Abstract A discussion of the famous Box Hill scene in Jane Austen's "Emma." Mr Knightley asks Emma: "How could you be so unfeeling to Miss Bates? How could you be so insolent in your wit to a woman of her character, age and situation? Emma, I had not thought it possible." It discusses the extent that Mr Knightley was being fair to Emma with his patronizing attitude.
From the Paper "Mr Knightley's comments follow Emma's immature and presumptuous remark towards Miss Bates. Mr Knightley's reprimand initially appear to be downright self righteous and ostentatious. It is therefore hard to judge face value whether he is being fair to Emma. It is questionable whether his commentary is pardonable, even essential or merely patronizing and judgemental?"
Abstract This paper addresses the processes of mercantilism and neo- mercantilism as are presented in Robert Bates' book, "Markets and States in Tropical Africa", and then use other sources to demonstrate how the transitional economy from traditionalism to mercantilism has impacted the African societies as a whole.
Abstract This paper explores the role of isolation in Aflred Hitchcock's 1960 horror film "Psycho". It argues that it is through rejection from general society that Marion is pushed to the criminal act of theft, while Norman Bates isolation from American society turns him into a serial killer. It implies that the increasing isolation of individuals in American culture was an anxiety held by many in the 1950s and 1960s and how that disconnection could turn any one to violence and crime. The paper is based on both the film and an article by Thomas Hemmeter (referenced in the works cited).
From the Paper "Since Marion is Norman's doppelganger it is not surprising that her situation, that of social isolation, parallels his. The physical representation of Marion's entrapment is the confined spaces in which she resides. The hotel room where she meets Sam Loomis (John Gavin), her lover, is bland, she shares office space with another secretary, Caroline (Patricia Hitchcock), her sister, Lila Crane (Vera Miles), shares a tiny, impersonal apartment with her, and Marion spends the rest of the film either in a car, at the Bates Motel, and finally the most claustrophobic space of them all, the shower."
Tags:bates, crime, disconnection, doppelganger, horror, marion
Abstract This paper examines how Alfred Hitchcock's "Psycho" seems to function on its surface as a morality tale of monstrosity and subsequent restoration to order. It looks at how, although the monster of Norman Bates is tracked down and rendered subject to psychological classification and incarceration by authority, the true story of the film is anything but a true restoration of coherent narrative and psychological order. It attempts to show how the film is a profound illustration of the inability of both the audience members observing the tale and the characters involved in the tale on screen to predict their own fates and to create a coherent sense of true morality, not only within the context of movie, but also in their own off-screen life.
From the Paper "By constantly subverting audience expectations with the infamous element of Hitchcock-ian surprise, Hitchcock, in "Psycho" created a new and more internal form of the conventional monster film. This new form was not relegated to castles in Transylvania or mad scientists. Rather the creation of monstrosity could occur within the structure of the everyday, familial home and the relationship of a mother and her son. The film tells the tale of the pilferage, absconding, and subsequent murder of a young woman at the hands of a man with a divided, or psychotic and schizophrenic personality."
Abstract The paper discusses English law surrounding the right to free speech in relation to public order offences. It focuses on the judgements handed down in the case of "Redmond Bate v DPP". The paper also goes on to examine the effect of the Human Rights Act 2000 on free speech.
From the Paper "It is possible to say that English law does not tolerate the freedom to demonstrate when and where members of the public want to. The Public Order Act 1936 was enacted to give the police varying powers to control public processions or public demonstrations. These new powers were deemed necessary because at a common law level a march or procession on a public highway is regarded as prima facie lawful. Section 3 of this new act gave the police powers to impose conditions the organisers of the procession. This was allowed if the officer in question felt that this course of action was necessary in order to maintain the preservation of public order. The Public Order Act 1986 extended the powers of the 1936 act and gave the police an even greater ability to impose conditions on organisers of marches. "
Abstract This paper contends that in the ending scene of Alfred Hitchcock's 1960 film "Psycho", we find out how much of a psycho Norman Bates truly is. It discusses how the simplicity of the scene's cinematography makes this character truly frightening after we realize the thoughts that have been going through his head for the duration of the film.
From the Paper "In the last scene of Psycho the character Norman Bates, played by Anthony Perkins, is sitting in a jail cell. He has just been caught attempting to murder Sam Loomis and Lila Crane in his basement, and was found to have murdered Arbogast, the private detective, as well as several other girls. At this point Norman is no longer a part of the film. Physically he is sitting in the chair in the jail cell, but the mind of Norman Bates is nowhere to be found. He is in the mindset of his deceased mother whom he takes the personality of during portions of the film, and is discussing how she turned in her son (Norman) for the murder she committed. In reality Norman is speaking about Norman. The emotional mayhem that is going on in this character's mind in this scene is thoroughly offset by the plain and simple cinematography."
Abstract This paper shows how dress and costume is crucial to the promotion of the central themes and intentions of the film, "Psycho". The paper examines how, not only do the costumes used add to the atmosphere and realism of the movie, but also how the costumes are essential in terms of the final impact and meaning of the film. The paper explains that when the character of Norman Bates dresses as his mother, it is a complete transgression of normalcy and is diametrically opposed to the mundane costumes worn by the rest of the cast. The paper concludes that this contrast serves not only to heighten the horror and shock aspects of the film, but also functions to highlight and to provide insight into the twisted mind of Bates.
From the Paper "The image of Bates acting out a series of murders dictated by his own mind while dressed as his own mother is made visceral and horrifyingly tangible by the actual incongruity of the man in an ill - fitting and inappropriate dress. The costume that Bates wears is purposely mismatched in relation to his angular figure and creates a compelling physical image. There are also subtle touches in the way that Hitchcock chooses elements of the costume. For instance, the script make reference to the fact that he wears a "cheap" wig, which tends to direct our attention to the pathetic and deranged nature of his psychosis."
Abstract This paper describes some of the women who participated in the American Revolution - their lives, their stories and their motives. It examines how these significant women were examples of an undercurrent already present in the American society and how, due to the necessity of war, these women were able to be given the chance to make an impact on the society.
I. Introduction ? Social Status of Women in the Revolution
II. Molly Pitcher ? the real story
A. Evidence supporting her existence
B. Evidence denying her existence
C. An American Icon
D. Other Women who took up Arms
III. Women as Spies
A. Ann Bates B. Miss Jenny
IV. Life as a Camp Follower
A. Women in Supporting Roles
B. The winds of Equality
C. Abigail Adams
D. Patriotism
V. Men's views on Women in the Revolution
A. Women as a Symbol of the Comforts of Home
From the Paper "Women in the American Revolution played a deciding factor in the success of the colonists in winning their freedom from the Tyranny of England. Traditional roles of men and women had been heavily influenced by the teachings of Christianity in which men were above women and God was above men. The interpretation of this idea was taken rather literally during this time period and many men regarded women as lower beings. During the Revolutionary war women were not considered fit for battle and this was strictly a man's realm. Women were responsible for cooking, mending, sewing, soap making, and other forms of domestic tasks. The onset of the war forced some of these ideas to be loosened due to necessity. The war played a major role in re-defining women's roles in the late 18th century. These ideas began a long series of reforms, which later led to the suffrage movement."
Tags: women, war, america, american, revolution, britain, colonist, equality, feminism
Abstract This paper focuses on the emergence of a 'new consciousness' in the two stories, comparing the similar strategies that the authors employ in order to have their female protagonists become more fully aware of themselves, the worlds that they live in, and the lives that they lead. The writer of the paper shows that in both Lawrence and Steinbeck's stories, the message is clear: Consciousness comes at a high price - in order for these women to discover a new, more profound, level of personal awareness, they must first pass through various forms of violence and turmoil.
From the Paper "Elizabeth, in Lawrence's story, was certainly not the artist that Elisa was. Though, in the latter stages of the story, much like the classic image of an artist on a quest for truth and personal discovery, Elizabeth becomes profoundly interested in finding a deeper meaning or purpose associated with her life. She is driven to discover her real self and her real passion for life at a moment of crisis and terrible shock. Therefore, Lawrence gives to his audience a significant image of an emotionally strong woman moved to a greater awareness of her circumstances when present circumstances might have dictated an entirely different type of reaction."
Abstract This paper examines Carl Murray Bates and his forty years of work as a stonemason. It evaluates the philosophical value of work and concludes that sometimes, work isn't the blessing people like Henry Ford thought it was.
A review of two articles which discuss John Keats: "John Keats and Symbolism" by Jeffrey and "The Stylistic development of Keats" by Walter Jackson Bate.
1,650 words (approx. 6.6 pages), 2 sources, 2002, $ 62.95
Abstract This paper critically analyzes 2 articles written on his style and imagery and contends that his writing was one of the most stylistic of his era and commended the Romantic poets of his time.
Abstract This paper looks at the fall of Napster, the legal arguments regarding the rise of its subsidiaries, and the inevitability of the continuing free-share environment. This paper is written with a legal mindset in a college student's view.
From the Paper "College. A place where young people, with a burning desire to further their education, congregate. But is it also a breeding ground for criminals? As college freshman flock to their new campuses every fall, toting with them the latest in laptops and desktop personal computers, they arrive with the notion of file sharing already implanted in them. So we see that it isn?t institution that is to blame for the implantation of the criminal (assuming it is criminal) ideas, but that the high speed networks of the institution are allowing and maybe furthering the students use of these illegal peer to peer (P2P) networks."
Abstract Economic theory takes into consideration the social and political milieu, as well as the economic realities of any given time period and place. Different economists reflected the realities of their era. Through the 18th, 19th, and 20th centuries, theories on wages differed because of economic circumstances, as well as the prevailing organization of thought. This paper examines theories presented by economists such as Adam Smith, John Bates Clarke, and John M. Keynes.
From the Paper "Clark's theory proposed that there was a "permanent" fund of capital that entered into a production function like any other factor. It was assumed that product value was assessed in terms of costs. This allows the product to gain value through the auspices of the skill of the maker as well as the materials used in the production. Benefits are determined by the circumstances of production, such as, the skill of the workmen, the level of technology, and the degree of utility. A product increases in value as a result of an increase in production time, so that time and skill become instruments of determining cost."
Abstract Both "Briar Rose: Sleeping Beauty" by Anne Sexton and Alfred Hitchcock's 1960 film, "Psycho", were constructed during relatively similar times in American history. This paper shows that, in terms of their theoretical construction in regards to feminism, these two works of art seem to come from completely different eras. The country or time of Sexton's imagination takes the myth of Briar Rose, the name of Sleeping Beauty, and creates an articulation of initially subjugated, childhood, female silence that must be resolved through active female empowerment in marital adulthood. On the other hand, the paper shows that "Psycho" begins with a journey of female empowerment that ends with the female's demise.
From the Paper "This desire to expiate herself of Crane's guilt, of course, renders her unintentionally naked and vulnerable. Crane unintentionally lays herself open to being first watched by the voyeuristic eye of Norman Bates through a peephole, which the viewer involuntarily participates in. Crane becomes the target of his hidden, sexual rage. Then, she enters the final sleep of death at the end of her journey in the film, while Briar Rose ends Sexton's poem with the desire to awaken from the limits of her feminine existence, the curtailing influence of marriage and home life."
Abstract In this review of Alfred Hitchcock's movie "Psycho", the author looks at elements of the movie that made it so successful. The author points out that "Psycho" was not one of Hitchcock's regular movies. The author tells us how Hitchcock was a very careful craftsman. There was absolutely not a single "ad lib" type scene shot in the movie. Hitchcock was a creative innovator, not merely a director of a number of takes of scenes. The author talks about the two key scenes in the movie, the infamous shower scene, and then the revelation of Norman Bates' "mother." The author concludes with his own personal opinion of the movie and states that no-one will know in advance if a movie will be a classic or not. That is left up to the viewers to decide.
From the Paper "The audience is so captivated by the shower scene sequence- and there are many people who see the film over and opver again-= that it is hard to realize tghat the entire scene takes a few short minutes. It seems longer, because Hitcock's careful editing draws out the suspense andn then magnifies the horror without really showing it to us in full. Whereas so many more recent films delight in bloody corpses and dismembered bodies and blood running into gutters, Psycho is horror through careful editing not through actual camera intrusion that shows everything. We don't need to see everything, because we know- from the minute we can see Norman at the peephole, that disaster is going to strike, and we wait- and then it happens! And not seeing everything all at once makes it so much more horrifying with that screaming of the violins as counterpoint to the blood dripping into the shower floor."
