Philosophy for Children Essay -- Philosophy Philosophical Metaphysica

I. The concept of the Community of Inquiry Central to the heart of P4C lies the notion of a community of inquiry. Originally a term from Pierce to reference interaction among scientists, the concept of "COI" dominates the discussion of educational revisionism as presented by commentators on the P4C movement. The key description marking a COI is: a group (a social setting) of individuals who use dialogue (interaction among participants) to search out the problematic borders of a puzzling concept (inquiry as philosophical.) Implicit in the ideal workings of this group are two key concepts: a demonstration of thinking that is caring (each member is supported and allowed to be an integral member of the community), creative (new ideas are sought out and encouraged) and critical (good reasons are expected for one's ideas and positions). fallibilism (a willingness to be corrected and an acknowledgment of possible error or perspectivalness). Thus, the COI offers us a dual message of promoting critical thinking and encouraging an obligation to one's fellow inquirer. As such the concept of COI attempts to address contemporary challenges to education to produce better thinkers and more caring members of society who can tolerate differences at the same time they can submit conflicts to reasonable scrutiny. In a COI all participants must respect one another as thoughtful persons who seek communally to better understand the issue at hand. In describing the COI as central to philosophical inquiry with children I have tried to achieve a certain degree of metaphysical neutrality by focusing upon the methodological structure of the discussion. However, once we probes beneath the surface definition we discover a cache of important meta... ...e Communities," Analytic Teaching, vol. 15, no. 1, pp. 3-16. Schleifer, Michael. "Philosophy and Community in Education: A Critique of Richard Rorty," Analytic Teaching, vol. 17, no. 2, pp. 27-34. Sharp, Ann Margaret. "The Community of Inquiry: Education for Democracy," Thinking, vol. 9, no. 2, pp. 31-37. _________. "What is a 'Community of Inquiry?", Journal of Moral Education, vol. 16, no. 1, pp. 37-45. _________. "Feminism and Philosophy for children: The Ethical Dimension," Thinking, vol. 11, no. 3/4, pp. 24-28. Slade, Christina. "Conversing Across Communities: Relativism and Difference," Analytic Teaching, vol. 17, no. 2, pp. 3-12. Thomas, John C. "Community of Inquiry and Differences of the Heart," Thinking, vol. 13, no. 1, pp. 42-48. Traverso, Gabriela. "Community and Hermeneutic Rationality," Analytic Teaching, vol. 17, no. 2, pp. 21-26.

Interview Essays - A Local Rock Star -- Interview Essays - A Local Roc

Local Rock Star Sitting at the table with long, thick, blonde hair and a hint of Brad Pitt’s facial features sits Brian. He is a 17 year old high school junior, a guitarist in a local band, and he is my interview. He will begin nearly all his sentences with â€Å"uhh†¦Ã¢â‚¬  but then proceeds to long, interesting answers. I started by asking him about when he became interested in music, and who his influences were. â€Å"I’ve always listened to music,† he said, â€Å"my first album ever was Nirvana’s Nevermind; it was a cassette tape. I also listened to a lot of Michael Jackson—don’t laugh, I mean like Thriller and stuff.† What inspired you to play an instrument? â€Å"The Red Hot Chili Peppers’ CD Blood, Sugar, Sex, Magic was the first time I realized I wanted to play an instrument.† What instruments do you play? â€Å"I’ve played guitar for the last four years, saxophone for the last two—though only in the school band,† he said. â€Å"The keyboard, bass and drums I can ‘musically understand,’ though I don’t usually play them.† So tell me about the band. What’s the significance of the band’s name, No Name Charlies? â€Å"Uhh†¦ well we had, like, 100 names that we had gone through and we didn’t really like. Then Greg, our former trombone player, said that whenever his teacher in elementary school would get an essay without a name on it, she’d call it a ‘no name Charlie.’ We all kind of liked it; it’s definitely grown on us since then.† He told me the band came together in November 2001, and their first show was in spring 2002. There has been a lot of movement in terms of the band members: some have come and gone, some have come, gone and come back again, some switch instruments, and others have stepped in. The configuration, as i... ...ur first one,† he says, referring to their 2003 demo Shut Up and Listen! They met Pat Kays, bassist for the band Catch 22, when they opened for his band last year. Kays told the boys he liked their sound, and was interested in engineering and, to an extent, producing. â€Å"It was mutual,† Brian said, â€Å"because we had been wanting to record, and he had wanted to engineer. It all kind of fell into place.† Youthful endurance, continuing optimism and a small—but steadily growing—fan base have all contributed to the No Name Charlies’ local success. When asked whether the band would take the chance to become famous—if the chance was given—Brian said they would take it without question. However, he thinks balance is important, and would not sacrifice a college education for it. When asked if he thinks the band will make it big, Brian replied, â€Å"I’d like to think so.†

Cipd Employment Law Essay

Supporting Good Practice in Managing Employment Relations 3MER Introduction: The aim/objectives of this assignment are to explore employee relations in detail, including the internal and external factor impacting on employment relationship, psychological contract, and differences between fair and unfair dismissals, redundancy. 1. Understand the impact of employment law at the start of the employment relationship : 1.Internal and external factor that impact on the employment relationship: The absolute melodious bond between employers and employees is crucial for the smooth running of an organisation, where there is a give and take relationship and there are various factor affecting the relationship Internally and Externally i. e. Organisational culture , historical context, performance, pay and reward, economic factor, technology factor, unemployment etc. Internal Factor: Organisational culture is defined by many writers as being † the way we do things round here † It is m anifested in the rituals of an organisational, in its people, dress, habits, working times and style, attitudes , office layout , almost every intangible aspect of its being. It is also perpetuated by stories, office gossip, heroes and heroines, decor, social life and the language that various parts of the organisation regularly use at work. (CIPD 2011) * Psychological contract the term was first used in the early 1960s but became more popular following the economic downturn in the early 1990s.It has been defined as ‘the perceptions of the two parties, employee and employer, of what their mutual obligations are towards each other'. (CIPD 2012). In which employers except commitment to goals and value, hard working, flexibility, honestly, be courteous to client and staff. In return employee except a pleasant and safe working environment, job security, pays commensurate with performance feedback, skill development aid to employability and fair treatment. External Factor: Technolo gical factor: Due to the ever growing demand of technology there are advantage and disadvantage. There are development in energy sources, mobile technology and medical discoveries etc. These help employees to develop the skills and training. And the same may also create a gap in the market or barrier for the entry in the given market, which may de-motive staff. Economical factor: Slow economic growth/ decline may result in employees just fortunate of having a job.Due to the euro crisis, lowest interest rate, exchange rates and inflation rate, wage rates and unemployment. 2. The different types of employment status: There are three main categories of employment status such as Employee: Has a contract of service, have set working hours, have options of paternal leave, have rights of unfair dismissal. Workers: Does the work personally, either may have set working hours; contract may be verbal or written, they usually work for fixed time, doesn’t have rights of unfair dismissal.B usiness/ Genuinely Self- Employed: They contract for service and employers are the customers, they have a set of working hours, is contracted for each model of work – either verbal or written, contracted by service not time and doesn’t hold any rights for unfair dismissal/ redundancy. 1. 3 Identify and analyse the reasons why it is important to determine an individual’s employment status: Below are the 3 major employment status and reasons for the importance of identifying them: Permanent: An employee has a permanent contract, has access to all the perks and benefits in the firm.Under the Employment Rights Act 1996 permanent employees are entitled to written terms and conditions after 8 weeks of employment and once they have acquired continuous employment for a certain period of time they acquire certain rights (e. g. 1 year for right to claim unfair dismissal; 2 years for redundancy payments). They also have the employment rights such as Statutory Sick Pay. An employee receives a wage/salary rather than seeking remuneration in the form of profits whether the wage is subject to deductions under the PAYE scheme whether an employee is obliged to perform the duties of his or her job.The Company provides the tools, equipment, premises or any other materials that are required to do the work. In economic down turn employers may reduce their or put in a cap into their employees bonus or pay rise. Contractors/ Self – Employed: Whereby a person will work for themselves rather than an employer. It is important to establish this type of worker as they will be entitled to the core legal rights, they will be entitled to receive the National Minimum Wage and be protected against unlawful deduction from wages.They don’t receive any holiday pay or sick pay when they are not available for work. Economic down turn may not affect to such an individual. Agency workers or ‘temps’: They have the opportunity to sign on several employme nt agencies and can work on a variety of assignments through out the year for different organisation. It is important to establish this type of worker as they will be entitled to the core legal rights. They are paid on invoice and may be VAT registered and be protected against unlawful deduction from wages. . Understand the main individual rights that the employee has during the employment relationship: 2. 1 Explain the importance of work life balance within the employment relationship and how it can be influenced by legislation: The Working Time Regulations (1998) implement the European Working Time Directive into GB law. The purpose of the legislation was to have adequate breaks. The importance of work life balance in an employment relationship is vital for two way relationship.To keep an individual motivated to avoid sluggish, to make them feel happier and valued. An individual is more refreshed after a regular break and can be more effective into this work and put in new ideas w hich leads to enhance the performance. A tired worker is more likely to make mistake- but due to WTR there may be reduction of mistakes. There is also a good employer branding around the globe encouraging more people to apply for jobs. A positive culture is build up with an individual willing to work and better productivity.According to the WTR Act an employee can work an average up to 48 hours a week (opt out), a right to have break for 20 minutes every 6 hours in work, a right to have a day off each week, Entitled for 28 days annual leave every year, an average of 8 hours of work in a night shift. 2. 2 Summarise the legal support that may be given to employees as a family member: In our present time and looking at the current situation there are both employee and employers are in need to maintain a good working life balance.Employers have to keep employee motivated, help them in case of emergency i. e. (allowing them to work flexible time) and help them understand maternity, pater nity, adoption pay. Maternity Leave and Pay: A employee who is a new mother of her biological child is entitled to have 39 weeks of SMP (Statutory Maternity Pay), the first 6 weeks is 90 percent of their average gross weekly earning with no upper limit and the next 33 weeks at lower of either the standard rate of ? 135. 45, or 90 percent of their average gross weekly earning.All pregnant employees are entitled for 52 weeks statutory maternity leave (26 weeks ordinary leave and 26 weeks additional leave). ‘Compulsory’ maternity leave is of two weeks immediately after giving birth during which the employee is not permitted to work. Paternity Leave: The Employment Act 2002 which includes Paternity Leave. An employee should qualify for such a leave and pay if they have been in the company for 26weeks or more. From 3 April 2011 additional entitlement to ordinary paternity leaves which is minimum of 2 weeks and additional of 26 weeks. 20 weeks after the child is born). Additi onal Paternity Leave is for a maximum of 26 weeks. If the employee’s partner has returned to work, the leave can be taken between 20 weeks and one year after your child is born. Adoption Leave and Pay: An employee who has worked continuously for the same employer for 26 weeks or more qualify for paid adoption leave. There are two types of adoption leave: 26 weeks ordinary adoption leave and 26 additional adoption leave, giving a total of 52 weeks. SAP (Statutory Adoption Leave) is payable for 39 weeks.The rate of SAP is same as the lower rate of SMP. Dependant Leave: An employee whose child is under 5 or who has a disable child age 18 or under they holds the right to take parental leave. An employee who has a continuous service least for a year qualifies for paternal leave. An employee have the right to have unpaid time off work to deal with emergencies involving a ‘dependant' – this could be employee’s husband, wife, partner, child, parent, or anyone livi ng in your household as a member of the family. 2. 3 Explain the reasons for treating employees fairly in relation to pay:The purpose of the Equal Pay Act 1970 is to eliminate discrimination between men and women in terms of pay. This law gives a woman the right to be paid the same as a man like work, work of equal value and work rated as equivalent by analytical job evaluation study. Enhancing Employer Brand: Giving them equal pay boosts employees confident, keep employees motivated and to keep them in the business longer then ever before. At Bloomberg these benefits are based on the annual salary, and salaries are benchmarked to job levels which are assigned to the role.This ensures salaries are fair for the job being performed, regardless of gender, race, or age, to ensure there is no discrimination among employees. Increased Productivity: Due to the Act there is an ever increasing productivity to be seen, At JIG a case occurred where employees knew there is equality in gender an d pay in place. Employees were treated fair, the morale increased, they are well known for their excellent customer/ client service and employees started to settle down within their jobs for long period of time. 2. 4 Summarise the main points of discrimination legislation:Anti – Discrimination legislation is now incorporated within the Equality Act 2010. The purpose of this legislation is to build up nine separate pieces of anti – discrimination legislation into a single Act, creates a new single equality duty on public bodies, and allows for wider equality objectives to be included in tenders for public sector contracts. The lists of 9 protected characteristics are: Age, Disability, Gender reassignment, marriage and civil partner, pregnancy and maternity, race, religion or belief, sex and sexual orientation.Direct discrimination: This occurs when someone is treated less favourably than another on account of having a disability, or on the grounds of age, sex, race, rel igion or sexual orientation. When deciding whether direct discrimination has taken place a comparator issued. At Bloomberg all employees are treated equally but not discriminating between an older and younger candidate going for the same job. Indirect discrimination: This is when a disability or sex is disadvantaged by a provision, criterion or practice which is broadly applied.These could be policies at work, college rules and qualifications. At JIG there were changes made on working shift patterns to dress and display the new lines in the company which were out of business hours. All employers were required to work till 10 twice a week. Women are going to be immoderately affected by this, as women are more likely than men to have caring responsibilities. One particular woman cannot work the shifts and she claims indirect discrimination, as the shift changes particularly disadvantage women who may wish to collect children from school and right out her normal duties.Victimisation: T his occurs when an employee is treated less favourably because they have made or supported a complaint related to the Act, or they are suspected of doing so. At Bloomberg security there was occasion where an employee has given evidence in connection to a discrimination claim, and 4 months later they felt that they have been victimised by their supervisor due to these event that had happened. Harassment: The Harassment Act was introduced in 1997 to protect individuals from harassment situations in and out of the workplace.Harassment is where an employer or an employee violates another person’s dignity or creates an uncomfortable or offensive environment for them. Such a situation has not yet arisen at Bloomberg. 2. 5 Explain the good practice that underpins organisational policies and can contribute to the psychological contract: Psychological contract has been defined as ‘the perceptions of the two parties’ employee and employer, of what their mutual obligations are towards each other’. (CIPD 2005) An individual’s expectation that some organised ystem will act with predictability or goodwill’ (Maguire and Phillips 2008). The psychological contract is more positive if there is evidence of the following: A high-quality workplace – this is made up of six factors linked to stress and well-being, namely: a manageable workload, some personal control over the job, support from supervisors and colleagues, positive relationships at work, a reasonably clear role, a sense of control or involvement in changes. At Bloomberg in our department every staff and line- manager at the start of every shift there is a briefing to be held every morning.There is a psychological contract between the staff and the line – manger in order to attend the briefing every staff member in the morning is excepted to come 15 minutes early prior to the starting time, and vice- verse there are allowed to leave 15 minutes earlier prior to their finish time. In that way trust is not affected, the psychological contract is maintained resulting in an increased loyalty, more efficiency and longer working period. 3. Understand the issues to address at the termination of the employment relationship 1. Explain the differences between fair and unfair dismissals:Dismissal is when employer ends the employment they don’t always have to give notice. If dismissed, the employer must show they’ve: a valid reason that they can justify and act reasonably in the circumstances. Fair Dismissal: Dismissal is normally fair if an employer can show that it is for one of the following reasons: A reason related to an employee's conduct A reason related to an employee's capability or qualifications for the job Because of a redundancy Because a statutory duty or restriction prohibited the employment being continued Some other substantial reason of a kind which justifies the dismissal.And that they acted reasonably in treating that reas on as sufficient for dismissal. Unfair Dismissal: Unfair dismissal is when employer does not have a fair reason or it’s not lawful for dismissing an employee. It is when the employer has not followed the correct and lawful company’s process when dismissing the employee. Summary dismissal: Employee can be dismissed for ‘gross misconduct’ without employer going through the normal disciplinary procedures. This can happen if, for example, violent towards a colleague, customer or property.Constructive dismissal: Is when an employee is forced to leave their job against their will because of their employer’s conduct. Example: let other employees harass or bullying. Automatically unfair reasons for dismissal (where one year or two years continuity of employment is not required) Dismissals will be automatically unfair if related to: A reason connected with pregnancy, taking maternity leave and pay, paternity leave and pay, additional paternity leave and pay (from April 2011) adoption leave and pay, childbirth and parental leave – Section 99 of the Employment Rights Act 1996 (ERA).Seeking to exercise the right to request flexible working. Taking leave for family emergencies or to care for dependants – Section 57A of the ERA. Taking time off for jury service. Potentially fair reasons for dismissal: To be fair, a dismissal must be for one of these reasons: Capability or qualifications Conduct Illegality or contravention of a statutory duty Some other substantial reason Redundancy The process to follow and reduce the likelihood of unfair dismissal: Understanding the purpose and scope of problem. , Principle: Action taken to nature of the problemThe Procedure: Oral, first, final written warning and dismissal Gross Misconduct and giving them a chance for Appeal. 2. Explain the importance of exit interviews: The exit interview at Bloomberg provides an opportunity to allow the employer and employee to express and acquiring their reasons for leaving. Exit interviews can sometimes prove difficult to collect information, as some employees prefer, or are not willing to disclose their reasons for leaving or any problems they have had occurred in during their employment.The importance of an exit interview to Employers is that, if conducted well it delivers an excellent opportunity for Bloomberg to gain insight into employees’ perceptions of the organisation overall, underlying workplace issues and managerial leadership. The importance of an exit interview for the Employee is to voice their views on their working experience during their time at Bloomberg. This also gives them a chance to suggest improvements to their role and to draw a line under their employment relationship. 3. Summarise the key stages to be followed when managing redundancies:Redundancy: A redundancy occurs where a dismissal is wholly or mainly because employees have ceased to carry the employers business or intend to cease to carry out the employers business. Either for the purpose for which the employers is employed or in the place where the employee was employed. (Kate Russell 2011) Key stages followed in managing redundancy: The first stage of redundancy involves planning from HR and line – manager arbitrates to discuss the organisation or department structure. The second stage is lawfully identifying the employees which are due to put into risk, by a fair, objective and non discriminatory selection criteria.The third stage involves the moment of truth, information the employees and consultation meetings. The final meeting with the employee will be formal and includes the right to be accompanied. There may be several meetings prior to the final meeting in reference with what help or alternatives could be provided. The fourth stage is if the redundancy occurs it will be in written and with full explanation of redundancy payments of what they are likely to receive. Redundancy pay depends on age, current pa y (or statutory limit) and length of service. Pay is calculated as follows: 0. week’s pay for each full year of service for those under 22 years of age 1 week’s pay for each full year of service for 22-41 year olds 1. 5 week’s pay for each full year of service for those over 41 The fifth stage is where Employee holds the right to appeal against the decision which has made by the employer. The final stage occurs when there aren’t any alternative jobs and appeal against the decision, the redundancy payment is realised. After the redundancy is communicated, Employees can often feels depressed. Trainings sessions and advice on seeking new employment are been given.

Philip Larkin

Philip Larkin Philip Larkin, is a famous writer in postwar Great Britain, was commonly referred to as â€Å"England's other Poet Laureate† until his death in 1985. Indeed, when the position of laureate became vacant in 1984, many poets and critics favored Larkin's appointment, but the shy, provincial author preferred to avoid the limelight. Larkin achieved acclaim on the strength of an extremely small body of work, just over one hundred pages of poetry in four slender volumes that appeared at almost decade-long intervals. Although Larkin can be cynical and disappointed in tone these qualities are not characteristic of all his poetry.It is more accurate to say he takes a realistic and unromantic approach to life which is evident in his poems. In contrast, all his poetry shows a genuine sensitivity to others, and an awareness and sympathy of their life experiences. Church going is one of his most cynical poems. Even the title is cynical. † Church going† can mean goin g to church, or the fact that in his opinion the church is disappearing. 1st line is cynical. Larkin only goes in when nothing is going on, but in his opinion nothing important is ever going on in a church.Shows his disdainful attitude to church with phrases such as † another church† â€Å"little books† † some brass and stuff up the holy end† He is disrespectful, uncaring to church. He pronounces † Here endeth† and â€Å"echoes snigger loudly† Larkin is making fun of church and mocking it. But later in poem shows his sensitivity and understanding that men have an innate need to believe in something greater than themselves, and churches fulfill this need † A serious house on serious earth it is â€Å"and † Since someone to this ground†Although he atheist is sensitive to needs of others, and even empathies with others' feelings to some extent. In â€Å"Whitsun Weddings†. Larkin begins with very an everyday dis appointment, as he is â€Å"I was late getting away† for the weekend on the train. This shows Larkin’s very realistic perspective, down to earth problem. He then comments on his disappointment at man's ruination of the landscape, with observations such as † canals with floating of industrial froth† and â€Å"A hothouse flashed uniquely: hedges dipped and rose† the landscape is squalid and decaying because of man.When train reaches town it is nondescript† with acres of dismantled cars† Larkin than to his disappointment becomes cynicism when he starts to take notice of the people he can see rather than landscape. Brides are â€Å"parodies of fashion† who â€Å"survived † their wedding ceremonies. The whole concept of these country weddings is â€Å"wholly farcical† with â€Å"nylon gloves and jewellery-substitutes†, and â€Å"bunting-dressed coach-party annexes†. But he loses this cynicism to recognize mom entous power of love, marriage and commitment † Stood ready to be loosed with all the power.That being changed can give. This illustrates his sensitivity to the huge emotional significance of this day to the newly weds. He continues to display his sensitivity to power of love in final image of † like an arrow-shower†. Here his sensitivity can be seen as slightly tinged with cynicism in final words † somewhere becoming rain† love can decay and deteriorate until it becomes rain, not joy. â€Å"At Grass† can be read as Larkin being cynical about how horses are just forgotten when they are retired and no longer racing, but in final analysis Larkin seems think they happier now than before.Certainly right through poem Larkin shows remarkable sensitivity to horses plight † till wind distresses tail and mane†. With one â€Å"the other seeming to look on † the other. Really identifies with them † Do memories plague their ears like flies? † But he concludes â€Å"They shake their heads† – in contrast to being disappointed that they are forgotten and left alone now, rather than â€Å"fabled† as they were 15 years ago, when they were feted with â€Å"long cry† and reporters rushed to write headlines about them, they now † stand at ease, or gallop for what must be joy†.Larkin's sensitivity and empathy for horses mean he drops his cynicism and disappointment at their fate, and realizes they are happy. The poem â€Å"ambulances† takes a realistic view of the inevitability of death, and the pain it causes for the victim and family/friends. â€Å"All streets in time are visited† by ambulances, and death. The victim has â€Å"A wild white face that overtops† This is the effect of the fear that comes to us all in face of death. There is a sense of disappointment and pessimism in this poem, and cynicism that what we think is so important is useless when faced with death.As Larkin says all the activities we are so busy with in life, and think are so important are really meaningless â€Å"sense the solving emptiness that lies just under all we do† Only when faced with death do we appreciate the emptiness/meaninglessness of our lives, and the futility of all we do when it is inevitably going to end in our death † And for a second get it whole ,So permanent and blank and true† In stanza 4. Larkin shows sensitivity to feelings of those involved † the sudden shot of loss†.And † From the exchange of love to lie Unreachable insided a room†. Tone changes again to futility of life as it is just a rush bringing us † Brings closer what is left to come† and â€Å"dulls to distance all we are†. â€Å"Cut grass† is similar in theme to â€Å"Ambulances† Death is inevitable and unavoidable. But his use of onomatopoeia connects reader to the grass, and evokes our sympathy, and in this way Larkin again shows sensitivity, even to inanimate things. And although theme is pessimistic, poem ends positively.Recognition that despite individual death time continues to pass and life goes on. While in many poems Larkin is cynical and disappointed about life, he is always sensitive to sufferings and feelings of others. He is characteristically coldly realistic about life and death, and while this sometimes develops into feelings of disappointment, cynicism and pessimism, he is open to seeing joy, meaning and hope in life too. This is what makes you as the reader so vunriable to his poetry because it is so realistic and touching your everyday emotions.

Expressions in Horror: Dr Caligari and Nosferatu Essay

Two of the earliest examples of German Expressionism in film, The Cabinet of Dr. Caligari and Nosferatu are classics remembered as some of the best horror films of all time. These two films, directed by Robert Wiene and F. W. Murnau respectively, share several key aspects in common, while still retaining their own uniqueness that has left people debating which film is paramount, even nearly a century after their releases. This paper will examine these similarities and differences, and will seek address them in light of the German Expressionist movement they each resonate. The Cabinet of Dr. Caligari and Nosferatu both tell the story of a young German man’s subjection to the madness of a dark overlord with seemingly supernatural powers. In Caligari, a young man named Cesare, who is a somnambulist (or sleep walker) is controlled by the powers of a crazy doctor, who orders him to kill innocent victims. In Nosferatu, a young man named Thomas Harker is sent to sell property to Count Dracula, a vampire who comes to haunt his life and town after becoming obsessed with Hutter’s wife, Nina. Though while these films share some key components in common, no one could ever call the two films the same. Robert Wiene’s The Cabinet of Dr. Caligari is defined by the films stage-like quality, due mostly to the unique set it is shot on. An example of German Expressionism, the director creates a world of stark lines, sharp angles, darkness, and shadows bringing the viewer into a surreal world. Unnaturally angled houses line crooked cobblestone roads. Misshapen rooms contain demented furniture. Rooftops are acutely angled to the sides. It is radically warped scenery, and helps create a genuine expressionist set. F. W Murnau’s Nosferatu, however, is shot in real world environments, but employs shadows to make small rooms appear larger then life, adding suspense and a feel of supernaturalism to the movie. The Count’s castle perhaps best conveys the expressionistic form, with its gothic architecture and abundance of shadow. Or, better still, the Count himself embodies the expressionist form, with his exaggerated features. His ears, chin and teeth are all pointed, and his stature is unique, hunched and very thin of frame. His eyes, much like Wiene’s Cesare, are darkly shaded, and his nails are long giving him a distinctly monster like quality. Both films successfully impress a dark mood by exaggerating the film’s dark aesthetic, drawing viewers into the mindscape of German Expressionism. The films also share in common a sleepwalking theme, and perhaps it was just Murnau paying homage to Wiene’s Caligari. Partway through Nosferatu, Harker’s wife Nina is described as being in a sleepwalking trance, specifically calling it â€Å"somnambulistic†. In fact, the character Nina looks surprisingly similar to how the character Jane looks in The Cabinet of Dr. Caligari. I don’t believe it is too extreme to suggest that perhaps Marnau played off certain motifs created by Wiene in wanting to create a horror film. However, Marnau’s depiction of Count Dracula is unsettling to this day, and many still believe that it remains the most terrifying portrayal of the character ever on film, perhaps only second to the iconic Dracula played by Bela Lugosi. Murnau certainly created his own sort of horror, so it could not be suggested Nosferatu is unoriginal. The use of shadows, especially when it comes to scenes involving the Count, create a horrifying imagine on the screen. While having never seen Nosferatu before deciding to write this paper, I immediately recognized a scene towards the end of the film, when the Count ascended a staircase to Nina’s room. Perhaps one of the most iconic scenes of early horror films, you see the shadow of the Count as he makes his climb up the staircase, hunched form, long fingernails, offsetting movement and all. It is his shadow you see climbing the steps, never his actual form, which may possibly hint at a metaphor. The German Expressionist movement was born out of the anguish following the Great War and before the birth of Hilter’s Germany. Perhaps, as suggested by James Franklin in â€Å"The Shadow in Early German Cinema†, shadows acted as a sort of â€Å"visual metaphor for evil or for the dark and threatening forces that allegedly lurked in the pre-Hitler German psyche or soul† . Both films use music to add suspense to the plot, however each film approaches it’s use in separate ways. Caligari is distinctively jazzy in nature, where as Nosferatu is more classical. Both films, however, create music that mirrors and changes with the action on the screen. In Nosferatu, music creates a terrifying feel to the movie, shaping the most horrific scenes remembered from the film. There are several instances throughout the film where silence is broken by a quite sound, almost like a heartbeat in the background, yet more off putting. While I am in no position to argue which film is the better, both have come to be the best examples of horror films to come out of this time period. Classic examples of German Expressionism at work, The Cabinet of Dr. Caligari and Nosferatu play with the presence of shadow, the distortion of nature, and the imaginations of audiences, even today.

How My Brother Brought Home a Wife

Republic of the Philippines Bulacan State University Office of the Student Government City of Malolos, Bulacan Supreme Student CouncilS. Y. 2012-2013Ron Elli Q, SantosSenator, Supreme Student CouncilChair, Finance CommitteeKrissia Bianca R. De JesusVice President, Supreme Student CouncilHead, Legislative BodyJulius S. DadoPresident, Supreme Student CouncilStudent RegentNoted:Ricardo B. Capule, Jr. Adviser, Student GovernmentRecommending Approval:Dr. Evangeline G. CustodioVice President, Administration and FinanceDr. Nicanor C.Dela Rama, PMEDean, Student Affairs and ServicesApproved By:Dr. Mariano C. De JesusUniversity President| Resolution Number ______, s. 2012-2013 â€Å"A resolution requesting the bulacan state university administration to release the amount of Php 7,000. 00 for financial assistance for the rock our music association of the student in the university (romasu) for their skate competition for the upcoming university foundation week† WHEREAS, the Student Govern ment is mandated to promote the welfare and defend the rights of its constituents;WHEREAS, the Student Government is composed of Supreme Student Council, Local Student Councils, and Satellite Campus Student Councils; WHEREAS, the Supreme Student Council is composed of President, Vice President, five Senators, and four Ex-officio Senators; WHEREAS, the remaining SG Fund is sufficient to finance this resolution; WHEREAS,the fund will be used for financial assistance for the rock our music association of the student in the university (romasu) for their skate competition for the upcoming university foundation week.NOW, THEREFORE, be it resolved that we, the members of the Supreme Student Council seek for the release of PhP7,000. 00to finance this resolution; RESOLVED, further mentioned this resolution will be approved by the Bulacan State University President DONE, this 24th of november, in the year of our Lord Two Thousand Twelve at Bulacan State University, City of Malolos, Bulacan. C heck to be named to:Ron Elli Q, Santos Patrick jan d. carpio Senator, Supreme Student Council Students’ right and welfare Committee

Night World : Black Dawn Chapter 18

Maggie stared at her wildly. â€Å"You†¦what?† â€Å"I shouldhave told you earlier,† Aradia said. â€Å"ButI didn't realize he was your brother until my mind became clearer. You're a lot alike, but I couldn'tthink properly to put it together.† She added,quickly and with terrible gentleness, â€Å"But, Maggie, I don't want to get your hopes up. I don't thinkthere's much chance he's all right.† Maggie went still. â€Å"Tell me.† â€Å"He actually saved me before you ever did. I wascoming to this valley, but I wasn't alone-therewere several other witches with me. We didn'tknow where the pass was exactly-we'd only man aged to get incomplete information from our spiesin Hunter Redfern's household.† Maggie controlled her breathing and nodded. â€Å"It was Samhain evening-Halloween. We werewandering around in the general area of the pass,trying to find a spell that would reveal it. All wedid was set off an avalanche.† Maggie stopped breathing entirely. â€Å"An avalanche?† â€Å"It didn't hurt your brother. He was on the road,the place we should have been, if we'd only known.But it did kill the others in my party.† â€Å"Oh,†Maggie whispered. â€Å"Oh, I'm sorry†¦Ã¢â‚¬  â€Å"I wasn't seriously hurt, but I was completely dazed. I could feel that the others were dead, butI wasn't sure where I was anymore. And that waswhen I heard your brother shouting. He and Sylvia had heard the avalanche, of course, and they cameto see if anyone was caught in it.† â€Å"Miles would always stop to help people,† Maggiesaid, still almost in a whisper. â€Å"Even if they only needed batteries or socks or things.† â€Å"I can't tell you how grateful I was to hear him.He saved my life, I'm sure-I would have wandered around dazed until I froze. And I was so happy torecognize that the girl with him was a witch †¦ â€Å"She grimaced. â€Å"Huh,† Jeanne said, but not unsympathetically.†I bet that didn't last.† â€Å"She recognized me, too, immediately,† Aradiasaid. â€Å"She knew what she had. A hostage to bargainwith all the other witches. And to buy credit withHunter Redfern. And of course, she knew that she could stop me from seeing Delos.† â€Å"All she cares about is power,† Maggie said quietly. â€Å"I heard hertalking-it'sall about her, and how the witches have given her a bad deal becauseshe's not a Harman or something.† Aradia smiled very faintly. â€Å"I'm not a Harman byname, either. But all true witches are daughters of Hellewise Hearth-Woman-if they would just realize it.† She shook her head slightly. â€Å"Sylvia was so excited about finding me that she couldn't resist explaining it all to your brother. And he †¦ wasn't happy.† â€Å"No,† Maggie said, burning with such fierce pride that for a moment the cold cell seemed warm to her. â€Å"She'd only told him before that she was taking him to some secret place where legends were stillalive. But now she told him the truth about theDark Kingdom, and how she wanted him to be apart of it. She told him that it could be theirstheir own private haven-after Delos left with Hunter Redfern. He could become a vampire orshapeshifter, whichever he liked better. They wouldboth be part of the Night World, and they couldrule here without any interference.† Maggie lifted her hands helplessly, waving themin agitation because she couldn't find words. How stupid could Sylvia be? Didn't she know Miles atall? â€Å"Miles wouldn't care about any of that,† she finally got out in a choked voice. â€Å"He didn't. He told her so. And I knew right awaythat he was in trouble with her.† Aradia sighed.†But there was nothing I could do. Sylvia played it very cool until they got me down the mountain.She pretended all she cared about was getting meto a doctor and telling the rangers about my friends. But once we were in her apartment, everything changed.† â€Å"I remember her apartment,† Maggie said slowly.†The people there were weird.† â€Å"They were Night People,† Aradia said. â€Å"And Sylvia's friends. As soon as we were inside she toldthem what to do. I was trying to explain to Miles,to see if we both could get away, but there weretoo many of them. He put himself in between meand them, Maggie. He said they'd have to kill himbefore getting to me.† Maggie's chest felt not so much tight now asswollen, like a drum barrel full of water. She couldfeel her heart thudding slowly inside, and the wayit echoed all through her. She steadied her voice and said, â€Å"Did they killhim?† â€Å"No. Not then. And maybe not ever-but that'sthe part that I don't know. All I know is that theyknocked him out, and then the two slave tradersarrived. Bern and Gavin. Sylvia had sent for them.† And they must have come fresh from kidnappingP.J., Maggie thought. What wonderful guys. â€Å"They knocked me out. And then Sylvia boundme with spells and practiced with her truth potions on me. She didn't get much information, becauseI didn't have much information. There was no armyof witches coming to invade the Dark Kingdomright now, I wish there were. And she already knew that I was coming to see Delos.† Aradia sighed again and finished quickly. â€Å"Thetruth potion poisoned me, so that for days afterwards I was delirious. I couldn't really understandwhat was going on around me -I just faded in andout. I knew that I was being kept ina warehouse until the weather cleared enough to take me to thevalley. And I knew that Miles had already been disposed of-Sylvia mentioned that before she left mein the warehouse. But I didn't know what she haddone with him-and I still don't.† Maggie swallowed. Her heart was still thumping in that slow, heavy way. â€Å"What I don't understandis why she had to set up a whole scenario to explainwhere he went. She let some rangers find her onthe mountain, and she said that he fell down acrevasse. But if he was dead, why not just let himdisappear?† â€Å"I think I know the answer to that, at least,† Aradia said. â€Å"When Miles was fighting them off he saidthat his roommates knew he'd gone climbing withher. He said that if he didn't come back, they'dremember that.† Yes. It made sense. Everything made sense-except that Maggie still didn't know what had becomeof him. There was a long silence. `†Well, he was brave,† Jeanne said finally, andwith unexpected seriousness. â€Å"If he did die, he wentout the right way. We just ought to hope we cando the same.† Maggie glanced at her, trying to read the angularfeatures in the darkness. There was no trace ofmockery or sarcasm that she could see. Well, Cady's changed into Aradia, Maiden of allthe witches, and I've changed into the Deliverernot that I've been much good at it, she thought. But I think maybe you've changed the most afterall, Jeanne â€Å"You know, I don't even know your last name,† she said to Jeanne, so abruptly and so much offthe subject that Jeanne reared back a little. â€Å"Uh-McCartney. It was-it is?CMcCartney.† Sheadded, â€Å"I was fourteen when they got me. I was at the mall playing Fist of Death at the arcade. And Iwent to go to the bathroom, and it was down this long empty corridor, and the next thing I knew Iwas waking up in a slave trader's cart. And now you know everything,† she said. Maggie put out a hand in the dimness, â€Å"Hi,Jeanne McCartney.† She felt the cold grip of slen der, callused fingers, and she shook Jeanne's hand.And then she just held on to it, and to Aradia's soft warm fingers on the other side. The three of themsat together in the dark cell, slave, human, andwitch Maiden-except that we're really all just girls,Maggie thought. â€Å"You didn't tell me one thing,† Maggie said suddenly. â€Å"What'd they callyou when you started working here? What was your job?† Jeanne snorted. â€Å"Second Assistant Stable Sweeper.And. now you know everything. â€Å" Maggie didn't think she could possibly sleep in aplace like this, but after the three of them had sat quietly for a long time she found herself dozing. And when the rattle of the dungeon door startledher, she realized that she'd been asleep. She had no idea what time it was-the flare wasburning low. She could feel Aradia and Jeannecome awake beside her. â€Å"Dinner?† Jeanne muttered. â€Å"I just hope it's not PJ.-† Maggie began, and then broke off as firm, determined steps sounded on the stone floor of the corridor. She recognized the stride and she stood up tomeet Delos. He stood outside the cell, the dying torchlightflickering on his dark hair, catching occasionalsparks off his golden eyes. He was alone. And he didn't waste time getting to the point. â€Å"I came to see if you've decided to be reasonable,† he said. â€Å"I've been reasonable from the beginning,† Maggie said quietly and completely seriously. She was searching his face and the slight link she felt between their minds at this distance, hoping to findsome change in him. But although she felt turmoilthat was almost anguish, she also felt the steel ofhis resolve. I won't let you be killed. Nothing else matters. Maggie felt her shoulders sag. She turned slightly. Aradia and Jeanne were stillsitting on the bench, Aradia motionless, Jeannecoiled and wary. But she could tell that they bothfelt this was her fight. And they're right. If I can't do it, nobody can†¦But how? â€Å"They're people,† she said, gesturing toward theother girls, but watching Delos's face. â€Å"I don't knowhow to get you to see that. They matter, too.† He hardly glanced back at them. â€Å"In the time ofdarkness that is coming,† he said, as carefully as ifreciting a lesson, â€Å"only the Night People will survive. The ancient forces of magic are rising. They'vebeen asleep for ten thousand years, but they'rewaking up again.† A low voice, not belligerent, but not afraid either,came from the back of the cell. â€Å"Some of us believethat humans can learn to live with magic.† â€Å"Some of you are idiots and fools and are goingto die,† Delos said, without even looking. He stared at Maggie. She stared back at him.They were willing each other ashard as possible to understand. And I think he's got a stronger will, Maggiethought, as she broke the locked gaze and looked away, thumping the heel of a clenched fist against her forehead. No. That's not right. I'm Steely Neely and I nevergive up. If I tell him that some things are worth dyingfor†¦ But I don't think he's afraid to die. He's justafraid for me. And he just won't listen if I say that I'd rather die than see some things happen. Butthat's the truth. There are some things that you just can't allow to happen, whatever the cost. There are some things that have just got to be stopped. She froze, and the cell seemed to disappeararound her. She was seeing, in her mind's eye, an equallydark and uncomfortable little cart. And her ownvoice was saying, Jeanne. It's got to stop. Feeling very light-headed, she turned toward thebench. â€Å"Jeanne? Come over here.† Jeanne straightened and walked up doubtfully.She looked into Maggie's face. Maggie looked at her and then at Delos. â€Å"Now you show him,† she said in a voice thatwas like her own voice, but older and much grimmer, â€Å"what his Night People do to slaves who try to escape. Like you showed me.† Jeanne's expression was inscrutable. She went onstaring at Maggie for a moment, then she raisedher eyebrows and turned around. She was wearing the same slave tunic she hadbeen wearing for the last four days. She lifted it upin the same way and showed Delos her back. He took one look and reeled back as if she'd hit him. Maggie was braced, but even so the backlash ofhis shock and horror nearly swamped her. Shegrabbed on to the iron bars of the cell and waitedit out, teeth gritted while her vision went fromblack to red to something like a normal gray. â€Å"Who did this?†Delos managed finally, in a voice like ground glass. He was dead white, except forhis eyes, which looked black in contrast. â€Å"Who?† Jeanne dropped her tunic. â€Å"I thought you didn't care about vermin.† And she walked away without answering him, leaving him speechless. Maggie watched her sit down, then turned back. â€Å"Some things have got to be stopped,† she saidto Delos. â€Å"Do you see what I mean? Some thingsyou just can't let go on.† And then she waited. I knew he didn't know that kind of thing washappening, she thought, feeling vaguely glad in avery tired, sad, and distant way. But it's good to see it proved. The silence stretched endlessly. Delos was still staring at Jeanne. He had run ahand through his hair at some point; it was disheveled and falling over his forehead. The skin of hisface seemed to be stretched, very tight and his eyeswere burning gold. He looked as if he'd completely lost his bearings,and he didn't know what to trust anymore. And then he looked at Maggie. She was still standing there, waiting and watching. Their eyes met and she realized suddenly thatshe'd never seen him so vulnerable-or so open. But if there was one thing Prince Delos had, it was resolution. After another moment of helplessness, she saw him straighten his shoulders and draw himself up. And, as usual, he got directly to the point.†You're right,† he said simply. â€Å"And I was wrong. There are some things that have got to be stopped.†Maggie leanedagainst the bars and smiled.†I'll get the key,† he said, and then went on,briskly planning. â€Å"I want the three of you out ofthe castle, at least, before I confront Hunter.†Ã¢â‚¬ You can't do it alone,† Maggie began.Sheshould have known he'd immediately start arranging everybody's life again. â€Å"Especially not with yourpower blocked-â€Å" â€Å"There's no reason for you to be in any moredanger than you have to be,† he said. â€Å"I'll send youoff with some of my people who can be trusted-â€Å" â€Å"I'm afraid that won't be possible,† a voice saidfrom the corridor. It gave Maggie a horrible jolt. They were all tired,and all caught up in the moment, and none of themhad seen the figure until it was almost behindDelos. Hunter Redfern was standing there smiling. Sylvia was behind him. And behind them,crowdedtogether, were armed guards. â€Å"We've had to dispose of the few idiots who insisted on remaining loyal to you,† Hunter said amiably. His eyes were shining like the purest gold.†The castle is now under our control. But do go onwith your plans, it's very sweet to hear you trying to save each other.† â€Å"And it's no use trying to pretend,† Sylvia addedspitefully. â€Å"We heard everything. We knew you couldn't be trusted, so we let you come down here on purpose, to see what you'd say.† For someone who'd known Delos a while, shedidn't understand him very well, Maggie thought.Maggie could have told her that pretending was thelast thing that would occur to Delos. Instead he did what Maggie knew he would; he launched himself at Hunter Redfern's throat. Delos was young and strong and very angry but it was no contest. After Sylvia had squeaked and withdrawn, the guards all came to help Hunter. After that it was over quickly. â€Å"Put him in with his friends,† Hunter said, brushing off his sleeves. â€Å"It's a real pity to see my onlysurviving heir come to this,† he added, once Deloshad been kicked and thrown into the cell. For amoment there was that note of genuine feeling in his voice that Maggie had heard before. Then the golden eyes went cold and more bitter than ever. â€Å"I think tomorrow morning we'll have a very special hunt,† he said. â€Å"And then there will be onlythree Wild Powers to worry about.† This time, when the guards left, they took all theflares with them. â€Å"I'm sorry,† Maggie whispered, trying to inspectDelos's bruises by touch alone. â€Å"Delos, I'm sorry†¦I didn't know †¦ â€Å" â€Å"It doesn't matter,† he said, holding her hands.†It would have happened eventually anyway.† â€Å"For a vampire, you didn't put up much of afight,† Jeanne's voice came from the back of the cell. Maggie frowned, but Delos turned toward herand spoke without defensiveness. â€Å"That witch bound more than just the blue fire when she putthis spell on my arm,† he said. â€Å"She took all myvampire powers. I'm essentially a human until she removes it.† â€Å"Aradia?† Maggie said. â€Å"Can you do anything? Imean, I know only Sylvia is supposed to be able totake the spell off, but †¦Ã¢â‚¬  Aradia knelt beside them, graceful in the darkness. She touched Delos's arm gently, then sighed. â€Å"I'm sorry,† she said. â€Å"Even if I were at full power, there's nothing I could do.† Maggie let out her breath. â€Å"That's the only thing I regret,† Delos said. â€Å"ThatI can't save you.† â€Å"You have to stop thinking about that,† Maggiewhispered. She was filled with a strange resignation. Itwasn't that she was giving up. But she was very tired, physically and emotionally, and there wasnothing she could do rightnow†¦. And maybe nothing ever, she thought dimly. Shefelt something steadying her and realized it was Delos's arm. She leaned against him, glad of hiswarmth and solidity in the darkness. There was a tremendous comfort in just being held by him. Sometimes just having fought is important, shethought. Even if you don't win. Her eyelids were terribly heavy. It felt absolutely wonderful to close them, just for a moment †¦ She only woke up once during the night, and thatwas because of Delos. She could sense something in himsomething in his mind. He seemed to beasleep, but very far away, and very agitated. Was he calling my name? she wondered. I thought i heard that †¦ He was thrashing and muttering, now. Maggieleaned close and caught a few words. â€Å"I love you†¦ I did love you †¦always remember that †¦Ã¢â‚¬  â€Å"Delos!† She shook him. â€Å"Delos, what are youdoing?† He came awake with a start. â€Å"Nothing.† But she knew. She remembered those wordsshe'd heard them before she had actually met Deloson the mountain. â€Å"It was my dream. You were †¦ going back intime somehow, weren't you? And giving me thatdream I had, warning me to get away from thisvalley.† She frowned. â€Å"But how can you? I thought you couldn't use your powers.† â€Å"I don't think this took vampire powers,† he said,sounding almost guilty. â€Å"It was more-I think itwas just the bond between us. The soulmate thing.I don't even know how I did it. I justwent to sleepand started dreaming about the you of the past. Itwas as if I was searching for you-and then I foundyou. I made the connection. I don't know if it's ever been done before, that kind of time travel.† Maggie shook her head. â€Å"But you already know it didn't work. The dream didn't change anything.I didn't leave as soon as I woke up in the cart,because I'm here. And if I had left, I would never have met you, and then you wouldn't have sentthe dream†¦.† â€Å"I know,† he said, and his voice was tired and abit forlorn. He sounded very young, just then. â€Å"Butit was worth a try.†