Immigration Research Paper Example | Topics and Well Written Essays - 2250 words

Immigration - Research Paper Example The idea of pull factors is based on the main pull that causes immigrants to come to a nation. There are seven main areas that create a pull for immigrants to go to another country. Economy is the most important reason why many migrate, specifically with the desire to gain more stability with wealth in another country with the reasons associated with the need to keep a family safe through a sense of wealth. Other reasons include network effects, labor market, education and training, health care and integration. It is known that there is not one dominate reason why the pull factor exists, but instead most that are drawn to another country are interested in the several reasons that are associated with assimilation into another area. It is also known that these driving forces change the demographics from a given society while changing the outcome in different communities (Lowell, 61). The push factors are another effect which changes the immigration level. The push factors are defined as a drive that causes an individual or family to leave their country to move to another area. A common reason for push factors is based on the political changes within a region, often which are a result of instability and problems within society. Individuals may be forced to leave the region because of conflict and political upheavals which are occurring, as well as a sense of disagreement with the current society. The push factors are furthered with societal trends, such as disagreements with societal values and thinking that leads one into a different country. Other concepts relate to education which is noted through immigration fluctuations such as the brain drain. The inability for a country to offer the same incentives as other areas can push a set of individuals into another country for more opportunity (Cornelius, Rosenblum, 99). The push factors are mostly

A proposal for a Moroccan restaurant in Qatar Research Paper

A proposal for a Moroccan restaurant in Qatar - Research Paper Example In starting a Moroccan restaurant in Qatar, the investor will benefit from the close cultural ties between the two countries. Morocco and Qatar have close cultural ties where in both countries, the official language is Arabic and the majority of residents are Muslims (Cohen, 2000). The proposed location of the restaurant has been preferred given that it is an attraction site and therefore the restaurant will be able to reap from the high turnout in this area. Particularly, by starting a Moroccan restaurant at the heart of a cultural center will offer the Moroccan immigrants and customers from diverse cultures a taste of Moroccan delicacies. In addition to offering Moroccan foods, the restaurant will give its customers the Moroccan cultural experience. Decoration to be Used on the Restaurant To attract customers and distinguish the restaurant from other facilities in the area, decorations that will be used will be based on the Moroccan style. This will not only give the facility a uni que image but will also help bring the Moroccan architectural design into this cultural area thereby increasing its representation. The decoration will also make it a memorable destination in the minds of all visitors and therefore its marketing will be enhanced. The Moroccan decoration style will used both in the interior and exterior of the restaurant. Additionally, the furniture that will be used in the restaurant will also be based on the Moroccan design. Moroccan Interior Moroccan Furniture The colors used in Moroccan interior decoration are usually welcoming and warm giving the visitors a relaxing and welcoming feel. The furniture has distinctive look and are covered with animal skin such as goat, camel and cow hide (Williams, 2009). The restaurant will also incorporate some plants for its decoration. Some of the plants to be used include dwarf palms, thuja trees, rose bushes, mimosa and mango tree. To further give the restaurant a Moroccan touch, the accessories to be used in the hotel such pottery, tile and ceramics, candleholders, Arabian night lanterns will be based on the Moroccan style. Restaurant staff To serve its customers adequately, the restaurant will recruit forty employees who will work in different cadres. The staff to be recruited will be from Morocco as they will be able to prepare Moroccan meals. The staff will be headed by a hotel manager who should have experience in hotel management and a strong educational background on the same. The manager will oversee the overall management of the restaurant. The manager will be deputized by various assistant-managers who will be in-charge of different departments including food and beverages, accounts, supervision and human resource. The food and beverage department will deal with selection of meals and drinks to be stocked. The department will also be charged with catering services where staff in this section will be attending to visitors. Consequently, this department forms the bulk of organiz ation and a large chunk of staff will work in this section. The accounts section will deal with bookkeeping and management all the revenues of the restaurant. The other critical department within the restaurant will be the supervisions departments which will be charged will the general cleanliness of the place. The supervision department will be headed by a supervisor managing about five other staff. The proposed restaurant will a

In Depth View The Valley Of Unrest English Literature Essay

In Depth View The Valley Of Unrest English Literature Essay The poem gives a sense of the few emotions that one feels first and foremost at delving into the world of Gothic. Fear. Horror. Tragedy. Solitary. Turmoil. But are they really enough to understand it? Gothic as a genre is far from simple interpretation. To that fact none are. The explanation for the word Gothic is simpler though. UC Davis  University Writing Program teaches about Gothic novels by first and foremost establishing the origin of the word Gothic. Although now gothic is popularly associated with literature and architecture, this misconception has to be set right. Its origins lie with the tribals. The Goths were one of the many Germanic tribes who fought numerous battles with the Roman Empire for centuries. According to their own myths, as recounted by Jordanes, a Gothic historian from the mid 6th century, the Goths originated in what is now southern Sweden. They reached the height of their power around 5th century A.D., when they sacked Rome and captured Spain, but their history finally subsumed under that of the countries they conquered. The association with architecture can be owed to the period of Renaissance. During this time Europeans rediscovered Greco-Roman culture and began to regard a particular type of architecture, mainly those built during the Middle Ages, as gothic not because of any connection to the Goths, but because the Uomo Universale (translates to universal man) considered these buildings barbaric and definitely not in that Classical style they so admired. The term Gothic, when applied to architecture, has nothing to do with the historical  Goths. In a British context it was even considered to extend to the Reformation in the sixteenth century and the definitive break with the Catholic past. Gothic broke the norms and thus acquired the name. Another strand of thought says that Gothic literature earned the name because all the novels seemed to take place in Gothic-styled architecture mainly castles, mansions, and, abbeys. The w ord is now used to describe an architectural style and, as a derivation of that, a genre of literature based on dark deeds in crumbling gothic mansions and castles is an intriguing mix of the two theories proposed by UC Davis. Defining the genre does not end there. Jerrold E.Hogle calls it an unstable genre. Gothic seduces, overpowers, confuses and blends not just the readers as well as other genres. Gothic as a genre comprises elements of mystery, horror, dark, tragedy things that disturb the normal and its perceptions. Romance is not what the mind grasps for while thinking of gothic. But that is what one needs to be aiming at even after preliminary studying. Be it your simple Wikipedia search that tells you Gothic fiction  is a genre of literature that combines elements of both  horror  and romance or a scholarly article which states Gothic fictions oscillate between the earthly laws of conventional reality and the possibilities of the supernatural emphasizing the difference between horror and romance as genres while reflecting on the common ground that has been christened Gothic. Horror predominantly is associated with Gothic genre eclipsing romance but that is not really the whole picture. Websters Collegiate Dictionary gives the primary definition of horror as a painful and intense fear, dread, or dismay. A genre of literature intended to thrill readers by provoking fear or revulsion through the portrayal of grotesque, violent, or supernatural events is Horror. Blood curling yes but it becomes heart wrenching as romance is dashed into the story line. Romance writers of America state that the two basic elements that comprise every romance novel are a central love story and an emotionally-satisfying and optimistic ending.  On the other hand, Janice Radway who popularized Romance beyond the usual feels the genre is assisted by the use of clichà ©s, uncomplicated syntax, and signifiers which utilize familiar cultural elements. This further strengthens the different poles of studying horror and romance but gothic brings with itself amalgamation of the peaks a nd lows of the other styles. Gothic can be termed a mixed or hybrid genre. In the contemporary world no genre can be strictly defined. Each genre transcends its boundary to join hands with another to prove more entertaining. Action meets tragedy, comedy with romance and so on and so forth. This is the case with gothic. Kelly Hurley in The Cambridge Companion to Gothic Fiction resists calling the genre gothic horror and defines it as a genre comprised of texts that have been deemed popular; that deploy sensationalist and suspenseful plotting; that practice narrative innovation despite the frequent use of certain repetitive plot elements; that depict supernatural or seemingly supernatural phenomena or otherwise demonstrate a more or less antagonistic relation to realist literary practice; that actively seek to arouse a strong affective response (nervousness, fear, revulsion, shock) in their readers; that are concerned with insanity, hysteria, delusion, and alternate mental states in general; and that offer highly charged and often graphically extreme representations of human identities, sexual, bodily and psychic. This definition itself displays the heavy dose of horror in gothic but romance is not far behind. Fred Botting said that gothic is an exploration of mysterious supernatural energies, immense natural forces, and deep, dark human fears and desires that gothic texts apparently found their appeal. The appeal and identity of gothic relies on the dark according to him. This can be construed to be true to some extent. Gothic can be considered investigative literature as well of some puzzling entities. It can be as simple as a haunted house at the end of the road or a monster formed on legend that inhabits the marsh in the town forests. Gothic is often explained as a representation of the unsaid or hidden. Fears and anxieties that one may wonder about can be found in various gothic texts. This is the uniqueness of gothic. In general, the deep fears and longings in western readers that the gothic both symbolizes and disguises in romantic and exaggerated forms have been ones that contradict each other, and in such intermingled ways, that only extreme fictions of this kind can seem to resol ve them or even confront them. This explanation strives to keep a bridge between horror and romance. It forms its basis on the bizarreness of some of the thoughts can simply not be explained by one genre and requires two. The polarity of thought can be made sense by reading the diametrically opposed genres as one i.e. Horror + Romance= Gothic. Professor John Lye proposes that as the immediacy of the Holy threatened to disappear from the culture in the later 18th century the period was marked by literary expressions of the sublime, of the mysterious, and of the strange; by a return to the imagination of the mediaeval that marked pre-romantic period, so that the mediaeval was the place of historical reference and allusion. She says romance took two main forms in the English novel in the early part of the 19th century: Gothic Romance and Historical Romance. Gothic romance specialized in symbolic exploration of the unconscious through the strange, the haunting, and irrational. Like many romances the Gothic tended to be set in distant lands or on barren, threatening countrysides. Gothic romance exposed and dealt with deep anxieties in persons and the culture. Gothic set out to expose and deal with the consciously ignored. Heathcliff in  Wuthering Heights, for instance, is a dark foreigner and hence culturally the Other, that against which we define and defend our humanity and civilized state, he a man with no parentage, a waif from the slums of Europe; and he is a figuring-forth of the force and terror of evil and of the irrational, a force of energy without civility. He is inexplicable but compelling because he sums the fears of his time and, to an extent, ours. Frankensteins monster showed us the terrors that scientific interference in the holiness of the human held for us. Science has and always will be viewed as a necessary evil. Fr ankenstein in its very element embodies this statement with strokes of darkness. Hawthorne of The Scarlet letter fame defined this breed of romance as a place of more mystery, less specific description of concrete reality, a place where, if you will, both elemental and spiritual forces could be put in play in a landscape that was full of symbolic, almost allegorical, potential. Today romance is generally associated with the strange and mysterious, the adventurous, with the lure of foreign lands, with something slightly magical, with a story which refuses to be tied to the realist tradition and explores phenomena which are unusual, allegorical, and symbolic. Increasingly being stated is that Romance and horror form Gothic. They together have changed the perception of gothic from a horrifying sight of that which was most unbearable in a culture to recognition and embrace of the monster as the image, the inner, often denied aspects of us. Gothic follows the first law of genre according to Robert Miles which is to deviate and make it new. Horace Walpole followed the golden rule and identified gothic as a genre through his work. Hogle remarks on the pliability and malleability of this type of fiction making has proven to be stemming as it does from an uneasy conflation of genres, styles, and conflicted cultural concerns from its outset. The Castle of Otranto is looked at as the first gothic novel and its entry initiated a new literary genre namely gothic. It was first published in 1764 and simply changed the meaning of gothic. Before Walpole it was almost always a synonym for rudeness, barbarous, crudity, coarseness and lack of taste but due to Walpole the word assumed two new key meanings: first, vigorous, bold, heroic and ancient, and second, quaint, charming, romantic, sentimental and interesting. First the book was advocated as a blend of the two kinds of romance, the ancient and the modern, the former all imagination and improbability and the latter governed by the rules of probability connected with common life. He wished to bridge the gap between the romances of old which were according to him all marvel and wonder, and the realist romance of his own day. In this comparison he refers to his own cross between medieval chivalric romances and neoclassic tragedies oriented towards the old aristocracy, on the one hand, and the newly ascendant bourgeois novel directed in its comic elements and probabilities of common existence on the other hand. The second editions preface constitutes a manifesto for a new species of romance. With this edition he came forward as the author of Otranto. The year was 1765. The manifesto was a set of rules which if not for him would have in all probability been dismissed as a piece of eccentric whimsy. Castle of Otranto spearheaded a revolution in the world of medieval literature. It served as the direct model for an enormous quantity of novels written up through the first quarter of the nineteenth century. Once a successful formula was established it was done to death. Robert Miles talks about the terrorist system of novel writing. This system was supposed to bombard the senses of the readers. It was deemed to be different form horror. Ann Radcliffe even said terror expands the soul and awakens the faculties to a high degree of life. She states further that terror is pleasurable because it is cloaked in obscurity and mystery while horror is graphic and unequivocal. Due to the success of Gothic fiction the literary world witnessed a shocking increase in the imitative works although this only indicated the high level of consumption it also ended up giving birth to the terrorist novel writing. The time was after 1790 and this form of writing was a satirized form of the perceived system for writing Gothic Romances. Terror writing survived but sooner than later became eclipsed and Gothic emerged again. Gothic never limited itself. The eighteenth century gave way to Victorian gothic which in turn opened doors to Modern gothic. Post modern gothic, female gothic, gothic science fiction, postcolonial gothic, urban gothic and queer gothic are just a few examples. The basic elements of gothic were incorporated in various plots and added to the multiplying strands of gothic. Many scholars have identified a few elements that are mandatory in any gothic text claiming or aiming to be gothic. Elements of Gothic Novel by Robert Harris state the obvious rudiments of Gothic: 1. Setting in a castle.  The action takes place in and around an old castle, sometimes seemingly abandoned, sometimes occupied. The castle often contains secret passages, trap doors, secret rooms, dark or hidden staircases, and possibly ruined sections. The castle may be near or connected to caves, which lend their own haunting flavor with their branchings, claustrophobia, and mystery. 2. An atmosphere of mystery and suspense.  The work is pervaded by a threatening feeling, a fear enhanced by the unknown. Often the plot itself is built around a mystery, such as unknown parentage, a disappearance, or some other inexplicable event. 3. An ancient prophecy  is connected with the castle or its inhabitants (either former or present). The prophecy is usually obscure, partial, or confusing. What could it mean? In more watered down modern examples, this may amount to merely a legend: Its said that the ghost of old man Krebs still wanders these halls. 4. Omens, portents, visions.  A character may have a disturbing dream vision, or some phenomenon may be seen as a portent of coming events. For example, if the statue of the lord of the manor falls over, it may portend his death. In modern fiction, a character might see something (a shadowy figure stabbing another shadowy figure) and think that it was a dream. This might be thought of as an imitation vision. 5. Supernatural or otherwise inexplicable events.  Dramatic, amazing events occur, such as ghosts or giants walking, or inanimate objects (such as a suit of armor or painting) coming to life. In some works, the events are ultimately given a natural explanation, while in others the events are truly supernatural. 6. High, even overwrought emotion.  The narration may be highly sentimental, and the characters are often overcome by anger, sorrow, surprise, and especially, terror. Characters suffer from raw nerves and a feeling of impending doom. Crying and emotional speeches are frequent. Breathlessness and panic are common. 7. Women in distress.  As an appeal to the pathos and sympathy of the reader, the female characters often face events that leave them fainting, terrified, screaming, and/or sobbing. A lonely, pensive, and oppressed heroine is often the central figure of the novel, so her sufferings are even more pronounced and the focus of attention. The women suffer all the more because they are often abandoned, left alone (either on purpose or by accident), and have no protector at times. Hogle elaborates by pointing out that women are the figures most fearfully trapped between contradictory pressures and impulses. It is Otrantos Isabella who first finds herself in what has become the most classic Gothic circumstance: caught in a labyrinth of darkness full of cloisters underground and anxiously hesitant about what course to take there. 8. Women threatened by a powerful, impulsive, tyrannical male.  One or more male characters has the power, as king, lord of the manor, father, or guardian, to demand that one or more of the female characters do something intolerable. The woman may be commanded to marry someone she does not love (it may even be the powerful male himself), or commit a crime. Isabella in Otranto fears the pursuit of a domineering and lascivious patriarch who wants to use her womb as a repository for seed that may help him preserve his property and wealth, on the one hand, yet worried that, fleeing in an opposite direction, she is still within reach of somebody [male], she knew not whom, on the other. Women were constantly reduced to objects of exchange or as tools of child bearing. 9. The metonymy of gloom and horror.  Metonymy is a subtype of metaphor, in which something (like rain) is used to stand for something else (like sorrow). Note that the following metonymies for doom and gloom all suggest some element of mystery, danger, or the supernatural such as wind howling, rain blowing, eerie sounds, sighs, clanking chains, barking of distant dogs, ruins of buildings and several others. One of the classics is footsteps approaching and characters trapped in a room. These elements are highly common and dramatic. They are played up more in the world of cinema with various effects. 10. The vocabulary of the gothic.  The constant use of the appropriate vocabulary set creates the atmosphere of the gothic. Here as an example are some of the words (in several categories) that help make up the vocabulary of the gothic in  The Castle of Otranto. What is interesting about this table is the guidance it provides to its readers about identifying gothic in a simpler way. It also denotes the words that are frequently used to create the ambiance of a particular word to make it fitting in the plot and effortlessly gothic. Mystery diabolical, enchantment, ghost, goblins, haunted, infernal, magic, magician, miracle, necromancer, omens, ominous, portent, preternatural, prodigy, prophecy, secret, sorcerer, spectre, spirits, strangeness, talisman, vision Fear, Terror, or Sorrow afflicted, affliction, agony, anguish, apprehensions, apprehensive, commiseration, concern, despair, dismal, dismay, dread, dreaded, dreading, fearing, frantic, fright, frightened, grief, hopeless, horrid, horror, lamentable, melancholy, miserable, mournfully, panic, sadly, scared, shrieks, sorrow, sympathy, tears, terrible, terrified, terror, unhappy, wretched Surprise alarm, amazement, astonished, astonishment, shocking, staring, surprise, surprised, thunderstruck, wonder Haste anxious, breathless, flight, frantic, hastened, hastily, impatience, impatient, impatiently, impetuosity, precipitately, running, sudden, suddenly Anger anger, angrily, choler, enraged, furious, fury, incense, incensed, provoked, rage, raving, resentment, temper, wrath, wrathful, wrathfully Harris has also listed the Elements of Romance. In addition to the standard gothic machinery above, many gothic novels contain elements of romance as well. As observations denote romance and gothic have become synonymous to a great extent. A study of these elements shows similarities with elements of gothic and uniqueness of romance. Elements of romance include these: 1. Powerful love.  Heart stirring, often sudden, emotions create a life or death commitment. Many times this love is the first the character has felt with this overwhelming power. 2. Uncertainty of reciprocation.  What is the beloved thinking? Is the lovers love returned or not? 3. Unreturned love.  Someone loves in vain (at least temporarily). Later, the love may be returned. 4. Tension between true love and fathers control, disapproval, or choice. Most often, the father of the woman disapproves of the man she loves. 5. Lovers parted.  Some obstacle arises and separates the lovers, geographically or in some other way. One of the lovers is banished, arrested, forced to flee, locked in a dungeon, or sometimes, disappears without explanation. Or, an explanation may be given (by the person opposing the lovers being together)   that later turns out to be false. 6. Illicit love or lust threatens the virtuous one.  The young woman becomes a target of some evil mans desires and schemes. 7. Rival lovers or multiple suitors.  One of the lovers (or even both) can have more than one person vying for affection. The elements of romance create the required drama that increases the entertainment quotient and connects with a wider span of readers. This results in a wider appeal for gothic. Kelly Hurley states that the period of 1760- 1820 showed some identifiable characteristics. Gothic has been defined in terms of plot which features: Stock characters like the virtuous, imperiled young heroine. Stock events like her imprisonment by and flight from the demonic yet compelling villain. Setting: the gloomy castle and complicated underground spaces are a must. Hogle says that the tale usually takes place in an antiquated or seemingly antiquated space such as a vast prison, a graveyard, an aging city or a large old house. Theme: the genres preoccupation with taboo topics such as incest, sexual perversion, insanity and violence; its depictions of extreme emotional states, like rage, terror and vengefulness. Style is defined by its hyperbolic language. The need to exaggerate. Hogle states all gothic novels were satirized for their excesses. He believes that the Gothic exaggerates its own fictionality and does so through long lasting and creatively changing techniques. The language is one of the most important ones. The pattern of hyperbolically verbalizing contradictory fears and desires over a possible base of chaos and death, and in a blatantly fictional style, remains a consistent element in gothic. Atmosphere: Its elaborate attempts to create a brooding, suspenseful atmosphere. The vocabulary table is testament to this point. Those words are employed generously to create a certain aura. Narrative strategies are confusion of the story by means of narrative frames and narrative disjunction. The author aims to make the story jump in time and from character to character. A reading of Dracula will show the jump in narratives from Jonathan Harker, Mina Harker and Van Helsing. Since the narratives are in diary entry or letter formats it ends up keeping the reader engaged as well. Plotting: The use of densely packed and sensationalist, rather than realist plotting. Hogle states that within the antiquated spaces where the tales take place are hidden some secrets from the past (sometimes recent past) that haunt the characters, psychologically, physically or otherwise at the main time of the story. Impact on readers: Its affective relations to its readership whom it attempts to render anxious, fearful or paranoid. Fred Botting in his summation of Candyman explains standard horror and gothic themes: ghost stories, urban gothic gloom, romance plots and visual and verbal references to staple fictions alongside a persecuted (or insane heroine), the villain is a slasher figure ever ready to disembowel his victims with a hook, a Faustian temper, a vampiric blood letter feeding off social fears. Although the film was made in 1992, the story line was inspired by Clive Barkers book The Forbidden which came approximately two decades before the movie. The similarities can still be spotted though. Botting in his observations mentions the few elements that have proven to be elementary in this genre. Leslie Fielder in Invention of the American Gothic discusses the deep lingering fear for readers of the gothic that Fielder recognizes: the terror or possible horror that the ruination of older powers will haunt us all, not just with our desires for them, but with the fact that what grounds them, and now their usurpers, is really a deathly chaos. As mentioned earlier gothic does disturb the normal. Plaguing its readers with nightmares and deep rooted worries about possible tragedies is actually one of its aims. Gothic became the forum to say the unsaid and to represent the unspoken. A premise which led to wide spread popularity. Gothic has been under scrutiny by various fronts. It has been used as a point of reference in economic statements by the founder of Marxism. Karl Marx used one of the most common Gothic monsters, the vampire to simply drive his statement home. Capital is dead labor, which, vampire-like, lives only by sucking living labor, and lives the more, the more labor it sucks. This quote is from Capital, Volume I, and Chapter 10. He has deftly pointed towards capitalism as a blood sucking monster i.e. a vampire. Antonis Balaspoulos an eminent personality used similar references.   Ã‚  -labor value extracted from living bodies and congealed in the parasitically animated body of capital   Ã‚  -the abstraction of value which, in a bloodless movement, vampirizes all of the workers labor and, transforming itself into surplus-value, becomes capital The idea behind mentioning these statements is to catch a glimpse of gothic outside the literary world. An observation also has to be made of the replacement of gothic with vampires and of the stereotypical delegation of roles i.e. capital as the monster and the Labor as the victim. Psychoanalytic Gothic is an intriguing concept devised due to Sigmund Freud, the father of psychoanalysis. In the psychoanalytic gothic, we intensely desire the object that has been lost, or another object, person, or practice that might take its place, but we are aware at some level that this object carries with it the threat of punishment: the anger of the father, the breaking of the law, castration. This strand of gothic has been articulated by Steven Bruhm in the Cambridge Companion to Gothic Fiction. The want of something that does not belong to oneself. In both theory and clinical practice, psychoanalysis is primarily attributed to the work of Sigmund Freud, for whom the gothic was a rich source of imagery and through whom the Gothic continues to be analyzed today. Psychoanalysis provides us with a language for understanding conflicted psyche of the patient whose life story or history is characterized by neurotic disturbances and epistemological blank spots. More often than not , such psychoanalytical accounts are intensely gothic: The Uncanny (1919) and A Seventeenth Century Demonological Neurosis (1922) along with a number of Freuds case studies, make the figure of the tyrannical father central to the protagonists Gothic experiences as Stokers Dracula (1897). The Gothic provides the best known examples of those strange and ghostly figures that Freud saw as examples of The Uncanny. For him what is quintessentially uncanny is the deeply and internally familiar as it appears to us in seemingly external, repellant, and unfamiliar forms. Most familiar to Freud are strictly psychological or visceral drives from our earliest existence, such as sheer repetition- compulsions. But perhaps what is most central to the Gothic be it classical or contemporary is the very process of psychic life that for Freud defines the human condition. Now, what makes the contemporary Gothic contemporary is that the Freudian machinery is more than a tool for discussing narrative; it is in large part the subject matter of the narrative itself. To the degree that the contemporary Gothic subject is the psychoanalytic subject (and vice versa), she/ he becomes a/the field on which national, racial, and gender anxieties configured like Freudian drives get played out and symbolized over and over again. Gothic becomes particularly contemporary in both its themes and reception; however, is that these unconscious desires center on the problem of a lost subject, the most overriding basis of our need for the gothic and almost everything else. Botting does point out that psychoanalytic criticism one of the most common lenses through which the gothic is viewed, often misperceives its own scientific knowledge of sexual instinct and Oedipal wished exemplified in the tales of terror and horror, all too visible in their characters and on the surface of their narratives. So much for the buried machinations of desire. Botting advocates that gothic has some stock elements but so does its criticism. He thinks the all too deep reading misconstrues certain elements and they get falsely portrayed. Michel Foucaults transgression is applied on gothic as well. Transgression enables limits and values to be reaffirmed, terror and horror eliciting rejection and disgust; on the other hand, it draws eyes and imaginations, in fascination, to peep behind the curtain of limitation in the hope of glimpsing illicit excitements made all the more alluring for bearing the stamp of mystery and prohibition. Transgression means violating boundaries or committing offences. Gothic signifies a writing of excess with its hyperbolic language and drama. Gothic signified an over abundance of imaginative frenzy. Passion, excitement and sensation, transgress social properties and moral laws. Gothic excesses, nonetheless, the fascination with transgression and the anxiety over cultural limits and boundaries continues to produce hesitant emotions and meanings in their tales of darkness, desire and power. Gothic excesses are blamed of transgressing the proper limits of aesthetics as well as social order in the overflow of emotions. Gothic plots are criticized at times of celebrating criminal behaviour and carnal desires. As gothic came to represent the unsaid and the dark, it did transgress the beliefs and norms of the old world but due to the favourable rates of consumption, it remains an associated theory and nothing else. Gothic as a genre has been avidly debated, reformed, criticized and adaptive to the changes around it.

Balzac and the Little Chinese Seamstress by Dai Sijie Essay -- Balzac

Balzac and the Little Chinese Seamstress by Dai Sijie Balzac and the Little Chinese Seamstress is a very complex book with many hidden and double meanings. The book is based on the Little Seamstress and how she reacts to many aspects of life. Although she was introduced later in the novel, she is one of the main characters. The purpose of the seamstress in the story is that she is the main reason why Luo and the narrator wake up in the morning. Almost everything they do revolves around her and Dai Sijie makes this very apparent throughout the novel. The story, although set during the Cultural Revolution of China, is not really about the reign of Chairman Mao. It is about the seamstress and how she responds to the many actions of the two boys. The story begins when both Luo and the narrator were taken from their homes in order to be re-educated because everyone that was considered an "intellectual" (anyone that attended high school) must go through the re-education process. It is ironic that they felt they had to re-educate people that already had a high school level education. Neither Luo nor the narrator had completed high school, they explained towards the beginning of the novel that they only had completed three years of lower middle school. The narrator was only seventeen and Luo was eighteen years old at the time they were re-educated. They were to be re-educated in a village called "The Phoenix of the Sky," with the peasants. They lived in a little house on stilts. The "Phoenix of the Sky" symbolizes something other than just the name of their village. A phoenix is a bird that is reborn from its own ashes after bursting into flames, this could symbolize that there is something more in store for them after thei... ...ut. The Little Seamstress had become a completely different person after she was read all of the books in Four Eyes' secret suitcase. Many of the changes came towards the end of the novel but throughout it you notice many small things, such as the way she talks and dresses. At the end of the book, you see the metamorphosis that the seamstress went through. She had completely changed her accent into the city one. She also made herself a brassier, a jacket that was something that would only be worn in the city, bought a pair of white tennis shoes, and had her hair tied with red ribbon in a small bob. "All that time we spent reading to her had certainly paid off," Luo whispered to the narrator after seeing his girlfriend's new look. It paid off just enough for her to completely leave her mountain girl ways and go to the city where someone with her knowledge belongs.

Mrt Jakarta

The Jakarta Mass Rapid Transit System is an ongoing transportation infrastructure project in Jakarta, the capital city of Indonesia. It consists of a partially elevated and partially underground railway system. Construction of the first phase of the project is expected to start in 2013 and is planned to be operational in 2016. [1] Contents [hide] 1 Background of the project 2 Lines 2. 1 North-South corridor 2. 1. 1 Phase I 2. 2 East-West corridor 3 Project Progress 4 PT Mass Rapid Transit Jakarta 5 References 6 External links [edit]Background of the projectJakarta is the capital city of Indonesia. It is an urban metropolis with over 8 million inhabitants. It is predicted that over four million residents of the surrounding Jabodetabek area commute in and out of the city each working day. Transport issues have increasingly begun to attract political attention and it has been estimated that in 2020 without a major transportation breakthrough traffic jams will overwhelm the city. Since 1 980 more than twenty-five general and special subject studies have been conducted related to possible Mass Rapid Transit (MRT) systems in Jakarta.One of the major reasons for the delays in tackling the problem was the economic crisis of 1997-98. Before the crisis a Build-Operate-Transfer (BOT) scheme was considered as part of a new MRT calling for private sector involvement. After the crisis, the plan to rely on a BOT to provide financing proved infeasible and the MRT project was again proposed as a government-funded scheme. Current public transportation in Jakarta mainly consists of various types of buses, starting from the very small bemo and pickup sized mikrolet, to slightly larger minbuses and full sized city buses.There are also both two and four wheeled taxis. Current transport systems include widely used MetroMini and Kopaja cheap minibuses, and the TransJakarta bus rapid transit system, and the Jabodetabek Commuter Railway. [edit]Lines The rail-based Jakarta MRT is expected to stretch across over 108 kilometres, including 21. 7 km for the North-South Corridor (From Lebak Bulus to Kampung Bandan) and 87 km for East-West Corridor(From Balaraja to Cikarang). [2] [edit]North-South corridor The North-South corridor will be built in two phases. Phase I, will be constructed in advance connects Lebak Bulus to Bundaran HI along 15. km including 13 stations (7 elevated stations and 6 underground stations). The Indonesian ministry of Transport approved this plan in September 2010 and invited tenders and will be built at April 2012. [3] Phase II, will extend the North-South line from Bundaran HI to Kampung Bandan (7 underground stations and 1 ground-level station), targeted to operate in 2018 (accelerated from 2020 as the original plan[4]). [5] After completion of MRT Phase I and II, together with TransJakarta will serve 60 percent total trips made by Jakartans. edit]Phase I The first phase is 15. 7 kilometres (9. 8 mi) long from Lebak Bulus to Bundaran HI. The c onstruction project will begin in June 2011 and is expected to be completed in 2016 to serve 212,000 passengers per day. This expected capacity may be maxed out to 960,000 per day. The 15. 7 kilometers span expected to be covered in under 30 minutes. [6] Elevated stations Lebak Bulus Fatmawati Cipete Haji Nawi Blok A Blok M Sisingamangaraja Underground stations Al-Azhar mosque Senayan Bendungan Hilir SetiabudiDukuh Atas (Interchange Station with Jakarta Commuter Line) Bundaran H. I [edit]East-West corridor This corridor is currently in pre-feasibility study phase. The line is targeted to operate in 2027. [edit]Project Progress Progress of the first phase was funded through a loan by the Japan Bank for International Cooperation (JBIC), now merged into the Japan International Cooperation Agency (JICA). The loan number IP is 536 (signed November 2006) for engineering services. The engineering services loan is a pre-construction loan to prepare the construction phase.It consists of: Bas ic Design package, managed by the DGR (Directorate General of Railways, Ministry of Transport) Management and Operation package, managed by the Bappeda (Jakarta Regional Planning Board) Construction assistance in tender, managed by the PT MRT Jakarta On March 31, 2009, Loan Agreement 2 (LA2) for the amount of 48,150 billion Yen to build the Jakarta MRT System was signed by the Indonesian Government (represented by the Indonesian Ambassador for Japan) and JICA in Tokyo, Japan. [7] This loan is to be forwarded from the National Government to the Jakarta City Administration as a grant (on-granting agreement). 8] After the signing of the granting agreement for LA2, city administration will propose another two loan agreements for LA3 and LA4 to the central government. These proposals will become a lending agreement for the local government. The total amount of LA3 and LA4 addressed as a loan by the local government is about 71867 billion yen. This amount is based on the progress, outcome and absorbance of LA2. The total loan package from JICA for the development of the Jakarta MRT system is worth a total of 120 billion yen.Work on the basic design for the first phase of the current version of the project began in late 2010. The tender process was underway in late 2012 when the new governor of Jakarta, Joko Widodo, unexpectedly said that he wanted a review of the project. After several months of uncertainty governor Joko Widodo announced that the project would go ahead. He listed it as one of the priority projects in the Jakarta city budget for 2013. [9] Physical construction is expected to begin in 2013[10] and the line is expected to be operational by 2017. [edit]PT Mass Rapid Transit JakartaPT Mass Rapid Transit Jakarta (PT MRTJ) is a limited liability (Perseroan Terbatas) company founded by the Jakarta Provincial Government. Its establishment was approved by the provincial parliament (DPRD) on 10 June 2008 and final establishment was by notary act on 17 June 200 8. Its purpose is to operate the Jakarta MRT System. The shares are made up from 99% Jakarta Provincial Government and 1% PT Pasar Jaya (another Jakarta Reginal-Government-Owned-Company). PT MRTJ is classed as a Regional-Government-Owned-Company (Badan Usaha Milik Daerah-BUMD).The BUMD form for PT MRTJ is designed not to create profits for the shareholders, but instead to create flexibility in accessing alternative financing, which would otherwise be impossible if the company was directly part of the government. With this, the cost of tickets sold to clients will be reduced with some of the operational cost being subsidised by other sources. The BUMD form also ensures transparency and accountability through the shareholders' General Meeting, Decision Making and Reporting System which will be publicly available. Mrt Jakarta The Jakarta Mass Rapid Transit System is an ongoing transportation infrastructure project in Jakarta, the capital city of Indonesia. It consists of a partially elevated and partially underground railway system. Construction of the first phase of the project is expected to start in 2013 and is planned to be operational in 2016. [1] Contents [hide] 1 Background of the project 2 Lines 2. 1 North-South corridor 2. 1. 1 Phase I 2. 2 East-West corridor 3 Project Progress 4 PT Mass Rapid Transit Jakarta 5 References 6 External links [edit]Background of the projectJakarta is the capital city of Indonesia. It is an urban metropolis with over 8 million inhabitants. It is predicted that over four million residents of the surrounding Jabodetabek area commute in and out of the city each working day. Transport issues have increasingly begun to attract political attention and it has been estimated that in 2020 without a major transportation breakthrough traffic jams will overwhelm the city. Since 1 980 more than twenty-five general and special subject studies have been conducted related to possible Mass Rapid Transit (MRT) systems in Jakarta.One of the major reasons for the delays in tackling the problem was the economic crisis of 1997-98. Before the crisis a Build-Operate-Transfer (BOT) scheme was considered as part of a new MRT calling for private sector involvement. After the crisis, the plan to rely on a BOT to provide financing proved infeasible and the MRT project was again proposed as a government-funded scheme. Current public transportation in Jakarta mainly consists of various types of buses, starting from the very small bemo and pickup sized mikrolet, to slightly larger minbuses and full sized city buses.There are also both two and four wheeled taxis. Current transport systems include widely used MetroMini and Kopaja cheap minibuses, and the TransJakarta bus rapid transit system, and the Jabodetabek Commuter Railway. [edit]Lines The rail-based Jakarta MRT is expected to stretch across over 108 kilometres, including 21. 7 km for the North-South Corridor (From Lebak Bulus to Kampung Bandan) and 87 km for East-West Corridor(From Balaraja to Cikarang). [2] [edit]North-South corridor The North-South corridor will be built in two phases. Phase I, will be constructed in advance connects Lebak Bulus to Bundaran HI along 15. km including 13 stations (7 elevated stations and 6 underground stations). The Indonesian ministry of Transport approved this plan in September 2010 and invited tenders and will be built at April 2012. [3] Phase II, will extend the North-South line from Bundaran HI to Kampung Bandan (7 underground stations and 1 ground-level station), targeted to operate in 2018 (accelerated from 2020 as the original plan[4]). [5] After completion of MRT Phase I and II, together with TransJakarta will serve 60 percent total trips made by Jakartans. edit]Phase I The first phase is 15. 7 kilometres (9. 8 mi) long from Lebak Bulus to Bundaran HI. The c onstruction project will begin in June 2011 and is expected to be completed in 2016 to serve 212,000 passengers per day. This expected capacity may be maxed out to 960,000 per day. The 15. 7 kilometers span expected to be covered in under 30 minutes. [6] Elevated stations Lebak Bulus Fatmawati Cipete Haji Nawi Blok A Blok M Sisingamangaraja Underground stations Al-Azhar mosque Senayan Bendungan Hilir SetiabudiDukuh Atas (Interchange Station with Jakarta Commuter Line) Bundaran H. I [edit]East-West corridor This corridor is currently in pre-feasibility study phase. The line is targeted to operate in 2027. [edit]Project Progress Progress of the first phase was funded through a loan by the Japan Bank for International Cooperation (JBIC), now merged into the Japan International Cooperation Agency (JICA). The loan number IP is 536 (signed November 2006) for engineering services. The engineering services loan is a pre-construction loan to prepare the construction phase.It consists of: Bas ic Design package, managed by the DGR (Directorate General of Railways, Ministry of Transport) Management and Operation package, managed by the Bappeda (Jakarta Regional Planning Board) Construction assistance in tender, managed by the PT MRT Jakarta On March 31, 2009, Loan Agreement 2 (LA2) for the amount of 48,150 billion Yen to build the Jakarta MRT System was signed by the Indonesian Government (represented by the Indonesian Ambassador for Japan) and JICA in Tokyo, Japan. [7] This loan is to be forwarded from the National Government to the Jakarta City Administration as a grant (on-granting agreement). 8] After the signing of the granting agreement for LA2, city administration will propose another two loan agreements for LA3 and LA4 to the central government. These proposals will become a lending agreement for the local government. The total amount of LA3 and LA4 addressed as a loan by the local government is about 71867 billion yen. This amount is based on the progress, outcome and absorbance of LA2. The total loan package from JICA for the development of the Jakarta MRT system is worth a total of 120 billion yen.Work on the basic design for the first phase of the current version of the project began in late 2010. The tender process was underway in late 2012 when the new governor of Jakarta, Joko Widodo, unexpectedly said that he wanted a review of the project. After several months of uncertainty governor Joko Widodo announced that the project would go ahead. He listed it as one of the priority projects in the Jakarta city budget for 2013. [9] Physical construction is expected to begin in 2013[10] and the line is expected to be operational by 2017. [edit]PT Mass Rapid Transit JakartaPT Mass Rapid Transit Jakarta (PT MRTJ) is a limited liability (Perseroan Terbatas) company founded by the Jakarta Provincial Government. Its establishment was approved by the provincial parliament (DPRD) on 10 June 2008 and final establishment was by notary act on 17 June 200 8. Its purpose is to operate the Jakarta MRT System. The shares are made up from 99% Jakarta Provincial Government and 1% PT Pasar Jaya (another Jakarta Reginal-Government-Owned-Company). PT MRTJ is classed as a Regional-Government-Owned-Company (Badan Usaha Milik Daerah-BUMD).The BUMD form for PT MRTJ is designed not to create profits for the shareholders, but instead to create flexibility in accessing alternative financing, which would otherwise be impossible if the company was directly part of the government. With this, the cost of tickets sold to clients will be reduced with some of the operational cost being subsidised by other sources. The BUMD form also ensures transparency and accountability through the shareholders' General Meeting, Decision Making and Reporting System which will be publicly available.

Facility Planning Part Essay

Textbooks can take a huge toll on your wallet. Fortunately, you now have many options to save money. For example, you can rent textbooks online. Another option is to purchase online-only access to required textbooks. While you won’t have a physical book to take notes or highlight in, you will save money in doing so. Write a 1,050- to 1,450-word paper that includes the following elements: Regulatory requirements and their effect on the design and equipment Color selection implications and noise issues List of the type of equipment needed Electronic items needed Examination of budget planning and cost estimates Description of the role of stakeholders in facility planning and development Gantt chart that details an implementation plan. Textbooks can take a huge toll on your wallet. Fortunately, you now have many options to save money. For example, you can rent textbooks online. Another option is to purchase online-only access to required textbooks. W†¦ Textbooks can take a huge toll on your wallet. Fortunately, you now have many options to save money. For example, you can rent textbooks online. Another option is to purchase online-only access to required textbooks. While you won’t have a physical book to take notes or highlight in, you will save money in doing so. General Questions – General General Questions Resource: Facility Planning – Part II located on the student Website Write a 1,050- to 1,450-word paper that includes the following elements: Regulatory requirements and their effect on the design and equipment Color selection implications and noise issues List of the type of equipment needed Electronic items needed Examination of budget planning and cost estimates Description of the role of stakeholders in facility planning and development Gantt chart that details an implementation plan.