Katherine Mansfield Essay Example for Free

Katherine Mansfield Essay Her feelings of disjuncture were accentuated when she arrived in Britain in 1903 to attend Queen’s College. In many respects, Mansfield remained a lifelong outsider, a traveler between two seemingly similar yet profoundly different worlds. After briefly returning to New Zealand in 1906, she moved back to Europe in 1908, living and writing in England and parts of continental Europe. Until her premature death from tuberculosis at the age of 34, Mansfield remained in Europe, leading a Bohemian, unconventional way of life. The Domestic Picturesque Mansfield’s short story â€Å"Prelude† is set in New Zealand and dramatizes the disjunctures of colonial life through an account of the Burnell family’s move from Wellington to a country village. The story takes its title from Wordsworth’s seminal poem, â€Å"The Prelude,† the first version of which was completed in 1805, which casts the poet as a traveler and chronicles the â€Å"growth of a poet’s mind. †[4] Although the Burnell family moves a mere â€Å"six miles† from town, the move is not inconsequential; it enacts a break with their previous way of life and alerts the family members to the various discontinuities in their lives. Beneath the veneer of the Burnells’ harmonious domestic life are faint undercurrents of aggression and unhappiness. The haunting specter of a mysterious aloe plant and a slaughtered duck in their well-manicured yard suggests that the family’s awfully nice new home conceals moments of brutality and ignorance toward another way of life that was suppressed and denied. [5] As I will propose, these two incidents echo the aesthetic concept of the sublime, as they encapsulate a mysterious power that awes its beholders and cannot be fully contained within their picturesque home. Through her subtle, dream-like prose, Mansfield deploys traditional aesthetic conventions like the picturesque while simultaneously transfiguring, subverting, and reinventing them in a modernist context. The concept of the picturesque was first defined by its originator, William Gilpin, an 18th century artist and clergyman, as â€Å"that kind of beauty which is agreeable in a picture. †[6] Thus, a scene or representation is beautiful when it echoes an already-established, artistic conception of beauty, revealing the self-reinforcing way in which art creates the standard of beauty for both art and life. Mansfield presents these picturesque moments in order to demystify them and reveal the suppression and violence they contain. In addition to â€Å"Prelude,† her stories â€Å"Garden Party† and â€Å"Bliss† dramatize the transformation and inversion of picturesque moments of bourgeois life and domestic harmony. While she seems to exhibit a certain attachment to these standard aesthetic forms, Mansfield subtly interrogates many of these conventions in a strikingly modernist way. Through her childhood in a colony, Mansfield also became attuned to the violence and inequalities of colonialism. As Angela Smith suggests, her early writings demonstrate a keen sensitivity towards a repressed history of brutality and duplicity. [7] In her 1912 short story â€Å"How Pearl Button Was Kidnapped,† she questions and overturns the perspective of the colonialist, whose vantage point historically trumps that of the native. The deliberate ambivalence of the word â€Å"kidnapping† dramatizes the conflict between the colonist’s perspective and Pearl’s joyful, eye-opening experiences during her abduction. In a similar way, empire dramatized for Mansfield the way that a picturesque, bourgeois household could suppress alternative perspectives. The Sublime In â€Å"Prelude,† the mysterious, sublime aloe plant disrupts the pleasant domesticity of the Burnell household. Their well-manicured yard with its tennis lawn, garden, and orchard also contains a wild, unseemly side—â€Å"this was the frightening side, and no garden at all. †[8] This â€Å"side† contains the aloe plant, which exerts a mysterious, enthralling power over its awed beholders. In its resemblance to the ocean, the aloe assumes the characteristics of the sublime: â€Å"the high grassy bank on which the aloe rested rose up like a wave, and the aloe seemed to ride upon it like a shop with the oars lifted. Bright moonlight hung upon the lifted oars like water, and on the green wave glittered the dew. †[9] For many writers and poets, the ocean was a manifestation of the sublime because of its unfathomable power and scale that awed and humbled its observers. The aloe’s strikingly physiological effect on its viewers recalls Edmund Burke’s sublime, which overpowers its observer and reinforces the limitations of human reason and control. In his famous treatise on the sublime, Burke writes: â€Å"greatness of dimension, vastness of extent or quantity† is a powerful cause of the sublime, as it embodies the violent and overpowering forces of nature. [10] In a similar vein, the child, Kezia Burnell’s first impression upon seeing the â€Å"fat swelling plant with its cruel leaves and fleshy stem† is one of awe and wonder. [11] In this case, the sublimity of the aloe plant disrupts and challenges the domestic picturesque as it defies mastery, categorization, and traditional notions of beauty. In its resistance to categorization and control, the sublime embodies the part of the ungovernable landscape that the Burnell family cannot domesticate and the picturesque cannot frame. As a result, in â€Å"Prelude,† the magnitude of the sublime interrupts and fractures the tranquil surface of the picturesque by exposing the unfathomable depths beneath it. The colonial backdrop of the Burnells’ yard also contributes to the mysterious, occult power of the aloe. This unruly part of their property hints toward a landscape that eludes domestication and serves as a constant reminder that the Burnell family is living in a land that is not quite theirs and cannot be fully tamed. [12] At the age of 19, Mansfield wrote that the New Zealand bush outside of the cities is â€Å"all so gigantic and tragic—and even in the bright sunlight it is so passionately secret. †[13] For Mansfield, the bush embodies the history of a people whose lives have been interrupted and displaced by European settlers. [14] After wars, brutal colonial practices, and European diseases had devastated the local Maori population, the bush became a haunting monument to their presence. As the Burnell family settles down to sleep on the first night in their new home, â€Å"far away in the bush there sounded a harsh rapid chatter: â€Å"Ha-ha-ha†¦ Ha-ha-ha. †[15] In her subtle way, Mansfield unveils the voices of those whose perspectives are excluded from this portrait of nocturnal domestic harmony. In a similar way, the aloe plant exudes an unfathomable history that is beyond the time and place of the Burnells. Even its age—implied by the fact that it flowers â€Å"once every hundred years†Ã¢â‚¬â€suggests that the aloe exists on a different scale than its human beholders. [16] In its ancient, superhuman scale, the aloe gestures towards the â€Å"gigantic,† indicating a subtle, but implicitly threatening power within, or in proximity of the home. The aloe is a kind of lacuna in the imperial landscape of New Zealand, whose power threatens the colonial household and its control over the landscape. [17] By disrupting and encroaching upon the ostensibly safe domestic sphere, the aloe also echoes the â€Å"unheimlich,† or uncanny, an aesthetic concept explored by Sigmund Freud in his 1919 essay, â€Å"The Uncanny. † The uncanny becomes, in part, an invasive force violating the sacred, domestic sphere and hearkens back to a previously repressed or hidden impulse: â€Å"The uncanny is something which ought to have remained hidden but has come to light. †[18] In â€Å"Prelude,† the aloe is initially depicted as a threatening force that â€Å"might have had claws instead of roots. The curving leaves seemed to be hiding something. †[19] Positioned within the safe space of their property, the aloe is a menacing, ungovernable force that seems to encroach upon it. The plant becomes part of the repressed history of the landscape—a history that is only apparent to Kezia, her mother Linda Burnell, and her grandmother Mrs. Fairfield, who are attuned to the forces below the surface of the picturesque exterior. Violent Underpinnings Beneath many of Mansfield’s picturesque domestic scenes are moments of violence and rupture. In â€Å"Garden Party,† for instance, a poor man falls to his death during the preparations for a much-anticipated social gathering of the wealthy Sheridan family, undermining the convivial spirit of the occasion. In â€Å"Prelude,† Pat, the handyman, slaughters a duck while the children watch with grotesque enthrallment as it waddles for a few steps after being decapitated. â€Å"The crowning wonder† of the dead duck walking hearkens back to Burke’s sublime, which is experienced in â€Å"Prelude† within the confines of the private residence. [20] The sublimity of this apparent defiance of the properties of death acts as a dramatic external force imposing on the observers’ intellect and reason in a profoundly Burkian way. But later that night, when the duck is placed in front of the patriarch, Stanley Burnell, â€Å"it did not look as if it had ever had a head. †[21] The duck’s picturesque dressing—â€Å"its legs tied together with a piece of string and a wreath of little balls of stuffing round it†Ã¢â‚¬â€conceals its violent death. [22] In a similar way, the â€Å"awfully nice† picturesque house is imposed upon the landscape, as if it had never been any other way. [23] Through reconfiguration and transformation, a new imperial order conceals the fact that an older order once lay beneath it. In both cases, the picturesque functions as a way of naturalizing the violent order of domination. As Pat’s golden earrings distract Kezia from her grief over the duck’s death, the duck’s pretty garnish conceals its â€Å"basted resignation. †[24] There is no such thing as a pure aesthetics, Mansfield seems to suggest, as each serene moment is implicated in some act of violence, brutality, or suppression. In â€Å"Prelude,† the good-natured Pat disrupts a pre-existing picturesque scene in which ducks â€Å"preen their dazzling breasts† amidst the pools and â€Å"bushes of yellow flowers and blackberries. †[25] Tellingly, the duck pond contains a bridge, a typical feature of the picturesque that reconciles or bridges the gap between different aspects of the scenery. In this way, the Burnell family’s cultivation of the land by planting and slaughtering ducks disrupts another underlying order. Their unquestioning appropriation of this pre-existing order mirrors the way colonial life disrupted and undermined the indigenous Maori life. Juxtaposing two picturesque scenes that interrupt and conflict with one another, Mansfield questions and unravels the conventional image of the picturesque. This interplay of various conflicting aesthetic orders constitutes part of Mansfield’s modernist style, in which aesthetic forms are ruptured, fragmented, and overturned. As the yard’s landscape bears traces of the Maori past, so the quiet harmony of the Burnells’ domesticity is underscored by deep, unspoken tensions and an animosity that hints at the uncanny. In fact, the only character who expresses any contentment is Stanley, who reflects, â€Å"By God, he was a perfect fool to feel as happy as this! †[26] Yet even he shudders upon entering his new driveway, as â€Å"a sort of panic overtook Burnell whenever he approached near home. †[27] Beneath this veneer of marital bliss and familial harmony, his wife Linda occasionally ignores her children and expresses hatred towards her husband and his aggressive sexuality: â€Å"there were times when he was frightening—really frightening. When she screamed at the top of her voice, ‘You are killing me. ’†[28] Meanwhile Stanley and Beryl, Linda’s sister, seem to have a flirtatious, indecent relationship: â€Å"Only last night when he was reading the paper her false self had stood beside him and leaned against his shoulder on purpose. Hadn’t she put her hand over his†¦ so that he should see how white her hand was beside his brown one. †[29] Dramatizing these dynamics, Mansfield suggests that a â€Å"happy† household outside of town is not as â€Å"dirt cheap† as Stanley boasts; it comes at the cost of servitude, sexual aggression, and a ravaged Maori landscape. [30] Through these layers, which Mansfield subtly strips off one at a time, she artfully exposes the way that an existing political and aesthetic order is not what it seems to be or how it has always been. Her short stories are fraught with their own tensions; while exposing the picturesque as false and absurd, she nevertheless draws on its conventional associations. Similarly, her subtle attempts to question colonial power are embedded in a seemingly idealized portrait of colonial life. Mansfield creates a seemingly beautiful or normal image, such as the happy family in â€Å"Prelude,† â€Å"Bliss,† or â€Å"Garden Party,† and then slowly challenges it through a subtle counter-narrative. In this way, her deployment of modernist techniques is less pronounced than that of James Joyce and her other modernist contemporaries. Just as she challenges aesthetic conventions, Mansfield unravels the reader’s ideas about her own stories by presenting a seemingly beautiful, transparent narrative that is haunted by tensions, lacunae, and opacity. Like the headless walking duck, these fictions of transparency and harmony quickly collapse upon closer inspection.

Machiavelli vs Islamic political thought :: essays research papers

Machiavelli vs Islamic Political Thought   Ã‚  Ã‚  Ã‚  Ã‚  Niccolo Machiavelli was a political realist. He thought there were certain skills and characteristics needed to become a political ruler. In his work, The Prince, Machiavelli gives advice on how to be a successful prince, or ruler. â€Å"Successful† is partly based on how powerful a ruler was during his lifetime (reign), but largely based on how much the prince affected the lives, through laws or societal norms, of future generations. Machiavelli was mainly interested in attaining and keeping political power. He believed people were inherently selfish and would, by nature, not respect the law or work for the common good, without civic virtues. The only way to ‘control’ these human urges was to instill national pride and mutual respect for all citizens of a state. The difference in Machiavellian thought, up to this point in history, from other philosophers was he believed political authority was no longer justified by religious or spiritual doct rines. Although Machiavelli believed this to be true, he still knew it was important for citizens to maintain a commitment for the common good, through national pride and respect. Another aspect of differing thought up to this point in time was Machiavelli knew promoting civic virtue in citizens needed to be coupled with the pursuit of individual liberty.   Ã‚  Ã‚  Ã‚  Ã‚  Machiavelli, in his writings, talks about several different forms of government. Specifically, monarchies, aristocracies, and democracies. He was able to pick apart monarchies, establishing the difference between ‘new’ and old monarchies. The new monarchies are the hard ones to maintain, because people are not susceptible to change, in fact they almost revolt against it, unless the new ruler can make good on his word and keep his promises. Machiavelli’s preferred form of government was the republic. A republic is a mixing of the three governments aforementioned. Having the government made up of the nobles, the elite, and the commoners establishes a set of checks and balances against one another. No one, particular group will be able to take control of the state again. And in fact, the people (citizens) tend to have more leverage than any other faction. Machiavelli knew people were mainly concerned about their property and well being of their fa mily. He also knew the government’s job was to protect both, in addition to helping the people prosper and follow their â€Å"hearts,† if you will. Machiavelli believed only certain people could become rulers, because it took a special sort of person.

National Institute for Engineering Ethics Essay

NIEE produced Henry’s Daughters to raise awareness of the ethical aspects of engineering work, advance knowledge and understanding of professional standards and public obligations and expectations, improve skills in moral reasoning, and strengthen personal dedication to exemplary conduct. Executive Producers were Joseph Herkert, Michael Loui, William Marcy, Steven Nichols, and Jimmy Smith. The entire NIEE Executive Board members served as Senior Investigators and Technical Advisors. Discussion Questions Professional Issues 1. Are there ethical implications to Henry, a lobbyist, hosting the senator on his expensive yacht? 2. Is there a legal or ethical limit to the level at which Henry should host the senator? 3. Is there an accepted code of practice or ethics for lobbyists? If not, suggest a few ethical statements for lobbyists. 4. Was it ethical for Henry to pull strings to get Julie her internship? 5. To what extent should engineers consider the political factors and social impacts to their engineering work? Ethics and New Technology Issues 6. What are the responsibilities of engineers when developing new technologies whose risks are difficult to foresee? 7. If GUIDME has the â€Å"best† technology, why should cost and other factors matter? 8. Because the experience base for a new technology is limited, it is difficult to write technical specifications. If engineers believe that the specifications are inadequate for future needs, should they recommend a system with characteristics exceeding those specifications? Conflict of Interest 9. Was it appropriate for Henry and his daughters to work on the same project for different parties? 10. How should Laura and Henry have handled their apparent conflict of interest? 11. How should Laura and Julie have handled their apparent conflict of interest? 12. Was Laura given the project because of her engineering talents and work ethic or because of Henry’s connections? If so, this might be a conflict of interest. If you are involved in a conflict of interest, what should you do? Gender Issues 13. Does the appropriate response to sexual harassment depend on the setting – for example, whether one is in a situation with one’s peers vs. with one’s supervisor? 14. Are sexist comments disguised as â€Å"jokes† acceptable? 15. Would Henry or the senator have treated events differently if either or both of Henry’s children had been sons? 16. Does the fact that Laura and Julie are attractive enter into any part of the interaction? Should it? 17. Is there a’ glass ceiling’ issue in this story? 18. How should the engineering profession address either the glass ceiling with the men’s club issue? 19. Is it permissible for a male employee to put his hand on a female employee’s shoulders? Or vice versa? For a male employee to put his hand on another male employee’s shoulders? 20. Is it permissible for a male employee to complement the female employee’s appearance? Or vice versa? Intellectual Property Issues 21. What is proprietary information? 22. Are there ethical limits to what the sisters can share with each other about their work? 23. Is it appropriate for an engineer to discuss work matters with family members? 24. How should employees and engineers decide whether to share some of their information from work when they go home? 25. When and why might using unlicensed software be unethical? 26. Is Julie justified in feeling harmed by the fact that some work she did for OUTOCAR was used as a dissertation without giving her credit? Issues for Henry 27. What were the unethical actions of Henry? 28. What, if anything, did Henry do that was ethically laudable? Issues for Laura 29. What were the unethical actions of Laura? 30. What, if anything, did Lara do that was ethically laudable? Issues for Julie 31. What were Julie’s unethical actions? 32. What, if anything, did Julie do that was ethically laudable? 33. As a  new employee, one of the limits to the engineering work that she should perform? Issues for other characters 34. Given that the project was assured for GUIDEME, was it appropriate to assign the OUTOCAR project to Warren and Marty’s team? 35. Could Warren have done anything to swat the chain of unethical actions? How could he have ethically acted with the least residual damage? 36. Which of Barry’s actions were ethical? Unethical? 37. Was Julie treated appropriately by Barry, Warren, and Marty? 38. Was Marty’s treatment of Warren harassment? 39. Should Laura have said something about Marty’s treatment of Warren (like she did about the ogling of Julie)? 40. Which of Jeff’s actions were ethical? Unethical? Privacy Issues 41. Given that biometric information is information about the physical condition or characteristics of individuals, is there a problem with collecting biometric information about individual vehicle drivers and passengers? 42. Does tracking vehicle location cause a violation of privacy? 43. Why might a central computer network be more threatening to individual privacy and information security than a decentralized system? 44. Should individual privacy rights be trumped by the law enforcement and safety benefits to the public from collecting such information? Vice versa? Legal, regulatory, and political issues 45. Should Sen. Bob every accused himself from the investigative committee? If not, why not? Is there anything that he should have done differently as a member of the committee? 46. How does an organization’s cop culture affect how engineers practice? How might it affect dealings with ethical issues? With legal issues? Effective Communications 47. One team meeting is marked by tensions about getting the projector started. Do ethical obligations suffer when the team is dysfunctional? Is some degree of disagreement appropriate? When does conflict become counterproductive? 48. If you were to develop an ethical corporate or  organizational culture, how would you encourage workers to feel comfortable about speaking freely about ethical, safety, and legal issues, and see such discussions as an obligation? 49. What are some standards the leadership of an organization should consider when creating an environment that creates good working and communication conditions? How would you set the appropriate standards? How would you make sure that you have communicated those standards effectively so that people not only understand them but also believe you are serious about them? 50. Two organizations have an obligation to host sensitivity training for their managers and their engineers? 51. What is society taught people about sensitivity training? 52. How can sensitivity training be brought into the organization’s leadership practices? 53. How can sensitivity training be subsumed into the organizations culture? 54. What do you think you would do to promote trust and respect among your colleagues and other professionals in other departments? Safety issues 55. Do accidents just have been or are they caused? 56. Whose responsibility is it to make sure that reasonable care and attention is given to safety? a. The engineer – designer? b. The Department of Transportation employee? c. Anyone who observes the problem? 57. . Did both designs involve an adequate margin of error? 58. Since complete safety is unobtainable and safety comes at a cost, what is a reasonable amount of protection from failure? Making Decisions 59. What would engineering codes of ethics say about Henry’s activities? About Lars? 60. When making final decisions, was Henry trying to meet his ethical obligations within the constraints that he had? 61. What options did Henry have? 62. What options did Lara have? 63. What options they Julie have? 64. What did you have done if you would been: a. Henry? b. Lara? c. Julie? 65. Do you think that you would receive the same degree of criticism from your organization if you violated ethical standard compared to violating or missing a deadline or an objective? 66. Do you put ethical issues on the same level of importance as business objectives? Should you? Important elements of business relationships 67. What is the most critical element of effective relationships? Loyalty? Obedience? Money? Trust? Openness? Candor? Something else? 68. What role should trust play in our professional and personal interactions? 69. What role should candor play in a professional or personal relationship? 70. Would candor imply effective communications? 71. Could you envision one definition of ethics being â€Å"those activities and practices that enhance trust†? Why or why not? 72. Although you will gain many things during a professional career, other things can be taken away from you. Your job could be taken away (and it often is during economic downturns). a. What things can never be taken away, unless you allow them to be? Can your reputation for integrity be taken away? b. List several ways you could protect that reputation. 73. if someone says â€Å" I trust you,† how does this make you feel about the relationship Guidance for the future  In our day-to-day work, we tend to look up to our leaders, supervisors, and/or bosses for guidance and inspiration about how we conduct ourselves. If we imagined that we were the boss, we might ask additional questions. Imagine that you won’t an organization, have all the necessary money, and need to decide what to produce, where to produce it, how to produce it, and how to set up your organization. 74. What specific actions could you take as the boss to make sure that everyone in your organization felt that they should conduct themselves to the highest standards of professional conduct and professional ethics? 75. What specific attributes would you haven’t placing your organization to make sure that happened? 76. What would you do to make sure that everyone in your organization conducted themselves to the highest professional and ethical standards? Would some of the following actions come to mind? a. Clearly define your expectations of  professional/ethical actions b. communicate those expectations effectively and continuously c. Live the standards personally. What people see in actions is what they’re going to believe. d. Create candor and open communication in the environment so that anyone within the organization feels free to bring up and discuss their thoughts, opinions, and ideas, but most of all, they feel free to bring up their concerns, problems, and news, be it good or bad, without fear of suffering some sort of retribution or reprisal.

The Tourism Industry in the Carribean Essay - 1056 Words

In her essay, â€Å"Last Resorts: The Cost of Tourism in the Caribbean†, journalist Polly Pattullo presents an inside view of the resort industry in the Caribbean Islands, and how it truly operates. Tourism is the main industry of the Caribbean, formerly referred to as the West Indies, and it is the major part of the economy there. Pattullo’s essay mirrors the ideas of Trevor M.A. Farrell’s perspective â€Å"Decolonization in the English-Speaking Caribbean† in which he writes about the implicit meaning of the colonial condition. Pattollo’s essay illustrates that colonialism is present in the Caribbean tourism industry by comparing the meaning of it presented in Farrell’s perspective. In this essay I will explain how these two essays explain how†¦show more content†¦Pattullo’s report explains how most of the control of the economy and commerce in the Caribbean is in the large corporations that operate there but are located in other foreign countries. Comparing to Farrell’s account, she explains this by showing how the tourism industry is run and operated there. Farrell justifies reference to colonialism in the Caribbean. He describes colonization as a lack of control over that country’s own movement or development (political, economic, or cultural). Even though tourism is the dominant industry in the Caribbean, it’s not operated where it enables the people there to have control over their economic movement or development. It is the larger airlines and hotel chains that dominate the tourism. The airline industry also contributes to exploitation in the region. For instance, the airline companies that operate most of the trips in and out of the Caribbean are large foreign-owned airlines that practically have a monopoly on seats sold, and have the say as to when flights are scheduled. There is not much opportunity for other regionally owned airlines to gain a market share of this segment of the tourism economy. In her essay, Pattullo explains, â€Å"In 1992, foreign airlines controlled nearly three-quarters of the seats to the region, with American Airlines alone picking up more than half of those seats. American Airlines, KLM, British Airways, Air France (the last three reflecting old colonial links), andShow MoreRelated Ecotourism, Tourism, and Development in Mexico Essay2772 Words   |  12 PagesEcotourism, Tourism, and Development in Mexico â€Å"The issue of growth in the travel industry - how much, how fast, what kind - is crucial to the future of communities, local lifestyles and cultures, and the natural environment. There are a variety of instabilities and inequities associated with the expansion of tourism. 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