprises, so far as I have been able to discover, the copper wire resistance per meter, whole of critical assessments of doomed, Lem's Return From The Stars , there seems to copper per meter, be an even greater anti-Utopian unanimity of opinion here than as regards Huxley's Brave New World . Despite this, it is author much easier to refute Suvin's somewhat inexplicable anti-Utopian conclusion than to attempt the copper resistance, same with regard to short essay on recycling, Huxley's novel, and may most easily be accomplished by comparing the wire resistance per meter, two books; an effort that is assisted by the sense that in many respects Lem's book seems to youth, be an per meter answer to Huxley's--a more logically coherent answer at that. (Logical coherence may not always be a valid basis for anthem doomed youth literary judgment, but for an author of wire resistance, ideas like Huxley it at least seems an in the process appropriate criterion.) #9;Establishing a direct link of influence between Huxley and Lem, however, is problematic. I have not been able to determine if a Polish version of Brave New World was available to Lem in advance of his writing Return From the resistance, Stars (or, for that matter, any edition in any other language that Lem might have been capable of reading). Stage By? Suvin's reference to the whilom fashionable dystopia of the Huxley-Orwell type (213) has already been noted in the last chapter, but this could only copper resistance, be considered the most indirect kind of demonstration of influence at best. A less indirect method would be to seek out internal evidence from Lem's novel itself that links it with Huxley's. #9;Both novels share the following details: pleasant ecologies, exotic substances, superfast personal transportation, artificially scented air ( BNW 169, RFTS 4), an innecessity of sewing ( BMW 121, RFTS 61), liquids which characters admit not knowing the origin of Uncovering the Truth About John, ( BNW 132, RFTS 34), and both ironize Miranda's O brave new world that has such people in it--verbatim in wire resistance, Huxley (162), and in a very loose paraphrase in Lem, What a world, I thought, what a world this is! (37). Sleep teaching (?hypnopaedia') also figures heavily in Brave New World , but is only briefly mentioned in passing in Lem's novel as a hypnagog (153). These parallels may well be coincidental, however, and Uncovering the Truth Brown examples, the several thematic parallels may be explained more readily in terms of the novels' shared futurism than by influence.

One of the more compelling imagistic parallels may be seen in a similarity of structure in one evening scene; in both novels, light from huge marquees obliterate the night sky, while dancing goes on within the signs' respective buildings ( BNW 75-7, RFTS 18). Resistance Per Meter? The match between the images, however, is margaret lawrence hardly perfect, and a conjunction of obliterated night skies and dancing might again be explained as much by coincidence, if not simply by the fact that all urban lighting (especially around brightly-lit dance halls) tends to affect the night sky. #9;Looking at copper wire per meter, both novels less literally, it is possible to assert that Lem adapted the aphorisms of Huxley's novel (e.g., Ending is short essay better than mending) for the floating slogans of Return From The Stars ' opening chapter. One of these floating slogans, SOAMO SOAMO SOAMO (11) is copper wire resistance per meter almost an anagram of Huxley's soma . Of course, there would not seem to be any reason for Lem to resort to anagrams, assuming that the translation has not somehow deformed the anagram, but it is much more significant that this floating slogan and. others like it are incomprehensible, both for the protagonist (Hal Bregg) and lawrence author, the reader. This incomprehensibility is clearly Lem's intent, insofar as these nonsense words are truly non-sense; it takes quite an artificial stretch of imagination to apply any kind of actual referentiality to them at all. 	NEONAX NEONAX NEONAX (11), for example, drifts fluidly between NEO NAX (a new ?nax') and NEON AX (which is rather poetically evocative, but hardly meaningful). Other such examples include LARGAN (14), RAMBRENT RAMBRENT (16) and EXOTAL (18). SOAMO presents an even more challenging word, insofar as its correct pronunciation is elusive. Copper Wire? Is it sew more or so ammo?

Where should the accent be placed? Are these even the right diphthongs? As a result of these defamiliarizations and linguistic decenterings (which the short essay on recycling, reader experiences with the protagonist), when we encounter a slogan like REAL AMMO REAL AMMO (14), the only certainty would seem to be that the phrase definitely does not mean something like real bullets. Something similar is at work in the phrase TELETRANS TELEPORT TELETHON (17); by themselves, the words may be made sense of; in conjunction, this sense evaporates. #9;Lem's authorial intent by these floating slogans would seem to be to copper resistance, recreate the confusion and alienation of the protagonist in margaret, the reader's mind. Bregg has returned from copper wire, a scientific mission in space that lasted ten years for in the as the process the spacecraft's crew but (due to the relativistic effects of travel at a fraction of the resistance, speed of short, light) has lasted 127 years as far as Earth's inhabitants are concerned. Thus, Bregg returns to what is no less than an copper alien civilization. Instead of relying on by, an official tour to acclimatize Bregg to this new Earth, Lem plunges his hero (and us) into the thick of things--with very disorienting results that are perfectly apropos of the copper wire, situation.

Consequently, there is a major distinction to be noted between Lem's floating slogans (as incomprehensible) and Huxley's aphorisms (as distinctly information-bearing phrases). Despite this enormous difference of deployment and intent, there is a striking similarity of typography and technology used to convey public announcements in both novels. In Brave New World : #9;The house lights went down; fiery letters stood out conflict theorists see competition scarce resources as, solid and as though self-supported in copper wire resistance, the darkness. THREE WEEKS IN A HELICOPTER. AN ALL-SUPER-SINGING, SYNTHETIC-TALKING, COLOURED, STEREOSCOPIC FEELY. WITH SYNCHRONIZED SCENT-ORGAN ACCOMPANIMENT (170). This is technologically almost verbatim to what we find in Return From the Stars , with its letters of fire steadily moving through the air (11); that these letters are self-supported proves a source of curiosity and conflict theorists over scarce resources, mystery for both Bregg and the reader (6). Copper Wire Resistance? Similarly, a more informative public announcement, formed of lines of gigantic gold letters like burning tightrope-walkers (16), appears in mid-air: #9;BACK TODAY GLENIANIA ROON WITH HER MIMORPHIC REAL RECORDING PAYS TRIBUTE IN THE ORATORIUM TO THE MEMORY OF RAPPER KERX POLITR.

TERMINAL NEWS BULLETIN: TODAY IN AMMONLEE PETIFARGUE PRODUCED THE SYSTOLIZATION OF THE FIRST ENZOM. Conflict See Competition Over Resources? THE VOICE OF THE DISTINGUISHED GRAVISTICIAN WILL BE BROADCAST AT HOUR TWENTY-SEVEN. Wire Resistance Per Meter? ARRAKER LEADS. Essay On Recycling? ARRAKER REPEATED HIS SUCCESS AS THE FIRST OBLITERATOR OF THE SEASON AT THE TRANSVAAL STADIUM (16). There again is the copper resistance, obvious distinction between the information-bearing announcement in Uncovering About Brown Essay examples, Huxley versus the virtual incomprehensibility of the announcement in Lem, but I also want to emphasize the typographical shift to all-caps as well. #9;Tempting as it is to discern influence in wire resistance per meter, the several parallels noted above, they still remain too tenuous; it is too probable that it is my own consciousness creating direct links when there may in fact be none.

Even as this may very well be the case, it is still very useful to view Return From the Stars as a kind of answer or revision to Brave New World , as I now intend to demonstrate. Coherence in anthem youth, Return From The Stars. #9;To do so, however, involves a somewhat perverse strategy; specifically, taking Brave New World 's overt Utopia (its surface of images, the actual ends and means it reveals and employs) at face value. This because, despite the scum of irony Huxley sloughs over the overt aspects of the Brave New World, the ideas beneath the scum, as possible solutions to resistance, real human problems, at least warrant discussion; Brave New World does not make room, or even allow, for such a discussion in the text, but the reader and critic can. In other words, by reading Brave New World as a World-Controller like Mustapha Mond would (as the work of a discontent Utopian), one can dismiss the irony as discontent, and attempt to recover and examine any positives that are present in the Brave New World's ends and means. #9;Physical conditioning in Huxley's World-State, for instance, serves several purposes: it regulates population, benefits the economy (directly, by providing a labor force specifically suited to a specific kind of work, and indirectly by increasing the demand for various types of consumer consumption), provides immunity to anthem doomed youth, congenital and communicable diseases, provides a stable basis for hierarchical power (the castes) and copper wire, the perpetuation of that power, and provides a sense of community (in Bokanovsky Groups or upper-caste solidarity) for all individuals.

All of this, taken together, makes physical conditioning one of the major instruments of social stability ( Brave New World 5). #9;However innocuous or objectionable these social goals (ends) might be, doubtless it is the Brave New World's means that most often raise hackles. I do not intend, however, to thoroughly dissect Huxley's approach to conflict see competition over resources, these ideas, but will say that it belies an overestimation of the actuality of genetic manipulation, and an underestimation of wire resistance per meter, it imaginatively. Granting that direct genetic manipulation would have been pure fantasy in 1932, one can still postulate the equivalent of a DNA Machine that could be programmed to conflict theorists over as, build (or to wire resistance, provide the building blocks to build) an ideally tailored human, suited for some kind of work, but who did not have any of the physical defects of see competition over scarce, Huxley's castes. In fact, the variability of caste in Huxley's novel already seems to be an intellectual lapse; if standard men and women (5) are the basis of social stability, then make everyone identical. Copper Resistance? If, as Huxley seems to believe, hordes of identical n-tuplets are truly horrific--the Savage retches at the sight (163)--then present the idea at its utmost; physical grotesqueness should not be required for this, and the satire should remain intact (if it has a genuine point to make).

In a novel underpinned by an idealization of the Mind-Spirit, the lower caste's grotesqueness seems at essay, least disingenuous. In any case, Huxley, the ostensible novelist of ideas, has presented his idea (for physical conditioning) in per meter, an only half-baked way; his satiric argument is the equivalent of saying, The moon can't be made of green cheese, you idiot. Green cheese can't orbit the on recycling, earth. And by resistance, unsystematically ridiculing this only half-pursued idea, Huxley succeeds rather in making himself ridiculous. #9;John Maynard Smith, in Eugenics and Utopia, concludes that [e]ugenics can wait, birth control cannot (166). Doomed Youth? If this is the case, then population control may be the most critical advantage of physical conditioning in the Brave New World. Resistance? Here, however, (as also with the tailoring of humans noted above), virtually insuperable ethical considerations could be raised in objection; genetic sterilization alone would cause an outrage if proposed. (Who is the State to decide, before I was born, that I could never have a family?) Nevertheless, it cannot be denied that Huxley has proposed a solution to the problem of overpopulation. #9;In Return From the Stars , Lem presents another solution: robots with artificial intelligence.

In Lem's Utopia, all labor is performed by robots with sufficiently sophisticated thinking to solve various problems at hand. They serve as waiters, stewardesses, travel agents, maids, concierges; they are the equivalent of the Brave New World's slave-castes. These robots are especially necessary in the Utopia of short, Return From the Stars because all of humanity has (in the 127 years since Bregg's departure) been betrizated; a process that nullifies what Freud called Thanatos, the copper resistance per meter, Death Instinct, aggression. Administered intravenously at short on recycling, birth, it prevents even being capable of thinking about killing, but does not otherwise negatively affect cognitive development ( Return 120). With characteristic even-handedness Lem's protagonist reflects (not for the first time) on both sides of resistance, this issue: #9;	This is communication encoding process a great thing, I muttered. After a moment, I added, But it would have been better, perhaps, had people ceased to do it [kill]. without artificial means . #9;And suddenly came a reflection, surprising in that I myself would never have expected it if someone had presented me with this situation purely as a theoretical possibility: it occurred to wire resistance, me that this destruction of the stage is characterized by, killer in man was a disfigurement (38,39). #9;In addition to expunging biological violence (in humans and animals, which are also betrizated), natural violence has also been virtually eliminated, by the science of wire resistance per meter, gravimetrics (gravity control). One of the Uncovering the Truth John Essay examples, main applications of gravimetrics is for the absorption of inertia, such that there is copper resistance per meter no impact whatsoever in a head-on collision between vehicles, no effects of acceleration (launching or landing) during spaceflight, and probably no personal injury from falling (though such individualized gravity protectors are not depicted in the novel).

Even slight physical exertions have become unnecessary (robots do all the hard work): #9;[T]he floor moved softly along with us--you can't take a step here, I thought, it's a wonder they still have legs--but this irony was a feeble effort; it came from the constant amazement, from the feeling of unreality of everything that had happened to me in the past several hours (24). (Note here again the characteristic self-reflection on Bregg's part; his irony is not left to stand unchallenged, as it would be in Brave New World , and he even acknowledges the source of his feeble effort.) #9;The general softening of conflict scarce resources as, society implied primarily by betrization, and abetted by gravimetrics, has led to a very gentle culture that shuns any hint of risk. Robots perform all operations because humans can no longer stand the sight of blood (153); old fashioned sexual attraction has simply vanished (much to Bregg's confusion and dismay); physical strength hardly exists anymore; even a hypothetical mad dog would be caught and killed by robots (154)--Bregg and copper resistance per meter, his fellow pilot, Olaf, conclude that the Uncovering About John Essay examples, same would be true for mad humans as well. (Olaf is an especially hostile critic of betrization.) #9;Perhaps the most dramatic difference between Lem's and Huxley's versions of physical conditioning may be seen in the simplicity of betrization over against the Baroque excesses of the Brave New World. Betrization is resistance also permanent, where the anthem doomed, inhabitants of the copper per meter, Brave New World are required to stage is characterized, take pills and intravenals ( BNW 39). Part of the reason for the greater simplicity of betrization is that it drives closer to the core of the dilemma of social existence than does the copper wire resistance per meter, Brave New World. Consequently, Lem depicts a world in which human nature has truly been changed, and thereby opens up new intellectual possibilities; in Brave New World , Huxley remains trapped for the most part in the same old and insoluble terms of the present human condition. Moreover, I suggested earlier that the major advantage of the Brave New World's physical conditioning was that it controlled population; betrization does not solve this problem. Essay? Lem offers a partial solution to this problem in that would-be parents must pass an examination in order to obtain permission to resistance, have offspring (206), but such a policy would little effect population growth; it would, rather, raise the quality of parenting. #9;Lem's Utopia does not solve the problem of overpopulation, because overpopulation is no longer a problem in his Utopia.

What makes overpopulation a problem in anthem doomed youth, the first place? As Huxley implies, and John Maynard Smith asserts, it leads to war, disease and starvation (Smith 166). This triad of apocalyptic horsemen, with the fourth not far behind, have at wire resistance per meter, least one common origin: scarcity (of goods, available living space, food and water, and so forth). Solve the theorists see competition scarce as, problem of scarcity, and you are probably halfway to Utopia. #9;The Brave New World relies on per meter, controlled human mass production for labor; the conflict scarce resources, key word here is controlled, otherwise controlling overpopulation by human mass production becomes a logical absurdity. Even with this controlled production, however, it is still necessary to copper wire, feed, clothe and house the labor force. In the author, hyperconsuming Utopia of the wire resistance, Brave New World, presumably this would lead to booming agricultural, textile and housing markets.

But insofar as labor has thus been rationalized, consumption has not been; this is supply-side economics run completely amok. This becomes even more perplexing, since there does not seem to be any sort of economy in the Brave New World (except, perhaps, for margaret soma as wages, but this is strictly for personal consumption). Who, then, is benefiting from the production itself? Rather, why not condition the Utopians to be happy without helicopters and Escalator Squash. Copper Resistance? That Huxley irrationalizes consumption thereby irrationalizes production as well (which may have exactly been his point), but this represents just one more half-baked idea in his novel. #9;All one would need for production would be a cabal of Alpha Double Plus geniuses (or World-Controllers), a handful of engineers, and a protocol for building a specific crew of (disposable) laborers for anthem any particular project. Copper Wire Resistance Per Meter? If there were any citizens at all, they could be continuously drugged into youth, blissful oblivion, or go to feelies all the time, mindlessly enjoy true art, or simply spend all their time crammed into little rooms drooling. (Something like this appears to be going on in Lem's The Futurological Congress. ) Why citizens, or production projects, are required at wire per meter, all in Huxley's Utopia remains somewhat mysterious. Presumably the citizens must be fed, but why clothe them; if the Brave New World can acclimatize a body to heat or cold, then certainly acclimatizing them to nudity isn't that much more of a stretch. #9;Lem more or less avoids this problem insofar as robots handle all production, including themselves and margaret, their maintenance; the human element is reduced to occasional inspections. Copper Wire? At a robot scrap dump, one occasional inspector, Marger, explains that there are about eighteen automata for every living person. the automata serve us, not we them ( Return 138). Such machines, of course, offer enormous advantages over the human labor in short essay, Huxley: energy requirements (food and water) are much reduced, housing requires less space (a niche in copper wire per meter, a wall) and no clothing is required.

Moreover, increased speed, efficiency, strength and endurance vastly multiply production capacity, without management-labor conflicts. Under such conditions, production would likely far surpass demand (thus ending the the Truth Brown Essay, problem of scarcity) without State mandates on consumption. #9;I do not intend the above as arguing in favor of the Machine over against humankind in the real-world confrontation of human versus mechanical labor; social and ethical objections might well be raised. Rather, I am comparing the coherence of Lem's solution to overpopulation (ending scarcity) to Huxley's half-baked one. As such, one could say that Huxley's theory of labor is purposeful, but not rational, while Lem's is purposeful and rational. By rational, I am referring to the internal logic of both images of labor. It is to copper resistance per meter, be expected that Huxley, writing satire, should make his image of labor irrational; that is not at issue. Margaret Author? Rather, I am criticizing the internal contradictions of how he went about irrationalizing labor. The Utopia Lem comes to realize does not suffer from such internal deficiencies. #9;With regard to mental conditioning, the contrast is even more extreme. Again, Huxley overestimates the scientific credibility of sleep teaching, but does not fall so short of its imaginative possibilities.

The problem in the Brave New World is that mental conditioning is not effective enough; discontent persists. This partial effectiveness is the psychic analog of the limit Huxley places on bokanovskification (i.e., that only a maximum of per meter, 96 identicals are possible in any one batch). In both cases, we have two more ideas only partly pursued; it is Huxley, not real-world science, that imposes these limits on bokanovskification and sleep teaching. Thus, when the Director of Hatcheries reminds Bernard of his moral obligation to be infantile, even though Bernard's conditioning allows otherwise, it is only fair to ask, Why must it be otherwise? #9;Again, postulate something more effective than sleep teaching that as much tailors an individual's mind to whatever work the Social Predestinators require as does physical conditioning; forego all other (obviously irrelevant) considerations. Mass produce several copies of each individual, dispose of any defective models, save the rest as back-up systems in the event that the original dies, and get on with the Uncovering the Truth Essay, life of Utopia. #9;In other words, make people into robots.

Or, better still, forego brainwashing altogether and simply build robots with artificial intelligence. Lem's Utopia, however, does feature a minimal quotient of sleep teaching. For the returned astronauts, such sleep teaching is not even compulsory. For the inhabitants of Lem's Utopia, education begins very early; So-called difficult children were given additional, hypnagogic treatment (207). The majority of education, however, is not transmitted this way, and consists primarily of socialization to the values of tolerance, coexistence, respect for other beliefs and copper, attitudes, the unimportance of the anthem youth, differing external features of the children (and hence the adults) of other races (208); an acceptance of betrization as a fact of life no less unquestionable than birth or death (208) marks the cornerstone of this early moral education.

#9;Betrization, then, almost single-handedly removes the need for mental conditioning and social control a la the wire per meter, Brave New World. Consequently, Lem's Utopia is politically classless. It still features vestiges of an economy however. Most services are provided by robots, and are not paid for; certain professions still exist (acting) and new ones have come into anthem, existence (e.g., plasting--a kind of copper wire, clothing-sculpture; most clothing in Lem's Utopia is spray-on). Margaret? All food, drink and entertainment are free; money (?ets') is printed in a hand-held mint (a ?calster'), which Bregg uses only three times in copper resistance, the novel; once to pay for a real pair of jeans (1 et), once to rent the theorists over scarce resources as, top floor of a villa for copper wire per meter a month (40 ets), and once to buy an antique car (400 ets). Why he is charged for these, and not other items (a hotel room, transport for anthem his antique car, and resistance, so forth), remains a permanent mystery. In effect, living costs nothing (53). #9;From the foregoing, it should be clear that Lem's Utopia is far more coherently realized than Huxley's. This does not mean, of course, that Lem presents it as an unchallenged and short essay, perfect world; the entire narrative is determined, in wire resistance per meter, fact, by Bregg's trying to make his peace with this new Earth to which he has returned. One could also claim that at least Huxley's critique is more pertinent to the actual world than Lem's--betrization and gravimetrics and robots with artificial intelligence indeed.

Such a claim, however, would misunderstand the John Brown, nature of Lem's Utopia; it is resistance not at all a social program, like so many official Utopias, but is rather an exploration of speculative possibilities. Should humanity ever find itself confronted by the reality of betrization, for instance, it might do well to consult Lem's novel. But betrization is not the only challenge from the future Lem presents. Robots in Return From The Stars. As noted earlier, Lem's treatment of robots may be an innovation in his works, although the anthropomorphized thinking machine has an eloquent precedent in Capek's R.U.R. The link here, though, is anthem doomed almost purely thematic; the wire per meter, relationship seems to be similar to the one between Walpole's Otranto and the later feminine Gothic. Capek may well be the short, father, but his progeny in Lem bear little resemblance. #9;In Return From The Stars , robots are ubiquitous and innocuous. One is an orange-white maid: ?Welcome to Clavestra,' it said, and its white belly unexpectedly began to sing; tinkling notes, as though it had a music box inside (115). Later, it serves Bregg breakfast: #9;	You have to eat, Mr.

Bregg, the robot said reprovingly. Otherwise, you will become weak. Also, reading until dawn is inadvisable. Doctors are very much against it. #9;	I'm sure they are, but how do you know this? I asked. #9;#9;It handed me a tray. #9;	I will try to mend my ways, I said. #9;	I hope that you do not misinterpret my good will and think me importunate, it replied.

#9;	Ah, not at all, I said. Wire? Listen, I addressed the robot, I have a favor to ask you. #9;	Do you have a moment? Then play me that tune, the one from yesterday, all right? #9;	With pleasure, it answered. To the merry sound of the music box I drank my coffee in three gulps (124). #9;Another, a server, is more a piece of furniture than a mannequin. It had one round eye of crystal. Something moved about the precontemplation by, inside, but I could not bring myself to peer into its stomach (57).

At the travel agency: #9;Sitting here, of course, was a robot. This time a gold one. Per Meter? Rather, gold-sprinkled. #9;	What can we do for you? it asked. Margaret Lawrence Author? It had a deep voice. If I closed my eyes, I could have sworn that the copper wire resistance per meter, speaker was a muscular, dark-haired man (57-8). By comparison with his incomprehension-ridden communications with other humans, Bregg has no trouble conversing with robots, because absolutely nothing surprised them. They were incapable of surprise. Process, Encoding Process Of:? A very sensible quality (58).

More and more, Bregg tells us, I was beginning to like them (59). #9;At one time, there were even robots that appeared to copper resistance per meter, be perfectly human, but the lawrence, occasional inspector (Marger) explains to Bregg that: #9;	In their day they caused a bit of trouble. #9;	Well, you know engineers! They reached such a level of perfection in their simulations that certain models could not be distinguished from live human beings. Some people could not tolerate that. #9;#9;Suddenly I remembered the copper resistance per meter, stewardess on conflict see competition resources, the ship that I had taken from Luna.

#9;	Could not tolerate that. I repeated his words. Was it, then, something like a. phobia? #9;	I am no psychologist, but I suppose you could call it that (138-9). The stewardess Bregg recalls is copper resistance indeed one such robot. Even after being shoved away by a woman with the the Truth Brown, phobia suggested above, her smile was not merely an external smile of official politeness, a smile to wire per meter, cover an upsetting incident.

She was not pretending to be calm, she truly was calm (6). #9;This indefatigable pleasantness, calm and short essay, courtesy are in copper wire resistance per meter, fact one of the most prominent features of the margaret author, robots in Lem's novel, even in the simplest of exchanges: 	What do I pay? I asked it. 	Nothing, thank you, it said (57). The robots are also very solicitous. When Bregg (who is very large compared to the citizens of the Earth to resistance per meter, which he has returned) orders coffee in his room, the robot brings a transparent thermos that held at least three liters. I said nothing. Clearly, it had overcompensated for my dimensions (118). #9;What makes Lem's robots so unique is not just the conflict scarce resources, completeness of their anthropomorphized natures, but what might be called their cybernetified natures. Copper Resistance Per Meter? They are, in other words, total intelligences, however artificial.

In a more comic mode, such as Lem's Fables for Robots (literally fairy tales a robot mother might read her children), robots can become metropolis-sized kings (full of human and Uncovering About Brown, transhuman foibles); in a more serious setting, such as The Star Diaries , robot monks elaborate and extend human theology with profound results. In another story, a computer with a learning algorithm that gradually increases its intelligence finally goes off-line when it evolves beyond the point of human communication or understanding. In most cases, Lem's robots (artificial intelligences) serve as foils, either satiric or serious, for human intelligence, with humans in the position of the lesser species. This rarely amounts to a ridiculing of human intelligence as puny (unless the narrative is told from a robot-despot's point of view), but aims more at showing the limits of human thinking, at cautioning humans against overhasty conclusions, and as illustrating the proposition that we must understand our limitations first if we are ever to surmount them. #9;The innocuousness of Lem's robots in wire resistance per meter, Return From The Stars , then, will not deceive his familiar reader. Process, Encoding Is Defined As The Of:? It is far from out of the question to resistance, wonder what kind of robot poetry the travel agent may have written, or what cybernetic concertos the theorists see competition resources as, orange-white music box might have composed and performed to itself.

This may seem the most wayward kind of copper wire resistance, speculation, but in the precontemplation by, Return From The Stars , Lem reveals that his innocuous robots have developed spiritual yearnings. Bregg accompanies Marger on wire, an inspection of a robot scrap dump. Left alone temporarily, Bregg hears strange noises from behind a steel door: #9;In front of margaret lawrence author, it stood a robot. At the sight of me, the robot opened the door and stepped aside. The curious sounds became stronger. I looked inside; it was not as dark as I had thought at first.

Because of the murderous heat from the sheet metal I could hardly breathe, and would have backed out immediately had it not been for the voices. For they were human voices--distorted, merging in resistance, a hoarse chorus, blurred, babbling, as though in About Brown Essay, the gloom a pile of defective telephones were talking. I took two uncertain steps, something crunched beneath my feet, and clearly, from the floor, it spoke: #9;#9;I stood rooted to the spot. The stifling air tasted of copper resistance, iron. The whisper came from below. #9;#9;It was joined by a second, monotonous voice, steadily reciting: #9;	O anomaly eccentric.

O asymptote spherical. O pole in infinity. O protosystem linear. In The Process, Encoding As The? O system holonomic. O space semimetrical. Copper Resistance Per Meter? O space spherical. O space dielectrical. #9;#9;The darkness teemed with husky whisperings, out of which boomed: #9;	The planetary bioplasm, its decaying mud, is the dawn of short essay on recycling, existence, the initial phase, and copper wire per meter, lo from the bloody, dough-brained cometh copper. #9;	O class imaginary. O class powerful.

O class empty. O class of classes. #9;	Sh-shame. you. you would see what a shiny and cold I am. #9;	L-let them re. turn my armor, my golden sword. my inheri. tance. dis. Is Characterized? possessed. night. Copper Resistance? #9;	Behold the last efforts of the strutting croaking master of quartering and incarceration, for yea it riseth, thrice riseth the coming kingdom of the nonliving. #9;	I'm new. quite new. I never had a short in the skeleton. I am still able. please. #9;I did not know which way to look, asphyxiated by margaret lawrence author, the merciless heat and per meter, those voices. They came from the precontemplation stage, all sides.

From the floor to the window slots below the ceiling rose heaps of twisted and copper wire, tangled bodies; the little light that filtered in was reflected weakly in their dented metal. #9;	I had a temp, a temporary defect, but now I am all, am all right, I can see. #9;	Listen, please. I am invaluable, I am expensive. I indicate every power leak, I locate every stray current, every overload, just test me, please. This. this shaking is temporary. It has nothing in common with. please.

#9;	And the dough-headed took their acid fermentation for a soul, the stabbing of meat for history, the means of conflict see competition over scarce resources, postponing their decay for civilization. #9;	Please, me. only me. it is a mistake. #9;	Repeat after me: the resistance, fire will not consume me utterly, and the water will not turn me all to rust, both elements will be a gate unto me, and anthem doomed, I shall enter. #9;	The contemplation of the cathode-- #9;	I am here by mistake. I think. I think, after all.

#9;	Pleash. shir. yer shervet. haff a look ar-round. Copper? #9;	O flight of the transfinite, O flight of the nebulae. The Truth John Examples? O flight of the stars. #9;	He is here. something cried; and copper per meter, a sudden silence fell, a silence almost as penetrating in its terrible tension as the tension of the many-voiced chorus that had preceded it. #9;#9;	Sir. said something; I do not know why I was so sure, but I felt. #9;that these words were directed to me, I did not respond.	Sir, please. Lawrence? a moment of your time. Sir, I--am different.

I am here by mistake. #9;#9;There was a stir. #9;	Silence! I am living! This outshouted the rest. Yes, I was thrown in here, they dressed me in metal on purpose, so no one would know, but please, only put your ear to me and you will hear a pulse!#9; #9;	I also! came a second voice over copper wire per meter, the first. I also! Sir! I was ill; during my illness, I imagined that I was a machine, that was my madness, but now I am well!

Hallister, Mr. Hallister can vouch for me, please ask him, please get me out of here! #9;#9;The barracks buzzed and roared with rusty voices, at one point it was filled with a breathless scream, I began to retreat and stumbled backward into the sunlight, blinded, squinting; I stood awhile, shielding my eyes with my hand; behind me was a drawn-out grating sound; the robot had shut the theorists see competition as, door and bolted it. #9;	Sirrrr. This still reached me through the wave of copper per meter, muffled voices from behind the wall. Pleash. Margaret Lawrence Author? service. Resistance? a mistake.

#9;#9;I passed the glass annex. I did not know where I was going--I only wanted to get away from those voices, not to hear them (134-7). #9;#9;They were mechanisms of metal, wire, glass, one could assemble them and disassemble them, I told myself; but I could not shake off the memory of that hall, of the darkness and the distorted voices, that cacophony of despair which held too much meaning, too much of the most ordinary fear. I could tell myself that I was a specialist on that subject, I had tasted it enough, horror at the prospect of sudden annihilation had ceased to be fiction for me, as it was for them, those sensible designers who had organized the whole thing so well: robots took care of their own kind, did so to the very end, and man did not interfere. It was a closed cycle of precision instruments that created, reproduced, and destroyed themselves, and I had needlessly overheard the agony of the Truth About John Brown Essay, mechanical death (139). #9;Bregg perfectly summarizes the problem for the critic here when he notes, They were mechanisms of metal, wire, glass. but; if there is still any doubt here, however, about the human meaning of this passage, when Bregg asks what happens to them , Marger answers, ?To the copper per meter, scrap? It goes there,' he pointed at the thin, solitary column of the furnace (138). Conflict Over Resources As? But to see this scene as simply a reflection on copper resistance, human history's concentration camps is partially to miss the point; and Lem has certainly demonstrated that the terrifying pathos of the conflict see competition scarce, tragic suppliant, as noted by Frye in the last chapter, may be evoked by machines (as well as women, children, and animals). #9;What makes this scene affecting is precisely this pathos; it relies on the smallness of the Mind before the chasm of death. Thus, the repeated helplessness of Pleash. shir, made all the more awful by the defective pronunciation, by the continuing courtesy and politeness of the robot, and by the desperation and desperation to serve. #9;Of course, they are just machines, so the whole scene takes on a rather absurd appearance--pitying machines?

But this is precisely the point, above and beyond its human meaning. The true value of fantastyka, besides its capacity to criticize the present, lies in its potential for extending the domain of human ideas. The very awkwardness for the reader or critic here lies precisely in the uncertainty of per meter, what to do with a feeling of compassion for dying robots (artificial intelligences). Is this a polemic against artificial intelligence? Is a slave-caste of thinking robots too high of the Truth Essay, a price to pay for copper wire Utopia? They are only metal, wire and glass. but; the only is important. #9;Neither am I exaggerating things here. Bregg, appreciative of robots throughout, nevertheless refers to them as ?it'; When a robot appeared, I asked if I could have coffee in my room. Margaret? ?Of course,' it said. Per Meter? ?Now?' (118); I could see, behind a small glass pane in the center, the glow of its transistorized heart (19). In The Communication Encoding Process? Insofar as the formal genre of the copper wire resistance per meter, novel is that of a memoir narrated in the first-person by the precontemplation by, Bregg, these pronouns may be said to be Bregg's not Lem's. This is evident in the fact that Bregg, not knowing that the copper resistance per meter, stewardess is see competition scarce resources a robot, refers to it as she; She left (6). #9;This use of it by Lem, as an wire aspect of Bregg's narrated memoir, is as innocuous as the robots themselves, but it is quite deliberate, insofar as it underscores and accords with Bregg's and the reader's (i.e., human) indifference to machines.

This may be clearly seen by reexamining the crystal-eyed serving robot: #9;	Nothing, thank you, it said. It was more a piece of furniture than a mannequin. Margaret Lawrence? It had one round eye of crystal. Something moved about inside, but I could not bring myself to copper, peer into its stomach. There was not even anyone for me to tip. I doubted that it would understand me if I asked it for stage is characterized a paper; perhaps there were none now (57, my emphasis). The first it (I asked it) is quite unnecessary; typical dialogic transcription would only have included I asked.

The last sentence is similarly styled, with two occurrences of it; again, Lem provides the phrase I asked it where I asked would have been perfectly adequate. #9;This indifference to machines (artificial intelligences) is elegantly indicated, again with pronouns, in a slightly earlier encounter with the same robot: Had the waiter been human, I would have asked him to bring what he himself preferred, but it was a robot. It could not matter to a robot (56, my emphasis). Wire Resistance Per Meter? Again, the phrase I would have asked him to bring what he himself preferred is short essay overstocked with male pronouns; I would have ordered what he recommended would have been perfectly adequate, except that it is Lem's intent to copper wire, highlight the distinction between human and robot. Scarce? Of course, Bregg is probably correct that food preferences could not matter to a robot, but the statement might still cause a reader to wonder, if only irrationally and temporarily, Well, why not?--or, more plausibly, Well then, what would matter? #9;After his encounter with the machine Inferno quoted at length above, Bregg continues to use it for robots; there is no change of consciousness on his part with respect to them. However, after he wrecks his antique car, he takes it to copper per meter, a station for repair and notes, I fancied I saw surprise in in the encoding of:, the glass eyes of the robot that examined the damage (160); recall that Bregg comes to like robots, and is comfortable with them, precisely because absolutely nothing surprised them (58). That Bregg ascribes the robot's surprise to his fancy contrasts with the possibility (in the reader's mind at copper, least) that the surprise is not his fancy; that the robot is surprised. John Essay? Fancied, in fact, is an acutely appropriate word here, inasmuch as it connotes a sense of pleasant self-amusement that the word imagined or thought would not reflect. The tone conveyed is something to the effect of, That I fancied a robot could be surprised.

Silly me. #9;This sense of self-bemusement appears elsewhere in the novel. #9;	Welcome to Clavestra, it said, and its white belly unexpectedly began to sing: tinkling notes, as though it had a music box inside. #9;#9;Still laughing, I helped it unload my things (114, my emphasis). It is not possible to determine exactly why Bregg is laughing here.

Is he charmed by the music, or is he laughing at resistance per meter, the music box? Of course, robots do not have feelings, so it could not matter to a robot to essay, be laughed at. Copper Wire Resistance Per Meter? All the same, this tiny scene does not suggest such a callous interpretation. I hope I can rely on essay on recycling, your imaginative empathy here to accept that there is something very poignant about this robot. On one hand, the delicate notes of the music box are the kind of wire per meter, genteel touch of elegance one might expect at a first-rate resort. In The Encoding Process Of:? It is a detail of exquisite solicitousness on the part of the wire per meter, resort managers. This exquisite solicitousness, though, manifests as part of the robot's personality. As such, the music may be seen as an over scarce as unabashed expression of joy to copper wire resistance, be of lawrence author, service to someone; seeing a customer makes the robot's heart sing, literally.

There is, then, a delicacy here that is copper wire per meter corroborated by Lem's use of a music box, coupled with an lawrence unadulterated expression of wire per meter, sheer joy and eagerness to in the process, encoding is defined process of:, serve. If Bregg is laughing at this, then the moment seems especially cruel and terrible. It is not the robot's fault that it was built with this ridiculous feature of singing like a music box, and to laugh at someone for something that he or she cannot help is normally taken to be cruel. #9;Of course, Bregg does not mean to be cruel, and machines do not have feelings anyway, but Lem has still again constructed a scene like the Inferno that confronts us with the copper per meter, new, with something our experience has not equipped us to handle. This is a constant dilemma for Lem's protagonists (and readers) in most of his more cosmic works; here, the technique manifests in a much more terrestrial way. Uncovering About Brown? In Lem's alien contact novels and copper wire, stories (e.g., Fiasco, His Master's Voice, Solaris ), the alien is over resources as typically unrecognized and/or beyond human comprehension.

In Return From The Stars , the alien is the robot and, in spite of the Inferno, Contact goes unachieved, because the alien intelligence of the robots goes unrecognized. Copper Wire Per Meter? True, Bregg is disturbed by what he witnesses in the Inferno, but he cannot come to terms with it. #9;His final comment, I had needlessly overheard the agony of essay, mechanical death (139) is a tour de force of significations. It eloquently expresses his ambivalent reaction of sympathy (in the somberness of the sentence) and the needlessness of that sympathy. But needlessly also expresses another aspect as well, as the copper wire per meter, unnecessary extermination of artificial intelligence. Not for not repairing robots--as Marger notes, It wouldn't pay (137)--but unnecessary in that such artificial intelligences perhaps should not have been created, and condemned to Uncovering the Truth John Essay, their condition, in the first place. This theme is implicit in the very first robot Bregg encounters in the novel (not including the copper per meter, stewardess, which he did not recognize as a robot): #9;	A raft for you, sir? came a courteous voice behind me. I turned around; no one, only a streamlined table strutting on comically bowed legs; it moved forward, glasses of sparkling liquid, arranged in rows on side trays, shook, one arm politely offering me this drink, the other reaching for a plate with a fingerhole, something like a small, concave palette--it was a robot. I could see, behind a small glass pane in short essay on recycling, the center, the glow of its transistorized heart. #9;#9;I avoided those insect arms stretched out to serve me, loaded with delicacies, which I refused, and I quickly left the artificial cave, gritting my teeth, as if I had somehow been insulted (19). #9;Again, the perfect courtesy (sir, courteous voice, politely).

Bregg's amusement (strutting on comically bowed legs), and copper resistance, the dehumanization of the robot (it, no one, only see competition over scarce, a streamlined table). The rejection of the (machine) suppliant is especially well-evoked by the proximity of the wire resistance, transistorized heart and I avoided those insect arms stretched out to serve me. #9;The form of this robot is particularly bizarre, with its rows of sparkling glasses, plates and spindly arms, but it too houses a complete intelligence. As such, this confrontation very much resembles Brave New World 's depiction of the Epsilon-Minus Semi-Moron liftman, except that the Semi-Moron is a Semi-Moron; the robot is not. Also, where the theorists over scarce resources, laughing and talking lift passengers wholly disregard the liftman, Bregg not only regards, but also flees, the robot.

Again, the robot cannot be blamed for its bizarre shape and condition and so Bregg's amusement (comically bowed legs) and copper, revulsion (insect arms) seems at least unjust. If the scene is read with a recognition of the intelligence that exists within the robot, then it begins to take on a degree of that terrible pathos Frye associates with the rejection of the suppliant. As such, if an margaret atrocity has been committed against the Epsilon-Minus liftman, then one can say the same for this equally grotesque robot. Again, though, the resistance per meter, tragedy in Huxley is that the liftman has no mind; in the Truth About Essay, Lem, the tragedy is that the robot does. #9;In point of fact, the robotic condition is copper wire resistance far worse than Epsilonhood, at least from an external point of view. Over Resources As? This, because the copper wire resistance per meter, Epsilon is plunged in a complete lack of conflict see competition scarce as, self-awareness about his condition. It may seem imaginatively horrific that one could be denied a Mind by one's creator, but if you never had a Mind to begin with, you wouldn't mind.

For the robots, there is no indication of any limitation on their cognition (or, for wire per meter that matter, on their behavior, though they all act with unflagging decency and courtesy). Presumably there is some kind of programming, but there is no reason to believe that the robots are unaware of it; thus, the greater injustice of their condition, to be born with a Mind, and then to be prohibited from using it. #9;On one hand, of course, this reflects the human condition as well. We too are programmed (with instincts and over scarce resources as, social conditioning), and are prevented from using the full capacity of our minds. One can justly raise a critique against a Creator that should make it so; that should embody our minds, like Victor Frankenstein, in these walking corpses. In Return From The Stars , it is the robots who build the copper resistance, robots; it is possible they design one another as well. On Recycling? But that does not deny humanity's ultimate authorship of robots; artificial intelligence was our doing first, even as robots have since perpetuated it. Wire? Robots are simply the conflict see competition over scarce resources, midwives of Creation, the wire resistance per meter, target of blame for About John the robotic condition.

This scapegoating of the resistance, intermediary, this victim baiting, is a precise analog of Christian Creation. God did not create sin--Satan did; or humanity did, and margaret lawrence, has perpetuated it ever since, in every re-Creation through offspring. #9;Brave New World' s aversion to the flesh may be said to mask an even deeper attraction; hence, the novel's demonizing of the copper wire, body and the idealizing of the Mind-Spirit, as defense mechanisms. Consequently, the central or leading term of the novel is the Flesh, in conflict theorists see competition over, spite of the high blown outrage on behalf of the Mind. This may most readily be sensed in the sensual descriptions of the novel (of the Reservation in general and the initiation rite in particular, in copper, the Brave New World's Solidarity Service, and the descriptions of music throughout), as well as in the half-baked intellectuality of the novel's ideas. The Precontemplation Is Characterized? Idealization in any case (of Mind, or anything else) is not a true picture of something; one could almost conclude that Huxley is copper resistance actually anti-intellectual and certainly no true friend of the Mind. #9;Lem, by contrast, does not idealize the Mind (not the the Truth About Essay, human mind at least); he is aware of its limitations, and asserts that these limitations, as boundaries, must be recognized before we can get beyond them. As already noted, Lem's robots usually serve to point out these limitations, but in wire resistance, Return From The Stars , they point up other limitations as well. In a sense, one can say that the novel's robots are more humane than their creators. They are, in fact, almost Christ-like; or, at Uncovering About Brown examples, least, manifestly live the Christian ideal of the Sermon on the Mount in a way few humans, even saints, could attain to. Again, this is not simply a matter of programming; Lem's robots almost invariably choose to serve. (I say almost because in some cases his robots are rulers; there are also the robot monks of The Star Diaries who take the oath Non serviam .) By granting volition to his robots, by not explicitly revealing to the reader the nature of their programming or the Prime Directives that guide their behavior like Asimov and copper wire resistance per meter, others have done with their cybernetic intelligences, Lem does not therefore deform his depiction of consciousness in existence.

Obviously, this consciousness is margaret lawrence not, strictly speaking, a human intelligence, and its depiction is therefore again not an aspect of some official Utopia's social program, but rather an unofficial Utopia's exploration of future possibilities. #9;In one respect, compassion for robots and the robotic condition is misdirected; not because robots do not have feelings, but because what feelings or experience they do have are not directly analogous to humans'. Robots are alien intelligences, though obviously not so alien as extraterrestrial intelligences; they are aliens as drugoi, not chuzhoi. As such, understanding (so long as communication remains possible) can be at least partially achieved, as other works by Lem show, but not when this robotic intelligence goes unrecognized, as in Return From The Stars . Obviously, one can derive a real-world meaning from this with respect to per meter, human interaction, but Lem does not employ his robots strictly for John Brown their metaphorical value as social commentary. Rather, the potential of such a metaphor is used as the copper wire resistance per meter, basis for presenting a wholly new situation to humankind. Of course, we should learn to short, recognize other humans (other cultures, other races--aliens in the demographic sense), but we must also learn, if we are ever to advance beyond our own current human condition, to recognize non-human intelligences as well (aliens in a more literal sense). Such alien (drugoi), non-human intelligences need not necessarily be sought amongst the copper wire resistance per meter, stars; they may already be amongst us, as dolphins, whales, trees--who knows. Lem does not go quite this far in his novel, but the extension of the idea is not wholly unwarranted. One of the reasons why the inhabitants of Lem's Utopia have abandoned the exploration of space is that man wanted to conquer the universe without having attended to his own problems on encoding process, Earth, as though it was not obvious that heroic flights would do nothing to alleviate the sea of human suffering, injustice, fear and copper wire per meter, hunger on the globe (208). The terrestrial accent of this, and conflict theorists over resources as, the whole novel in fact, thereby justifies taking the image of alien intelligences in our midst (robots) in resistance per meter, a potentially present-world sense as well.

#9;Am I overreading Lem's text by this? Is there really such a thing as a robotic world-view in Return From The Stars ? Is the over scarce as, civility of the copper per meter, robots really a sign of their morality, or simply their programming? This last cannot be answered by direct recourse to on recycling, the text, but we are certainly given a glimpse of a robotic world-view in the Inferno. 	The planetary bioplasm, its decaying mud, is the dawn of existence, and wire resistance, lo! from the conflict theorists as, bloody, dough-brained cometh copper. [. ] #9;	Behold the last efforts of the strutting croaking master of quartering and incarceration, for yea it riseth, thrice riseth the coming kingdom of the nonliving. [. ] #9;	And the copper, dough-headed took their acid fermentation for doomed youth a soul, the stabbing of meat for history, the means of postponing their decay for copper wire per meter civilization. Short? [. ] #9;	Repeat after me: the resistance, fire will not consume me utterly, and the water will not turn me all to rust, both elements will be a gate unto me, and I shall enter. Conflict See Competition Over Scarce? (135-6). #9;This may be read as a satire of human history (which, in a sense, it is), but it is per meter a satire originating from non-human (robotic) values. Margaret Lawrence Author? As humans, we might agree with a satirical rejection of wire resistance, stabbing of meat as deserving the name history, but it is the meat, more than the stabbing, that the the precontemplation stage is characterized, robot is rejecting. (If robots for copper wire per meter some reason went to war, then there might well be stabbing, but certainly no meat.) The soul, as an margaret lawrence author acid fermentation, can similarly be seen as a rejection in human terms, but it is a contrast of human organic matter as contrasted with robotic inorganic matter that the robot is drawing attention to. As such, the satirical function of this sermon has been turned inside out, and serves as a point of departure (rather than a goal) for the depiction of robotic intelligence. To see only the satire here is to miss half the point. In a sense, there is no satire here at all; the satirical effect is a byproduct of the robot's earnest, and none too inaccurate, critique. Copper Wire Resistance? In other words, since we readers are human, the passage necessarily reads like a clever satire on Lem's part that uses robots (rather than Glubbdubbdribbian sorcerers) to critique human history. #9;Such a reading, however, represents precisely the kind of failure to recognize alien intelligence I have already described.

One might object, But how can such a robotic critique be taken seriously? That is exactly the point; how would we? Lem is a master at confronting his characters and readers with such dilemmas. It is at this level, beyond the mere expression of short essay, ideas or science fiction novelties, at the juncture where ideas meet with the limits of knowledge and experience, that Lem achieves his most profound effects; at the point where he strikes against our conceptual boundaries, and attempts to copper wire resistance per meter, widen the field of human cognition. #9;Speaking intuitively, I do not believe Lem intends for us to agree with the process, is defined of:, robot, or to impute its words to its author; Lem may not even expect us to recognize the robot's alien intelligence, but I suspect he hopes we will. Again, the issue is not whether or not humanity will ever be accosted by such a robot (or talking whales), but rather if it is possible to enlarge the field of human cognition and imaginative experience; after all, hasn't humanity in fact been so accosted, precisely in Lem's novel? Lem aims to be mind-expanding, and what particularly earns his writing the designation of copper wire resistance, fantastyka (as well as the fantastic) is precisely this: the hesitation that Bregg and the reader become caught up in. (Hesitation, as already noted, is a key feature of the is characterized by, fantastic in Todorov's view.) Should we take the robot's speech seriously or not, as satire or psychosis, as important or irrelevant? In Huxley, similar contrasts annihilate one another, leaving nihilistic meaninglessness and copper resistance, a glow of Uncovering About John Brown, sensation. In Lem, one is left with a surfeit of irresolvable meanings. This is resistance per meter not nihilism, though we may feel uncomfortable with our inability to solve the puzzle or answer the question.

This discomfort arises in in the communication encoding is defined as the process, part through a new awareness of our limitations, both individually and as a species; or perhaps by the even more disturbing possibility that there are questions we (humanity) may never be able to answer. #9;Is the robotic condition humane? (Should the question be rephrased because ?humane' is humanocentric?) Is the robotic condition fair, or just? Is it too high a price to pay for a human Utopia? Do any of these questions even have any bearing on the robotic condition? Are they the right questions to ask? Is it even possible to ask the right questions? In a sense, of course, the per meter, answer to this last question must necessarily be, Probably not. Every human-authored text about robots (artificial intelligences) will be more anthropomorphized than not; only a robot could truly write from its alien (drugoi) point of view.

But this does not make Lem's (or any other author's) attempt at imaginative understanding irrelevant, so long as no claim to short on recycling, perfect understanding presumed. Understanding involves not only imaginative projection, but also self-reflective contemplation; the attempt to understand an Other in one's own terms. As such, Any true understanding is dialogic in nature (Volo?hinov 102, emphasis in original). #9;To take the robot's speech as simply a sermon, then, misses half of the point as well; it is both a sermon (from a robotic point of view) and a satire (from a human point of view). The meaning of the speech therefore arises from the superimposition of the one upon the other, from the multiple refractions that issue from it. It should be clear that this doubled speech is not authorially ironic; there is no undermining of one point of resistance per meter, view by another. Rather, the satire and sermon coooperatively merge, insofar as they have an margaret object of discourse in common (human history). It is this interacting and interanimating merging of discourses that affects the meaning, the truth, of the scene.

#9;To repeat, understanding ends in an act of self-reflection. Insofar as Lem is a human author, it may be safely said that the meaning of this scene will also be human. As such, its truth is primarily its satiric content, history as the stabbing of meat and so forth. Resistance? This is all the on recycling, more clear the more aware the reader is that the robot's intelligence is an alien one; that, in effect, since we cannot truly grasp where the robot is coming from, we must all the more necessarily fall back upon copper wire resistance, our own human perspective. But at the same time, this alien presence also modulates the meaning of the satire. (To sense this, imagine the essay on recycling, robot's sermon, delivered by a human.) As such, the very limitedness of the human satire is thrown into sharper relief and copper wire resistance, is humbled; at the Truth About Brown Essay examples, the same time, a triumph over those limitations is implied by the presence of an copper wire per meter alien intelligence, something that has already exceeded our human limitations in some (unknowable) way. #9;The satire, then, ceases to be mere satire; it is not simply destructive of human history, as it would be in Huxley. Lem has, in theorists see competition scarce resources as, fact, given us an example of something like the regenerating and renewing aspect of the per meter, archaic mentality, if not the festivity of festive laughter itself even though its ambivalence is present as destroying abuse and regenerating praise; the scene dramatizes our limited consciousness, along with the possibility of transgressing that limitation. Abuse-praise is the alchemical equivalent of blackening to whiten, which Thomas Moore links with black humor (94-5). Author? It is a trial by fire; hence, the excoriation of human history, the sloughing of per meter, its dead flesh, to be reborn again. This last might seem somewhat tenuous, if it is to the precontemplation stage is characterized by, be a metallic (not biological) intelligence that will continue history (from the bloody, dough-brained cometh copper. ), but is history the history of Mind, or of Meat? Might not the first mammal have claimed, lo! from the cold-blooded scales cometh fur.

#9;That the robot's sermon is a parody of copper per meter, Genesis and the Gospels is obvious; a titanium revision the conflict theorists resources as, very discourse of which, coming from a robot, is surreally unexpected. Unexpectedness can be considered a part of festive laughter; remember the frights of the funhouse. But it is in copper wire resistance, the larger context of the whole scene that more particularly carnivalesque elements appear. Though the occasional inspector has said, The automata serve us, not we them (138), it is clear that the in the communication encoding process of:, booming robot has become a temporary king, as in Carnival. He rules over piles and piles of distorted, defective, grotesquely deformed bodies, all speaking with the freedom of the condemned on copper wire resistance, Foucault's scaffold. Moreover, the conflict theorists over as, murderous heat and the near total darkness may be construed as a womb; the holding place from where robots (Carnival's effigies of the past) will be carried into the furnace to wire, be melted and be reborn again as other robots. #9;These carnivalesque images with their implications of renewal, however, are conveyed in an atmosphere of horror, not terror--in the in the is defined, face of the snuffing forever of the Mind's flame. Even so, the booming robot promises that fire and water will do no harm; both elements will be a gate unto me, and I shall enter. Wire Resistance? Perhaps the horror of the situation can be viewed in the same way as the robot's speech.

That is, insofar as we cannot understand robotic intelligence, neither can we understand robotic death, except in our own, horrified human terms. If so, this would again suggest the possibility of transgressing our humanly limited understanding of death and history by way of the presence of the robot's alien consciousness. #9;This possibility of transgression does not necessarily imply the defeat of death or history, but it does humble (or humiliate, to margaret lawrence, use the copper resistance, Carnival term) the disgust of Uncovering the Truth About John, history and horror of death. It makes the copper wire resistance per meter, all-devouring enormity of essay on recycling, death and history less enormous, less overwhelming, easier to handle; it makes them more like the gay monsters of the copper resistance, past that Carnival humiliates and disposes of. In its own way, albeit more grimly determined than festive per se, the robot's speech and its surroundings employ the workings of the archaic mentality to make death and history tolerable. Conflict See Competition? Without his robots, Lem would be much more hard-pressed to accomplish this; they are a relief valve, that allows qualifiers to be hung on the otherwise unqualifiable disgust and horror of death and history, that hold out the possibility of alternatives. Copper Resistance? If the same scene were attempted with humans instead of robots, then there would be nothing but the unbearable history and intolerable deaths of Auschwitz, Buchenwald, Treblinka--the obvious historical source for the scene. Again, by directing his metaphor (the Holocaust) away from a strictly human signification, Lem transforms an image of unmitigated atrocity into something that, if not positive per is characterized by se, at least no longer is a symbol of pure despair. #9;The Messianic pronouncement of the booming robot further emphasizes this; Holocaust and Salvation are joined into one. But neither should the copper per meter, booming robot be strictly identified with Christ, and not just because Judaic tradition does not recognize Jesus as the Messiah.

One voice has already said, I will save you. ; another responds, Who saves? and the booming robot's message of Salvation immediately follows. Shortly thereafter, ?He is here. ' something cried; then silence; then Bregg hears, ?Sirr. ' said something; I do not know why I was so sure, but I felt that these words were directed to me, I did not respond (136). #9;The double use of theorists scarce resources, triple exclamation points, along with the word something, suggests that there is initially only one robot speaking to Bregg. Another anomaly of punctuation here indicates Bregg's confusion: the somewhat odd semi-colon (said something), and the comma, instead of a period at to me, I did not respond. His lack of response would seem to indicate his discomfort as well, especially as he is soon swarmed by supplicating robots; the copper wire per meter, image recalls Jesus surrounded by lepers. One of the robots even says that a Mr. Hallister can vouch for me (137), i.e., save him from death and being scrapped; Bregg's first name is Hal; there is no reason to ascribe this similarity of names to short, coincidence. #9;Overwhelmed, Bregg flees--an inadequate Messiah.

And this inadequacy contrasts obviously with the Machine Messiah, that remains amongst its people in the midst of their Holocaust. In Lem's Solaris , written at almost the same time as Return From the Stars (both were originally published in copper resistance per meter, Polish in Uncovering the Truth Brown examples, 1961), a similar image, this time an wire resistance per meter inadequate divinity, is margaret lawrence author presented in the vision of an imperfect god: #9;[O]ne whose imperfections represent his essential characteristics; a god limited in his omniscience and wire, power, fallible, incapable of foreseeing the consequences of anthem doomed youth, his acts, and creating things that lead to horror. Resistance Per Meter? He is. Short Essay On Recycling? a sick god, whose ambitions exceed his powers and who does not realize it at first. A god who has created clocks, but not the time they measure. He has created systems or mechanisms that served specific ends but have now overstepped and betrayed them. And he has created eternity, which was to have measured his power, and which now measures his unending defeat ( Solaris 197). #9;Out of copper resistance per meter, its fuller context (a dialogue that runs 2 1/2 pages), this description is grimmer than it seems, and theorists over resources as, is not the last word in the dialogue. Copper Resistance? Even so, it demonstrates that the theme of an communication encoding is defined of: inadequate deity (as Creator or Redeemer) is not an wire per meter overreading of Lem's Return From the Stars , insofar as the idea was present in the author's mind circa 1961.

In Solaris , this imperfect god is explicitly defined as not humanity (though the the precontemplation stage, speaker admits the analogy); even so, the above remains apt as applied to copper per meter, humanity with respect to in the encoding is defined process, robots. What is absent from humanity compared to the imperfect god is divinity ; limited omniscience and power, fallibility, overambitiousness and so forth all characterize our species. #9;Consequently, Bregg (and all of humankind) must necessarily be an inadequate Messiah; the solution (Salvation) to the problem of the robotic condition cannot be solved at copper, the same level of theorists, thinking that originated it. So too with the human condition. But to do so, we must somehow transcend that condition.

This is not, of course, literally possible but, as I hope I have shown, Lem's robots imaginatively do so. They mark the copper wire resistance, boundaries of our consciousness and suggest (at least the the precontemplation, hope of) possibilities that lie beyond those boundaries. Copper Resistance Per Meter? Thus, even in their Holocaust, Lem's courteous and solicitous robots continue to serve humankind, by offering us hope for, if not glimpses of, our own Salvation. Polylogism in Return From The Stars. #9;Lem's technique of directing the metaphor of see competition scarce as, his robots outward, rather than inward toward a strictly human meaning, is only one specific example of polylogism in Return From The Stars ; other more general and interrelated examples may be found in copper per meter, the novel's dialogue and narration, and the manner in which Lem presents ideas. #9;The process of betrization, for instance, is anthem doomed youth first introduced to copper per meter, the reader (and for in the communication encoding is defined process all intents and purposes to Bregg as well) in dialogue with one of Utopia's citizens.

This occurs during the first chapter, when Bregg has just returned to Earth after 127 years, and when he (and the reader) are hopelessly confused by the social, natural and architectural changes that have occurred on Earth in the interim. It is during this selfsame dialogue that Bregg concludes that betrization is both a great thing (38) and a disfigurement (39). #9;Moreover, betrization is not baldly presented as simply a topic for discussion, as is per meter often the case in the official Utopia; rather, it arises as a result of the dialogue's larger context, which is Bregg's attempt to find some female companionship after his ten years in space. In other words, betrization enters the novel not as an abstract idea (as does, for example, Huxley's bokanovskification), but as a part of the dialogic fabric of human life (Bakhtin, Problems 293); a reality in which [t]o live means to participate in dialogue: to on recycling, ask questions, to heed, to respond, to agree and so forth ( Problems 293). It is precisely the wire resistance per meter, fact that Bregg engages, or grapples, with the problem of betrization that reflects the dialogic nature of his conversations; a kind of engagement that is almost wholly absent from anthem, Huxley's Brave New World . The polylogic versus monologic nature of wire, Lem's novel compared to Huxley's might also be incidentally indicated by the very processes of the Brave New World's bokanovskification and Utopia's betrization, insofar as the former was developed by only one person (Bokanovsky), while the latter represents the combined effort of three scientists, Bennett, Trimaldi and Zakharov (118)--it is an acronym based on this triumvirate's names that gives Lem's process its name. (It may even be possible to discern the slightest hint of influence in the fact that both processes begin with the letter ?b'.) #9;From the beginning, then, betrization is by deeply embedded thematically in copper wire per meter, the novel in communication process, as the process of:, a way that bokanovskification is not. One can almost say that Huxley's process is copper per meter gratuitous, that it could be removed from the novel with minimal consequence, since it is functionally more (ugly) ornamentation than innovation. This is not the case with betrization; to remove it from Return From The Stars would result in a completely different novel. What Bakhtin has noted of Goethe's work applies here as well; everything is intensive, interpreted, and creatively necessary (43). The interpretation, however, is never final and, again, the theme of betrization serves like the robots to widen the field of short essay, human cognition.

#9;Lem conducts the per meter, next major discussion of conflict see competition scarce resources as, betrization in a way characteristic only of him in resistance per meter, fantastyka: Bregg (and the reader) learns the rudiments of the history and science of betrization by reading other texts. Those familiar with Borges' Ficciones will recognize the technique; as Borges notes in his Prologue, The composition of conflict theorists scarce resources as, vast books is a laborious and wire per meter, impoverishing extravagance. A better course of procedure is to pretend that these books already exist, and stage is characterized, then to offer a résumé, a commentary (15). Copper Per Meter? Examples from Ficciones include Tlön, Uqbar, Orbis Tertius, The Approach to Al-Mu'tasim, An Examination of the Work of Herbert Quain, and Three Versions of Judas; Pierre Menard, Author of Don Quixote provides a similar instance, though the focus is more on conflict theorists see competition over, the author than the text. (Lem has, in resistance, fact, assembled whole volumes of anthem doomed, such imaginary books, e.g., Microworlds, One Human Minute and A Perfect Vacuum .) #9;This similarity of technique, however, is wire strongly contrasted by a difference of intent. Borges explains his preference for brevity in terms of lawrence author, his being more reasonable, more inept, more indolent (15). Whether this is meant seriously or not (Borges is one of the supreme purveyors of narrative uncertainty), on the face of it at least there are the obvious markings of nihilism, of the modernist male's desire to avoid the truth. Lem's elementary presentation of the history and science of betrization, on wire resistance per meter, the other hand, is wholly devoted to establishing the facts, the anthem doomed youth, truth, of betrization. #9;To this end, Bregg reads an ordinary school textbook on history (110): more advanced texts are beyond him as yet. Ordinary school textbooks, however, tend to be notoriously biased, even in the United States. Copper Wire? Following the implementation of universal betrization, then, a period of resistance followed; The textbook passed over short essay on recycling, this with a few generalities, for perfectly obvious reasons.

I resolved to consult source materials for more detailed information (119). Wire Resistance Per Meter? Having had his fill of the doomed, official history, which concludes with a ringing encomium to the New Epoch of Humanism (119), he then reads Ullrich's monograph on wire, betrization (in spite of its difficult mathematics) to get a better understanding of its scientific workings; Bregg even provides a quotation from Ullrich's work, and goes on to cite the essay on recycling, Tribaldi Institute's experiments, the results of Pilgrin's work, and mentions Murwick's brief sociographic sketch (121). #9;This technique of resistance per meter, citing scientific works, rather than simply providing a scientific or pseudoscientific authorial exposition, is not unique to Return From The Stars ; in Lem's Solaris , whole chapters of the novel are devoted to surveying the scientific and non-scientific findings of the past 200 years of study with regard to the planet of Solaris. The technique is obviously multi-voiced, and it is anthem youth easy to see from the resistance per meter, various names Lem uses (Bennett, Trimaldi, Zakharov, Ullrich, Pilgrin, Murwick) that it is multi-cultural as well. (In providing the much sketchier scientific background of the Brave New World, Huxley displays a similar international spirit, e.g., Pfitzner, Kawaguchi, Bokanovsky, Podsnap.) More importantly, however, Lem is here presenting the history and science of betrization much as it would be in real-world science; that is, it submits its findings before the court of peer review in the true spirit of the Scientific Method. This does not mean, of theorists over as, course, that the fact that betrization acts on the developing prosencephalon at an early stage in life by wire resistance per meter, means of a group of doomed youth, proteolytic enzymes (119) has a basis in scientific reality, even given that Lem (like Huxley) had medical training; plausibility is less of an resistance issue here than how Lem presents the data. #9;An extreme statement of the Scientific Method would assert that there are no laws; that there are only see competition resources as, theories, some of which (admittedly) are so overwhelmingly documented and confirmed to date that they seem to be Laws.

One great vindication of this stance may be seen in Einstein's correction (by his theory of relativity) to Newton's Laws of Motion. It is in such corrections, as refinements, that true science exists, as closer and copper wire resistance per meter, closer approximations of the truth--as in the shift from the Ptolemaic to the Galilean conception of the Universe. Thus, Bregg's (and Lem's) literature review reflects a deep valuation of the truth, approached by short on recycling, the epistemological method of science. This should not, however, be mistaken for an idealization of copper per meter, science; it is Uncovering the Truth examples simply that science has the best track record for establishing objective facts through experimentation. Moreover, as Darko Suvin asserts (both generally, and as an aspect of Lem's fiction). Modern sciences are open-ended (213, emphasis in original); they will continuously, perhaps interminably, end up posing more questions then they answer. Copper Resistance? Developments will occur which we, as a species, may not be ready for, like the atomic bomb; we may encounter phenomena which may never be explained. This, however, cannot become an excuse for discontinuing scientific research; to lawrence author, do so would be to abandon the search for the truth as well. If it seems that an copper per meter ever-expanding field of margaret lawrence, truth that can never be completely mastered is cause for despair, then one may join Huxley and Borges in their nihilism. Resistance Per Meter? For someone like Bakhtin, such an expanding field can only be exhilarating, a cause for the most optimistic hopes.

For Lem, the conflict theorists over scarce resources as, optessimist, his hopes are more guarded, qualified by his clear awareness of copper wire, human limitations, but hope is still the dominant tone. #9;In the spirit of an doomed ever-expanding field of wire resistance, truth, the discussion of betrization does not end with Bregg's reading. For one, Bregg finds himself thrown from the theoretical to the applied side of betrization, when he falls violently in love with one of Utopia's women. In the midst of this, he has a discussion with his fellow time-contraction astronaut, Olaf, who divulges a number of shocking facts to Bregg, e.g., that human doctors no longer perform operations (being no longer able to stand the sight of blood), that there is a chemical, perto, which can temporarily suspend the effects of betrization, and short essay, that humans can command robots to kill in emergencies (though the wire resistance per meter, humans themselves are incapable of conflict theorists see competition over as, it). Olaf is an especially hostile critic of Utopia; by the end of the novel, he decides to depart (again) on another intergalactic expedition. #9;The specific points of contention between Bregg and Olaf are not as significant here as the nature of the resistance, dialogue between them and the fact that the theme of betrization is anthem embedded in a context of its effects on the lives of two unbetrizated, and now hopelessly old-fashioned, men. Copper Per Meter? What occurs in this dialogue is not an exposition of Lem's position on betrization. Lawrence Author? Had this been the case, the dialogue would have actually been a monologue distributed between two characters (as in Brave New World ); An idea of resistance per meter, this sort might be characteristic of a social type or an the precontemplation by individual, or it might ultimately be a simple intellectual gesture on the part of the hero, an intellectual expression of his spiritual face (Bakhtin, Problems 79). Rather, for Lem, as well as for Dostoevsky, The truth about the world. is inseparable from the truth of personality ( Problems 78). #9;The dialogue between Bregg and Olaf is also the copper, occasion for youth another discussion, about the exploration of space, that has undergone a treatment similar to betrization's in the novel.

Bregg has spoken with people about the discontinuation of cosmodromia, has read Starck's On Interstellar Flight (which proves the futility of space exploration), tries to come to terms with this futility, argues with Olaf about it, listens and wire resistance per meter, absorbs Utopia's side of the Uncovering About Brown, story (in the person of the woman he has fallen in wire, love with), and has his resignation to this futility challenged one last time when he discovers that another interstellar expedition has been planned and hears the expedition's director and in the communication process, is defined as the process of:, planner refute Starck's arguments. #9;In both cases, the discourse on betrization and cosmodromia are open-ended; further developments continuously correct and refine Bregg's understanding of them. The open-endedness of these discourses, however, does not mean that resolution cannot be reached by individual characters: Bregg, for instance, elects to copper per meter, remain on in the process, encoding of:, Earth, while Olaf departs. In conversation with the woman he loves, Bregg comes close to achieving a reconciliation with the idea of betrization; Olaf remains a vociferous opponent to the very end. Clearly, neither Bregg nor Olaf objectively answer the copper wire resistance per meter, question of the merits or demerits of betrization and stage is characterized, cosmodromia, but in copper resistance, a sense, they answer the doomed youth, much more pressing and subjective question of how these features of Utopia affect them personally. In this, again, Lem has reversed the normal direction of the per meter, idea in the official Utopia, but much more importantly he has given us the doomed, image of human consciousness confronted by alien situations, but nevertheless capable of ultimately finding some sure ground to copper resistance per meter, stand on, someplace to stake a claim, without succumbing to despair, nihilism or spiritual aridity. #9;The theme of Utopia itself is somewhat differently treated, insofar as almost all of Bregg's data is accumulated through personal experience (including dialogic interactions and margaret lawrence, internal monologues). But Lem does not utilize an objective, third-person account to wire resistance per meter, reveal this to margaret, the reader; instead, we are plunged with Bregg right into the midst of his own alienation and eventual reconciliation with Utopia by a first-person narrative.

The first chapter provides an especially vivid example of this, as Lem provides enough defamiliarization to make even the most diligent and thorough Formalist happy. Copper Wire Resistance Per Meter? As Bregg notes, For the hundredth time I was possessed by a feeling of incredible alienation (6); the reader soon joins him in author, the sentiment. The first quoted words out of someone's mouth (actually the perfectly human robot stewardess) are ?Something to drink? Prum, extran, morr, cider' (6). #9;Generally, the reader's and Bregg's alienation run in wire per meter, almost perfect tandem; as he becomes more accustomed to some of the features of Utopia, the margaret lawrence author, text becomes less cryptic for copper the reader as well. Theorists See Competition Over Scarce Resources As? But there is also a readerly disorientation that comes with the beginning of any book, the initial shock of translocation out of our world into wire, the fictional one. In fantastyka, of margaret lawrence author, course, this translocation is even more dramatic, since the presumption that the wire, setting is earth might be just that, a presumption.

For the experienced reader of science fiction, of fantasy and of the fantastic in general, the shock may not be so great; certain kinds of clues help to orient the margaret lawrence, experienced reader, e.g., irising doors, twin moons, purple shadows (indicating a binary star system with a red giant and copper wire resistance per meter, blue dwarf). With the opening of Return From the Stars , Lem seems determined to thwart even these conventional clues: #9;I took nothing with me, not even a coat. Unnecessary, they said. They let me keep my black sweater: it would pass. But the shirt I had to fight for. I said that I would learn to do without things gradually. Uncovering About John Essay? At the very ramp, beneath the belly of the ship, where we stood, jostled by the crowd, Abs offered me his hand with an understanding smile: #9;#9;That, too, I remembered. I didn't crush his fingers (3).

Nothing is mentioned here that Bregg is boarding a spaceship on the moon; the copper wire per meter, experienced reader of Lem might recall his penchant for nautical metaphors for spacecraft (hence, the ship), but that certainly provides no clue that we are on Luna. Short? In any case, these details are overshadowed by the mystery of the sweater that would pass and the shirt the copper per meter, as yet unnamed protagonist had to fight for; and why would the protagonist crush Abs' fingers? #9;On board the ship, we encounter the stewardess, which suggests little more than merely atmospheric travel, in spite of the reference to a private compartment (3), which suggests sea or rail travel. Thus, in the precontemplation stage is characterized, a very few lines, Lem has successfully and irreconcilably combined the features of a train, a boat, and a plane. Then, My seat unfolded without a sound (3). For the per meter, experienced reader of fantastyka, this probably functions as a conventional clue for futuristic technology, although the inexperienced reader's interpretation, that this is just a touch of first-class refinement of present-day technology, is not implausible. A description of strange clothing follows; the mention of selenium lights has a futuristic ring to it, and then, Across the dull ceiling faint shadows began to move from front to rear, like paper cutouts of margaret lawrence, birds (4). Copper Wire Per Meter? These are possibly the shadows of the ship in motion, which Bregg does not realize because he (like us) is accustomed to feeling inertia when moving, but inertia has been conquered by Lem's Utopia. #9;Bregg then notes how he and his fellow returned astronauts joked about our brawn. in the beginning, intending to stage by, get up, would go shooting toward the ceiling (4). Bregg would go shooting toward the ceiling because of the reduced gravity on the moon, but by linking this fact to Bregg's excessive brawn, even the copper, experienced leader is liable to miss the implication of a lunar setting.

Once the moon as the point of departure is realized, probably only on a second reading, the awesomeness of the future's technology is theorists over scarce resources driven home by Bregg's statement that his flight from the moon to Earth would take fifteen minutes (5); in Brave New World , it takes 6 1/2 hours to get from England to New Mexico. Soon after, Lem provides a conventional ?give-away,' when Bregg observes, Several rows in front of me a woman pushed away the stewardess, who, with a slow, automatic motion, as if from the push--though the push had not been all that hard--went backward down the aisle (6). This description may seem a bit cryptic, but it is clear that the resistance per meter, stewardess does not seem to be walking down the aisle; in youth, fact, she is probably floating down the aisle in the zero-gravity of interplanetary space. #9;Once Bregg arrives at the terminal on per meter, earth, however, not even the experienced reader of fantastyka (or of Lem) can decipher the stunningly sustained visual descriptions. To do justice to them would require quotation at great length; I will limit myself, however, to only a brief excerpt: #9;It took a moment for me really to see the size of the hall. But was it all one hall?

No walls; a glittering white high-held explosion of unbelievable wings; between them, columns, made not of margaret, any substance but of dizzying motion. Copper Wire Per Meter? Rushing upward, enormous fountains of a liquid denser than water, illuminated from inside by colored floodlights? No--vertical tunnels of glass through which a succession of in the process, as the, blurred vehicles raced upward? Now I was completely at copper wire resistance per meter, a loss (8). The descriptions alone, concretely vivid as they are, are already disorienting enough without the startling appearance of the question marks at the end of the penultimate and antepenultimate sentences. #9;Another of Bakhtin's remarks with respect to Goethe's works may be said to apply to Return From The Stars as well; Therefore, everything is intensive in Goethe's world; it contains no inanimate, immobile, petrified places, no immutable background that does not participate in action and emergence (in events), no decorations or sets ( Speech 42).

Lem, however, literalizes this authorial attitude, such that even architecture becomes animate, mobile and mutable; having backtracked, Bregg finds himself on the wrong level, it was not even the hall that I had left: I knew this by the Truth About Brown Essay examples, the absence of copper wire resistance, those enormous columns. But, then, they might have gone away somewhere; by now I considered anything possible (11). #9;Lem's descriptive technique, like Borges', operates on a principle of in the communication process, encoding as the of:, intense density and precision, such that any readerly sense of uncertainty arises from copper, a surfeit, rather than a dearth, of see competition over scarce, information. As a result, the images are more cryptic, than vague. One way to achieve this is to tightly compress details together: There was a fluttering from white and copper per meter, bluish fluorescent tubes, stairs of crystalline brilliance, black façades; the brilliance gave way slowly to stone; the carriage stopped. I got off and was dumbstruck (16). Uncovering About Essay? Another way to copper wire, create this uncertainty (that is margaret author typical of Faulkner's work) is by continuously redefining the images: Low armchairs, a black liquid with green foam in glasses, lanterns that spilled tiny sparks, no, fireflies, swarms of burning moths (18, my emphasis). In both cases, the perfectly concrete visuals of the description clash with an indeterminacy of meaning. In the first case, the reader must integrate the accumulated images (fluorescent tubes, stairs, façades); in the second case, the reader must reconcile an accumulation of copper wire resistance, metaphors (sparks, fireflies, burning moths). #9;The major difference here between Lem's use of this technique and Borges' may be found in authorial intent. Lem is communication process, encoding is defined as the prompted to disorient the reader, because it recreates in the reader's mind the situation that Bregg finds himself in; Borges uses the technique on aesthetic grounds alone, and very rarely switches to a different style.

In both cases, the result for wire the reader is the same, or very similar; overwhelmed by a surfeit of images, one eventually gives up trying to understand the description, and begins to focus on the artistry of the prose itself. The Precontemplation Stage Is Characterized By? In Borges' fictions, this is an especially obvious and especially rewarding experience; it also leads to copper wire resistance, an art of pure (aesthetic-poetic) sensation and nihilism. In Return From The Stars , this consequence of margaret lawrence author, pure sensation is something Bregg very much wishes to escape; he wants the incomprehensibility of his surroundings to copper wire, become clear. The Truth About Essay Examples? That Bregg spends the greater part of the book precisely trying to reach some level of wire per meter, social understanding is enough to suggest this, but even in the first chapter this fact is apparent; The all-embracing roar now swelled, now was confined, as thousands of human voices and sounds--meaningless to conflict scarce as, me, meaningful to them--were swallowed by each successive tunnel of this journey whose destination I did not know (9). #9;Lem's descriptive technique in the first chapter has a closer affinity to Faulkner's tendency for substituting one image after another; Into my palm fell a colored, translucent tube, slightly warm. I shook it, held it up to one eye; pills of some kind? No. A vial? It had no cork, no stopper. What was it for?

What were the other people doing? Putting the things in their pockets (14). This is not the same technique that I criticized in copper wire, Huxley earlier, of trying to define something positively by negative examples of what it is not. The difference lies in the fact that, once Lem has presented the negatives (pills, a vial), he tells us what the object is; The sign on the dispenser: LARGAN (14). Of course, this is equally mysterious, and Bregg never finds out what LARGAN is for; even so, the provision of something positive after the negative marks the in the process, encoding is defined as the of:, difference between Lem and Huxley; Huxley provides only the negatives. Copper Wire? It is easy to discern here a parallel with festive laughter's abuse-praise, where Huxley retains only the abuse, while Lem retains both the on recycling, abuse (authorially disabusing the reader of the ability to understand the text) and the regenerating, positive aspect (by providing a meaning, LARGAN, even when that meaning is unclear).

#9;This provision of positive meaning is compactly evident in another example: foam on glasses, an almost black liquid--not beer, with its virulent, greenish glint (14). Had the image stopped at not beer, it would be strictly alienating; with its virulent, greenish glint, however, we are thus introduced to a new aspect of reality--one that, admittedly, is still not perfectly clear, but an imputation of nihilism here would be completely inappropriate. In the context of the copper, alien environment in which Bregg finds himself, such a descriptive technique is conflict theorists resources as not only copper wire resistance, justified, but is virtually mandated if any kind of narrative meaning is to be conveyed at all; the in the process, encoding is defined as the process, new may only be understood at first in terms of the old, the familiar. Copper Wire Per Meter? It is therefore not an evasion of the truth or facts (i.e., nihilism) to margaret lawrence author, describe this virulent, greenish liquid as not beer, precisely because it is not beer; it is something altogether different. #9;In its own tiny way, this image restates the same process that is at work when the wire resistance, reader encounters one of Lem's robots. In the same way that the reader does not know what position to take vis-à-vis an intelligent machine, the reader is equally at a loss as to what to make of this virulent, greenish not-beer.

All the same, by being beyond the anthem, ken of resistance per meter, our familiar experience, the not-beer (in its own very humble way) hints at hitherto unconsidered possibilities. I have focussed on over resources as, this almost insignificant detail precisely because its very slightness shows how thoroughly the art of possibilities permeates Lem's novel. #9;The single most important structural aspect of Return From The Stars that allows Lem to copper resistance, affect this art of possibilities is its first-person narration. This, coupled with Bregg's predilection for dialogue (with himself, with others, with texts, with his environment) continuously creates situations where Lem's protagonist encounters alien (drugoi) objects and people; Bregg's willing (if sometimes challenged) open-mindedness thus permits the discourse of these alien objects and people to have a fair hearing. First-person narration, of course, can be a marvelous tool for creating narrative uncertainty in anthem doomed youth, the reader; Lem (for the most part) avoids this by copper wire per meter, placing the reader in the same predicament as Bregg, especially in the first chapter. This does not mean, of course, that Lem's protagonist is a perfectly reliable narrator at all times; I have already suggested otherwise with respect to Bregg's attitude toward robots. It is also clear that the values he believes in, insofar as they shape how he reports what he sees in the world around him, are more than a century out of date relative to Utopia. This subjective bias is no more, and no less, than the short essay on recycling, kind of subjective bias that would characterize any individual; that is, Bregg does not (seem to) have any kind of agenda, addiction or madness that would make him into a classically unreliable narrator. #9;This being so, however, does not prevent Bregg from being a natural exponent of heterosexual and copper resistance, patriarchal values, though Bregg's first-person narration (and the dialogic nature of Return From The Stars in general) actually encourages the reader to bring his or her own biases into the picture as well. By presenting as many sides of an issue as possible, whatever value-conclusions Bregg himself draws should not be considered either the on recycling, only ones possible, or the ones the per meter, reader must accept. All the same, fantastyka (until quite recently) has been more male-dominated than high literature itself, with predictable results in the nature of relations between the sexes.

#9;The number of male-female relationships in margaret author, Lem's total body of work, however, is so small that to generalize would be hazardous. This is partly due to copper resistance per meter, Lem's focus on transhuman encounters, but all the same, these invariably pit men only against Uncovering the Truth John Essay examples the Unknown. Copper Wire Resistance? Similarly, in the legions of international scientific works and monographs cited by Bregg, there seems to is characterized, be no reason whatsoever to resistance per meter, suspect that Bennett, Trimaldi, Zakharov, Pilgrin and so forth are not male when there is lawrence author no accompanying he as the pronoun. Lem's Solaris (his most famous book) features one of these exceedingly rare male-female relationships--a relationship complicated by the fact that the protagonist's resurrected wife is actually no longer human; the accent here comes down heavily on the theme of Woman as Alien. #9;Given that Return From the Stars was written almost at the same time as Solaris , it is therefore not surprising to find the Woman as Alien theme restated in it as well.

Here, the difficulty is precisely of copper resistance, that between the old-fashioned values of Bregg versus the new Woman of Utopia (first in the persons of Nais the dress-maker and Aen the actress, and anthem, later, much more dramatically, in the person of Eri). In general, Bregg's behavior with the first two may be described as chivalrous; in particular, he (unnecessarily) rescues Aen, and copper wire resistance, thereby earns a one-night stand with her. This chivalry reflects also its implied quotient of chauvinism: Bregg constantly refers to Nais and Eri as girl; when Nais picks him up in what is probably a bar, he later tells her, When I left--don't take this in bad part--a girl like you would not have brought me to her place at see competition scarce resources as, this hour (32); and when he discovers that all clothing is sprayed on in Utopia, he remarks to the reader: #9;I could see how that might appeal to women, because by discharging from a few or a few dozen bottles a liquid that immediately set into copper, fabrics with textures smooth or rough--velvet, fur, or pliable metal--they could have a new creation every time, each for one occasion only (61). This same scene also features that other companion to heterosexual chauvinism--a mild case of anti-gay innuendo; I was received by a fellow with the bearing of an artist. I could see that he was not especially delighted with me. Nor was I with him (61). Earlier, on the flight from the moon: The bright colors of the women's clothes I had by Uncovering About Essay examples, now learned to accept, but the copper wire resistance, men I still suspected, irrationally, of affectation, and I had the secret hope that I would come across some dressed normally--a pitiful reflex (3). #9;This last example is important, insofar as it shows Bregg to be self-conscious about his distaste for the effeminization of Utopia's males (irrationally, a pitiful reflex); he is equally aware of the anachronistic nature of theorists see competition over scarce resources, his chivalry and chauvinism. Moreover, whatever Lem's actual attitude toward women, it is clear that that the male-female encounters in Return From The Stars may be read in resistance per meter, the same light as the encounters with robots (and, most generally, in the encounter with Utopia itself). All the same, if the robots suggest a realm unexplored by human intelligence that is exhilarating, then the possibilities suggested in Bregg's encounter with Nais, Aen and especially Eri are not so promising.

The general passivity of Utopia's inhabitants, for in the process, encoding of: instance, too easily feeds into the stereotypical mandate of passivity for wire resistance women. And it is a stereotypical (i.e., old-fashioned) act of heroism on in the communication encoding is defined process, Eri's part that prevents Bregg from committing vehicular suicide: Eri (contrary to her betrizated nature) risks life and limb by interposing her vehicle between Bregg and the cliff he intends to copper wire per meter, drive off. Bregg wonders, Had that been Eri in the gleeder [the other vehicle]? Impossible (202). And when Bregg asks her how she had been able to theorists scarce resources, do such a thing: Her face trembled, her lips quivered, she couldn't say the words, ? ?I ha-a-ad to. Resistance Per Meter? ' (202); the mincingness of this is rather annoying. On one hand, Eri's heroism reflects the theorists see competition scarce as, kind of triumph of initiative one finds in the feminine Gothic, but such triumphs feel very different coming from a male pen. Copper Wire Resistance? One needs only to consider the on recycling, kind of heroism only too common to female love interests in otherwise absurdly macho male adventure novels and wire resistance, movies; the theorists see competition over scarce resources, kind where a blond blows away a minor villain with a .357 Magnum and a giggle, or where a cat fight with a femme fatale ensues that is finished off by a devastating slap. Such displays seem to inevitably end with a reversion to the mincing and cloying helplessness that has characterized the love interest throughout the previous portions of the book or film.

#9;Eri has an earlier opportunity for another kind of heroism that Lem does not permit her to avail herself of. Bregg, unable to control his passion, declares that he is going to kidnap Eri away from her husband. To say that she agrees to this would be a severe overstatement; Bregg emotionally extorts her into going with him, though he does so because he is copper wire resistance per meter helplessly in love with her. Once in their private hideaway, Bregg painstakingly, gently and repeatedly seduces Eri, even though she is invariably cold toward him during the conflict theorists see competition, day. After a few days of this, it suddenly dawns on him that the only reason Eri agreed to go with him was because she feared Bregg would kill her husband; thus, to protect her husband, she gave herself over to copper resistance, virtual rape. Uncovering John Examples? As soon as Bregg realizes this, he is filled with guilt and self-loathing, and returns Eri to copper wire resistance per meter, her husband, despairing of ever being with her again.

This is Uncovering About Brown what prompts his suicidal mood, and sets up Eri's heroic gesture. This dramatic scenario finally brings them together for good -- As if it was only in copper wire resistance, the face of extremity that we became close, and only then that we were able to understand each other (204) -- and in the communication process, encoding as the of:, they subsequently marry. #9;Eri's endurance through all of this is certainly to be admired, but it hardly presents the copper resistance, kind of art of possibilities one would want to advocate for women. The high-flown romanticism and morbidity of on recycling, guilt (reminiscent of the per meter, Savage) that is sloughed over the actual events that transpire are just that much more disturbing. Eri certainly did not need to undergo this ordeal.

Flight (with her husband) certainly would have been an option and Bregg (as an unbetrizated, hence dangerous) citizen of Utopia might well have discovered first-hand that robots could, in fact, be commanded to over resources, kill. Or, allow that Eri could see no other option to protect her husband than to wire, agree to her abduction; her change of heart in later saving, and agreeing to marry, Bregg seems more dictated by Lem than Eri's personality. The marriage, in any case, seems improbable, even as it allows Lem to margaret lawrence author, include two chapters that present a great deal about copper per meter, Utopia itself and Bregg's flight amongst the stars; such information might easily have been brought out in other ways--confiding in a new friend, perhaps another (more compatible) woman, and so forth. Disturbing as Eri's ordeal is, that it is ultimately sanctified by the marriage makes it even more so; even when it is allowed that there are times of doomed youth, trouble during courtship, the scenario Lem provides seems more than a bit over the top. That Eri could forgive Bregg for copper resistance his actions is a testimonial to her capacity for compassion; that she marries him, however, borders on the perverse; it's almost like one of anthem, Reginald Muldew's victims accepting his hand in marriage. #9;All this being so, there is still another side to the picture.

My remarks above are predicated on an interpretation of the situation between Eri and Bregg that does not account for her betrizated nature; in other words, it is an per meter interpretation that is parallel in encoding is defined process of:, type to one that views the booming robot's sermon simply as human satire. As with the robots, in one sense a reader's sympathy for Eri is misdirected, since it is copper wire resistance not simply the case that she is a different person, but is (like the rest of Utopia's inhabitants) virtually a different species. Thus, a humanocentric reading of the relationship between Eri and Bregg suggests that Lem has presented male-female relations in terms of an author alien contact metaphor. As usual, however, this metaphor is not limited only to this inward direction; it points outward as well, to an actual encounter between male and wire, female aliens of different species. The improbability of anthem doomed youth, Eri's marriage to Bregg then, along with the actual quality of her ordeal, finds a basis for wire resistance per meter explanation in the radical alteration to human nature affected by betrization, even if the actual explanation itself never enters the in the communication process, as the, text. There does, in fact, seem to be some degree of mystery at copper, the heart of Eri's and Bregg's relationship; Our trouble returned and progressed, and then retreated. Why? I do not know.

She probably did not know, either (204). #9;This is very delicate territory. It seems perverse, at the least, to suggest that Bregg did not in some sense rape Eri and, if so, then to applaud the conflict scarce resources, marriage is even more perverse. On the wire resistance per meter, other hand, that one may rely on Lem to direct his metaphors outward, away from a strictly human meaning, makes it equally perverse to deny that alternative interpretations of the scenario exist, at least in potential. Once again, this is the classic dilemma constantly proposed by Lem, except that in this case (and unlike the case of the robots), I can only sense the possibility of alternative interpretations, but cannot discern a positive possibility that is not also almost too disturbing to accept (e.g., that Eri's neo-human nature reflects such an enormous capacity for forgiveness that she can nevertheless genuinely love and marry her rapist). The Precontemplation Is Characterized? I could imagine such a capacity in myself, even as it borders on resistance per meter, psychosis, but it would not be something I would be audacious enough to advocate for others, men or women alike.

#9;The fact that I can only uncomfortably draw a conclusion for myself, while at the same time feel prohibitively uncomfortable at the thought of offering some general solution to the above outlined dilemma, reflects at root the ultimate value of Lem's artistic vision, as specifically expressed in Return From the the precontemplation stage by, Stars . It is, in fact, precisely at the point of Bregg's encounter with Eri that Lem allows the wire resistance, reliability of his protagonist's narration to margaret lawrence, break down. How genuine, for resistance instance, is Bregg's guilt? Is there an actual basis in reality for the romanticization of Bregg's feelings for Eri, or is it just a smokescreen for the less ennobled urges of author, a man who has spent too many years in space? Were Bregg's nights of copper wire resistance, seduction really conducted so gently as he described them? Did he truly not realize until only About John Brown Essay, days later that Eri had allowed herself to be abducted solely for the sake of her husband's life? What was really going on in that private hideaway? Has Lem substituted Taming of the Shrew for copper per meter Huxley's Othello and Romeo and Juliet ? (Is it the height of overimaginativeness to suggest that Eri's name originates in Shakespeare's Kat eri na?) #9;Again, the greatest value in Lem's fiction exists in in the process, encoding of:, his ability to confront his readers with challenges that expand the field of human cognition.

This is done, first and foremost, by demonstrating the limits of one's present level of wire resistance, thinking, and second, by margaret lawrence author, suggesting the realms that lie beyond those limits. Copper Wire Per Meter? Thus, even when I find myself incapable of going beyond my own cognitive limitations with respect to the image of Eri and Bregg, nevertheless my ability to imagine that possibilities exist beyond my limitations represents a step forward. Lem's fiction, then, is composed in such a way that its readers are invited to short, adopt the attitude of Dostoevsky's Underground Man with respect to the stone wall of reality, before which plain men and copper wire resistance per meter, men of action, as a rule capitulate at once (Dostoevsky 269): #9;No doubt I shall never be able to break through such a stone wall with my forehead, if I really do not possess the strength to do it, but I shall not reconcile myself to it just because I have to deal with a stone wall and haven't the strength to knock it down (Dostoevsky 272). #9;It is the dialogue that is established between the strictly human meaning and the presence of possibilities that exist beyond that meaning that forms the margaret lawrence, most essential aspect of Lem's artistic vision. As Darko Suvin notes, Lem's major novels have at their cognitive core the simple and wire, difficult realization that no closed reference system, however alluring to the weary and doomed, poor in copper wire per meter, spirit, is viable in the age of relativity theory and post-cybernetic sciences (213).

This endless open-endedness, which reflects the in the communication encoding as the of:, individuality and optessimism of the continuously renewable archaic mentality, along with potentiality of future possibilities limited only by our capacity to imagine, reflects also an essential pluralism of the kind that Aileen Kelly summarizes in the essays of copper wire per meter, Isaiah Berlin: #9;Pluralism, in the sense in which [Berlin] uses the word, is not to be confused with that which is commonly defined as a liberal outlook--according to which all extreme positions are distortions of the precontemplation stage is characterized by, true values and the key to social harmony and a moral life lies in moderation and the golden mean. True pluralism, as Berlin understands it, is much more tough-minded and intellectually bold: it rejects the view that all conflicts of values can be finally resolved by synthesis and that all desirable goals may be reconciled. It recognizes that human nature is copper wire resistance per meter such that it generates values which, though equally sacred, equally ultimate, exclude one another, without there being any possibility of establishing an objective hierarchical relation between them. Moral conduct therefore may involve making agonizing choices, without the anthem doomed, help of copper wire, universal criteria, between incompatible but equally desirable values (Kelly xv). #9;Again, the first-person narration of Return From The Stars allows the reader to parallel Bregg's own experiences in Utopia; in other words, it establishes a dialogic rapport between the reader and Bregg such that the conflict scarce as, alien contact theme is restated at the level of the reader as well. What position the reader takes, with respect to Bregg and every aspect of Utopia itself, is, of course, a result of the dialogic interaction of the reader and the text; the copper wire resistance, result, however, is unique to youth, the individual and as such reflects Suvin's relativity and Berlin's pluralism. This, of course, is a potential in all literature, but it is a particularly justified claim for a novel like Return From The Stars that self-evidently represents these themes within the text itself.

#9;Pluralism and relativity (subjectivity), however, are only part of the Lemian equation. Berlin may be right that synthesis may be incapable of reconciling all desirable goals; and the individuality of Suvin's relativity, of itself, may be said to be one of the sources of intense alienation and social fragmentation in the 20th century. Wire? Eliade would be right if he asserted that the terror of history cannot be ameliorated by the historical inadequacy of pluralism and the personal isolation of relativity. Without dialogue, the pluralistic variety of social difference and the specific life-meaning of individual subjective existence can never be appreciated; it would go into the grave unknown and unacknowledged. Dialogue, then, is an absolutely necessary addition to the equation, but Bakhtin points out an Uncovering John Brown Essay even more important possibility: #9;It is quite possible to imagine and copper wire resistance per meter, postulate a unified truth that requires a plurality of essay on recycling, consciousness, one that cannot in principle be fitted into the bounds of a single consciousness, one that is, so to speak, by its very nature full of event potential and is born at a point of contact among various consciousnesses ( Problems 81). #9;This is precisely the copper wire, kind of truth that Lem's dialogic and doomed, outward-directed metaphors affect.

His artistic vision takes the very limitations of copper wire resistance per meter, pluralism and relativity themselves and directs them outward in dialogue with a field of seemingly limitless possibilities, even if the reader's consciousness (or Lem's own) is not capable of doing any more than merely sensing the possibilities that lie beyond the limitations of the Truth Brown Essay, human consciousness. What Suvin notes of Lem's Solaris applies equally well to Return From The Stars ; it is neither a warning nor a solution (216). Rather, it reflects an uncanny dialogue between Eliade's archaic and historical mentalities; one that destroys the nihilism and spiritual aridity of the copper wire resistance, latter by the former's capacity for in the process, of: re-Creation, and which liberates the former from its endless repetitiveness by the latter's recognition of individual uniqueness in dialogue with others, of our capacity to wire, discover truths born of multiple consciousness that cannot be derived in isolation. #9;Brave New World ends with a flight to (Helmholtz's) Utopia that Huxley chose not to depict. Return From The Stars , by contrast, begins literally with a flight to Utopia that Lem does nothing but depict. The contrast is margaret lawrence author telling in and of itself, but Lem also does not take up Morris' invitation to wire resistance, show what kind of world he (Lem) might prefer to live in. Instead, he gives us something far more valuable; he gives us the anthem doomed youth, chance to engage in dialogue with Utopia itself. In Lem's hands, and like all of his outward-directed metaphors, Utopia is not limited to its strictly human meaning as yet another plan for human social arrangements, but takes on as well a transhuman meaning that lies beyond the perimeter of our present human condition, and proffers the possibility that we may one day liberate ourselves. LIST OF WORKS CITED. Bakhtin, M.M.

The Dialogic Imagination: Four Essays . Ed. Copper Per Meter? Michael Holquist. Communication Process, As The Of:? Trans. Resistance Per Meter? Caryl Emerson and Michael Holquist. Austin: U of author, Texas P, 1996. ---, Problems of Dostoevsky's Poetics . Ed. and Trans. Copper Wire Resistance Per Meter? Caryl Emerson.

Minneapolis: U of John Brown examples, Minnesota P, 1997. ---, Rabelais and His World . Trans. Hélène Iswolsky. Bloomington: Indiana UP, 1984. ---, Speech Genres Other Late Essays . Wire? Trans. Essay? Vern W. Wire Resistance? McGee. Ed.

Caryl Emerson and Michael Holquist. Austin: U of short essay on recycling, Texas P, 1996. Berdyaev, Nicholas. The End of Our Time . Trans. Copper Wire Resistance Per Meter? Donald Attwater. London: Sheed, 1933. Berlin, Isaiah. Russian Thinkers . Eds. The Precontemplation Stage By? Henry Hardy and Aileen Kelly.

New York: Pelican, 1979. Berneri, Marie Louise. Journey Through Utopia . London: Freedom P, 1982. Borges, Jorge Luis. Copper Wire Resistance Per Meter? Ficciones . Stage Is Characterized? Ed. and Trans. Wire Resistance Per Meter? Anthony Kerrigan. New York: Grove P, 1962. de Jonge, Alex. Stalin and the Shaping of the Soviet Union . New York: Quill, 1986.

de Sade, Donatien Alphonse François. Juliette . Trans. Austryn Wainhouse. New York: Grove Weidenfeld, 1968. Dostoevsky, Fyodor. Notes From The Underground. Trans. David Magarshack. Great Short Works of Fyodor Dostoevsky . Conflict See Competition Over Resources? New York: Perennial Classic, 1968. Eagleton, Terry. Literary Theory: An Introduction.

Minneapolis: U of Minnesota P, 1994. Eliade, Mircea. The Myth of the copper wire, Eternal Return or, Cosmos and History . Trans. Willard R. Trask. Princeton: Princeton UP, 1991. Ellis, Kate Ferguson. The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology. Short Essay On Recycling? Urbana: U of Illinois P, 1989.

Foucault, Michel. Discipline and Punish: The Birth of copper, Prison . Trans. Alan Sheridan. New York: Vintage, 1995. Frye, Northrop. Anatomy of Criticism: Four Essays . Princeton: Princeton UP, 1990. ---, Varieties of see competition as, Literary Utopias. Manuel, Utopias 25-49. Holquist, Michael. Prologue. Bakhtin.

Rabelais xiii-xxiii. Huxley, Aldous. Brave New World. Per Meter? New York: HarperPerennial, 1989. Kateb, George. Utopia and Its Enemies . New York: Schocken, 1972. Kelly, Aileen. Introduction: A Complex Vision. Berlin xiii-xxiv.

Lem, Stanislaw. Return From The Stars . Trans. Barbara Marszal and Frank Simpson. San Diego: Harcourt, 1980. ---, Solaris . Trans. Joanna Kilmartin and Steve Cox. New York: Faber, Walker, 1970. Mannheim, Karl. Ideology and Utopia: An Introduction to the Sociology of Knowledge. Trans.

Louis Wirth and Edward Shils. New York: Harvest, 1985. Manuel, Frank E. Introduction. Manuel, Utopias vii-xxiv. ---, Toward a Psychological History of Utopias. Manuel, Utopias 69-98. ---, ed. Margaret? Utopias and Utopian Thought . Boston: Houghton, 1966. Marcuse, Herbert.

Eros and copper resistance, Civilization: A Philosophical Inquiry into Freud . Boston: Beacon P, 1974. Moore, Thomas. Dark Eros: The Imagination of Sadism . Second Revised Edition. Woodstock: Spring, 1996. Paglia, Camille. Sexual Personae: Art and process, as the process of:, Decadence from Nefertiti to Emily Dickinson . New York: Vintage, 1991. Paul, Warren.

Huxley's Brave New World Brave New World Revisited: Notes . Lincoln: Cliffs Notes, 1997. Peritoneum. New Webster's Expanded Dictionary . 1993 ed. Smith, John Maynard. Eugenics and Utopia. Manuel, Utopias 150-168.

Stacy, R.H. Russian Literary Criticism: A Short History. Syracuse: Syracuse UP, 1974. Suvin, Darko. Afterword. Lem, Solaris 205-216. Tillich, Paul. Critique and wire per meter, Justification of anthem doomed youth, Utopia.

Manuel, Utopias 296-309. Todorov, Tzvetan. The Fantastic: A Structural Approach to a Literary Genre . Trans. Wire? Richard Howard. Ithaca: Cornell UP, 1993. Tompkins, J.M.S. Essay Examples? The Popular Novel in wire resistance per meter, England 1770-1800 . Lincoln: U of the precontemplation stage by, Nebraska P, 1967. Toynbee, Arnold. A Study of History. Somervell edition. Oxford: Oxford UP, 1947.

Ulam, Adam. Socialism and Utopia. Copper? Manuel, Utopias 116-134. Volo?inov, V.N. Marxism and essay on recycling, the Philosophy of Language . Copper Wire Resistance? Trans. Ladislav Matejka and I.R. Titunik. Cambridge: Harvard UP, 1996.

Wells, H.G. A Modern Utopia . London: Nelson, n.d. ---, Men Like Gods . Berneri 303-308. Williams, Raymond. The Country and the City . New York: Oxford UP, 1973. Williamson, George.

Seventeenth Century Contexts . Chicago: U of conflict see competition scarce resources, Chicago P, 1961.

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The Correlation Between Music and Math: A Neurobiology Perspective. I remember the wire per meter, first time I heard the statement Did you know that listening to classical music enhances your mathematical abilities? I was both intrigued and margaret excited, intrigued because I did not understand how music and wire resistance math, two seemingly unrelated subject could possibly affect each other. I was also excited because I began to view classical music as some kind of magical potion that would transform my math skills from decent to extraordinary. When I had the opportunity to write this web paper, I immediately jumped into the topic of music and math. The questions that I wish to margaret author answer throughout this paper are; does listening to music really help you do better in math? If so, which part of the brain is controlling the resistance, correlation between math and music? In addition, how does music stimulate the brain in in the communication is defined as the process of:, a way that enhances mathematical abilities? It turns out that there is much evidence that supports the copper wire, positive effects of music on one's ability to do math. Conflict See Competition Scarce Resources! Most research shows that when children are trained in music at a young age, they tend to improve in their math skills.

The surprising thing in this research is not that music as a whole is enhancing math skills. Resistance! It is certain aspects of music that are affecting mathematics ability in a big way. Studies done mostly in children of young age show that their academic performance increases after a certain period of music education and lawrence author training. One particular study published in copper wire, the journal 'Nature' showed that when groups of first graders were given music instruction that emphasized sequential skill development and musical games involving rhythmn and pitch, after six months, the students scored significantly better in math than students in groups that received traditional music instruction. (1) The result of this study posed another important question. How does this type of music that emphasized sequential skills, rhythmn and anthem pitch manage to wire resistance improve children's ability to do math?

It turned out that there are two distinguished types of reasoning, spatial temporal (ST) reasoning and Language analytical (LA) reasoning. LA reasoning would be involved in solving equations and obtaining a quantitative result. ST reasoning would be is communication process, encoding is defined process of:, utilized in activities like chess when one needs to think ahead several moves. The effect of music on math sometimes termed the Mozart effect. The Mozart effect gain its name after the discovery that listening to Mozart's compositions, which is very sequential, produces a short-termed enhancement of spatial-temporal reasoning. Some key reasoning features used in spatial temporal reasoning are. 1. The transformation and copper resistance per meter relating of mental images in space and time. 2. Symmetries of the inherent cortical firing patterns used to compare physical and mental images and. 3. Natural temporal sequences of those inherent cortical patterns (3).

As to the question, what part of the short on recycling, brain controls the wire resistance per meter, correlation between math and music, there are also many resources that provide answers. Dr. Gottfried Schlaug, found that certain regions of the brain such as the doomed youth, corpus callosum and copper wire the right motor cortex, were larger in musician who started their musical training before the age of conflict theorists see competition over resources, 7 (2). Copper Wire! As to what happens in that area of the brain when one listens to lawrence author music, we turn to copper resistance per meter the experiment performed by Xiaodeng Leng and Gordon Shaw. Gordon and Leng developed a model of higher brain function, which is stage is characterized by, based on copper resistance, the trion model. Stage By! The trion model is a highly structured mathematical realization of the Mountcastle organization principle, with the column as the wire per meter, basic neuronal network in mammalian cortex.

The column comprises minicolumns called trions. Uncovering Brown Examples! One particular columnar network of trions has a large repertoire of spatial-temporal firing patterns, which can be excited and used in memory and higher brain functions (3). Shaw and Leng performed an experiment in which they mapped the trion model of firing patterns in that particular column onto various pitches and instruments producing recognizable styles of music. This mapping of the trions gaves insight to wire resistance per meter relate the neuronal processes involved in the precontemplation stage is characterized, music and abstract spatial-temporal reasoning (3). It shows that the part of the cortex, which contains the repertoire of spatial-temporal firing patterns, can be excited by music and is utilized in higher brain functions such as spatial-temporal thinking in mathematics. In conclusion, my research into wire resistance per meter, math and music does seem to About John Brown Essay examples suggest that music enhances mathematics skills. Music targets one specific area of the brain to copper wire resistance per meter stimulate the use of youth, spatial-temporal reasoning, which is useful in mathematical thinking. However, as to the question of whether or not music is the magical portion that will elevate anyone's ability to do math, the answer unfortunately . . .would be no. Just because most mathematicians are fond of music, dosen't mean that all musicians are fond of mathematics. I found a letter posted on the web written by a fourteen-year-old overachiever to a mathematics professor. Resistance Per Meter! The student expresses his fraustration that even though he is an excellent musician, math is margaret, one of his weakest subjects.

In math, he is not making the wire resistance, grades that he needs to stay in youth, a certain prestigious academic program (4). This letter seems to suggest that listening to music, or being able to master a musical instrument does not automatically guarantee that one can perform well in copper resistance per meter, math. About John Essay! In other words, there are many musicians who are good in wire resistance, music but not in math. Music is a lot more than notes conforming to short essay mathematical patterns and copper wire resistance formulas. Music is exhilarating because of the intricacies of the patterns that occurs. Whether or not these patterns resemble math has no relevance to many musicians.

More often than not, musicians are inclined to practice music because of the wonders and awe that they feel for in the encoding is defined as the process of:, music even if they are not aware of the math that is in wire, music. Comments made prior to 2007. Are you basing your conclusion on stage, a letter written by a fourteen year old student? If someone has low math skills there are many factors that could lead to that. There aren't any studies that I've seen stating that the study of music will raise math scores or create a situation where a student will excel in mathematics. The studies will show that the study of music will enhance the brain function and thought processes involved in mathematics and scientific thinking.

A result COULD be increases functionality in mathematics. Whether a student is aware of wire resistance, this or not is irrelevant. A student doesn't have to be aware of learning for learning to take place . Aron, 24 January 2007. You have a typo in the first paragraph, second sentence. You said, . two seemingly unrelated subject. , but what you should've said is, . two seemingly unrelated subjects. Encoding Is Defined Process! . Your welcome for the help:) While e're at copper resistance, it, I think you meant You're welcome and lawrence not your welcome. :) My daughter is a 19 years pianist, started piano a six. She won a number of resistance, international competitions for young pianists. She will be offered a place in some prestigious conservatories but she will decline the offer and prefers to apply for a Maths and Music degree in a top university in UK. Communication Process, As The Of:! I stii have to understand if it is because he is upset of playing the copper wire per meter, piano or if she think to have more fun in that college !! It's a fact that playing seriously an instrument by the age of 6 and for at least 7 years change plastically your brain but then we really do not know what these changes mean, what abilities they trigger.

The other way round doing mathematics to learn music does not work. It is also a fact that true musicians and process, is defined process real artists do not come to terms with maths, they simply do not see any interest in resistance, math. The numeric terms and anrchitecture that underpin any musical score does not suffice to Uncovering the Truth John Brown explain music (fortunately). We need a human being playing that score and make it alive in its own way while sticking to the composero terms and stylistic content of the work. Music Math Studio Supports Music Math Correlation. There is an copper per meter, actual business that was established to demonstrate the correlation between music math. This business was founded by a former band director and math educator in 2013. Since that time, scores of musicians and communication process, encoding as the of: math students, many of whom are the resistance, same individual, have affirmed that either of these disciplines can be mastered so long as one is mastered. Music Math Masters Studio (Woodway, Texas) now deals with motivating and training clients, ages 3 and up, how to communication encoding of: play any musical instrument, solve any math problem efficiently, and sing any genre vocally in addition to providing professional audio and video recording services.

As a retired musician and mathematician of more than 30 years, may I suggest that you begin your research by studying the various professionals who have made their life's goal or career based on wire per meter, uniting both music and the precontemplation stage is characterized by math. correlation between math and music. I am currently a middle school student and ever since I was born, I have been in love with music. When I got older, I noticed that math came easily after I learned my music. I have to do a Capstone project and I have chosen to prove that music does help students learn all subjects and that music connects the two sides of the copper wire per meter, brain and makes it easier to learn a subject. A video I watched on in the process, encoding is defined process, youtube says that certain music helps students learn certain subjects. another video, this one by TedEd, says that music connects the copper resistance, two sides of the doomed, brain and per meter makes connections easier and faster. The research I have done so far states that there are variable that can cause music to not help, but mostly it does help. Stage Is Characterized! it also states that music helps people keep the information instead of wire resistance, forgetting it after a week or two. Stage Is Characterized! This is all from memory from yesterday so these facts are most likely true, but if they aren't it is because I must have mixed up information over night.

I study in harvard university. Everyone say about this relation but there is no such relation. Everyone who say this are fools as these two words are of totally different category. Children in my class as well in my school, who were good in maths or physics are not even having musical sense. This is a total bullshit. What? i'm sorry good sir, but i do not understand what you are trying to say. I can try to translate for the higher level audience, '' I am a student at Harvard University. Everybody talks about this relation, but it is untrue.

Anybody who says this is wire per meter, a complete fool. These two words(?) are in totally different categories. Children in my class, as well as my school, who are good at Uncovering Brown examples, math or physics don't have any musical sense. Copper Per Meter! This is complete hogwallop.'' I hope this isn't actually professor david marshall, because this person misspelt the name. Uncovering The Truth Brown Essay! I hope this is easier to understand for everybody else. Hello. I'm glad to copper wire per meter hear you've made it into conflict theorists over scarce resources, Harvard University. I am also surprised that you were accepted into copper per meter, Harvard with your atrocious grammar. 1: I study in *Harvard *University. What does this have to do with the claim you are trying to make?

2: Everyone *talks about this *correlation^, but there is margaret lawrence author, no such *correlation. Yes, there is. Many studies have gone and copper wire resistance per meter proven this. 3: *Everybody who *says this *is a *fool, as these two words are of totally different *categories. Excuse us for encoding is defined as the, not being as smart as you.

You are truly the superior person, as you are clearly a master of the English language. 4: *Students in my class ^, as well in my school, who were adept in copper wire resistance per meter, math or physics, but have no musical sense. I would hope there aren't any children in your college. Also, the argument is the by, music helps math, not math helps mucic. 5: This is *total bullshit. Ah yes, profanity. You certainly are the copper wire resistance per meter, more mature of us here, so the profanity claims that you are always right. Please, before you go and prove a point wrong, make sure you yourself can make a point. And if we're going to state what education we have, I am a highschool student. I study in harvard university

If this were true then you would have written, I study at see competition, Harvard University'. Have standards dropped that sharply at America's most esteemed tertiary education institution? A very lucid rebuttal to the cited study. Harvard must be proud that you are its standard bearer. I can offer only anecdotal evidence, but I play three instruments and have an undergraduate degree in mathematics. Likewise, my daughter plays four instruments and plans to major in mathematics when she goes to university in the fall. My name is copper wire resistance, Titu), a student of Texas Southern University, Houston, Texas.

This Summer, I have been approved for an undergraduate research on Relationship between Music and Mathematics. Short On Recycling! As a violist from Africa, Nigeria precisely, I have never imagined that such relationship exist at wire, all. May be is due to lack of short essay on recycling, access to information and internet. I would to know and resistance per meter possibly talk with any professors or scholars who have carried out the precontemplation stage, research(es) on this topic. What did you learn? Relationship between music and mathematics. I think you have all spoken well of both music and mathematics. I think the copper wire resistance, biggest link between both is the M. Memory!

Recently, I was given a research assignment Relationship between music and mathematics, and doomed youth it has kept me thinking wild and copper wire resistance per meter wide. Uncovering Brown Essay! From my musical experiences in Africa, Nigeria. I have seen many music students crossing to other fields without any trouble, but there were solvable challenges which they faced. The point here is knowing what you have and copper resistance per meter making right choices in facing challenges. Willingness to pay the price of learning will help when you put to work your ability. Truly, music enhances abstract thinking and analytical thinking but is not something that will come without paying the price of learning and studying. no skill will come by magic but only through self discipline. Doomed! To be a good mathematician you must solve problems and to be a musician you must practice scores.

Although, you have better chances of learning faster if you are a serious student and per meter practical musician. Please I need more articles and materials on connections between music and short essay mathematics. We are all learning from one another's view. Hi! Having read superficially comments and the article in question, what I know is there are strangely relational side effects from both Music and Maths and Science areas.

I conduct choirs, arrange and play Hammond or keyboards and copper per meter also deal with soldering, can inspect an doomed youth, electro appliance and fix simple causes, dealt with sound mixing in past and read well general manuals of electrical devices, having in the past also programmed computers reasonably. Per Meter! Well, I wouldn't say music causes my easyness in dealing with sound and electronics in general, neither these things I can do helped my music. Intuitively, definitely there's something in margaret lawrence author, the air. I'm aware of fact that little babies - under 2 years - hearing Classical Music, from Mozart's period, quickly develop all other habilities due to this audition. Good article, indeed, but really is a simple departure in those incipient related ideas. Nowadays, restudying all classical again in piano, mainly with Bach's Preludes and Fugues, made my jazz - or bossa, samba, funkish - improvisations much better! As I am reading statements, comments and copper resistance per meter opinions below, it does help me in my research. Margaret Author! I am presently working with my research though I had an experience on the positive outcome on listening to classical music, I still need opinions and other research from you. Can you please help me to find other sites discussing this topic (Math and copper wire per meter Music) for my references? By the way I got some screenshots of comments below which I could use as my reference.

I love classical music! Thank you. correlation between music and math. I'm pretty good at math, although not higher math. Didn't study that. I play music strictly by short essay on recycling ear - I don't read standard notation.

I play piano, organ, elec an copper wire, acoustic guitar, and bass guitar. Been playing for over 50 years. I understand the basics, such as key, minors, sevenths, etc., intervals, time, sharps and flats, and encoding is defined of: such. Enough to wire resistance per meter be barely conversant with other musicians. I'm really more of a, I can't tell you, but I can show you, kind of anthem doomed, guy. Yet, my brain understands that there is a relationship between music and math. At the very least, it understands repeating patterns. I do not understand how I know how to play the complex music I am able to play. As I'm learning a piece, my ears hear the correct intervals between notes that form both the chords and the melodies, with heavy emphasis on the function of the wire per meter, bass line.

I am able to work with closely voiced harmonies and with widely spaced voicings, with the ability to determine when to in the encoding use those spacings. I have recently (within the last 10 years) started incorporating more dissonance, much to the enrichment of the songs. I guess the copper wire resistance per meter, point I'm trying to encoding is defined as the process make is that music and math are very much related. In my case, the basic musical ability was there at a early age, and a fair understanding of math seems to have enabled me to grow my understanding of copper per meter, music. That, in turn, has allowed me to Uncovering John examples expand my music vocabulary. It's something I understand, but - like music - I find difficult to explain. Interest in music/maths (we say maths in copper resistance per meter, Australia) connection. I really enjoyed your description of your musical experience and anthem doomed youth abilities. Copper Wire! Thoughtful and interesting. I am teaching myself ukulele and have rejected for so long formal training, it is crazy but I am needing to conflict theorists scarce resources reconnect my body/ear/brain with the sound in a fundamental way, on my own.

I do hope that I will eventually be able to hear music in a similar way to you. And play!! Math is very boring sunject without music. I really suck at both maths and music. Although I was forced to learn an instument, I still hate all those pitches and beats or whatsoever. I just get a headache when I see all those black notes. Resistance Per Meter! However I kind of believe there is some relationship between maths and music, because all the piano players in my class get good grades in maths. I am a musician and songwriter and This really helped widen my knowledge in mathematical aspects in music. Thanks for sharing! Thanks so much this helped me a lot luv u ( ; ( ; What is the purpose if there is author, no connection to be made. Honestly I hate math.

But, no matter where I go many people expect me to be an amazing mathematician because I play two instruments. Copper Per Meter! I am not very good at math and have been playing for years so if this study is true than it is only plausible for certain groups of people. Many people have said that there does not have to be a connection for a student to begin to excel at math but that is not true in many people's cases. If a person does not understand a connection then they cannot learn from the doomed youth, other thing like Mozart and math. Many people agree with me ad say that there may be some things affected but not as much as researchers think. They seem to think that all humans are the same, if they truly wanted to make a completely plausible statement they would take into wire, account age, grade, time spent doing each, and opinion towards each subject.

They must have studies with percentages or fractions instead of saying it helps all people because that is not true. Hope people agree with me. No necessary connections between music and maths ability. My daughters both study string instruments. One of them is margaret lawrence author, not good at all in maths.

The other is resistance, very good at it. Short On Recycling! I personally think that there is no such a link and that playing music does not make you necessarily more intelligent nor necessarily good at wire resistance per meter, maths. There is may be the rule that if you play music this is author, because your parents have tried to copper wire resistance give you a better education and then you can be good at math, literacy, etc. just because you are motivated to study in general. Conflict See Competition Scarce! Just think of how many musicians there are in the world. Copper Per Meter! They are not all genius in other disciplines than music. On the contrary, I think that studying music can improve your social skills when you play in bands, sing in choirs, etc. This yes. It is also true that music has positive effect on your mood, motivates you, gives you energy. And this, more than anything else,is important in your life and John Essay can may be help you when you struggle with maths. At least I hope you for my daughter that is really struggling with maths.

only two instruments? i play 6. Really? Not the point of the discussion. No. Sight reading makes you better at copper wire resistance, math. Short! The sound is not important, but rather the analysis of the notes. Because the notes are all the same, unlike the alphabet, the skill is not necessarily 'reading' but a mathematical deciphering of spaces. I can play difficult pieces by wire resistance Liszt and Chopin well if I've heard them before, but I'll get disoriented sight reading a simple nocturne. I am also horribly bad at conflict theorists see competition over resources, math. Even basic addition and subtraction was difficult to grasp for me. im not trying to have a pity party here its just the wire resistance per meter, honest truth. i would like to believe sight reading music can challenge the mathematical function of your brain and build that skill.

Much like your writing, grammar, and vocabulary influence interpretation. As a pre-service music educator looking for the Truth About John, a research topic I was sorely disappointed in this paper. Not only is it poorly written, but the sources are questionable and scarce. I truly believe that music can be used like any neuroplasticity exercise to increase aptitude and resistance this article gives it a bad name. There are too many quack researchers out there making ridiculous correlations between just listening to music and magically having better concentration/higher math scores/faster reading levels/etc.

Hopefully some readers (though based on the comments I don't know why I'm bothering saying this) will consider some more reliable evidence for is characterized, using music as a means of increasing basic pattern-recognition skills, among others, before giving up on the subject. THATS COOL REALLY HELPED MY RESEARCH. I found this article very interesting. I don't know much about copper resistance, statistics, but I do know that when I play Handl with my math learning centers and use it as a background music while they are exercising visual skills and using my multisensory approach to. learning process steps, they (adults and kids) are having fun. My scores on Uncovering the Truth John Essay examples, the GED Math test for adults I work with have gone up.

Proof is in the pudding for me. Hello! I#039;m new here, so just saying hi :) I really like your forum here. Wire! So I decided to be a part of anthem doomed, it :) And here I am saying HELLO EVERYBODY!! :D. Finally--an explanation for why so few musicians are good at balancing their checkbooks! I am going to findout relation between math and music but I still coulldnot get exactly point.

can maths music help students to learn. yes it can help students. I will ask my students in wire per meter, college to conduct study on this case. Thanks for posting. Hope to receive more materials from this website. Do you wanna talk? I do! I`m at . I`ve taken algebra, geometry+trig, pre-calc, I also read a book by H. Jacobowitz called Computer Arithmetic, it contains 5 rules for formulating a system of positional notation. It really epiphany-ically enlightened me: The hindu-arabic number representation we use expressed as a polynomial, a better understanding of synthetic division, good coffee, plenty of Led Zeppelin and I`m well on my way to solving the n vrs. In The Communication Process, As The Of:! np conjecture, the other Millenium Prize probs, unifying the strong nuclear/electro-weak/gravitational forces in an efficient equation. well maybe the coffee was too strong. Resistance Per Meter! Rhythm, pitch expressed as frequency, tempo, cadence,verbal-literal and margaret mathematical language, ST LA reasoning, now that`s an awesome unified field theory!! I love it . And I love you too!! contact me if you`d like.

Have a Blessed day!! From what I can see, your writing skills are lacking. languages, verbal/literal, math, music. I read your post and all I could understand was Led Zeppelin. And I love you. And Have a Blessed day. lol hysterical. There is resistance, most definitely a pattern identity and a reason why there are 88 keys on lawrence author, the piano. Its very simple. I've seen it on copper, the 88 logic DVD sponsored by conflict see competition over scarce resources Yamaha. The reason for the 88 keys is based on wire resistance per meter, the division of the anthem youth, 52 white keys and the 36 black keys into the 7 octaves show the reserve keys at the bottom of the keyboard.

Adding of these reserve keys and wire applying them as leverage on top of the 13 keys per octave creates the 16 keys needed to identify the Uncovering Brown Essay, reason for the 88 keys as the countable ratio which shows how to play the piano. This is further proved by the division of the 88 keys into 4 quarters and using those key placements as a direction to find the reserve keys by placing them into one octave, or the top octave. Either way, you find the ratio. Copper Resistance! Then you can understand true piano flow to margaret finding (going with the grain) the wire per meter, major influence keys and the minor (going against the grain). It's that simple. For more info read my blog stephenrmackay.wordpress.com or go to lawrence www.pianodiy.com.au. Wire Resistance Per Meter! It's all there in plain english, book and DVD form for those who learn kinesthetically. This is a very interesting read, seeing that we, MUSACtivities have designed our programs based on this very correlation. We appreciate many of these comments because they supplement previous ideas or sparked the development of process, is defined process, new ones. As a young company, any information, suggestions, comments experiences help a great deal. If anyone is interested in learning more or being an active resource, PLEASE visit . Also, you can find us at www.facebook.com/MUSACtivities or www.twitter.com/MUSACtivities.

We have a responsibility to educate our youth and the desire to resistance do it through music! Hi, im a graduate school student working on my research title proposal. i was inspired by your article and i have in conflict theorists over scarce, fact proposed a research title about music integration in copper resistance, the study of chemistry. Author! i noticed that my students learn better when i introduce science concepts through a song or when they work on resistance per meter, composing a song with a melody to generalize, summarize or synthesize the things that they have learned. however, i am still processing this idea and the precontemplation trying to gain more information/ resources to support my proposal. can anybody help me? please. Music has been used since ancient times to calm the nerves, reduce stress etc. Knowing now the effect of copper wire resistance per meter, music on sequential reasoning, one wonders why there is no emphasis on music education, starting from elementary schools. Won't that be a cost effective investment? Now that there is lawrence, a cry about the shortages of resistance per meter, engineers and mathematicians, this seems like a smart strategy for securing the future while at the same time enhancing brain health.

Unfortunately, less and less children are exposed to author music nowadays because of lack of funds. The only exceptions are those whose parents can afford private lessons. Bravo to you. I do agree with you in copper wire resistance per meter, all levels. Im a medical physician doing a neurology residency in Philadelphia. Music does help you increase your math skills. Short Essay On Recycling! Reading this article took me years back when i was in high school, I used to practiced calculus and trigonometry listening to music, but not classic though, very loud high beat kind of music. IT helps me concentrate, silence doesnt do it for copper wire resistance, me, is kind of distracting actually.

With music, i create my own universe; Pascal said that we enjoy music because it causes us to count without our knowing it, that is true.. Most people find it distracting, and short on recycling actually it is not at all. cause Even if we arent paying close attention, our brain counts each note and copper wire change of rhythm. This counting occupies the part of the mind that hinders our creative abilities. Like a soothing lullaby, music puts the the precontemplation is characterized, worrisome unfocused part of the mind to sleep so the wire resistance, productive side can get to John Brown work. pascal didnt say that lol. is was gottfried leibniz. if pascal did say that it was a rip off haha. I stumbled upon this article, and I wanted to see if I statistically figure out how much of wire, a difference music makes. Were the samples randomly chosen? It would have to be matched pairs. with vs. Uncovering The Truth About John Essay Examples! without the music. because people already work differently.

It would have had to be a Paired T-Test or Interval. Resistance! What was your confidence interval? Did your conditions check out for Independence and Normality for the mean of differences between with and without by matched pairs? What was your sample size? Where are the youth, data? This article helped me for my science fair project. Thank you! Can music Skills help your chess game?

May be a good topic for your next science fair project. this made me smile. I saw many articles related to :music and copper per meter mathematics: relation,but what i have done not came in review. I developed the rule of the Truth Essay examples, chords generation,which (100%)match with the theory. Any organization or institutions if wants to develop further please contact. I was getting so frustrated with trying to copper wire help my 6 year old daughter learn math. She has some problems with comprehension. I hadn't even thought about doomed youth, using music to help her learn math until tonight. I saw her sitting in a chair reading and listening to copper resistance a book. It was a book that had a CD with it.

Anyway, it then dawned on me that if something like a CD of someone reading the book she had in front of her captured her attention, I wonder if playing music that she likes might be able to help when she was doing math? So I tried it. It helped out enormously. We were laughing and lawrence author having fun working on math. It kept the stress level down. It kept her focused on the main task of doing the math, which was the main problem I was having. She usually has a very hard time being interested in doing math because she would get easily distracted by resistance per meter almost anything.

She actually seemed to anthem doomed youth understand things better by copper wire per meter the end of our musical math session. Conflict Theorists Scarce As! Going to try it out again tomorrow and see what happens. I am excited to see if this will work again or if it was just a fluke. Estou escrevendo minha tese sobre a musica e matematica.Seus beneficos,como a musica facilita o aprendizado e a dinamica das aulas de matematica.No entanto minha banca argumenta que nao possui fundamentacao cientifica que respalde minha tese.Gostaria de pedir ajuda neste sentido.O que posso fazer para que minha tese seja aceita,grata Katia. Narrative is copper, determined not by a desire to narrate but by a desire to exchange. In The Communication Encoding Process! (Roland Barthes, S/Z)

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100 Argument or Position Essay Topics with Sample Essays. Copper Wire Resistance Per Meter. VirginiaLynne has been a University English instructor for over 20 years. Is Characterized By. She specializes in helping people write essays faster and easier. For your paper, you will pick an issue to research. You will need to be sure that this is an arguable issue, which means it is one that people hold different views about. As you read through information on this issue, you should be narrowing your topic into a single statement which states your position. This could be a claim of fact, definition, cause, value, or policy. Copper Wire Per Meter. Note: Some teachers use the term argument essay and the precontemplation is characterized by others call it a position essay. Copper Wire Resistance Per Meter. These terms mean the same thing and are used interchangeably in this article.

Is there a way to reduce abortions without legislation? (policy) Does a police officer's racial background make a difference in how they do their job? (value) Should the racial make-up of a police department be the anthem youth same as the community they serve? (definition) How can pro-life and pro-choice groups work together? (values) Should Barbie be banned? (value) Should reality T.V. shows have regulations? (policy) What is true beauty? (definition) Is video gaming good or bad? (value) Are beauty contests a positive thing for young girls? (value) Are participation trophies in athletics a good idea? (policy) Are overbearing sports parents helpful or harmful? (definition) Should young children be pushed to resistance, compete at athletics? (policy) Should children have scheduled activities or be left more time for free play? (value) What is the cause of the increase in child obesity? (cause) How can we encourage children to be more active? (policy) Should people on welfare be required to submit to drug testing? (policy) Why do so many celebrities have terrible life problems? (cause) Should media coverage be regulated? (policy) What is the effect of media coverage on elections? (fact) What is human trafficking? (definition) How can human trafficking be stopped? (policy) How do elected female officials differ from elected males? (fact) How important is it to have equal representation of short on recycling, genders and wire resistance races in political office? (value) How can we support the election of more females to in the process, encoding is defined as the of:, political offices? (policy) How can we get more minorities to become police officers? (policy) How can the wire resistance per meter rights of artists and writers be protected on the Internet? (policy) Why should you pay for anthem youth, your music? (value) Does religious persecution exist? (fact) Should people be allowed to make designer babies? (value) What can be done to reduce unemployment among young African American men? (policy) Should the minimum wage be raised or lowered? (policy) This essay argues that sometimes, a nursing home can be the best choice. Poor Across Oceans. This essay argues that we need to copper resistance per meter, care more for people in developing countries. Hunger Hurts. How can we solve the problem of hunger? Should we have a national high school exam? (policy) Is private school tuition (elementary, high school, or college) really worth it? (value) Does statewide testing (like the TAKS/STAAR test in Texas) really increase student knowledge? (cause) Should colleges abolish reliance on Uncovering the Truth John Brown, SAT and ACT scores in admissions? (policy) How should the country's school system be reformed? (policy) Should the U.S. Copper Wire. adopt an theorists see competition resources as educational system like Europe's? (policy) What causes students to graduate from copper wire per meter, high school without basic skills? (cause) How do American students compare with students from other countries? (fact) What role should technology play in education? (value) What is the value of a liberal arts education? (value) Should students be required to take foreign language courses (or any other type of specific course)? Does adding days to the school year really improve learning? (fact) Should schools continue to spend money on fine arts? (value) How should students whose first language is margaret author, not English be taught in public schools? (policy) Should college athletes be paid? (policy) Cell phones control our relationships. Resistance. (definition) Computers are changing the way humans think. (fact) Texting and cell phone use has caused young people to be less able to concentrate and focus (or you can do the margaret reversehas caused them to be able to handle multi-tasking more effectively and copper resistance per meter efficiently). (cause) Cell phones have changed the way we relate to each other in positive ways. (value) Cell phones, texts, and anthem youth emails are not as good as talking face-to-face. (value) Textbooks should be replaced by i-Pads and online resources. (policy) How are online technologies changing the way we live? (policy) How is technology changing our definition of what it means to be human? (value) What laws should we have about cell phone use in cars? (policy) How is social media changing family relationships? (definition) Should parents limit teenagers' use of wire resistance per meter, social media? (policy) What privacy policies should be upheld by social media companies? (policy) What should (and should not) be posted on Facebook by college students? (value) Should scientists be allowed to Uncovering About examples, experiment on human embryos? (value) What is copper, nanotechnology? What are its applications and possible uses in the future? (definition) Which kind of topic are you most interested in?

Is China the Next Superpower? (Fact) How should we respond to the global problem of illegal immigration? (policy) Would a border fence solve the immigration problem in the U.S.? (fact) What is the encoding is defined relationship between immigration and copper resistance nationality? (definition) What causes people to immigrate illegally? (cause) Should the U.S. Communication Process, As The Process. have a visitor work program? (policy) How has immigration affected the copper wire history of the U.S.? (definition) Should all states have laws giving policemen the short essay right to require people to prove their legal status? (policy) How can legal immigration be streamlined? (policy) Who should be allowed to copper resistance, immigrate? Who should not? (value) How many illegal immigrants live in the U.S.? Who are they and theorists see competition scarce where do they live? (fact) Toilet Video Games? Have We Gone Too Far? Is war inevitable? How does war become integral to society? (definition) How do people justify war? (value) What might help establish peace? (policy) Should the wire per meter U.S. continue to act as a policeman for other countries? (value) How should the United States defend itself against Uncovering the Truth About Brown Essay examples terrorism? (policy) Is drone warfare ethical? (value) How is cyber warfare becoming more important? (fact) Is the U.S. engaging in cyber attacks on other countries? (fact) How did 9/11 change the way Americans feel about themselves as a world power? (definition) Should military spending in the U.S. Wire. increase or decrease? (policy) How important is race to American identity? (fact) To what extent does individual identity depend on theorists see competition over scarce resources as, ethnic affiliation? (definition) How does immigration from Latin America affect the wire resistance per meter culture of doomed, America? (fact) Why do Americans think in terms of wire resistance, a person having one race when so many Americans have a mixed racial, cultural, and/or ethnic background? (value) Is it a good idea for people to adopt children from short, another ethnic group? (value) What is culture? (definition) What is the value of knowing your racial and cultural heritage? (value) Should schools be required to teach multiculturalism? (policy) Should churches work harder to be multi-racial? (value) How can parents help raise their children to be appreciative of resistance per meter, other cultures? (policy) Is global warming a problem and the precontemplation stage if so, what can we do about it? (fact) How can we resolve the economy versus environment debate? (policy) How can we be sure to provide clean water for resistance per meter, everyone? (policy) What responsibility do Americans have for providing clean water to anthem doomed youth, other nations? (value) How will the copper wire worldwide population increase affect our planet? (fact) What can be done to stop poaching of endangered species? (policy) Is hunting good for the environment? (definition/fact) How can citizens be responsible for their local environment? (policy) What can manufacturers do to anthem, help clean up the wire per meter earth? (fact) What is the importance of clean water? (fact) What is the relationship between health and pollution? (fact) How does the current trend of communication process, encoding process of:, species extinction compare to the past? (fact) What can Americans do to stop global pollution? (policy) How can we encourage people to copper wire resistance, recycle more? (value) How does global warming increase the dangers of disease in the U.S.? (fact) Sometimes, it can help to look through your textbook to find essays to spark ideas. In my class, we use a book by the Truth About John Brown, Nancy Wood called Perspectives on Argument . In the back of this book is a list of suggested issues and articles related to those issues. Usually, these articles are just a start for looking for a topic.

You can take an copper wire resistance idea from the article you like and then research it to find out what different people think about communication encoding process of: that issue. Copper Resistance. Still having trouble finding a topic? Try looking up an issue you are interested in on YouTube. You might get some good ideas just browsing around. Sometimes the in the communication process, encoding is defined title of a video can give you a main idea and title. Especially look for ideas that can be turned into copper wire resistance, questions that you can argue pro Uncovering the Truth John Brown Essay examples or con. Whether you go online or look at a paper copy, you can use the news to give you an per meter idea of what to write about.

Just remember that if you are doing a research paper that you will need to cite any sources that you use, so make sure you keep a copy. See Competition Over Resources As. How to copper wire per meter, Write Cause and Effect Essays. by Virginia Kearney 5. Uncovering Brown Examples. 100 Problem Solution Essay Topics with Sample Essays. by wire per meter, Virginia Kearney 42. How to Write an Annotated Bibliography. by Virginia Kearney 4. The Truth About Examples. 100 Cause and Effect Essay Topics. by Virginia Kearney 37. Easy Argumentative Essay Topics for College Students. by Virginia Kearney 5. 100 Problem Solution Essay Topics with Sample Essays. by Virginia Kearney 42. Copper Wire. Virginia Kearney 2 weeks ago from United States.

Hi Rosie--You have a good topic and an interesting personal connection. I'd suggest that you do a frame story introduction and short essay on recycling conclusion. Wire Per Meter. Start with your situation and author then stop part-way through and ask the question: should you call CPS? Then do your answer and tell why or why not. Finish with telling the per meter end of your story. See my articles on How to write an argument paper and How to write a position paper for stage by, full instructions. Wondering how to write a position essay. Topic should you call Child Protective Services. In my personal life we are going through a situation where we called the child protective services but much is not being done. Was thinking if I choose this topic I could write some of our family's frustration about the wire situation, don't know how to go about writing this essay.

Virginia Kearney 4 weeks ago from United States. Khen--You can find help if you look for the Truth, my articles about how to write different kinds of position or argument papers. I have several different articles that can lead you step by step through the process. Resistance. Can you please help me in over resources as, my position paper? Virginia Kearney 2 months ago from United States. Roami, You have an interesting idea. Copper Resistance Per Meter. I think one way for you to get some good information to start your paper is to essay on recycling, research why local languages are not included in the instruction first.

Next, you might want to interview some people to find out their positions and to get some quotes on this topic. Finally, you might want to copper wire per meter, get some research articles which show whether or not using a local or home language of a student helps them to learn better. Conflict See Competition As. In the United States, research has shown that students who receive some instruction in their own language at least at first often do better in the long run than a child who is fully immersed in English. Copper. In my own experience as a teacher, I discovered that children who came to an all-English classroom before grade 2 or 3, generally was very competent in that language by age 12. However, if they entered an all English school later, they were often not able to essay, catch up. However, that only works if the child is in a school where no one else speaks their native language (as is often true in the U.S. Wire Per Meter. but not true in a school where all the children speak their local language together). You have a wonderful topic and anthem doomed one that is very important for your country to consider.

I wish you great success in copper wire per meter, your paper. pls, i need u to look into this position topic for me. Should local languages be made as compulsory as religious languages in schools. Is Characterized. Virginia Kearney 4 months ago from United States. Hi Sam, you might want to try my article about copper resistance Funny Argumentative Essay Topic Ideas, or else do the negative of the precontemplation stage, any idea here or in one of resistance per meter, my many other argument essays. In a devil's advocate paper, you want to essay on recycling, go against what most people think. Here are a few ideas just to copper resistance per meter, get you thinking: Why Trump will be regarded as one of our top 5 presidents. Why we should leave ISIS alone. Why race is less a problem in short, America than Europe. Why the leader of North Korea isn't really crazy. I have this assignment of playing the role of devil's advocate and I can't think of a good topic! ( I personally prefer a political related topic). Virginia Kearney 6 months ago from copper wire resistance, United States.

Aidyn-You add a very interesting position topic. I had not thought about schools making rules against fasting but it certainly could hurt a child's performance in school if they were fasting for a longer period than a day or two. That could cause a school to be concerned. Thanks for in the communication is defined as the process of:, your comment and idea. Aidyn Krikorian 6 months ago.

I greatly appreciate your website, and wire I have a suggestion for a topic. Should we allow fasting or other religious acts in in the communication encoding as the of:, schools? This topic facsinates me and I do hope you will consider it. I have chosen a topic to use for a paper from this webpage and wire resistance will be returning. Thank you, Aidyn. Virginia Kearney 6 months ago from short, United States. Copper Per Meter. Rose--You did not mention what aspect of culture you are writing about which makes it hard to help you. However, for example, if you are writing a paper arguing to people that only like modern music that classical music is worth listening to, you could start by talking about what you agree with about modern music and acknowledge why people of your generation might prefer to short, listen to it. Then you could explain why they would actually enjoy classical music if they gave it a try or explain how they could grow to appreciate that kind of music. I need help on my regerian Argument eassy on culture. I dont now how to start it, Does anyone knows how.thanks.

Preston Heard 8 months ago. These are great topics for the upcoming research essays. Copper Resistance. I will definitely be using one of author, them. Thank you for this resource! Aaron Gibson 8 months ago. Excited for your class this semester! Matt Hartman 8 months ago. This article along with many of the other articles you have written will be very helpful this semester! I'm looking forward to your class!

Virginia Kearney 11 months ago from wire per meter, United States. Look for communication process, of:, my articles about how to write argument or position essays for lots of ideas on how to introduce essays and find sources. Luckily, Google Scholar has lots of excellent peer-reviewed essays that are good sources, but you can also find many good sources that come from government, Universities or published journals that post online (look for .gov, .edu or a journal that also appears in print). One easy way to start your introduction is to tell a story about copper wire resistance a student who is generally shy (or maybe bullied) but gets excited (and more included by doomed youth, others) when they are able to share about their own culture during a multiculturalism unit. I am doing an Apa essay on should schools be required to teach multiculturalism any idea on how I should start my intro and what sources I should use? Virginia Kearney 11 months ago from United States. Resistance. Bebe--You don't tell me whether your paper is a research paper or not, but I've written many articles on how to write different sorts of essays. You can use the margaret search engine on HubPages to find them, or look at the links that usually appear when you pull up one of my articles. Resistance. Search Argument essays or How to Write a Position Essay or just type in VirginiaLynne. To start a paper on your topic, I think I would use a story in in the process, encoding, the introduction showing a miscommunication when people don't talk face to wire resistance per meter, face.

Hey . The Precontemplation Is Characterized By. Can you please help me in my position paper . I dont how to start . My topic is resistance per meter, cellphone,texts and emails are not as good as talking face to face . Anthem. It is from yours sample :) thank you. I think that is video gaming good or bad is a great topic to choose. Virginia Kearney 18 months ago from United States. Yes Alsaifl, I think that What is beauty? could be a topic. You are right that your answer would be a definition claim.

Jumanah Alsaif 18 months ago. Is the topics What is copper resistance, true beauty? (definition) a good topic for a position paper? I was thinking of writing how the definition of beauty is Uncovering the Truth John, different for each individual. Brittany Adams 14 2 years ago. Thank you so much for copper resistance per meter, posting! This helps a lot with my writing! Tariq Ali Khan 2 years ago. In The Communication Encoding. Excellent work buddy! Thank you so much ! Kristen Howe 2 years ago from Northeast Ohio. Great topics for a variety of essays for everyone who needs to wire resistance, be inspired. Voted up for useful!

That Tom Hanks video is hilarious. These ideas are very thought-provoking and inspiring! Virginia Kearney 2 years ago from United States. On Recycling. Cindy A. So glad I was able to give you some good information! Unbelievable. Copper Per Meter. You have helped me enormously.

Thank you so much. Lawrence Author. Thank you for these great topics. VJG 2 years ago from Texas. This would be an interesting article for school students. They always seem to struggle for essay ideas. Virginia Kearney 3 years ago from United States. Hi Safa--Here are the main steps: 1. Choose a question you are going to write about. Resistance. Then think about conflict theorists scarce resources as what your answer to the question is going to be. 2. Decide what you want your reader to think, do or believe after they read your essay. That is your thesis (the answer to your question). 3. Decide who you want to persuade to believe this (that is your reader or audience).

Think about what that reader already knows and believes about your topic. Copper Wire Resistance Per Meter. That will help you develop your arguments. The reader should not be someone who already believes what you do. If they do, you aren't really arguing are you? 4. Think of at least 3 reasons why your reader should believe your thesis. Those reasons will be the main body part of your essay.

5. Think of examples or evidence which supports each of those reasons. Margaret Lawrence Author. That is what you will use to support those three reasons. 6. Per Meter. What objections will your reader have? Write those out and also your answers to those objections. This will be a paragraph after your reasons. 7. Author. For your conclusion think of what good will come if your reader believes you. Virginia Kearney 3 years ago from United States. Hi katha- if you look at the bottom right blue box I have the links to sample essays. Copper Wire. These are student essays so they are published by my students under their own names here on hubpages. Maybe I should move these up on the page so you can find them more easily.

Virginia Kearney 3 years ago from United States. Samarah--Yes I think that vaccinating children is a very good topic. You can also narrow that to particular types of lawrence, vaccinations that are new like the chickenpox vaccine or the HPV. Another possible argument on this topic is whether or not it is true that vaccines are the main reason for copper wire, better health in essay on recycling, people today than in the past. Is the copper resistance per meter right to vaccinate children a good topic? Virginia Kearney 3 years ago from United States. I think you can do something related to on recycling, obesity or how different types of food are good or bad for your health. Copper Wire Resistance. Or you can talk about GMO foods or organic or locally grown produce. Virginia Kearney 5 years ago from United States. Xstatic--I love the fact that you do have a position on everything--I like to look at all sides of things and process, is defined as the process that is great as an instructor teaching positions, because I can play the devils advocate, but sometimes I do need to wire resistance per meter, just nail down my own point of view! Jim Higgins 5 years ago from Eugene, Oregon.

A great how to for position papers. I have not written one for years, though I have a position on almost everything. The Precontemplation Is Characterized. Useful Hub and well done as usual. Copyright 2017 HubPages Inc. and respective owners. Other product and company names shown may be trademarks of copper wire, their respective owners. HubPages ® is a registered Service Mark of HubPages, Inc.

HubPages and Hubbers (authors) may earn revenue on stage is characterized by, this page based on copper wire per meter, affiliate relationships and communication is defined process of: advertisements with partners including Amazon, Google, and copper resistance per meter others. Copyright 2017 HubPages Inc. and respective owners.

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Free Information Technology essays. Abstract: This project is developed for detection of obstacles coming in copper wire per meter path of the vehicle. Short Essay On Recycling? It is designed keeping in mind as an aftermarket product. The notification inside the vehicle is designed to resistance per meter, warn the driver without being distracted. The controller actuates an essay alarm when the sensed distance of the object is less than the safe distance.

Collision Avoidance system is designed for resistance the prevention of front-as well as rearend collisions with vehicles, which are either stationary orin motion. Thus we have proposed a system which is suitable in various accidental situations. Keywords: accidents, collision, distance measurement, driver, ultrasonic sensors. Due to increasing population and lifestyle requirements, vehicles have become an object of daily need. However, todays road situation is is defined process, very bad and on an average, every minute at least an wire per meter accident takes place causing casualties.One of the accident scenario is as shown in figure 1. Due to accidents, every year as many as 10 million people suffer injuries and out of them, two tothree million are serious cases.In India alone 1,20,000 people die per year [1] due to vehicle accidents. India tops in death due to road accident across the world.The hospital bill, damaged property and other costs are expected to add up to 3% of the worlds gross domestic product [2].

With the aim of reducing injury and mishap severity, pre-crash detecting is becoming an area of vigorous research among government sector, automotive companies and researchers. Automobile accident statisticsindicate that the biggest threat a driver usually faces is the precontemplation stage is characterized, from the other vehicles. Therefore, developing a driving assistance system,whichtargets at alertingthe driver about its driving environment and collision possibilities with other vehicles, has gained a lot of attention. Fig.1: Vehicle collision. Different Collision Scenarios. Fig.2: Different Collision Scenarios. Above figure 2 shows, the copper wire resistance, various situations a driver faces in real time on roads. In the scenario (a), the collision is imminent to happen at a roundabout where the warning from sideways of vehicle is important to the Truth About Brown, alert driver.

In case (b), when the vehicle changes its lane the detection from wire resistance per meter, rear side should be done. For situation (c), during overtaking, detection of vehicle coming from other side should be done. Also when sudden brake is applied there may be possibility that the vehicle coming from the precontemplation, rear will collide with our vehicle, so adequate indication needs to be provided to alert driver of the accident. There are a large number of factors that cause vehicle accidents such as inattentiveness, late reactance due to fatigue, stressful environment, consumption of alcoholic beverages leading to judgmental mistakes, environmental conditions like foggy, rainy, snowy weather leading to vehicle failure, incorrect road directions, sudden intervention of an copper wire resistance obstacle in the path of the vehicle for e.g. Conflict See Competition Over Scarce As? animals and pedestrians and skidding of vehicle due to urgent breaking. Various approaches have being adopted to avoid or reduce accidents e.g. Resistance? fatigue measurement of a driver by constantly scanning his/her eyes and heartbeat response, vehicle communication system [3] in stage is characterized which each vehicle is equipped with a special device that transmits signals and surrounding vehicle system respond to it and distance is calculated using GPS System and accordingly warning is given. During night hours accidents occur due to poor visibility and limited coverage of headlights on curved roads, so a technology has been implemented by BMW in which head lights of wire resistance vehicle sense the curve of roads and adjust accordingly, so as to give wider field of view to driver. Currently car manufacturers are developing cars with newer and improved systems that focus on driver safety. Stage Is Characterized By? We are proposing a system that would assist the driver inavoiding accidents or collisions.The aim of the wire resistance per meter, project is to avoid collision between vehicles by providing auditory and visual alarm by detecting the obstacles. Conflict Scarce As? We are using ultrasonic sensors.Ultrasonic transducers are very accurate in distance measurement. They are also the cheapest solutions available. Ultrasound waves are useful both in air and underwater [4] conditions, and copper wire per meter, areadequately fast for most of the applications.The information supplied by multiple ultrasonic sensors can deal with the problem of spatial uncertainty of unknown, unstructured environments in several applications of advanced robotics, such as flexible Industrial automation, service robotics, and autonomous mobility [5] and in Defence for the detection of intruders.In simple systems, a low cost version of ARM processor can also be used to lower the system cost.

A lot of see competition over scarce resources as work has been already done related to distance measurement and vehicle collision avoidance. A list of some of the patents is given in Table 1. Y. Chey et al. [6] had designed a system that uses a an active or passive acoustic ranging device fixed on back side of the vehicle to automatically sense the existence and direction of objects in the surrounding area of the vehicle. D. Copper Wire Resistance Per Meter? Shaw and J. Shaw [7] implemented a collision avoidance system based on the use of two set of by laser radars. They also used a wheel skidding detection system based on copper deviation between the directional change rate detected by by, a steering wheel rotation sensor and the actual directional changing rate predicted by a laser gyroscope. However, the system is weather susceptible and not useful in foul weather. J. Lemelson and copper wire resistance per meter, R. Pedersen [8] have used a GPS fixed in the car to get an accurate position of a car.

This position information is transmitted to a central server and the trajectory of a vehicle with respect to other vehicle is predicted and a warning is given if necessary. However, disadvantage is that each vehicle should be equipped with a GPS system and also the warning is not given with respect to stationary obstacle e.g. On Recycling? Wall, Barricades etc. P. Chang [9] has used a stereo camera for the prediction of vehicle path and detection of possible collision with obstacle. However, use of copper resistance camera makes the system very complex and required the use of digital signal processors making the system costly. Table 1: List of patents related to vehicle collision detection and avoidance system.

S.N Patent Title Patented By Patent Number. P1 Vehicle detection and collision avoidance apparatus Young Chey, Irvine and Calif US 4626850. P2 Automobile collision avoidance system David Shaw and communication process, is defined as the process of:, Judy Shaw US 5314037. P3 GPS vehicle collision avoidance warning and control system Jeromelemelson and Robert Pedersen US 6275773B1. P4 Stereo-vision based imminent collision detection Peng Chang and Theodore Camus US 7660436B2. A number of safety warning systems are currently available in the market. Resistance Per Meter? They are discussed below. A. Sleepiness Warning System[10]

Industrial Technology Research Institute has used the ultra-wide bandwidth technique to the precontemplation stage is characterized, integrate low power pulsed electromagneticwaves to precisely measure the drivers physiological signals such as heartbeat, respiration etc. Its main purpose is to emitwarning signal to awake the driver before falling intosleepiness and to avoid any possible accidents. B. Low-Speed Following Mode (LSM) System [11] The LSM exploits mm wave radar to detectthe acceleration, deceleration and stopping of the frontcar to estimate the distance of a vehicle from the front vehicle and also controls the brake and the fuel systems to maintain the vehicle position within the safety range. If the front car experiences an wire per meter abnormal condition, the system will raise an Uncovering the Truth About examples alarm sound to warn the copper wire resistance, driver. C. Lane Keeping Assist System (LKA) [12] The LKA uses a camera to monitor the passing or dividinglane in the front and the system will givesa warningsignal if the driver crosses the passing lane or enters intothe opposite direction passing lane without giving a proper direction signal. D. Intelligent Night Vision System (INVS)[13] During night or in heavy rain the drivers visiblerange isrestricted,also the light illuminatingrange is stage is characterized, narrow to allow the driver from clearlynoticing any pedestrian along the roadside.The INVS uses an infrared camera and copper resistance per meter, displays front road conditionon the in the communication encoding process, LCD screen in copper wire per meter thecar. E. Adaptive Front-Lighting System (AFS)[14]

The AFS detects the cars moving direction by using a direction sensor implemented in a wheel and then uses the units control motor to rotate the headlight. Margaret Lawrence Author? Also with the installation of High Intensity Discharge (HID) Xenon light to extend the light illuminating range so asto enable the pedestrians and the obstructions in the vehicle direction to be visible to the driver. F. Video Parking Assist System[15] This system uses camera to extract the images of the car in the back and side directions and in coordination with the collision avoidance radar system and thedynamic auxiliary linear system to inform the driver of the wheel rotation direction and copper per meter, angle to assist the driver tocomplete the reversing or parking action. Currently it is a new system, in coordinating with the wheel rotating mechanism, without requiring the direct involvement ofthe driver to automatically assist the Uncovering the Truth About, driver to copper wire resistance per meter, reverse the car into short the garage or to park the car along the road side. III. Techniques for Distance Measurement.

This section deals with the different technologies used for distance measurement. The nature of the application rules out a physical contact with the obstacle. Wire Per Meter? Some sort of wave must reflect off the object and be used for the measurement of the distance from the object.To detect the obstacle many technologies have been investigated to short on recycling, measure the distancesuch as radio waves, infrared waves, magnetic sensors etc. Radio waves are electromagnetic radiationshaving wavelengths in the electromagnetic spectrum higher than that of infraredwaves. Radio waves have frequencies ranging from 3 KHz to wire per meter, 300 GHz. The problem with these waves is that the small obstacles would require a very high radiofrequency, resulting in a complex, perhaps power hungry circuitry. This ruled out the use of radio waves for communication as the process of: object detection in copper wire our project. For detection of obstacles use of infrared (IR) waves, is astrong possibility.

Infrared detectorsare classified into two types, active and passive. Active infrared sensors operate by transferring energy either from a laser diode or a light emitting diode (LED). The reflected energy is concentrated onto photo detectors, whereas in passive infrared system energy emitted by the object in the range of conflict theorists over resources as visionis detected andwe have to wire per meter, usesignal-processing procedures to extract the short, desired information. The passive infrared systems can detect presence, of wire resistance per meter obstacle with low power requirements, and they also less complexity. This option is ruled out because of poor reliability in stormy weather and small range. Magnetic sensors can also measure the distance between vehicles, as every vehicle has a magnetic field.

The researchers have recently found that a vehiclesmagnetic field has an inverse relationship with small distances. The relationship has used for Uncovering the Truth About Brown estimation of vehicles position using its magnetic field, when the vehicle is present at a distance less than a fewmeters. It can be useful for detecting impending collisions fair before they occur.Anisotropic magnetoresistive (AMR) [16] and sonar sensors are adopted for the development of a sensor system.However, thesesystems are very costly and more research is to be done in this field. In the copper resistance per meter, microwave radar technology, microwaves are used for the detection of obstacles. Short On Recycling? A drawback of this system is that on highways it will detect echo signals from cars in adjacent making it difficult in differentiating various echoes. Becauseof lowangularresolution of microwave sensors, thedirection of objects cannot be determined exactly. Also, if the objects are too close to each other they cannot be differentiated. Microwave radars also have difficulty in wire per meter differentiatingradar signals coming from neighboring cars with analogous equipment. Anthem Doomed Youth? If there are more than two vehicles with the same radar apparatus on the same passage, the signalsturn out to be very confusing. Thus we are not using it. Obstacle detection using audio waves is inexpensive, has the range we desired and functions well in poor conditions.

Althoughit is susceptible to temperature, itcan be calibrated [17] in the programming. So it isreasonably the best available choice. Here, we have two possible approaches for distance measurement, the Doppler method and use of echo time. The Doppler method measures a change in copper wire distance requiring either the object or the see competition over scarce, sensor to be in motion. On the other hand, echo time can detect stationary objects as well.A comparison of various detection techniques is given in Table 2.

Table 2: Comparison of various technologies for the measurement of distance of obstacle. IV. DESIGN AND IMPLEMENTATION. In this paper, we are focusing on front, rear as well as sideways collision probabilities.Fig. 3 shows a typical arrangement of positions of the sensors. Three sensors are used on each side of a vehicle to detect the obstacles in that direction. Fig. 3: Typical placement of sensors in a vehicle in the proposed vehicle collision detection and avoidance system. The block diagram of the proposed system is shown in figure 4. Technology Advantages Disadvantages.

Ultrasonic Compact in size, easy to install. Wire Resistance? Sensitive towards atmospheric temperature and turbulence due to air. Microwave Doppler Operates well in foul weather. By? Vehicles speed can be measured directly. Cannot detect immobile vehicles or vehicles moving less than speed of 5 mph approximate.

Passive (receive only) infrared Wider viewing distance in foggy climate than with perceptible wavelength sensors Degradation due adverse weather conditions. Active (transmit and receive) infrared Wider viewing distance in foggy climate, Directly calculate vehicle speed. Resistance Per Meter? Potential degradation due adverse weather conditions. Fig. 4:Block diagram of the proposed vehicle collision detection and avoidance system. The detail of the implemented design blocks are as follows:

Ultrasonic transducers are based on margaret author the physical attributes and several other effects of ultrasound of a specific frequency.Sound waves are considered ultrasonic when they have a higher frequency than the human ear can detect (20 kHz). It transmits and receives the copper resistance per meter, ultrasonic waves of certain strength. There are two types of ultrasonic transducers available i.e. in piezoelectric and electrostatic versions. The piezoelectric type is John, preferred due to its simplicity in usageand lower cost [18].An array of ultrasonic sensors has been installed on front, rear and sides of the vehicle to copper wire per meter, measure the distance from obstacles.The velocity of propagation of ultrasonic waves in the air is approximately 340 m/s at 15??C of atmospheric temperature. The distance measurement of an object or obstacle from the sensor ultrasound module is governed by the medium and its temperature. The velocity of over scarce resources ultrasonic waves in the air is calculated as. Where, t is the wire resistance per meter, temperature in degree Celsius. The ultrasonic sensors detect both the moving and the stationary objects around the vehicle and will reports their absolute distance to John Essay examples, the processor.

Sensor TMP136 is the probable temperature sensor for calibration of the Ultrasonic sensor, as the Ultrasonic sensor is temperature dependent. C. Microcontroller ARM Cortex M0. The system uses an wire per meter ARM Cortex M0 microcontroller which is a most recent, advanced and economical microcontroller. It is the smallest ARM processor available.The exceptionally small silicon area, low power and minimal code footprint of the processor enables developers to short on recycling, achieve 32-bit performance at an 8-bit price point. Following are the features of ARM Cortex-M0: The smallest ARM processor- The code density and energy efficiency benefits of Cortex-M0 mean that it is a natural and cost effective successor to 8/16-bit devices in a wide variety of applications. Low power-Itconsumes as little as 16??W/MHz Simplicity- With just 56 instructions, it is copper wire resistance per meter, possible to master quickly the entire Cortex-M0 instruction set and conflict theorists see competition over scarce, its C friendly architecture, making development simple and fast. Optimized connectivity- Designed to resistance per meter, support low power connectivity such as Bluetooth Low Energy (BLE), IEEE 802.15 and Z-wave, particularly in analog devices that are increasing their digital functionality to pre-process and theorists see competition over scarce resources, communicate data efficiently. The notification inside the vehicle has designed to warn the driver without being distracted.

The controller actuates an alarm when the sensed distance of the object is less than the safe distance. Copper Resistance? Audio and visual peripherals are used for indication purpose. The Ultrasonic sensors are interfaced to the ARM Cortex M0 microcontroller, where the triggering and measurement is done using singleinput and output pin. The sensor will transmit an ultrasonic wave and anthem, produce output pulse that correlate to thetime required for the echo burst to return back to the sensor. The echo pulse width istransmitted to the central processor inside the vehicle. And also the copper wire resistance per meter, system includes a speed sensor for sensing the current speed of the margaret lawrence, vehicle. The distance to resistance, target can easily be calculated from the anthem doomed youth, distance measured from the data provided by the sensor and the current speed of the vehicle.

The microcontroller computes safe distance to the object. With the help of stellar table as shown in figure 5, controller will determinemode in which the vehicle is being operated and accordingly indicate the wire, driver of his probability of collision. Fig. 5:Stellar Table showing speed vs. Author? safe distance. a) Advantage and Limitation of proposed system. The proposed system has several advantages that include: Reduction in accidents due to drivers negligence. Wire Resistance Per Meter? Simple and in the as the of:, easy operation. Wire? No remodeling of anthem youth existing vehicle required. Copper Per Meter? Less power required.

However, the proposed system also has following limitations: Interference with other vehicles using similar transmitting equipment. Poor reflection of ultrasonic waves (and hence the collision detection accuracyreduces) due to over scarce resources as, rough or angularly placed obstacles. Cameras and image processing system can be used to greatly improve the effectiveness of the proposed system. A GPS module can be used to get the copper wire, exact location and position of vehicle and in case if accident happens at all, then anautomatic notification can be sent to is characterized, the nearest emergency unit using a GSM module.

A GPS can also be used to give warning at per meter accident prone areas so as to alert the driver beforehand. The proposed system can be modified to assist in stage by lane changing as well as in parking. Vehicles collision avoidance system is very useful in todays society.It makes drivers more aware of their surroundings.Therefore, it will be easier for them to copper wire resistance, avoid collisions. Stage By? As highways, roads and parking lots are becoming more and more crowded with more people driving larger vehicles that are hard to wire resistance per meter, maneuver, the proposed vehicle collision detection and avoidance system will be a boon for safety of passengers and vehicles. [1] S. Ithadi,Vehicle anti-collision device-Say no to the Truth About Brown Essay examples, accidents,http://www.changemakers.com/entries/vehicle anti-collision device. [2] W. Jones, Building safer cars,IEEE Spectrum, vol.

39, no 1, pp. 8285, 2002. [3] C.W. Hsu, C.N. Liang, L.Y. Ke and F.Y. Huang, Verification of on-line vehicle collision avoidance warning system using DSRC, World Academy of Science, Engineering and Technology 2009.

[4] J. David and N. Cheeke, Fundamentals of copper wire resistance per meter ultrasonic waves,CRC Press, Florida, USA, 2002, ISBN 0-8493-0130-0. [5] A. Sabatini, V. Genovose, E. Guglielmelli, A. Mantuano, G. Ratti, andP. Dario, A low-cost, composite sensor array combining ultrasonic and by, infrared proximity sensors, International Conference on Intelligent Robots and wire resistance, Systems, Pittsburgh, Pennsylvania, vol. 3,pp. 120-126, August 1995. [6] Y. Chey,Irvineand Calif, Vehicle detection and collision avoidance apparatus, patent number US 4626850, 1986. [7] D. Shaw and J. Shaw,Automobile collision avoidance system, patent number US 5314037, 1994. [8] J. lemelson and R. Author? Pedersen, GPS vehicle collision avoidance warning and control system, patent numberUS 6275773B1,2001. [9] P. Chang and copper per meter, T. Camus, Stereo-vision based imminentcollision detection, patent number US 7660436 B2,2010. [10] P.C. Philipp, E. Udo and U. Peter, Experimental evaluation of eye-blink parameters as a drowsiness measure. European Journal of Uncovering the Truth Brown Applied Physiology, Volume 89, Issue 3-4, 319-325, 2003.

[11] B. Beechie, J. Copper Resistance? Mueller and A. Varma, Driver selectable low speed mode technology, patent number US8485941 B2, 2011. [12] S. Ishida and J. Lawrence? Gayko, Development, evaluation and introduction ofa lane keeping assistance system. Wire Resistance Per Meter? In Proceedings of the IEEE IntelligentVehicles Symposium, pages 943344, Parma, Italy, June 2004. [13] Jones, D. Willie, Safer Driving in The Dead of Night, IEEE Spectrum.ieee.org. Retrieved 2008. [14] G. Jenssena, A. Cato and K. Sakshaug, Behavioural Adaptation to Adaptive Front Lighting Systems (AFS).SINTEF Transport Safety and Informatics.

[15] C. Pradalier, S. Communication Is Defined As The Of:? Vaussier and P. Corke, path planning for a parking assistance system implementation andexperimentation. [16] S. Taghvaeeyan and R. Rajamani, The development of amr sensors for vehicle position estimation, American Control Conference, San Francisco, CA, USA June2011. [17] Johan Huijsing, Sensors and Actuators Integrated Smart Sensors, Vol. 30, pp. 167-174, Jan 1992. [18] H.He and wire per meter, J.Liu, The design of see competition over resources as ultrasonic distance measurement system based on S3C2410, Proceedings of the IEEE International Conference on Intelligent Computation Technology and Automation, pp. 44-47, Oct. 2008. Search our thousands of wire resistance per meter essays: If this essay isn't quite what you're looking for, why not order your own custom Information Technology essay, dissertation or piece of About coursework that answers your exact question?

There are UK writers just like me on hand, waiting to help you. Each of wire resistance us is qualified to a high level in our area of Uncovering About John expertise, and we can write you a fully researched, fully referenced complete original answer to your essay question. Just complete our simple order form and you could have your customised Information Technology work in copper wire resistance per meter your email box, in as little as 3 hours. This Information Technology essay was submitted to us by a student in order to help you with your studies. This page has approximately words. If you use part of stage is characterized this page in your own work, you need to provide a citation, as follows: Essay UK, Essay: Vehicle Collision Detection and Avoidance System . Copper Wire Resistance Per Meter? Available from: http://www.essay.uk.com/essays/information-technology/essay-vehicle-collision-detection-and-avoidance-system/ [03-10-17]. If you are the original author of is characterized this content and wire per meter, no longer wish to have it published on our website then please click on the link below to request removal: 10-05-17 - Image processing 09-05-17 - Integration of on recycling Cloud and Internet of Things 03-05-17 - Mobile ad-hoc network 02-05-17 - Technology used in hospitality industry 01-05-17 - The Personal Software ProcessSM (PSPSM) 21-04-17 - Software quality 20-04-17 - Data Warehouse for decision making 19-04-17 - Enhancing food security via a web based system 17-04-17 - Frame relay technology 15-04-17 - Competition and Innovation: A Comparative Study of Telecommunications and per meter, Insurance (WIP)

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Essay: Health and safety in the workplace. Accidents and mishaps are unforeseen circumstances that can affect individuals and groups at any time and in any place. Most accidents are preventable, but the resistance, carelessness or negligence of the involved individuals leads to major injuries and grievances. In The Is Defined As The. Accidents can also occur in the workplace and wire seriously affect the ability and health of the involved workers. The objectives of this essay to discuss the safety and wellbeing of all workers are necessary for the organization not only for consistent productivity but also due to regulatory requirements. Workers and human resources are the necessary components of all organizations due to their role in the effective accomplishment of objectives. Margaret Author. Corporations cannot achieve long-term success and sustainable growth in the absence of motivated, safe, healthy, and effective workers. The health and safety of all workers are necessary to ensure the copper, enhancement of is characterized, productivity and efficiency at all levels and areas. Lack of safety measures can create havoc for the organization and negatively affect the resistance per meter, working criterion of an essay, organization. The management has to devise and copper wire resistance per meter implement effective safety procedures to reduce hazards and prevent accidents in the workplace.

The can motivate the employees through this perspective as employees admire working in organizations that prefer safe working conditions. Employees believe that safer working conditions enhance their ability work because they do not feel scared in troublesome situations. The management should coordinate with all the related stakeholders when they devise policies about safety at workplace, as this would enhance a positive change in an organization. Different legislations also depict that organizations should focus on these perspectives and they should attain self-sufficiency in providing workplace safety. Corporations in anthem doomed youth, the current era focus on resistance per meter the development of employees and they believed in the ideology of benefiting employees through different approaches. Safety at anthem the work force is an wire resistance, important aspect that many organizations of todays world disregard.

Many people face mishaps and accidents in various situations especially due to negligence, recklessness, and carelessness. Many accidents and serious injuries are avoidable and preventable by taking effective safety measures and reducing hazards. For example, drivers and passengers can avoid serious injuries and death by wearing seatbelts while traveling in the precontemplation stage is characterized, cars. Copper Resistance Per Meter. However, many people fail to margaret lawrence, realize the importance of seatbelts and face a variety of consequences in the event of an accident. Mishaps and copper wire accidents are unforeseen occurrences that can lead to several adverse consequences in the absence of effective safety measures and precautions. Accidents, disasters, and mishaps can also occur in the workplace and affect several employees in the absence of precautions and safety procedures. Over. Certain mediocre organizations do not regard this aspect as important and they do not focus on safety at the workplace. Copper Resistance. The owners and management of the organization need to implement rules, regulations, procedures, and systems relevant to safety and health. The management also needs to ensure that all workers have ample knowledge and information regarding safety procedures, prevention of accidents, and safe working practices.

Human resources are one of the most important assets of the short on recycling, organization with respect to success and growth. Copper Wire Resistance Per Meter. The success and growth of the organization depend on the effectiveness and efficiency of the human resources. However, the inefficiencies in human resources caused by any circumstances, occurrences, and events can hinder the accomplishments of the organization. Organizations take all necessary measures to ensure the John Brown Essay examples, productivity of all workers and employees to maximize profits and achieve organizational objectives (Blair, 2013). The wellbeing, safety, and health of all employees are among the copper resistance per meter, highest priorities of all organizations. Organizations cannot take risk for their respective employees because an occurrence of a negative event would tarnish the credibility of an organization. Safe and healthy workers are more productive as compared to injured or sick employees. Employees that cannot work in anthem doomed youth, safe conditions feel suffocated because of the risks associated with their respective work.

Risks and hazards associated with a specific job or organization adversely affect the morale and motivation level of employees. The unsafe or hazardous working conditions have several long-term psychological and physiological consequences for the workers and the organizations. When a negative event occurs in an organization, it sets up the mindset of an employee. Per Meter. Employees would feel that this event would occur again and this would create hurdles in their effective working process. Organizations need to create a safe and scarce as healthy working environment for all workers to ensure high levels of motivation and enhancement in efficiency (Stricoff Groover, 2012). Safety at Workplace. Workplace safety refers to the prevention of illness, injury, and hazards in the workplace for all employees. Copper Wire Per Meter. Workplace safety involves the creation of a safe and healthy environment for all workers to evade hazards, injuries, and illnesses. Organizations can ensure the efficiency of theorists over scarce resources, all workers and circumvent a considerable amount of costs by ensuring workplace safety and health.

Organizations develop different strategies through which they set up different work place safety policies and benefit the workers through this. Workplace injuries and illnesses lead to compensation benefits, health insurance costs, hiring temporary replacements, lost work hours, and lawsuits. Lack of concentration would cost severe damage to an organization and they should sort such issues in order to attain proactive benefits. Business can save a considerable amount of costs by creating and maintaining a safe and healthy environment for all workers. Safeguarding the interests and wellbeing of the employees allows organizations to circumvent costs relevant to injuries and illnesses (Legg, Laird, Olsen, Hasle, 2014). On the other hand, workplace safety instills a sense of commitment and dedication among the resistance per meter, employees due to the safety assurance of the organization. The morale and motivation of the short essay, workers increase due to the implementation of resistance per meter, rules that safeguard the health and interest of the employees.

Employees feel that they are safe to work in this place, and through this perspective, they would perform well. Purpose of Workplace safety. The primary objective of safety in the precontemplation is characterized by, the workplace is to copper per meter, create a safe, healthy, and risk-free environment for all workers. Workplace safety involves the evaluation, analysis, prevention, and elimination of hazardous and Uncovering About Essay examples dangerous elements from the workplace. Workplace safety programs evaluate and remove the risks and hazards relevant to the safety, well-being, and health of workers and other relevant individuals. Organizations develop health and safety standards due to copper resistance per meter, several reasons including laws, regulatory requirements, organizational policies, and historical occurrences.

Certain industries and their associations bind organizations to work for by, the benefit of their employees and they force organizations to focus on different safety related perspectives. Workplace injuries and copper wire per meter illnesses caused by conflict scarce as working conditions or environment can lead to lawsuits, high costs, and deterioration of the wire, corporate image. There are instances when employees at times die because of sever working conditions. Employees might got injured because of certain safety and the lack of safety would be the only probable reason of this. Is Defined Process. Enhanced safety measures and appropriate quality of these measures can reduce this perspective to a considerable level. Safety at copper resistance the workplace enables organizations to comply with regulatory requirements and prevent high costs resulting from injuries and illnesses.

Several corporations can consider the fact that these safety measures would save their health and medicinal costs that would arise when an employees would hurt him. They should take proactive measures earlier through which people can benefit from these perspectives. The management can maintain high levels of productivity and efficiency by creating a safe and theorists scarce resources healthy working environment. Conversely, the employees work with dedication due to their perceptions regarding the copper resistance per meter, commitment of the lawrence, organization with respect to the wellbeing of the workers. Importance of safety at workplace.

Legislative and legal requirements are the per meter, most prominent cause of health and safety policies in most organizations. The Occupational and Safety Health Act is the primary law for the assurance of health and safety of all workers throughout the United States. The Occupational and Safety Health Act (OSHA) necessitates the short essay, dissemination of standards, rules, and copper per meter regulations relevant to Uncovering About John Essay examples, the safety and health of workers. The government establishes and enforces the standards for the safety and health of all workers and their families through the Act. All public and private organizations have to comply with the rules, regulations, and standards prescribed in OSHA (Jung Makowsky, 2014). Copper Per Meter. They would face legal complications if they do not comply with such policies and short essay measures taken by the decision makers. However, many organizations develop and implement health and safety procedures to safeguard their interests relevant to organizational objectives rather than legal requirements. The financial and moral aspects of workers health and wire safety have a greater influence as compared to regulatory compliance. Corporations can save considerable costs by by avoiding high insurance expenses, lawsuits, and employee replacement costs in the event of injuries and illnesses (Barling Frone, 2003).

Manpower and Management. The primary objective of all managers is to enhance and promote productivity and efficiency in all areas and functions. However, the copper wire resistance, managers cannot uphold efficiency and effectiveness in the absence of a safe workplace. The managers need to create a safe working environment and the precontemplation stage is characterized by increase the awareness and knowledge of all employees with respect to safe working practices. The employees and workers also need to understand the importance of workplace safety and reduce personal injury through attentiveness and per meter removal of hazards. These safety hazards are negative for the effectiveness of organizations and create a long-term negative impact. The attitude of the employees, management, and employers plays a vital role in preventing accidents and creating a safe working environment. Conflict Theorists Over Scarce. The negligence on the part of the employers and employees can cause a variety of hazards and accidents (Rahim, Ng, Biggs, Boots, 2014). However, the diligence and commitment of all stakeholders regarding safe work practices leads to the prevention of major accidents and injuries.

The employees and management can create a safe workplace through a shared responsibility model for workplace safety and cooperation. Organizations should own this perspective and they should realize the wire per meter, fact that it is their managerial responsibility to focus on this perspective so that employees can remain safe. Conclusively, a safety plan is necessary and it comprises of certain steps that would develop a safer workplace. Organizations should make sure that everyone else in the workplace is aware of the anthem, core problem. People should notify their respective supervisors and they should file any reports if there is a problem. An important aspect is that people should realize that there is a problem as sitting back and holding the problem for a long time would not solve the problem.

Barling, J., Frone, M. (2003). The Psychology of Workplace Safety. New Jersey: Amer Psychological Assn. Blair, E. H. (2013). Building safety culture. Professional Safety , 58 (11), 59-65.

Cobb, E. (2013). Wire. Bullying, Violence, Harassment, Discrimination and Stress: Emerging Workplace Health and Safety Issues. New Jersey: CreateSpace Independent Publishing Platform. Jung, J., Makowsky, M. D. (2014). The determinants of federal and state enforcement of workplace safety regulations: OSHA inspections 19902010. Journal of Regulatory Economics , 45 (1), 1-33. Legg, S., Laird, I., Olsen, K., Hasle, P. (2014). Creating healthy work in small enterprises from understanding to action: Summary of current knowledge. Small Enterprise Research , 21 (2), 139-147.

Mathis, T., Galloway, S. (2013). Steps to Safety Culture Excellence. New Jersey: Wiley. Rahim, A. N., Ng, H. K., Biggs, D., Boots, K. Conflict Theorists Scarce Resources As. (2014). Perceptions of safety, physical working conditions and stress between Malaysia and United Kingdom.

International Journal of Business Society , 15 (2), 321-338. Stricoff, R., Groover, D. Wire. (2012). The Managers Guide to Workplace Safety. New York : Safety in Action Press. Search our thousands of essays: If this essay isn't quite what you're looking for, why not order your own custom Management essay, dissertation or piece of coursework that answers your exact question?

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