Exercise one Essay Example | Topics and Well Written Essays - 250 words

Exercise one - Essay Example The Appalachian Mountains is distributed in four major sections, these are the Appalachian plateau, ridge and valley, Blue Ridge and the Piedmont. Mount Mitchel is the uppermost summit point located along the low mountain range estimated approximately 6,684 feet. The ridges are evidently the hallmark of the Appalachian ridges. The Valley and Ridge and the Blue Ridge is made of rock formation that are narrow and differentiate the mountains from the neighboring valleys. The ridge tops extend to over a thousand feet above the neighboring valleys and are surrounded by serrated and rough sandstones. The top level of the valleys in the Appalachian Mountains are composed of shales and siltstones. Evidently, a great portion of the Appalachian Mountains is covered in thick forest tress that form a canopy all over the mountain range. On higher level of the mountain, it is engulfed in evergreen forests consistent with spruce and fir. On the other hand, the lower regions of the mountain is cover ed by trees with broad leaves like oaks and

The Debate Over Standard English Essay Example | Topics and Well Written Essays - 3000 words

The Debate Over Standard English - Essay Example This paper illustrates that students have to be taught something, and so Standard English has become a way of attempting to overcome the differences which are, in reality, an inevitable part of language use. This standardization presents two linguistic problems. The first is that there is no one form of English which has officially been taken as standard. The second is that even were such an agreement to exist, any form of English is constantly subject to changes in usage by the people who use it. Â  It is first necessary to explore and challenge current issues present in the definition of Standard English. Trask puts forward some useful key points which he considers fundamental in the definition of Standard English. The first is that ‘Standard English itself is not quite uniform: for example,e there are detectable differences between standard American and standard British English’. These differences, although they do not inhibit understanding between speakers, are clea r evidence of the fallacy of a standard English. Indeed, it is necessary to speak not of ‘English’ but rather of Englishes. The use of this plural in a number of critical works on the subject is already clear evidence that standard English is an unsuitable term. Gilsdorf is more emphatic in underlining the differences in standard English than Trask. Trask plays down this difference, while Gilsdorf states that ‘English, of course, is multiple Englishes. We are familiar with the U.S.’s regional dialects and to some degree with British English, Australian English, and Irish English, and perhaps a few others. Differences can be considerable’. To say that standard English is ‘not quite uniform’, therefore, is somewhat of an understatement.

Physical Security Principles Essay Example for Free

Physical Security Principles Essay Safety in numbers has always been a deterrent method when leaving or traveling through places that are not safe. But without proper physical security measures set in place when leaving any facility or building the need for a crowd will be of no use. Proper physical security requires accessing the risk that may cause threats, vulnerabilities, and attacks when certain principles are not implemented. Physical security also refers to tangible impediments to attack or unauthorized entry. Safety involves having the building, grounds, access to and from the parking area, and other hidden locations secure by lighting, monitoring, and physical patrol. Physical security should include the inside of the building as well as the outside and adjoining perimeter. Building Security There can never be too much security for a business, corporation, school, or home owner. The threat of an individual causing bodily harm or taking personal belongings without permission are very high if proper equipment and safety precautions are not taken. Proper lighting and cameras should accommodate buildings for the safety and protection of employees, staff, and students. Securing the facility and the type of risk that is ssociated with each building will need analyzing and assessed for protection. Each facility is different when providing security for their site. Federal buildings will not require the same type of protection as a bakery. Security for Building Occupants and Assets (2009) states â€Å" that it may require addressing certain situations such as unauthorized entry/trespass (forced and covert), insider threats, explosive threats, stationary and moving vehicle-delivered, mail bombs, package bombs ballistic threats, small arms, high-powered rifles, drive-by shootings, etc. weapons of mass destruction (chemical, biological, and radiological) disruptive threats (hoaxes, false reports, malicious attempts to disrupt operations) cyber and information security threats† (WBDG, 09). Each business building structure will determine the basic requirements for securing the safety and well being of staff and personnel. One size do not fit all but according to Katz and Capsi, 2003, states â€Å" Prior to running out and ordering millions of dollars of protective equipment, professionals should evaluate the overall security of your facility and a detailed report of the results should be prepared†. Ground Security Another key issue that complements the safety of any building is the lighting of that building. Lighting inside and outside of a building can help deter physical mishaps and attacks The lighting should be situated at every entry and exit and also throughout the building and also positioned correctly for better angles and views of open areas and spaces. Perimeter security lighting should also be available for long corridors and parking garages. Correct lighting in these places can give patrons a better visual of their surroundings and also allow them to see what may be obstructing their path. Having proper lighting and cameras may not be enough to keep out unwanted activity. Employing trained security professionals to patrol the facilities can add to deterring criminals. Hired security guards by a reputable company can add to the buildings safety and that of the patrons coming and going. How likely a crime target any specific building is, depends on the perceived gain to the perpetrator, balanced against his perceived risk of apprehension or defeat (Witherspoon, 2002). The presence of a trained guard can limit the amount of loitering or negative behavior outside and offer a feeling of safety to staff and employees who are ntering or leaving the building. Technology Advancement Physical security for any facility is a major factor for keeping safe and having modern technology on site is a greater addition. Protecting the facilities assets requires the company to stay ahead with modern day upgrades and devices for ensuring that whatever or whomever is gaining access to the property is suppose to be there. Monitoring the individuals who enter through facility access control and perimeter fences or installing video and closed circuit television surveillance can eliminate trespassers and those with no prior business on the property. Personal identification systems can also be established that use fingerprints and biometrics to gain access into any facility for staff and personnel. The amount of technology to use for physical security is unlimited depending on the facility and what needs protecting. Conclusion Physical security involves many components such as location, configuration, size, shape, and many other vital attributes that comes with a standing structure. Keeping people safe on the inside as well as those on the outside requires security principles that go beyond what just the normal eye can see. Applying the correct physical equipment to lower the risk of unwanted behaviors and attacks depends on how well the perimeter is guarded. Advanced technology including cameras and monitoring systems add to the insurance of physical security and if used properly can lower the possibility of threats. There is never an answer for what system works best but using a variety of methods is sure to make leaving work a little safer.

Role Played By International Organizations Politics Essay

Role Played By International Organizations Politics Essay International organizations provide a forum for international co-operation in environmental issues as they play two important roles environmental policy making and the development of international environmental law. Every organization is endowed with environmental responsibilities as those involved in international environmental law are established at the regional global, regional and sub-regional and bilateral levels. Almost all international organizations today have some competence or responsibility for the development, application or the enforcement of international environment obligations including those related to standard setting. The decentralized nature of international organizations in the international environment field makes it difficult to assess their roles by reference to any functional, sectorial or geographical criteria. They can be divided into three categories global organs associated with the United Nations and its specialized agencies, regional organizations outsi de the United Nations system and organizations established by environmental and other treaties. Within these categories there are of course overlaps since many organizations established in the categories were created by acts of the United Nations or its specialized agencies. History of International Organizations Prior to 1945 there were no international organizations dealing with environmental affairs but the period after World War II saw the emergence of a number of international organizations grow. They were established at global, regional and sub-regional levels to deal specifically with environmental issues or to adapt to the existing organizations by having competence in the area of environmental issues. The Stockholm Conference recognized that the global and regional environmental problems required extensive co-operation among nations and action by international organizations in pursuit of common interest for the protection of the environment.  [1]  Also states were called upon to ensure that international organizations play a coordinated, efficient and dynamic role for the protection and improvement of the environment.  [2]   Functions and Roles of International Organizations They perform a number of different functions and roles depending on their constituent documents in relation to environmental affairs ranging from judicial, administrative to legislative roles. The functions they perform relate mostly to five areas which will be discussed shortly. Forum for co-operation and co-ordination among states and non state actors on environmental management matters. As they act as a forum where informal and formal ideas are shared which builds on international consensus for regional and global action to be taken. Provides information international organizations receive and disseminate information and facilitate for the exchange of information through formal or informal consultations between states. Contribute to the development of legal obligations such as soft law by acting as a catalyst informally outside the organization or formally within the organization where the organization adopts acts or decisions which create legal binding obligations. Ensures implementation and compliance with obligations by receiving information from parties on an informal basis or receiving regular reports or periodic communications from parties to international environmental treaties as a means of reviewing progress in implementation. Act as an independent forum or mechanism for the settlement of disputes between states. Through the work of bodies with general competence to an environmental agreement or by reference of an issue to a body specifically created to assist with dispute settlement such as the International Court of Justice or the International Tribunal for the Law of the Sea. Global Organizations General Assembly The United Nations specialized agencies and its subsidiary organs are regarded as the focal points for international law in the fields of environment law.  [3]  Through, the practice of the principal organs such as the General Assembly which has interpretated and applied broad principles such as the promotion of sustainable development and the protection of the environment. The General Assembly is regarded as the principal decision making organ and has the power to discuss any question or matters within the scope of the United Nations Charter or make recommendations to member states or the Security Council.  [4]  Furthermore, promote international co-operation in political social, cultural, educational, health fields plus the codification and development of international law.  [5]  There is no specific mention of the General Assembly having competence in environmental affairs but under Agenda 21 it was recognized as the principal policy making and appraisal organ having a regular review function with respect to Agenda 21. The major role played by the General assembly has been the creation of bodies that have been instrumental in environmental law such as the UNEP which is the main voice of the United Nations by bringing emerging issues before the international community so as to reach global and regional consensus on such matters. The CSD and the UNDP which seek to help developing countries and those in transition achieve sustainable development in line with environmental principles and standards. United Nations Environment Programme The United Nations Environment Programme is the United Nations designated body for addressing issues at the global and regional level. Its mandate is to co-ordinate the development of environmental policy consensus by keeping the global environment review by bringing emerging issues to the attention of governments and the international community so as to pursue action. This is the United Nations body exclusively focusing on international environmental matters. The constituent instrument which the programme adheres to commits it to the provision of policy guidance and co-ordination of environmental programmes within the United Nations among its roles.  [6]  The creation of the programme is testimony of the General Assemblys powers granted to it under the Charter so as to ensure environmental matters are dealt with collectively since they affect everyone. Provision of information UNEP has been promoting access to information on environmental law in order to increase the level of world-wide knowledge and to provide actors directly involved in the development, implementation and enforcement of environmental law, with the information they need. According to the Stockholm declaration  [7]  provision of such information is education on environmental matters, for the younger generation as well as adults, in order to broaden the basis for an enlightened opinion and responsible conduct by individuals, enterprises and communities in protecting and improving the environment. The basic premise being enhancing the knowledge of environmental law issues by carrying out environmental law studies through the development of websites, and producing environmental law publications to build capacity in environmental law globally. For instance, on Studies in environmental law matters UNEP devotes great attention to the strengthening and promotion of environmental law by undert aking legal studies on different areas identified in the Montevideo Programme III and in subsequent Governing Council decisions. Secondly, establishing a website which provides information on all its environmental activities such as UNEPs environmental law programme is intended to be an instrument for conveying not only information about UNEPs activities, but also to work as a resource tool for all those interested in environmental law world-wide. UNEP ensures that information on environmental matters is known fully especially to the least developed and developing countries sop that they use the environment sustainably with the information published. Provision of technical assistance to developing countries and in transition Technical assistance is very vital as few countries are fully capable to deal with environmental matters as they are today. This was recognized in the UNCED Agenda 21 and the WSSD plan of implementation which recognized the short comings in the environmental legislation in effecting the integration of environment and development policies and practices especially in the developing countries. UNEPs role is to strengthen national and institutional bodies so as to be able to translate sustainable development policies and strategies into action with respect to developing countries and those in transition. In line with Agenda 21 which underscores the importance of implementing international obligations through enactment of the laws at regional, national or municipal level. UNEP in line with Agenda 21 has focused on technical assistance with respect to building the capacity of legal stake holders such as decision makers, legal professionals and academics. The provision of Technical Assistance is guided by the Montevideo Programme II in which the Governing Councils decision 17/25 paragraph 2 stated its objective provision of technical assistance to least developing countries and countries with economies in transition to develop and implement environmental law. Which ensures the UNEP plays its role in assisting governments strengthen their legal and institutional frameworks through training the capacity of decision makers and legal stakeholders in environmental matters so that they strengthen, implement and develop environment law. The role of UNEP is to ensure that the least developed and developing countries in terms of the Rio  [8]  declaration enact effective environmental legislation so that it is in line with the environmental and development standards. Meaning the laws enacted have to reflect in their domestic laws international environmental law and in line with the developments in environmental law. United Nations Development Programme The United Nations established the United Nations Development Programme in 1965  [9]  as the principal channel for multilateral technical and investment assistance to developing countries apart from integrating the millennium development goals with environmental matters. It is active in all economic and social factors which are highly valuable under environmental law as they are interlinked with environmental sustainable development as stated in the Copenhagen Declaration on Social Development  [10]  economic development, social development and environmental protection are interdependent and mutually reinforcing with respect to sustainable development which is the framework to achieve a higher quality of life for all people. Therefore, the work of the United Nations Development Programme is linked directly to poverty reduction by removing the social and economic barriers by empowering the poor so that they will be able to practice sustainable use of the environment in line wi th its mandate. As there can be no achievement of sustainable development without clear focus on the reduction of poverty as favourable conditions must be present both socially and economically to ensure development and sustainable use of the environment. This is in line with the Rio Declaration  [11]  which clearly envisions eradication of poverty so as a requirement for the sustainable use of the environment by decreasing the disparities of living standards in line with the people in the world. The UNDPs role is to help developing countries strengthen their capacities to deal with environmental challenges at global, national and community level seeking and sharing the best practices by providing policy advice, management of important programmes and institutions such as the Global Environment Facility. This introduced the Small Grants Programme which aims at strengthening local capacity in the community by providing enabling conditions. As for instance, the Small Grants Programme works with communities around the world to combat the most critical environmental problems and support communities in their efforts to achieve more sustainable livelihoods. SGP supports projects of non-governmental and community-based organizations in developing countries to demonstrate that community action can meet both human needs and environmental sustainability.  [12]   UNDPs role in developing countries is to ensure effective participation of women in environmental affairs. As according to the Rio Declaration  [13]  women have a vital role in environmental management and development. Their full participation is therefore essential to achieve sustainable development. Since local actors, especially women, are excluded from meaningful participation in environment and energy policy-making processes. Exclusion has served to weaken the impact, cost-effectiveness, and sustainability of initiatives, funding mechanisms, and programmes implemented by international development agencies and national governments.  [14]  This is attributable to the Small Grants Programme which enhances the capacity of local actors, especially women, to access environmental finance so as to ensure they are better equipped to act responsibly. Commission on Sustainable Development The United Nations Commission on Sustainable Development (CSD) was established by the UN General Assembly and ECOSOC in 1992 to ensure effective follow-up of United Nations Conference on Environment and Development (UNCED), also known as the Earth Summit. The Johannesburg Plan of Implementation recognized the CSD as a high level forum on sustainable development and it has specific roles which are. Review progress at the international, regional and national levels in the implementation of recommendations and commitments contained in the (UNCED) namely: Agenda 21; and the Rio Declaration on Environment and Development.  [15]  Follow up the Johannesburg Plan of Implementation and achieve sustainable development.  [16]  Promote dialogue and build partnerships for sustainable development with governments, the international community and the major groups identified in Agenda 21. The Earth Summit recognized capacity-building as the means of implementation for Agenda 21 with particular focus on national mechanisms and international co-operation. The Division for Sustainable Development provides targeted advisory services at the request of individual governments. These services support specific policy initiatives and the requisite institutional development and capacity-building. Technical support is specifically designed to accelerate the formulation of policies for sustainable development and provide substantive support for their implementation at national and international levels in line with the Johannesburg Plan of implementation.  [17]  The Divisions technical expertise enables it to support developing countries and countries with economies in transition in their realization of sustainable development. The role of the CSD is to better equip developing countries to develop in line within the framework of environmental law principles as each country has its specific needs especially developing countries. United Nations Institute for Training and Research Is an autonomous body within the United Nations with the mandate to enhance the effectiveness of the United Nations through training and research. The role of UNITAR is to strengthen the capacity of Member States, Organizations and individuals to address environmental challenges and reach sustainable goals through innovative training approaches and methods.  [18]  In line with the Rio declaration which promotes access to information, public participation, and access to justice in environmental matters and the Aarhus convention which is a major initiative to strengthen environmental democracy it acknowledges that achieving sustainable development requires the involvement of all stakeholders. The role played by UNITAR is to ensure full participation of all the stakeholders under environmental law through proper training, being given a better understanding of how environmental law operates which in effect is capacity building of both developed and developing countries with respect to environmental matters. For instance, the Environment Unit deals with four core areas chemical management, climate change, biodiversity and environmental governance and law. All these areas are crucial to environmental law and the participation of all stakeholders ensures that there will be meaningful progress in the development of Rio Declaration Principle 10, the Aarhus Convention with respect to environmental law. Especially for governments, international organizations, developing countries and those countries in transition it will help them at a national level to adhere to multilateral agreements by addressing the gaps and weaknesses they have by involving the relevant stake holders at all levels necessary. Further, the role played by UNITAR is to be a haven of knowledge and expertise in my view with respect to international law and environmental law issues. This can be amicably seen in the international law programme it has which targets the relevant stakeholders in environmental law such as governments, international organizations, private lawyers, diplomats and government lawyers to ensure that they have full access to the information they need and participate fully by upholding the global respect for international principles. Security Council Under the Charter of the United Nations it has primary responsibility for the maintenance of international peace and security.  [19]  Its mandate does not spell out the protection of the environment but due to its binding legal resolutions  [20]  it plays a significant role under international environmental law by promoting its development. The Security Councils first encounter with environmental matters was in 1991 when it adopted a resolution holding Iraq liable for damage to the environment resulting from the invasion of Kuwait.  [21]  It would be wrong to say that the Security Council has not played a role in environmental affairs as peace is very vital to ensure that there is development and sustainable use of the environment. As outlined in the Rio declaration  [22]  peace, development and environment protection are interdependent and indivisible. In essence the role played by the Security council is to ensure that as peace prevails so does the environment devel ops due to the preservation of peace by the Security Council. Protection of the environment has always been the duty of the Council as under the Rio declaration  [23]  warfare is inherently destructive for sustainable development as states should respect international law which protects the environment in times of armed conflict. Therefore, the Security Council has played a role in the promotion of environmental law by advocating for peaceful settlement of disputes and banning of wars so that there can be development of the environment as stipulated under international environmental principles. Food and Agriculture Organization (FAO) Based in Rome established in 1945 and has a specific mandate to deal with environmental issues namely to promote the conservation of natural resources and the adoption of improved methods of agricultural production.  [24]  FAO leads international efforts to defeat hunger the first MDG, reducing global hunger and poverty by half by the year 2015. Helping both developed and developing countries, by acting as a neutral forum where all nations meet as equals to negotiate agreements and debate policy.  [25]  FAOs role is to support global environmental targets as Priorities for reducing hunger cannot be separated from those for sustainable management of natural resources and ecosystems. There is a close link between hunger, poverty and environmental degradation which underscore the need for multidimensional approaches to their reduction. FAOs Strategic Framework (2000-2015) specifically highlights sustainable production and natural resource conservation. FAOs role is to help count ries and regions develop coherent policies and programmes for efficient and socially desirable sustainable management of resources. The strategy also aims for the conservation, improvement and sustainable utilization of natural resources for food and agriculture, with special emphasis on fragile ecosystems and environments at greatest risk as in developing countries which are mostly affected. FAO works in broad partnership with governments, national, international and non-governmental institutions and civil society to broaden the base of understanding and increases the chances for success in addressing existing and future sustainable development and environmental priorities. Provision of Skilled personnel In line with its objective of reducing hunger which has the capability of causing social and economic problems if not checked fully. The organization has skilled expertise in the field who will serve to ensure that a boost in food production and sustainable methods of doing so are exchanged. FAOs experts are in different fields which help collectively to achieve the objectives within the spirit of co-operation as outlined in international instruments. The experts include Agriculture, Economic and Social Development, Fisheries, Forestry, Natural Resources Management and Environment. And since it has global and regional offices allows it to address the environment problems accordingly when they meet to ensure amicable solutions are given at high level forums in order to solve the problems plaguing the countries. Provision of knowledge FAO serves as a knowledge network through the use of experts foresters, fisheries and livestock specialists, nutritionists, social scientists, economists, statisticians and other professionals to collect, analyse and disseminate data that aids development. In providing knowledge to countries FAO recognizes that environmental issues cannot be handled without effective information within the hands of relevant stakeholders to ensure they have an understanding of what they are dealing with. Especially Online databases, thematic knowledge networks and new practices as websites disseminate information to help policy-makers and individuals make better informed decisions, strengthen links and facilitate sharing and exchange of information.  [26]   United Nations Educational Scientific and Cultural Organization (UNESCO) Established in 1945 its role is to contribute to peace and security by promoting international collaboration through education, science and culture while conserving and protecting historic and scientific monuments.  [27]  Its role has been in line with the Earth Summit which advocated for sustainable development which meets the needs of present generations without jeopardizing the ability of future generations to meet their own. In essence sustainable development cannot be dealt with without educating the relevant actors in environmental law coupled with scientific knowledge. Therefore UNESCOs role is to educate and ensure knowledgeable citizens, informed political and economic decision makers are able to solve emerging environmental issues. For instance, UNESCO has a Climate Change Education for Sustainable Development Programme as education is an essential element of the global response to climate change. In line with the Stockholm declaration principle 19 education helps young people understand and address the impact of global warming, encourages changes in their attitudes and behavior and helps them adapt to climate change-related trends. UNESCO aims to make climate change education a central part of the international response to climate change. By strengthening the capacity of its Member States to provide quality climate change education; encouraging innovative teaching approaches to integrate climate change education   in school and by raising awareness about climate change as well as enhancing non-formal education programmes through media, networking and partnerships.  [28]   Furthermore, UNESCO promotes environmental law through its intergovernmental oceanic commission through capacity development. By developing leadership capacity such as fund-raising, team building, and decision-making skills for directors of marine and coastal sciences institutes to strengthen scientific, legal and institutional structures.  [29]  Special attention is given to developing, tropical and small island states where livelihoods depend heavily on marine resources. The Stockholm declaration in principle 20 clearly outlines such assistance to developing countries Scientific research and development in the context of environmental problems both national and multinational must be promoted in all countries especially developing countriesà ¢Ã¢â€š ¬Ã‚ ¦. Environmental techonologies should be made available to developing countries which would encourage their wide dissemination. The objective of the programme is to empower developing countries to sustainably use their coastal an d marine resources by through self driven capacity development. Due to the degradation and loss of life-sustaining ocean resources is accelerating, one of the greatest challenges is to develop capacity rapidly enough to protect and preserve these resources. The capacity-building approach aims to reduce the continuous dependence on aid by empowering countries to address their own problems through science-based strategies.  [30]   International Maritime Organization (IMO) The major role of the International Maritime Organization is to provide machinery for cooperation among Governments in the field of governmental regulation and practices relating to technical matters of all kinds affecting shipping engaged in international trade, to encourage and facilitate the general adoption of the highest practicable standards in matters concerning maritime safety, efficiency of navigation and prevention and control of marine pollution from ships.  [31]  Therefore the major role of the maritime organization is to ensure the safety of ships at sea so that they do not discharge pollution into the sea oil or any other substance plus there is no unnecessary dumping of wastes which causes damage to the marine environment. In having such high safety standards on ships which converge the ocean in essence they are fighting against pollution from such ships and are advocating for liability of pollution in the ocean as a way to ensure high standards of safety and secur ity procedures for ships. For instance as a result of the Torrey canyon disaster in 1967 a legal committee was established which became a permanent subsidiary organization. The swiftness of the action is admirable and only serves to show that the organization is concerned with the safety and security of ships as they travel over the ocean ensuring they do not cause marine pollution. In promoting the safety and security of ships as they traverse the ocean the IMO as mandated by its convention provides an Integrated Technical Co-operation Programme which ensures there are safe, secure and effective shipping services further protecting their waters and coasts from the environmental degradation caused by ships and other maritime associated activities. International Labour Organization (ILO) The role of the International Labour Organization is to promote its programme decent work for all as work is central to the well being of people. By providing work one gets income paving the way for social and economic advancement through strengthening of families and communities.  [32]  Therefore the major purpose of the ILO is to eradicate underdevelopment as stated in the Stockholm declaration which has caused many developing countries to lag behind. By securing decent work for all creates jobs as people can live sustainable livelihoods and ease pressure on the environment. The basic thrust of the programme in environmental affairs is to forge international consensus among governments, employers, workers and civil society that productive employment and decent work are key elements to achieving a fair globalization, reducing poverty and achieving equitable, inclusive, and sustainable development.  [33]<

Creation and Development of a Film Soundtrack

Creation and Development of a Film Soundtrack Abstract Cinematic environments are created through image, dialogue, music and sound,  but the craft involved in creating an environmental soundtrack often goes  unnoticed by the film viewer. Soundscapes are rarely just background: they are  powerful storytelling vehicles in their own right, of equal importance to the visuals.  This article examines the process of creating an environmental soundtrack for  cinema from the perspective of a sound designer. Particular attention is given to  how sound is created and layered to enhance, embellish and produce the films  narrative. Using contemporary Australian films, notably Australia (Baz Luhrmann, 2008) and  Happy Feet (George Miller, 2006), the article examines the different challenges in  creating an environmental soundscape for both an animation and a live action film.  The films Avatar (James Cameron, 2009), Little Fish (Rowan Woods, 2005) and The  Magician (Scott Ryan, 2005) are also cited to highlight various approaches to  environmental representation in film sound. While both Australia and Happy Feet  rely on the landscape and environment as integral storytelling components, the  approach to creating their respective soundscapes requires not only natural  recordings, but also the creation of many previously unheard sounds using  synthetic sound design. Keywords: Sound design, Australian film, soundscape, environmental representation,  animation Introduction Soundscapes have the ability to transcend the social and cultural barriers that  sometimes thwart language and even music. Creating an environmental  soundtrack for cinema is as much a technical craft as it is an aesthetic art form.   Often overlooked by the audience, the sounds of the environment in many  contemporary films are based on the synthetic design and recreation of many  settings. Environmental soundscapes are some of the most intricate to create. The  combination of image, dialogue, music and sound help create the overall  soundtrack, however the film viewer is often unaware of the intricacies and  craftwork used in the creation of these aural environments. Furthermore,  narrative of the film is carefully considered in the creation of these environmental  soundtrack elements. This article examines the process of creating an environmental soundtrack for  cinema from the perspective of a sound designer who has worked in the Australian  film industry for over 15 years (Fig 1). The articles focus is on the use of  environmental recordings and sound effects to create a landscape, as opposed to  the use of dialogue and music in the soundtrack. Using two contemporary  Australian films, Happy Feet (George Miller, 2006) and Australia (Baz Luhrmann,  2008), this article examines the different creative process used for an  environmental soundscape for an animation and a live action feature film.   Figure 1: The author at work at Australian Clay Target Association, Wagga Gun Club, Wagga Wagga, Australia. (Photo  courtesy of Tony Turner.) Soundscape Design From earliest societies to contemporary musicians, sound has been an integral  communication component to convey messages, express emotion and to tell a  story. Communication through the use of sound has been significant to human  social evolution. Although spoken language is the predominant form of sonic  communication in our society, other oral and aural methods include rhythm,  melody, percussion, humming, the mimicking of sounds through vocalisations and,  in the modern era, by the recording and creation of music and sounds through the  use of technology. As David Sonnenschein states, [by] giving meaning to noise,  sound becomes communication (2001, p. xix). Through the use of recorded sounds  and the creation of new sounds, the art of sound design has become an important  approach to screen based storytelling. Although landscapes appear to be natural, creative liberty is often given to the  aural representation of these settings as required by the film narrative. While both  Happy Feet and Australia rely on the landscape and environment as integral  storytelling components, the approach to creating their respective soundscapes requires not only natural recordings, but also synthetic sound design and  creation. Whether natural or synthetic, neither approach is less significant than  the other. In this paper my definition of natural recordings pertains to sounds that are created organically through such elements as winds, ice, land mass, water,  animals, vegetation and various other sounds naturally occurring without evidence  of human or industrial influence or activity. Difficulties such as accessibility and noise pollution make our most pristine  locations increasingly difficult to capture sonically. Although not always the  preferred method, synthetic aural environmental design will continue to develop as  a necessary addition to assist in crafting the aural illusion of cinematic  environments. Using a recent trip to Mount Kosciusko as an example (Fig 2), I was  surprised at the amount of noise pollution tainting the sound recordings within the  National Park. Many of these sounds were distant sounds, including small planes  and agricultural sprinklers: however they still managed to appear faintly in the  background of some of the recordings. When used in the context of a film these  edited recordings appear to be natural when first listened to by an audience, but  they are unaware of the use of equalisation, filtering techniques, frequency band  compression and other such technological solutions in eradicating this noise. Th is  processing of the original recordings in turn transforms these natural recordings  to new artificially designed pseudo natural sounding environments.   Figure 2: Yarrangobilly River, Kosciuszko National Park. (Photo courtesy of Caroline Candusso.) When the sound designer commences production on a film, they study the  environmental landscape, location and the period in which the film is set. This  becomes the foundational building block of the soundtrack and determines the  approach to creating the overall narrative for the film through sound. In the film  medium, sound design purposefully communicates to an audience through  recorded and created sounds that augment the onscreen visuals. In contemporary  cinema, dialogue is the primary auditory component used to convey a story,  however the sound ecology of the landscape and the sound effects are of equal  importance. Sound design does not merely replicate what is happening on screen,  it is an additional storytelling component. An example of this occurs in Australia  (Baz Luhrmann, 2008), in the scene where we first learn of the impending attack   on Darwin by the Japanese. Here for the first time a soft, almost whispering of  wind is heard. The plane approach has no engine sounds, only the sounds of the  wings slicing through the air. This was a brief from the director who wanted the  first plane to replicate a shark surfacing with only the fin piercing the water  surface. It is not until the plane is revealed and peels off to the right of screen that  we start to hear the sound of an actual engine, the roar of danger, the sound of an  advancing Zero threat. The sound does not give away the shot before we see the  plane, in fact it adds to the curiosity. The sound of the wind makes the scene even  more menacing and, in this instance, the sound has foreshadowed the action on an  emotional level before the visuals have presented it. In cinema history, advances in sound technology have given filmmakers the  opportunity to take advantage of the creativity of sound and allow it to play an  equally important role as the visuals in storytelling. As George Lucas has noted,  Sound is 50 percent of the movie going experience (2004: online). Hollywood has  increasingly relied on sound to contribute to the contemporary film viewing  experience. Audience expectations of sound place greater emphasis on the craft of  sound design. Approaching the Task of Environmental Sound Creation   With many factors contributing to the use of authentic sound recordings  (including budget, availability of personnel, deadlines etc.), often sounds need to be  fabricated. These sounds may make up the entire soundtrack, or they may only  make up elements of the soundtrack that blend with other recordings of actual  environmental sound. If the soundtrack is created well, it will not appear to be out  of place and the audience will not be aware of any disparities. It is only when the  soundtrack jars that the audience is alerted to the sound and may question the  legitimacy or integrity of the sound sources. A fictitious alien landscape scene, for  example, containing recognisable sounds from our world may elicit a sense of  disbelief. When we see a storm onscreen, we routinely hear thunder; when we see a dog, it  often barks; a door usually creaks; a car might skid when stopping; and explosions  may shake the room. There are many sound clichà ©s consistently used in the  contemporary soundtrack. Through developments in cinema sound technology,  many Hollywood film soundtracks are created to deliver what an audience expects  to hear, rather than represent the actual sounds of the real world. Also sounds are  pared back from all of those that might be in a specific setting to emphasise those  most relevant to the narrative. With the use of high quality speakers with a wide  frequency response, the introduction of the various surround sound formats and  powerful computers with an array of software options, technology is allowing for  greater creativity and flexibility in the soundtrack. The sound designer needs to balance between telling the story using the available  tools, and delivering a soundtrack that is credible for the story and setting. While  the overall soundtrack needs to be treated with careful consideration, so too should  the individual sound components that contribute to it. It is not uncommon for the  sound designer and editors to research the authenticity of various elements within  the film to provide a guide as to the legitimacy of the sounds and the sound sets  required. For example, if we see a shot of the Statue of Liberty, New York and, place of the sound of pigeons, the only birds we hear are kookaburras, the  audience will be distracted from the story, and continuity of the film will be  disrupted.In both Happy Feet and Australia, extensive research was conducted into the  environments and locations of both film settings prior to the editing of any sound.  Particular attention was given to the study of the wildlife, espe cially birds and  insects, and the seasons. Other research investigated the locations on a larger  scale including the weather of Antarctica-which notably does not develop thunder.  Careful sound choice allows the audience to be situated within the depicted  environment. At the commencement of sound post-production, one of the most important  preparatory steps is to read the script or to watch an edit of the film in its entirety.   Depending on the film, the sound team may have the luxury of reading a script  during the film pre-production phase or in other instances a rough edit may be  given to the sound team to view almost immediately after shooting has completed.  In some instances they may be given both. Providing either a script or an early edit  of the film allows for the planning of the dramatic journey of the film, and the  mapping of the narrative dynamics through sound. This can be in the form of  physically drawing a chart or a graph mapping the drama and dynamics of the film  over time. This allows careful designing of sounds to build up to the climactic  scenes in the film, and then to use quiet moments to increase dramatic impact.  Having a graphic representation of the film allows for the nuanced planning of the  soundtrack, which will follow and often assist the onscreen narrative. Depending  on the directors approach to the film, this method can also be helpful for creati ng  juxtaposition between the onscreen drama and the aural drama. Sound has the  power to emphasise or soften a story depending on the directors decisions. Happy  Feet has a scene depicting a leopard seal chasing the central protagonist, Mumble,  underwater. Due to the visual size and menacing teeth of the leopard seal the  original sounds edited for the scene had to be re-crafted to suit the targeted  audience of children. Many of the original growls were replaced by less aggressive  grunts, and more breaths were added to soften the chase and viciousness of the  antagonist. Every film has its own challenges and requires its own approach to the sound  design. Some films are created to imitate reality and often contain sounds of  actual location sound recordings of what the audience is seeing on screen,  recorded on set from the filmed locations. In the films Little Fish (Rowan Woods,  2005) and The Magician (Scott Ryan, 2010) for which I was a sound effects editor,  sound designer Sam Petty aimed to recreate the actual real sound of the locations  in both films. Petty retraced the shots of The Magician and recorded the film  locations throughout Melbourne. On Little Fish I retraced and recorded many of the  film location environments including several locations in Cabramatta, Sydney (Fig  3). Both the Cabramatta train station and the featured shopping mall are central to  establishing the locations within this film. Having to recreate these locations from  either library sounds or unauthentic recordings would have been very time   consuming, and still may not provide the desired authenticity.   It is important to note that the shooting schedule does not generally allow enough  time for the location sound crew to capture many sounds of locations during  filming. The primary concern of the location sound recordist and crew is to capture  the dialogue and the actor performances. The audio post-production crew then  need to seek permissions to re-record after initial filming, which requires further  time and funding that are rarely included in the budget.    In contrast to films like The Magician and Little Fish, many films require the use of  exotic, rare and even previously unheard or fabricated environmental sounds. With  the increase in films based around visual effects, films can be located in fictional  lands with entirely contrived characters and creatures.  Depending on the context of the film, an audience will have preconceived ideas of   what the sounds should be for particular scenes. This is the case even for animated  films that are set in entirely contrived locales. James Camerons Avatar (2009) is a  well-cited contemporary example. No one has physically experienced this mythical  land of Pandora, although we have some sense of what we would expect to hear,  for example, by associating the forest with familiar rainforest, or by the appearance  of certain creatures. The environmental sounds alone comprise many previously  unheard insects, specific and unusual animals, other background animal  vocalisations, and types of vegetation. On occasions such as this it may be necessary to create entirely new sounds for  these new worlds. These original sounds may start their incarnation from the  recordings of sounds from our own world or they may be completely synthesised.   What is important is to keep these new sounds identifiable according to our  current expectations. Some designing techniques for these new sounds may  include the following:   transforming existing sounds through the use of pitch changing,  equalisation, or any number of filtering processes using specific recordings of rare or unusual sounds   pitching or modifying electronics, machinery or vehicles   pitching and combining various animal vocalisations   using synthesis to create new sounds, and others.   Although budget constraints will influence the approach to film sound design, so  too does the availability and existence of-and access to-required sounds. When  creating a sonic environment or landscape for a film, wherever it is set, it is  important to consider what is real to the location, what seems real, and what  sounds the audience expects to hear. In summary, factors determining the  approach to the creation of the environments include whether the location exists in  the real world, whether environmental recordings were made during on-location  filming, whether the storyline is located in a contemporary setting, and whether  funds and safety allow the recording of the location.  This leads to a discussion of two contemporary feature films from the perspective of  a sound effects editor1. Produced on relatively big budgets for Australian feature  films,2 both Happy Feet and Australia included a dedicated atmosphere sound  editor as part of the sound te am. This role is often absorbed by the sound effects  editor on smaller productions and lower budget projects. In both films, my sound  effect creation and editing drove the use of the environment as an integral story  component and, as such, I worked very closely with the atmosphere editors. What  distinguished my role from that of the atmosphere editor was that my contribution  treated the landscape as a character. Working in sound effects, I specifically  designed many sounds for both films with integrated and often highlighted story  elements associated with the environments. These films differ quite considerably and provide contrasting examples of sonic  environment creation. The films are set in remarkable and distinctive locations; Happy Feet is an animated film set in Antarctica, while Australia is a live action film  set in the Northern Territory, Australia.3 Both films pose varying degrees of  complexity in terms of their sonic environmental depictions on screen.  Creating a Sound Environment As with the visuals, the sound for an animated film differs from live action film. With no actual filming on location, all characters are created, all sets are rendered,  and all visuals are designed by animation artists. There is no cinematographer filming actors at an actual geographical location as with a live action film (although  voice acting is recorded for the animators). Sound recordings of the film set  locations are not captured as there is no filming on location.4 Therefore all sound  environments need to be recorded and/or created from the ground up.   1 In this article I focus on the environmental sounds, and a consideration of spot effects is a topic for a further study.   2 According to the International Movie Database (IMDB.com) the budget for Happy Feet was $100,000,000  (http://www.imdb.com/title/tt0366548/) and $130,000,000 for Australia (http://www.imdb.com/title/tt0455824/).   3 Some scenes were shot in various locations in Northern Territory, northern Queensland and Sydneys Fox Studios.   4 However some animators, notably Australian Yoram Gross, have used filmed bush background for the drawn characters.  See Dot and the Kangaroo (1977) and other work.Screen Sound n3, 2012 128   Happy Feet Millers Academy Award winning Happy Feet tells the story of Mumble, an emperor  penguin who, instead of being able to sing, tap dances. The characters of the film  also included many animated Antarctic animals, primarily penguins. The  combination of an animated remote environment (Antarctica) and animated  animals meant that every sound for this film had to be created.  Through the use of detailed layers of sound, sound design is about creating a level  of believability. It is not just a matter of placing a single sound into a scene and  hoping that the audience believes it. Ambiences in our everyday life are complex,  with chaotic and sometimes even choreographed symphonies, with the land, the  wind, animals, birds and vegetation all playing their tunes within a given space. In  addition to these individual sounds, these acoustic spaces are important in  representing the onscreen landscape spaces.   The challenge of creating such an unpolluted, isolated and dangerous atmosphere  meant that the sound design had to be precise and untainted by unwanted  background noises. As the budget didnt allow for a sound team to travel and  record actual Antarctic locations, climatic conditions and animal activities, we had  to rely on pre-existing sound recordings of Antarctica or recordings made in more  accessible locations such as Thredbo ski resort in Australia and from some  locations in New Zealands South Island.   With many shots depicting the rugged landscape of Antarctica, often the detail  within the sound design can pass unnoticed. If we look specifically at Lovelaces  Pile (Fig 4) the sounds can be unpacked to reveal far more detail than what is  initially heard. Basic element Breakdown of sounds Winds Close up winds (flurries of snow) Distant winds to give sense of space Wind howling through icicles Snow Movements on snow by penguins Melting snow Snow falling off cliffs in the background Ice-land Mass (subtle) Movements of ice Ice cracks and creaks Ice thumps Animals Background penguin vocals near and far Background penguin movement Table 1: Landscape sounds in Lovelaces Pile scene in Happy Feet   From this list the sound editor has 11 possible sets of sounds that may be  deployed to create the environmental backdrop for this scene. This excludes any  character or action related sounds; it is only the ambient background.   Without access to record authentic atmospheres, many of the sounds were  recorded or sourced from other locations in order to imitate the film set. These  would then be reconstructed as the sounds could vary entirely. We were fortunate  that we had some actual recordings of Antarctica for the film. During production,  supervising sound editor and sound designer, Wayne Pashley, sent a mini-disc  recorder to the Antarctic and asked scientists to record sounds whilst doing their  field studies. Unfortunately, the recording quality was not always film worthy as  the scientists are not trained sound recordists. Happy Feet did contain some actual  sounds from Antarctica, although a high percentage of sounds were either non-  Antarctic recordings or studio recordings created specifically for the film.   The animal recordings from Antarctica were used where possible to create an  underlying realistic bed for the film. Some of the successful recorded sounds used  included those of elephant seals, adà ©lie penguins, emperor penguins and even skua  birds. These beds of animal noises gave the background environment a sense of  reality upon which to layer the main characters. The main and featured animals  were often recreated using studio recordings and other sources of sound  recordings.   Some of the successful Antarctic environmental recordings included iceberg  movements, ice winds, and slushy icy water. These were also edited and used  where possible alongside additional created sounds. Again, these realistic  environmental sounds were primarily employed to evoke a believable background  ambience. To emphasise the size and weight of several of the large icebergs,  controlled recording and studio techniques helped create such large masses. This  included close microphone techniques and using dry-ice (liquid nitrogen) to freeze  large objects that we could then record being dragged across the floor. With the  realistic Antarctic recordings serving as our bed, these additional recreated sounds  became the embellishments and the dramatic highlights.   As storytellers in our own right, creative liberty allowed for the reappropriation of  these sounds. At times these sounds would be used only as a bed and then  additional snow, ice and wind elements would be created and embellished to better  represent the onscreen visuals and the unfolding drama. Some of these sounds  came from our own original Foley studio recording sessions using props to design   sounds to be used to highlight onscreen action. An example of the studio  recordings included creating snow for the feet close-ups where the characters  dance on the snow. As we did not have access to snow, we recorded crushed ice,  salt, cereal, sugar, sand and several other props to mimic the sound of snow.  Recording in a studio allowed us to create our sounds specifically for the particular  scene. Throughout the film, the seasons changed over a one-year cycle and we  wanted to represent this as best we could through the changing environment  sounds. We had allocated recording days where we could record specific sounds in  a very clean, precise manner. If we needed more grit in our snow we could just  change the elements we were recording, or if we needed the snow to sound more  wet we could just mix in some more water when required. We were not dictated by  natural resources. The other advantage of having these studio recording days was  that we could rec ord sounds specifically for the big screen. What I mean by this is  that we could record sounds specifically for the surround sound speakers. Using  the close-up of feet on snow as an example, if a character flicked his/her  flipper/foot in close-up, we could record different snow elements for the left, centre  and right hand side of the flipper and have the debris snow crumbles pan back into  the surrounds. This would have been impossible to record with such precision as  an actual performance in real life. By having control of individual sound elements,  we were able to creatively challenge the cinema and screen space to highlight the  environmental immersion.   Australia Set during the Second World War, Australias storyline centres on a cattle drive in  the rugged terrain of northern Australia, as an English aristocrat travels across  harsh environments with her stock. From the opening moments, even before the  first visual images, sound is used to position the audience of Australia. From the  initial fade in from black we begin to hear ethereal singing, native birds, insects,  winds and the gradual swell of string instruments. In these opening scenes, the sounds of different winds, animals and insects  intertwine with an emotional journey across an environmental backdrop that  transforms, as the audience witness the death of Lord Ashley, from above ground  and into the muffled and mysterious murky underwater drones and whale song.  Playing in slow-motion the images show King George (David Gulpilil) telling Nullah  (Brandon Walters) to make yourself invisible as the white fellas are herding cattle  across the river onto the Carney property. Although music is also playing  concurrently with the sound effects, the effects design specifically aims to make  reference to Aboriginal dreamtime. As Lord Ashley is killed and falls to the water  above Nullah with a spear through his chest, the water turns crimson, the sound  hints that Lord Ashley has been killed by the people moving the cattle, the same  people Nullah is also hiding from. Visually it isnt until we see the snakeskin boot  of N eil Fletcher (David Wenham) that we realise that he is the killer.  Although the sounds chosen for this sequence are simple environmental  recordings, what is important is the way in which they have been reappropriated to  form part of the narrative. Through transformation, including pitch and other  manipulation techniques of the original recordings, these evolve into new, unheardof  sounds that yet seem familiar. When designing such delicate sounds, much time was spent experimenting with  the creation of sounds that morph unnoticeably from one sound into another  throughout the opening sequence. Tonal frequencies, recording quality and mixing  techniques were constantly balanced and adjusted to create a single fluid flow of  environmental sounds. At the same time, although continually transforming, the  sounds needed to contain characteristics of the original sound sources, allowing  the audience to connect the aural with the visual. Throughout Australia, designed  sounds are used very subtly. Overall the film uses actual location and natural  sounds to convey the Australian landscape, with the designed sounds being  reserved for scenes with Nullah, the death of Daisy and for King George, as these  relate to the dreamtime and spirituality.   With vast landscapes of Australias Northern Territory depicted through  cinematography, natural sounds are needed to convey the impact of the  environment. Supervising sound editor and sound designer, Wayne Pashley,  retraced many of the original locations in the film during the sound postproduction  phase. Using a Soundfield ST350 ambisonic microphone, Pashley was  able to record in surround sound an entire three-dimensional landscape on  location. Until recently, creating film surround sound was only possible during the  post-production process, but this particular technology allowed for a pristine,  natural recording of the environment. These recordings in surround were then  decoded, edited and used as beds for the atmosphere tracks of the film. Pashley  observed: We also wanted to be true to the landscape of Australia. So often in big  productions like this, the sound design guys just reach for Bush  Atmosphere Number Three [library effect] or whatever, and everything  comes out sounding the same. Also, what you hear is usually completely  unrelated to the environment you see on the screen. We wanted this to be  different. Australia is, I think, the first movie that sounds correct, that gives  a true sense of how this country sounds. (cited in Soundfield, 2008:  online) With many scenes depicting broad vistas, having the atmospheres recorded in  surround from the outset allows the sounds to reflect the vastness of the actual  locations. In sound editing, the atmosphere tracks are often edited from existing  stereo recordings, thus limiting the detail within the acoustic space. In most  instances, artificial reverb is introduced to make the sounds appear to be wider  within the acoustic space. Recording in surround sound reduces the need for and  use of these contrived techniques. All animal sounds for Australia were purposely recorded for the film. Working  remotely and living in regional New South Wales, I was able to record many of the  animal vocalisations of cows and horses for the film at locales situated near where I  live. The cows were particularly challenging to record as they are often difficult to  get close to without them running away. Having the livestock saleyards proved to  be a very convenient way to record cows at close proximity. Also having so many  cows in such a small space allowed the recording of mass group cows to be used in  many of the backgrounds. Situated within a livestock pen meant that the beasts  were particularly vocal, which allowed for high quality recording and performance  and, later, for flexibility in editing their bellows. Conclusion Often overshadowed by dialogue and music, the environmental atmospheric  sounds of a film are often overlooked by audiences. These aural landscapes  comprise either actual recordings or synthetic recordings constructed to  acoustically represent the onscreen locations. Both Happy Feet and Australia rely  on the aural landscape environment as essential storytelling characters within  each film. Based on very distinct locations, the films differed notably in the  approaches to their environmental landscape sound design. In a general  comparison Happy Feet featured far more inauthe

Need for Control in Fitzgeralds Tender is the Night Essays

Need for Control in Tender is the Night    Dick Diver's love for his wife, Nicole, in F. Scott Fitzgerald's Tender is the Night, is based purely on his need to assert control and act as care taker to her due to her illness. He assumes this role in order to feel validation for his own lack of achievement in his professional life. The only true success he can be credited is Nicole's 'cure,' achieved through his devotion and care; thus he continually tries to replicate this previous success in his relationships to other young girls. He looks to be a source of caring and stability just as he had been for Nicole, relying on him for caring and protection from her illness.    The growth of Dick and Nicole's relationship is shown through letters written by Nicole. Although there are none of Dick's replies to refer to we see the change in Nicole from incoherent babble to normal correspondence. Dr. Gregory thus attributes the case to Dick as a success, "When the change began, delicacy prevented me from opening any more. Really it had become your case"(136). Nicole comes to rely on his letters at the clinic and is apologetic when he doesn't write, fearing she has lost him; "But when Dick's answer was delayed for any reason, there was a fluttering burst of worry-like a worry of a lover: 'Perhaps I have bored you', and: 'Afraid I have presumed'(142). He is her connection outside of the clinic and she desperately needs that relationship and his approval. Nicole is repeatedly described through her smile as young and innocent, "She smiled, a moving childish smile that was like the lost youth of the world," and "whenever he turned to her she was smiling a little, h er face lighting up like an angel's..."(153). The love she feels for D... ...glish things; the story of safe gardens ringed around by the sea was implicit in her bright voice..."(248). In each of these he is looking for love outside of the control he once had over Nicole and in doing so is drawn to the young and impressionable girls he sees and assumes he can replicate his love with Nicole.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The complete loss of control over Nicole and over her illness is the ultimate demise of Dick. "She hated the beach, resented the places where she had played planet to Dick's sun. Why I'm almost complete, I'm practically standing alone, without him"(321). Nicole's realization of her freedom leads her away from Dick, and his only success was in the end his greatest failure, the loss of love of his wife and his loss of the life he knew. Works Cited Fitzgerald, F. Scott. Tender is the Night. New York: Charles Scribner's Sons, 1961

Ethnocentrism :: essays research papers

The official definition of ethnocentric is à ¢Ã¢â€š ¬Ã…“characterized or based on the attitude that ones own group is superiorà ¢Ã¢â€š ¬? or à ¢Ã¢â€š ¬Ã…“having race as a central interest.à ¢Ã¢â€š ¬? There is a whole world of problems, politics, and, other cultures, but it seems that the average Americanà ¢Ã¢â€š ¬Ã¢â€ž ¢s only interest is that of themselves. The reason I chose to focus on the American being ethnocentric is because I have been exposed the most to this culture in the past. America is the melting pot of the world with so many different cultures and accepts this variety into our country as we were accepted when our ancestors came over. Today I feel that people are arrogant towards those foreigners who donà ¢Ã¢â€š ¬Ã¢â€ž ¢t wash away their former demeanor. Why donà ¢Ã¢â€š ¬Ã¢â€ž ¢t we realize that we are so lucky to live in a secure and free country that should glorify diversity and not promote prejudice? When we make contact with people whose beliefs and cult ural tradition challenge our own perspective most feel some sort of intimidation. Ethnocentrism in my opinion is very ignorant, unintelligent, and closed minded in that your normal rituals may seem just as strange to other cultures, but are seen by them in a more understanding way. Ethnocentrism has been instilled in us since birth, learning to attach our selves to our cultural groups depending on them for comfort and a sense of safety. People as a whole in a way have to à ¢Ã¢â€š ¬Ã…“de-centerà ¢Ã¢â€š ¬? their strong cultural beliefs, as well as the thought that their culture is the only one important enough to concern themselves with. Ethnocentrism may manifest itself in behavior such as warfare, attitudes of superiority, hostility, violence, discrimination, and verbal aggression. In the past, groups such as the Nazià ¢Ã¢â€š ¬Ã¢â€ž ¢s, the Crusaders and, the Muslims have waged wars and death over cultural and religious differences using ethnocentrism as there incentive. Hate groups are also formed on this notion believing that their religious or cultural group is superior to others when in reality their customs are simply different.