Abstract This paper discusses the Alfred Jewel, its design, purpose and significance. It explains that this jewel was the first Anglo-Saxon artifact ever to be found on British territory and that it is one of the most renowned objects to remain intact from Anglo-Saxon England, and is typically linked with Alfred the Great, king of the West Saxons from 871-99. The paper looks at the various interpretations of the design in the enamel of the jewel. The paper also explores the different theories on the supposed purpose of the Jewel. The paper also explains how the Alfred Jewel landed up in the Ashmolean Museum in England.
From the Paper "Since the jewel was discovered, there has been much speculation as to what purpose it was meant to serve. One theory is that the jewel was a symbol of office, either of Alfred or of one of his officials (Roberts). Alfred wholeheartedly devoted himself to providing his people with a valuable understanding of many subjects. Many scholars believe that the image carved into the enamel of the Alfred Jewel is mean to portray Christ as the embodied form of Wisdom of god (Hinton 51). It is common for objects from the Anglo-Saxon period to be adorned with explicitly Christian objects. Alfred had aspirations to use his own virtue and wisdom to acquire authority. Given that Alfred perceived power in such a manner, he might have considered the Alfred Jewel to be representative of worldly office."
Abstract This paper analyzes Alfred Hitchcock's masterpiece of suspense, the film "Psycho." The reviewer describes the innovations, taboos and transgressions that Hitchcock explored in this film. Additionally, the paper discusses the emotional states of fear and horror that the film inspired, and how Hitchcock enticed his audience by giving them just enough information to lure them into the world of the protagonist, Norman. The paper also discusses how Hitchcock promoted his film prior to its release. The reviewer concludes that in "Psycho," Alfred Hitchcock lured his audience into the forbidden, made them uncomfortable but at the same time made them enjoy the brief experience of unspoken transgressions as seen in the film.
From the Paper " When Norman purposely gives Marion the key to room number 1 so he can watch her through a peephole in the office, Hitchcock is enticing the audience with another transgression, voyeurism. The audience is forced into this secret world, forced to participate in Norman's forbidden thrill as he watches her undress. Such scenes resulted in much criticism. For example, a letter to the New York Times claimed that Psycho was "deliberately calculated to stimulate the jaded appetites of the middle-aged and arouse the worst latent instincts of teen-agers," suggesting that the transgressions depicted might be contagious (Hendershot). "
Abstract Alfred Adler developed a theory of personality that describes how social interaction, birth order, life style, and family influences combine to form the personality of a person. Besides these things he also used the terms ?finalism,? which describes a goal or ambition that drives a person, and ?superiority,? which is a persons drive to be perfect. Different studies will are used to verify and expand his original work.
From the Paper "Alfred Adler, born in 1870, was the second of six children. He had a self-described "bad" childhood. He dealt with illnesses and accidents and he witnessed one of his bothers die (Engler, 1995). His father thought that Adler would amount to a lot. He later went to school where he was only a mediocre student. After coming close to quitting school, he turned his academic career around and became an outstanding student. He then went to medical school and became a neurologist (Engler, 1995)."
Abstract This paper discusses the elements of film style used by Alfred Hitchcock in his legendary films, particularly in "Strangers on a Train". The analysis notes the outstanding instances of Hitchcock's film technique, including his trademarks, considers the historical time in which the films were made, and evaluates the manner in which Hitchcock created the best suspense films in cinematic history.
Abstract This paper discusses the theoretical perspective in counseling of Alfred Adler. The paper relates what Adlerian theory sees as the nature of people. The paper also explores the factors that most influence personality, according to Adlerian theory. The paper concludes with a review of Adler's view of the change process and the role of the counselor in this process.
From the Paper "The purpose of this paper is to provide a brief overview of the psychological theory of Alfred Adler. To this end, the paper discusses Adlerian views on the nature of human beings..."
Abstract This paper presents a detailed analysis of film techniques used in the scene, "Looking for Arbogast" in the Alfred Hitchcock film, "Psycho".
From the Paper "In the scene "Looking for Arbogast", Hitchcock capitalizes on the shock value of the previous scene, "Death and the Detective", where we see Mother murder Arbogast. In this scene we see Lila, played by Vera Miles, and Sam Loomis, played by John Gavin. The lighting in the hardware store is very dim, creating many shadow effects. We see Lila back lit twice, which is reminiscent of the first time we see Mother, providing a nice contrast between the..."
Tags:Alfred, Hitchcock, Film, techniques, Scene, analysis, Looking, for, Arbogast
Abstract This paper begins with a brief examination of the life and accomplishments of Alfred North Whitehead. The paper then goes on to describe the three elements, according to Whitehead, that play a vital role in the intellectual and ethical evolution of humanity. The paper also defines Whitehead's theory of noble discontent and its three internal related aspects. Each of Whitehead's three essential elements to humanity's evolution are then discussed and analyzed in detail.
From the Paper "According to the philosopher Alfred North Whitehead there are three terms that play a vital role in the intellectual and ethical evolution of humanity. Whitehead argues that without these three elements the evolutionary process would not occur. The term "noble discontent" from Alfred North Whitehead's readings Adventure of Ideas is structured by, beauty, intelligence and duty. This paper will argue that Whitehead's notion of "noble discontent" is a key ingredient in the intellectual and ethical development of human society since it has driven man to a higher rational thinker."
Tags: philosophy math, alfred north whitehead, noble discontent
Abstract This paper explores the theory of AlfredTarski, which he published in 1936 called "Wahrheitsbegriff". It explains how he investigates the schema of colloquial language and formal language to prove whether such language usage is true in its context and logic or not. It discusses how theorists challenged Tarski's controversial equation, which he presents as his T schema for proving statements/ sentences true. It also states that most theorists disagree with this T schema "p" is true if p.
From the Paper "Tarski presumes that the rule for this equation is true if p is proven false. To achieve the desired result, he put forward the condition that in the T schema if a sentence is S then p is a replica or in another word S= p. However p will have to be untrue for S to be true. In formal language he perceives that correctness means that there is no ambiguity of truthfulness or untruthfulness of the existence of a sentence/phrase. Inconsistency according to him exists when the parts of the sentence does not conform to the object of the sentence (Tarski 1944)."
Abstract This paper examines how Alfred Hitchcock's films deal with many psychological themes, including the idea of voyeurism. It reviews two of his films; "Rear Window" (USA, 1954, Alfred Hitchcock) and "Vertigo" (USA, 1958, Alfred Hitchcock) and discusses the occurrence of voyeurism within the narratives of both films. It also looks at the idea that certain aspects of the films can be said to be representations of the voyeuristic nature of cinema-going itself.
From the Paper "I will now look at Vertigo and consider how the voyeurism and the gaze of the film can be seen as much more sexual than that of Rear Window. It has been said that Rear Window seems like a comical "test run" for the more obsessive and frightening nature of Vertigo, and that Rear Window, Vertigo and Psycho form a sort of trilogy of films that contained the them of voyeurism. Vertigo was not as popular on its original release as Rear Window. This is probably due to the fact that there is a lot more complexity and psychology in the story, or because James Stuart seemed too old to play the romantically obsessed man. The story is about Scotty (James Stewart), an acrophobic detective who has been hired by a friend to trail his beautiful and troubled wife, Madeline. His quest at first is an innocent one, but he soon becomes Madeline's obsessive stalker. "
Abstract This paper provides an analysis of the character of J. Alfred Prufrock in T.S. Eliot's poem "The Love Song of J. Alfred Prufrock". The paper depicts Prufrock's fears, insecurities and views in the society he lives in and uses quotes and lines from the poem to support the analysis.
From the Paper "J. Alfred Prufrock, the main character in the poem "The Love Song of J. Alfred Prufrock", by T.S. Eliot, appears to be an unhappy man aware of his weaknesses and riddled with self doubts. Prufrock is portrayed as someone who is in despair and helpless. He feels as if he has never accomplished anything in his life and is painfully aware of his failures: "For I have known them all already, known them all:/ Have known the evenings, mornings, afternoons,/ I have measured out my life with coffee spoons;/ I know the voices dying with a dying fall/ Beneath the music from a farther room/ So how should I presume?" (Eliot, 1917, Lines 55-60). This awareness of his failures is what puts Prufrock in despair: "But though I have wept and fasted, wept and prayed,/ Though I have seen my head [grown slightly bald] brought in upon a platter,/ I am no prophet-and here's no great matter." (Eliot, 1917, Lines 87-89). He mocks himself for being too weak and too helpless to turn his life around. This very helplessness fills him with panic and despair: "When I am pinned and wriggling on the wall,/ Then how should I begin/ To spit out all the butt-ends of my days and ways?/ And how should I presume?" (Eliot, 1917, Lines 64-67). Prufrock, to put it bluntly, is clueless on how to start over and to pick up the pieces. He perceives himself as doomed to his fate: "Till human voices wake us, and we drown." (Eliot, 1917, Line 138), "I do not think they will sing to me." (Eliot, 1917, Line 131)."
Abstract The paper looks at the strong contrast between "The Love Song of J. Alfred Prufrock" and the social commentary in Emily Dickinson's poems, notably 67, 249, 254, 505, and 712. The uncertainties of social standing that plague the character J. Alfred Prufrock are contrasted with Dickinson's resolve of these issues in her own life. A distinction is also drawn between their outlook and view of themselves in society and their ultimate happiness. The paper proposes that Dickinson's poems answer the questions Prufrock poses regarding his inability to take action.
From the Paper "At the beginning of the poem, Prufrock shows the woman he is with a sunset, comparing it to "a patient etherised upon a table" (3). This instantly creates an unsettling mood of social insecurities. Dickinson also uses ether as a metaphor, writing that she ?would rather be the One/ Raised softly to the Ceilings-/ And out, and easy on-/ Through Villages of Ether-? (505, 10-13). While Dickinson embraces this ethereal sleep, Prufrock eschews such intoxication. Prufrock's sterile use of the word is indicative of his staid, passive lifestyle."
Abstract This paper examines the poem, "The Love Song of J. Alfred Prufrock", by T.S. Eliot. It shows how, by beginning the poem with a quote from Dante's "Inferno", Eliot hints that Prufrock's agony will be spiritual in nature, but he does not reveal that right away. It analyzes how J. Alfred Prufrock views his life as a kind of Hell on Earth, full of dirt created by mankind, and an unspoken agreement in society to make no note of it. It looks at how Eliot creates image after image that could have been beautiful, or at least intriguing, and casts them in an ugly, yellow light. It also shows how the poem contains images of modern society, overbuilt and in an ugly state, and how, with the combination of air pollution and fog, it gives a very negative result of the modernization of cities.
From the Paper "He backs down. He goes through the social niceties, dressing well and following the conventions of the day, making polite small talk at tea, but is too cowardly to speak out when in polite company about the damage they are doing to God's beautiful world. He sees this as a great sin, one he will have to atone for in the next life. The use of the word "ices" is intriguing, because lemon ice is a common flavor, and that would bring the color yellow back into his admission that he is not willing to challenge society by bringing up issues they would rather not face. He hears people talk about the beauty of Michelangelo and listen to great music, but he does not hear them say "Why has the fog turned yellow"?"
Abstract This paper shows how "Lost Highway" can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in "Notorious" and "Strangers on a Train". Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity. It explains how "Lost Highway" contains Hitchcock's trademarks, such as the wrong man theme and doubles. It also shows Hitchcock's directorial influence on David Lynch and the use of symbols by both directors. The examples provided are backed up by film quotes, music references, and quotes from a notable book on Hitchcock, Donald Spoto's "The Art of Alfred Hitchcock".
From the Paper "There are some directors that make great movies, and then, there are some directors who create amazing lasting cinema features. The latter do not only achieve fame in their lifetime, but are often immortalized by their own pieces as well as by the imitation of their styles and ideas. This imitation is, of course, not just a reproduction of what the original director did. The imitation, when done correctly, becomes another great piece of cinema unto itself; one such imitation is David Lynch's Lost Highway. Although Lost Highway can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in Notorious and Strangers on the Train, Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity."
Abstract This paper reviews and discusses Alfred Adler's ideas on neurosis and the human personality. According to the paper, the psychological approach of Alfred Adler is even more relevant to today's societal climate. The paper discusses how Alder stressed the need for persons to find a sense of future-directed, goal-oriented and authentic self- hood, located in a larger societal community.
Outline:
Neurosis: The Modern Condition of Isolation and Dissatisfaction
Inferiority Complex
Therapeutic Approach
Conclusion
From the Paper "In Adler's view, society can be a source of strength and comfort--but also provoke neurosis when the individual feels helpless and inferior, as a result of unresolved issues regarding agency, issues begun in childhood. Adler was interested in overcoming the inferiority complex through positive social interaction. "There are the four main types of people, three out of four are negative. The ruling type tries to control others. The getting type tends to be very passive and goes along with others ideas, rarely inventive. The avoiding types try to isolate themselves to avoid defeat, they are usually very cold. The socially useful type, values having control over their lives and strive to do good things for the sake of society."(Fischer, 2001) These persons have a secure sense of self, and becoming such a socially useful, happy, and secure person is the ultimate goal of Adlerian therapy."
