Expressionism in Black Swan Essay examples -- Film Analysis

The Black Swan is a psychological thriller that documents a prima ballerina’s descent into madness. Nina Sayers is a dancer at a New York City ballet company. Her mother is a very controlling, ex-ballerina whose career ended when she became pregnant with Nina. Having forced his current prima ballerina into retirement, Thomas Leroy, the company's director, is searching for someone worthy enough to play the Swan Queen in his next production. Despite his doubts about her ability to successfully dance the role of the Black Swan, he gives the role to Nina. However, Nina fears Lily is trying to steal the Swan Queen role from her especially when Leroy makes Lily Nina’s understudy. As they move further into the production, Nina's strive for perfection with the White and Black Swan roles causes a slow descent of her mental state. By using a variety of expressionistic techniques, Director Darren Aronofsky uncovers Nina’s worsening psychosis. (Huggo) Obsessive Compulsive Disorder is an â€Å"anxiety disorder characterized by uncontrollable, unwanted thoughts and repetitive, ritualized behaviors you feel compelled to perform† (Segal and Smith, â€Å"Obsessive-Compulsive Disorder (OCD): Symptoms, Behavior, and Treatment†). This disorder occurs when the brain becomes obsessed with a specific action or thought. Uncontrollable, recurring thoughts and images, known as obsessions, can take attention away from more important matters. Compulsions consist of actions and rituals that one is compelled to carry out multiple times. (Segal and Smith, â€Å"Obsessive-Compulsive Disorder (OCD): Symptoms, Behavior, and Treatment†) Nina's obsession is perfection. She states repeatedly that she â€Å"just wants to be perfect† (Aronofsky). Her compulsion is practice. No matter ho... ...chiatrists-diagnose-natalie-portmans-portrayal-psychosis/story?id=12436873&page=1>. Schoenstadt, Arthur. "Bulimia." Bulimia. 23 Sept. 2008. Web. 22 May 2012. . Segal, Jeanne, and Melinda Smith. "Anorexia Nervosa: Signs, Symptoms, Causes, Effects, and Treatment." Helpguide.org. May 2012. Web. 15 May 2012. . Segal, Jeanne, and Melinda Smith. "Obsessive-Compulsive Disorder (OCD): Symptoms, Behavior, and Treatment." Helpguide.org: Understand, Prevent and Resolve Life's Challenges. Apr. 2012. Web. 10 May 2012. . Segal, Jeanne and Melinda Smith. "Understanding Schizophrenia." Helpguide.org. Jan. 2012. Web. 10 May 2012. .

My Life is a Cluttered Drawer :: essays research papers

My life is a cluttered drawer if you looked inside you would see a variety of pictures. Pictures of places far and near. Pictures of friends, family and loved ones. In the back of the drawer tools for the tinkering that everything seems to need at one time or another. Different types of music would be scattered throughout the drawer on tapes and CD’s for the good times and the bad.   Ã‚  Ã‚  Ã‚  Ã‚  Often I sit in my room and look back at all the pictures of the interesting places I have been, the unusual sights I have seen and the people I meet doing it all. A picture I often look at is a picture of Time Square New York. This particular picture I took myself. I look at this for motivation, motivation that one day I will be in the city of opportunity. The picture I keep right beside my new York picture is an army photo. A photo of one of my buddies out in the field gun by his side. This picture gives me a completely different feeling. A feeling of appreciation for the solders that are fighting for our country at this point in time. Every parent or friend with a picture like mine I’m sure, knows the feeling of wondering will they be sent, or asks the question will they come back.   Ã‚  Ã‚  Ã‚  Ã‚  As the drawer slides more than half way open now the stacks of CD’s and tapes begin to come into view. The tapes mostly of childhood music that got lost or out grown. The lessons or sharing, and good attitude all waiting to be passed down to a cousin or niece in dire need. The CD’s in the drawer I am sure have been pulled out, and again returned depending on the mood, or the company. As for the artists of these CD’s, mostly String Cheese, a semi blue grass band with a song for every mood.   Ã‚  Ã‚  Ã‚  Ã‚  At the far back of my cluttered drawer there are several tools. The tools you would find in my drawer are common tools. The tools needed just for the basic workshop. Both kinds of screw drivers, Phillips head and a flat head. A hammer, and last but not least needle nose pliers. With this set of tools I feel I can fix, or â€Å"rig† almost anything I own to a certain extent. This set of tool would also cure the boredom of everyday life. Scratch up some nails and grab my trusty hammer with a cuple of planks of

Wuthering Heights Reading Log

Alex Plager Britten Wuthering Heights Assignment Round 2 Reading Log: The two men in Catherine's life represent one of many sets of doubles within the novel. Both of these men contrast one another, and fight for power, influence, love and attention in her life. Because both Edgar and Heathcliff both represent contrasting forces in the novel, they are unable to work together or act amiably towards one another. The goal of each one is to remove the other from Cathy's life. After Catherine's death, Heathcliff attempts to sneakily remove the lock of Edgar's hair enclosed in the locket about her neck and replace it with his own.In â€Å"open[ing] the trinket, and cast[ing] out its contents,† (145) Heathcliff believes that he has won this battle with Edgar. Symbolically, this action represents Heathcliff casting Edgar out of Catherine's life and heart, and filling the space with himself. Heathcliff walks out of the room believing that Catherine's body will be put to rest with only h is lock of hair on her, meaning that he will be with her for the remainder of her physical existence on this world. However, Nelly steps in and intertwines Edgar's hair with Heathcliff's.Both Edgar and Heathcliff live their lives believing that Catherine is holding a lock of only their own hair in her coffin, thinking that they are the only one who will be with her in death. However, Nelly's actions represent the fact that despite the two men's efforts of trying to win Catherine to themselves wholly, even in death, that Catherine holds both of them in her heart, and that neither one cannot be completely cast out. As Catherine is discussing the nature of her love for both Edgar and Heathcliff, she reveals a doubling within her personality.She says, â€Å"Nelly, I am Heathcliff,† (70) and continues on to say that any separation between them â€Å"is impracticable. † This revelation reveals a lot regarding their relationship, and how the two of them seem inseparable throu ghout the novel. It explains why Catherine allows Heathcliff to repeatedly come back into her life even though the sheer mention of his name perturbs Edgar's composure. The double that is Catherine/Heathcliff explains why Heathcliff is constantly a part of Catherine's life.For Catherine, Heathcliff is less of a separate person, a different entity, but more of a projection of her personality. Heathcliff represents the wild, naturalistic aspect of her personality, which has been suppressed by her change into a civil, upper-class person. As such, this suppressed personality returns in waves, exhibited both in her fits, and Heathcliff's unrelenting visits, refusing to be put out like the fire Edgar regards it to be. The reoccurring theme of doubles is at its strongest within chapter 15 as Lockwood begins narrating the story to the reader from Nelly's perspective.To clarify, the events have already been recounted to Lockwood through Nelly, and now he is narrating the story after she has told it to him, through her perspective, â€Å"She is, on the whole, a very fair narrator, and I don't think I could improve her style† (134). Needless to say, the reader is experiencing the story not secondhand, but thirdhand. Also, Nelly has already been revealed to be an unreliable narrator, as well as Lockwood. Combining the two is certain to have a profound effect on the story itself. The narration of the story has already had a tone of gossip about it, especially since Nelly called herself as a â€Å"gossip† (53).Now the ‘he said she said' essence of the story takes its strongest form, as we, the readers, are hearing about it ‘through the grapevine. ‘ Bronte uses this doubling of narration to emphasize the removal of the reader from the events in the story. The shadow of doubt the novel has been shrouded in is now a level deeper and darker than it has been up to this point in the novel. Nelly's biased narration of events, whose memory is blurred by time, is now coupled with Lockwood's own character flaws of misjudging characters and is subjected to his own bias as he recounts the already recounted tale.Within the novel, the relationships between servants and masters are anything but traditional ones. One would expect a servant to respect their master, and keep their tongue in check, however Nelly Dean seems exempt from these expectations, causing the reader to question who is the true master and servant within the household. On page 102, â€Å"[Catherine] rang the bell till is broke with a twang,† however, rather than rushing in as most servants should given the franticness of the bell ringing, Nelly â€Å"enter[s] leisurely. † This singular event provides a plethora of insight into the relationship between master and servant.The reader is able to discern that, since it is Nelly recounting the story, she would have no knowledge of the events happening in the room prior to her calling unless she was not alread y within earshot. Therefore, Nelly already knows the nature of the confrontation going on between Edgar and Nelly, and how it is of importance. Yet still, Nelly â€Å"leisurely† enters the room, flaunting her knowledge that Catherine needs her on a level beyond that of which a master typically needs a servant, and also spiting her by deliberately taking longer to arrive.However, during her narration of this scene, the reader can see building emotion within Nelly just within the paragraph this quote is taken from. It is clear that Nelly's â€Å"temper of a saint† is strung tight by Catherine's â€Å"senseless, wicked rages! â€Å"(102) And as a result of this emotion that she is not entirely able to control, Nelly's narration of this particular scene may be more unreliable than usual, as she might be tempted to exaggerate Catherine's behavior in order to justify her anger with her to Lockwood more, so that he may agree with her, or so that she may feel that he does.Di ction Log: 1: â€Å"Will you say, twenty years hence, ‘That's the grave of Catherine Earnshaw. I loved her long ago†¦ † (137) Synonyms: Linton Catherine's choice of calling herself Linton reveals much about how she views herself in terms of her identity. During her time as Catherine Earnshaw, Cathy identifies herself as being Heathcliff's lover, but after her marriage to Edgar, her public identity changes to Catherine Linton, signifying her position as Edgar's lover.Telling Heathcliff that her grave will be that of Catherine Earnshaw is telling Heathcliff that she rejects her identity of Catherine Linton, and that she will be his in death, as she should have been in life. The continued musing on her death in this scene foreshadows her impending death, and this line serves to both comfort Heathcliff, and also ignite further heartbreak in regards to her death as Heathcliff both derives pleasure and anguish knowing that Catherine was his, yet was never with her. 2: â €Å"†¦ while her cheeks, at once blanched and livid, assumed the aspect of death.Linton looked terrified. † Synonyms: Edgar, her husband In referring to Edgar as Linton, there would normally be ambiguity in doing so because, technically, Catherine is also â€Å"Linton. † But addressing him as solely Linton reflects both Edgar's feelings of her not being ‘his' anymore and signifies the distance that he feels is growing between the two of them. The reader also knows that Bronte is referring to Edgar because the reader understands that Catherine is not truly a Linton, and not entirely Edgar's.Bronte's word choice symbolizes a growing emotional distance between Edgar and Catherine, terrifying Edgar not only for the sake of her safety, but also for their relationship. Since Bronte's word choice reflects Nelly's disposition, it is also made known to the reader that Nelly sees this growing distance, and development of Catherine's character. 3: â€Å"Thought I hate him as much as ever, he did me a good turn a short time ago that will make my conscience tender of breaking his neck. † (75) Synonyms: fond, delicateOf the possible synonyms that could replace the word tender in this context, â€Å"tender† conveys the meaning of what Edgar is saying best. Edgar is saying to Catherine that despite his anger towards Heathcliff, he is refraining from retaliating violently because his conscience prevents him from doing so because he feels that he owes Heathcliff a favor. The word â€Å"tender,† while typically used to describe something fragile that tends to break, is effective because it contrasts sharply with the action of â€Å"breaking his neck. 4: â€Å"†¦ In fact, that his health and strength were being sacrificed to preserve a mere ruin of humanity, he know no limits in gratitude and joy when Catherine's life was declared out of danger; and hour after hour her would sit beside her, tracing the gradual return to bodily health, and flattering his too sanguine hopes with the illusion that her mind would settle back to its right balance also, and she would soon be entirely herself. † (115) Synonyms: happy, optimisticIf one of the listed synonyms were used in lieu of â€Å"sanguine† the only meaning to the sentence would be the implication and foreshadowing made by Nelly that Edgar had his hopes too high, and that Catherine would never truly return to health. However, the use of â€Å"sanguine† adds a certain connotation to the quotation. While â€Å"sanguine† has no direct link to blood, through definition or synonymously, the root of it is linked to blood. Bronte's use of this word in particular serves multiple purposes.The first further emphasizes how high Edgar's hopes are for Catherine's healing. They are so strong they can be smelt, and tasted and have substance to them, the qualities of which are all likened to blood. Also, describing these hopes as sanguine serves to illustrate to the reader how much effort Edgar has put into helping Catherine, conveying that he has almost literally put blood, sweat, and tears into their relationship and her well-being. 5: â€Å"‘Ah! you are come, are you, Edgar Linton? she said, with angry animation. † (110) Synonyms: liveliness, fervor This quote is taken from a scene in which Catherine is having one of her frequent fits. The verb animate is traditionally used to describe an inanimate object coming into motion. During her fits, Catherine is often likened to an inanimate object due to her habit of fainting, or becoming immobile. During this particular one, she had been relatively stoic, limp, and puppet like, as she had been starving herself and appeared â€Å"haggard† (110).As such, the use of the word â€Å"animation† most properly fits the prior depictions of her within the scene as it fits the theme of her descriptions. 6: â€Å"Isabella and he had had an hour's interview, durin g which he tried to elicit from her some sentiment of proper horror for Heathcliff's advances; but he could make nothing of her evasive replies, and was obliged to close the examination unsatisfactorily, adding, however, that if she were so insane as to encourage that worthless suitor, it would dissolve all bonds of relationship between herself and him. (103) Synonyms: conversation, audience, exchange The use of the word interview enhances the meaning of the quote in that it provides a certain depiction of the exchange between Edgar and Isabella. Bronte's choice of the word interview conveys that it was not an amicable, two-sided conversation. While the interaction may not quite have been an interrogation, it was more aggressive than a mutual conversation would have been, as Edgar was obviously distressed regarding Heathcliff's relationship with her. : â€Å"Isabella and he had had an hour's interview, during which he tried to elicit from her some sentiment of proper horror for Hea thcliff's advances; but he could make nothing of her evasive replies, and was obliged to close the examination unsatisfactorily, adding, however, that if she were so insane as to encourage that worthless suitor, it would dissolve all bonds of relationship between herself and him. † (103) Synonyms: inquiry, interrogation Continuing from the same quote as above, Nelly continues to reveal the nature of the exchange between Isabella and Edgar.Choosing to regard it as an examination furthers the imagery of an uncomfortable interaction between siblings. The use of the word examination is more effective than â€Å"inquiry† or â€Å"interrogation† would be because of the tone that Bronte gives the nature of the conversation between them. Edgar is not an overly aggressive individual, and to interrogate his sister would be out of character for him. However, an examination suits Edgar's passivity because it conjures an image of a jealous lover trying to elicit information f rom their significant other, which is much like what Edgar is trying to do. 8: â€Å"Cheer up, you shan't be hurt!Your type is not a lamb, it's a sucking leveret. † (99) Synonyms: mouse, turtle I opted not to choose direct synonyms for leveret, which are rabbit, and hare, because these words do not change the nature of Catherine's insult. Bronte's diction here is likely due in large part to colloquialism of the time. However, the nature of Catherine's insult is rooted more in the fact that she is belittling Edgar as having the courage of a small animal more prone to flight, rather than to fight. Catherine chooses to call Edgar a leveret because of his predisposition to avoid and run from conflict, rather han to face it directly. A turtle retreats into its shell, whereas a rabbit will tuck its tail and run, exactly like Catherine is accusing Edgar of doing in this quote. This insult is particularly effect because Catherine is calling Edgar's manhood into question, which is not only uncharacteristic of a woman of the time, but she is also doing so in front of Heathcliff, effectively making a direct challenge to Edgar on both her and Heathcliff's behalf. Literary Criticism: â€Å"Will you forget me–will you be happy when I am in the earth? Will you say, twenty years hence, ‘That's the grave of Catherine Earnshaw.I loved her long ago, and was wretched to lose her; but it is past. ‘† (137) The goal of psychoanalysis is to interpret a character's (un)conscious desires by identifying Freudian concepts. An example of one of these such concepts is a Freudian slip, and one lies within the quote. Consciously or not, Catherine has called herself Catherine Earnshaw, despite her status as Edgar's wife, making her both legally and socially known as Catherine Linton. However, she has revealed in this Freudian slip that she does not emotionally identify herself as Catherine Linton, but as an Earnshaw.This is important because much of the confli ct up to this point has stemmed from Heathcliff's anger at Edgar taking Catherine from him, and in his struggle to win her back from him. Within this quote, Catherine subtly tells Heathcliff that she will die Catherine Earnshaw, meaning that she is rejecting the Linton name, thus ultimately meaning that emotionally, she is Heathcliff's. â€Å"Well, if I cannot keep Heathcliff for my friend, if Edgar will be mean and jealous, I'll try to break their hearts by breaking my own.That will be a prompt way of finishing all, when I am pushed to extremity! † (101) Within this scene, Catherine is venting to Nelly regarding her feelings regarding the conflict between Heathcliff and Edgar. In the quote, it is visible that Catherine is exhausted by their constant fighting, and the toll that it has been taking on her. Out of context, the claim the Catherine makes concerning her ability to â€Å"break their hearts† seems conceited, however, from a feminist perspective, this statement is substantial.For a novel written in this time, it would be rather uncommon for a woman to be depicted as having power over a man, much less two of them. While Catherine does appear to be selfish, and conceited in this quote, she is depicted as essentially having control over the two men, in that she has the ability to â€Å"[finish] all,† establishing the force that Catherine is able to exert in both of the relationships. In relation to the meaning of the work as a whole, this quote associates the ideas of emotional exile and acceptance. 3Ãâ€"3: Revenge consumes wholly Pain prevents transcendence

Burdens of History Essay

The British imperial history has long been a fortress of conservative scholarship, its study separated from mainstream British history, its practitioners resistant to engaging with new approaches stemming from the outside – such as feminist scholarship, postcolonial cultural studies, social history, and black history. In this light, Antoinette Burton’s Burdens of History: British Feminists, Indian Women, and Imperial Culture, 1865-1915 represents challenges to the limited vision and exclusivity of standard imperial history. Burton’s Burdens of History is part of a budding new imperial history, which is characterized by its diversity instead of a single approach. In this book, the author examines the relationship between liberal middle-class British feminists, Indian women, and imperial culture in the 1865-1915 period. Its primary objective is to relocate â€Å"British feminist ideologies in their imperial context and problematizing Western feminists’ historical relationships to imperial culture at home† (p. 2). Burton describes Burdens of History as a history of â€Å"discourse† (p. 7). By this, she means the history of British feminism, imperialism, orientalism, and colonialism. Throughout the book, the author interposes and synthesizes current reinterpretations of British imperial history, women’s history, and cultural studies that integrate analyses of race and gender in attempts at finding the ideological structures implanted in language. In this book, Burton analyzes a wide assortment of feminist periodicals for the way British feminists fashioned an image of a disenfranchised and passive colonized female â€Å"Other†. The impact of the message conveyed was to highlight not a rejection of empire – as modern-day feminists too readily have tended to assume – but a British feminist imperial obligation. According to Burton, empire lives up to what they and many of their contemporaries believed were its purposes and ethical ideals. Burton based her book on extensive empirical research. Here, she is concerned with the material as well as the ideological and aware of the complexity of historical interpretation. Backed by these, the author particularly examines the relationship between imperialism and women’s suffrage. Burton brings together a remarkable body of evidence to back her contention that women’s suffrage campaigners’ claims for recognition as imperial citizens were legitimated as â€Å"an extension of Britain’s worldwide civilizing mission† (p. 6). Centering on the Englishwoman’s Review before 1900 and suffrage journals post 1900, the author finds an imperialized discourse that made British women’s parliamentary vote and emancipation imperative if they were to â€Å"shoulder the burdens required of imperial citizens† (p. 172). The author shows in Burdens of History how Indian women were represented as â€Å"the white feminist burden† (p. 10) as â€Å"helpless victims awaiting the representation of their plight and the redress of their condition at the hands of their sisters in the metropole† (p. 7). Responding both on the charge that white feminists need to address the method of cultural analysis pioneered by Edward Said and the imperial location and racial assumptions of historical feminisms, Burton explores the images of Indian women within Victorian and Edwardian feminist writing. In her analysis, the author argues that Indian women functioned as the ideological â€Å"Other† within such texts, their presence serving to authorize feminist activities and claims. By creating an image of tainted Oriental womanhood, and by presenting enforced widowhood, seclusion, and child marriage as â€Å"the totality of Eastern women’s experiences† (p. 67), British feminists insisted on their own superior emancipation and laid claim to a wider imperial role. However, while feminists persistently reiterated their responsibility for Indian women, the major purpose of such rhetoric was to institute the value of feminism to the imperial nation. According to the author: â€Å"The chief function of the Other woman was to throw into relief those special qualities of the British feminist that not only bound her to the race and the empire but made her the highest and most civilized national female type, the very embodiment of social progress and progressive civilization† (p. 83). According to Burton, British feminists were, â€Å"complicitous with much of British imperial enterprise† (p. 25): their movement must be seen as supportive of that wider imperial effort. She sustains this argument through an examination of feminist emancipatory writings, feminist periodicals and the literature of both the campaign against the application of the Contagious Diseases Acts in India and the campaign for the vote. Indeed, the greatest strength of this book lies in the fact that Burton has made a n extensive search through contemporary feminist literature from a new perspective. In the process, she recovers some quite interesting subgenres within feminist writing. She shows, for instance, how feminist histories sought to reinterpret the Anglo-Saxon past to justify their own political claims and specifying some characteristic differences between explicitly feminist and more general women’s periodicals. Certainly, Burton’s survey establishes the centrality of imperial issues to the British feminist movement, providing a helpful genealogy of some styles of argumentation that have persisted to the present day. Burdens of History is a serious contribution to feminist history and the history of feminism. In conclusion, Burton states that British feminists were agents operating both in opposition to oppressive ideologies and in support of them-sometimes simultaneously, because they saw in empire an inspiration, a rationale, and a validation for women’s reform activities in the public sphere. Her arguments are persuasive; indeed, once stated, they become almost axiomatic. However, Burton’s work is to some extent flawed by two major problems. First, the author never compares the â€Å"imperial feminism†; rather she locates in her texts to other imperial ideologies. In addition, Burton does not subject imperialism to the same kind of careful scrutiny she turns on feminism. She does not define â€Å"imperialism† in her section on definitions, but uses the term – as she uses â€Å"feminism† – largely to denote an attitude of mind. Another problem is Burton’s failure to address the question of how feminist imperialism worked in the world more generally. It is true that feminists sought the vote using a rhetoric of cross-cultural maternal and racial uplift, however, one may ask: what were the effects of this strategy on the hearing accorded their cause, on wider attitudes toward race and empire, and, more specifically, on policies toward India? The author not only brushes aside such questions; she implies that they are unimportant. It seems that, for Burton, the ideological efforts of British feminists were significant only for British feminism. It can be argued that Burton’s difficulty in tracing the way Burdens of History works in the world is a consequence of her methodological and archival choices. The problem is not that the author has chosen to approach her subject through a â€Å"discursive tack† (p. 27), but rather that she has employed this method too narrowly and on too restrictive range of sources. While the author has read almost every piece of feminist literature, she has not gone beyond this source base to systematically examine either competing official documents, Indian feminist writings, or imperial discourses. Thus, Burton’s texts are treated either self-referentially or with reference to current feminist debates. Overall, Burton’s approach is useful in providing a critical history for feminism today, Certainly, it is as a critique of Western feminism’s pretensions to universal and transhistorical high-mindedness that Burdens of History succeeds. However, if one wishes to map out the impact of imperial feminism not only on feminism today, but also on imperial practices and relations historically, one needs a study that is willing to cross the border between political history and intellectual history and to take greater methodological risks.

Brown vs. Board of Education

Brown V. Board of Education In the early 1950’s, racial segregation in public schools was normal across America. Although all the schools in a given district were supposed to be equal, most black schools were far inferior to their white counterparts. In Topeka, Kansas, a black third-grader had to walk miles just to get to her all black elementary school. Her father, Oliver Brown, had tried to enroll her in a white elementary school but was refused. Brown went to McKinley Burnett, the head of Topeka's branch of the National Association for the Advancement of Colored People (NAACP) and asked for help. They were eager to help the Browns since it had long wanted to challenge segregation public schools. Other black parents joined Brown, and, in 1951, the NAACP requested an injunction that would forbid the segregation of Topeka's public schools. Brown and the NAACP appealed to the Supreme Court on October 1, 1951 and their case was combined with other cases that challenged school segregation in South Carolina, Virginia, and Delaware. On the other hand, the precedent of Plessy v. Ferguson allowed separate but equal school systems for blacks and whites, and no Supreme Court had overturned Plessy yet. The Supreme Court first heard the case on December 9, 1952, but failed to reach a decision. In the reengagement, heard from December 7-8, 1953, the Court requested that both sides discuss â€Å"the circumstances surrounding the adoption of the Fourteenth Amendment in 1868. † The rearguement shed very little additional light on the issue. The Court had to make its decision based not on whether or not the authors of the Fourteenth Amendment had desegregated schools in mind when they wrote the amendment in 1868, but based on whether or not desegregated schools deprived black children of equal protection of the law when the case was decided, in 1954. Eventually the Supreme Court struck down the â€Å"separate but equal† doctrine of Plessy for public education and ruled in favor of the plaintiffs, and required the desegregation of schools across America. Brown vs. Board of Education Brown V. Board of Education In the early 1950’s, racial segregation in public schools was normal across America. Although all the schools in a given district were supposed to be equal, most black schools were far inferior to their white counterparts. In Topeka, Kansas, a black third-grader had to walk miles just to get to her all black elementary school. Her father, Oliver Brown, had tried to enroll her in a white elementary school but was refused. Brown went to McKinley Burnett, the head of Topeka's branch of the National Association for the Advancement of Colored People (NAACP) and asked for help. They were eager to help the Browns since it had long wanted to challenge segregation public schools. Other black parents joined Brown, and, in 1951, the NAACP requested an injunction that would forbid the segregation of Topeka's public schools. Brown and the NAACP appealed to the Supreme Court on October 1, 1951 and their case was combined with other cases that challenged school segregation in South Carolina, Virginia, and Delaware. On the other hand, the precedent of Plessy v. Ferguson allowed separate but equal school systems for blacks and whites, and no Supreme Court had overturned Plessy yet. The Supreme Court first heard the case on December 9, 1952, but failed to reach a decision. In the reengagement, heard from December 7-8, 1953, the Court requested that both sides discuss â€Å"the circumstances surrounding the adoption of the Fourteenth Amendment in 1868. † The rearguement shed very little additional light on the issue. The Court had to make its decision based not on whether or not the authors of the Fourteenth Amendment had desegregated schools in mind when they wrote the amendment in 1868, but based on whether or not desegregated schools deprived black children of equal protection of the law when the case was decided, in 1954. Eventually the Supreme Court struck down the â€Å"separate but equal† doctrine of Plessy for public education and ruled in favor of the plaintiffs, and required the desegregation of schools across America. brown vs. board of education

Experimental Designs II Assignment Example | Topics and Well Written Essays - 1500 words

Experimental Designs II - Assignment Example For example, in a 2x2 factorial ANOVA with levels A1 and A2 of Factor Aand levels B1 and B2. An ANOVA test would test the significant differences between the marginal means, which are called simple Main Effects of each factor. This is because they illustrate the overall difference between the levels of each factor, independently of the levels of the other. The ANOVA also tests for the significance differences between the Cell Means; in other words, the four means relevant to the AxBinteraction effect (Jackson, 2012). According to Jackson, the test also determines if the effects of the independent variable (IV) are independent of each other, or whether the effects of one IV depend on the level of the factor. Key effects are differences in means over levels of one factor that is collapsed over levels of the other factor (s) (Jackson, 2012). No.6 The difference between a complete factorial design and an incomplete factorial design is laid out in how experimental conditions are dealt wit h. A Complete Factorial Design (CFD) consists of all factors and levels of each factor, it is also capable of estimating all factors, and their interactions (Jackson, 2012). An incomplete factorial design is arrived at when experimental conditions are removed from a complete factorial design. ... No.8 The difference between a two way ANOVA and a three-way ANOVA is that a two-way ANOVA test is used when there are more than one IV requiring multiple observations for each IV. The two-way test determines the main effect contributions of each IV and indicates if there is a significant interaction effect amongst the IVs. The three way ANOVA is used to determine the effect of three nominal predictor variables that are based on a continuous outcome variable. The three-way test evaluates the effect of the IV on the expected outcome together with their relationship in the outcome (Jackson, 2012). Random factors are considered to have no statistical impact on a given data set, unlike systematic factors that are considered to hold statistical significance. No. 10 Source df SS MS F A 1 60 60 1.420 B 2 40 20 24.170 AxB 2 90 81 0.125 Error 30 200 100 1.884 Total 35 390 261 27.599 a). Factorial notation –1x2 = 2 b). There are 2 conditions in this particular study. c). Number of subjec ts in the study – 3 d). Main effect for B, no significant interaction Source df SS MS F A 2 40 20 0.85 B 3 60 18 9 AxB 6 150 130 0.867 Error 72 150 75 Total 83 400 243 15.717 a). Factorial notation – 2 x 3. b). There are 6 conditions. c). Subjects in study - 2 d). No main effects. There is a significant interaction. Source df SS MS F A 1 60 60 132 B 2 40 20 98 AxB 2 90 45 135 Error 30 200 6.67 Total 35 390 131.67 245 a). Factorial notation – 1 x 2 b). There are 3 conditions. c). Subjects in study - 2 d). Main effect for B. No significant interaction. Source df SS MS F A 1 10 10 0.10 B 1 60 60 30 Error 36 80 40 Total 39 150 110 30.10 a). Factorial notation – 1 x 1 b). 1 condition c). Subjects in study - 1 d). Main effect for A and B. Significant

Renewable Energy Wind Farms Essay Example | Topics and Well Written Essays - 1000 words

Renewable Energy Wind Farms - Essay Example With the limited nature of non-renewable resources, alternate renewable energy needs to be harnessed in order to fill the energy gap made as these non-renewable resources are depleted. Renewable energy sources include geothermal, biofuel, wind, hydroelectric, wood, solar thermal as well as and photovoltaic, and biomass sources. Renewable energy production across America varies state by state (Vaseashta et al., 2005). The intent of this exploration paper is to discuss why renewable wind energy is safer, cheaper, and cleaner than cleaner than fossil fuels. In addition, renewable energy production in replacing depleting nonrenewable resources can increase energy independence (at state as well as national level) and reduce risks of climate change associated with energy pollution of fossil fuels. Thanks to advances in technology, wind is becoming the fastest growing energy resource globally. Wind power is environmentally safe and does not produce atmospheric emissions or greenhouse gases (Hau, 2012). The main salient description of wind technology is that it is renewable, free, and can be efficiently captured. Renewable energy is important and meets population needs. This refers to job creation, economic demands, and energy security (Quaschning, 2005). Regarding cost deployment, a few issues have to be taken into consideration, the cost of renewable energy, the capacity of renewable energy and lastly the impact of renewable energy. It is argued that alternative energy is not cheap. When it comes to wind energy, the renewable resources are usually located in remote areas, and it is expensive to build power lines to the various cities. The usage of renewable sources is limited in that they are not always available, for instance, solar power is reduced on cloudy days, calm days reduce wind power and drought reduces water availability for hydropower.