Abstract This essay explores the social symbolism that is involved with cars and argues that cars are used by many individuals as statussymbols. More specifically, the paper asserts that cars are used to convey a wide range of information about the identity and position in society of the person driving the car. The paper maintains that cars are not just vehicles, they are statussymbols. They actually represent two different things. On a very general level they represent economic wealth. On a second level they represent masculinity, power and vitality. The writer concludes that cars, like many aspects of material culture, are used to create identities.
From the Paper "What this means is that we often use products to create identities for ourselves. For example, someone wishing to be thought of as a sports fanatic will buy clothing based on sports teams. This means that consumer products become symbols for who we think we are or at the very least who we want people to think we are.
"The question that must be asked at this point is how do cars fit into this symbolic framework? Cars require a large number of resources to operate. A whole range of lifestyles and industries have developed that are directly connected to cars. Probably one of the most important developments has been the creation of suburbs."
Abstract In this paper, the author argues that the purchasing of oversized sport utility vehicles, or OSUVs, is all about the drivers ego. The author discusses the recent development of giant cars and the reasons people purchase them arguing that size is irrelevant, and that it's the feeling of superiority that drives customers to purchase them. In short, the paper is a look at cars as statussymbols.
From the Paper "In the 1950's some prognosticators of the future felt that by the year 2000 the popular form of transportation would be flying cars. Well, the 20th century is drawing to a close and it is not the flying car that is replacing the automobile but rather a giant car-truck hybrid, the oversized sport utility vehicle, or OSUV for short. Consumers are currently purchasing these vehicles, namely the Ford Expedition, Lincoln Navigator, and Chevrolet Suburban, in unprecedented numbers for a variety of reasons. In fact, since the introduction of the Expedition and the Navigator several years ago, the sales of these vehicles have risen 150%. However, it is my belief that the true cause of the explosion in OSUV popularity is neither convenience nor practical use, but rather as a means of providing an ego boost and to furnish a false sense of superiority for the driver."
Tags: jeep, sport, utility, wasteful, gigantic, big, status, superior
Abstract In general terms, most Americans agree that the use of bait cars by law enforcement is justified, for they consider it a common sense response by the police to the complexities of reducing car theft. They see it as an effective policy in two ways, for in addition to enabling police to catch car thieves in the commission of a crime, it provides a general deterrent, for active car thieves will be wary of stealing any car because they can never be certain whether a car they are targeting for theft is a bait car. This paper discusses the use of bait cars by police and sheriff's departments in the United States and looks at why, in spite of the many advantages this practice offers, it continues to be a controversial issue in the minds of some people.
Abstract This paper explains that SUVs have become the fastest selling new vehicles in the U.S.. The author points out the popularity of the vehicle as a safe vehicle and as a statussymbol. The paper addresses safety and environmental concerns about SUVs that continue to cause arguments on both sides.
From the Paper "SUVs have become the fastest selling new vehicles in the U.S. in recent years. The reason seems to be status for those who can afford them as well as the feeling that bigger cars with thicker frames are safer."
Tags: SUV safety, eenvironment, gas guzzlers, statussymbols
Abstract In this article, the writer discusses that F. Scott Fitzgerald's novel 'The Great Gatsby' symbolically and starkly illustrates the potential dangers of a ruthless pursuit of success and its tangible if ultimately negligible reward. The writer notes that the main character, Jay Gatsby, reaches the pinnacle of American success, however Gatsby's conception of success is itself purely symbolic. The writer concludes that near the end, Fitzgerald portrays how the once honorable American Dream of personal prosperity as a reward for steady, honest hard work by a person of ability has been replaced by the mere pursuit of money and the wherewithal money itself allows to make purchases symbolic of wealth.
From the Paper "Here Nick's unclear view of Gatsby, perhaps trembling alone in the darkness, also seems to symbolically and early on underscore the actual tentativeness of Gatsby's own grip on his contrived persona and later on in the story, and as an indirect result, life itself. Moreover, even at the outset of the novel, there is something out there that Gatsby seems at once to perhaps embrace with open arms and perhaps dread with trembling ones. This turns out, looking back to be Daisy.
"Daisy is symbolized at this early point in the book by the green light at the end of her pier. Green is also symbolic of money (old money in this case), something Daisy possesses and that Gatsby does not. "
Abstract This paper studies muscle cars and their accompanying culture. It details the emergence of muscle cars in the 1960's and how the industry met the public needs, and their fall in the 1970's. It concludes that the enforcement of government emissions standards, combined with the switch to lower octane gasoline eventually lead to the death of the muscle car.
Table of Contents:
Introduction
The Industry
Individuality
Muscle Cars Emerge
The End of an Era
Conclusion
Interview
From the Paper "Car culture has been around as long as the automobile. For over 100 years the automobile has been an icon in American history and in people's lives. People have a long history of defining themselves by the car they drive, and judging others in this same way. What you drive can mean different things to different people, but it always means something. It reflects financial and social status, as well as personal expression. For people who wanted to be thought of as sexy, bold, and fast"the muscle car was the answer. After the end of World War II, Americans became obsessed with the automobile. Suddenly, cars become more than just tools, more for just transportation"they became identity to some people. People were what they drove. ?It was only natural that such a state of devotion to an inanimate/animate object should lead to a prominent sub-culture of super-fanatics.? (Anselmi, 1984) That love of the automobile became the catalyst for securing its place into pop culture and ultimately what has been the driving force behind the auto industry ever since. The muscle car was conceived by this driving force."
Abstract This paper is on the prospects for the hydrogen powered car, noting the stakeholders involved, some of what they want, and how likely it is that the car will be produced in the near future. The paper indicates that the primary problem may be getting the fuel to the consumer in an economical way, given that the ultimate stakeholder is the consumer, who will be asked to buy these cars and who will want to have a car that performs as well as possible and to be able to refuel easily and economically.
From the Paper "Hydrogen-powered cars operate on energy produced by the mixing of hydrogen and oxygen, with the only by-product being water. Stacy (2003) notes that General Motors is to provide $44 million to build a fleet of 40 hydrogen-fueled cars for use in New York, Washington, Michigan, and California, with another $44 million in matching funds to be provided by the U.S. Dept. of Energy. In addition, Shell Hydrogen LLC is to create five refueling stations in New York, Washington, California, and along the east coast, and this is seen as a major step in the development of hydrogen-fueled cars, given that automakers are reluctant to develop hydrogen cars both because of the cost and because of the current lack of refueling stations (Stacy, 2003, para. 1)."
Abstract This paper assesses the strengths and weaknesses of Toyota's product, a hybrid electric car. The car is eco-friendly and it is important that the product is carefully assessed in detail before it is launched in the North American market. The paper also offers some concrete marketing suggestions, which can help the company in successfully introducing the product globally.
Abstract This paper discusses how mass production of cars started at the beginning of the 20th century and grew rapidly and how, since that time, our world has changed virtually beyond recognition. It discusses the changes that this particular technological advance has caused, focusing on changes in mode of production, changes in family life and ecological effects.
Abstract This paper explores the origins of evil symbols including the pentagram, the eye (the evil eye, the third eye), the horns, the cross, the ankh, the number "6" and the snake. It investigates the reason why these common symbols have become associated with evil in today's society. The paper includes many high quality images of the symbols.
Table of Contents
Table of Contents
The History of Evil Symbols The Eye, The Evil Eye, The Third Eye
Horns
The Cross
666
The Snake, The Serpent
From the Paper "There are many symbols commonly found in art, architecture, and literature which are associated with evil. These symbols have come to denote evil or are used to add evil meaning to otherwise ordinary things, yet the true origin of such symbols is historically not linked to evil at all."
Abstract This paper discusses Shakespeare's use of symbolism in his play "Hamlet" and cites literary critics to support its thesis. While the play is rich with symbolism, the paper explains that the most important symbol is the ghost of Hamlet's father, who makes his appearance near the beginning of the play. The paper details the symbolic significance of the appearance of the ghost and analyzes how it serves as a call to action for the confused young prince, which fuels the action of the rest of the play.
From the Paper "As T.S. Eliot once stated, "Hamlet the character has had an especial temptation for that most dangerous type of critic: the critic with a mind which is naturally of the creative order, but which through some weakness in creative power exercises itself in criticism instead" (Sacred Wood, p 83). As that observation implies, it is not so much that Hamlet cannot make up his mind about the symbolic significance of the ghost and what exactly he should do to avenge his father's death; it is just that he continually second-guesses himself. As Eric Levy suggests, "As a rational animal, a man is one who thinks. But the play problematizes [sic] the proper exercise of thought by which man sustains this identity. In one of the earliest scenes, Bernardo, Francisco, and Marcellus tell Horatio, who at first doubts their word, that they believe they have seen Hamlet's father's ghost. Horatio waits with them for the ghost to reappear. When it does, Horatio asks it "What art thou, that usurps't this time of night" (Act1.1.46). He also tells the ghost, who does look like King Hamlet, to identify himself: "b heaven, I charge thee, speak!" (Act1.1.49)."
Tags: ghost, father, symbolism, horatio, bernardo, francisco
Abstract The paper examines how Louisa May Alcott explores issues of class status including issues concerning the wealthy and the poor in her work, "The Inheritance". The paper focuses on the life of the protagonist, Edith Adelon, born into what many would consider the lower class and eventually works her way into nobility. The paper calls it a typical tale of rags to riches. The paper concludes that, while class and status do have some role in society, they will never have a more important role than being a lovable character, such as Edith.
From the Paper "Next comes the lower or "servant" class. Louisa May Alcott may fall into this class too, because she did serve her tenure during part of her life as a servant; many may consider her work as a writer of The Inheritance and of other books including Little Women enough to categorize her as "working" class or as "middle" class depending on whom you talk too. The same could be said of Edith. While she was taken in by the Hamilton's and lived much of her life in a way that suited them because she was eventually treated as their servant, she nonetheless did have some liberties, although few are outlined in the start of The Inheritance. Edith was not however, without money. This is the sole point that one may argue, makes her indistinguishable. The nobility are assumed to be part of the aristocracy. They have money because they are "born" into it and thus they have privileges that may include marrying the cream of the crop in society."
Abstract This paper presents an investigative look at the use of symbolism in literature. Author Nathan Hawthorne used many symbolism opportunities in his works "The House of Seven Gables." The writer of this paper explores the symbolism and comments on its effectiveness.
From the Paper "Throughout history the authors of literary works have used symbolism to develop a story or create an understanding. Many of the classics are filled with symbolism, and it is that very symbolism that causes the story to stick in the reader's mind and heart and make the story a classic. In The House of Seven Gables the author, Nathaniel Hawthorne displayed a particularly subtle talent at lacing the story with symbolism for the reader to stumble upon in his journey. Through the use of symbols, we are given the opportunity to view many aspects of the story from a third vantage point, and one that makes it clear for us to understand. The symbolism in House of Seven Gables, works to unite the ideas and emotions that run through the book's underpinnings and brings the reader to the same mindset the author had as he penned the words. The use of symbolism in this story creates the ability to develop the character of the story itself and bring it to its three dimensional existence."
