Wednesday, November 27, 2019

Miranda vs Arizona free essay sample

The Fifth Amendment allows a person the right against self-incrimination. As well as, The Sixth Amendment gives a person the right to counsel if they are facing criminal prosecution. During the interrogation, Mr. Miranda confessed to the rape and kidnapping of the 17-year-old woman. He then proceeded to sign a written confession. It was only at the time that he signed his written confession that he signed a paper that listed his rights and the fact that he understood them. At Miranda’s trial, the arresting officers took the stand and admitted that they did not inform him of his rights. It was also a law in Arizona at that time, that it was standard procedure to make a suspect aware of their constitutional rights. Miranda’s counsel in turn appealed his conviction at the Superior court level and failed. So they appealed the conviction at The U. S. Supreme Court of Appeals. We will write a custom essay sample on Miranda vs Arizona or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In Miranda’s appeal, Miranda’s counsel was not mitigating the fact that Miranda had admitted that he kidnapped and raped the young woman, but his confession should not be used against him in the criminal trial, because he was not aware of his right against self-incrimination, or his right to have counsel. This case was heard before Chief Justice Earl Warren, in which four attorneys’ presented arguments. The first attorney to present his argument was Miranda’s attorney. His argument was that a man with only an eighth grade education, should not be expected to know his constitutional rights. As well as because they did not inform him of this constitutional rights, they robbed him of his due process. The second attorney to provide his argument indicated that Miranda not only willingly gave and signed his confession but moreover, was given a written document that stated his rights and was questioned if he understood them. The third attorney to deliver his argument was from New York. He agreed that Miranda should have been informed of his right to counsel to ensure his due process. Due to the negligence on part of the arresting officers, the case should be reviewed. The final attorney to present his argument indicated that it should not be the job of the law enforcement to let a suspect know that he has the right to counsel. If he requests for counsel he should not be deprived of it, but it should not be upon the officers to offer it to him. He also stated that an attorney should not even be allowed to be involved in a case until the conclusion of the interrogation stage. His thought process behind this was that an attorney of a suspect, should be able to defend his client, and to get his client out of the charges if they were wrongfully charged. Also by permitting the attorney to be present there would be more guilty people not being convicted based on technicalities. Upon voting, five men who voted in favor of what are now referred to as Miranda Warnings were: Warren, Black, Douglas, Brennan, and Fortas. The four men opposed to Miranda Warnings were Clark, Harlan, Stewart, and White. The five men in favor of this ruling believed that in order to ensure the Bill of Rights, a suspect must entirely comprehend the rights given to him. The Bill of Rights are defined as â€Å"a section or addendum in a constitution, defining the situations in which a politically organized society will permit free, spontaneous, and individual activity, and guaranteeing the governmental powers will not be used in certain ways†. (Black’s Law Dictionary, 1999, pg. 160). Also According to Black’s Law Dictionary (1999), in the U. S. Constitution, the Bill of Rights are the first Ten Amendments. As an outcome of the Miranda v. Arizona case ruling, The Miranda Rights, came about. The Miranda Rights state that any suspect in custody of law enforcement, must be informed of their constitutional rights. More specifically, the rights included in the Fifth and Sixth Amendments of the Constitution. As well as a result of this ruling, law enforcement officers must read the suspect their Miranda Rights prior to interrogation. If this is not completed, any facts given by a suspect during interrogation cannot be used in court against that person. The full Miranda Rights read as â€Å"You have the right to remain silent. Anything you say can and will be used against you in court. You have the right to talk to a lawyer for advice before we ask you any questions, and to have him with you during questioning. If you cannot afford a lawyer, one will be appointed for you before any questioning if you wish. If you decide to answer questions now w/o a lawyer present, you will have the right to stop answering at any time. You also have the right to stop answering at any time and may talk with a lawyer before deciding to speak again. Do you wish to talk or not? Do you want a lawyer? † The Miranda rights were incorporated into due process after the ruling in the Miranda v. Arizona case in 1966. In the history of law, there have been many landmark cases that have changed our due process. The Miranda case is unquestionably one of the most significant when it comes to the rights of Americans during court proceedings. The understanding of law will change as time moves on, and can be interpreted differently from person to person. There will always be more landmark cases to come which will forever change our laws in this nation. References 1. Editor in chief Garner, B. A. , Black’s Law Dictionary, (1999), retrieved 4/17/2013 2. Schmallager, F. (2011). Criminal justice today: An introductory text for the 21st century (11th ed. ) Upper Saddle River, NJ. Pearson/Prentice Hall Retrieved 4/17/2013 3. Landmark Cases of the U. S. Supreme Court. (n. d. ). Retrieved from http://www. streetlaw. org/en/landmark/cases/miranda_v_arizona

Saturday, November 23, 2019

Warped Values essays

Warped Values essays Willy and Biff Loman's Destructive Relationship in Death of a Salesman In the play Death of a Salesman by Arthur Miller, numerous examples of a dysfunctional family are illustrated. Many opinions have materialized concerning the significance Willy Loman exuded on his eldest son, Biff. How did Biff go from being a handsome, popular captain of the football team to a transient, insecure kleptomaniac who wanders aimlessly from job to job? Was there an isolated event in his life that changed him so drastically? Was he destined to become a failure because his father was a failure? What caused an abrupt and unforeseen change in such a promising, hopeful young man? In a careful analysis of the play and the principles each character portrayed, it is apparent that the origin of Biffs tribulations stem from his relationship with his father. Willy Lomans warped sociological issues he forces on Biff, are the cause of his sons repeated failures in life. From an early age, Willy Loman instilled specific beliefs and idealistic values in his son about life and success. As a senior in high school, Biff had a promising future ahead of him. He had scholarships to three different universities. Although Biff excelled athletically, he was failing academically. His friend Bernard offered to tutor him in order to help him pass his math class. Biff missed study sessions with Bernard repeatedly, and made no attempts to improve his grades. Bernard pleaded with him to take the subject seriously. He asked Willy to encourage his son to study. Dont be a pest, Bernard! What an anemic!(1807). With this lackadaisical attitude, Willy demonstrated no concern of his son failing. Rather than encourage his son to study with Bernard, he was more interested in whether or not Bernard was popular. ...Bernard can get the best marks in school, yunderstand, but when he gets out in the business world, ...

Thursday, November 21, 2019

IT security threats Research Paper Example | Topics and Well Written Essays - 250 words

IT security threats - Research Paper Example and controls and has less privileged access to users of the sensitive information systems (Silowash, Cappelli, Moore, Trzeciak, Shimeall and Flynn, 2012). The other threat to information technology is the threat of credit card fraud which leads to unauthorized use of a credit card (Turban and Volonino, 2011). Some of the potential solutions includes avoiding to give out the credit card but rather opt to enter the credit card number on a secure online order, avoiding to disclose credit card number and other details on websites that are not secure or on emails, avoiding to leave the credit cards and other receipts that contain the credit card details lying around or even writing of PIN number where it can be easily found (http://www.scambusters.org/CreditCardFraud.html). Other than the above two threats, Microsoft provides other threats like spoofing and tampering mainly conducted by cyber criminals and spies. In order to prevent or stop these threats, installing backups regularly, coming up with more tough and complicated configurations that will not be easily broken into and installing firewalls are some of the basic security precautions people and organizations should make (Springer, 2010). Silowash, G., Cappelli, D., Moore, A., Trzeciak, R., Shimeall, T. and Flynn, L. (2012). Common Sense Guide to Mitigating Insider Threats, 4th Edition (CMU/SEI-2012-TR-012). Retrieved January 24, 2013, from the Software Engineering Institute, Carnegie Mellon University website:

Wednesday, November 20, 2019

The level of awareness of the World Trade Organization Coursework

The level of awareness of the World Trade Organization - Coursework Example The aim of this paper is to reveal the level of awareness of the World Trade Organization and its perceived role within different segments of the population, and then ascertain if there is a link between â€Å"education and knowledge.† This has been accomplished firstly through a large sample of questionnaires conducted with members of the general public (50 respondents being the desired level). As can be seen in appendix 1, the questionnaire has included relevant questions relating to WTO purpose, mission, work, structure, and recognition of their logo, in other words brand awareness. Then a group of fifty students were approached for questionnaires, being a representative sample of final year degree students. The results from both questionnaires were analysed and compared to identify whether the prescribed thesis has been proven or not. The objective of this dissertation is to ascertain the following: - †¢ Whether there is sufficient brand awareness of WTO in terms of brand recognition, recall and characteristics between student population and general public. †¢ Whether there is a co relation between level of education and knowledge of WTO affairs. †¢ Whether cultural differences between the two sample populations have any impact on the knowledge, perception and learning process about world trade affairs, WTO in particular. †¢ Gather a general perception about liberalisation of trade.... Whether there is a co relation between level of education and knowledge of WTO affairs. Whether cultural differences between the two sample populations have any impact on the knowledge, perception and learning process about world trade affairs, WTO in particular. Gather a general perception about liberalisation of trade. Once the objectives are achieved, analysing the future marketing strategy of organizations like WTO to sustain or improve their branding efforts. Methodology This chapter will describe the different methods applicable to this research. The research philosophy, approach, strategy and data collection methods will be briefed. The research intended for WTO is mid way between positivism and interpretivism as the topics require objective knowledge testing as well as subjective analysis of participant's views. Deductive research approach involves hypothesis testing and draws generalizations as a result of it. This research falls under inductive approach as the generalizations like branding awareness, recall etc, are tested in different contexts. Also considering the data sample size deductive research leading to universal generalizations falls short of credibility. Strategy used for research could be experimental, survey, case study, action or qualitative. Qualitative, experimental like focus groups and case study approach are ruled out due to type of research and the timelines available for research. Action research is the best method to be chosen if the firm for which the project is done (Here WTO) is also actively involved in the research. Survey ensures covering a vast sample size within the project timelines, economically. Surveys can also be

Sunday, November 17, 2019

Strategic Financial Management - Marks and Spencer Essay

Strategic Financial Management - Marks and Spencer - Essay Example In other words, the strategy of a company may be just to make money or it may be to provide the customers with socially and environmentally beneficial products the society may demand (Henriques, 2010, p.17). A company may have its focus only on selling its products and generate revenues. However, in that case, the company may never realize how the money is made. On the other hand, focusing on social and environmental objectives of a firm enable the company to consider its responsibilities sincerely towards the society and the environment that may include increasing employments, having no discriminatory measures within the organizational activities, manufacturing products that are pollution free and hence eco-friendly in nature (Henriques, 2010, p.17). These factors enable a company to more effectively satisfy the needs and expectations of the customers which in turn is bound to positively impact the company’s sales and financial performances. Thus the rationale behind a compan y considering non-financial objectives like social and environment issues is primarily the fact that non-financial objectives enable a company to realize the measures it needs to consider along worth selling of products, to successfully and more satisfactorily fulfill the needs of their customer having concern and facilities for the society as a whole and the environment eventually reflecting desired financial results. b. Marks and Spencer: Reporting of its performances reflecting financial and non-financial objectives: The Marks and Spencer company leading in its market in providing its customers with high quality clothing and home products as well high value for the food products it sells. The... The intention of this study is Marks and Spencer as a brand of retailer group in the United Kingdom leading among several companies. The company provides its customers with clothing and other home products that are superior in quality and provide high value for money to the customers. The company is into the businesses of clothing, home products as well as food. It is also presently known for its environmental friendly activities. The Marks and Spencer company leading in its market in providing its customers with high quality clothing and home products as well high value for the food products it sells. The reporting of the company on its performances reflect that the company not only focuses on selling products and generate revenues, but it also has social and environmental objectives that deal with serving the society and the environment as a whole. As the reporting of the company reflects, the company’s turnover has been recorded to be  £8.7 billion in the last year obtain ed from clothing, home and food products. The clothing and home products have been found to gain sales revenues of  £4.2 billion showing an increase of around 3.9 percent from the previous year. Food products have also reflected increase in sales from the previous year generating revenues of  £4.5 billion from sales. The company has around 700 stores that make the products of the company available to its customers (About M&S, 2011). The above mentioned results reflect the financial performances of the company that has shown highly improved and satisfactory results for the company implying the financial objectives of the company to be successful in its implementation.

Friday, November 15, 2019

Life And Works Of Robert Mapplethorpe Film Studies Essay

Life And Works Of Robert Mapplethorpe Film Studies Essay The third of six children, Robert Mapplethorpe was born into a working-class Catholic family in Floral Park, Long Island on November 4th 1946. His childhood and adolescence were difficult because of his gawky physicality, his brothers athletic and academic success and his own early demonstration of artistic talent. After an accelerated career in high school, Mapplethorpe entered the Pratt Institute in Brooklyn to study technical illustration and where he became a member of the ROTC (Reserve Officers Training Corps) in a bid to placate his father who disapproved of his artistic ambitions. Because of his experimentation with hippy culture and his fathers hostility, he never completed his degree at Pratt; instead he moved to Manhattan just before the summer of 1969. Mapplethorpes early artistic endeavours focused on collage work with found objects and jewellery design. In 1970 a fellow resident of the Chelsea Hotel introduced him to photography with the gift of a Polaroid camera and Mapplethorpe started by experimenting with self-portraits. Mapplethorpe had his first one-man show in November 1970, but did not achieve recognition in the New York art world until 1977. On February 4th 1977, Mapplethorpe had joint shows at the Holly Solomon Gallery and the Kitchen. Although both shows were organised by Solomon, the mainstream exhibition featured his flowers and portraits while the avant-garde exhibit consisted of his sex pictures. This segregation of subject matter would continue throughout Mapplethorpes career. Just over a decade later, Mapplethorpe was the subject of retrospectives in Amsterdam, London and the United States. In July of 1988 the Whitney Museum of American Art honoured Mapplethorpe with a retrospective exhibition, their first for a photographer. In December 1988, a slightly larger retrospective, The Perfect Moment, opened at the Institute of Contemporary Art in Philadelphia. Mapplethorpe was able to experience his rise to the pinnacle of the art world, but, as he commented to numerous interviewers, he was unable to take advantage of the fame. He died from complications related to Aids on March 9th 1989. Memorial services were held at the Catholic Church Mapplethorpe had attended as a child in Floral Park and at the Whitney Museum in New York. Populated mainly with members of New York Citys social and artistic elite, Robert Mapplethorpes book of portraits, Certain People, has a title with more than one possible meaning as noted in Susan Sontags essay. There is certain in the sense of some and not others; and certain in the sense of self-confident, sure, clear. Certain People are, mostly, people found, coaxed or arranged into a certainty about themselves. That is what seduces, that is what is disclosed in these bulletins of a great photographers observations and encounters. Although they are not famous in the same way as Annie Liebovitz, Philip Glass or Bruce Chatwin people who appear in Certain People Brian Ridley and Lyle Heeter are exceptional in their own right. In their stance and with their defiant gaze, they have the same self-assurance as the celebrities that Mapplethorpe photographed. His camera treats them with the same dignity as that reserved for Lord Snowdon or Louise Bourgeois. Their portrait exemplifies many of the formal and thematic concerns that inform Mapplethorpes larger body of work. Brian Ridley and Lyle Heeter (1979) (fig. 1) is a portrait staged according to the conventions of the royal couple portrait of Enlightenment Europe or the formal family portrait of the Victorian Age. Ridley and Heeter are centred in the frame and positioned frontally with respect to the viewer. Ridley is seated with Heeter standing at his side. The setting for the portrait is clearly domestic, presumably the living room of the couple. The heavy buttoned wing-backed leather chair in which Ridley is seated, the Oriental carpet beneath his feet, the modern lines of the console table to his right as well as the objets dart on the various surfaces indicate a degree of taste and wealth. The just-so arrangement of the furniture clearly signifies a gay male aesthetic of a particular kind. The parallel costuming of Ridley and Heeter indicate a gay male aesthetic of a very different but equally stylised kind. Heeter stands to Ridleys left casually holding two metal rings from which hangs a chain connected to the studded leather collar around Ridleys neck. In his left hand, Heeter holds a riding crop, angled toward Ridley, resting inside the arm of the chair, in ominous proximity to Ridleys body; much as a rider would hold it against the flank of his mount. Heeter is adorned in full leather drag: cap, jacket, studded belt, cod-piece trousers and biker boots. To emphasise the confidence with which he carries his power, he leans against Ridleys chair and crosses his right foot over his left in a relaxed, semi-swaggering stance. Ridleys leather uniform is virtually identical to Heeters biker boots, leather chaps, biker jacket. The differences between Ridleys and Heeters costumes indicate their respective positions in the relationship: instead of a cap, Ridley wears a collar, instead of a riding crop, he sports chains; these differences, along with the pairs physical positions gesture toward the power differential that the couple perform. From this description of the photograph, Brian Ridley and Lyle Heeter could be characterised as a family portrait of a sadomasochistic couple. Although hardly as shocking as many of Mapplethorpes other sadomasochistic-themed photographs, the image is still unsettling. First, the portrait disturbs the classificatory terms it invokes. Is it possible for family, sadomasochism or portrait to mean the same thing independently and jumbled up together? If the picture grants Heeter and Ridley a certain kind of elegance, beauty and dignity, is this evidence that notions of family, domesticity and coupling are sufficiently elastic to incorporate sadomasochistic eroticism? If Ridley and Heeter are able to pose their unconventionally adorned bodies according to the codes of the conventional family portrait, is this evidence that family, domesticity and coupling have always already incorporated sadomasochistic eroticism? Second, aside from complicating dominant narratives of familial relationship s, this portrait exposes something about the relationship between the practices of photography and self-presentation. What does the staging of Ridley and Heeter in full leather drag show about the ideological work of portraiture writ large? What does this photograph expose about the relationship between power, eroticism, theatricality and image making? Given that both sets of questions relate to the tension between the pictures subject matter and its representational codes, is it fair to conclude that the relationship between content the sadomasochistic couple and form the family portrait makes Brian Ridley and Lyle Heeter such an arresting photograph? More precisely, is it the photographs combination of form and content which helps us to see the never-before-related phenomena sadomasochistic couple and formal portrait in a different way, that makes this photograph worthy of critical analysis? In the following chapters I will focus on the relationship between form and content in Mapplethorpes images, with attention to his sex pictures. The interaction of form and content in these images, I contend, trains the viewer to see in a new way: not only to see the specific subject matter differently, but to see the practice of image making in art or in life differently. The beauty of Mapplethorpes images renders culturally unpalatable subject matter attractive and desirable. The stylised composition of Mapplethorpes images also reflects in the forms of self-stylisation within the images, using photographic style to expose personal styling as an equivalent staging, construction and performance. Form and content, then, function sometimes co-operatively, sometimes in opposition to make the spectator aware of the assumptions they bring to the photograph. The analysis of Mapplethorpes images will attend not only to how he represents masculinity and the performance of gay male ident ity but also to how his images draw attention to the dynamics of representation itself. Most commentators identify the curious disjunctionà ¢Ã¢â€š ¬Ã‚ ¦ between the visual appeal of his photographs as pictures and the discomforting nature of his subject matter as the quintessential element of Mapplethorpes pictorial style. Arthur Danto, one of Mapplethorpes staunchest defenders characterises the artists work as both Dionysian and Apollonian at once. According to Danto, the sexual energy of the images content has a dialectic relationship to their chastely classic style of presentation; this tension is so profound, Danto finds Hegels notion of aufhebung a useful concept with which to addressà ¢Ã¢â€š ¬Ã‚ ¦ Mapplethorpes images. The forbidden and unsettling content of Mapplethorpes images is not erased by their pristine and mannered formalisation, and even the most sexually explicit of Mapplethorpes images both go beyond and fail as pornography, precisely because of their crisp beauty and clean elegance. The content is preserved. But it is also negated, and it is transcen ded, and that means the work cannot merely be reduced to its content. Ingrid Sischy, one of the most eloquent writers on Mapplethorpes sexual imagery, identifies this tension between form and content as the source of shock in Mapplethorpes photographs: What shocks isnt just the material, but how it is so artfully presented. The content, lighting, composition, sense of order and aesthetics all combine to give the photograph an unforgettable impact. The photographs impact depends on the audacious choice to present the forbidden, the transgressive, the underground, the violent, and the repressed in a beautiful manner. As Sischy goes on to observe, Mapplethorpes eye for beauty enables the pictures to challenge, among other things, prevailing notions about sadomasochism and homoeroticism. Germano Celants essay in the catalogue from a Guggenheim exhibition compares Mapplethorpes photographs with Mannerist paintings. He argues that Mapplethorpes style works to both defuse and legitimise th e content of his images by linking them to aesthetic codes of the past. Extending Dantos observation about the importance of the tension between form and content for understanding Mapplethorpes work aesthetically, Sischy and Celant argue that this tension is the key to evaluating Mapplethorpes images politically. Brian Ridley and Lyle Heeter illustrates how the relationship between form and content functions across Mapplethorpes body of work. As already noted the tension between the mundanity of the portraits setting and style and the atypicality of the subjects costume and identity generates the images energy and arrests the viewers attention. As Danto observes: They look as though this were the most natural thing in the world for them to be doing in their middle-class living roomà ¢Ã¢â€š ¬Ã‚ ¦. [But] what is a sexual slave doing sitting that way in a comfortable armchair? Form and content also generate tension with respect to time. To what historical moment does this photograph r ightfully belong? As several commentators have noted, Mapplethorpes sex photographs are important, if for no other reason, because they document a certain gay male subculture whose adherents failed to survive the ravages of Aids. This subject matter, closely tied to the sexual exploration of the 70s, was captured, however, using a visual aesthetic associated with late-nineteenth and early-twentieth century photography, if not older notions of symmetry, order and perfection. As Joan Didion observed in her introductory essay to Mapplethorpes collection of female portraits, Some Women: Robert Mapplethorpes work has often been seen as an aesthetic sport, so entirely outside any historical or social context, and so new, as to resist interpretation. This newness has in fact become so fixed an idea about Mapplethorpe that we tend to overlook the source of his strength, which derived, from the beginning, less from the shock of the new than from the shock of the oldà ¢Ã¢â€š ¬Ã‚ ¦. There was, above all, the perilous imposition of order on chaos, of classical form on unthinkable images. Didions comments clarify that Mapplethorpes images are neither without historical context nor fixed within a single historical context. Instead, subject and style belong to different, and seemingly disparate, historical moments and social milieu. The form of Mapplethorpes photographs, however, renders the content of his images thinkable, palatable, legitimate. Mapplethorpes combination of form and content, then, is anything but dilettantism. Brian Ridley and Lyle Heeter also plays with the distinction between public and private spaces. The space of the picture is a living room, a domestic space, a space hidden from the worlds prying eyes and attendant judgements. The sexual identity evoked by the subjects costumes also signifies private space; they are culturally understood as taboo, necessitating secrecy. The space of the portrait, both generally as a visual form and specifically as an artefact in a book or gallery, is, however, public. The staged presentation of these subjects underlines that they are opening their private space[s] to public scrutiny. This picture is not a snapshot; it is not a candid photo; it is not an image captured on the sly as in the work of Garry Winogrand. It is, instead, a formal portrait that required preparation and planning. As Danto points out, when emphasising the relationship of trust that Mapplethorpe must have developed with his photographic subjects, indicated by the settings, the sta ging, the careful execution and the use of names, in the photographs titles, it is clear that Brian Ridley and Lyle Heeter, like Mapplethorpes other subjects, have consented to having this image made. They have admitted Mapplethorpe (and, consequently, the viewer) into their lives, such that the photographer [and, consequently, the viewer] shares a moral space with them. Heeter and Ridleys consensual act of opening their home works to situate the spectator non-consensually in a common, private space. This exposure of the taboo to public scrutiny compels the viewer to accept this intrusion into the public sphere; by voluntarily opening the walls of their private space, Ridley and Heeter have challenged the boundaries of what is acceptable in the public space. The form of the photograph as a posed portrait, then, sharpens the political challenge of its content. The troubling of the boundary between public and private establishes a complicated relationship between the image and temporality. As a portrait, Brian Ridley and Lyle Heeter is the memorialisation of a single instant in the life of this couple. At the same time, given the disconnection between their regalia and their setting, the portrait necessarily invokes a before and an after. Insofar as Heeters and Ridleys costumes signify a particular set of sexual practices, they are not practices that likely take place (primarily) in the space in which they are photographed. Their costumes suggest the space of the playroom, the dungeon, the sex club places significantly different from the one they occupy. The portrait evokes a place and time outside the environs of the setting for the erotic activity it suggests. Because the sexual activity suggested by this photograph is understood as taboo, as requiring a private space, even though it is being exposed to a public viewing, the portrait als o intimates that these costumes and these roles are not the totality of the lives of these portrait subjects. Just as the picture suggests other times and places for sexual activity, the specificity of the intimated sexual activity, by negative implication, suggests non-sexual times and places in these subjects lives that require different styles of self-presentation. The temporal and spatial limitations on this particular self-stylisation are underlined by the incongruity of costume and setting. The form/content distinctions of this image, then, invest it with a temporal dimension. The photograph suggests a relationship of dominance and submission; the power dynamics at play in the image, however, are neither simple nor singular. On the most basic level, there is the power of the gaze, a power generated by the image that situates both the spectator and the pictorial subject. This gaze arguably belongs to Mapplethorpe and the spectator and is exercised against Heeter and Ridley. Even if Heeter and Ridley have been costumed, posed, lit and framed by Mapplethorpe, to claim that they have been objectified by his gaze fails to account for the complexity of the image. Ridley and Heeter both look at the camera with hard and fixed stares; they are not giving over their bodies, their lives or their subjectivities to the spectator. Ridley and Heeter each adopt a physical pose that underpins the defiance of their respective looks; Heeters nonchalant stance and Ridleys open-legged seating position situate them in the full solidity of their corporeal frames. When looking at Heeter and Ridley, the spectator is just as likely to feel intimidated, challenged and threatened as in control of the image. In this way, the power Ridley and Heeter retain vis-à  -vis the gaze relates to and underscores their consent to the image-making process. At the same time, their tight leather outfits draw attention to the precise contours of their bodies. The silver studs on Heeters codpiece and the positioning of Ridleys legs and hands also draw visual attention to their respective genital regions. In this way the portrait trades in traditional mechanisms of eroticising and objectifying its subjects. Because they have been trapped in the image, and because this photograph will now circulate freely outside of their control, however, their resistance to the power of the scopic regime is limited and partial. The photograph, then, transforms Heeter and Ridley into objects for contemplation. The spectators visual inspection of them, however, is disrupted by their respective l ooks, their physical poses and the iconography of sadomasochism within the photograph. The gaze that structures this image is neither straightforward nor unidirectional. The power dynamic between the portraits subjects is also complex. Heeters superior vertical position along with his grasp of the riding crop and Ridleys chains are evidence of his dominance. At the same time Ridley is foregrounded in the pictorial space and his face is both more clearly visible and more brightly lit, making him the focus of visual attention. Ridleys name is also given priority in the portraits title. While this priority is consistent with Western left-to-right titling practice, it runs against the perceived practice of many sadomasochistic practitioners who often deny the submissive partner the referential use of a name, personal pronouns or even capital letters. As Richard Meyer observed when arguing that the formal properties of Mapplethorpes photographs often work to undo the power dynamics of his images content: The contradictions of this portrait defeat any essentialist interpretation of Ridley and Heeter in (or as) their sadomasochistic roles. Building on a clo se reading of the Meyer article, I would add that it is the compositional elements of the picture that serve to disrupt the meaning of its specific iconography. In other words, with respect to how the picture trades in the erotics of dominance and submission, the form of the image undercuts its manifest content. The incongruity of costume and setting also works to complicate the readings of power in the image. In an essay largely critical of Mapplethorpes images, C. S. Manegold writes that the dreamà ¢Ã¢â€š ¬Ã‚ ¦ promised by this portrait is one of pain, of submission, of servitude, a willing walk toward death. She goes on to claim that Mapplethorpes sadomasochistic photographs are funded by a fascistic aesthetic. While I agree that this image trades in the iconography of domination and submission, I would dispute that the leather gear is Nazi-esque, it is merely hyper-masculine and owes much more to the motorcycle cop or the cowboy than any sort of Nazi influence, there are certainly no badges or insignia to indicate such a position and is merely Manegold herself showing what her personal/political history brings to the table in terms of domination. Any characterisation of the image as representing only a single form of erotic or gendered self-presentation founders on the details of the ph otograph itself. Looking only at Heeters riding crop and studded cod-piece or only at Ridleys handcuffs and locked collar, Manegolds characterisation of the image as one infused with pain and death and fascinated with a fascistic masculinity may seem self-justified. What happens, however, when the spectator notices the antique brass clock, the carefully arranged books or the delicate figurines that are also part of the picture? Are these details irrelevant? Do they also signify death and embody fascism? Or do they expose the sadomasochistic self-presentation of Ridley and Heeter as convincing, chilling, arousing, and disturbing as it might be as, at root, a performance, a ritual, an enactment? Although it is implicit in what I said about the image and temporality previously, it bears emphasising that insofar as the portrait highlights the performative nature of (sadomasochistic or masculine) identity, this also relates to the temporality of the image. Because a performance require s a repeated bodily gesture, it also requires temporal duration. In other words, does the incongruity between the general setting and the specific costuming show that each signifies an alternative way to fashion a life? A less incongruous picture could have been crafted by stripping the room bare of furniture, positioning Ridley on his knees and painting the walls black. Equally less incongruous a picture could also have been crafted by stripping Ridley of his chains, positioning Heeter on the arm of the chair and dressing the pair in flannels and blazers. The posing of this master-slave duo in a well-appointed, to the point of chi-chi, living room, however, shows that the respective systems of decoration are fully parallel, even though they might imply different relationships to hegemonic masculinity. What Mapplethorpe has done is signify hyper-masculinity and then gone on to problematise it. By focusing the spectators attention on the stylisation of their clothing and props through its sharp focus and bright lighting, the style of the portrait underlines that Ridley and Heeters gear is drag, a costume, a mode of self-presentation, a performance. In addition, by staging Brian Ridley and Lyle Heeter in a setting where their self-presentation as devotees of sadomasochistic eroticism would stand out in exaggerated bas-relief, the portrait calls attention to the artifice, the staginess of their chosen identity. The inherent theatricality of the picture is further emphasised by the dynamics of sadomasochistic erotic play itself. Given its emphasis on roles, costumes, props, scenes, the adornment of the body and implements of sexual arousal, sadomasochism despite the reality of the pain/pleasure experienced by its participants is a complex set of ritualised gestures. With these features in mind, it becomes easier to see how form and content are not merely in productive tensio n, but are virtually undone almost reversed by the portrait. Previously I identified the sadomasochistic couple as the content of the portrait, but the emphasis on performance, artifice and theatricality demonstrates that the term sadomasochistic couple is as much a formal trope enabling a reading of a situation as it is a pre-interpretive category with content. The viewer identifies Lyle Heeter and Brian Ridley as practitioners of sadomasochism not because their portrait contains sexual content, but because it trades in the signifying codes of the leather uniform. Brian Ridley and Lyle Heeter provides no evidence that its subjects participate in sadomasochistic acts; it reveals only that they understand how to participate in sadomasochistic signification. If this portrait were placed next to one of a gay male couple in jeans and t-shirts posed in their living room and another couple in biker gear in a fetish bar, the mobility of sadomasochistic couple as an interpretive grid would be much clearer. By the same token, the classical and mannered stylisation of the image is not merely the formal code by which this portrait has been organised; it is the very subject matter of the photograph. On the one hand, Heeter and Ridley, as a sadomasochistic couple, are irrelevant i.e. negated and transcended. They are little more than one possible signifier that enables a set of meanings and associations to attach to an image. Other visual and cultural incongruities could have been used to achieve the same kind of shock and disorientation. On the other hand, Ridley and Heeters identity as a sadomasochistic couple is absolutely essential to the image, not because it is at odds with the domestic setting of the portrait, but because sadomasochism as a highly theatrical, self-aware, ritualised mode of erotic behaviour fraught with its own contradictions and tensions provides the most useful set of signifying codes for exploring the formal concerns about self-stylisation with which the portrait engages. The theatricality of sadomasochis m, captured in a highly stylised portrait exposes the performance of masculinity that Heeter and Ridley and countless others are attempting. In this way that portraits iconography both participates in and potentially disrupts certain fantastic constructions of the masculine self. Sadomasochism, then, is a useful point of entry into Mapplethorpes larger body of work not only because it is the subject matter of a large number of his photographs or it is the subject matter that catapulted him to fame, but because sadomasochism as a practice is so directly parallel to the notions of theatrical self-presentation with which Mapplethorpes images deal. As noted previously, it is not only the thematic of the photographs that are important, but also how they train the viewer to see.

Tuesday, November 12, 2019

Hamlet, Prince of Denmark Essay

A bond between a father and a son is sacred, and is surely one of the most firm bonds that have ever existed. When such a bond is severed, a lot of anger can be provoked, most probably in the form of revenge. Throughout â€Å"Hamlet† by Shakespeare, one can observe the theme of revenge exemplified by the main hero, Hamlet, Laertes, and the young Fortinbras, plotting their revenge against the murderers of their fathers. Hamlet is the first of the three to plan his revenge. While in mourning of the recent, mysterious death of his father, the king, he is contacted by a spirit, which bears resemblance to his father. When the ghost tells Hamlet that the new king, Claudius, is responsible for his father’s murder, Hamlet proclaims that he will exist to avenge the death of his father. He will carry out the ghost’s request: â€Å"Thy commandment all alone shall live/ Within the book and volume of my brain† (I.V.102-103). Though Hamlet has promised revenge, his actions are delayed. Hamlet decides that his revenge must wait for a while. He has realized that the ghost he has contacted might simply have been an evil spirit leading him to damnation. Instead of completely believing the ghost, he decides to set up Claudius in order to catch his conscience: â€Å"The spirit I have seen/ Maybe a devil/†¦Abuses me to damn me. I’ll have grounds/ More relative than this. The play’s the thing/ Wherein I’ll catch the conscience of the king† (II.II.594-601). Hamlet’s plot for obtaining solid evidence for convicting the king is to have a play. The basis of the play will be a simple reenactment of the murder of Old Hamlet. Both Hamlet and his trusted advisor, Horatio, will watch Claudius for his reaction. This will give him sufficient reason to kill Claudius. Hamlet’s plan for the play shows his fear of being tempted by the devil into damnation. This shows his religious beliefs yet again. The first example of his faith are in Act I when he is reluctant to commit suicide for fear of the resulting after life: â€Å"O that this too too sullied flesh would melt/. . .Or that the Everlasting had not fix’d/ His canon ‘gainst self-slaughter† (I.II.129-132). These religious beliefs of Hamlet will prove to play a big part in his revenge scheme, and will stall it. The next part of Hamlet’s plot for revenge involves his general temperament. He decides to act as if mad in order to speak and act freely. Any abnormal behavior can be passed off as his temporary insanity. This way he can say and do things to get certain reactions or information from people in order to help him plot his revenge. He does ask however, that his acquaintances do not say anything about his crazy state being false: â€Å"How strange or odd some’er I bear myself/As I perchance hereafter shall think meet/To put an antic disposition/That you, at such time seeing me, never shall/Or by pronouncing of some doubtful phrase† (I.V.179-183). This allows him to further his revenge. Later in the play in Act 3, Hamlet has an unpleasant encounter with his former love, Ophelia. During this heated discussion Hamlet learns that she now has sour feelings toward him and gives him back his gifts. He snaps and unleashes all the built up anger and emotion and bitterness that he has been recently feeling. But he also says something that is intended for Claudius to hear. It is a threat that will play into his ply for revenge. Hamlet proclaims that of â€Å"those that are married already-all but one-shall live† (III.I.150). This overt threat directed toward Claudius is indeed overheard and begins to worry Claudius as planned. Claudius decides to take action to protect himself. He no longer believes that Hamlet is mad with love: â€Å"Love? His affections do not that way tend/Nor what he spake, though it lack’d form a little/†¦There’s something in his soul/O’er which his melancholy sits on brood/And I do doubt the hatch and the disclose/Will be some danger; which for ! to prevent/†¦he shall with speed to England† (III.I.164-171). Claudius now suspects that Hamlet is suspicious of him, which Hamlet believes will cause him to do something to prove his guilt, thus allowing Hamlet to carry out his revenge. Hamlet then takes his next step in revenge by having the play acted out. Hamlet and Horatio will both watch Claudius throughout the play. Hamlet realizes that there is no hell for him to go to, but to just turn into dust upon his death. This is another step in the progression of Hamlet’s revenge. The final step of motivation in Hamlet’s revenge comes during the fencing match between Hamlet and Laertes. The queen drinks from the king’s cup that has been poisoned to kill Hamlet. She falls and proclaims she has been poisoned: â€Å"O my dear Hamlet/The drink, the drink! I am poison’d† (V.II.315-316). Laertes then tells Hamlet everything including how he has poisoned Hamlet: â€Å"Hamlet, thou art slain/No medicine in the world can do thee good; In thee there is not half an hour’s life/The treacherous instrument is in thy hand/Unbated and envenom’d/. . .Thy mother poison’d/I can no more. The King-the King’s to blame† (V.II.319-226). Hamlet has finally been motivated enough to act. The king has poisoned his mother and father, and tried to kill Hamlet also. Hamlet then avenges his father’s death by wounding the king with the poisoned sword: â€Å"The point envenom’d too! Then, venom, to thy work/ Wounds the King† (V.II.127). Hamlet has achieved the revenge that he has planned for the entire play. But he must now avenge his mother’s death so he forces the king to drink from the poisoned cup: â€Å"Here, thou incestuous, murd’rous, damned Dane/Drink off this potion. Is thy union here?/Follow my mother† (V.II.330-333). By poisoning the king twice, Hamlet has punished Claudius for both the murders of his mother and his father. Hamlet finally got his revenge but died in the process. The center ideas of the play are the revenges of Hamlet, Laertes and Fortinbras. All had obtained the revenge that they had wanted. All had avenged their father’s deaths. But all did it in entirely different ways. Hamlet took a while to complete the revenge, he is a man of contemplated inaction. Laertes took a different approach to revenge and accomplished it in a rather short amount of time. Laertes is a man of uncontemplated action. Fortinbras, different from the others, waited for the right moment to act. He carefully planned what he would do over a long period of time and then waited to act. Fortinbras is a man of contemplated action. All three accomplished their revenges-Hamlet killed Claudius, his fathers murderer; Laertes killed Hamlet, his fathers murderer; and Fortinbras did not have to kill Hamlet the son of his father’s murderer, but he did take over the th! rone. All people bent on revenge in Hamlet, accomplished it, making the play a revenge play.

Sunday, November 10, 2019

Difference between dogs and cats

Every animal has its own characteristics and features. Generally speaking, each animal is adapted for existence in a certain environment and may be unable to survive or reproduce in other environments. Environment includes such factors as temperature; light; moisture; atmospheric and water pressure; and gas and mineral content of air, water, and soil. The various factors of the environment in which any particular animal lives may not remain constant at all times. Most animals are adapted to withstand certain environmental variations. This paper scrutinizes the difference and similarities between the cats and dogs.Cats are meat-eating animals. The cat family includes not only the domestic cat, but also the tiger, lion, leopard, lynx, bobcat, and many others. Wild cats are dangerous predators, but domestic cat is a pet and companion and is valuable as a means of controlling rats, mice, and other rodents. The young of most wild cats are called cubs; the young of domestic cats are kitten s. All cats, from lion to housecat, are adapted for hunting. The head is large and broad, with powerful jaws and sharp, slashing teeth. Long whiskers on the sides of the face are believed to aid the cat in feeling its way through narrow places.The eye has a vertical pupil that closes to a narrow slit in bright sunlight and opens wide in dim light, maintaining the keen vision so necessary to a hunter. A cat, like a dog, is largely color-blind. Its sense of smell and hearing are very well-developed. The cat has a lithe body, with a loose skin. There are five toes on the front feet and four on the hind. The feet are padded for silent motion. Except for the cheetah, which has feet that look much like a dog’s, all cats have claws that can be drawn backward and upward into protective sheaths. Some cats are good swimmers, but most avoid water.The traditional belief in the â€Å"nine lives† of the cat can be traced to the animal’s cleverness in getting out of trouble, a nd to its vigor and strong hold on life. Cats can live for several days without food, and recover from injuries that would kill most other animal . Kittens should be fed crumbled bits of cereal in milk, finely chopped cooked meat, or canned baby food four or five times a day. Gradually the number of feedings is reduced, but the amount increased until at 9 to 12 months the cat is receiving an adult diet. Adult cats do best on two meals a day.Suitable foods include ground lean meat, cooked, non-oily fish, canned cat food, or dry cat food. Fresh clean water should also be provided. Cats not intended for breeding purposes should be kept indoors, it should be provided with a sanitary tray. New kittens should be confined to the tray area until they begin to use it. Most cats over thee months of age use the tray readily. A fixed, padded post for the cat to scratch on will help to keep it from scratching on furniture. On the other hand, the dog is a carnivorous mammal that was domesticated by humans thousands of years ago.It serves in a variety of ways—as a companion, hunter, herder, and protector, and as a draft animal. For the blind, dog serves as guides. In some places, dog racing is a popular sport. Because of its loyalty, obedience, courage, and friendliness, the dog is often referred to as â€Å"an’ best friend. † Dogs have held a prominent place in mythology and literature. Dogs are mentioned in the Bible and in such historic works as The odyssey. The domestic dog is Canis familiaris of the family Vanidae, which also includes the coyote, jackal, and wolf. Domestic dogs retain some wild instincts.This explains why some dogs chase moving objects, scavenge for food, and turn around several times before lying down, as their ancestors did to trample down high grass for a bed. Domestic dog often sleep curled up with their tails over their faces, just as wild dogs do to protect their faces from the elements. Domestic dogs, like wild dogs, eat quic kly and are protective of their food. Dogs have very acute senses. The most highly developed are hearing, smell, and sight. Dogs can hear sounds at high frequencies, higher than the upper limit of human hearing.The sense of smell is the most important sense to a dog. Dogs can locate particular scents, follow them when reencountered. Taste buds on the tongue help the dog distinguish sweet, sour, salty, and bitter tastes. Dogs see in black and white. They have a relatively wide field of vision but a limited capacity to judge distances. A third eyelid, called the nictating membrane, is hidden behind the lower eyelid. A dog can feel pain, pressure, cold and heat. Certain hairs on the body are especially sensitive organs of touch. In addition, dogs communicate by a variety of means.The sounds they make, such as barking, growling, and whining, can indicate a number of things, including aggression, excitement, fear, and submission. Puppies are active and need three meals a day until the ag e of six months, when they need to two meals a day. A puppy needs a balanced diet containing protein, carbohydrates, fats, vitamins, and minerals. A diet of cooked meat, eggs, milk, and cottage cheese, or commercial puppy food provides necessary nutrients and calories for a growing puppy. By the age of one year, a dog needs food only dog food or a diet of meat, eggs, and cheese. Water should be provided with meals and after exercise.Since many dogs develop tartar, a thick deposit of bacteria and food particles on the teeth, knuckle bones or commercial dog biscuits are recommended to help break down the deposits. It is believed that cats were first domesticated in northern Africa. Egyptian carvings made more than 4, 500 years ago depict cats as domestic animals. The cat was a sacred animal in Egypt, associated with the goddess Pasht, or Bast. Many mummies of Ehyptian cats have been found. On the other hand, dogs are descended from Miacis, a small carnivorous mammal that lived in Nort h America over 60,000,000 years ago.Miacis was a civet-like mammal that had a long body and tail, short legs, and large teeth for tearing and chewing meat. In conclusion, cats and dogs have a common ancestor in small, extinct meat-eating animals called Miacindae, which lived about 40,000,000 years ago. Cats have seen to have developed rather suddenly from the civet branch of the carnivore group of animals. Both cats and dogs are helpful to man. Although they have different characteristics yet these animals show similarities of some ways in food and its physical features.

Friday, November 8, 2019

A Commentary on Social Workers having Sexual Affiliation with their Clients Essays

A Commentary on Social Workers having Sexual Affiliation with their Clients Essays A Commentary on Social Workers having Sexual Affiliation with their Clients Essay A Commentary on Social Workers having Sexual Affiliation with their Clients Essay Essay Topic: The Second Sex Faced with different kinds of never ending problems, the world needs people who can help with all their hearts. And there comes the social workers. But how about when they, themselves are faced with situations that are not easy to deal with? Situations that can be said that are reasonably just common issues faced by each and every people but its commonality is erased and painted by a different color when we already consider the fact that they are being looked upon as social workers?Now the question would be is what if the social workers themselves come face to face with the temptation of giving themselves in into having sexual urges with the people they serve to?Well, Social Workers like we know, meets different kinds of people from different places. Everything is very possible to happen during the course of that period when they interact with those people. Of course, social workers also have a heart of a human being, breathe and eat like one so there will not be any wonder when we f ound out one time that some of them are having sexual gains with their clients. Having sex is one of the things that was given to man that provides an ultimate sense of pleasure.The argument will work if we just consider the terms that the relationship between a social worker and her client is just a plain human interaction. But the thing is that it is not all just simple. There are still different things that must be considered in this affair.First, social workers have the reputation of being compassionate not just to their conviction, but also to the people they serve. People look up to them just like how a peasant looks up to his landlord. People give them that kind of respect because at times of grief, they are the ones supplementing on easing problems. What will just happen when that reputation that was kept in tact for a very long time will all just be lost in an instant just by the single urge? Won’t that that be very tragic not just for the social workers but as well as to the people relying their hopes onto them? Where would the people run when they see that social workers are not anymore worth to seek for help?Secondly, social workers made a promise on holding onto the conviction to their job. A social worker works like a soldier that is having a battle in a war; disciplined and very much dedicated. Nothing should be interfering with her actions as a person that serves other people selflessly. She must be much focused everytime they are sent to their own â€Å"wars†. They are trained that they can undergo and surpass the harshest conditions that a social worker can come face to face with just like the temptation of sexual indulgence. They must be strong at any times because everything that they will face along the field is all nothing but battles.And the last reason of why social workers should avoid having sexual interactions with their clients is that it is for their own safety. Who knows what they can get from doing such a thing. Dis eases are now very rampant today; even pleasure given by sex can put anyone’s life in danger. Social workers are those whom other people rely on very much so what will just happen when those people many seek after are already incapable? They must also consider their health condition because this is one tool that helps them continue serving to their conviction.Yes, we admit that we are already living in a modern world comprising a whole new way of lifestyle. And now, morality is already sometimes being set aside regarding some matters. Having sex with anyone is not anymore an issue nowadays, people does it like there is no morality that envelopes the society. But we must remember that whenever we are dedicated onto holding our conviction, we are ready to setting aside everything just to maintain our commitment to our profession.

Wednesday, November 6, 2019

USS Coral Sea (CV-43) - Aircraft Carrier

USS Coral Sea (CV-43) - Aircraft Carrier USS Coral Sea (CV-43) - Overview: Nation:  United States Type:  Aircraft Carrier Shipyard: Newport News Shipbuilding Laid Down: July 10, 1944 Launched:  April 2, 1946 Commissioned:  October 1, 1947 Fate:  Scrapped, 2000 USS Coral Sea (CV-43) - Specifications (at commissioning): Displacement:  45,000 tons Length:  968 ft. Beam:  113 ft. Draft:  35 ft. Propulsion:  12 Ãâ€" boilers, 4 Ãâ€" Westinghouse geared steam turbines, 4 Ãâ€" shafts Speed:  33 knots Complement:  4,104 men USS Coral Sea (CV-43)- Armament (at commissioning): 18 Ãâ€" 5 guns84 Ãâ€" Bofors 40 mm guns68 Ãâ€"  Oerlikon 20 mm cannons Aircraft 100-137 aircraft USS Coral Sea (CV-43)  - Design: In 1940, with the design of the Essex-class carriers nearly finished, the US Navy commenced an examination of the design to ascertain whether the new ships could be changed to incorporate an armored flight deck.   This alteration came under consideration due to the performance of the Royal Navys armored carriers during the opening years of World War II.   The US Navys review found that though armoring the flight deck and partitioning the hanger deck into several sections reduced damage in battle, adding these changes to the Essex-class ships would greatly reduce the size of their air groups.   Unwilling to limit the Essex-class offensive power, the US Navy decided to create a new type of carrier that would retain a large air group while adding the wanted protection.   Significantly larger than the Essex-class, the new type that became the Midway-class would be able to carry over 130 aircraft while including an armored flight deck.   As the new design evolved, naval architects were forced to reduce much of the carriers heavy armament, including a battery of 8 guns, in order to reduce weight.   Also, they were compelled to spread the class 5 anti-aircraft guns around the ship rather than in the planned dual mounts.   When finished, the Midway-class would be the first type of carrier to be too wide to use the Panama Canal. USS Coral Sea (CV-43) - Construction: Work on the third ship of the class, USS Coral Sea (CVB-43), commenced on July 10, 1944, at Newport News Shipbuilding.   Named for the critical 1942 Battle of the Coral Sea which stopped the Japanese advance toward Port Moresby, New Guinea, the new ship slid down the ways on April 2, 1946, with Helen S. Kinkaid, wife of Admiral Thomas C. Kinkaid, serving as sponsor.   Construction moved forward and the carrier was commissioned on October 1, 1947, with Captain A.P. Storrs III in command.   The last carrier completed for the US Navy with a straight flight deck, Coral Sea completed its shakedown maneuvers and began operations on the East Coast. USS Coral Sea (CV-43) - Early Service: After completing a midshipmen training cruise to the Mediterranean and Caribbean in the summer of 1948, Coral Sea resumed steaming off the Virginia Capes and took part in long-range bomber testing involving P2V-3C Neptunes.   On May 3, the carrier departed for its first overseas deployment with the US Sixth Fleet in the Mediterranean.   Returning in September, Coral Sea aided in the activation of the North American AJ Savage bomber in early 1949 before making another cruise with the Sixth Fleet.   Over the next three years, the carrier moved through a cycle of deployments to the Mediterranean and home waters as well as was re-designated an attack aircraft carrier (CVA-43) in October 1952.   Like its two sister ships, Midway (CV-41) and Franklin D. Roosevelt (CV-42), Coral Sea did not participate in the Korean War.    In early 1953, Coral Sea trained pilots off the East Coast before again departing for the Mediterranean.   Over the next three years, the carrier continued a routine cycle of deployments to the region which saw it host a variety of foreign leaders such as Francisco Franco of Spain and King Paul of Greece.   With the beginning of the Suez Crisis in the fall of 1956, Coral Sea moved to the eastern Mediterranean and evacuated American citizens from the region.   Remaining until November, it returned to Norfolk in February 1957 before departing for Puget Sound Naval Shipyard to receive a SCB-110 modernization.   This upgrade saw Coral Sea receive an angled flight deck, enclosed hurricane bow, steam catapults, new electronics, removal of several anti-aircraft guns, and relocation of its elevators to deck edge. USS Coral Sea (CV-43) - Pacific: Rejoining the fleet in January 1960, Coral Sea debuted the Pilot Landing Aid Television system the following year.   Allowing pilots to review landings for safety, the system quickly became standard on all American carriers.   In December 1964, following the Gulf of Tonkin Incident that summer, Coral Sea sailed for Southeast Asia to serve with the US Seventh Fleet.   Joining USS Ranger (CV-61) and USS Hancock (CV-19) for strikes against Dong Hoi on February 7, 1965, the carrier remained in the region as Operation Rolling Thunder began the following month.   With the United States increasing its involvement in the Vietnam War, Coral Sea continued combat operations until departing on November 1. USS Coral Sea (CV-43) - Vietnam War: Returning to the waters of Vietnam from July 1966 to February 1967, Coral Sea then crossed the Pacific to its home port of San Francisco.   Though the carrier had officially been adopted as San Franciscos Own, the relationship proved icy due to the residents anti-war feelings.   Coral Sea continued to make annual combat deployments in July 1967-April 1968, September 1968-April 1969, and September 1969-July 1970.   In late 1970, the carrier underwent an overhaul and began refreshed training early the next year.   En route from San Diego to Alameda, a severe fire erupted in the communications rooms and began to spread before the heroic efforts of the crew extinguished the blaze.    With anti-war sentiment increasing, Coral Seas departure for Southeast Asia in November 1971 was marked by crew members taking part in a peace demonstration as well as protesters encouraging sailors to miss the ships departure.   Though an on-board peace organization existed, few sailors actually missed Coral Seas sailing.   While on Yankee Station in the spring of 1972, the carriers planes provided support as troops ashore battled the North Vietnamese Easter Offensive.   That May, Coral Seas aircraft took part in the mining of Haiphong harbor.   With the signing of the Paris Peace Accords in January 1973, the carriers combat role in the conflict ended.   After a deployment to the region that year, Coral Sea returned to Southeast Asia in 1974-1975 to aid in monitoring the settlement.   During this cruise, it aided Operation Frequent Wind prior to the fall of Saigon as well as provided air cover as American forces resolved the Mayaguez incident. USS Coral Sea (CV-43) - Final Years: Reclassified as a multi-purpose carrier (CV-43) in June 1975, Coral Sea resumed peacetime operations.   On February 5, 1980, the carrier arrived in the northern Arabian Sea as part of the American response to the Iran Hostage Crisis.   In April, Coral Seas aircraft played a supporting role in the failed Operation Eagle Claw rescue mission.   After a final Western Pacific deployment in 1981, the carrier was transferred to Norfolk where it arrived in March 1983 after an around-the-world cruise.   Sailing south in early 1985, Coral Sea sustained damage on April 11 when it collided with the tanker Napo.   Repaired, the carrier departed for the Mediterranean in October.   Serving with the Sixth Fleet for the first time since 1957, Coral Sea took part in Operation El Dorado Canyon on April 15.   This saw American aircraft attack targets in Libya in response to various provocations by that nation as well as its role in terrorist attacks.    The next three years saw Coral Sea operate in both the Mediterranean and the Caribbean.   While steaming the latter on April 19, 1989, the carrier rendered aid to USS Iowa (BB-61) following an explosion in one of the battleships turrets.   An aging ship, Coral Sea completed its final cruise when it returned to Norfolk on September 30.   Decommissioned on April 26, 1990, the carrier was sold for scrap three years later.   The scrapping process was delayed several times due to legal and environmental issues but was finally completed in 2000.   Selected Sources DANFS: USS Coral Sea  (CV-43)NavSource: USS Coral Sea  (CV-43) USS Coral Sea  (CV-43) Association

Sunday, November 3, 2019

Creating film script by myself (This is not an essay) Essay

Creating film script by myself (This is not an ) - Essay Example It was the phone ringing. Jessie stands up and walks to the corner of the room where a black phone is kept by the side. She picks up and answers The room is a huge platform which has a lot of seats for the proceedings to be witnessed by people. Brown chairs with windows on all the sides, sunlight is visible all over the room. The magistrate is seated in front of a huge green desk wearing glasses and reading a notepad. Officers in blue dress are seen to be standing in front of two large boxes where people can stand and testify. Two tables are kept in front of the huge desk of the magistrate where the defense attorney and the state attorney would take their seats. Jessie and Jones walk up to the chairs and have a seat so that the proceedings can begin. All the evidence is pointing towards the fact that Mrs Craig was the only one present at the crime scene. Do I have the permission of calling a security guard who is always present outside the home of Mrs Craig your honor? You may leave. Your honor as per my information Mr Craig was working in the real estate business and was involved with a bunch of property dealers who could be wanting his death. May I call upon his real close friend

Friday, November 1, 2019

Certification goals ( ISM ) Assignment Example | Topics and Well Written Essays - 500 words

Certification goals ( ISM ) - Assignment Example her ISM certification plus two years of relevant business experience or have a bachelor’s degree or equivalent with two years relevant business experience or have five years of related business experience. CSCP is an ideal certification course for the students who want to venture into general supply chain careers. This certification course opens up a person to the best practices in the supply chain field and one becomes competitive in this field. CPIM is also another recommended certification course. This course is the most ideal for students who want to get in the field of inventory management. It is also advantageous in that it teaches a person about production planning, inventory management as well as scheduling hence getting the best skills in this field. CPIM require that you take five examinations which are in five different modules. (Humphreys) I would like to take at least one professional certification course to improve my competitiveness in the job market. My most preferred choice is the CPIM; this is because, though it has many examinations, there are fewer people who have taken the same course. There are also many opportunities for inventory managers hence this course will give me an upper hand. My plan would be to take the course after my mainstream studies so that I can dedicate myself to one thing at a time. I also plan to join a higher learning institution. My choice for a higher learning institution is influenced by the reputation of the institutions. I understand very well the various tests that I have to go through as requirements. First is the Graduate Management Admission Test. This test is used wen admitting students to graduate management programs in business schools assessing quantitative, integrated reasoning, reading and writing skills of a student in a test time of three and a half hours. Secondly is the Graduate Record Examinations (GRE). This is a test which is standardized and a requirement in most American graduate schools.