Khamosh Pani review Essays

Khamosh Pani review Essays Khamosh Pani review Essay Khamosh Pani review Essay Speaking to the Constituent Assembly in 1947, MA Zinnia presented his vision for the country: If you change your past and work in the spirit that every one of you, no matter to what community he belongs, no matter what relations he had with you in the past, no matter what his color, caste, or creed is first, second, and last a citizen of his State with equal rights, privileges, and obligations, there will be no end to the progress you will make (McDermott, Gordon et. Al. 759). In subsequent months, the constitutional debates revealed the deep divisions that existed within the country. Less than 2 years after Jinnis speech, the Objectives Resolution held that Islam was to be the guiding force in Pakistanis political life. Still later, the Minor Report of 1953 concluded that an Islamic state was anathema to the ideals of political modernity and that Pakistan ought to be a liberal secular state. These two conceptions of religion set up a constitutive tension in which Salamis political significance becomes ambivalent as doctrinally inflexible, historically anachronistic, and therefore incommensurable with modern statehood. This existential tension is visualized in Sabina Sumacs film Shampoo Pain (Silent Waters). Set in a Punjabi village near Rawlins, it tells the story of Ayes, a widow raising her teenage son Salami in 1 979 just after General Siss military coup. They enjoy a mostly serene existence until radical Psalmists arrive from Lahore to induct new recruits for the jihad cause and to propagate the Colonization of the country. Initially dismissive of the zealots dour persona, the impressionable Salami is taken in by the sheer forcefulness of their rhetoric, frustrated as he is by the lack of opportunities offered by his circumstances, and perhaps threatened by the educational ambitions of his girlfriend Subside. The arrival in the village of Sikh pilgrims, coupled with Salamis growing anger and intolerance, leads to the revelation of long-buried and horrific secrets within his own family, ending with Ayes making the sacrifice that she wasnt ready to make in the turmoil of Partition. The painful meaning Of the films title becomes dreadfully clear. Several scenes depict the social transformation that takes place in Pakistan during this period: the adolescent romance of Salami and Subside to the knowledge of others in the village, Subsidys simple dreams of creating her own wealth with a mixer, a ceiling fan, and a job in a big office, a colorful wedding replete with music, dance, and drinking. With the arrival of fundamentalist forces, however, we sense the burgeoning air of terror and story in the village: the postmans fearful observation that no matter what has happened, you never hang a Prime Minister, the chatty barber being warned when he jokes about the General and his grooming ritual , the wall around the girls school being raised, shops being forced to close during amaze, the Sikh pilgrims being bullied by the zealots while at prayer, and Ayes being ostracizes unless she publicly declares her unsullied Muslim identity. The character of Salami is remarkable in his ability to project both confused aggression and intense vulnerability. His transition from the natural joy of a carefree, flute-playing young man in love in the first part of the film, to the indoctrinated and sullen faux brute of the second demonstrates the process by which political ideology leads to social transformation. His personal sense of crisis through the process is revealed in scenes such as when Salami lets his propaganda fliers float into the stream, and then shoots them in frustration, or asks his mother why she isnt proud of him. Shampoo Pain is as much Salamis story as it is Essays: a woman first scarred y the ferocious tearing apart of her family and homeland, only to be devastated years later when her son is taken from her by the new claimants of the same destructive forces. Through traumatic flashbacks, the film reveals the violence of Partition in which many women were killed by their own families or forced to commit suicide to protect their honor from rape by other men. Unable to protect his women from rape, Veers father chooses such a method of maintaining their purity and retaining the communitys masculinity. Helpless against the chaos around them, and unable to secure retention from the state, communities frequently resorted to such ritualistic executions. Such practices suggest a desire to control their destiny; a desire for agency that took womens bodies to be a site for preservation. Every refuses this fate and instead submits to violence by men from the other community and dislocation from her own. At the same time, she claims space for herself, as Muslim Ayes, in her ancestral village Charka, now located in Pakistan. The film also connects local suffering to global power. The events of 1979 that engulf Charka involve global politics, as two superpowers, the United States ND the Soviet Union, struggle for world dominance. Politicized Islam is used to generate cadres of young men willing to join the American-led jihad in Afghanistan. The internalizing of these macro processes is remarkable. In an early scene, one of the organizers from Lahore reminds his stauncher companion: were here not to fight but to convince. Reaffirmation of religion within Pakistan helps identify those who will be transformed into holy warriors. During this process, communal divisions are deployed to recognize those who belong to the polity and those who are outsiders. The importance of Shampoo Pain lies in presenting politicized Islam and its connection to communality and social transformation as a process. It serves as an important critique of state-sponsored religion and its effects on peoples lives. The film simultaneously threads some of the most controversial and emotionally blistering issues of Partition, communality, the indoctrination of disaffected youth, and what it means to be female, especially in times of conflict. The simple narrative about a widow in a Pakistani village and her boy is extraordinarily effective.

Free Essays on Bankruptcy

Ethics in Business From a business perspective, working under government contracts can be a very lucrative proposition. In general, a stream of orders keep coming in, revenue increases and the company grows in the aggregate. The obvious downfalls to working in this manner is both higher quality expected as well as the extensive research and documentation required for government contracts. If a part fails to perform correctly it can cause minor glitches as well as problems that can carry serious repercussions, such as in the National Semiconductor case. When both the culpable component and company are found, the question arises of how extensive these repercussions should be. Is the company as an entity liable or do you look into individual employees within that company? From an ethical perspective one would have to look at the mitigating factors of both the employees and their superiors along with the role of others in the failure of these components. Next you would have to analyze the final ruling from a corporate perspective and then we must examine the macro issue of corporate responsibility in order to attempt to find a resolution for cases like these. The first mitigating factor involved in the National Semiconductor case is the uncertainty, on the part of the employees, on the duties that they were assigned. It is plausible that during the testing procedure, an employee couldnt distinguish which parts they were to test under government ezdards and commercial ezdards. In some cases they might have even been misinformed on the final consumers of the products that they tested. In fact, ignorance on the part of the employees would fully excuse them from any moral responsibility for any damage that may result from their work. Whether it is decided that an employees is fully excused, or is given some moral responsibility, would have to be looked at on an individual ... Free Essays on Bankruptcy Free Essays on Bankruptcy Ethics in Business From a business perspective, working under government contracts can be a very lucrative proposition. In general, a stream of orders keep coming in, revenue increases and the company grows in the aggregate. The obvious downfalls to working in this manner is both higher quality expected as well as the extensive research and documentation required for government contracts. If a part fails to perform correctly it can cause minor glitches as well as problems that can carry serious repercussions, such as in the National Semiconductor case. When both the culpable component and company are found, the question arises of how extensive these repercussions should be. Is the company as an entity liable or do you look into individual employees within that company? From an ethical perspective one would have to look at the mitigating factors of both the employees and their superiors along with the role of others in the failure of these components. Next you would have to analyze the final ruling from a corporate perspective and then we must examine the macro issue of corporate responsibility in order to attempt to find a resolution for cases like these. The first mitigating factor involved in the National Semiconductor case is the uncertainty, on the part of the employees, on the duties that they were assigned. It is plausible that during the testing procedure, an employee couldnt distinguish which parts they were to test under government ezdards and commercial ezdards. In some cases they might have even been misinformed on the final consumers of the products that they tested. In fact, ignorance on the part of the employees would fully excuse them from any moral responsibility for any damage that may result from their work. Whether it is decided that an employees is fully excused, or is given some moral responsibility, would have to be looked at on an individual ...

Nanotechnology Assignment Example | Topics and Well Written Essays - 500 words

Nanotechnology - Assignment Example In the 1980s, K. Eric Drexler popularized the word nanotechnology by talking about building machines on the scale of molecules like robot arms, motors, and even computers into those far smaller than a cell. In the traditional sense, nanotechnology means building things from the bottom up, with an atomic precision. This theoretical ability was envisioned in the early 1959 by the renowned physicist,  Richard Feynman. A layman’s understanding of nanotechnology has evolved considerably since the progression of mainstream films like Star Wars and Science Channel documentaries, whereas before, these concepts were little known to the public and were considered to be of science fiction and in the far distant future (Johnson 103). It represents the manufacturing system which has the ability to make enough manufacturing systems implying factories can be built rapidly, cleanly and cheaply. This enables means of production to reproduce exponentially, so that in just a few weeks few nanofactories conceivably can become  billions. Nanotechnology offers great potential for benefit to humankind, and also brings severe dangers. While it is appropriate to examine carefully the risks and possible toxicity of nanoparticles and other products of nanoscale technology, the greatest hazards are posed by malicious or unwise use of molecular manufacturing. CRNs focus is on designing and promoting mechanisms for safe development and administration of MM effectively. This technology is suspected to cause cancer. Nanoparticles are tiny enough to penetrate cell membranes and defenses and they are able to cause problems by interfering with normal cell processes. Researchers at the University of Massachusetts record that such nan oparticles are presently in use in cosmetics, electronics, and chemical manufacturing, and others industries. Pacheco and her colleagues examined how two different types of nanoparticles could damage DNA in the MCF-7 line of the breast cancer cells.

Pick a stance on the rights of animals based on Peter Singer's article Essay

Pick a stance on the rights of animals based on Peter Singer's article Famine - Essay Example The concept that we try to use to extract an argument for animal rights is the concept introduced by Singer that proximity does not matter. Whilst in this particular case, the proximity spoken of was geographic, .i.e., small child in neighbor’s house vis a vis a Bengali child, the proximity could also be in terms of species. In the logic of Peter Singer, animals cannot be denied rights given humans even if they are proximally different from the latter. Animal rights can find justification in theories of right that are embedded in time. It is interesting to begin this exposition by looking at the fairly recent debate between Singer and Judge Richard Posner of the United States Court of Appeals for the Seventh Circuit. At the heart of the debate was a statement made by Posner, that â€Å"human beings prefer their own. ... The statement that â€Å"human beings prefer their own† should in itself be subjected to critical scrutiny. Indeed, the phrase â€Å"preferring one’s own† denotes a value choice in favour of an entity or a construct that hews closely to how one perceives him or herself and possesses many of the same characteristics that he or she has. Indeed, the very same moral intuition that drives the argument of Posner is the same so-called moral intuition that has been the basis for the discrimination on the basis of gender (e.g., the discrimination against lesbians, gays, bisexuals and transgenders), of race (e.g., the discrimination against blacks) and of religion (e.g., the discrimination against Islam.) History has amply demonstrated the folly of taking that statement, â€Å"human beings prefer their own†, as justified and benign. The moral equality theorists argue that there must be an equal consideration of the interests of human beings and animals. Peter Singer is perhaps one of the leading lights of animal ethics. He states the principle of moral equality as follows: The essence of the Principle of Equal Consideration of Interests is that we give equal weight in our moral deliberations to the like interests of all those affected by our actions.3 The main defense for this theory is that the properties that we ascribe to humans that distinguish them from animals are not properties  that all human beings have, and thus, the logic deployed by those who distinguish humans from animals as a means to justify unequal treatment of humans and animals may give rise to a case of discrimination. For example, not all human beings are capable of rational thought – an example would be infants. Some humans have dementia or schizophrenia. Does the argument then

Wartime Film Essay Example for Free

Wartime Film Essay If, in the midst of the true-life films all through World War II, the British films were exemplified or distinguished by their humanistic vision of man’s capability to tolerate and triumph, and the Nazi films by their intimidating bellicosity and aggression, the American films were well-known equally for their bold, nationalistic and perceptive or insightful justification of why the Americans were fighting, and for their complicated yet refined cinematic artistry. The wartime true-life film propaganda of Allied and Axis nations alike show an exaggerated depiction or representation of society, morals and power. The American films illustrate an influential and virtuous state, confident in its future to save and protect humankind from oppression, cruelty or autocracy. Based on an account made by Allan M. Winkler (1978), the propaganda used during these times â€Å"reflected the way that most ordinary Americans viewed themselves as they worked to defeat the Axis powers. † He also adds that â€Å"in the end, American propaganda reflected American policy, and indeed America itself. † A lot of of the true-life films finished throughout World War II were described or illustrated by the unchanged traits that famed the feature films of the earlier decade. They were sentimental and corny, witty and intelligent, simplistic and superficial, hard-hitting and zealous. In addition to this, not like the American true-life films of the 1930s created mainly by individual or group filmmakers on the East coast, several of the films during the period of war were completed, under the administration of Washington, by Hollywood experts in the world’s motion picture capital. This venture or project concerned an extraordinary partnership involving industry and government. As Americans were drafted into the armed forces service, so too, were cinematographers, writers, editors, and directors of Hollywood and individual films drafted into the motion picture units of military, with the resources of dominant distributors, studios, film archives and motion picture tools producers put at their disposal. The Hollywood part of this endeavor was corresponded by the War Activities Committee of the Motion Picture Industry, which was structured into seven divisions that replicated the multifaceted American motion picture industry such as distributors, theaters, newsreels, trade press, public relations, foreign markets and Hollywood production. Together with Washington were the dominant government agencies such as Justice, Inter-American Affairs, Interior, Agricultural, Treasury, State, Transportation, Civilian Defense, and definitely including War, War Information, War Production Board, and War Relocation Authority. Collectively, the movie industry and the government created or formed an astounding amount of movies of various categories or types for several functions. Several offer documentary accounts of battle and struggle, others demonstrate the national offerings to the war effort, and still others give tribute to a person’s courage, strength and valor. In the Untied States, the solitary Allied country unscathed by hostilities and war activity inside its continental boundaries, civilians had to rely for their war reports on private communication from armed personnel in the war zones, newspapers, journals, motion pictures, radio, or media prepared by the Office of War Information. National television broadcasting, the primary or main source of public information in the Vietnam War, was not present in the 1940s, and neither did the idea or notion of the â€Å"living room war. † Certainly, though their weekly attendance at the movie theaters, viewers were able to observe up-to-date newsreels and government combat movies or pictures, as well as narrative films, which offered or presented information, amusement, and getaway from their apprehensions or concerns with regards to the war. The joint venture linking Hollywood and Washington made certain or guaranteed a steady flow of suitable and well-timed information to film screens in the nation’s theaters, civilian hospitals, to industrial plants and to military camps. These movies helped Americans appreciate the very important significance of several new things, as well as the need for struggle in areas they had by no means heard of before, twenty-four-hour industrial assembly, and food rationing. This information not only informed and educated the public, but also encouraged their munificent support of the war effort. During the war, turnout was soaring at local motion picture theaters, which demonstrate to be an ideal location for advertising and selling war bonds or for accumulating financial support for such reasons or functions as war relief. In the United States, gathering support for the war endeavor was not at all times trouble-free, for numerous Americans had not only a rugged isolationist predisposition, but also a deep-rooted suspicion and disbelief in the United States administration propaganda. Industry and government leaders, who were overwhelmed by the Nazi and British film programs, were certain that film could be successful in informing the predominantly isolationist Americans of how, where, when and why they were combating and thus awaken their patriotic sympathies. According to Elmer Davis (1968), the wartime head of the Office of War Information (OWI), there were at least three other complications or hindrances to film production during the period of war. The hazard that the propaganda is a sign of partisan views particularly that of the president’s. The deficiency of military collaboration and teamwork in gathering and reporting facts, especially when it might aid or give comfort to enemy; and the belief among some members of the press that they should be free to gather the news without having to rely on a government spokesperson. During the Second World War, true-life film helped and gave support to the unification of the public in its loyalty and nationalism and to promote its support of military participation. Even though Allied films do not idealize war, they attempt to justify World War II by explaining it in clear, non-ambiguous terms. Still, bound together by a common goal, freedom from Fascist aggression and tyranny, Allied filmmakers often set aside logic and convention, as well as civic and personal values, to support the overriding idea of victory over the enemy. One of the most significant tasks of narrative feature film war propaganda, or war propaganda in general, is to create specific role models through whom filmmakers create or reinforce important values. Particularly in World War II when American pro-war propaganda films experienced their heyday, the government knew it needed to overcome an ingrained American trait: stubborn individuality. Audiences had to be shown that although in peace time, â€Å"doing one’s own thing† was an acceptable, even praiseworthy, American entrepreneurial virtue, team play and regimentation are more desirable goals in wartime. In John Ford’s â€Å"They Were Expendable† (1945), John Wayne depicts or portrays an archetypal model of the strong individualist faced with a conversion decision. Tired of no-glory milk runs in the P. T. boats to which he was assigned, Wayne wants a transfer. He’s convinced that his ambitions can only be served if he is reassigned to a destroyer, where he can make a name for himself. He even goes so far to fill out a transfer application, but tears it up when he hears the Japanese attack on Pearl Harbor. His ambition and search for glory must wait. Similarly, Robert Montgomery, Wayne’s P. T. boat squadron commander, is aggravated by his admiral’s reluctance to use P. T. ’s on combat missions. On one instance, the admiral, in prototypical World War II pep talk, uses a sports analogy to remind Montgomery of the need for teamwork. â€Å"You and I are professionals, if the manager says ‘sacrifice’. We lay down a bunt and let somebody else hit the home runs. † Duly chastised, Montgomery adjusts his attitude. Correspondingly, in â€Å"Crash Dive† (1943), Tyrone Power is resentful for being transferred to submarine service, especially since he has recently made a name for himself in P. T. boats, his favorite naval craft. But, through various espirit de corps-building experiences on board the submarine, the hardheaded role in the team effort to win the war. At the conclusion, with patriotic music rising in the background, Power recites a litany of naval craft, from P. T. ’s to battleships to carriers, extolling their individual contributions to team victory. Regardless of era, these films state clearly that individualism must take a back seat to the needs of the military organizations. In the American movies, the audiences are also thought from selfish to being selfless. As such, there is a great resemblance between John Carroll in â€Å"The Flying Tigers† (1942) and the characters in the previous section. Like Edmund O’Brien and James Cagney, Carroll plays a veteran pilot not used to taking orders, very short on cooperation and obedience. But Carroll offers a bridge from the previous category to this one because of his motivation: Primarily, he’s a modern-day bounty hunter out strictly for the money paid to Flying Tigers for each Japanese plane they shoot down. Unlike the other Tigers, who, like Texan Jimmy Dodd, agree that â€Å"Where I come from there doesn’t have to be a bounty on a rattlesnake to kill him,† Carroll is selfish and is only motivated by money. He abandons wingmen if he can shoot down another plane, takes reckless chances, and endangers others, all for money. But when he sees the results of Japanese bombing of an orphanage, his outlook widens. And when his irresponsibility causes the death of a fellow Tiger, Carroll repents and takes on an expiative suicide mission. Similarly, three 1943 film heroes, George Montgomery in â€Å"China Girl†, Alan Ladd in â€Å"China†, and Ward Bond in â€Å"Hitler: Dead or Alive, are concerned solely with money at the outset of their adventures. Montgomery, a salty photojournalist, is out to document the war for fame and tidy profit, and, like Carroll, is unconcerned about what is happening to the Chinese people he photographs. Ladd sells truckloads of gasoline to anyone who will pay, Chinese guerillas or the Japanese. When both protagonists experience the love of Eurasian women (Gene Tierney and Loretta Young, respectively), and witness first-hand Japanese atrocities committed against Chinese civilians, they put aside profits and personal security and protection and join the Chinese guerillas. In â€Å"Hitler: Dead of Alive†, a predominantly silly grade-B hooligan adventure movie, Ward Bond is a criminal world â€Å"big-shot† who, along with two other hooligans, accepts a million dollar agreement, let by a rich American entrepreneur to kill in cold blood or kidnap Adolph Hitler. At first only concerned with the money, Bond witnesses a Nazi â€Å"blood purge,† the killing of innocent women and children. Horrified, he discards the chance to kill Hitler. As an alternative, Bond tries no discuss an end to the war in return for the â€Å"fuhrer†, whom he has kidnapped. This unselfish effort fails, and Bond dies. But in memory of Bond’s endeavor, the industrialist nevertheless â€Å"pays off† the hooligan by making a contribution of a million dollars worth of planes to the war endeavor. In addition to this, the viewers through the films during the wartime were taught from being cowards to heroes. In Act III of Julius Caesar, â€Å"Cowards die many times before their deaths, the valiant never taste death but once† (Shakespeare, 29). Films portraying an assortment of wars have constantly managed to deal with those who faced fear and mastered it. War propaganda must address the subject of fear, and supply its audiences with reasons sufficient to convince peaceful men to engage in mortal combat. Patriotism, responsibility, revenge, espirit de corps, and other motivations are presented as explanation or rationalization for risking one’s life. Object lessons about fearful men are most helpful. That is why one of the frequently heard stock discussions in combat movies is the one in which as soldier new to combat is surprise to discover that the old sarge, or the captain is sacred too. In two occupied-country war movies, Charles Laughton in â€Å"This Land is Mine† (1943) and Roman Bohnen in â€Å"The Edge of Darkness† (1943) represent men for whom courage is a foreign concept. Although an adult in his forties, Laughton’s character is a â€Å"mamby-pamby mama’s boy†, afraid of everything, especially guns and hostility. But he lives in busy France throughout World War II, and Nazi mayhem and associated air raids are ordinary occurrences. A schoolteacher, Laughton is ashamed of himself, because he is a poor example to his students, who show no respect and mock him. But as soon as his headmaster and mentor, who had advocated or recommended him to develop into a positive model to his students, is killed by the Nazis as a retaliation for resistance activities in the area, Laughton turns out to be both furious and courageous. He candidly speaks out in opposition to the enemy, influencing the townspeople to join the fight and engage in resistance and sabotage. His students now look on him with pride and admiration. Immediately before the Germans guide him out of his classroom to be shot, he reads the French Declaration of the Rights of men to his pupils. When he is gone, he leaves a classroom complete of new young zealots for the cause of liberty. Roman Bohnen plays a salesperson in Norway in â€Å"The Edge of Darkness†. Different from Laughton, he has constantly been vocal in his hate for the Germans, and pictures himself as a soldier executing all of them. But Bohnen’s character is all harangue and chatter. In a face-to-face disagreement with a group of disdainful German troops, he has the chance to courageously say to the Nazis what he believes or thinks of them. But he becomes so frightened he can say nothing. The significance or meaning of the film is that even though as individuals, people are hard pushed to stand up to such an attacker, if each and everybody stands together, they can succeed. So when the whole village rises up as one against the Nazis, Bohnen takes his place among the men, picks up a rifle, and becomes conscious his daydreams. He unites his fellow townspeople in the annihilation of the whole German defense force. Furthermore, films were a sign of the mood of its audience when the unconcerned were portrayed and became concerned. This class or group of character conversion is moderately comparable to the selfish-selfless conversion, in view of the fact that in these situations or circumstances, concern with one’s self is often tied to a singular lack of concern for anything else. Unquestionably, Alan Ladd in â€Å"China† and George Montgomery in â€Å"China Girl† both were mainly concerned with money and fame but the unnecessary massacre of the Chinese had as much to do with their change to the reason as did the encouragements of Loretta Young and Gene Tierney. In addition to these films, Tallulah Bankhead in â€Å"Lifeboat† (1944) and Henry Hull in â€Å"Objective Burma† (1945) play journalists more interested in filing sensational stories than in the issues and outcomes of the war. Instead of helping victims of a U-Boat assault into her lifeboat, Bankhead receives movies and curses when John Hodiak unintentionally knocks her camera into the water. Hull, somewhat anti-military, uninterested and for the most part concerned with a good story, goes along with Errol Flynn on a paratrooper raid into Japanese-held territory. Despite their wishes to remain onlookers, both characters cease to be objective chroniclers and become active participants in events. The demure Bankhead in the end joins the others in savagely murdering their Nazi lifeboat-mate in retaliation for the execution of an injured man. Hull observes the remnants of American troops viciously tormented by the Japanese. Losing his usual or customary worldly cool, wilde-eyed and shaking he shouts, â€Å"Stinking little savages! Wipe ‘em out! Wipe ‘em off the face of the earth! † Earlier than the war, particularly, the documentary genre was dominantly concerned with motivating productive and significant thinking and with determining or scattering opinions and thoughts for the good of mankind. The greater part of true-life films created throughout the war were also concerned with teaching and information, but they were based on the basic principles, morals, ethics or values of the countries which created them. They may not have called upon the viewers to think critically or to depict rational conclusions, but they were swift to be virtuous regarding their own purposes, motivations and inspirations or to pass decision on the motives of their adversaries (Barsam, 175). Works Cited China. 1943. John Farrow, April 21. China Girl. 1943. Henry Hathaway, December 9. Crash Dive. 1943. Archie Mayo, April 22. The Edge of Darkness. 1943. Lewis Milestone, April 24. The Flying Tigers. 1942. David Miller, October 8. Hitler: Dead of Alive. 1943. Nick Grinde, April 3. The Land Is Mine. 1943. Jean Renoir, May 7. Lifeboat. 1944. Alfred Hitchcock, January 12. Objective, Burma! 1945. Raoul Walsh, February 17. They Were Expendable. 1945. John Ford, December 30. Barsam, Richard Meran. Nonfiction Film: A Critical History. USA: Richard Meran Barsam, 1992. Davis, Elmer. Report to the President. Journalism Monographs No. 7 (August 1968). Shakespeare, William. Julius Caesar. New York: Dover Publications, Inc. , 1991. Winkler, Allan M. The Politics of Propaganda: The Office of War Information, 1942-1945. Yale University Press, 1978.

Joseph Andrews Essay -- essays papers

Joseph Andrews In Fielding’s Joseph Andrews you see a variety of characters. They range from the shallow, vain and proud characters like Lady Booby and Mrs. Slipslop to the innocent, sincere, and virtuous like Joseph and Fanny. The presence of Lady Booby, and all of the people like her that are portrayed in the same selfish and dishonest way, bring out the importance of the clergy. Most of the clergy that we meet in the story don’t fit our vision of â€Å"holy people†. They didn’t fit Fielding’s vision either. Parson Adams is the only character that represents what Fielding considers to be the proper role for the clergy. He believes that the proper role for the clergy is that they should give moral guidance and they should be virtuous and charitable. There are many examples of charity made by Parson Adams because Fielding believes that charity is part of the proper role for the clergy. But I think that Adams will stand out more if I show how uncharitable the rest of the characters are. While at The Dragon Inn, Joseph meets Mr. and Mrs. Tow-wouse. Mr. Tow-wouse is the owner of the inn and for his brief presence in the book he is good-natured, unlike his wife who is greedy and very uncharitable. When her husband gets a shirt to clothe naked Joseph she states, â€Å"Common charity teaches us to provide for ourselves and our families; and I and mine won’t be ruined by your charity, I assure you† (93). Later on, Joseph meets Mr. Barnabas. He is a clergyman but a disgrace when compared to Adams. Adams’ office as a clergyman is important because â€Å"no other office could have given him so many opportunities of displaying his worthy inclinations† (95). Barnabas is sent to Joseph’s room in the inn to comfort him because he has been severe... ...ical and obsessed with worldly possessions. They are supposed to be leaders of faith but instead come off as two of the most appalling characters in the book. But in contrast to the rest of the clergymen, Parson Adams is extremely charitable and honest. He and Joseph always act on their beliefs and defend them by any force necessary. Fanny and Joseph are morally superior characters, but they are still characters. Adams emerges as an individual. He gave Joseph and Fanny moral guidance any time they needed it and he puts his principals of charity into practice. â€Å"Now, there is no Command more express, no Duty more frequently enjoined than Charity. Whoever therefore is void of Charity, I make no scruple of pronouncing that he is no Christian.† (185). In Fielding’s mind the role for the proper clergyman is to be honest, give moral guidance, and at all times be charitable.

Ground Water in Dhaka City Essay

Dhaka is the capital city of Bangladesh which has a population of about 12. 5 millions and its population rate is over 5%. Projected population is about 22 million by 2025. Dhaka is now the 7th largest populated city in the world and it is anticipated that Dhaka will be the 2nd largest city in the world by 2020. This city is full of problem and one of the major problems is water crisis. Although Bangladesh is rich in water resource, but there remains lack of safe water. The cities in Bangladesh are the centre of employment, communications and development. So, people are rapidly migrating in these cities from rural areas place putting additional pressure on the infrastructure and water resources. For this huge population in Dhaka city, water demand is also huge. And maximum portion of this greater demand is fulfilled by ground water. The daily requirement of water in Dhaka city is about 200 crore liters while WASA supplies 180 crore liters, leaving a shortage of 20 crore liters. Out of this 180 crore liters of water, 154. 50 crore liters of water are supplied from ground water. All most 85%-87% of water is supplied from under the ground and of them are from surface water. To supply this massive amount of water we need to extract a lot from the ground. Everyday demand for water is increasing and we are adding new pumps. In 1998, there were only 243 water pumps to lift water in 2004 it was 440 but now it is 560. Each of the pumps lifts 3,000 liters of water in a minute. And this is also making some problems. For this heavy extraction water level is going down rapidly. In some statistics I have found that the level of underground water has dropped down to 61. 18 meters. The average rate of decline of water level varied from 1 m to 2. 50 as the report of DWDB. Ground water depletion situation is severe in the central part of the city compare to the areas close to river bank, says DWDB. If this continue to happen then in future it will be hard to lift up underground water. Moreover, the increasing number of pumps and subsequent depletion of groundwater table increases the risk of disasters like landslide, subsidence and earthquake.