The Cuban Missile Crisis The Most Dangerous Time

â€Å"The Cuban Missile Crisis† By the 20th century world conflict had claimed the lives millions of innocent lives displacing families and destroying homelands. In the in midst of the Cold War, tension grew between the United States and the Soviet Union and led to a stand-off between both nations over nuclear armed missiles placed in Cuba, Italy, and Turkey. The world was on the brink of catastrophe as two super powers were engaged in a competition to show military superiority. For decades, historians have debated that the Cuban Missile crisis was the most dangerous time in history. Within this 16 day span the world would be on edge, as the possibility of nuclear warfare was as close as it has ever been. Prior to the Cuban Missile Crisis,†¦show more content†¦Cuba’s economy flourished. The U.S. investments in Cuba were greater than any other country in Latin America, hence, Cuba had the largest per capital income in Latin America. ( ) However, Cuba itself wasn’t benefiting from the economy. The mortality rate was steadily increasing due to healthcare services not being offered in the more poverty stricken parts of Cuba. Most of Cuba’s inhabitants were illiterate and furthermore Fulgencia Batista was a corrupt dictator whose interest were solely in seeing American business succeed, thus, causing the people of Cuba to suffer. Cuba needed to be socially reformed. The social and economic oppression led Fidel Castro to begin the revolt for reform and in 1959 Castro overthrew Batista and seized power of Cuba. For the first time in 427 years Cuba was not subjected by any foreign power. Fidel Castro’s triumph was glamorized in U.S. media and he was invited to visit the states to meet with President Eisenhower, however, Eisenhower refused to meet with him. Fidel Castro’s ultimate goal was to make Cuba a sovereign nation, and rid Cuba of any U.S. influence. Fidel Castro’s nationalistic ideals differed from those of a capitalist ideals of the United States, Castro saw American business in Cuba as means of control and knew that he couldn’t address the real issues with the influence of the U.S. Castro began his reform by nationalizing many American owned

The First Round Of Tournament Play For The Silver Division

We officiated the first round of tournament play for the silver division. The teams playing were Northern Impact 16’2s team and Crex 15’s team. The first set was uneventful; however, the second set issues started to arise. Northern Impact had run a 5-1 in the first set and the second set, but with different setters. Issues started to arise as I called them first on being out of rotation as the setter was in the incorrect spot before the server on the opposing team had made contact. I then proceeded to call her on multiply carries. After the second time calling her, I turned to her coach and told her that the player in question had to quicken up her contact as she was almost catching the ball, bringing it to her chest, and then throwing†¦show more content†¦Specifically the parents being inappropriate and the players foul language and attitude. When I found the site director, I explained to her the calls I made and my reasoning behind them. She said she knew whi ch setter I was referring to and said that she had recently run a setting clinic to try to fix these issues. I also spoke about my concern over the parents behavior. I stated that I was disappointed that parents were acting this way and that I felt that the situation was inappropriate. I also expressed concern that my player had felt threatened to have an upset parent approach her while she was officiating. After speaking with her, I returned to the gym as we had to play Howard Lake. We played Howard Lake and won the first set. When we were about 13 points into the second match, I had another Northern Impact parent approach me while we were playing a match, when we weren’t playing their team, and accuse my girls of making racist and threatening comments to a Northern Impact player. I know that this is untrue simply by the fact that both Chad and I were by the girls the entire match and would have heard any interaction that would have taken place. 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Childrens Drawings Free Essays

What do children’s drawings tell us about children’s minds? The topic of children’s drawings and their relation to a child’s cognitive processes, particularly thoughts is a topic of great interest. It is widely believed that children often express feelings, thoughts and messages which they cannot express through words through drawing pictures. This essay reviews previous research conducted on children’s drawings and aims to assess what exactly it tells us about their minds and what messages they are putting down in drawings. We will write a custom essay sample on Childrens Drawings or any similar topic only for you Order Now Following an overview of drawing and the cognitive development, this essay evaluates a selection of relevant research studies into children’s drawings and minds and aims to understand some specific symbols which are often drawn by young children and the meaning of these graphic images. According to Thomas Silk (1990), children’s drawings have a variety of different purposes varying from bringing pleasure and enjoyment to themselves, decorating walls and expressing feelings and showing others how they feel about certain objects or people. N. R. Smith (1973) believes that the child begins the drawing with no intention or symbolisation, but as the drawing progresses a pattern is made and the child sees a representation and then proceeds to make the rest of the drawing shift towards this representation and builds on that. The basic pattern of children’s development of drawings begins at scribbles which appear from 12 months. The scribbles are non-representational and just involve the progressive control of movement. These scribbles tend to be viewed as gestures rather than drawing in true sense of the world according to Vygotsky. Arnheim (1956) believes that the earliest scribbles are a motor impulse, this simply means the child has no intention to draw a representation of an object or event it is just a coincidence. They begin to progress from 20 months of age where the scribbles being to become representational and the marks stand for whole objects. Cognitive psychologists tend to search these scribbles for visual resemblance where they attempt to make some sense of it. There is often some intended meaning within the scribbles, for example dots representing foot prints but not true representation. Symbolic pictures start to appear around 3 years of age where children begin to understand that pictures represent objects and begin to start drawing simple pictures of people. Over time more realistic pictures are drawn around 5/6 years old and at 6/7 years old children begin to use size, position and composition to show depth, those of which allow more natural representations of the real world and tend to have a more significant meaning. Luquet (1927) and later on Piaget Inhelder (1969) invented the Stage Theory of Drawing. This is the belief that drawings are external representations of the child’s internal model which is their mental picture. The stage theory consists of four stages. The first stage is fortuitous realism which occurs at 1. 5-2. 5 years old and consists of labelling objects in scribbles. The second stage is failed realism (2/5-5 years old), representational intention but tends to be inaccurate. The third stage being intellectual realism (5-8 years old), drawing what the child knows rather than what they see and the fourth stage, visual realism which is beyond 8 years old which is where the child actually draws what they see. There has been evidence to back up the stage theory, for example Freeman Janikoun (1972) conducted a study in 1972 on 5-7 year olds. They were asked to draw a mug in front of them which had the handle out of view. Results found that under 8 year olds who would be in the intellectual stage drew the mug which included the hidden parts as they would be drawing what they knew, whereas the 8 year olds and over who would be in the Visual stage drew only what they could see. However the stage theory has been criticised for the stages being too rigid leading to underestimating the child’s ability. Barret, Beaumont Jennett (1985) also found that instructions can have an impact on the child’s drawing. They found that if children were given standard instructions, i. e. just telling them to draw what they can see, only 11% of drawings would be correct whereas if they were given explicit instructions, i. e. draw exactly what they can see and look at it very carefully in order to draw it as you see, 65% of drawings were correct. It is also argue that the stage theory can vary over different cultures. The human figure is a drawing particularly investigated as it is regarded to be a way in which children express something about themselves. Researchers believe they can explain a child’s personality and their current emotional state. Tests were created to investigate this, for example the Kinetic Family Drawings Test claimed to measure how children felt about the topics in the drawing and their wider environment. However further research was conducted to assess the reliability and validity of this test and results proved to be quite poor meaning the test was not a reliable indicator of children’s emotions and drawings. However it is the more recent research which is providing evidence that children’s drawings do show children’s feelings as they tend to focus more on particular drawing styles, drawing size and colour which show that the drawings can be investigated systematically (Burkitt, 2004). This can cause some confusion though because it is difficult to understand what aspect of emotion a child is conveying through a large or small figure, however as this topic is increasingly looked it, it is coming to the conclusion that if the child is feeling happy and feels positive towards the figure they are drawing then the figure size tends to be larger whereas a smaller figure will be used if the child is feeling negative. This is useful in understanding how children are feeling simply by analysing their drawings. Children’s drawings are often described as a mirror of a child’s representational development, meaning that as children grow older they develop more complex and representational strategies of drawing. These are also furthermore differentiated by gender. A study conducted by Cherney et al. (2006) collected drawings from 109 5-13 year olds of the child’s family and school. The results showed significant age and gender differences revolving around the amount of detail included in the drawings of the school showing that females included more. The drawings also showed stereotypical drawings between males and females pictures showing that genders represent families differently. The drawings of the families suggested that the female’s drawings may represent their experiences with family relationships and they tend to value these relationships more than males. These results also showed that with age, the drawings became more realistic which supports the findings of several previous studies on drawing development with age leading to more representational drawings. Girls also drew the female figures taller than the boys which may be reflective of how she feels about the relationships in her life and that she values her fellow female friends more dearly. The taller figures can also indicate high self-esteem. It is suggested that differences in motor skills may confound the findings. The colours used in children’s drawings can also help play a part in discovering the child’s mind. For example Dr Winter (2006) states that when a child draws in dark colours such as black and grey, it does not immediately mean that there is something wrong with the child, however if the child is onstantly using black, grey and other dark colours in favour of other brighter, cheerful colours, it could suggest the child has some sort of problem which is worth investigating. A study by E. Burkitt A. Davis (2003) was conducted to investigate the use of children’s colour choice in drawings and how these colours related to what they thought of the dr awings. It consisted of 330 4-11 year olds. It was found that children used the colours which they preferred more to colour in the objects they thought to be nice and used their least favourite colours for the objects they thought to be nasty. It was also found that the colour black was the most frequently used colour used for the negative images. These findings help interpret children’s drawings just by looking at what colours are used and this will help give an understanding of the child’s thoughts on the object. So in general children’s drawings which use bright and bold colours tend to be viewed as positive and assume the child is experience happy cognitions whereas when a child uses dark colours it is assumed that the child may be experiencing distress and negative cognitions. However Burkitt (2003) criticised this and argued that when a child uses a dark colour it may not necessarily mean they are expressing a negative attitude, it could simply be that the child favours this colour and they want to express this in their drawing by using their favourite colour. The things that children may not be able to tell themselves can often be found through interpretations and observations of their drawings of graphic symbols. Previous research found the main and clearest signs found in drawings are over sized ears without earrings which could suggest the child is experiencing some sort of verbal abuse in their life, big hands in a drawing suggest that the child is experiencing some sort of physical abuse and aggression, if a drawing of a person has no mouth it is suggested that the child finds it difficult to communicate and drawings of a person with jagged teeth, spiked fingers and hair relate to aggressive behaviour. However to properly interpret children’s drawings, these patterns must be consistent over time and not just occur once otherwise it is highly likely it will have no meaning or representation and is just a random occurrence with significance at all. Wales believes that as we begin to summarize characteristics of children’s drawings and watch them develop and change throughout childhood we soon see that the observations that are made on the hildren’s drawings are in fact the product of our own interpretations and what we believe the picture is showing. The question of how children draw pictures which differ so much from adults is a major question which often causes debates such as is there actually a message there or is it just a typical child’s drawing which has no significance or meaning whatsoever. Many questions arise involving this research area once people attempt to make sense of children’s drawings, however many people believe children’s drawings should be left as they are without investigation as they believe it is mysterious and imaginative. The research looked into for this essay has shown that the main indicators used in children’s drawings which help to understand children’s thoughts, messages and emotions are the colours used and the figure size. The research into children’s drawings in relation to children’s minds has found many results showing that drawings do relate to the child’s cognitions however all research into interpreting children’s drawings and what it tells us about their minds can be criticised because it could just be that the child enjoys drawing something particular and their decision to draw what they are drawing is always influenced by their own knowledge of the object and their own thoughts and interpretations on the object and what bits are important about it. The drawing is a representation of how the child sees the world themselves and it is thought that to alter this information by adding adult interpretations and to investigate more into it is a shame. As the child’s cognition capacity increasing, children are more able to express representations as they move from simple drawings, to complex drawings. It is difficult to conclude whether these drawings actually represent something to the child or whether it is simply our own interpretations and representations. References Barret, Beaumont Jennett. (1985). The effect of instructions on view-specificity in young children’s drawing and picture selection. The British Psychological Society, 8 (4), 393-400. Burkitt, E. Davis, A. (2003). Children’s colour choices for completing drawings of affectively characterised topics. Journal of Child Psychology and Psychiatry and Allied Disciplines, 44, 445-455. Burkitt, E. (2004). Drawing conclusions from children’s art. The Psychologist, 17, 566-568. Cherney et al. (2006). Children’s drawings: A mirror to their minds. Educational Psychology, 26 (1), 127-142. Chia, N. (2006, October 26). Understand your children through their drawings. LESNET Web Blog. Retrieved December 12, 2012, from http://www. lsesnet. com/blog/? p=28 Freeman, N, H. Janikoun, R. (1972). Intellectual realism in children’s drawings of a familiar object with distinctive features. Child Development, 43 (3), 1116-1121. Grieve, R. Hughes, M. (1991). Understanding children. 140-144. Luquet. (1927). Stage Theory of Drawing Meadows, S. (1993). Children’s drawings. The child as a thinker. The development and acquisition of cognition in childhood. 94-96. Thomas, G. Silk,A. (1990). An introduction to the psychology of children’s drawings. Hemel Hempstead: Harvester Wheatsheaf. Self-Reflective Assessment 1/ How did you search for and identify suitable reading for this assignment? Has your reading been sufficiently wide enough and does it make good use of peer-reviewed sources? I used Google scholar, e-library, books from the library and the references provided in the lecture PowerPoint slides to find suitable reading on children†™s drawings and children’s minds and it was sufficiently wide enough. All readings were suitable and related to the essay question. 2/ How does your Introduction orientate the reader? How well do you identify the purpose and scope of the essay, and outline your thesis? My introduction orientates the reader because I stated what the essay was about in general and I stated how it has been addressed by previous researchers. I identified the purpose of the essay well as I addressed the main issue of how it is believed that children’s drawings can explain a child’s cognitions. My thesis was outlined well as I summarised the structure of the essay and what it will include. 3/ What evidence have you used to support your argument and the points or claims you make? Are your sources reliable, and have you cited these at appropriate points throughout the essay using APA style? I used APA style to cite my sources throughout my essay. I have used evidence from previous studies conducted, journals and books to support my arguments and points made. These are all very reliable sources and have been put in my reference section also. 4/ How well have you critically evaluated your material? I tried to criticise and argue to an extent against as many points and argument as I possibly could in my essay so that more viewpoints come across giving me more to evaluate. 5/ How well have you answered the question and avoided unnecessary digression or irrelevant content? I believe that all of my contents are relevant to the question in one way or another. Every point relates back to what the children’s drawing can tell us about their mind and tried also to explain why when possible. 6/ How well does your conclusion summarise the overall argument and round off the essay? The conclusion summarises the overall argument well as it includes all the main, important parts from each study rounded up into one to make an overall conclusion. The essay is rounded off with a final and straight, simple answer to the essay question. . How to cite Childrens Drawings, Papers

To Kill Amocking Bird_theme Comparison Essays -

To Kill Amocking Bird_theme Comparison In my opinion theme with the most impact in 'To Kill a Mockingbird is Hypocrisy as shown in three main incidents . These are the teachings of Ms Gates about the atrocities of Adolf Hitler whilst she hated blacks ; the missionary circle trying to show how Christian they are while believing that to be a brother of Christ you must be white and finally the hypocrisy of the American court system in the 30's by saying they stand for justice. In Ms Gates' classroom we read about her teaching her class that the Jews are being persecuted against by the Nazi's. According to Ms. Gates this is un Christian and she finds these actions despicable. The hypocrisy of this teaching is shown as soon as she mentions the word 'persecution'.This is due to the fact that she herself is persecuting the black people of Maycomb by not raising an eyebrow to the killing of an innocent black man. This lady shows her blindness to the racial problems of the Deep South ( where she lives ) but feels a lot of empathy for the Jews who are being mistreated and slaughtered in Germany ( many thousands of miles away ) . The missionary circles in the 1930's working in the south of America show the two faced nature of white citizens several times in each meeting . One strong example that springs to mind is Mrs Mariweathers positive comments about a Christian explorer in Africa helping the evil savages see the light of Jesus Christ whilst on the other hand she condemns Attacus for helping an innocent Negro . These so called Christian women safely say well done to a man helping African black people ( who were happy with their lives in the first place ) but if anyone should help out a black person anywhere near them it then becomes 'Nigger loving' and should be condemned by all within the community. It creates a double standard by showing that as long as racial problems do not involve them directly they can be tolerant. The American Courts of the 1930's were also hypocritical.Truth and Justice were held as the most basic right for Americans. Truth in the Tom Robinson case was never a factor. The white jury knew that Bob Ewell had beaten and raped his daughter Mayaella Ewell and that Tom was innocent .But because a human being had more colour pigment in their skin it was assumed they would be guilty without question ,so truth was never a factor .Justice also the pride of the American legal system in the past ,and now but once again in the Tom Robinson trial ,no matter how much evidence was presented in favour of Tom to prove his innocence, justice wasn't done because Tom had more pigment in his skin than the jurors thereby he was assumed to be guilty. In my opinion members of the Maycomb community are trying to fool themselves into believing that they are model citizens and good Christians, even though a small number amongst them know that they are wrong to persecute and hate due to colour . Hypocrisy and racism were as much a part of Maycomb society as church and community spirit.

How to Use Direct Object Pronouns in the Past Tense

How to Use Direct Object Pronouns in the Past Tense Pronouns, while they can be tricky when learning Italian, are such an essential part of sounding fluid and natural in conversation. Who wants to say â€Å"glasses† a hundred times in a situation like, â€Å"Where are the glasses? Oh, I found the glasses. Let’s put the glasses on the table†. You start to sound like a robot, which, let’s be honest, makes it a bit more difficult to make friends. To avoid this, you can use direct object pronouns, which you may know are mi, ti, lo, la, ci, vi, li, and le. Me (m) - Me Ci - Us Ti (t) - You (informal) Vi - You (all) Lo (l) - Him, it Li - Them (masculine) La (l) - Her, it Le - Them (feminine) La (L) - Him/her (formal) Li, Le - You (formal) (masculine feminine) Using Direct Object Pronouns in the Present In the present tense, using direct object pronouns is easier. For example, â€Å"I see it†, when â€Å"it† refers to a â€Å"un libro - book†, would be, â€Å"Lo vedo†. But what about when you want to express something in the past tense, like â€Å"I saw it†, with â€Å"it† still being â€Å"un libro - a book†? It would be, â€Å"L’ho visto†. So what is going on, and how can you use direct object pronouns in the past tense? How to Use Direct Object Pronouns in the Past Tense There are four moving parts to using direct object pronouns in the past tense. Is the noun you’re talking about masculine or feminine?Is the noun you’re talking about singular or plural?What conjugation must you use from the verb â€Å"avere† or essere?What is the past participle of the main verb? Once you’ve answered these questions, which trust me, will happen automatically after enough practice, you’ll be able to put together past tense sentences with direct object pronouns with ease. Let’s take a look at some examples and break down what’s happening. Abbiamo visto Teresa. - We saw Theresa. We want to say, We saw her. Is â€Å"Teresa† masculine or feminine? FEMININE.Is â€Å"Teresa† singular or plural? SINGULAR.What conjugation must I use from the verb â€Å"avere†? ABBIAMOWhat is the past participle of the main verb â€Å"vedere†? VISTO/VEDUTO So, â€Å"We saw her† would be, â€Å"Labbiamo vista.†    Why does â€Å"visto† end in an -a? That’s because the ending of the past participle, in this case â€Å"visto†, must agree in gender and number with the noun, which is â€Å"Teresa†. Notice how the pronoun â€Å"la† is shortened and combined with the verb â€Å"abbiamo†. This is because â€Å"abbiamo† begins with a vowel. Ho comprato i pantaloni. - I bought the pants.   We want to say, I bought them. Is the noun â€Å"i pantaloni† masculine or feminine? MASCULINE.Is the noun â€Å"i pantaloni† singular or plural? PLURAL.What conjugation must you use from the verb â€Å"avere†? HOWhat is the past participle of the main verb â€Å"comprare†? COMPRATO So the sentence, â€Å"I bought them† would be, â€Å"Li ho comprati†. Notice here how the last letter of the past participle â€Å"comprato† changes from an -o to an -i. This is because the ending of the past participle MUST agree in gender and number with the noun. Here’s another example. Ha ricevuto le lettere. - He received the letters. We want to say instead, â€Å"He received them†. Is the noun â€Å"le lettere† masculine or feminine? FEMININE.Is the noun â€Å"le lettere† singular or plural? PLURAL.What conjugation must you use from the verb â€Å"avere†? HAWhat is the past participle of the main verb â€Å"ricevere†? RICEVUTO So, the sentence would become, â€Å"Le ha ricevute.  - He received them†. TIP: When you have a singular pronoun, like â€Å"lo† or â€Å"la†, it will almost always combine with the verb, like â€Å"L’ho letto. - I read it.† Let’s do one more. Sono andati a trovare il nonno. - They visited their grandfather. We want to say, They visited him. Is the noun â€Å"nonno† masculine or feminine? MASCULINE.Is the noun â€Å"nonno† singular or plural? SINGULAR.What conjugation must you use from the verb â€Å"essere†? SONOWhat is the past participle of the main verb â€Å"andare†? ANDATI So if we wanted to change the sentence to â€Å"they visited him†, it would be: Sono andati a trovarlo. - They visited him. Notice that the pronoun â€Å"lo† is not at the beginning of the sentence like in the past three examples. You’re able to attach it to the end of the full verb, â€Å"trovare†, by just removing the -e. This is possible when there are two verbs (like â€Å"andare† and â€Å"trovare†) in the phrase. Also, when the auxiliary verb is essere, the verb must agree with the subject.

Shakespearean Love in A Midsummer Nights Dream

Shakespearean Love in A Midsummer Nights Dream A Midsummer Night’s Dream (1600) has been called one of William Shakespeare’s greatest love plays. It has been interpreted as a romantic story in which love ultimately conquers all odds. However, A Midsummer Night’s Dream is actually a written piece on the importance of fertility, not love. Shakespeare’s ideas about love are represented by the powerless young lovers, by the meddling faeries and their magical love, and by forced love as opposed to chosen love. All of these points undermine the argument that this play is a typical â€Å"love story† and help build the case that Shakespeare actually intends to demonstrate the powers of sex and fertility over love. The first idea of love is its powerlessness, represented by the â€Å"true† lovers. Lysander and Hermia are the only two characters in the play who are actually in love. Yet, their love is forbidden both by Hermia’s father and by Duke Theseus. Hermia’s father speaks of Lysander’s love as witchcraft, saying Lysander is â€Å"the man that bewitched the bosom of my child† and â€Å"with feigning voice verses of feigning love/stol’n the impression of her fantasy† (27, 31-2). These lines prove that true love is an illusion, a false ideal.   Egeus goes on to say that Hermia belongs to him, proclaiming, â€Å"she is mine, and all my right of her/I do estate unto Demetrius† (97-98). These lines demonstrate the lack of power that Hermia and Lysander’s love holds in the presence of familial law. Furthermore, Demetrius tells Lysander to â€Å"yield thy crazà ©d title to my certain right,† which means that it is only to the worthiest suitor that a father must give his daughter, regardless of love (91-2). Finally, Hermia and Lysander’s eventually wedlock is due to two things: faerie intervention and noble decree. The faeries enchant Demetrius to fall in love with Helena, therefor freeing Theseus to allow Hermia and Lysander’s union. With his words, â€Å"Egeus, I will overbear your will; / For in the temple, by and by, with us / These couples shall eternally be knit,† Theseus is proving that it is not love which is responsible for the joining of two people, but the will of those in power (178-80). Thus, even for the true lovers, it is not love which conquers, but power in the form of royal decree. The second idea, the weakness of love, comes in the form of faerie magic. The four young lovers and the imbecilic actor are entangled in a love game, puppet-mastered by Oberon and Puck. The faerie’s meddling causes both Lysander and Demetrius, who were fighting over Hermia, to fall for Helena. Lysander’s confusion even leads him to believe he hates Hermia; he asks her,â€Å"Why seek’st thou me? Could not this make thee know / the hate I bear thee made me leave thee so?† (189-90). That his love is so easily extinguished and turned to hatred shows that even a true lover’s fire can be put out by the feeblest wind.   Furthermore, Titania, the powerful faerie goddess, is bewitched into falling in love with Bottom, who has been given a donkey’s head by mischievous Puck. When Titania exclaims â€Å"What visions have I seen! / Methought I was enamored of an ass,† we are meant to see that love will cloud our judgment and make even the normally level-headed person do foolish things (75-76). Ultimately, Shakespeare makes the point that love cannot be trusted to withstand any length of time and that lovers are made into fools. Finally, Shakespeare gives us two examples of choosing powerful unions, rather than amorous ones, in A Midsummer Night’s Dream. First, there is the tale of Theseus and Hippolyta. In lines 16-17, Theseus says to Hippolyta, â€Å"I wooed thee with my sword / And won thy love doing thee injuries.† Thus, the first relationship that we are greeted with is the result of Theseus claiming Hippolyta after defeating her in battle. Rather than courting and loving her, Theseus has conquered and enslaved her. He creates the union for solidarity and strength between the two kingdoms.   Next is the example of Oberon and Titania, whose separation from each other results in the world becoming barren. Titania exclaims, â€Å"The spring, the summer / The childing autumn, angry winter, change / Their wonted liveries, and the mazà ©d world / By their increase now knows not which is which† (111-14). These lines make it clear that it is not in consideration of love that these two must be joined, but in consideration of the fertility and health of the world. In general, then, it is not love that decides who should be joined, but the fertileness created by the union. The sub-plots in A Midsummer Night’s Dream demonstrate Shakespeare’s dissatisfaction with the idea of love as a supreme power and his belief that power and fertility are the two prime factors in deciding a union. The images of greenery and nature throughout the story, as when Puck speaks of Titania and Oberon meeting neither â€Å"in grove or green / By fountain clear, or spangled starlight sheen† further suggest the importance that Shakespeare places on fertility (28-29). Also, the faerie presence within Athens at the end of the play, as sung by Oberon, suggests that lust is the enduring power and, without it, love cannot last: â€Å"Now, until the break of day / Through this house each fairy stray / To the best bride-bed will we / Which by us shall blessed be† (196-99).   Ultimately, Shakespeare’s A Midsummer Night’s Dream suggests that believing only in love, creating bonds based on a fleeting notion rather than on lasting principles such as fertility (offspring) and power (security), is to be â€Å"enamored of an ass.†

The ethical principle of Facebook as An Emotional Contagion Essay

The ethical principle of Facebook as An Emotional Contagion - Essay Example An analysis of this experiment in light of the utilitarian theory of ethics shows that this experiment is morally justifiable. This is because, although the experiment violates some individual rights of the subjects of the experiment, the experiment findings, however, is quite useful and can be used in many ways; this, in essence, means that the experiment will lead to making the majority of people happy. This, therefore, means that that experiment is morally justifiable in light of the utilitarianism.The experiment is, however, morally unjustifiable in light of the Kantian deontology. This is because the subjects of the experiment were used not as human beings with intrinsic worth, i.e ends in themselves, but rather as means to some end. This is because the experiment violated some individual rights of the subjects of the experiment. This fact, therefore, shows that the experiment is unethical in light of the Kantian deontology.According to my moral worldview, this experiment is mor ally unjustifiable. This is because the experiment clearly violates some basic rights of its subjects. Although, the experiment can, of course, benefits many people, the experiment doesn’t take cognizance of the individual rights of its subjects. This fact, therefore, shows that the experiment is morally unjustifiable. To avoid this moral problem, future experiments and research in technology involving human beings should be done only after getting the consent of the intended subjects of the experiment.