Abstract
The paper discusses Justice Antonin Scalia's belief that the Constitution is the only instrument justices have at their disposal and if an issue is not clearly addressed within that body of text, then justices are not supposed to make a decision. The paper discusses changes in science, medicine and society since the writing of the original Constitution. The paper contends that because of changing issues today, Scalia's views will continue to distance the judicial bodies and will eventually render the judicial system obsolete.

Outline:
Introduction
The Man
The Judge
Why It Won't Work
Conclusion

From the Paper
"Since the inception of the United States, the Constitution has provided a blueprint of provisions that have been the backbone of many thousands of judicial, political and ethical decisions. The judicial system within this country is such that when cases are appealed to the supreme court those who sit on that court hold the question of the case against the constitution to determine whether any rights have been violated. For the past few years there have been debates about the "livability" of the constitution. One school of thought is that the constitution as it stands is out of date and that there are issues in current society of which the founding fathers could never have predicted, therefore the time has come to begin adjusting the constitution to fit today's needs."

Tags:founding, fathers, text, judge, statutes, provisions

Abstract
This paper details the life of Supreme Court Justice, Antonin Scalia, starting with his early years and detailing his education and work experience before he went to serve on the Supreme Court of the United States. It also discusses his philosophy on the court and the way he tends to rule on certain issues. Furthermore, some major decisions he has worked on are mentioned.

From the Paper
"Supreme Court Justice Antonin Scalia was born in Trenton, New Jersey on March 11, 1936. He was the only child of Catherine and S. Eugene Scalia. His father, who was a professor of romance languages, moved the family to Queens, New York when Scalia was five where Scalia attended Xavier High School in Manhattan. Scalia married Maureen McCarthy on September 10, 1960. The couple went of to raise a large family consisting of nine children. Education and Employment Justice Scalia attended Georgetown University in Washington D.C. and also the University of Fribourg in Switzerland. Scalia graduated first in his class and summa cum laude from Georgetown University in 1957. He earned and LL.B. from Harvard Law School in 1960. As a young attorney, Justice Scalia was admitted to the Ohio Bar in 1962, and the Virginia Bar in 1970."

Tags:supreme, court, scalia

Abstract
In this essay, the writer analyzes the different forms and purposes of theater offered by Antonin Artaud and Bertolt Brecht in their works and philosophies. The writer discusses the purpose and goals of the two playwrights and their impact on audiences.

From the Paper
"The theater of Antonin Artaud and Bertolt Brecht is radically different with respect to the purpose and goals of the respective playwrights with respect to the impact of their works on audiences and society. If Artaud's theater of cruelty and Brecht's epic theater are distinct then so are their goals for audience impact. Artaud hoped by showing images of man's cruelty to man, audience members would experience a form of delirium whereby they would experience trances and inspiration leading to personal change ... "

Tags:Epic Theater, theater of cruelty, individual, society, truth, psyche, illusion, social change, revolution, interaction, audience

Abstract
"Antonin Artaud's theater of cruelty techniques are springboards for the director's imagination. His theories, based in part on Cambodian and Balinese dance, extol a form of "total theater," where visual images, gesture, light, sound, and noise take precedence over the written or spoken word.

From the Paper
"Antonin Artaud's theater of cruelty techniques are springboards for the director's imagination. His theories, based in part on Cambodian and Balinese dance, extol a form of "total theater," where visual images, gesture, light, sound, and noise take precedence over the written or spoken word. This potent combination is used to disturb the subconscious of the audience and kindle their imaginations. These images are often shocking, but as Artaud explains, "We are not free, and the sky can still fall on our heads; and the theater exists to remind us of this fact" (Artaud 79).


Alfred Jarry's King Ubu displays "the spirit of profound anarchy which is the root of all poetry" (Artaud 42), and this can be seen in Act IV of the play as Pa Ubu states,
We'll stay on top of this hill and we'll not be so..."

From the Paper
"Throughout his rich and productive career Antonin Dvork (1841-1940) was a national composer first and foremost. The Czech people had been part of the Austrian empire for centuries and the first hint of liberty came only in 1861--with full statehood another fifty years away. Yet "artistic self-determination was about to be realized, and it was in the hands of the right men" (Robertson 9). Among these men Dvork emerged as one of the greatest of Czech artists with "a musical language saturated with the songs and dances of his native land" (Steinberg 150). Thus it seems, at first, very strange that his most famous and enduringly popular work, the symphony in E minor (Op. 95), titled From the New World, grew out of his experience of the United States. It is less strange, however, when the listener realizes that rather than drawing directly on ..."

Abstract
According to the paper, Artaud's theories are based in part on Cambodian and Balinese dance, extolling a form of "total theater," where visual images, gesture, light, sound and noise take precedence over the written or spoken word. The writer compares this work to that of Jerzy Grotowski's whose approach to theater centers on the actor. The paper finally reveals the commonality of Artaud and Grotowski: the element of shock.

From the Paper
"Our "theater of cruelty" production has the spectator in the center surround by the spectacle of the play (Artaud 81). Sound and violent physical images swirl about the viewers. Images of crime, love, war, and madness all assault the audience in a revolving spectacle which spreads its "visual and sonorous outbursts" (Artaud 86) over the entirety, reigniting its tired psyche with "intense and sudden shocks to revive our understanding" (Artaud 86). Costumes are ritualistic; masks are often but not always used; musical instruments enhance the work, from ancient drums to the newest synthesizer's sonic extremes; and lasers and very special lights play their part as the "fusillades of fiery arrows" (Artaud 95) that Artaud dreamed. All can now be realized with our current technology."

Tags:actors, shock, play, images, technical, stage

From the Paper
" In The Theater and Its Double Antonin Artaud proposed a 'theater of cruelty' in which "violent physical images pulverize, mesmerize the audience's sensibility, caught in the drama as if in a vortex of higher forces" (63). He held that a new kind of play was needed, one that would depart from the standard word-based, dialogue-bound plays that had dominated Western theater for many centuries. In place of this type of play Artaud suggested a theater in which the specifically theatrical elements of a play's presentation--visual, aural, spatial, as opposed to mere lines of dialogue--be given the primary role. He held that incantation, ritual, exaggeration and fresh combinations of effects would provide the surprise and shock that would generate a visceral reaction in audiences for whom the spectacle would be meaningful as traditional plays no longer were. Artaud seldom.."

Abstract
In modern times the general view of the Court has come to be that its members act to advance their policy preferences, rather than in a "mechanical" way to uphold precedent, as was widely assumed before the 1940s (Epstein and Knight, 1998, 24). Whatever may have actually been the case at various times in the past, it is difficult to resist a policy-preference view of the contemporary Court.

From the Paper
"In modern times the general view of the Court has come to be that its members act to advance their policy preferences, rather than in a "mechanical" way to uphold precedent, as was widely assumed before the 1940s (Epstein and Knight, 1998, 24). Whatever may have actually been the case at various times in the past, it is difficult to resist a policy-preference view of the contemporary Court. Apart from the internal evidence of a statistical nature drawn from the Court's own record (Epstein and Knight, 1998), consideration must surely also be given to the overtly political and ideological nature of the modern nomination and hearing process, particularly as it has developed since 1980. To be sure, presidents have from the adoption of the Constitution taken the opportunity to name their political allies to the Court, surely with some confidence (or at least hope) that once ..."

From the Paper
"Since the late nineteenth century playwrights, directors, and theorists of all kinds have very frequently considered theater as a primary means of working toward the betterment of the human race. Whether they proposed to convey important ideas or actually effect change in the audience these writers tended to hold that the theater was the proper vehicle for such efforts because it spoke, as it were, directly to the individual sitting in the audience. Feelings could be roused, arguments could be vividly presented in verbal or visual terms, and the makers of drama could work on the individual in a setting where every effect--verbal, visual, and aural--was under the theater's control. Despite sharing the notion that the theater was the optimum setting for such communication and general notions of improving humanity, the various theories of theatrical..."

Abstract
The paper examines "Maria Chapdelaine" by Louis Hermon, "The Tin Flute" by Gabrielle Roy and "Pelagie-la-charrette" by Antonine Maillet and shows how these novels demonstrate the themes of Quebecois literature that include nature, family, values, religion and exploration. The paper also points out that there is always a fight, whether for self-identity, pride, the land or love, and though the characters don't always reach their goals, they serve as a symbol of the strength and beauty of the Quebecois people.

From the Paper
"The art and culture of Quebec is complex, and perpetually changing. However, several themes stand through time and are featured almost always in well-known literary works that can be considered the foundation of the Quebecois novel; among these themes are nature, family, values and religion, and exploration. As centuries went on and Quebec received influence from the trends in art from Europe and America, literary works started to explore the themes of hardship, strength, revolution, enlightenment, and love and romance, as well as many more. The three novels discussed in class typify 20th century Quebec literature, yet they define their genre at the same time."

Tags:nature, family, values, exploration, revolution, enlightenment, love