Drugs & Crime- Internal Restraints Assignment Example | Topics and Well Written Essays - 250 words

Drugs & Crime- Internal Restraints - Assignment Example Self-acknowledgement acts as a cause of motivation for the individual trying to overcome the problem. In addition, motivation helps the patient to suppress the cravings for engaging in criminal behavior and drug use. Sharing the problem with other people also weakens the craving. Over a period, the individual will be able to deal with the urge systematically until they overcome the craving completely (Marlatt et al. 65). External cues are events and activities that exist within the environment of the affected individual. Certain stimuli in the surrounding of the patient can be associated with alternative stimuli (Marlatt et al. 276).The sights, sounds and smell formally associated with a craving to commit a crime or abuse drugs may imply danger. Locations previously associated with fulfillment as bars, houses where the crimes were committed or friends who took part may be subject to interpretation by the brain as a sign of danger. The individual may voluntarily desist from visiting such locations during

Magnificent Architectural Space Essay Example | Topics and Well Written Essays - 750 words

Magnificent Architectural Space - Essay Example Its significance can be assessed as two-fold, first from the standpoint of this particular work in the Piranese artistic development, and second - from a stance of considering the role of Piranese in the etching movement, and his influence on contemporary environment. This print belongs to the early works of Piranesi, when he was concentrating on revealing the beauty of architectural forms and his desire to create impossible spaces was just emerging. Being an aspiring architect putting together a living as an engraver in Rome, Piranesi was inspired by his early encounter with the ancient city. It was an experience that significantly shaped his highly personal work as an architect, etcher, and designer. The series the Prima Parte di Architteture e Prospettive, which includes Magnificent Architectural Space, was first published in 1743. Modern editors, Andrew Robison and John Wilton-Ely, agree that it is a truly extraordinary collection of prints, a publication that demonstrates how quickly and deeply the young artist had absorbed, and in many ways transcended, the graphic and architectural models available to him during the early 1740s (Giovanni Battista Piranesi 1972 p.117). According to scholar John Wilton-Ely, the distinguishing characteristics of Piranesi's early works were "the unorthodox combination of classical motifs, the manipulation of superhuman scale, the organization of powerfully receding perspectives upon diagonal axes, and the modulation of space by means of skilful lighting"(Wilton-Ely 1994 p.23). John Wilton-Ely also highlights that Piranesi was the first to convey the "layering of historical change" within a single image, normally by inserting letters of the alphabet against relevant parts of a building's structure; the letters, in turn, refer to extended captions within or outside of the print block. Colin F. Madigan emphasizes the impact of Piranesi's early works on the contemporary environment by pointing out that the prints "expressing the chaotic richness of the classical world were displayed in gentlemen's houses in Europe and their influence on the design of buildings and furniture at that time was significant" (Madigan 1982 n/p). Moreover, the artistic value of the Magnificent Architectural Space should be assessed from the standpoint of the corresponding stage of the etching historical development. If we stop at eighteen hundred and look back at the prints that have been made up to that time, one of the outstanding characteristics of the movement represented in them seems to have been a gradual withdrawal from print making by the more important artists (Ivins 1969 p.96). The number of masters making prints with their own hands dropped significantly and Piranesi was one of the few representatives of this movement in the eighteen hundred. Piranesi etched and published numerous folio print sets of art, architecture and archaeology of Rome that served as source material for other architects and designers. After the artist's death, his son Francesco took the plates to Paris and continued publishing his father's work between

Shostakovichs Chamber Music and Musical Tradition

Shostakovichs Chamber Music and Musical Tradition To what extent does Shostakovich draw on musical tradition in his chamber music? Your answer must be supported by a discussion of two or three appropriate pieces of chamber music by Shostakovich that you have studied in the module materials. Musical tradition has been part of our cultural heritage for as long as we can remember. Still it is not that simple to define. One can say that traditional music are songs and tunes which have been passed down orally for generations, and are often folk songs, country dance and similar, but it can also be pieces of written music from early composers etc. We are going to look at three compositions of chamber music written by the Russian composer Dmitri Shostakovich (1906-75). String Quartet No.2: first movement String Quartet No. 7: second movement Piano Trio No. 2: last movement The discussion is whether these are more of a traditional Classical musical structure, or an expression of a musical artist, that uses different elements to dissent from prevailing political ideologies at a time when the Communist Soviet Union restricted an artists freedom of speech. Originally, chamber music was written with the intention for small groups to play for private functions, and as the number of instrument were so few, there was no need of a conductor. That is one of the reasons that chamber music by its nature is so intimate. They have to learn how to communicate with each other with eye-contact and signs between themselves. String Quartet is a genre of chamber music which originated around 1760-1820, the Classical period of western music. The traditional ensemble is made up of two violins, a viola and a cello, sitting in a slightly curved line to be able to see each other. There are four movements in a Classical string quartet. One of the significant differences of this Shostakovich string quartet is, that in the first movement, it is actually written in a typically classical sonata form. (Samson Diamond, speaking in Shostakovich, scene 5). The first movement of String Quartet No. 2 is divided into three parts: Exposition Development Recapitulation. In the exposition, where the theme is, are two melodic ideas presented, traditionally played by the first violinist. Dominantly and energetic, he is accompanied by the other three. Then, the second violinist is getting more purposeful and intense with her bow strokes, following by the viola. The cello is playing contrasting and forceful in a lower pitch. The second melody coming up, is lacking the forceful strong moves from the previous section, but expresses more intense winding. At this point, Shostakovich decides not to follow the traditional structure, of continuing straight to the development. Instead he dissents from this by showing a hint to repeat the exposition instead of moving on to the development, although he does not. In the development, the melodies changes, and the first violinist becomes again more dominant, and the music becomes more intense and pulsating with a different tone colour to the exposition. Then, after the development, the sonatas recapitulation restates the theme, more intense and reversed. Shostakovich wrote fifteen string quartets, which are highly expressive and very personal. many composers used chamber music to give us the truest portraits of themselves, their most intimate thoughts and feelings. (Reading 6.1 in Richards, 2008, p. 223). Which explains why the quartets he decided to dedicate, were to family and close friends only, unlike his symphonies that were tributes to national events. The String Quartet no. 7, is in F sharp minor, a musical key, which is traditionally associated with pain and suffering. This quartet was written in memory to his wife Nina, whose sudden death affected Shostakovich profoundly, which clearly mirrored the choice of key for this piece. The second movement of a quartet (Lento), is traditionally the most expressive and personal of the four movements, where the music is transmitting the meaning, and that is definitely the case here. In a classical string quartet, there are usually four movements, but for some reason, Shostakovich breaks away from the traditional structure, and uses only three linked movements: Allegretto Lento Allegro The Heath Quartet, which are playing the second movement on the DVD (Shostakovich, 2008, scene 7) opens first with the second violin playing a seductive and controlled melody, which continues throughout the movement. Then the first violinist enters, playing a pitch higher, and the effect is almost hypnotic with the winding melody from the second violin. Both of violins are muted with an object that restricts the vibrations and changes the sound. Shostakovich uses the mute quite often in his work to gain the desired intensity of the movement. I think it adds to the stifled expression, the kind of emotion that is under the surface, that never really shows itself in the slow movement. (Oliver Heath, speaking in Shostakovich, 2008, scene 7) Piano Trio No.2 is another chamber work where Shostakovich expresses his grief and despair. It is a different type of chamber work to Quartet No. 7, for the reason that here there are three solo instruments: violin, cello and piano, and it is made up of four movements. Initially, in the 17th century, the piano trio was in a three movement form, but with the early 19th century, some composers like Beethoven for example, preferred to cast in the four movement form. Shostakovich was the one composer that definitely looked back at other composers. He is very often avant-garde on certain things. But he studied the compositions of great masters like Beethoven. (Michael Gurevich, speaking in Shostakovich, 2008, Scene 1). It was both national and personal tragedy that drove him to write this piece of music. It was finished in the spring of 1944, after WWII. Russia was in a state of exhaustion and the facts of the horrifying death camps and the fate of the Jews had started to unravel. Shostakovich had also lost his closest friend and mentor, Ivan Sollertinsky, when he was composing the Piano Trio. Shortly after, when Shostakovich had finished the trio, he decided to dedicate it in memory of his friend, following in a tradition of Russian elegiac piano trios, similar to Tchaikovsky, who had dedicated his trio to Nicholas Rubinstein. The final movement of Piano Trio No.2 (Shostakovich, 2008, Track 19), brings together many of the various elements being used until now; the ghostly opening, the frenzy crash of chords in a furious pace. Glee and madness following the anguish in the final movement. The whole piece of the fourth movement is under shadow of death and frustration, and it evoked controversial reactions from the critiques. This movement is nothing less than a gruesome dance of death; its quiet ending is the stillness of the mass grave. (Huth, 2005, in Richards, 2008, in Richards, p. 220). The Soviet Communist ideology was idealism, and therefore it expected Shostakovich finales to finish on a high spirit. However, Shostakovich choses to express dissent by showing the truest portrait of reality through his music. The Jewishness in Shostakovichs music was another factor that provoked dissent under the Stalin regime, because; distinctive Jewish culture was anti-Soviet, and therefore undesirable. (Richards, 2008, p.195). Nevertheless, Shostakovich kept making use of Jewish elements in his music, like Jewish folk poetry and melodies. One critique writes, after hearing Piano Trio No. 2; This is Klezmer, the wild music of Jewish celebration,à ¢Ã¢â€š ¬Ã‚ ¦ (Philip, 2005, in Richards, p. 221). Shostakovich says in Testimony: Jews were tormented for so long that they have learned to hide their despair. They express despair in dance music. and he adds; Jews became a symbol for meà ¢Ã¢â€š ¬Ã‚ ¦ I tried to convey that feeling in my music. (Reading 6.2 in Richards, 2008, p.224). Many of his works were forbidden because of the anti-Semitism, and his use of musical material that provoked dissent. Despite his efforts to hide the real meaning, some of his music could not be performed until long after Stalins death in 1953. Much of Shostakovichs music follows the traditional Classical musical structures, and as any musical tradition that is still alive, it is destined to become tradition. (1317 words) Bibliography Richards, F. (2008) Dmitri Shostakovich, AA 100 Book 2, Chapter 6. Shostakovich (2008) AA 100 Audio CD. Shostakovich (2008) AA 100 DVD Video. The Open University (2014) Exploring Music, https://learn2.open.ac.uk/mod/oucontent/view.php?id=855780section=5.4 (Accessed 29 January 2017).

Comparing Death in Do not Go Gentle into That Good Night and Australia,

Rage against Death in Dylan Thomas’ "Do not Go Gentle into That Good Night", and Judith Wright’s "Australia, 1970" Mortality is a subject often contemplated in both traditional and modern poetry. Traditionally, death has been viewed as a great leveler of people, and as a frightening, yet noble experience that is best approached with a quiet, dignified, Christ-like acceptance. In the work of some modern poets such as Dylan Thomas and Judith Wright, however, the message is a different one altogether. These poets advise the dying to not assume the role of the martyr, teaching by quiet example; rather, the dying are instructed to "rage, rage against the dying of the light" (Thomas) and "die like the tigersnake" (Wright) in order to send their messages to the living. While these two poets give these startling instructions with different goals in mind, one idea comes across clearly: that the image of the martyr quietly and knowingly accepting death is no longer an image that will satisfy modern poetry as it looks for reason in its examination of impending mortality. In his 1952 poem "Do not Go Gentle into That Good Night", Dylan Thomas examines the idea that entering quietly into death is not the proper way to leave life; instead, as life draws to a close, he instructs his readers to "rage, rage against the dying of the light" (Thomas). At first glance, this could appear to be futile advice, for raging against an inevitable, unalterable experience such as death obviously does nothing to impede its course, and could therefore be seen as a pointless exercise. However, upon closer examination, it becomes clear that Thomas’s poem does not attempt to fight or ward off death; rather, it attempts to convince others to live fully and ... ...ugh mercilessly taunted by the turncoat crowds, those dying in these poems are instructed to do so violently and wildly, to kick and scream, yet at the same time accept the fact that death is an unstoppable force. By depicting these violent, unorthodox, traditionally ignoble methods in a positive light and instructing others to partake in them, Dylan Thomas and Judith Wright are disassociating themselves with the ‘beneficial martyr’ outlook on life and death adopted by Christianity and instead aligning themselves with a far more rebellious and modernistic school of thought Works Cited and Consulted Stanford, Derek. Dylan Thomas. New York: The Citadel Press, 1986. 116-118. Thomas, Dylan. "Do Not Go Gentle." The Norton Anthology of English Literature. 1996 Thomson, A.K. Critical Essays on Judith Wright, ed. 1968. Wright, Judith. Collected Poems 1994. Comparing Death in Do not Go Gentle into That Good Night and Australia, Rage against Death in Dylan Thomas’ "Do not Go Gentle into That Good Night", and Judith Wright’s "Australia, 1970" Mortality is a subject often contemplated in both traditional and modern poetry. Traditionally, death has been viewed as a great leveler of people, and as a frightening, yet noble experience that is best approached with a quiet, dignified, Christ-like acceptance. In the work of some modern poets such as Dylan Thomas and Judith Wright, however, the message is a different one altogether. These poets advise the dying to not assume the role of the martyr, teaching by quiet example; rather, the dying are instructed to "rage, rage against the dying of the light" (Thomas) and "die like the tigersnake" (Wright) in order to send their messages to the living. While these two poets give these startling instructions with different goals in mind, one idea comes across clearly: that the image of the martyr quietly and knowingly accepting death is no longer an image that will satisfy modern poetry as it looks for reason in its examination of impending mortality. In his 1952 poem "Do not Go Gentle into That Good Night", Dylan Thomas examines the idea that entering quietly into death is not the proper way to leave life; instead, as life draws to a close, he instructs his readers to "rage, rage against the dying of the light" (Thomas). At first glance, this could appear to be futile advice, for raging against an inevitable, unalterable experience such as death obviously does nothing to impede its course, and could therefore be seen as a pointless exercise. However, upon closer examination, it becomes clear that Thomas’s poem does not attempt to fight or ward off death; rather, it attempts to convince others to live fully and ... ...ugh mercilessly taunted by the turncoat crowds, those dying in these poems are instructed to do so violently and wildly, to kick and scream, yet at the same time accept the fact that death is an unstoppable force. By depicting these violent, unorthodox, traditionally ignoble methods in a positive light and instructing others to partake in them, Dylan Thomas and Judith Wright are disassociating themselves with the ‘beneficial martyr’ outlook on life and death adopted by Christianity and instead aligning themselves with a far more rebellious and modernistic school of thought Works Cited and Consulted Stanford, Derek. Dylan Thomas. New York: The Citadel Press, 1986. 116-118. Thomas, Dylan. "Do Not Go Gentle." The Norton Anthology of English Literature. 1996 Thomson, A.K. Critical Essays on Judith Wright, ed. 1968. Wright, Judith. Collected Poems 1994.

Exile and Suffering Essay

Early scholars of Anglo-Saxon literature believed that â€Å"The Seafarer† represented an early pagan poem that had been adapted for Christian audiences by the insertion of pious formulas throughout and a moral at the end; accordingly, these scholars expended considerable ingenuity in attempting to excise the Christian elements to discover the â€Å"real poem† hidden beneath these composite overlays. Pound’s famous translation, in line with this emphasis, systematically removes or downplays many explicitly Christian elements of the poem and stops before the overtly homiletic conclusion, which features some dozen direct references to God and the heavens in the last twenty-five lines. Now, however, critics seem generally to agree that the two halves of the poem are unified by a movement from earthly chaos to heavenly order and that its coherent thematic thrust is the Christian message that the afterlife is more important than life on Earth. The poem is frequently discussed in conjunction with â€Å"The Wanderer,† another Exeter Book poem that shares many themes and motifs with â€Å"The Seafarer,† including the structure in which a specific treatment of biographical subject matter—the plight of a wanderer or Seafarer—is followed by a more general homiletic section that draws a religious meaning from the earlier material. The sailor, as a man required traveling over a hostile and dangerous environment, had always seemed to Christian poets to be a naturally apt image of the believer’s life on Earth, which should be viewed as a hazardous journey to the true homeland of Heaven rather than as a destination to be valued in itself. In this poem, the speaker seems to be a religious man (or reformed sinner) who has chosen the seafaring life as much for its efficacy as a means of spiritual discipline as for any commercial gain to be derived from it. The original opposition in the poem between landsmen and Seafarers gives way to the insight that all men are, or ought to think of themselves as, Seafarers, in the sense that they are all exiles from their true home in Heaven. As lines 31-32 (previously quoted) establish, the land can be just as cold and forbidding as the sea, and the virtuous, at least, should hope that they will be sojourning in this harsh world for only a brief time. True Christian â€Å"Seafarers† must psychologically distance themselves from secular life, as the Seafarer of this poem has done both literally and figuratively. The poet appears to encapsulate his theme at the pivotal midpoint of the poem: â€Å"therefore the joys of the Lord seem warmer to me than this dead life, fleeting on land. † This recommended ascetic withdrawal from worldly interests should enable the Christian to properly reject the comforts of life on the land as transient and seek spiritual rather than physical comforts.

The requirements for the perfectly competitive market

The modern business environment is characterized by an intense level of competitiveness. While this may not be good for the suppliers of products and services in the short-term, it is certainly good for the consumers because a high level of competition reduces the level of prices so that consumers can enhance their standards of living with the same purchasing power that they had before.The requirements for the perfectly competitive market are related to the number of suppliers in the market, barriers to entry in that market, economies of scale, mobility of resources and homogeneous products. The market is recognized as perfectly competitive when the conditions related to these five aspects have been fulfilled.Therefore a perfectly competitive market is characterized by a large number of suppliers, elimination of barriers to entry in that market, no significant economies of scale, mobility of resources and the homogeneousness of competing products and services. The Anti-trust law ensu res that in every industry these conditions are maintained so that competitiveness is not compromised.As mentioned before, competition is not good for the suppliers of products and services. This is because competition forces them to constantly reengineer their operations in order to reduce the cost of production or the cost of providing services.As a result, they have to constantly innovate on their product lines whether it is in terms of differentiation or cost leadership. In respect of both differentiation and cost-leadership, efficiency in resource allocation is created. In the perfectly competitive market, the suppliers have to ensure that they can get the maximum from investing the minimum.However competition also forces them to maintain the level of quality in their products and services. Since a large number of suppliers operate in a perfectly competitive market, consumers will immediately boycott the supplier who is offering low quality and they will migrate to other suppli ers.In this manner, competition creates the framework for maximum efficiency in what to produce, how to produce and for whom to produce. That is why the anti-trust law has been formulated to correct departures from the perfectly competitive market.When competitiveness has been compromised, it means that there is one firm which has more power than its competitors. In this case, there is the possibility of inefficiency in the form of the monopolistic firm offering lower quality products at higher prices because consumers do not have choices in this matter. The anti-trust law ensures that such inefficiencies do not occur.ReferencesMcConnell, Campbell R., and Stanley L Brue. Macroeconomics. South western college pub. 2007.