Heart Of Darkenss Essay Research Paper Heart free essay sample

Heart Of Darkenss Essay, Research Paper Heart of Darkness Critique CritiquePeriod 2 One said one time, of Heart of Darkness, that? this astonishing narrative that was non so much told as suggested to me in desolate exclaimings, completed in shrugs, in interrupted phrases, in intimations stoping in deep sighs. ? This consequence was created by the semblances Conrad made through usage of enunciation, manner, and narrative construction. We will write a custom essay sample on Heart Of Darkenss Essay Research Paper Heart or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page A fresh review has a rather complicated undertaking in his analysis of a novel. He is to cast visible radiation into the dark corners of the work where the tools used to construct the novel are to be found. The Heart of Darkness is an highly good illustration of a well-built novel. A well-built novel is merely possible with good tools. The articles of review, Numberss 4, 10, 6, 7, 9, and 11, are effectual theoretical accounts of reviews, which illuminate the deepest crannies of a novel ; in order to detect the tools so articulately used, such as enunciation, manner, and narrative construction. Critique # 4, written by Walter J. Ong on? The Ending of The Heart of Darkness? was effectual in foregrounding some of Conrad? s innovations through enunciation. For case, he speaks of how Conrad uses the word? voice? so often throughout the novel. He states that, ? Heart of Darkness consists of a web of voices, of calls and responses, frequently explicitly called to the reader? s attending to set up multi-layered engagement and mystery. ? This statement offers a great trade of truth. His mention to Kurtz as? the voice? provides a great trade of enigma. The whole construct of voice is highly of import in this novel. Voice describes narrative, which is a outstanding tool occupied throughout the narrative, as narrative displacements and becomes altered. In this review, the writer provides many quotation marks which both describe how effectual? voice? can be in adding to the enigma of the narrative, and symbolically represent narrative, or farther: the psyche. This essay besides points out the sarcasm of Kurtz? s last words ; particularly in mention to what? the Intended? had predicted them to be. Critique # 10 is a good beginning of more information about the narrative and narrative construction of Heart of Darkness, which is an highly big component thereof. It accurately assumes that? linguistic communication as a system of communicating and transmittal, as the medium of official lifes and clear studies, has no topographic point for the indefinable ; it is used instead to cover up the unnamable, to reweave the seamless web of signification. ? He besides shows the complications of the narrative as he explains that the? replaceability of names? marks the noteworthy alterability of narratives? . Besides by saying that Marlow? is non merely a Teller of narratives, but a reteller? he shows the unique? narrative secret plan? created by Conrad. With a quotation mark he besides efficaciously describes the rare building of the narrative. He states that? the construction of? framed narrative? used in Heart of Darkness will non in this case give a orderly form of nested boxes, brackete d nucleus constructions, nuts within shells. ? The writer of this review urges the reader? to read Heart of Darkness as a narrative even more than as a narrative or a story. ? He largely likely suggests this because his belief that? intending must shack in the relation between the narrative? s relation and its hearing, in its response, its dealing? ? Critique # 9 is besides written to light the manner Conrad uses narrative construction in the formation of his narrative. He underlines the oddness of? the manner up [ in the narrative ] is the manner back? , and how the narrative struct ure is? a sort of contrary evolution? . This signifier of narrative is rare. The review moves on to state that the? narrative line of the journey comes to be doubled by the more specifically end oriented plot line of the inquest? . ? So it is that Marlow? s inquest, in the mode of the investigator? s, becomes the retracing of the path of a precursor. ? The writer of this review besides exactly points out how, ? In Marlow? s narrative, we witness the formation of motive in the center of the journey. ? This penetration to construction of narrative is rather helpful to the reader. Critique # 6 is effectual in showing how Conrad efficaciously used manner to carry through his undertaking. As to the manner of the narrative he explains that? the purpose is non to subject the reader to multiple strains and ambiguities, but instead to throw over him a incubation somberness? . Unlike most novels, the motion is non of action and effect, but instead? the tracing of a big expansive circle of consciousness? . This manner and end is alone to Heart of Darkness. The author of this review besides points out the demoralisation of people here as he provides sentences where the 2nd storyteller refers to gross or monumental things in a inactive, insouciant tone. I believe the writer of this review was right in believing that? Heart of Darkness? remains one of the great dark speculations in literature, and one of the purest looks of a melancholic disposition. ? Critique # 7 would be a good beginning of information to one who was interested in detecting more about the usage of linguistic communication in this novel. One of the most absorbing parts of Heart of Darkness was the manner? linguistic communication? fails in trying to detect the significance of Kurtz and of the experience? . The manner Marlow refers to Kurtz in such an aeriform affair helps back up this thought. The writer of this review puts his ain command as to the significance of? the horror? , which was wallowed out as Kurtz drew in his last breath. He says that he thinks it? can hold but one significance: all Black Marias are in darkness ; the morality and significance with which adult male surrounds himself and his experience is unreal? . Anyhow, the point of transgressing this portion of the narrative is to demo how sometimes Conrad employs inexplicable, cryptic, and substitutable enunciation. Last, in Critique # 11, visible radiation is one time more being shed on the narrative construction and narrative of the novel. It begins by proposing that? the exchange between Marlow and the manque listener/frame storyteller in the narrative? s gap provides the key for a reading of different lingual degrees sketched by the narrative frame. The first storyteller has two chief maps: to show scene, and to be the voice of? young person? . Marlow, the chief storyteller is the? spirit of the past? who relates most of the narrative. Last, the voice of nature, Kurtz is besides a presenter of this narrative. The writer of this review besides indicate out that in the presentation of Marlow, the reader should be warned against? concentrating on Marlow? s history of events when he is the supporter, but instead in the deformations which the re-creation of his subjective experience produces on the narrative. Through careful analysis of the narrative, some of these articles were efficaciously able to light Conrad? s superb narrative. Some through description of narrative, some through the word picture of enunciation, and some through presentation manner, but all through careful reading, and relation of personal experiences, helped do this fresh even more alive, and the journey into the bosom of darkness becomes even more cooling.

Salvation on Sand Mountain essays

Salvation on Sand Mountain essays Dennis Covington writes about the snake handling rituals that go on in Scottsboro, Alabama, in March on 1992 he calls it Salvation on Sand Mountain. While going to the services held at the churches, Covington realizes that he is not only doing a story on other peoples religions, but that he is also discovering his own religion. Covington creates feelings of sympathy and disgust for the reader while he talks about snake handling in southern churches. Through Covingtons eyes the reader is exposed to his spiritual journey, family, and southern beliefs about snake handling. Covingtons spiritual journey throughout Salvation on Sand Mountain was shocking. It makes one think that the phrase everything happens for a reason really is true. His first experience in a serpent-handling church was exhilarating and unsettling (11). Compared to Covingtons small Methodist church in Birmingham, Al. the snake-handling church on Sand Mountain seemed to bring a different point of view to Covington about his spiritual life. For example, Covington stated that he wanted to experience more (11) because the services at The Church of Jesus with Signs Following always seemed to leave Covington wondering about what was going to happen next. Dennis Covington began to get closer to the congregation and he soon had a taste for handling snakes. After he became familiar with the church services, he began to invite his family to come along. Covingtons daughter, Ashley, also had an influence on Covington becoming more interested in the snake handling ritual. She was the one person that he thought would never like an act such as snake handling. Her reaction to the services startled him. The raw hillbilly music had been imprinted on her genes, like something deep within her she was remembering (114). Ashleys reaction to the ritual brought on a more determined ...

IP_WK1_MR Essay Example | Topics and Well Written Essays - 500 words

IP_WK1_MR - Essay Example However, I believe that learning accounting is an imperative in being a part of any business organization just as it is for any company—no matter what size, industry it belong to, and whether it is profit-oriented or for other purposes. My professional goal is to build a career in marketing that, which I cannot excel in without the knowledge of accounting equation and the effects of various transactions in each of the company’s income statement and balance sheet accounts. I now believe that all departments and all employees should work hand-in-hand with the finance department in order to ensure that financial goals are being met. A sound knowledge of the different financial statements will enable an employee to have a clear understanding of where the fund goes, how money is provided by different activities, if salaries could be increased, and even the level of assets that the company has. As a person hoping to work in the marketing department, accounting knowledge will enable me to assess whether a newly launched brand is realizing the targeted level of sales. Accounting will also enable me to evaluate the profitability of the different brands by understanding the relationship between revenue and costs. It will also enable me to understand which drives costs in the company and be able to respond to this by efficient cost management. An understanding of the financial statements also allows me to recognize which brands to launch with the knowledge of how each will affect the company’s accounts. I believe that marketing plans should always be accompanied by comprehensive budgets which detail how sales will grow in the period, which assets to utilize, and the level of inventories. Thus, a good marketer should be knowledgeable and skilled in accounting in order to make the most profitable and best decision. I have realized that financial problems be only detected b y finance guys but every department should be able

Book report Essay Example | Topics and Well Written Essays - 1000 words - 3

Book report - Essay Example In the footsteps of an international pacifist network that had protested nuclear armament since the 1950s, the anti ­war movement was also able to gather a worldwide following of protesters by the late 1960s, all of whom had one thing in common—their opposition to the Vietnam War. The international aspect of this opposition and its transnationalism can attribute to a collective zeitgeist of the time. Many people in America did not want the U.S to engage in another deadly war. The book clearly shows how the American army during the Vietnam war failed to offer moral counsel to young soldiers who were traumatized the events of the war. Further, the U.S soldiers believed that the war was unjust and most of them were afraid to die. Instead, the U.S army I only concerned about bringing men to the battlefield, men who do not question who to shoot or why they have to shoot, nor require to comprehend the effects it may cause on their mental and physical health. This is an example whe re O’Brien is engaged in the war to struggle against the U.S involvement in the war as he sees his friends and other soldiers die. Despite the fact that he feels the power of revenge to his enemies, he feels that killing innocent people and villagers is morally or ethically wrong (O’Brien 34). ... American soldiers opted to make courageous acts in order to express their manliness. From the book, it is clear that many American soldiers realized that they were not brave enough to withstand their moral or ethical beliefs, losing their respect for their relatives, family seemed to outweigh their convictions, and the soldiers did not want to fail anybody. Peace and antiwar movements extract at least some set of intricate phenomena with varying sources, constituencies, goals, and principles. Some of them have roots in the ancient and medieval world. Contemporary advocacy for peace adapted and inherited the concept of just war and absolute pacifism as propagated by religious non-resistance. In addition, peace and antiwar movements base their argument from the concept of political economy. The antiwar movement against U.S involvement in war with Vietnam began in 1950s and gained its momentum in 1960s up to 1970s. It was the most significant movement of its type in the history of U.S. The U.S got involved in the Vietnam War in 1950 when Harry Truman the then President of the U.S began to underwrite the costs of France’s war against the Vietnam. When the Vietnam War started, most Americans believed that defending South Vietnam from communism was a noble and brilliant idea for their national interest. Communism was posing a threat to democracy around the world by preaching anarchy and authoritarian ideas. During the course of the war, many Americans were concerned about the escalating war costs and rising number of casualties. This led to emergence of anti-war movement that grew into in a strong force in opposing the Vietnam War while pressuring America leaders to withdraw from the war. Together with the civil rights movements of the 1960s, the antiwar movements

Partnerships Essay Example | Topics and Well Written Essays - 250 words

Partnerships - Essay Example opriate information may indicate that it is better for the organization to adapt ways that would eliminate any existing limitations instead of remaining independent. This brings the idea of partnership. In addition, an organization can empower its employees through sharing information with them. This would help the employees in making the most appropriate decisions concerning partnerships since they have adequate information beforehand. Moreover, empowerment through creation of clear goals as well as objectives would aid in empowering the employees to make goal-oriented decisions. For instance, the employees might suggest establishment of partnerships as the main way of realizing specific goals as they are well informed on the goals of the organization. Furthermore, creating an environment that encourages making mistakes through taking risks would also be helpful in establishment of partnerships. This would encourage the employees to try new things with the customers and encourage ot hers to do the same. However, berating an individual for trying something would keep others from doing the same and hamper creativity and development in the organization. From an experience perspective, my employer does not punish or even yell at us, the employees, for having introduced a customer to a new idea and asking them to try it. Instead, my employer encourages us to continue trying new things and rewards those successful in developing new ideas. This has extended to the point that risk taking is a competitive advantage that our organization uses to compete in the

Gentrification In New Chinese Urbanism Cultural Studies Essay

Gentrification In New Chinese Urbanism Cultural Studies Essay While the economic system in China reformed from centrally planned economy to market orientated economy, the Chinese urbanization also shifted from industrial urbanism to post-industrial urbanism, especially in large cities. And the emergence of gentrification as a new social phenomenon at the moment has indicated the trend in the next round of urban development. Beijing 798 Art Zone is a typical example reflecting the general scene of such change. Through sixty years time, its identity has transformed from an old industrial site to an active art district, and is now facing the reality to be further developed into a commercial zone gentrified by rich middle-class. There is no single element capable of explaining the entire and sophisticated picture of such process. The changing political economy and social conditions both contribute to the transformation of space over time. However, among all, culture and capital are always the most important driven factors in the gentrification process. Part 01: A Brief History of Beijing 798 Art Zone Part 02: A Comparison Study of SoHo, New York Part 03: Gentrification in Beijing 798 Art Zone Part 04: Conclusion Part 01: A Brief History of Beijing 798 Art Zone Exterior view, Beijing 798 Art Zone, 2008 Interior view, Beijing 798 Art Zone, 2008 The site of 798 Art Zone was originally one part of Beijing North China Wireless Joint Equipment Factory. It was also called 718 Joint Factory, taking a total land area up to 600,000 sqm in northwest Beijing. In 1950s the early time of the cold war, the newly formed Peoples Republic of China was eager to achieve the goal of national industrialization in order to establish its own economic system. The construction of large-scale factories at the time was to follow the first five year plan (1953-1957), aiming to transform China from a long-history agricultural country to an advanced industrial country based on the Soviet model of developing heavy industries. 718 Joint Factory was initially designed by the East German experts from an architectural institution in Dessau in 1952. Influenced by Bauhaus style, the design was aimed to meet the practical demands, bring the technical and aesthetic property of new material and new structure into effect, as well as retain simplicity and flexibility. The factory was then constructed from 1954 and put into production in 1957. Through the entire 50s, the 718 Joint Factory was regarded as the symbol of national industrialization in the Chinese capital city. In the following twenty years, China had suffered huge social and economic revolutions. Industrialization process was paused severely and even stopped for a period of time. From the failure of The Great Leap Forward in 1958 to the Reform and Opening up policy in 1979, China had shifted from centrally planned economy to market oriented economy, which resulted the fundamental changes of organization for many leftover factories from the 50s. In 1964, the supervisor units canceled the organizational system of 718. 706,707,718,797,798 and 751 started to operate separately as independent factories. Shortly afterwards in 1970s, the once state-owned factory was converted to non-state-owned factory. However the change of organizational system didnt actually bring the expected spring. Till the 1990s, most workers in the factories were so poor that they could no longer make a living here. The final bankruptcy of the factories turned this huge area into an abandoned land at the edge of Beijing city. In December 2000, the former six factories of 700, 706, 707, 718, 797, and 798 were reorganized and incorporated into Beijing Seven-star Science and Technology Co., LTD. The Seven Group rented out the empty plants on a short-term basis. Attracted by convenient traffic, extremely cheap price, unique style of Bauhaus architecture which was featured with high ceiling, massive open floor plan and big windows, many art organizations and individual artists came to rent the vacant factories and transformed them into their work and living space since 2001. Gradually, 798 became a district full of galleries, art studios and cultural companies. The name 798 Art Zone came into being. However just when 798 Art Zone was developing prosperously, the artists were facing evictions due to the pressure from both the government and the real estate developers. The government was proposing re-development project in 798 Art Zone and the surrounding areas for Zhong Guan Cun Science and Technology Electronic Park. And the real estate developers were investing more and more high-end residential projects around 798 areas for the rich middle-class, which had resulted an intensively besieging situation towards the art district. Also the rising reputation of 798 Art Zone had attracted large tourists visit the site everyday. Art atmosphere was overwhelmed by commercial activities in the area. The rise of land price caused the displacement of artists. Many people are predicting that eventually 798 Art Zone will be transformed into a commercial zone similar to the SoHo neighborhood in New York. One day only the luxury brand can afford the space and no artists will be able to stay. The pure art in the so-called art zone will be dead soon. Part 02: A Comparison Study of SoHo, New York The development process of SoHo in New York is the typical US example of urban landscape shaped by gentrification. SoHo is located by the southwest side of Manhattan and has been an industrial zone especially for textile firms since late nineteenth century. After the World War II, the modification in structure of advanced capitalist cities in the US with the shift from industrial to service-based economy had caused the decline of manufactories in the centre of the city. Many factories in SoHo started to move out, leaving large quantities of cast-iron-style buildings known as Loft in the district. While some of them were transformed to warehouses and printing plants, others were unoccupied or torn down to be replaced by gas stations, auto repair shops and parking lots and garages. By the 1950s, the area got the nickname called Hells Hundred Acres, an industrial wasteland full of sweatshops and small factories in the daytime, but empty like a ghost town at night. In the mid-1960s, many artists got interested in the area because of the industrial characters of the buildings: high ceiling, generous s pace and big windows providing natural light. And after all, the most important fact was the low rental price, which meant that the artists could actually occupy the whole floor or even the whole building. Many of these lofts were then redesigned and converted into dual functional studios combining living and working together. However at the time, it was actually not permitted to live in the loft by law. In a way, these artists were squatted illegally. At the time, living in a loft was not appreciated by middle-class. As Sharon Zukin wrote in his book Loft Living, it was considered neither chic nor comfortable if the possibility was considered at all. Making home in a factory district clearly contradicted the dominant middle-class ideas of home and factory, as well as the separate environments of family and work on which these ideas were based  [1]  . It was only the choiceless option of poor artists. In 1971, the amendment of Zoning Resolution had given permission for the artists to live where they worked. The area also received landmark designation as the SoHo-Cast Iron Historic District in 1973, which had preserved the original architecture and avoided the area to be redeveloped. The change of policy and rising reputation of SoHo had attracted more and more artists to work and live here. Soon, SoHo became vibrant again as the center of art and design in New York City. The desirable cultural atmosphere created by art events, and the fluid loft space gradually formed a new lifestyle. People began to find the notion of living in a loft attractive  [2]  . An increasing number of middle-class people moved into certain cultural patterns, particularly an active appreciation of the arts and historic preservation, which had previously been upper-class domains. Their growing identification with fine arts production and fine old buildings let them first to try to protect space for artists and historic preservation and then to appropriate this space which was often in loft buildings for themselves. In this process, art and historic preservation took on a broader meaning. They became both more commercial and less elitist.  [3]   The altered view of loft living reflects the new life attitude among middle-class people between late 1970s to1980s. Most new middle-classes at the time were born after the wartime. In a trend toward a new lifestyle with fewer children, postponed marriages and a fast-rising divorce rate, they were eager to free themselves from the traditional idea of family. Unlike their parents, their desire and dreams were defined in urban rather then suburban terms.  [4]  Theyd prefer to stay in the city to enjoy life or pursuit their careers rather than live in countryside for a peaceful (boring) life. Also, according to Raphael Samuel, the new middle-classes are outward looking rather than inward looking. They have opened up their homes to visitors, and exposed them to the public gaze.  [5]  Also they have a different emotional economy from that of their pre-war predecessors. They go in for instant rather than deferred gratification, making a positive virtue of their expenditure, and tre ating the self-indulgent as an ostentatious display of good taste.  [6]   The character of SoHo did fulfill their new desires the unusual way of living in a loft; the freedom and passion of life from an artist neighbor; home as a place taking the rich history from the past in architecture termsà ¢Ã¢â€š ¬Ã‚ ¦The wonderful cultural atmosphere full of art and adventure is no doubt one of the main reason that attracts the middle-class to gentrify SoHo. In this stage, culture showed its great importance to push gentrification process. The move-in of middle-classes is the concrete evidence. And very soon the fine art production started to absorb investment of commercial capitals. Sharon Zukin regarded this type of urban renaissance model as the Artistic Mode of Production The role of capital investment will then take over the cultural effect and push forward to the next stage of gentrification. And of course the intervention of investment capitals is not just the result of the cultural attractions. It also sat in the broader social economic modification happening in the country. First is the major suburbanization process across the US caused most middle-classes moved to live in the countryside while left the city unoccupied. The declined city with loads of abandoned spaces was then taken over by lower classes and homeless people. Such capital devalorization produced the rent gap, which referred to the disparity between the potential ground rent level and the actual ground rent capitalized under the present land use  [7]  . Potentially it provided great opportunities for developers to invest new projects and earn high profit. It had encouraged gentrification and urban renaissance in the US cities. Secondly, in order to alter the situation of declined city, the US government had proposed a series of urban renewal plans including the clearance of slums and encouraging real estate development. Many areas especially around central business districts (CBD) are been redeveloped into high-end apartments, commercial offices and cultural facilities, which had enlarged the CBD and improved the urban conditions of living. Thirdly, according to the law of market economy, production is always driven by consumption. Therefore, the investment of SoHo was driven by the fact that middle-classes had the strong will to purchase. Beside the cultural attraction, other points cannot be ignored neither such as, location advantage. The globalization process and the transformation of US cities from industrial to post-industrial economy had increased working opportunities in serviced-based industry. The white-collar middle-class is the product of such economic situation. The globalization made big cities become the networked pinpoints and the command center of global economic operation. Under such extreme competitive situation, time and distance meant money and efficiency. Many white-collar employees moved to live in the declined areas close to their offices in the central business district. For this reason, SoHo was a good choice. The development of luxury housing had also caused the boom of shop and catering businesses as well as tourism in SoHo. The increasing commercial atmosphere had pushed the land price dramatically. The gentrification process had forced many pioneering artists to move out due to the unaffordable price of housing. Most previous lofts are now trendy shops, pricy restaurants or expansive apartments. The Art SoHo neighborhood is steadily eroded from the street pattern by commercial landscapes. That is the development model of SoHo. Part 03: Gentrification in Beijing 798 Art Zone The gentrification phenomenon in China is rooted in the complex nesting of social, political, economic and cultural shifts. It is the result of multiple forces behind the surface. And again, culture and capital play the more significant role in the game. Culture in the 798 case can be divided into two parts. One is the existing cultural value the historical Bauhaus architecture, and the other is the cultivated cultural value gradually formed by the artists. However the cultivated culture had experienced a devaluation process through the commercialization of art products. And in the end turned culture value to commercial value. In 798 site, history and reality, industry and the arts perfectly meet. The cultural value went to its peak in the first a few years after the settle of artists. Art galleries, artist studios, salons and museums transformed this abandoned industrial site to a dreamland of art and design. The name 798 Art Zone came into being. Since this name was getting more and more famous, the actually art production and fine old industrial buildings had absorbed investment of commercial capitals. Shops and restaurants started to occupy the plots, and soon countless tourists rushed in from all over the world. 798 became one of the must-go spots in Beijings cultural tourism. The consequence is big galleries and commercial institutes remained but pioneering artists moved out due to rental price. Some third-rate artists moved in selling cheap works. You can still see paintings and sculptures everywhere in 798, however they have nothing to do with art but money. The strong smell of commercialized products had replaced the pure taste of art. It seems more like a 798 Commercial Zone instead of 798 Art Zone. This is the first round of absorbing capitals from its original cultural value, which happened within the art zone itself. The second round is occurring in the adjacent areas around 798 with capital investment both from the government and the developers. 798 Art Zone is located in the area called Wang Jing in northeast edge of Beijing in Zone 4. One major difference between Chinese and American urbanism is that, while in America, the development is going backwards to the city site from suburban; the Chinese model is to enlarge the city territory by expanding to suburban areas due to the saturation of land sources and the over-development of the city center. In planning outline of Beijing, Wang Jing, where 798 Art Zone laid is marked for the new CBD (Central Business District) and high-tech companies especially communication and Internet industries. The government had proposed to build Zhong Guan Cun Science and Technology Electronic Park in 798 and its surrounding areas in 2002. Originally, all tenants in 798 factories should be evacuated by the end of 2005 in order to start construction. Through a long fight between the government and the artists, 798 Art Zone had been temporarily reserved, however still faced the risk of been demolished at some point in the future. In the Chinese case, the national capital takes the fundamental effect in the process of urbanization. Different from the US system, in China, all land sources belong to the government. While the government only takes a guiding role in the US, the Chinese government actually takes direct actions by investing with national capitals to modify urban patterns. On the other hand, the city planning strategy and investment of national capital also caused further investment from private developers. Because of the urban set up of CBD and high-tech zone in the area, there are a lot of white-collar middle-classes living here, which makes Wang Jing as one of the main residential districts in Beijing. And this provides great opportunities for real estate developers. Another significant factor to draw the capital from developers is the consumption concept of these white-collar middle-classes in China. In general, they share very similar character and taste with the new middle-class of the US in 1970s/1980s. The Chinese middle-class is formulating their new lifestyle. They choose to live close to work in order to achieve the best efficiency. They appreciate the value of culture. It is the new fashion to live in a cultural district to express their special taste. The only difference compared with the US situation is that they prefer to live in suburban area with a reasonable distance away from the city center in order to gain more living space in an affordable price. Clearly, these consumption views have pushed the production of large residential projects by the developer in this area, where perfectly match the new Chinese middle-class preferred location and cultural requirements. Overall, the input of both national and private capitals and the move-in of rich middle-classes in 798 surrounding areas had formed a besieging situation towards the art zone itself. And together with the inner commercialization process that happened in 798 Art Zone, the rental price of the studio space became extremely high. The artist community as the original cultural generator is forced to leave. That is the unique gentrification process of the 798 case controlled by culture and capital in the Chinese urban context. Part 04: Conclusion The sixty years development of the 798 site reflects the Chinese social economic changes. The transformation of actual space represents the shifting urbanization patterns in Chinese cities. Artists, government, city planners, developers and the middle-class all play significant roles in the gentrification process controlled by culture and capital factors. Similar to the SoHo model in the US, the 798 site has experienced developing stages from an iconic industrial district to an abandoned declined area, and to a vibrant art district, then finally to a commercial zone. While cultural value works as the initial activator and intermediate transforming force, national and private capitals in this Chinese case are the termination factors leading the urban gentrification process of the 798 Art Zone. Eventually, the commercial value takes over the original cultural value. The art zone becomes the past.

Scarlet Letter :: essays research papers

Nathaniel Hawthorne was a truly outstanding author. His detailed descriptions and imagery will surely keep people interested in reading The Scarlet Letter for years to come. In writing this book he used themes evident throughout the entirety of the novel. These themes are illustrated in what happens to the characters and how they react. By examining how these themes affect the main characters, Hester, Dimmesdale, and Chillingworth, one can obtain a better understanding of what Hawthorne was trying to impress upon his readers.   Ã‚  Ã‚  Ã‚  Ã‚  The first theme expressed in The Scarlet Letter is that even well meaning deceptions and secrets can lead to destruction. Dimmesdale is a prime example of this; he meant well by concealing his secret relationship with Hester, however, keeping it bound up was deteriorating his health. Over the course of the book this fact is made to stand out by Dimmesdale’s changing appearance. Over the course of the novel Dimmesdale becomes more pale, and emaciated. Hester prevents herself from suffer the same fate. She is open about her sin but stays loyal to her lover by not telling who is the father of Pearl. Hester matures in the book; becomes a stronger character.   Ã‚  Ã‚  Ã‚  Ã‚  The fact that revenge destroys both the victim and the seeker is another theme presented in the Scarlet Letter. Dimmesdale is the victim of Chillingworth’s revenge upon Hester and whoever her lover happened to be. Dimmesdale, beside his self-inflicted harm was also not helped by the fact Chillingworth enjoyed watching him waste away. However, Chillingworth is also subject to this destiny as evidence by his change in the novel. Chillingworth was considered wise and aged in the beginning of the novel, although, later he is seen as being dusky and evil.   Ã‚  Ã‚  Ã‚  Ã‚  Lastly Nathaniel Hawthorne brings out that we absolutely must accept responsibility for our actions or suffer the consequences come with them. Hester is the prime example for this here because she was smart and freed herself of this great weight quickly so that it wouldn’t drag her down. This theme was not as applicable to Dimmesdale, however, who decided to hide his wrongful actions and was bearing this secret upon his heart and mind at all times.