Example of science being used in my World Essay Example | Topics and Well Written Essays - 250 words

Example of science being used in my World - Essay Example st who had won Tour De France seven times at a stretch was disqualified from the victories because he was accused of doping charges by the Anti-doping Agency of the United States. Thus the discoveries in the areas of science and medicine can accentuate the performance of human beings which otherwise could not have been done. However men often forget their limitations and exploit medicine and science in a negative way as in case of doping. Excessive use of these prohibitive drugs can have adverse effects on the health of the sports persons. Kids who want to be strong are also provoked by these drugs and harm themselves http://www.nytimes.com/2012/11/19/health/teenage-boys-worried-about-body-image-take-risks.html?pagewanted=2. The government has to take care of the issue by arresting the production and sale of these drugs. License should be imposed on retailers and online retailing of these drugs should also be controlled. The society as a whole should take responsibility to control this criminal offense and live life in the most natural way

History and Political Science Essay Example | Topics and Well Written Essays - 1250 words - 1

History and Political Science - Essay Example They believed that the subjects under any rule were supposed to be controlled. These subjects were allowed little freedom in terms of actions or expressions1. The military leaders and capitalists believed that if people were given freedom of action and expression, they would exploit the chances in the pursuit of their self-interests. This would compromise the issue of national security and would result in disloyalty to the leaders. The military rulers were convinced that a society could fall into an abyss of political disorganization, which they mainly blamed on democracy. According to these rulers, an uncontrolled population may turn chaotic, and this will result in general disorganization of the political system of a society. Military rulers believed that the chaotic state of affairs may take a considerably long time to stabilize. This will lead to a great setback in the development of a nation. In addition to the issue of sovereignty, these military rulers were the leading advocat es of capitalism. They wanted to accumulate wealth for their own personal interests2. They realized that the national boundaries could not allow them to respond to the increasing system of production, which was a result of capitalism. They acknowledged that the resources available in their nations were inadequate to contain the expansion of productions in tandem with capitalism. This made the rulers to concentrate on breaking down the national boundaries through acts of aggression like wars. Therefore, these leaders believed in administering the varying levels of coercion and aggression in controlling the subordinate’s actions, and in wealth accumulation through capitalism3. On the other hand, the educated citizens and activists were indifferent to this style of governance used by military rulers like the fascists. According to their ideology, the rule of law should be given a chance in any human population. The scholars advocated for the adoption of the constitution. These s cholars acknowledged that for a more civilized state, there must be the participation of the people in the governance of a state. For a more secure and stable society, the leaders should be in the fore front in protecting the law. The population should be allowed participation through the election of representatives in the committees of administration. These representatives will push towards promotion of the population’s happiness and in fighting for the safeguard of his/her people’s rights4. The main ideology held by the advocates of constitutionalism and parliamentary representation is that the population must have a stake in formulating the guidelines to be used in governing them. For example, in a constitutional governing system, the consent of the representatives must be obtained. This allows humane formulation of the rules to be adopted in the constitution. On the contrary, the legislative power practiced by the military rules gives no room for the public’ s participation in matters of legislations. The whole power remained in the hands of the sovereign rulers and was not bestowed to the people. This was contrary to the ideology of those opposing rule of the whip, which allows little or no participation of their subjects in matters of governance. What pushed the development of the constitutionalism ideology was the need to implement a revolutionary socialism. The enlightened members of the population

Womens Suffrage In England

Womens Suffrage In England The investigation assesses whether violent militant tactics by the Womens Social and Political Union founded by Emmeline Pankhurst from 1903 to 1914 were necessary in order to gain womens suffrage in England. I will be using several primary sources. One of them is written by Emmeline Pankhurst herself in 1914 called My Own Story. The other is written by her daughter Sylvia E. Pankhurst called The Life of Emmeline Pankhurst. I will also use snippets from local newspapers like The Morning Post. Other works will be analyzed like The Fighting Pankhursts by David Mitchell and You Wouldnt Want to Be a Suffragist! by Fiona Macdonald. To evaluate whether or not the tactics used by Pankhursts group was crucial in the fight for the right to vote, this investigation will use these sources to look into public opinions. The reactions and outlooks on the WSPU from the press, government, and the general public will all be considered. Also, I will examine the three stages of the WSPU; before violent militant tactics were used, during, and after. Part B: Summary of Evidence Their slogan was: Deeds, not words! The groups militancy first took non-violent forms from giving speeches, petitions, rallies, newsletters, etc. The actions turned extreme; chaining themselves to park railings, breaking shop windows, setting mailboxes on fire, digging up golf courses, burning down railway stations and churches.  [1]   Each time they took part in a violent protest, arrests occurred. The British government hoped that this would stop them from protesting again.  [2]   On May 12, 1905, a bill for womens suffrage was denied and the Union began a rowdy protest outside the Parliament building, which police tried to force away. Pankhurst considered this event to be a successful demonstration of how militancy can capture attention.  [3]  Pankhurst said, We are at last recognized as a political party  [4]   The WSPU had a bad relationship with the Liberal party. They protested against candidates that were a part of the ruling government because they refused to pass it, which forced them into a conflict with the Liberal Party.  [5]  WSPU was often blamed for spoiling elections for the candidates. Pankhurst was once attacked by Liberal supporters who blamed her for ruining their chances against the Conservatives. They beat members and threw rocks and rotten eggs.  [6]   In 1909, the members vowed to go on hunger strikes whenever they were imprisoned.  [7]  However, the Government counteracted this with force feeding.  [8]  The National Union of Womens Suffrage Societies led by Millicent Fawcett were disappointed that these publicity stunts were the chief obstacles in the way of success of the suffrage movement in the House of Commons.  [9]   Snippets from an article in the Morning Post: The Suffragette newspaper must be put a stop to. Proceedings would be taken immediately against any person who made a speech in encouragement of the unions course of conduct. They called the WSPU a danger to the civilized community and a vast amount of public inconvenience to the public. They disapproved of The Suffragette newspaper because it was a danger to society since it contained articles approving and praising those who fortunately had been detected by the police in the act of committing crimes.  [10]   The Independent Labour Party organized a committee for women suffrage and formed a Conciliation Bill so the WSPU suspended their actions, but this truce was ended when it was obvious the bill would not pass when the Prime Minister, Lloyd George wrote to The Times demanding the rejection of the Conciliation Bill, to demonstrate the folly of militant tactics,  [11]  The Bill was lost by fourteen votes and the WSPU accused Lloyd George of having organized the defeat. The Judge insisted upon a verdict of guilty saying If I had observed any contrition or disavowal of the acts you have committed, or any hope that you would avoid repetition of them in future, I should have been very much prevailed upon.  [12]   In 1912, WSPU came up with arson as another militant tactic and used it for the next two years. Pankhursts approval of property damage led many to leave the Union.  [13]   In the Daily Mail, they referred to the WSPU in a derogatory term suffragette, which they used to their advantage by coining their own unique name. When World War I came around, the women realized it was no time for protests and focused on supporting the British against the German. They joined in the war effort working as nurses, building up mother and infant clinics, restaurants, workrooms for unemployed, urged women to aid industrial production, etc.  [14]  In 1918, the British Parliament gave the vote to British women age 30 or over.  [15]   Word Count: 597 Part C: Evaluation of Sources I thought it would be fitting to use parts of Emmeline Pankhursts autobiography from the internet called My Own Story. It was published in 1914 in the midst of all the controversy the WSPU was being put under the spotlight for. Her purpose for the autobiography was so that the public would hear about the women suffrage cause through her own words and not the newspapers, who often criticized the suffragettes. Since this source is written from the leader of the WSPU herself, the value in it is that it is the best form of primary source available. First-hand accounts of situations and events are available through this autobiography. My Own Story also provides Pankhursts take on the militant tactics her group used in order to get their message across. This however, can as well be a limitation. This source only provides Pankhursts opinions and not the opinions of the Government and politicians, which I need in order to assess whether or not the Unions tactics were crucial in achieving wom en suffrage. Obviously Pankhurst will be in favor of anything the WSPU does, so I mainly just need this source to clarify what really happened in the years of 1903 to 1914. The Life of Emmeline Pankhurst is another primary source written from another perspective. The author is Emmelines daughter, Sylvia E. Pankhurst, who was involved with the WSPU until 1914. Her purpose was to inform the public of her mothers life from the perspective of someone who personally knew her. There is value in the fact that Sylvia is Emmelines daughter and that she was actually a part of the suffragettes. She was there in the actual events, so we know that her statements are accurate or close to what really happened. However, this book is limited because of Sylvias bias towards her mother. The book is written to praise her mothers actions. Word Count: 314 Part D: Analysis Does violence ever resolve anything? The Womens Social and Political Union sure believed so. Their slogan Deeds, not words!  [16]  highlights their actions over the years of 1903 to 1914. As their tactics turned extreme, WSPU headlines became frequent in the British news.  [17]  The members of the WSPU felt that violence was the only way they could obtain suffrage and some historians believe that it is what successfully won them the vote, but I believe that it actually slowed down the process. It is important to understand that it is not because of the violent militant tactics her suffragettes, which was a derogatory term coined by the Daily Mail  [18]  , used that won women the vote, but rather what they did after they chose to end the violence. The violence was only successful in one way, in that it brought about much publicity. Newspapers provided the public with reports of events and the suffragettes were pleased that their cause was becoming open to the public. Their first highly publicized event was on May 12, 1905, when a bill for womens suffrage was denied and the WSPU decided to protest outside the Parliament building, ending in a battle with the police. Pankhurst felt that this was a successful demonstration on how militancy can capture attention  [19]  and even expressed in her autobiography My Own Story that this helped them to become recognized as a political party.  [20]  They however received a lot of backlash for their actions. An article in the Morning Post talked about how a politician felt that the WSPUs newspaper, the Suffragette, must end because it is a danger to society since it contained articles approving and praising those who fortunately had been detected by the police in the act of committi ng crimes.  [21]  The fact that a politician would publically express his harsh thoughts on the WSPU shows that his feelings were general throughout the Parliament. As the WSPU became increasingly militant, they formed unfriendly relationships with the Government. I think that instead of opening up the politicians eyes on supporting their cause, it just made them more annoyed and intransigent. One example was their relationship with the Liberal Party. Since the WSPU only focused on suffrage for women, they quickly opposed parties that did not make it their priority including the ruling government.  [22]  Pankhurst recalls in her autobiography being blamed for spoiling elections for the Liberal candidates against the Conservatives and being beaten and thrown rocks at.  [23]  Another example of how much the Government detested Pankhursts Union was the situation with the Conciliation Bill. Emmeline Pankhursts daughter, Sylvia E. Pankhurst, recalls what happened in her novel; the Independent Labour Party wanted to call truce with the WSPU by forming a committee for women suffrage if the suffragettes suspended their actions.  [24]  Howeve r, the Prime Minister Lloyd George issued a statement to The Times demanding the rejection of the Conciliation by voting with the Members of Parliament.  [25]  When the Bill was lost by fourteen points, it went to Court with Lloyd George accused of having organized the defeat by persuading Members to vote against it.  [26]  The Judge dismissed the case probably because the Government had more power than the women had and because the Judge knew that the members of the WSPU were lawbreakers who were looked upon as undeserving in the politics world. Suffragettes were continually arrested at their violent protests as the Government hope that they would stop protesting.  [27]  They decided to create a stir with hunger strikes in an attempt to force the Government to give into their demands, rather than see them starve to death.  [28]  The Government stayed persistent and force fed the women with straps and tubes. By this point, the public was growing irritated with the group as even Millicent Fawcett, leader of the National Union of Womens Suffrage Societies and once a supporter of the WSPU, became disappointed with these publicity stunts that she claimed were hindrances to the suffrage movement.  [29]  Even their own members became fed up with the Union when in 1912, they came up with arson as another militant tactic setting fire to political buildings and theaters.  [30]  Several did not approve of this and left the Union. The more they tried to cause a stir, seems like the more the public grew weary of their cau se. The arrests in the press were repetitive and for years nothing really progressed, showing that even though the country knew about their cause, less people began to care. The male politicians persisted in not allowing women suffrage probably because they felt that if women behaved like criminals, then they should not be given the same rights as voters. The more extreme they got, the more they alienated people to support their cause. Even though their actions attracted lots of publicity, violence left towns unsafe and ended up giving them the opposite of what they intended, which was the public disapproving of the women suffrage cause. Opponents of womens suffrage in Parliament referred to the violent tactics in debates on why women suffrage should not be granted.  [31]  The Parliament and WSPU had reached a stalemate; the more violence the suffragettes used, the more unwilling Parliament was, and the more Parliament was obstinate, the more violent the suffragettes became. When World War I started, the suffragettes decided to suspend their activities since the violence of the war would render the womens militancy as weak and they realized they should exert their energy onto supporting their country so they joined in the war effort by working as nurses and building clinics and workrooms for unemployed.  [32]  Their hard work gained them a new reputation with the public. It wasnt until 1918 at the end of the war that the Parliament granted the vote to women 30 years of age or older.  [33]   Word Count: 748 Part E: Conclusion The fact that women did not get the right to vote until 4 years after the war started and the suffragettes suspended their militant actions shows that it was their war efforts that aided them and not their violence. I believe that violent militant tactics were not necessary in order to gain womens suffrage. The tactics helped them positively in their early years, but once arson and bombing started to take place, antagonism against them aroused. There is no doubt that it gained them great publicity and allowed their cause to be heard around England, but their actions worked against them as they became more violent through the years. I think, even quite possibly, the Womens Social and Political Union was unnecessary because there were several other peaceful groups out there. The 1918 Act was passed as recompense to the women for their war efforts, not because the Parliament finally listened to the angry cries of the suffragettes. Word Count: 158 Part F: Sources Macdonald, Fiona, You wouldnt want to be a Suffragist! UK: The Salariya Book Company Ltd, 2008. Mitchell, David, The Fighting Pankhursts. New York: The Macmillan Company, 1967. Pankhurst, Emmeline, My Own Story. New York: Hearst International Library, 1914, pp. 4-9, 270-283. Pankhurst, Sylvia E., The Life of Emmeline Pankhurst. New York: Karus Reprint Co., 1969. Bomb at St. Pauls, unsuccessful attempt to wreck chancel, supposed suffragist outrage, Morning Post, 8 May 1913.

My Band :: essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  I used to be in a band called Deft. There were five of us. Brandon, 19, was our singer, Rob,16, was lead guitarist, Kevin, 18, was the drummer, his little brother Jason, 16, was the bassist, and I played rhythm guitar. Kevin and I had been working together for four or five years, ever since he moved to Watertown. We had been in and out of several bands, but always stuck together. My dad came home one day and told us about a friend of his whose step-son played guitar. We called him up and had him come over to audition. He was amazing especially considering his age, 15, so there was no way we could pass him up. A week later, the three of us a played a county fair Battle of the Bands and lost. This was no big deal, since we had been together for exactly a week. Over the next couple months we searched high and low for a singer and a bassist, when we realized what we were looking for was right under our noses all along. Kevin’s younger brother Jason had played upright bass in middle school so we recruited him for the low end. A close friend of their family, Brandon, stayed with them every summer. We got to thinking and realized that he had a great â€Å"choir† voice, so we brought him to a practice and had him audition. He was the best vocalist we had ever played with, so there was no doubt in our mind he was the one.   Ã‚  Ã‚  Ã‚  Ã‚  After being together for well over a year and playing various gigs, we began to get on each others nerves. Jason was immature and always acted childish, Rob had an ego the size of Montana, and Brandon lived in Milwaukee depending on everyone else since he had no job and no ambition to get one. One night at practice, we were trying to learn a new song. I was playing around with some different effects to use on the song. Rob told me that he knew how to get the right sound. I calmly requested that he wait a minute because I wanted to try and get it myself. He insisted that he knew how to do it, so I asked him to show me and started handing him my guitar. Rob said â€Å"Well, I don’t know how to do it.

Maria Helena Lima’s “Imaginary Homelands in Jamaica “ Essay

Outline: Section 1: Writing to rescue her life—It seems as though writer Jamaica Kincaid has written a number of novels in an effort to understand her past and her growth and development throughout it. Almost all of the novels Kincaid has written seem to be interconnected in that they all shed light on certain struggles of her past (paragraphs 1-4). Section 2: Function of bildungsroman—The bildungsroman form, in which a novel focuses on a â€Å"person’s development or spiritual education,† is used specifically by Kincaid and other Caribbean writers to unravel the difficulties and disputations of growing up across the margins of different traditions and cultural universes. The acculturation of a self can be portrayed through the form, however in Kincaid’s novels specifically, the bildungsroman is not so much used as to show the growth in Lucy and Annie John’s adolescent life, but rather to show their reactions respectively to more worldly matters such as racism and colonialism (paragraphs 5-7) (freedictionary.com). Section 3: Far from home—Exile for characters like Lucy and Annie John does not serve the purpose of testing life without their parents, but rather opens their eyes to the escalating world. It is in this big bad world that the characters are forced to find their new identity and beliefs. Not only are these characters left with a sense of strangeness to the new world, but they also signal struggles with the place in which they came from. The longer they spend time in the new strange world, the further they find themselves from their first home. These colonial characters face the challenge of identifying themselves and their cultural origins (paragraphs 8-11). Section 4: Effects of reading literature—Literature is claimed to play an important role in a person’s development. A person’s emotions and reactions stem largely from the literature he/she reads. Lucy had resentment toward daffodils because as a young girl, she was required to memorize a long poem about the flower without having ever seen one in real life. Lucy reads several books, which have an effect on her wanting to change her name. Reading of literature ultimately affects the way in which people react and think (paragraphs 12-13). Section 5: Writing as a means of salvage—In an effort to cure Lucy’s desire for home, she becomes a writer. She writes negative letters to her mother in order to assuage or deal with her feelings. As much as Lucy wants to believe that she is not the girl her parents expected her to be, it is the written letters that she sends and receives that ultimately lead her to realize her true feelings (paragraphs 14-15). Section 6: Finding identity in a culturally different world—As Lucy and Annie John, representations for Kincaid herself—lose parts of their past and are exposed to a strangely new present, they use their knowledge in an effort to comprehend the nature of the world and their part in it (paragraphs 16-17). Summary: Professor Maria Lima’s â€Å"Homelands in Jamaica Kincaid’s Narratives of Development,† claims that writers in diaspora establish the bildungsroman form in their writings to explore the character’s need for individual and national identity. Specifically, Jamaica Kincaid uses mostly all of her novels to write about her struggles and developments in a strange world. Bildungsroman is used in these novels by showing characters’ reactions to more worldly matters such as racism, colonialism, and sexism. Exile is used in these novels, not to test life without the characters’ parents, but rather to open the characters’ eyes to the incredibly complicated world that lies ahead. These characters are forced to find a place for themselves in the strange world as well as having to form their own beliefs about societal matters. However, the longer the time these characters spend away from home, the further they find themselves, emotionally, from home and are left with a strange feeling of loneliness in the world. They are then challenged with having to identify themselves and their cultural origins. Lima claims that Kincaid employs the reading of literature and writing as means of salvation. When put into the tough position of being emotionally disconnected from the world, characters, specifically like Lucy, in Lucy: A Novel, read and use their memories from books to identify themselves. In addition, writing helps the characters to cope with their estranged and complicated feelings. Those caught between culturally different worlds use what they know in an effort to comprehend the nature of the world and their part in it. Discussion Questions: 1. How are the struggles Lucy faces similar and/or different than those of Melinda and Charlie in finding their respective identities? 2. What role does age play in all of the novels we have read thus far? How has Lucy’s older age helped/hindered her in finding her identity? 3. What role have reading literature and writing letters played in the novels we have read so far, specifically in The Perks of Being a Wallflower and Lucy: A Novel? Works Cited Lima, Maria Helena. â€Å"Imaginary Homelands in Jamaica Kincaid’s Narratives of Development† Callaloo 25.3 (Summer 2002): 857-867.

The Source of Creativity in Writers

We laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto – from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable.Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing!An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. And, indee d, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in childhood The child’s best-loved and most intense occupation is with his play or games.Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from real ity; and he likes to link his imagined objects and situations to the tangible and visible things of the real world.This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously – that is, which he invests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of representation.It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘comedy’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as â⠂¬ËœSchauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work.There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality.As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced.Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance ha s therefore not been sufficiently appreciated.People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies.It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing – the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders.He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expected not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it?Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess – Necessity – has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the characteristics of phantasying.We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for the ir ambition is as a rule absorbed by erotic trends.In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid.Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose tha t the products of this imaginative activity – the various phantasies, castles in the air and day-dreams – are stereotyped or unalterable.On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relation of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times – the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes.From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phanta sy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear.Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhaps find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor.In this phantasy, the dreamer has regained what he possessed in his happy childhood – the protecting hous e, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points.If phantasies become over-luxuriant and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams.Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creation s of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious.Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams – the phantasies which we all know so well.  ¹ Cf. Freud, The Interpretation of Dreams (1900a).So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separat e writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material.We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest and most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence.If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is i n going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue – a rescue without which the story could not proceed.The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemy’s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story.Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is easily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life.The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly aware that very many imaginative writings are far removed from the model of the naà ¯ve day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person – once again the hero – is described from within.The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no doubt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream.In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator.If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works.No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful.You will not forget that the  stress it lays on childhood memories in the writer’s life – a stress which may perhaps seem puzzling – is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material.Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite ext ensive. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity.You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material.As for the other problem – by what means the creative writer achieves the emotional effects in us that are aroused by his creations – we h ave as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures.Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise  between each single ego and the oth ers.We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal – that is, aesthetic – yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources.In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also, at least for the moment, to the end of our discussion. The Source of Creativity in Writers We laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto – from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable.Our interest is only heightened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing!An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. And, indee d, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in childhood The child’s best-loved and most intense occupation is with his play or games.Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from real ity; and he likes to link his imagined objects and situations to the tangible and visible things of the real world.This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously – that is, which he invests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of representation.It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘comedy’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as â⠂¬ËœSchauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually distressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work.There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality.As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced.Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance ha s therefore not been sufficiently appreciated.People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adult, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies.It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing – the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders.He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expected not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it?Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess – Necessity – has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the characteristics of phantasying.We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for the ir ambition is as a rule absorbed by erotic trends.In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid.Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose tha t the products of this imaginative activity – the various phantasies, castles in the air and day-dreams – are stereotyped or unalterable.On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relation of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times – the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes.From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phanta sy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear.Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhaps find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor.In this phantasy, the dreamer has regained what he possessed in his happy childhood – the protecting hous e, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points.If phantasies become over-luxuriant and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams.? Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creati ons of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious.Repressed wishes of this sort and their derivatives are only allowed to come to expression in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams – the phantasies which we all know so well. ? Cf. Freud, The Interpretation of Dreams (1900a).So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separate writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material.We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest and most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence.If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is in going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue – a rescue without which the story could not proceed.The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemy’s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story.Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is e asily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life.The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly aware that very many imaginative writings are far removed from the model of the naive day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person – once again the hero – is described from within.The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no dou bt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream.In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator.If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works.No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful.You will not forget that the  stress it lays on childhood memories in the writer’s life – a stress which may perhaps seem puzzling – is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material.Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite extensi ve. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity.You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material.As for the other problem – by what means the creative writer achieves the emotional effects in us that are aroused by his creations – we have as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures.Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise  between each single ego and the others. We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal – that is, aesthetic – yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleasure arising from deeper psychical sources.In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also , at least for the moment, to the end of our discussion.

Discrimination Against Women Essay Example

Discrimination Against Women Essay Example Discrimination Against Women Essay Discrimination Against Women Essay Women were and still are discriminated in Society Discrimination, in a general sense, simply means making a decision based on some distinctive factor. It involves making decisions on treating people differently based on prohibited discrimination factors such as race, age, sex, color, disability or national origin. Throughout history, the most common discrimination we hear about is the race of people. Thus, no one really takes into consideration of how woman are discriminated because of their sex, and how they are treated lower because of what their roles were traditionally. Therefore, by what one knows about discrimination, one would ask why is discrimination directed towards women? Throughout most of history women generally have had fewer legal rights and career opportunities than men. Wifehood and motherhood were considered as womens most significant professions. Women were long considered naturally weaker than men, fastidious, and unable to perform work requiring muscular or intellectual development. In most pre-industrial societies, for example, domestic chores were relegated to women, leaving heavier labor such as hunting and plowing to men. This ignored the fact that caring for children and doing such tasks as milking cows and washing clothes also required heavy, sustained labor (Ryan 81-82). Wifehood, the natural biological role, has been regarded as the major social role of women, as mentioned before. The resulting discrimination that a womans place is in the home has largely determined the ways in which women have expressed themselves. Yang 2 Traditionally, children (girls) tend to learn from their mothers that cooking, cleaning, and caring for members of the household was the behavior expected of them when they grow up. Tests made in the 1960s showed that the academic achievement of girls was higher in the early grades than in high school. The major reason given was that the girls own anticipation decreased because neither their families nor their teachers expected them to prepare for a future other than that of marriage and motherhood (Ryan 10-11). Women, they say, are encouraged to be good mothers. They need, therefore, to first attract a man to depend on; they are expected (by our culture) to be giving, emotional, unstable, weak, and talkative about their problems; they are valued for their looks or charm or smallness but not their strength or brains; they are considered unfeminine (bad) if they are ambitious, demanding, and tough or rough; they are expected to follow their man and give their lives to their children, and on and on (Pogrebin 44). So basically, women are expected to serve others, to sacrifice their desires and personal needs in order to please and care for others. These myths and facts of how women were naturally inferior have greatly influenced their views of how they see themselves. That is why, in the 19th century, women began working outside their homes in large numbers, mostly in textile mills and garment shops. Since they supposedly didnt have any skills or experience, these were the only jobs they can start out with. They worked in poorly ventilated, crowded rooms and worked for as long as 12 hours a day. It was not until the 1910s that the states began to pass legislation limiting working hours and improving working conditions of women (Ryan 82-83). Yang 3 It was in the 1960s when the federal law started passing laws to improve the economic status of women. One of these was The Equal Pay Act of 1963. This required equal wages for men and women doing equal work. The second one was The Civil Rights Act of 1964, which restricted discrimination against women by any company with 25 or more employees. Even in 1967, a Presidential Executive Order prohibited discrimination against women in hiring by federal government contractors (Appleby, Brinkley McPherson 567-568). These laws that were passed to help women from discrimination, was a failure. Female workers were still underpaid, overworked and exploited. In addition to the problems, women also suffered from the heavy burden of discrimination based on their gender. They were assigned to the least skilled jobs, given the fewest possibilities for advancement, and treated as the most expendable members of the workforce (Chafe 67). Discrimination then persisted in other fields. Department stores would not let married women have their own credit cards because they think that since the man of the family was the supporter, they should not be allowed to own one. Similarly, divorced or single women often found it difficult to obtain credit to purchase a house or a car (Comptons Interactive Encyclopedia). Laws that dealt with crime and prostitution also displayed discrimination against women. Discrimination in crime existed in some areas of the United States. A woman who shot and killed her husband would be accused of homicide, but the shooting of a wife by her husband could be termed a passion shooting (Filene 194). Often women prostitutes were prosecuted although their male customers were allowed to go free (195). As of now, in the 20th century, women have professions such as doctors, lawyers, preachers, teachers, writers, singers, etc. The medical profession is an example of changed attitudes in the 19th and 20th centuries about what was considered as Yang 4 appropriate work for women. Prior to the 1800s there were almost no medical schools, and practically any ambitious person could practice medicine. However, on top of all this, specific discrimination against women started to develop again. Women now, constitute more than 45 percent of employed persons in the United States. Although the number of women working as managers, officials, and other administrators has been increasing, in 1990 they were outnumbered about 1. 5 to 1 by men. Workingwomen often faced discrimination on the mistaken belief that, because they were married or would most likely get married, they would not be permanent workers. But married women generally continued on their jobs for many years and were not a transient, temporary, or undependable work force (Gutek Morasch 57). Despite their increased occupancy in the work force, most women still have a major amount of responsibility for housework and family care. Even though they are workingwomen in society, they dont seem like they can ever escape the fact their expected roles will not change. Women are still discriminated to be the women they once were, which was wifehood and motherhood. The wife who worked from nine to five and who was still expected to be a full-time homemaker experienced difficulty in resolving the conflicting priorities in her life (Chafe 200). Perhaps the most important thing is that women tried to change the traditional views of their role in society. One can definitely say that if women werent discriminated in the past, they would not have been discriminated today. Although the discrimination of women has been better in the present days, no matter what, it still exists. No one can change the way people thought traditionally, no one could now. Yang 5 Discrimination. The Columbia Encyclopedia: 2000 Sixth Edition. Ryan, M. P. Womanhood in America: From Colonial Times to the Present. London: New York, 1979. Pogrebin, L. C. Family Politics. New York: McGraw-Hill, 1983. Appleby, J. , Brinkley, A. , McPherson, J. M. The American Journey. New York: McGraw-Hill, 1998. Chafe, W. H. The American Woman: Her Changing Social, Economic and Political Roles. Oxford Press, 1990. Discrimination of Women. Comptons Interactive Encyclopedia: 1994 Filene, P. Him/Herself: Sex Roles in Modern America. New York: Harcourt Brace Jovanovitch, 1975. Gutek, B. , Morasch, B. Sex-Ratios, Sex-Role Spillover, and Sexual Harassment of Women at Work. Journal of Social Issues 38: 55-74, 1982. Woman Labor Force: A Case Study in the Interpretation of Historical Statistics. American Statistical Association Journal March: 71-79, 1960. Blau, F. , Hendricks, W. Occupational Segregation by Sex: Trends and Prospects. Journal of Human Resources 14: 197-210, 1979.

Abortion Essays (818 words) - Abortion In The United States

Abortion Essays (818 words) - Abortion In The United States Abortion Abortion has always been (and I reckon it will continue to be for quite some time) a very controversial issue not only due to the difficult comparison of rights (does the mother's rights outweigh the child's or vice-versa?) but also because of the many different instances in which the issue of abortion might come up. For instance, one couple who simply wants to plan their family, and be ready for it, is obviously different and less shocking a case as a raped fifteen-year old. Regarding abortion, pro-life and pro-choice are the two sides trying to impose their own points of view, but while one is extremely strict and makes a completely solid statement without taking each case in particular (pro-life), the other (pro-choice) acknowledges the implications of abortion and while not encouraging it in any way, it implies a certain flexibility depending on each case. I, personally, am a pro-choice person, but not taking it to the extreme. I believe a woman should have the right to choose when to have a baby but I agree with creating limitations to this right. The reasons are simple and numerous, health being the most important one, for if abortion would be deemed illegal and immoral, not only would women turn to unsanitary secretive abortions (or even desperate self-induced ones) but the psychological pain and scars would also be considerably more unbearable (I say more because they are already quite unbearable and extremely stressful). Another reason is a biological one it is the woman who carries the baby for nine months, and until the baby is out in the open, being a separate person, until the moment of birth, the baby is simply a part of the womans body. I choose to view childbirth as the moment when the child becomes the human, because it is the most valid turning point in its life -when it starts to live on its own. I consider the pro-choice point of view as being the most rational. However, I also agree that the time period of six months after conception is more than enough for the making of a decision. I support fully the six-month time condition, again mainly because of the health issues involved (abortion after six months is a risk to the mother). I also acknowledge the gruesome methods abortion implies, but I dont consider them a reason strong enough to ban abortion. I would wish there could be some sort of application process involved with abortion, but given the fact each and every case is different and also that such laws would have to be extremely detailed and confusing in order to relate to all cases on an individual plane. So I support abortion for all women as long as it is done within the first six months. And I state this because I dont believe the child is a person by the end of the six months, nor a human life. Until that point, it is a life, but it is a combination of cells insi de a body as well. Its size of only several inches adds to my inability of considering it human strictly because it lacks all the functions a human life form has, from consciousness to breathing and from feelings to personality. My point of view has a personal history behind it and even though I am not in the position of claiming a strict perspective of the subject, I realize I may be subjective. My mother described to me how she had to go through around three abortions because of my fathers drinking problems. Most of the fetuses had vital physical problems such as a deformed (contorted) body or a missing organ. My mother chose to abort them and it was a physically as well as psychologically painful process. The worse thing is that she blamed herself for it, while all the time it was my fathers irresponsible drinking that caused the malformations. I dont even want to imagine what would have happened had she been forced to carry those fetuses to term, and I am also extremely glad she didnt (I wouldnt be around if she had). All in all, I dont consider pro-life a valid, modern, twenty-first century attitude because it

A Life With Three Marriages English Literature Essay

A Life With Three Marriages English Literature Essay In the book Their Eyes Were Watching God by Zora Hurston, marriage plays a big role in the story. The main character, Janie, get married three times in her lifetime. Janie is a very attractive woman and practically can get who she wants, but she is looking for a special somebody. Most people get married once, but Janie just couldn’t find the right person to spend the rest of her life with. Janie uses a peach tree as her symbol for a perfect man. Janie lives a life of uncertainty. She wishes to be married to her peach tree, but she cannot seem to run into him. Janie isn’t afraid of waiting for her ideal husband. Janie goes from marriage to marriage trying to find not only the perfect soul mate, but she also wanted to find herself. Janie had a hard time trying to be who she really is when she had her grandmother choosing her husband for her. Janie’s mother and grandmother had such a difficult life. Janie has her grandmother to take care of her, but she cannot do t hat forever. Janie’s grandmother pushed Janie to limits because she wanted Janie to have a life that wasn’t like her own or her mother’s. The theme of this story is love comes with compromise and honesty in a relationship. Marriage promises change, but it will remain loveless without equality and respect. Janie’s first marriage with Logan Killicks fails because Logan and her grandmother neglect to display any respect for what Janie wants out of a marriage. Janie’s grandmother’s selfish act contributed to the marriage because she forces Janie to marry Logan for the sake of her own comforts rather than Janie’s. As stated in the book, â€Å"So you don’t want to marry off decent like, do yuh? You just wants to hug and kiss and feel around with the first one man and then another, huh? You want me to suck the same sorrow yo’ mama did, eh? Mah ole head ain’t gray enough. Mah back ain’t bowed enough to suit yuh!â € (13-4). This quote shows how much her grandmother doesn’t want her to have the marriage she wants. Janie wants the hugs and the kisses, which is what makes her dream marriage seem so incredible. Janie wants to marry because she loves that person, she doesn’t want to marry out of convenience. Janie’s grandmother lived in a time where love didn’t exist and that is what makes her push Janie to marry Logan. During those times it was hard to find a marriage between African American women that contained love. Logan further aggravates the marriage because he expects Janie to show her appreciation for what he has done for her. Logan feels that he does Janie a huge favor by marrying her, but in all actuality, Janie is miserable. Logan has no respect for Janie’s feelings. Although Logan tries to be polite to her there is no sincerity in what he does because he just doesn’t care. Again Logan feels he’s doing Janie a favor. As Boston Globe s taff member, Renee Graham, writes about an interview by Valerie Boyd, she reveals that Hurston writes from experience, â€Å"She often worked as a maid and may have endured an abusive common-law marriage to a man who, Boyd posits, may have provided bitter inspiration for the cruel Logan Killicks in â€Å"Their Eyes Were Watching God.† (Hurston, who married not wisely but often, officially had three husbands. Writes Boyd, â€Å"Zora was afraid that matrimony would only widen her hips and narrow her life.†).

Marketing influences Essay Example | Topics and Well Written Essays - 500 words

Marketing influences - Essay Example Color of the commodity is based on an individual’s preference of some specific range of colors. I at one time bought a television set which was manufactured by Samsung and it was painted black. I was attracted to this product due to the fact that I have had an inner belief that products from Samsung are the best in terms of electronic products. Price determines the purchasing power of an individual. Prices of commodities tends to vary depending on their qualities, design, level of competition in the market and quantity of the goods bought (Hoyer, et.al, 2013). If the quality is regarded to be low, the price will tend to be low, stiff competition in the market will guarantee low prices and low number of items to be bought will tend to increase the price and the reverse is true in each of the case. I was influenced by the low price of a glass table that did not have high quality. It did not last for a long time as after a period of two months, it broke down. I then learnt that cheap items are indeed very expensive in the long run. Promotion is a marketing strategy that is used to create awareness of a particular product so that it can gain popularity among them. Products that are under promotion have low prices so as to enable many consumers to have a first-hand experience on the products (Lamb, et.al, 2012). This is aimed at encouraging them to consider using the product in the future period thus developing strong marketing base for the product. I recently bought a mobile phone that was on promotion. The price was low and the quality was good. However, I discovered that it was restricted to only one mobile phone service provider that was doing the promotion. That marks one of the limitations of items bought while they are on promotion. The place in which a commodity is located will influence its marketing abilities. In places that are remote and not easily accessible, commodities will be sold at a high price due to the high cost incurred in

Research Paper on Drug Testing Welfare for Benefits

On Drug Testing Welfare for Benefits - Research Paper Example One of the consequences of drug abuse can sometimes be joining the welfare system when drugs take over the drives and ambitions that would otherwise allow an individual to be able to work and become independent. Welfare serves a meaningful purpose in society in trying to help those who are in circumstances where they cannot find meaningful employment. Those who are choosing to use drugs, however, are not on a track towards gainful employment and a successful life. I believe that drug testing for welfare recipients will effectively limit the amount of drug abusers collecting money. The initial argument would appear to be part of the criminalization of the poor that is pervasive within this nation. According to Gustafson, â€Å"While lawmakers and the public seem unwilling to devote tax dollars to providing cash benefits to the poor, there seems to be a great willingness to spend money to police the poor – even when doing so seems to be economically inefficient or ineffectiveâ €  (59). The attitude of Americans seems to be that being poor is the equivalent of being immoral or criminal. There is a vast misunderstanding about what it is to be poor. Poverty most often does not occur because of poor choices of a criminal nature, but because of poor choices on a social level. This can mean everything from bad investments to having chosen to work for a company that eventually layoffs its employees. A poor choice is not the same as an immoral choice, and the consequences are not always predictable. Still, the American public does not seem willing to spend real money to help others out of poverty but is more than willing to spend money to criminalize the desperation that comes from being poor. One of the desperations that come from being poor can be drug abuse. While the vast majority of people on welfare are not drug users, there is a portion that are on welfare because of drug abuse or who have turned to drug use to relieve the pain of poverty. According to Gustafson, â€Å"Drug use among welfare recipients appears to be higher than drug use in the general population, but drug dependence which interferes with relationships and work, may not be higher† (60). Furthermore, Gustafson goes on to say that â€Å"even if welfare recipients use drugs, the vast majority who would be subjected to drug testing do not† (60). Therefore, it is not the majority who would be affected by drug testing and in order to combat the social problems associated with drug use, alternative services would need to be provided. It is clear that drug use among welfare recipients is counterproductive to the goals of welfare. The goal of welfare is to provide for people while they climb out of poverty towards a more successful future. Using drugs diminishes the ability of individuals as they endeavor to function in a productive society. Drug users need treatment, however, not to be goal seeking where employment and future success is concerned. Allowing pe ople who are using drugs to continue in the welfare system is a waste of those resources and should not be a part of that system. It would be more cost effective to treat those who test positive, providing care for their children during that time period, than it is to continue criminalizing that behavior. The costs of the ‘drug war’ is three to four times that of providing treatment

Managing coastal environments Essay Example | Topics and Well Written Essays - 1000 words

Managing coastal environments - Essay Example In 1950-1970s, one of the methods used to achieve protection is the establishment of hard rock protections. Although the said method is aimed to minimize the effects of coastal erosion, it caused negative effects such as the increase of the power of the energy waves that can hit the land. This can be attributed to the magnification of wave action that intensified the momentum of the waves. The accumulation of knowledge on the basis of research and data gathering, the advancement of new methods led to the continuous improvement of methods to lessen the effects of coastal erosion. There are different strategies that can be cited that were applied and empirically observed in different localities and countries. One of the examples of methods applied is located in Townsville, North Queensland. The case of the said locality is having natural erosion in the coast in relation to the two tropical cyclones that affected the area for two consecutive years. The protections that had been established had not been enough to sustain the effects of the erosion. This had effects in the tourism of the area since the recreational beaches, which are the main source of livelihood, became seriously eroded. For that matter, actions had been taken by the local council and the authorities to be able to restore facilities to prepare for the vacation season. Included on the proposed action plan is the establishment of new facilities for the tourists, restoration of the beach and construction of four rock headlands to slow the waves and trap sediments. Through the state legislations and redevelopment proposals, the main sources of funding are the state disaster fund and the council supplementary fund. Another case is the Tweed River in New South Wales which is human induced erosion. Actions were taken to be able to keep the river mouth clear on the basis of the susceptibility to erosion. The training

Using The Body Shop as the company, examine the factors behind any Essay

Using The Body Shop as the company, examine the factors behind any changes that have taken place in the structure or geographical location of its Value Chain in - Essay Example Its stock appeared on London’s Unlisted Securities Market in April 1984, opening at 95 pence. The Body Shop was fully listed on London Stock Exchange in January 1986 and at that time, the company’s stock was selling at 820 pence. The market value of the company had reached at  £350 million ($591 million) by 1991. The journey was not smooth; ups and downs came when Littlehampton manufacturing plants were sold. In the year 2000, manufacturing was outsourced. Even then, the Body Shop commanded the same market value in the year 2004 ( £334 million as of September 2004). The Body Shop’s value chain has expanded vertically and horizontally, transgressing its physical boundaries from the UK and the Republic of Ireland into America, Europe, Middle East, Asia Pacific and Africa. A business system in itself is the value chain of a firm. From business perspective, value is the amount customers are ready to pay for the goods of the firm. A firm’s produce is measured by its total revenue – means the number of units sold times the price. A firm remains in profit only until the total value is above the costs borne by all of the firm’s value activities. Michael Porter uses the term ‘value chain’ for this business system. In an industry, value chain of a company depends on its history, strategy and ways of applying that strategy. The set of activities required to collect inputs, design, manufacture, market, deliver and support the goods and services, creates a generic business value chain. A generic value chain is complete in all value activities with added margin, which comes after subtracting the cost of all activities from the total value. The supplier and channel value chains also carry margins, which are included in the total price paid by the ultimate end-user. (Reimann, The Planning Forum 1989) Michael Porter developed the value chain approach in his

Cubism movement Essay Example | Topics and Well Written Essays - 1250 words

Cubism movement - Essay Example â€Å"Within the first two decades of the 20th century, a new art movement began that was unlike any other—Cubism. Started by Georges Braque and Pablo Picasso, most Cubist works are immediately recognizable due to their flattened, nearly two-dimensional appearance; an inclusion of geometric angles, lines, and shapes; and a fairly neutral color palette†.Imagination and influence of other artists was contagious and spread like the wild-fire! Artists were waiting in the wings, as if to tread the path of this novel mode of art. Additions and subtractions were made to the original conception of Cubism. The great artist Picasso was highly influenced by the works of Paul Cezanne and Jean Dominique. He experimented with ambiguous silhouettes. Next to catch his imagination was primitive and African art. Artists began to don the gowns of mathematicians. Cezanne advised the artists to treat nature in terms of the cylinder, cone and the sphere. Picasso and Braque did further improv ements. After conceiving the totality of the subject, they fragmented and analyzed and then reassembled it in an abstract form. They were criticized and appreciated for their extraordinary experiments—that they abandoned proportions, continuity of life samples and organic integrity and material objects. Critics said that the works looked like a field of broken glass.Notwithstanding the criticism and differences in opinions, Cubism thrived. â€Å"The Cubist emphasized a flat, two-dimensional surface and rejected the idea that art should imitate nature.

The US and Arab-Israeli Diplomacy - 2 exam questions (4 pages each) Essay

The US and Arab-Israeli Diplomacy - 2 exam questions (4 pages each) - Essay Example Ambassadors to the various Middle Eastern countries. The Special Envoy will travel from country to country in the Middle East to achieve the American Agenda in the region. The United States’ position on the Israeli-Arab relations has always been important. The U.S. has backed Israel since Israel became a state. Support for Israel allows the U.S. an ally in the Middle East that has a similar democracy. Saudi Arabia is an U.S. ally, but since Saudi Arabia is a monarch Israel is a more favorable choice. Still the U.S. must not anger the majority of Arab nations in the Middle East, especially since the heavy U.S. military presence in Iraq and Afghanistan. The balance between doing what is right morally by promoting a democratic society and securing a good relationship with oil producing countries is the delicate balance an American Special Envoy must master. In order to achieve the balance of American interests, the Special Envoy has to negotiate with both the Israelis and Arabs. The United States Envoy to Israel must have special qualifications. Without the right qualification an envoy could harm not only Israeli-Arab relations, but harm U.S.-Israel-Arab relations at best and at worst plunge the whole region into a war. Qualifications all U.S. Envoys need are: Any Special Envoy appointed to Israel must address the Palestinian issue. Since Israel withdrew from Gaza, the Palestinians have elected Hamas to be Gaza’s leaders. Since Hamas has been recognized as the United States as a terrorist group, all talks are through the Palestinian National Authority. If Hamas would make concessions, the United States would consider opening talks through the Special Envoy. The recommended plan since 2001’s Mitchell Report for both Israel and Palestinians have been threefold: 2. Rebuilding of confidence in the Palestinian Authority (now the Palestinian National Authority). This

Cubism movement Essay Example | Topics and Well Written Essays - 1250 words

Cubism movement - Essay Example â€Å"Within the first two decades of the 20th century, a new art movement began that was unlike any other—Cubism. Started by Georges Braque and Pablo Picasso, most Cubist works are immediately recognizable due to their flattened, nearly two-dimensional appearance; an inclusion of geometric angles, lines, and shapes; and a fairly neutral color palette†.Imagination and influence of other artists was contagious and spread like the wild-fire! Artists were waiting in the wings, as if to tread the path of this novel mode of art. Additions and subtractions were made to the original conception of Cubism. The great artist Picasso was highly influenced by the works of Paul Cezanne and Jean Dominique. He experimented with ambiguous silhouettes. Next to catch his imagination was primitive and African art. Artists began to don the gowns of mathematicians. Cezanne advised the artists to treat nature in terms of the cylinder, cone and the sphere. Picasso and Braque did further improv ements. After conceiving the totality of the subject, they fragmented and analyzed and then reassembled it in an abstract form. They were criticized and appreciated for their extraordinary experiments—that they abandoned proportions, continuity of life samples and organic integrity and material objects. Critics said that the works looked like a field of broken glass.Notwithstanding the criticism and differences in opinions, Cubism thrived. â€Å"The Cubist emphasized a flat, two-dimensional surface and rejected the idea that art should imitate nature.