Personal Nursing Philosophy Essay

We often hear that nursing is an art and a science, and I firmly believe that. The way a nurse blends those aspects of care defines the nurse. As nurses, our roles in our patients’ lives vary depending on their needs. We are teachers as well as technical experts, and our ultimate goal is to ensure our patients and families are ready to take over when the patient no longer requires our care. Why I Chose Nursing I have known that I wanted to work with children since I was a young child myself. Before the age of ten, I thought I might be a teacher. As I enjoyed math and science, several of my aunts, nurses themselves, encouraged me to consider nursing. As a sibling of a disabled child, I was probably exposed to more medical knowledge than average, and I took my first CPR class when I was eight years old. I liked the nurses and therapists that worked with my sister, but I also had respect for the teachers that worked so tirelessly with her. I can pinpoint the moment I decided that nursing was for me, though it was a long time before I could act on that decision. My sister had contracted hepatitis A at school. That lowered her seizure threshold enough that she ended up in the intensive care unit. As it was winter, I was not allowed to visit her. At ten, I didn’t understand the concept of RSV restrictions. I only knew that she’d been hospitalized many times and I’d always been allowed at her bedside. Somehow I interpreted that to mean she must be dying, and no one wanted to tell me. I was in the waiting room outside the ICU while my mother was in with my sister, crying my heart out. A nurse walking by stopped to ask me what was wrong, and I spilled out my fears to her. She escorted my into the unit, telling me that she was going to find a supervisor to see if she could get permission for me to visit my sister. In the meantime, there was a room where I could wait for her†¦. which turned out to be my sister’s room. After failing to get permission for me to visit, the nurse returned to escort me back to the waiting room. Before we left, she took the time to explain the monitors and what they meant, and went over my sister’s plan of care and discharge criteria with me. Hugely reassured, I was content to wait in the waiting room. More than thirty years later, that nurse’s compassion still sticks with me. The Core of Nursing If compassion is at the heart of nursing, knowledge and skill must be its head and hands. Since the earliest days of nursing, the patient’s environment has been a consideration in their care. Florence Nightingale’s theory that hydration, nutrition, rest, and a clean environment were necessary to healing (Black, 2007) is a basic principle of nursing today. The world has changed since then, and nursing has changed with it. With every technological advance or new treatment modality, nurses have been called upon to be more than caretakers. It requires skilled hands to provide the treatments our patients need. Throughout a patient’s stay, teaching is a primary responsibility of the nurse. Patients cannot make informed decisions on their care without adequate information. Whether teaching the relatively simple task of taking medications, or the more complex management of a chronic condition, it is a nurse’s duty to make sure the patient and family are trained and prepared to assume care once the patient goes home. The teaching required necessarily varies from patient to patient, and often from day to day in the same patient as he or she moves on the continuum between health and illness. Finally, patients need to be able to count on nurses to be authorities in their field. Nurses must be accountable for remaining competent in their practice, and for continuing their education throughout their career (Killeen & Saewert, 2007). Beliefs and Values Patients have needs unrelated to their illness or injury. Having spent my entire career in pediatrics, often my focus is on developmental needs and what activities can be provided that support normal development. Some needs, however, seem to be universal. The need for play, learning, and social contact are not restricted to children. Meeting the emotional and psychosocial needs of the patient without compromising the physical needs demanded by the illness or injury is occasionally a delicate balancing act, and is where the art of nursing meets the science of nursing. By collaborating with our patients and families and respecting their values, a plan can be reached that both supports their needs and involves them in their own care. From a pediatric perspective, the family is an integral part of the healthcare team. Parents are the primary ally and resource in providing individualized care for their child. Even in adult patients, who they are is impacted by the relationships that they have. Serious or chronic illnesses and injuries affect the entire family. The family, then, becomes the patient, particularly when it is necessary to make lifestyle changes. I have been fortunate enough to work in a teaching hospital for over a decade, on a unit that has a strong sense of teamwork. I have watched residents grow from unsure medical students to capable attending physicians, and have been gratified to precept and mentor new nurses into colleagues that can be relied on. Through we have a varied mix of skill levels, values, and talents, as a team we manage to form a cohesive whole. I count on my nurses to provide outstanding care to their patients, to hold themselves and each other accountable for maintaining high standards, and to support each other as needed. I also count on them for holding me accountable when the minutia of providing care for patients or my nurses gets in the way of my seeing the big picture. In my own life, it has taken me a long while to take charge of my health. I am currently working hard to quit smoking, and have recently lost fifty of the extra sixty or so pounds I’ve been carrying. Like a lot of nurses, I put off preventative care, and wait too long before seeing a physician when I need to. This disconnect between my professional values and my personal behavior baffles me. I cannot expect my patients and families to view me as an authority on health if I am unhealthy. This year has been one of trying to bring my own lifestyle into line with my beliefs. Vision for the Future In two years, I will have completed my BSN. At that point, I want to take a clinical instructor position while I pursue my MSN. I seem to have come full circle in what I want to be when I grow up, and combining my love of nursing with my love of teaching seems to be the best of both worlds. In five years, I hope to have completed my MSN. By that time I will have been a clinical instructor for long enough to know if I want to translate that to the classroom or perhaps become a nurse educator in an acute setting. I know I love teaching new nurses in my current setting, however I’m unsure of whether I would enjoy teaching in an academic setting. In ten years, my goals are much more nebulous and largely depend on whether I have chosen to move to an academic setting or remain in acute care. In either setting, there are always things to learn and opportunities to explore. Someday, I would like to open a medical foster care facility, though I have doubts about that happening in that time frame. Summary The pursuit of my professional goals is a long-term plan. I enjoy learning, have the support of my family, and the path to my goals are clearly defined. I am detail oriented, and hope that will help me to reach my goals. As I continue on this path, each success will pave the way to the next. Time management is an obstacle in my path, as I am currently working two jobs and trying to take care of my family while pursuing my degree. I am still learning how to manage all the demands on my time without stretching myself too thin. In addition, I sometimes get bogged down in the details and lose sight of the big picture, and then tend to procrastinate until I find my way again. Fortunately deadlines are effective in making me take a step back and rethink my approach.

Basic Cognitive Skills †A Comparison

There are three established ways to approach a task. One can either use the methods in Bloom’s Taxonomy, the Scientific Method or the Universal Troubleshooting Method. Each of these methods is systematic and hierarchical – from the least complex to the most complex, with each step as important as the next. Each method has been designed to assist individuals in undertaking tasks that are seemingly difficult.These methods have different characteristics and steps, but some of the means are parallel to the others. However, as diverse as these frameworks may seem, there are also segments connecting each method to the other.Bloom’s Taxonomy (New Version) Originally conceptualized by Benjamin Bloom, Bloom’s Taxonomy is perhaps the most popular framework describing man’s learning method. Several theorists have also discussed and provided variations of this method and recently, Lorin Anderson and David Krathwohl proposed a new version of this method. (Wilson , â€Å"Beyond Bloom – A new Version of the Cognitive Taxonomy,† par. 4) In following the template of Bloom’s Taxonomy, the first step involves the acquisition of the knowledge using the senses.It often involves identification, repetition, and memorization. The second step is comprehension. Comprehension occurs when a person can already discuss a concept or idea by explanation or illustration. When an idea can be applied to concrete situations, one has already reached the third step – application. It involves being able to use the concept in more common situations that it can be related to. The fourth step – analysis – includes the ability to scrutinize the concept. The fifth step is evaluation, in which the concept can be judged and criticized based on certain standards.By the sixth step, one shall be able to take the concept apart and use it to form a new complete entity – this is called synthesis. The Scientific Method The steps in the Scientific Method take on a slightly different angle. The first step involves asking the question where the topic to be studied is identified. Next, a background research is conducted about the concept. This is where available previous studies are referred to, so it is determined whether there have been other scientists or researchers who have undertaken the project. Formulation of the hypothesis is next in the process.A good hypothesis is measurable and coherent to the question initially proposed. Tests are to be conducted to try out the validity of the hypothesis. The results of these tests are taken down and evaluated so as to draw conclusions. The results are further evaluated and connected to the previous steps. One analyzes whether there has been positive or negative results coming from the tests that have been conducted. The initial hypothesis is brought out and scrutinized on its validity. With all of the data that have been gathered, a detailed report is constructed to illustrate the details and results of the entire task.One characteristic of the Scientific Method is that one or more of the steps can be repeated if the previous strategy does not yield results or the desirable outcome. Furthermore, there are times when a certain step like â€Å"testing the hypothesis† can be repeated several times in succession until concrete and verifiable results are accomplished. On the other hand, the new model of Bloom’s Taxonomy requires fulfillment of a certain step before moving on to the next level. In fact, one cannot move on to the next level without the completion of the previous one.For example: one cannot apply knowledge which he cannot comprehend first nor one cannot try to comprehend what he does not know of. Universal Troubleshooting Method The Universal Troubleshooting Method is characterized by a five-step program. Initially, a complete description of the problem is taken into account. To prepare for the process, all necessary too ls should be present, including the best suitable environment for the project. All of the indications of the problem should be entirely noted detail by detail to ensure that the correct steps are going to be taken in the process of solving it.To check if the problem is correctly identified, one should be able to replicate the symptoms. After this step, one is tasked to narrow down the root cause of the problem. This means that all nuances are to be tested and eliminated, if proven as a secondary cause. This can be a lengthy process and may require a lot of patience, much like testing the hypothesis in the Scientific Method. Once the root cause is identified, steps are to be taken to resolve or repair it. Using the appropriate tools, the root of the problem is eliminated and/or replaced. After the work in replacing or eliminating the problem, testing needs to be made.One checks whether the problem still exists or persists. In cases when it does, then some of the steps are to be repea ted to make sure that the problem is resolved properly. There may be instances when the problem is incorrectly identified and the step must be repeated to correctly identify the problem. But if the correct problem is resolved, it needs to be tested several times to ensure that it would not happen again. Additionally, one must check if there are any potential problems that are created while resolving the main problem – problems that may cause more difficulty in the future.The Universal Troubleshooting Method is aimed at solving or finding the solution to a particular predicament, while Bloom’s Taxonomy can be used in more levels like learning a new skill – in fact, it is often utilized in a learning environment. This method (Universal Troubleshooting Method) can be more likened to the Scientific Method since it is normally following a dilemma. The steps, although not entirely interchangeable, can be repeated as much as it calls for. These methods require careful planning and execution – each project done following the steps correctly will definitely yield productive results.These three approaches show how to manage a task. Each of these works based on a system that proves to be effective and, thus, valuable. Each system, each step, is geared towards the solution of the problem at hand. They are designed in such a way that each seems to be somewhat a reflection of the others, with variations or modifications devised based on necessity. But even with these distinctions, these approaches are, in the end, essentially similar to each other. Works Cited: Litt, Steve. â€Å"The Universal Troubleshooting Process†.2006. Troubleshooters. Com. 16 June 2009. . Wilson, Leslie Owen. â€Å"Beyond Bloom – A new Version of the Cognitive Taxonomy. † 2006. Dr. Leslie Owen Wilson’s Homepage. 16 June 2009. . â€Å"Steps of the Scientific Method†. Science Buddies. 2009. Kenneth Lafferty Hess Family Charitable Foundation. 16 June 2009. .

Example of a Consent Form

Research Consent Form Brigham and Women’s Hospital Dana-Farber Cancer Institute Massachusetts General Hospital Version III. a August 1998 Pi_dist9. doc Imprint Patient ID Number Protocol Title: Developmental Anatomy Genome Project (DGAP) Principal/Overall Investigator: Cynthia C. Morton, Ph. D. Site-Responsible Investigator(s)/Institution: James Gusella, Ph. D. /MGH Co-Investigator(s)/Study Staff: Drs. B Quade, A Ligon, R Maas, A Michelson, J Gusella, M MacDonald, E Lemyre, J Lewis Description of Subject Population: Patients with congenital anomalies PURPOSEWe would like permission to enroll you as a participant in a research study. The purpose of this research is to identify and study genes involved in human development. You have been asked to participate in this research study because you (or your child) have (or has) one or more developmental abnormalities and chromosomal abnormalities that have been present since birth. Such chromosomal abnormalities may disrupt the functi on of genes required for normal growth and development. By identifying these genes in people with specific birth defects, we hope to reach a greater understanding of how the human body grows and develops.STUDY CONTACTS This study is being organized by Dr. Cynthia C. Morton, who can be reached at 617-732-7980 with any questions you may have during the course of this study. If you enrolled at the MGH, please contact Dr. James Gusella at 617-726-5724. PROCEDURES If you agree to participate, you will donate a blood sample. The amount of blood drawn will vary with age (less than 2 years old: about 1 tablespoon; ages 2-10 years: about 2 tablespoons; ages 11 years and up: about 2-4 tablespoons) and may be reduced for smaller individuals.In general, after you have donated blood, cells or tissue samples no additional hospitalization or clinic visits will be required for you to participate in this study. Any of the samples you donate will be used to establish an immortal cell line. This means that an inexhaustible supply of DNA will be available for genetic research. DNA is the genetic material from which genes are made. These samples may be stored/banked for future use and/or shared with other investigators associated with this study. These stored or distributed samples will NOT be labeled with your name.Do you agree to this (please circle one choice): Page 1 of 5 Subject Population: Patients with congenital anomalies IRB Protocol Number: 1999P-003090 98-09233 Sponsor Protocol Number: N/A Consent Form Approval Date: DECEMBER 9, 1999 Amendment Number Approved: N/A IRB Expiration Date: Amendment Approval Date: N/A NOVEMBER 22, 2000 Research Consent Form Brigham and Women’s Hospital Dana-Farber Cancer Institute Massachusetts General Hospital Version III. a August 1998 Pi_dist9. doc Imprint Patient ID Number YES NO You may be contacted in the future and asked for additional samples to continue research.If you do not wish to be contacted in the future, you may indica te this below: YES, okay to contact NO, do not contact As mentioned above, samples that are sent to the research laboratory will be assigned a code number. The key to this code will be maintained in locked files by Dr. Cynthia Morton, and your (or your child's) identity will not be revealed to anybody other than your referring physician. Important non-identifying information such as sex, age, and nature of your developmental abnormality will be transmitted to the research laboratory in order to correlate study results with specific developmental problems.The information obtained from this study of your donated blood or tissue is not known to be useful clinically or diagnostically at this time. The research is currently useful only as a means of understanding genes and developmental abnormalities. Results from these genetic studies will NOT be placed in your (or your child's) medical record. We will not communicate these results directly to you; study results will be released to your referring physician. COSTS No charges will be billed to your insurance company or to you for this study. You should be sure that no charges for the blood draw are to be filed with your insurance company.If the person who draws your blood intends to bill you, you should pay for this yourself and send a copy of the bill to the investigator who will reimburse you. RISKS AND DISCOMFORTS There are minor risks and discomforts associated with blood sampling. This includes a brief amount of pain and possibly a small bruise at the needle site. Occasionally a person feels faint when his/her blood is drawn. Rarely an infection develops, but if this occurs the infection can be treated. Disclosure of Study Results Information about your participation in a genetic study may influence insurance and/or employers regarding your health status.We will use many safeguards to prevent unintentional disclosure: I) information about your participation in, and the results of, this research will NOT be plac ed in your medical records, II) research data (including data collected from medical charts) will be entered only into a research database. No names will be entered into this database, only the codes assigned to submitted samples. Other investigators will NOT be given a key to this code, and III) NO results from this study will be released to anyone other than your referring physician.You can also minimize these risks by not sharing with others the fact that you have participated in genetic studies. Page 2 of 5 Subject Population: Patients with congenital anomalies IRB Protocol Number: 1999P-003090 98-09233 Sponsor Protocol Number: N/A Consent Form Approval Date: DECEMBER 9, 1999 Amendment Number Approved: N/A IRB Expiration Date: Amendment Approval Date: N/A NOVEMBER 22, 2000 Research Consent Form Brigham and Women’s Hospital Dana-Farber Cancer Institute Massachusetts General Hospital Version III. a August 1998 Pi_dist9. doc Imprint Patient ID NumberThese studies are for res earch purposes only. Therefore, NO study results will be communicated to you at any time. However, in the event that this research study uncovers information that we feel MAY impact your healthcare (either positively or negatively), we will convey this information to your physician. After the potential significance of such results has been explained to you by your physician, you will be offered an opportunity to obtain independent diagnostic confirmation of this research finding in a laboratory which specializes in this type of clinical testing.This diagnostic testing will ONLY take place IF you provide additional consent for it. Only the result of the confirmatory test would be entered into your medical record by the diagnostic laboratory or your physician. BENEFITS At this time, we know of no direct benefit to you (or your child) as a result of participation in this research study. Participation is completely voluntary and your alternative is to not participate. Other individuals may benefit in the future if these studies provide useful information about identifying or treating developmental abnormalities.ALTERNATIVES You are free to participate or not to participate in this study. If you choose not to participate, your medical care and treatment will NOT be affected. Page 3 of 5 Subject Population: Patients with congenital anomalies IRB Protocol Number: 1999P-003090 98-09233 Sponsor Protocol Number: N/A Consent Form Approval Date: DECEMBER 9, 1999 Amendment Number Approved: N/A IRB Expiration Date: Amendment Approval Date: N/A NOVEMBER 22, 2000 Research Consent Form Brigham and Women’s Hospital Dana-Farber Cancer Institute Massachusetts General HospitalVersion III. a August 1998 Pi_dist9. doc Imprint Patient ID Number THE FOLLOWING PARAGRAPHS CONTAIN STANDARD INFORMATION WHICH GENERALLY APPLIES TO PERSONS INVOLVED IN A RESEARCH STUDY AND ARE REQUIRED ON ALL CONSENT FORMS. CONFIDENTIALITY Medical information produced by this study will become part of your hospital medical record, unless specifically stated otherwise in this consent form. Information that does not become part of your medical record will be stored in the investigator’s file and identified by a code number only.The code key connecting your name to specific information about you will be kept in a separate, secure location. Your medical record is available to health care professionals at Brigham and Women’s Hospital (BWH), Dana-Farber Cancer Institute (DFCI), or Massachusetts General Hospital (MGH), collectively called the â€Å"Hospitals†, and may be reviewed by appropriate Hospital staff members in the course of carrying out their duties; however, they are required to maintain confidentiality in accordance with applicable laws and the policies of the Hospitals.Information contained in your records may not be given to anyone unaffiliated with the Hospitals in a form that could identify you without your written consent, except as described in thi s consent form or as required by law. It is possible that your medical and research record, including sensitive information and/or identifying information, may be inspected and/or copied by the study sponsor (and/or its agent), the Food and Drug Administration (FDA), federal or state government agencies, or hospital accrediting agencies, in the course of carrying out their duties.If your record is inspected or copied by the study sponsor (and/or its agents), or by any of these agencies, the Hospitals will use reasonable efforts to protect your privacy and the confidentiality of your medical information. The results of this study may be published in a medical book or journal or used for teaching purposes. However, your name or other identifiers will not be used in any publication or teaching materials without your specific permission. In addition, if photographs, audiotapes or videotapes were taken during the study that could identify you, then you must give special written permissio n for their use.In that case, you will be given the opportunity to view or listen, as applicable, to the photographs, audiotapes or videotapes before you give your permission for their use if you so request. REQUEST FOR MORE INFORMATION You may ask more questions about the study at any time. The investigator(s) will provide their telephone number so that they are available to answer your questions or concerns about the study. You will be informed of any significant new findings discovered during the course of this study that might influence your continued participation.If during the study or later, you wish to discuss your rights as a research subject, your participation in the study and/or concerns about the study, a research-related injury with someone not directly involved in the study, or if you feel under any pressure to enroll in this study or to continue to participate in this study, you are asked to contact a representative of the Human Research Committees at BWH (617) 732-7 200, at MGH (617) 726-3493, or at the Protocol Administration Office at DFCI (617) 632-3029. A copy of this consent form will be given to you to keep. Page 4 of 5 Subject Population: Patients with congenital anomaliesIRB Protocol Number: 1999P-003090 98-09233 Sponsor Protocol Number: N/A Consent Form Approval Date: DECEMBER 9, 1999 Amendment Number Approved: N/A IRB Expiration Date: Amendment Approval Date: N/A NOVEMBER 22, 2000 Research Consent Form Brigham and Women’s Hospital Dana-Farber Cancer Institute Massachusetts General Hospital Version III. a August 1998 Pi_dist9. doc Imprint Patient ID Number REFUSAL OR WITHDRAWAL OF PARTICIPATION Participation in this study is voluntary. You do not have to participate in this study. Your present or future care will not be affected should you choose not to participate.If you decide to participate, you can change your mind and drop out of the study at any time without affecting your present or future care in the Hospitals. In additi on, the doctor in charge of this study may decide to end your participation in this study at any time after he/she has explained the reasons for doing so and has helped arrange for your continued care by your own doctor, if needed. INJURY STATEMENT If you are injured during the course of the study and as a direct result of this study, you should contact the investigator at the number provided.You will be offered the necessary care to treat that injury. This care does not imply any fault or wrong-doing on the part of the Hospitals or the doctor(s) involved. Where applicable, the Hospitals reserve the right to bill third party payers for services you receive for the injury. The Hospitals will not provide you with any additional compensation for such injuries. SIGNATURE I confirm that the purpose of the research, the study procedures and the possible risks and discomforts as well as potential benefits that I may experience have been explained to me.Alternatives to my participation in t he study also have been discussed. All my questions have been answered. I have read this consent form. My signature below indicates my willingness to participate in this study. Subject/Patient Date Witness/Advocate/Minor/Legal Guardian (if required) Date Additional Signature (if required)(identify relationship to subject) Date I have explained the purpose of the research, the study procedures, identifying those that are investigational, the possible risks and discomforts as well as potential benefits and have answered any questions regarding the study to the best of my ability.Study Representative Date Investigator Complete This Information At Enrollment for HEMATOLOGY/ONCOLOGY PROTOCOLS ONLY (A copy of this form should be faxed to the QCC and to the appropriate Medical Records) Primary Care Physician’s Name: Date protocol treatment begins for this subject: Diagnosis: Page 5 of 5 Subject Population: Patients with congenital anomalies IRB Protocol Number: 1999P-003090 98-09233 Sponsor Protocol Number: N/A Consent Form Approval Date: DECEMBER 9, 1999 Amendment Number Approved: N/A IRB Expiration Date: Amendment Approval Date: N/A NOVEMBER 22, 2000

Some Aspect of Romanticism in Blake's The Marriage of Heaven and Hell Essay

Some Aspect of Romanticism in Blake's The Marriage of Heaven and Hell - Essay Example is writing but also involved himself in the time consuming process of engraving, coloring and the printing of the books which were extraordinarily beautiful. As a result he was prevented from gaining a higher reputation and income level for the wonderful work he merited. In contrast to Blake, Dante was a Florentine poet belonging to the Middle Ages. He is revered as the â€Å"Father of the Italian language† because he composed in Italian. One of the most important influences of writing the poem â€Å"The Marriage of Heaven and Hell,† was his close association with the New Church of Emanuel Swedenborg. The increasing rigidity witnessed by Blake from Swedenborg and his followers, easily made them primary targets for this well written parody and satire. Due to his publicizing his political philosophy, it helped him to associate within the circle of some of the most important leading radicals of his time, such as, Spain Thomas Paine and Joseph Priestley. In sharp contrast is Dante’s ‘Inferno’ was written in the Jubilee year 1300 and was one of the most intricate and artistic poems ever to be written. He wrote this poem ‘somewhere between the death of Clement V and the end of Dante’s1 life when he was just 35 years old.’ (Dante and his Time, p. 270) An introductory canto begins the book which is then followed by 99 other cantos speaking of Christ’s life on Earth. The whole poem is segregated into three parts each comprising of 33 cantos each of high lyrical value and beauty. Blake’s satirical attack was on the orthodoxy of the Swedenborgians in addition to a description of the poet – prophet’s own developmental and educational process. The poem which was written during a great political upheaval in America has a historical backdrop that portrayed a revolutionary prophecy. Blake introduces the poem with â€Å"The Argument† backing it with his prophetic character Rintrah and brings it to a close with another poem titled â€Å"A Song of Liberty,† where

Musical Composer Research Essay Example | Topics and Well Written Essays - 1500 words

Musical Composer Research - Essay Example This type of opera is called oratorio and tells biblical tales. Other great composers of that time include Handel (Messiah) and Mendelssohn (Elijah). It is believed that Alessandro Scarlatti was born in Palermo, Italy on May 2nd of 1660. He arrived in Rome when he was twelve years old and studied with Giacomo Carissimi (another great composer of oratorios and secular cantatas). Like other young artisans of his time he was most probably sent to Rome to learn, and work, for the Catholic Church. Musicians at that time were considered in the same social class as tailors and carpenters. Scarlatti's first opera written was called "Gli Equivoci nel Sembiante" and was performed at the palace home of Queen Christina of Sweden (Catholic Encyclopedia, 1913). He was employed to the Viceroy as Maestro di Capella for eighteen years and then moved to Rome to be employed as assistant maesto (and then maestro) of S. Maria Maggiore (Catholic Encyclopedia, 1913). From there he moved to Naples, spent a short time again in Rome, and returned to Naples where he died. Scarlatti is credited with establishing Naples, Italy as the center of operatic activity (Concise Dictionary of Opera). Scarlatti was educated and held postings in Rome but always returned to Naples as his chosen home. ... Scarlatti's brother, Francesco, was a violinist and composer who penned the oratorio called "Agnus Occisus ab Origine Mundi". His other brother, Tomasso, sang in Naples. Alessandro had two sisters, Anna Maria (1661-1703) and Melchiorra Brigida (1663-1736), who were both singers that worked in Rome and Naples. It is believed that Giuseppe Scarlatti was Alessandro's grandson. Giuseppe was also a composer who wrote several operas (Catholic Encyclopedia). Musical Style Scarlatti is considered the founder of what is called the 'Neapolitan'style of composing. His works transitioned operatic composing from Baroque to pre-classical Neapolitan style. He is considered by many a Baroque composer. "Scarlatti is noted for his thematic development and chromatic harmony which he used with great mastery and in a way anticipates the work of much later composers, among them W.A. Mozart and Franz Schubert" (Dent, p2). Scarlatti is considered the liberator of dramatic expression in opera. Although limited by the Pope's legislation that outlawed secular operas Scarlatti embraced the limitations and created notable oratorios and masses. Many of Scarlatti's works have survived the ages and are performed to this day (Cecelia Bartoli's performance). Scarlatti made good use of the orchestra and performer for operatic expression. Scarlatti is credited with establishing the form of Italian operatic overture with three sections: allegro-adagio-allegro. Many consider this as the forerunner of classical symphony (Dent, p2). He changed how the operatic orchestra contributes to the opera by composing orchestral accompaniment to operatic voice. Instruments were given parts to accompany the opera singers and the orchestra was considered very much a part of the

Discuss the strategic roles of middle managers Assignment - 2

Discuss the strategic roles of middle managers - Assignment Example In their study, Currie and Proctor (2005) concur with the literature that argues that organizational performance is mainly influenced by what takes place in the middle of the organization than what happens at the top. Based on the work of Floyd and Wooldridge (1992, 1994, 1997, 2000), Currie and Proctor (2005) argue that middle managers have a significant role to play in the ‘thinking’ as well as ‘doing’ of strategy in the organization. The middle managers can actually influence the direction of strategy from top to bottom or bottom to top. According to Currie and Proctor (2005), middle managers play four significant roles in strategic decisions in the organization. First, they synthesise information about the operations of the organisation which can be channelled upwards to the executives and can be used in strategy formulation. Second, the middle managers can reshape the strategies formulated by the executives since they are closer to all activities that o ccur in the organization. Thirdly, the middle managers can also exert downward influence especially in areas that are outside the reach of the executives. The fourth point is that middle managers are responsible for implementing deliberate strategy where they translate corporate strategy into action plans. Thus, it can be noted that from the middle management perspective, the middle managers have important strategic roles to make in an organization. Without middle managers, it may be difficult to achieve consistency in the performance of the organization. Raes et al (2011, p. 102) also suggest that â€Å"the interaction of the top management team (TMT) and middle managers (MMs) is central to effective strategy formulation and implementation.† It can be argued that the middle managers are at the center of all activities in the organization. For instance, they directly link with the top executives and the supervisors and other subordinates below them. This makes then significant in strategy

The internet on thinking Research Paper Example | Topics and Well Written Essays - 750 words

The internet on thinking - Research Paper Example (Greenbalt, 776). In answering these questions, traditional thinking can be described and evaluated. In evaluating it, then the impact of the internet on it can be revealed. Traditional thinking is slow. Slow because it requires careful considerations based on many considerations without the help of any readily available resources. The internet has come in and made it faster. At times, thinking has become instanteneous as a result of readily available resources availed by the internet. Traditional thinking involved thinking based on one consideration or just a few. However, with the internet in place now, it has resulted in what may be deemed as an enhancement. Enhancing the way may sources are integrated into thinking. By integrating many sources of information from the internet into thinking, persons are able to think diversely and make highly supported decisions (Greenbalt, 776). As such, the intergration of many sources of thinking has brought about an era of vast amounts of innovation in almost all areas of our lives. This innovation has been rapid as compared to the past. The difference between the era before the internet and this era of the internet is that, in traditional forms of life before the internet, people were ford of linear time, slow face to face connections, centaralised centres of decision making and one-sided decisions (Ã¥ ¸Æ'Ã¥  ¢Ã¥ §â€ Ã¦â€" ¯Ã¤ ¼ ¯Ã©â€¡Å'å‡ ºÃ§â€°Ë†Ã¥â€¦ ¬Ã¥  ¸, 141).But as of now, people have learnt to change their ways of thinking to conform to a fast and mainly instant world that has large concurrent, multi – tasking and synchronized abilities that have been made probable by innovation emanating from the internet. Innovation resulting from new ways of thinking brought about by the internet is very much evident in day to day lives. For example, new services and products are always been revealed at a highly frequent rate. These new innovations are from unprecedented sources and as such, it has

Malcom x Research Paper Example | Topics and Well Written Essays - 250 words

Malcom x - Research Paper Example While in Prison, Malcom read a lot of books and converted to Islam due to influence from his Muslim brothers. He built many Temples across the U.S and later co-founded the Organization of Afro-American Unity (OAAU) in 1964 (Muhammad, 2004). Malcom became a Temple minister and played a big role in the launch of the newspaper, Muhammad speaks. Malcom and his role model, Elijah Mohammad, fell out because of ideological difference, prompting Malcom to quit Islam (Malcom X Official Website). Malcom X was a transformational leader, a leader who could trigger off change by challenging the present state of affairs and inspiring others to share in the vision (Lussier and Achua, 2010, p.350). Malcom X began transformational leadership back in school when he was elected class president; Malcom became a street gang leader during his life in crime; he was a prison leader and became the first Islam’s prison minister in the country. After his release, he became the national Spokesman for the Nation of Islam. Malcom managed to increase the number of black Muslims from 500 in1952 to 30,000 in 1963. Finally, Malcom co-founded the Organization of African-American Unity and the Muslim Mosque Incorporated (MMI) (Muhammad, 2004, p.3). Through his leadership positions, Malcom became a revolutionary leader who was out to change the status quo. Malcom assisted in establishing numerous temples and in 1960, he was appointed minister of Temple No. 7 in New York City’s Harlem. In 1961, he launched the Islam Nation’s newspaper, Muhammad Speaks (Mjagkij, 2013,

Cultural Studies abstract Essay Example | Topics and Well Written Essays - 500 words

Cultural Studies abstract - Essay Example Issues related to the original shape and authenticity of the tales of Kitaro in the graveyard are examined by comparing various forms of the story in Kami-Shibai and the variations generated during the transition from Kami-Shibai to rental Manga. These are based on researches on street Kami-Shibai and rental Manga. Creation in Kami-Shibai, which has no prior story documented, depends mainly on sequencing of images with speech language and reaction from the audience. Therefore, as for street Kami-Shibai, the accumulation of various versions as one story must be put into consideration. Orality, a main feature of Kami-Shibai, is subject to fundamental and crucial transformations due to changes in representation techniques and authorship during its transition to Manga. The consciousness and analysis of Manga readers are centered primarily on words or text. The recipients of Manga and animation tend to be categorized as fanatics and this makes the issue of popular culture use and ownership even more complex. This paper also tackles the authorship and ownership of popular culture in the age of technological media. The relationship between cultural likeness and transformation of media technology is discussed while the arguments of studies on â€Å"transmission† [densho] in Japanese folklore studies, anthropological resemblance, power in cultural studies, and creative similarities are examined in discussing actual copyright issues of Manga, digital copyright, and problems encountered in its creation on the

Immigration in California Term Paper Example | Topics and Well Written Essays - 500 words

Immigration in California - Term Paper Example Many experts believe that this effect is on the positive side as it has increased the wages of the native population as the immigrants have only complemented the jobs of the native workers and have not posed any significant threat to their jobs or other work benefits. California has the highest percentage of immigrant population, which included both legal and illegal immigrants, compared to the other states in the US. Reports from the center for immigration studies reveal that the state’s immigrant population accounted for about one-third of the all immigrants in the US during the mid 1990’s. Between the years 1990-2004 the new immigrants to the state increased by 40%. In addition the immigrant population included racially and ethnically diverse people mostly from Latin America and Asia with a majority of the immigrants hailing from Mexico, Philippines and China. However, studies have revealed that though the population drastically increased in the state as a result of immigration, it did not affect the employment opportunities of the native population but rather resulted in a wage increase for the native population by 4% between the years 1990-2004. The immigrant groups complemented the jobs of native workers which resulted in an economic growth (Peri, 2007; Johnson, 2011).

System Thinking Essay Example | Topics and Well Written Essays - 1250 words

System Thinking - Essay Example The company has challenges in productivity since the personnel is not adequately equipped to the development of widgets and operations and management of the IS. The input devices to the IS that will be included in the improvement include computers (workstations), software, and people resources. The company has a challenge in the number of computers it owns. The workers in the establishment have to share the available computers, which lowers the output and productivity. The establishment must facilitate productivity by offering the involved employees up to date computers, for even the existing computers need some upgrading of both software and hardware (Waring, 1996, p. 56). Input devices such as touchpads, keyboards, and mouse should be upgraded for functionality purposes. This is because the current standard devices are in a dilapidated state. The output devices involved in the organization should cater for different team strategies. Although the development of widgets takes on a pe rsonal approach, the teams working on various concepts such as the graphics of a product need brainstorming. The use of printers as output devices will be quite expensive. Since one of the aims of improving performance is reducing the costs of production, cheaper methods of sharing data have to be acquired. I recommend the use of projectors in group and board meetings over the use of printed material. This is so as to lower the costs of production and help in brainstorming. Storage of the establishment can be achieved in two main ways, which include the use of a localized server and the use of an online-based server. This will act as a backup as well as remotely accessed by authorized individuals. The operating system that is to be used in the organization has to meet all the needs of the market and development environment. There are numerous OS systems available in the market, but I recommend the use of Windows 7 Ultimate edition. The reasons behind the recommendation include stabi lity of the OS and the availability of compatible software for the development of widgets. An example of the software that could be useful in the development of the widgets is the Adobe CS 5Master Suite. This is because it has some of its functions non-operable with the other OS platforms as well as a 32-bit system. The Windows 7 OS to be installed should, thus, incorporate the 64-bit system for maximum performance. The utility programs that will be used in the IS will help in management, maintenance, and protection of the company data and resources (Stair, Reynolds, & Reynolds, W. 2008, p. 138). Numerous utility programs should be used to ensure the safety and productivity of the computers. With the development of widgets, it is possible for developed codes to act as viruses; thus, the installation of a strong anti-virus in the network and computers is necessary. The anti-virus will also prevent the spread of viruses acquired from external sources and the network. Backup software w ill also be essential to the company since computers and networks may fail. System monitors will also be installed in the network to monitor the use of resource to determine when an upgrade of the current system is necessary. File managers are another type of utility program that should be incorporated in the IS to ensure the availability, management, and modification of data sets within the IS for easier information and knowledge base management. This may be of use if

Generation Gap Paper Essay Example for Free

Generation Gap Paper Essay Refer to the General requirements for all papers found in your syllabus. Submit a 2-3 page short essay discussing Generation Gaps. How is your generation different from your grandparents? What personal changes do you see? Name cohort changes. Do you agree with age grading? (Pg 83) How do they apply to you and to your career choices? Can you see area of your current job, or career goal; where age grading might occur? (a tip to doing well on papers: answer all the questions systematically; one by one. If you dont answer all the parts to the papers, you wont get full credit!!! ) Dont forget your 2 outside sources. You must submit this paper in the writing assignments icon on the home page. Trying to find differences from my generation to my grandparents generation is going to be hard for me. My grandfather on my dads side died when I was 12, my grandmother on my dads side died about 5 years ago but really, I wasnt very close with her at all. My grandparents on my moms side I dont remember at all. If I had to start somewhere in differences between my generation and my grandparents generation my views between what I knew from both sides of my families would differ greatly. Lets start with my dads side. My grandfather was a hard working, self employed Real Estate agent. Im not sure at what age he got into the Real Estate business but he was young. He was originally married to my grandmothers sister. When she died she made my grandfather promise to take care of her sister. He married my grandmother and not only took care of the kids he had with his 1st wife, but also the 14 kids he had with his 2nd wife (my grandmother). He took his responsibilities very seriously. Hard working, he kept his grievances to himself, any problems were taken care of or dealt with. He didnt complain about his hard life. He just did what he had to do and took care of his family. You didnt complain about your life. I remember my aunt telling me once, You complained to grandpa and you got knocked on your butt. He always told us to be happy with what we have and if we werent stop bitching and get to changing it. Through my dads family I saw how my grandparents were. Hard working, loyalty to your family, taking care of your responsibilities, but I also saw the dark side of those times. Keeping feelings withheld, the hard working never complain mentality has done its number on my dad and our family. My dad treated my sisters and I the same. We disrespect our parents, we got our butts whooped. We obeyed out of fear not respect. We saw my dad work 16 hour days on a farm, come home and be completely miserable. We saw our mother not for the loving mother or housewife she was, but the miserable, lonely woman she was made into. Although I was instilled with the same hard working values, loyalty and determination that my grandfather instilled into my dad, aunts and uncles, I also see the damage that my grandpas generation has done. Instead of hardworking loving families, I see tired, resentful, angry people. I too have a desire to work hard. But I also had hidden anger issues, depression and a controlling nature. Between these generations I see more of an acceptance to want to change the way we do things. Therapy, work programs, counseling, a better school environment for children. My dad and mom did not graduate from high school, nor did my grandparents. Yet they still had jobs, albeit not the best ones, but they worked. Im not so quick to spank my kids. I want to teach them respect through love and kindness. I want to make sure they know their voices are heard and that they have choices. I want my kids to know that their choices will affect them and that there is a cause and effect for what they do. I want to make my children proud when I get into the profession that I have worked hard to get into. I also want to teach my kids the values that were taught to my parents, that were taught to their parents and probably taught to their parents.

Moral Frameworks of Terrorists

Moral Frameworks of Terrorists This paper discusses, with reference to two examples, whether terrorists can appeal to a consistent moral framework. Terrorism can be, and indeed, most usually is defined in the literature, as a strategy of violence that is designed to promote a desired outcome through instilling fear in the public at large. There are, however, disagreements amongst many academics, from political science, law and human rights analysts, as to the definition of terrorism that should be used in practice, as some academics argue that the motives that fuel some terrorists are politically valid. The definition of terrorism currently in use by the UN is, â€Å"any act†¦intended to cause death or serious bodily harm to civilians or non-combatants with the purpose of intimidating a population or compelling a government or an international organisation to do, or abstain from doing, any act.† (Annan, 2005). Regardless of the particular definition of terrorism that is employed, terrorist acts are generally defined through their violence, the psychological impact of the act, the political goal of the act and the fact that they are usually perpetrated against civilians, or non-combatants. Obviously, as a result of these factors, terrorism is regarded, everywhere, as unlawful and an illegitimate means of achieving the ends that are sought, but as the famous saying goes, â€Å"one man’s terrorism is another man’s freedom fighter†. Recent events have brought this to the fore, with the war in Afghanistan bringing back many memories for the United States government, who supported the Afghan Mujahideen as ‘freedom fighters’ during the United States war with the Soviet Union, but recently, the United States government branding breakaway Afghan groups as terrorists, and launching a war in Afghanistan to stop them in their terrorist acts. Nelson Mandela, ex-Preside nt of South Africa, and Nobel Laureate, was once branded a terrorist and was imprisoned for decades for his terrorist acts; a definition for terrorism, and the word terrorist thus seems to be flexible, depending on the political context and the aims that are trying to be achieved by the people supporting the country in which the terrorist is present. What is certain, however, is that the people committing the stated acts of terrorism wholly believe in what they are fighting to achieve, and, as such, construct some sort of moral framework to justify their actions and their beliefs. This paper is interested in how and why these frameworks are constructed and whether terrorists can ever appeal to a consistent moral framework for their actions. As Bandura (1990) argues, terrorists are able to morally disengage through many psychological routes, and, as such, it is a societal responsibility to ensure civilised conduct through social systems which uphold compassionate behaviour and which denounce, and renounce, cruelty in any form. As Bandura (1990) argues, moral standards do not function as fixed internal regulators of conduct, but rather, self-regulatory mechanisms do not engage until they are activated, and there are many ways in which these regulatory mechanisms can be disengaged, allowing the emergence of different types of conduct with the same moral standards. Bandura (1990) further argues that political diversity and the toleration of public expressions of scepticism create the conditions that allow the emergence of challenges to suspect moral appeals, such that if societies are to safeguard against the occurrence of terrorism, they must establish social safeguards against the misuse of institutional justificatory pow ers for ends which are exploitative and destructive. As such, Bandura (1990) seems to be arguing that it is the fault of the state, which has not ensured a proper, functioning, framework for the non-appearance of terrorism, which allows terrorism to grow, not that terrorists themselves are at fault. This type of argument does not require an appeal to moral consistency or moral frameworks on the part of the terrorist, but rather argues that terrorists are a product of a dysfunctional society, which is responsible for the appearance of terrorists. Further to this, Atram (2006) concludes that suicide terrorism cannot be explained by a single political root cause, such as the presence of foreign military forces or the absence of democracy, as other factors such as psychological motivations, or religious inspirations can also contribute to the desire to undertake terrorist acts. As Atram (2006) argues, any simplistic accounts of terrorism, why it happens and what leads people to become terrorists, are bound to failure as terrorists have underlying moral values and group dynamics which are complex themselves and also intertwined in a complex manner. Only when these root causes are fully understood by decision-makers will organisational and ideological solutions that could defuse the threat of terrorism be found (Atram, 2006). As such, as Atram (2006) argues, terrorists have a consistent moral framework within which they work, allowing them to unilaterally act, in concert, to achieve their ends. There have been many terrorist acts in recent history, including the Munich massacre in 1972, during the Olympic Games, bombing of flights including Pan Am Flight 103 over Lockerbie, gas attacks in Tokyo, bombing campaigns in Ireland by the IRA, the 9/11 attacks on the United States and, following this, the Bali bombings, the London and Madrid bombings. Terrorism is a tactic that has been used for a long time to achieve political ends, but it has recently come to the fore through the massive loss of life in the 9/11 bombings, and the subsequent wars, as this was an attack against the currently most powerful nation on Earth, on home soil, killing thousands of innocents. Terrorism, as a political tool, has therefore come to be used almost as a daily term, in the media, by academics, in family homes, and, indeed, the populace is scared, perhaps by hyper coverage of terrorism in the media, perhaps by the attacks themselves, but, for whatever reason, the populace is scared, and so the ter rorists are winning, under the definitions of terrorism which have been discussed herein. The current paper will discuss two examples of terrorist groups in order to assess the moral framework to which they adhere, to assess whether this framework is consistent, and, if, indeed, it can ever be argued that terrorists can appeal to a consistent moral framework. Colombia has been involved in what is termed an ‘armed struggle’ for the past four decades, since the death of Gaitan in the 1960s, when the FARC and the ELN were founded, ironically, as a call to stop La Violencia which had begun following Gaitan’s death. At this time, these two guerrilla groups campaigned for peace, for free elections and for the return of a leftist government. The FARC and the ELN have, however, in recent decades, become embroiled in the drugs trade, gaining money through the drugs trade in order to fund their ‘war’ on the Colombian government, and their fight for peace in Colombia. In response to this, it is known that the current administration funded paramilitary groups to fight against the guerrillas[1], although the paramilitary groups have themselves become embroiled in the drugs trade and are known to have committed acts of terrorism against civilians and non-combatants, such that there is now a war between the guerrillas an d the paramilitaries. Thus, the situation in Colombia is extremely complex. FARC and ELN guerrillas began with the stated aim of returning Colombia to peace, through the instigation of free elections, seeking a solid political end to La Violencia. Their moral framework was just that: a moral framework through which they were seeking to return Colombia to some semblance of normality. However, as we have seen, and because it is so easy, in a country where it is so difficult to earn a living any other way, the guerrilla groups became embroiled in the drugs trade, and, as such, their moral framework for committing terrorist acts has changed, and indeed, the way in which they commit their terrorist acts has changed, with IRA terrorists training the guerrillas in bombing tactics, and these being used on Colombian military targets, unfortunately to great effect, with the concomitant loss of many lives. Thus, the Colombian case is extremely complex, with guerrilla groups starting out with mainly political aims, b ut with these same groups now largely fighting to retain control of their share of the drugs trade, causing armed combat between members of these guerrilla groups and government-backed paramilitaries whenever they come in to contact. Thus, the FARC and the ELN, although they started out as political terrorists are now seen as groups which use their skills to dominate the drugs trade, through the taking of national territory and the submission of hundreds of thousands of farmers in the regions in which they hold territory. The moral framework that these terrorist groups adhere to has, therefore, firstly, radically changed over the period of activity, and has taken a far less ‘helpful’ turn, in terms of terrorising a whole country and causing problems for Colombia in terms of international relations, economic development and human rights issues. The FARC and ELN, if they adhere to any framework at all, for their actions, certainly cannot argue that this framework is in any way moral and it certainly has not been consistent. As such, for these groups of terrorists, who literally hold a country to ransom, there can be no argument of a consistent moral framework that is in place, and there can be no argum ent for the existence of any consistent moral framework for the human rights abuses they cause and the economic and political havoc they create for Colombia. The next terrorist group we shall look at is the Sendero Luminoso (Shining Path) of Peru, which was formed as a political guerrilla group, in response to Peru’s military dictatorship, with the stated aim of achieving free elections within Peru and placing a communist party in control of Peru, through the Pensamiento Gonzalo ideology (named after the thinking of Guzman, the Shining Path’s leader). The Shining Path took to violent means as a way of achieving its stated aims, and, indeed, is known to be responsible for some of the worst massacres in Peruvian history, with Peru’s human rights record being atrocious, on account of the atrocities committed by the Shining Path. The Shining Path seized control of large areas of Peru, but their communist ideas were never popular with the Peruvian populace, and so their guerrilla war began to lose support and its base began to falter. The Shining Path support fell dramatically following Guzman’s capture in 1992, and the capture of his successor several years later, with its successor movement, Proseguir, having very few supporters and arguing mainly for the release of former Shining Path members. In terms of the moral framework of the Shining Path, their aims were very clear and political in scope, although the situation was complicated as Fujimori, the Peruvian Prime Minister at the time, branded anyone who spoke against the government a terrorist (see Burt, 2006). Even though the Shining Path were obviously terrorists who, it has been proven, were responsible for many civilian deaths, the Shining Path had a consistent moral framework to which they subscribed and which dictated their actions: the installation of communism within Peru. This framework was the reason for the establishment of the group, and was consistent across the time during which the Shining Path was active within Peru. Thus, in this guerrilla group, unlike in the guerrilla groups active in Colombia, the moral framework for the Shining Path’s actions was very clear and fixed, and consistent across the history of the Shining Path. We have therefore discussed two cases, of three guerrilla groups, two in Colombia, one in Peru, two of which (the FARC and the ELN) have evolved in their ideology and moral framework as they moved through time, and one of which (the Shining Path) had a consistent moral framework in place for their actions, which informed, supported and dictated their actions in terms of achieving their stated aims (i.e., the installation of communism within Peru). Thus, terrorists, and terrorist groups, as we have seen in the case of the FARC and ELN, can evolve and change, in terms of their aims and their objectives, and the means used to achieve these aims. As such, their moral frameworks also change and move with the new orientation. Under this analysis, it is implicit that terrorists have a moral conscience, that although this moral conscience allows them to commit acts that are considered terrorist acts by society, they do have a moral conscience, and one that can be called upon to support their objectives and their aims, and which can be used as a way of justifying any terrorist acts that they commit. As we have seen, as Atram (2006) concludes, the emergence of terrorism cannot be explained by a single political root cause, such as the presence of foreign military forces or the absence of democracy, as other factors such as psychological motivations, or religious inspirations can also contribute to the desire to undertake terrorist acts. As Atram (2006) argues, any simplistic accounts of terrorism, why it happens and what leads people to become terrorists, are bound to failure as terrorists have underlying moral values and group dynamics which are complex themselves and also intertwined in a complex manner. On ly when these root causes are fully understood by decision-makers will organisational and ideological solutions that could defuse the threat of terrorism be found (Atram, 2006). As such, as Atram (2006) argues, terrorists have a consistent moral framework within which they work, allowing them to unilaterally act, in concert, to achieve their ends. Thus, the FARC and the ELN, and the Shining Path, although, as we have seen, they have, and continue to, commit terrorist acts, they can call upon a moral framework for these acts, in terms of having justifiable reasons for their objectives and aims, and the way in which these objectives are achieved, such that these acts are perpetuated under what they consider to be a moral framework. That the rest of society does not see this framework as moral, under normal societal definitions of moral, is beyond them, beyond their understanding for, as Bandura (1990) argues, moral standards do not function as fixed internal regulators of conduct, but rather, self-regulatory mechanisms do not engage until they are activated, and there are many ways in which these regulatory mechanisms can be disengaged, allowing the emergence of different types of conduct with the same moral standards. This paper has discussed the issue of whether terrorists can appeal to a consistent moral framework. As we have seen, there are many definitions of terrorism in use in the literature, as there are disagreements as to the definition of terrorism[2], as some academics argue that the motives that fuel some terrorists are politically valid. Indeed, ‘terrorist’ and ‘terrorism’ seem to have been, and be, somewhat flexible terms, depending on the political affiliation of the terrorist/terrorist act; many people would call the acts committed by the Israeli’s against the Palestinians, for example, terrorist acts, but these seem to be supported by the United States government, as Israel is currently one of the highest recipients of United States foreign aid. Similarly, as we have seen, Nelson Mandela, ex-President of South Africa, and Nobel Laureate, was once branded a terrorist and was imprisoned for decades for his terrorist acts; a definition for terrorism, and the word terrorist thus seems to be flexible, depending on the political context and the aims that are trying to be achieved by the people supporting the country in which the terrorist is present. Although the word ‘terrorist’ and the term ‘terrorism’ are open to interpretation, by politicians, and under international law, as we have seen[3], terrorists do subscribe to what they consider to be a moral framework for their objectives, and to support their acts to achieve these objectives. As we have seen from the two examples used here, these moral frameworks can stay static throughout the history of the terrorist group (as with the Shining Path) or can change over time in response to external factors or political events (as with the FARC and the ELN). Thus, the issue of whether terrorists can appeal to a consistent moral framework, I will argue, is valid: indeed, although this framework may be seen as amoral by the rest of society, the terrorist defines their objectives as moral, under a moral framework, which for them is consistent in terms of leading to desired objectives. Whether this framework is consistent across time is a matter for discussion, f or, as we have seen, some terrorist groups find their objectives changing with shifting external circumstances, and, as such, their framework, whilst remaining internally morally consistent, in terms of the objectives, is not externally consistent over time. As Atram (2006) argues, terrorists have a consistent moral framework within which they work, allowing them to unilaterally act, in concert, to achieve their ends: it is this framework which allows them to function, as a unit, in order to achieve their aims and objectives. References Annan, K., 2005. Larger Freedom. Speech given to the United Nations at the Security Council Meeting on 17th March 2005. Atram, S., 2006. The moral logic and growth of suicide terrorism. The Washington Quarterly 29(2), pp.127-147. Bandura, A., 1990. Mechanisms of moral disengagement. In Reich, W. (ed.), Origins of terrorism: psychologies, ideologies, theologies, states of mind (pp.161-191). Cambridge: Cambridge University Press. Burt, J-M., 2006. Quien habla es terrorista: the political use of fear in Fujimori’s Peru. Latin American Research Review 41(3), pp.32-62. Saul, B., 2006. Two justifications for terrorism: a moral legal response. Foreign Policy in Focus, FPIF Policy Report. January 10th 2006. Available from http://www.fpif.org/pdf/papers/0601justifications.pdf Accessed on 30th April 2007. 1 Footnotes [1] As part of their efforts to secure, and retain, money from the United States, through their War on Drugs programme. [2] Although, as we have seen, the definition of terrorism currently in use by the UN is, â€Å"any act†¦intended to cause death or serious bodily harm to civilians or non-combatants with the purpose of intimidating a population or compelling a government or an international organisation to do, or abstain from doing, any act.† (Annan, 2005). This definition is also used by the International Criminal Court, and by most human rights lawyers who are involved in prosecuting terrorist acts. [3] with, as we have seen, for example, the war in Afghanistan bringing back many memories for the United States government, who supported the Afghan Mujahideen as ‘freedom fighters’ during the United States war with the Soviet Union, but recently, the United States government branding breakaway Afghan groups as terrorists, and launching a war in Afghanistan to stop them in their terrorist acts.

Auteur Theory and Jean Luc Goddard’s Work

Auteur Theory and Jean Luc Goddard’s Work Introduction The word â€Å"auteur† simply means author; however the auteur theory as devised by Andrew Sarris indicates a manner of reading and appraisal of films by examining the imprint of the author of the work, generally the director. Sarris uses this theory to rank the work of directors on the basis of three separate criteria: (a) technical competence (b) stylistic identity and (c) the communicability of their worldview, and on this basis, Sarris examines the work of directors and estimates their worth.(Wells and Hakanen, 1997:313). Keller points out that the auteur theory or la politique des auteurs may be summarized as the â€Å"acknowledgement of the director as the primary and shaping force behind any film.† (Keller 1930). The term, politque des auteurs was coined by Francois Truffaut, who realized that American Directors often worked within strictly circumscribed parameters in reference to the kinds of films and the scripts they could direct, since these were often predetermined and allowed the directors little room to experiment with their own ideas. Yet, despite these restrictions, some directors such as Hitchcock were able to achieve a personal style that was uniquely their own. The role of the director is to coordinate all the elements of production and its various stages, which ultimately affects the quality of the final product. The notion of the Director being the true author of a film first emerged through the views of Andrew Sarris, who offered the view that over the course of preparation of several films, a director may reveal certain recurring characteristics of styles or themes, which are like his or her personal signature or stamp upon the film, identifying it unmistakably as their product. In particular, where some directors are concerned, some recurring themes may occur in all their works, or their work may demonstrate a particular world view or personal vision that becomes evident through their work. The auteur theory is especially relevant and important, as demonstrated through the work of Directors such as Jean Luc Goddard, because they bear the unmistakable personal imprint of the author, despite the plethora of external market and commodity pressures that may fashion the final products. The objective of this study is to examine the works of French Director Jean Luc Goddard from the perspective of the auteur theory, in order to discern the unique thread that underlies this director’s work. Through an examination of four films, Une femme est une femme, Vivre Sa Vie, Le Mepris and a bout de soufflà ©, the unique elements in Godard’s films which set him apart from other directors are identified. According to MacCabe (2003), Godard is one of the most important European artists of the last 50 years and the most important French poet of the twentieth century, because of the intensity of this extraordinary man’s commitment to cinema. Godard’s films demonstrate innovation and evolution, presenting cinematic techniques that have evolved through several different aesthetic forms. As Keller (1930) points out, Godard’s films have passed through various stages that have deviated from traditional Hollywood reference points and demonstrating several different forms of experimentation that reflect his own view of life and the events that transpire within it. For example, Godard’s choice of black and white, his unabashed transmission of blatantly political views in his films and his use of a film making style that incorporates several different elements such as â€Å"narrative cadenzas, historical scrutiny, visual poetry, literary citation†, yet overall containing these within a dominant frame of contemplation. Keller (1930) also corroborates the views of MacCabe (2003) that Godard made films of great beauty and complexity, which only evolved over time into greater and more complex works of art with the passage of time. Cinematic technique in Godard’s films Godard’s films in effect are a systematic reflection on the notion of reflexivity in cinema. A work of art such as a film can demonstrate a distance from reality; it can be one in which the work appears to turn back and speak about itself. It heightens the sense in the viewer that what is being viewed is not reality itself, but that there is a reality that exists beyond what is playing out on the screen. In most of his films, Godard is able to establish a clear distinction between the action and engagement as portrayed through the events of the film as opposed to inaction or disengagement from the film, which allows the process of meditating about the events (Keller 1930). The reflexivity inherent in Godard’s work is one of the recurring characteristics that surfaces again and again in his films. He repeatedly uses alternative frames of reference to present the narration in his films. The film Vivre Sa Vie is about a woman Anna who was much loved, yet Godard creates a cinematic portrait of this woman through means other than the direct visual image; he relies upon the subjective experience that a viewer will gain about the character that is the subject of the film. He uses interviews, chapter headings, letter writing, philosophical conversations as well as reading aloud from several texts, all of which form the subtext from which the viewer derives a mental picture of the woman the film is about. Godard pieces together all these various disparate fragments together like a collage in order to derive an image of unity, a mental picture that will be different in each viewer’s mind depending upon their individual perceptions. For example, at the beginning of the film, as the credits play out, the profile of the character Nana appears on the screen; yet the audience is not allowed to see this woman clearly because her face is in profile and she appears in a half hit, shadowed shot which renders facial clarity difficult. A quote from Montague offers a referential context, suggesting the rich subtext that is to play out during the film. The character is shot from behind, and the camera pans for a quick moment to snatch a furtive glimpse of her in the mirror; yet this glimpse is almost like an intrusion and the camera moves away quickly as if it has engaged in the forbidden act of stealing her image. This technique recurs throughout the film; the experience of the viewer of the character of Nana is through the referential frame of others, never by viewing the character directly. The films assumes the air of an almost-documentary; the discourse creates the subjective impression of the character which the audience will gather based upon the brief glimpses and information it receives about her; information that is presented like a record of events in a documentary. The referential frame is evident as her emotional reaction to Carl Dreyer’s La passion de Jeanne d’Arc and her identification with the protagonist is discussed, Godard appears to be injecting historical realities side by side with the narration about Nana to further accentuate the impression of a documentary and thus reality. The end of the film shows Nana standing with her head and shoulders against a wall, framed against a photograph, while her husband reads out aloud a poem by Poe titled â€Å" The Oval Portrait†, which is the story of a man’s obsession with his wife. The entire story progresses as a painting of Nana is in process, until at the end of the film, the painter draws back and the subject of his painting – Nana – is dead. In this way, Godard not only highlights the dangers of an obsessive love; he challenges the audience to think about the female protagonist in a manner that is different from the normal filmic view. He distances the protagonist from the viewer and allows a more subjective experience to be gained, which will be different in the case of each viewer. The apparent reality of the character as presented by her husband is further challenged at the end of the film as the audience notes in shock that she is dead. The filmic technique of reflexivity may also be noted in Godard’s film Le Mepris, in which the director sought to present the appearance of a film-within-a-film. For instance, Godard deviates from the standard depiction of credits on the screen, rather the credits are spoken and Godard himself appears later in two scenes of the film dealing with the Odyssey. Was it Godard himself who spoke the credits since the voices are so similar? (Marie 1990:82). The viewer never knows, however it serves to establish a link in the viewer’s mind between one section of the film dealing with the Odyssey films and the other which deals with the non-Odyssey aspects.(Leutrat 1989:71). The cinematic technique of a film occurring within a film is heightened by a scene where Godard’s cameraman is seen helming another camera that is moving towards the camera which is doing the actual filming. The impression thus created in the viewer’s mind is one of a simultaneous presence by Godard and his cameraman both on screen and off screen. The referential function is also evident in the film a bout de soufflà ©. There is a series of filmic action and events that occur, yet at the same time, there is also a parallel set of events depicted that speak about the film and appear to offer an outside view that is distinct from the events taking place within the film. For example, in one of the shots, the character Belmondo in the film passes by a movie poster, which reads† to live dangerously† which is in reference to Aidrich’s W Seconds to Hell (Andrew 1987:148). A few scenes later, the filmic action occurs against the background of another film poster; this time one of Humphrey Bogart in the film â€Å"The Harder they fall†. There is a suggestion that the character is moving in dangerous terrain and the posters in the background serve in the nature of a comment occurring off screen, disconnected from the events of the film and yet offering an observation on it. There are more such references from films and theatre that occur in the film; for example as the film moves into its concluding segment, the character of J.P. Melville in the film makes an oral reference to Cocteau’s testament d’Orphee. Subsequently, the character of Jean Seberg runs away from a detective inside a theater that is playing Preminger’s Whirlpool; she is able to successfully escape the detective. After this, she runs with Belmondo into yet another theatre and in this instance, it is Boetticher’s Westbound . The association of movie action with posters and scenes from films and theatre which symbolize certain kinds of events results in a degree of unreality being accorded to the final moments of Godard’s film itself. For example, when the death of a character occurs at the end of the film, the audience tends to view it through the referential frame of the movies and posters that have been viewed, so that it is not tragedy, pity and fear that is inspired in the viewer but rather a feeling of filmic inevitability, as if the character has been absorbed into the referential frame of filmic reality and immortality rather than the tragic reality that is playing out on screen. Godard successfully employs this technique of standing back from the film itself and offering a narration, observation or comment on the film that is outside the main frame of reference of the film. This is one of the recurring characteristics in all his films and is line with the Brechtian theory of alienation. Brecht’s assumptions were that we as human beings, are isolated from the world around us through the manner of language we use for instance, which is not in line with our actual experiences of the world but in effect, proceeds along a different path, objectifying the world rather than allowing it to develop out of our subjective experiences. This tends to isolate us in an area where our objective knowledge and manner of expression in an objective world is in sharp contrast to the subjective experiences we may gain. Brecht characterizes this as follows: â€Å"Alienation is nothing but a representation, that is ‘making noticeable’’ of estrangement. (Ludwig 1972:20). Brecht suggests that the only way by which humans can disassociate themselves from this process of alienation is to withdraw and separate ourselves from this alienated experience in order to discover a more subjective way and unspoilt way to experience things and reflect upon them. Godard is able to accomplish this feat of withdrawal from the so called reality of the film and the objective use of language in order to stand back and assess experiences in a more subjective manner, relying more upon the true response of the senses to the product rather than the kind of response that man has been conditioned to give based upon his subjective training in the world. Godard’s career is characterized by the exploration of realism and film style. â€Å"For Godard, there is not reality and then the camera – there is reality seized at this moment and in this way by the camera† (MacCabe, 2003:79). In discussing his interest in the depiction of reality as it actually is experienced, rather than a fictional image conjured up for a viewer, Godard himself explains that he enjoys visiting a theme, place or subject after others have lost interest in it and the drama associated with it has faded, in order to capture the reality of the event as it exists (Bonnaud, 2005). He points out how images on television are manipulated, thereby contradicting the notion that the facts speak for themselves as depicted on the camera. One example he cites is the depiction by television cameras of the exterior or the Credit Lyonnais bank while providing a voice over narration of the scandals that had brewed within those walls. According to Godard, such images are meaningless because they portray nothing of the reality of events at all (Bonnard, 2005). In most of his films, the locations in Godard’s films are driveways, hotel rooms and large stretches of barren fields, which provides an effective and realistic backdrop that reflects the grim realities of his characters’ lives, providing them the space to meditate and contemplate on their transient mortality (Dixon, 1998). His films are interwoven with references to classical literature, as in Odyssey in Le Mepris and La Passion de Jeanne du Arc, the works of Edgar Allen Poe and Montague, yet all these provide the viewer the opportunity to reflect upon the deeper philosophical truths that underlie an apparent cinematic reality. In using such techniques, Godard appears to be questioning the reality presented by the camera. On the one hand, the events in Vivre sa Vie present the subjective portrait of a woman much loved; yet this love also kills her in the end. Godard substantiates Brecht’s assertion that humans are saddled with an outward reality that does not correspond to their subjective experiences and makes the viewer question whether the camera is really depicting the truth? The reflexivity inherent in Godard’s technique forces and presents a constant process of meditation and reflection, not only in the characters in the films but also in the viewer. Godard’s films thus appears to reflect his persistent quest for and his insatiable curiosity about reality, is it really as it seems or is there a deeper dimension that underlies what is visible on the surface? Godard’s films thus bear the unique stamp of his own way of looking at life, the manner in which he questions the reality of what is visible, his unwillingness to accept things as reality merely because others say it is so. Godard is of the view that the digital medium offers less depth precisely because it does not permit the kind of juxtaposition of reality and reflexivity which is possible with the film medium (Bonnard, 2005). The use of sound in Godard’s films Godard demonstrates a great sensitivity to music and the impact of sounds in creating a cinematic experience, as depicted especially in his film â€Å"Nouvelle†, where he used music composed by Manfred Eicher (www.ecmrecords.com). In conveying his impressions about Godard’s film Vivre Sa Vie released in 1962, Eicher states that the film reveals the director’s extraordinary levels of sensitivity to image, sound and rhythm, so that it is capable of moving the viewer on a different level when the his/her eyes are closed. (www.ecmrecords.com). A blind woman, Claire Bartoli writes about an internal cinema fuelled by the soundtrack of the film, that she must concentrate on to experience the film because she cannot see the images that go along with them. In an essay about his film Nouvelle Vague, she writes: Godard, with large cuts of the scissors, divides the material into fragments, producing sound miniatures, as pure elements (www.ecmrecords.com). She describes how Godard is able to isolate individual sounds such as the ringing of a bell or the sound of waves and rediscovers them within the context of the story that is taking place, so that it is the sound itself that fuels the emotional experience which characterizes the reaction of the viewer. In his film Une femme est une femme, Godard utilizes a mixture of sounds in eclectic combinations to produce an impression that is deliberately discordant when viewed in conjunction with the reality. For example, around the middle of the film, the protagonist Angela sits in a cafà © with her boyfriend and asks him to first say something false and then say something true. Then she points out in distress that his expression ha snot changed at all irrespective of whether it was the truth or a lie that he was telling. The film in turn appears to present serious things lightly and light things seriously, deliberately deviating from reality. The story itself is about Angels wanting to have a baby which her boyfriend Emile is not prepared for, she threatens to have it with his best friend Alfred instead, he tries to call her bluff and she actually goes ahead with it only to realize that she has gone too far and has turned a serious matter into a frivolous issue. The element of frivolity and unreality is enhanced and embellished by the sound used by Godard in the film. The entire film resonates with musical bells and whistles, there are sound effects that are over-the-top, music suddenly swells in an exaggerated and ridiculous fashion and interspersed within these are literary references. The use of sound in the film is eclectic and it almost appears as if the director is having childish fun, in producing sound effects that must change swiftly, as if they must hold a child’s attention. This yet again, corroborates the reflexivity the director seeks to imprint on his viewers. This may be noted particularly in a scene at the beginning of the film for example, where there is some cool. Pop music playing in the background as the protagonist walks into a cafà ©. The viewer makes an automatic association of the image with the character of the protagonist as hip and cool. Then as she leaves the shop, the music suddenly stops and devoid of the sensory backdrop, the viewer is forced to revise his/her original impression of the cool young woman and sees her as just another ordinary woman walking out of a store. But a moment later, the music starts again, as if, now satisfied that the viewer has been forced out of his/her sensory haze, the director seeks to push the viewer back into the unreality of what is playing out on camera. Godard effectively uses sound as a vehicle to force the viewer to refrain from responding to the film with stock emotions; rather he must view the film from a perspective that is different and unique. According to Dixon (1998) Godard’s sound techniques employed in his films, whereby he layered his sound tracks with an eclectic mixture of natural sounds and classical music, with dialogues and voiceovers, which is a reflection of his vision as a film maker. Godard’s reflexivity is also evident in the soundtrack of Le Mepris, where the ancient Odyssey scenes are shot in a different kind of lighting and color and utilize different theme music, yet they are similar enough to evoke a connection between the two, which suggests that the two are linked – is the ancient day Odyssey story occurring within the context of the modern day? The musical themes of the two parallel stories are â€Å"Camille† and â€Å"The Gods†, yet the similarities in the music themes suggest similar emotional undertones in both stories. For example, the opening chord in the film is a tritone in Bb-e, which is somber and dark suggesting something ominous that could be associated with the devil. The music in itself suggests that the tone of the film will be such that there may be a tragic outcome. This impression is paralleled in the theme music of the parallel visualization, characterized mostly by the use of strings and harps in a minor chord, which in classical music is traditionally associated with seriousness, sadness and ultimate tragedy. The nature and composition of the music in le Mepris thus highlights the allusion of the modern day playing out of the Greek classical tragedies of ancient times. Godard describes how he visualized the scenes in the film dealing with Odyssey in Le Mepris as being lit in a manner that was much different from the main film, in order to give the impression of a film occurring within another film. Those particular scenes were to be photographed such that â€Å"the colours will be more brilliant, more violent, more vivid, more contrasted also in their organization.† (Godard 1985:146). This is in sharp contrast to the documentary style used in Vivre Sa Vie for instance where voice-overs and the spoken, poetic narrations provide only the backdrop to the tantalizing glimpses of the character of Nana that keep appearing throughout the film. Conclusions Godard was undoubtedly a Director whose films displayed his own unique stamp, and his striving to depict the emotional nuances of his characters through the utilization of the tools of sound, color and stylistic technique to convey a message in sub text that moved far beyond the actual events occurring in the films. The innate curiosity of the director about reality itself, his constant questioning of what is real and what lies beyond the reality that is apparent visually can be gleaned in his films. His attempts to convey a mood and aura are not incorporated directly into the main narrative but rather must be gleaned by the viewer through the subtle signs that exist in the sub text of the film. Rather than making certain visual and audible elements glaringly apparent for the viewer by using close up shots for example, Godard leaves it to the viewer to subtly discern these messages, to think about the film long after seeing it in order to grasp the significance of the elements that have been presented in the film. Through this process, Godard forces the viewer to confront a hidden reality that may exist beyond that apparent on the surface. The Brechtian alienation suggests that viewers need to revise their way of thinking and seeing things such they rely more on their own subjective experiences. This ability to instill reflexivity in the film viewing experience and force a viewer to question the reality of what he/she sees is a particular characteristic of Director Godard. His use of literature and poetry as well as filmic and theatrical allusions is targeted at promoting a reflexive experience in his viewers. His characters reflect upon life within a contextual dimension that is as rich with visual, audio and spatial clues as the cinematic material which is outwardly apparent, to present the viewer with a viewing experience that extends far beyond the visual images. The complexity and beauty of his films is enhanced by the willingness of the director to experiment with avant garde techniques and use unconventional means to convey his cinematic messages. The director uses quitotix and unusual methods to elicit this reflexivity, especially in the film Une femme est une femme for example, where the protagonist is frying an egg, the phone rings, she flips the egg high in the air, dashes to take the phone and returns just in time to catch the egg and flip it back into the pan, thereby underlying the unreality of the images being viewed. The Director’s films stimulate thought and force a viewer to interact actively with the medium, to question what is seen and what remains unseen but can be discerned below the surface through careful observation. This is why the supporting elements in Godard’s films are so important the sound, the color, the music, the visual techniques, the editing, all enhance the messages being conveyed sub textually. The auteur theory requires that an author’s work demonstrate an unmistakable stamp that identifies it and sets it apart. The alienation and distancing from the cinematic view, the reflexivity inherent in a Godard film viewing experience is one that is not found in a comparable manner in the work of other directors. The auteur theory is therefore relevant where Godard is concerned, because in effect, a director must exhibit certain recurring characteristics throughout his films, which are like his signature on the films. This is what Godard accomplished through the unique and experimental combination of light, sound , editing and style in every film, which promotes reflexivity and presents a multi faceted reality. Bibliography Andrew, Dudley, 1987: â€Å"Breathless. Jean Luc Godard, Director† London: Rutgers University Press Bonnaud, Frederic, 2005. â€Å"Occupational Hazards†, Film Comment, 41(1): 37-40. Dixon, Wheeler Winston, 1998. â€Å"For ever Godard: Notes on Godard’s For Ever Mozart†, Literature/Film Quarterly, 26(2): 82-88 ECM: Background Information†, Retrieved December 13, 2007 from: http://www.ecmrecords.com/Background/Background_1600.php Godard, Jean-Luc, 1985. â€Å"Jean-Luc Godard par Jean-Luc Godard†, Alain Bergala, à ©d. Paris: Cahiers du cinà ©ma -Editions de lEtoile. Keller, Craig, 1930. â€Å"Jean-Luc Goddard†, Retrieved December 12, 2007 from: http://www.sensesofcinema.com/contents/directors/03/godard.html MacCabe, Colin, 2003. â€Å"A portrait of the artist at Seventy†, Farrar, Strauss and Giroux Marie, Michael, 1990. â€Å"Le Mepris: jean Luc Godard:, Paris: Edition Nathan Wells, Alan and Hakanen, Ernest A, 1997. â€Å"Mass Media and society†, Ablex/Greenwood.

Why Do We Believe In Angels :: essays research papers

In various retail stores today, you will find many angel knickknacks. Angles are truly believed in by today's society. The retail ranges from books to clothing to toys. Most recently, over 200 books about angels are in book stores, and several million copies have been sold worldwide (Dumas 59). Why do people buy this merchandise if it can not be proven that angels are real? Believing in angels is like believing in God. If you don't believe in God, just look around at the things around you and conclude how everything was created (Angel Wings).   Ã‚  Ã‚  Ã‚  Ã‚  Do angels really exist? Everyone wants to know about everything around us. If the person on the street is holding a sign saying 'will work for food'; was really an angel in disguise. Or the women that arrived just in time to save a runaway car full of three small children. Was she really an angel? In the bible in Hebrews 13:2 it says 'Be not forgetful to entertain strangers for thereby some have entertained angels unawares.'; There are over 300 references in the bible about angels. For example, in the new testament angels announced the birth of Christ, in Luke 2:8 angels told shepards where to find the infant Jesus, also in Luke an angel went to a tomb of Christ to announce his resurrection (Auburn University 1).   Ã‚  Ã‚  Ã‚  Ã‚  Billy Graham wrote a very good perspective of angels in his book Angels: God's Secret Agents. He stated:   Ã‚  Ã‚  Ã‚  Ã‚   Lucas 2   Ã‚  Ã‚  Ã‚  Ã‚  ' I am convinced that these heavenly beings exist and that they provide   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  unseen aid in our behalf. I do not believe in angles because someone has   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  told me about a dramatic visitation from an angel, impressive as such   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  testimonies may be. I do not believe in angles because UFO's are   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  astonishingly angels-like in some of their reported appearances. I do not   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  believe in angels because some ESP experts are making the realm of the   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  spirit world seem even more plausible. I do not believe in angels because   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  of the sudden worldwide emphasis on the reality of Satan and demons. I   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  do not believe in angles because I have never seen one- because I haven't.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  I believe in angels because the Bible says there are angels; and I believe the   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Bible to be the true Word of God (Hilbb 2) .';   Ã‚  Ã‚  Ã‚  Ã‚  In an essay by Linda Ray, she stated her belief about angels. She wrote that she believes in angels because God's word, the Holy Bible, tells her they are real, giving many accounts of the activity in the lives of people on earth.