Human development Essay Example for Free

Human development Essay Human development entails all means to widen man’s preferences so he could sustain a healthy lifestyle, enjoy human rights, experience the normal way of living, and discover ways to become useful for the service of others and for his own esteem. Similarly, he can enjoy living a contented life enjoying the privilege of having political, cultural, communal, and economical liberties. Human development has its own justification. If at some point one’s development is questioned or criticized or discriminated against, so long as one does not interfere with other people’s lives nor deprive them of their own happiness, one owes nobody an explanation for what he does, for who he is and how he has become. In order to pull off this human development, he may seek some channels to build up his entire being. Socialization can be one of those channels wherein such channel will give them a sense of being in the right place and eventually develop and become the right person they wanted to be. Socialization can never be done it is composed of only one person. You have to meet people who may share the same the interests, cultures, norms, ideals, talents, or other similar stuff that you can relate to. To develop fully as individual, one must discover his or her potentials and share them to others. Of course, socializing entails hardships in managing time and adjusting to a group of people. But then, if you love the group you are in or are interested of improving yourself, all these problems could not possibly overshadow your development as a human being. Man’s socialization skills therefore are essential in his development as a person. If he uses his socialization skills to the fullest, he may become unaware of the extent that his socialization skills would take him if developed. If he learns to discover and harness such, he will undoubtedly provide himself with a huge room to completely grow as a human being.

Great Wall of China: Importance and Latest Findings

Great Wall of China: Importance and Latest Findings (Use related reports, other published or on-line material to analyze the selected site) Introduction (250) The Great Wall was reckoned as the worlds largest human-made structure made up of stone, bricks and earthen works whose construction started as early as the 7th century BC. Originally, it was used in many purposes but the most significant was to act as a border control that comprised of watch towers, garrison station and troop quarters etc. It has received recognition by making the World Heritage List in 1987 of its cultural values in Chinese history. In recent decade, archaeologists put efforts in investigating the actual length of the Wall by applying field walking, remote sensing and stratigraphy to look for archaeological potential in nearby areas. It has contributed to a drastic change for the world to recognize an even larger construction project in China. Over the years, it has been attracting tourists from all around the globe to witness this majestic fortification. In spite of their endless fascination towards the most reckonable ancient wall, many were inconsiderate in littering that sparked debates in its preservation work. Furthermore, the Great Wall is praised by its profound value in Chinese history, act as a strong symbol and historical evidence for people to ascertain past events. In the following, it will discuss its historical importance, recent unearthed findings, preservation work and cultural values to analyze its relationship of past and present. Criteria of WHL [Danny] According to the World Heritage Convention, there are ten criteria for the world heritage selection. Six of them are culture criteria and four of them are natural criteria. The committee will evaluate the heritage site based on this ten criteria. If the heritage sites list on the WHL, â€Å"sites must be of outstanding universal value and meet at least one out of ten criteria (UNSECO, n.d.)†. The Great Wall is the culture site that list on the WHL and it meets five out of six culture criteria of selection. In addition, the Great Wall meets criteria (i), (ii),(iii), (iv) and (vi). So, the Great Wall is a heritage site that contains outstanding universal value. Therefore, the Great Wall has been listed on the WHL at 1987. The criterion (i) is â€Å"to represent a masterpiece of human creative genius (UNSECO, n.d.)†. The Great Wall is a masterpiece because it is the only human hands built construction on the earth that human can see it from the space (UNSECO, n.d.). The length of it is larger than 20,000 kilometers and all built by human hands. So, it shows the human creative genius in building this huge scale construction. For the criterion (ii), the heritage site shows the significant interchange in the human values. The human values of Chinese spread to the northern frontier in the period of Chunqiu. The Great Wall reinforces the Sinicism by the transfer of population (UNSECO, n.d.). Some of the Chinese and foreigner from north lived near the Great Wall and the culture intergradation shows the interchange in the human values. For the criterion (iii), the heritage site provides special or important evidences to the civilization. The Great Wall provides special or important evidences to â€Å"the rammed-earth sections of fortifications dating from the Western Han (UNSECO, n.d.)†. Some sections of the Great Wall are made of the rammed-earth which is the old constructional material. For the criterion (iv), the heritage site is an outstanding model for buildings, architectural style or craft. Since the Great Wall is the longest and oldest military construction in the World, it is an outstanding model for military construction. In 220 B.C., Qin Shi Huang built the first military construction-the Great Wall of the Qin dynasty to protect the country (UNSECO, n.d.). In the later dynasties, they also built this kind of military construction to prevent the incursion from the north. Therefore, The Great Wall is an outstanding model for fortifications and it served as military purpose for 2,000 years. For the criterion (vi), the heritage site is associated with the literary work of prominent worldwide significance. â€Å"The Great Wall has an incomparable symbolic significance in the history of China (UNSECO, n.d.)†. We can find the Great Wall this symbolic significance in many Chinese literary works in Tang dynasty such as the poems of Tu Fu (712-770) (UNSECO, n.d.). As a cultural heritage site, the Great Wall does not meet the criteria (v). According to the requirement, the heritage site on the WHL only need to meet at least one criterion. The other five criteria have proof that the Great Wall is qualified and worthy to list on the WHL. Excavation [Kelly’s] Even though the Great Wall still remains in China, archaeologists have found various means to study sites around the Great Wall in bid to seek its cultural significance. In fact, the most prominent study was the use of Google Earth and carbon dating that helped in discovering a lost segment of the Wall back in 2011 in Southern Mongolia (Owen, 2012). Initially, the archaeologists were investigating typographic clues seen in Google Earth through satellite photographs. Via remote sensing, they were able to consult ancient historical texts to analyze these satellite imagery. Interestingly, they only discovered a remaining piece of fossil instead of skull and large thighbone. With this evidence in mind, archaeologists thought that the Wall must be in a much extended length. Similarly, radiocarbon dating had shown partly exposed wood and rope remains; the construction was then assumed to be went on for over hundreds of years or even more than a thousand years later, approximately from 1040 to 1160. As a result, they widely supposed that Western Xia dynasty constructed the Wall on the site (Owen, 2012). Excavation is therefore very essential in establishing an approximate date of the past for archaeological sites. Up until now in 2015, archaeologists have been examining archive photos, historical documents and field walking to discover more and more parts of the Great Wall that have not been publicly visible. One team of experts in Northwestern China discovered a new section of wall which is comprised of rammed earth whereas some parts were even built on top of mountain ranges and spread along valleys; it was found mainly between Jingyuan Country and Nanchangtan village. In historical documents, they came to a consensus that Emperor Qin demanded the Great Wall had to run across Gansu province, Ningxia and Mongolia. However, some ruins were found shorter than usual that the archaeologists believed it was because of natural degradation. In this case, the Great Wall can be seen as different structures built through both Northern and Southern Mongolia from start to finish, and existed over a couple of dynasties (Chow and Chan, 2015). All in all, from the above dating methods and analytical study of the Great Wall, many published materials have told the world how the Great Wall is actually more drawn-out; it certainly was a ground-breaking news for archaeologists and tourists as well. In particular, Google Earth was profoundly applied in the study as it proved its scientific values in doing archaeological research. Under these circumstances, archaeology can be seen as a stepping stone for the Chinese to have deeper understandings of Chinese history and even the cultural transformation in their own place. From learning about the past emperors, the Chinese can also enhance their sense of belonging with ancestors and share amongst generations. Preservation Currently, regarding the preservation of the Great Wall, several measures are undergoing. Patrol Teams According to an article found on China daily, an official patrolling team is being organized to check against the damage of the mammoth structure. This patrolling team will focus on the section in Beijing, which is 630km long, including the most popular section of the Great Wall, Badaling. (http://www.chinadaily.com.cn/english/doc/2006-02/16/content_520680.htm, 2006) As mentioned by Yu Ping, deputy director of the Beijing Municipal Administration of Cultural Heritage, members of this team will usually be rural residents who live near the Wall, and will be paid by local governments. Apart from the patrol team, a buffer zone would also be drawn to help protect the Great Wall, as announced by the Chinese administration. This buffer zone will take up to three years to be finished. At present, only a general standard ranging from 500 metres to 2 kilometres away from the Wall is designated as a buffer zone to protect it. Change in Law to protect the Great Wall Back in Sep. 20 of 2006, the State Council have promulgated regulations regarding the protection of the Great Wall, which have come into effect on Dec. 1 of the same year (http://www.lawinfochina.com/display.aspx?lib=lawid=5635CGid=, 2006). The law will focus on protecting the Great Wall, with its attached buildings and surrounding enviornment. For example, from August 2003 onwards, hikers and tourists will not be permitted to explore unprotected sections of the Great Wall. According to an article found on Travel China Guide,The purpose of the regulation are to help regulate visitor’s and local resident’s behaviors when visiting the Wall. For example, article 18 of the regulation forbits activites such as illegal organizations of activities and taking away items related to the Great Wall. (http://www.travelchinaguide.com/china_great_wall/wallprotection/law/, 2006) Restoration Efforts Back in March of 2004, the initial phase of renovation on the section known as Huanghuacheng had begun. According to an article found on China Daily, â€Å"it includes rehabilitating 13 battlements, two gates and 3,300 metres of wall on a four-kilogreat wall from the spacemetre stretch.† (http://www.chinadaily.com.cn/english/doc/2005-04/20/content_435783.htm, 2005) Mei Ninghua, director of the Beijing Municipal Bureau of Cultural Heritage, also mentioned that this renovation project is scheduled to be carried out in three phases and would cost at least 12 million yuan. To add on, Luo Zhewen, an expert on ancient architecture also noted that original materials and traditional techniques should be used as much as possible, otherwise, the word â€Å"preservation† could not be fulfilled. Improvement However, just as the preservation work is undergoing, damage to the Wall are still becoming serious. Currently, A large amount of the wall has collapsed and in some sections, only its foundation remains, accroding to a five-year survey (Rossella Lorenzi, 2012). On the other hand, sections which are yet to be restored, known as â€Å"wild wall† and are not open to the public, also suffer from man-made damage. It could be found that local villages often put up iron ladders illegally to attract hikers. It is often argued saturated tourism is the main cause for the damage done on the Wall, with most of the bricks in Badaling being carved with people’s names and graffiti as supporting evidence. The Great Wall’s current preservation work could be improved from several perspectives. Firstly, it would be important to educate the public about the importance and cultural significance of representing their cultural identity. Extra care and financial support should be given to locals villages living near parts which are considered â€Å"wild walls. Most of the villages are â€Å"damaging the Wall† simply because they are having a tough life. It is possible that with adequate financial support, the village’s burden could be alleviated and no longer need to continue the aforementioned act. Planting trees can also help protect the areas from erosion. However, there are still rooms for negotiation among cultural heritage organizations and Chinese government. Last but not least, tourists like us can also participate in helping the preservation work. Just as usual practice when we visit foreign places, we should never leave trash behind nor take away anything related to the Great Wall. Such insignificant actions could contribute a lot to the preservation work to an extent far beyond our imagination. Cultural significance of cultural site The Great Wall is the longest and oldest military fortifications in the World, and ranks among the â€Å"Seven Wonders of the World†. It starts from Shanhaiguan Pass in the east and ends at Jiayuguan Pass in the west which is for protect the resist the invasion of nomadic tribes in different periods. The Great Wall was first built at the Spring and Autumn Period (770-476 BC) and constructed at the Ming dynasties (1368-1644), and the history reflected the meaning and cultural significance behind the Great Wall. First of all, the Great Wall is a powerful symbol in China. It represents the unification of China because it is a wall that made China was unified in the Qin Dynasty (221-206 BC). (China Highlights, 2011) In the Spring and Autumn Period, the first part of the Great Wall was built to against the war. The Great Wall had the purpose of military defense, especially in preventing northern people on horseback from attacking people in the south. In the Qin dynasty (221 BC), King Zheng of Qin unified China by linked all the wall together and formed a dividing line in China. After Qin Shi Huang unified China, all of the Chinese worked together for the good of the country. (Chen, 2014) Besides, the Great Wall is used as a dividing line to divide the north and south nationality and keep their culture not affected by each other. Also, the Great Wall helped to defense the northern people came and attacked China. In The March of the Volunteers which is the National Anthem of the Peoples Republic of China, the lyrics â€Å"Take our flesh, and build it to become a new Great Wall!† show that the Great Wall is the protection for the life and spirit of Chinese. (Chiu, n.d.) Secondly, the legends and stories about the Great Wall show the cultural significance. As the Great Wall of China has become the symbol of the Chinese nation and its culture, there were lots of beautiful legends and stories happened during construction are abundant, such as Meng Jiangnus story and the legend of the Beacon Tower. (Travel China Guide, 2011) For the Meng Jiangnus story, it happened during the Qin Dynasty (221BC-206BC). Meng Jiangnus husband was caught by federal officials and sent to build the wall. After Meng knew her husband was dead because of build the wall, she cried and her howl caused the collapse of a part of the wall. This story shows the wall is the production of tens of thousands of Chinese commoners. Those beautiful stories and legends about the wall are helpful to keep the Chinese history and culture. (Travel China Guide, 2011) The Great Wall built to protect the culture and agriculture of China and defend the attack from northern people. With the history and cultural significance of the Great Wall, it represents the spirit of Chinese as Chinese are tough and strong to protect themselves. Conclusion Reference List: [Danny] UNSECO, (n.d.), The Criteria for Selection. Retrieved April 21, 2015, from http://whc.unesco.org/en/criteria/ 2. UNSECO, (n.d.), The Great Wall. Retrieved April 21, 2015, from http://whc.unesco.org/en/list/438 [Kelly’s] 3. Owen (2012), â€Å"Lost† Great Wall of China Segment Found?  National Geographic News. Mar 20, 2012. Retrieved from  http://news.nationalgeographic.com/news/2012/03/120319-great-wall-of-china-mongolia-science-lindesay/?utm_source=feedburnerutm_medium=feedutm_campaign=Feed%3A+ng%2FNews%2FNews_Main+%28National+Geographic+News+-+Main%29utm_content=Google+Reader 4.Chow and Chan (2015), Its even greater than we thought! Archaeologists discovered NINE new sections of the Great Wall of China. Daily Mail Online. Peoples Daily. United Kingdom. Apr 16, 2015.  Retrieved from http://www.dailymail.co.uk/news/peoplesdaily/article-3041972/It-s-greater-thought-Archaeologists-discovered-NINE-new-sections-Great-Wall-China.html   [Aiken’s] Great Wall section gets facelift (2005). China Daily  Retrieved April 29, 2015, from  http://www.chinadaily.com.cn/english/doc/2005-04/20/content_435783.htm Regulations on Great Wall Protection, Travel China Guide  Retrieved April 29, 2015, from  http://www.travelchinaguide.com/china_great_wall/wallprotection/law/ Great Wall to introduce patrol team, China Daily  Retrieved April 29, 2015, from  http://www.chinadaily.com.cn/english/doc/2006-02/16/content_520680.htm Rossella Lorenzi (June 7, 2012). Great Wall of China Twice as long as thought, Discovery News  Retrieved April 29, 2015, from  http://news.discovery.com/history/archaeology/great-wall-china-long-120607.htm Regulations on the Protection of The Great Wall, à ¥Ã…’-à ¥Ã‚ ¤Ã‚ §Ãƒ ¦Ã‚ ³Ã¢â‚¬ ¢Ãƒ ¥Ã‚ ¾Ã¢â‚¬ ¹Ãƒ ¨Ã¢â‚¬ ¹Ã‚ ±Ãƒ ¦-†¡Ãƒ §Ã‚ ¶Ã‚ ²Ã‚  Retrieved April 29, 2015, from  http://www.lawinfochina.com/display.aspx?lib=lawid=5635CGid= [Kawun] Travel China Guide (2011). Great Wall Culture. Retrieved April 28, 2015 from http://www.travelchinaguide.com/china_great_wall/culture/ China Highlights (2011). Great Wall Culture. Retrieved April 28, 2015 from http://www.chinahighlights.com/greatwall/culture/ Chen, A. (2014). China Travel Page. Cultural Significance of the Great Wall of China. Retrieved April 28, 2015 from http://www.chinatravelpage.com/cultural-significance-of-the-great-wall-of-china Chiu, L. (n.d.), Chinese Culture. In The Chinese National Anthem. Retrieved April 28, 2015 from http://chineseculture.about.com/od/musicinchina/a/Nationalanthem.htm Globalization For Society: Analysing The Pros And Cons Globalization For Society: Analysing The Pros And Cons The world as we know it is slowly becoming progressively smaller. Academics and theorists like have pointed out that this occurrence may well be attributed to increasing intensity of globalisation of nations. This is particularly implicated in the context of business and commerce. However, one must first recognise the advantages and pitfalls of globalisation upon contemporary business. In the claim of Lasserre, he noted that Ricardo has indicated several pros and cons of globalisation. The following discussions will be covering the said attributes claimed by Ricardo. In the same regard, an analysis will be made on the claims of Ricardo based on recent circumstances on commercial and business milieu. On the other hand, the paper will similarly discuss the implications of globalisation on a particular multinational company. For the purposes of this paper, this multinational company will be Procter Gamble. The discussions and observations made in this paper are all to be based on schol arly and academic journals directly related to the topic of globalisation. Globalisation is essentially touted by a lot of contemporary academics and scholars as possibly one of the most influential concept among the existing theories known. (2004) The following discussions will be covering the noted advantages of globalisation as stated by Ricardo.    Ricardo pointed out in his classic work that globalisation is able to create an overall wealth for all nation because it induces specialisation for these countries. In the same regard, this increase in specialisation also triggers an increase in trade of these countries. Essentially, this is seen in the integration and coordination of companies in the global scale. Particularly, industries that involved in manufacturing and major industrial companies tend to engage specialisation in terms of their factories and shipment of inventory from their suppliers from different parts of the globe. The problem in this category is that there is a recent study that indicates that there is no evidence of any trend that trade specialisation is present across countries. (2002) This is highlighted by the studys notion that the presence of global actors should constantly adapt to the local conditions of their host courtiers. Basically, these claims indicate that trade specialisation as indicated in the discussions of Ricardo may have been rather short in realising its objectives. This is rather connected to the concept that will be later discussed regarding the diminishing of the concept of the nation. The findings of   (2002) manifest that there is no actual specialisation in trade that exist. To a certain extent, the theory of comparative advantage as indicated by Ricardo, which essentially creates specialisation, is offset by the drive of the modern organisation to diversify itself and immerse its marketing initiative based on the host countries where it operates.    B.   Reduction of Cost Efficiencies Based on the claim of Ricardo, globalisation is able to create cost efficiencies for companies that intend to operate in the international setting. Basically, this creation of cost efficiencies tends to diminish the occurrence of inflation as well as the reduction of price in the market. In the context of inflation, Ricardo indicates that the increase in the money supply in the economy is proportionate to the increase in the supply of goods and services. This is mainly manifested by the increase in the players in the market with reference to foreign competitors and its local counterparts. Essentially, this scenario presented by Ricardo may have been an overly romanticised version of the implication of globalisation. The problem in this claim is that   may have assumed that globalisation automatically lessens the possibility of inflation. As indicated in the work of   (1997) regarding the Canada-US Free Trade Agreement, the decrease in inflation is merely incidental occurrences. B asically, states that engage in trade with each other have to essentially amend their policies and state laws before inflation could be controlled. With mention of agreements between countries, the occurrence of globalisation nowadays also entails trade liberalisation measures between trading blocs, regional and international organisations. Among others, these trade liberalisation initiatives tend to induce management tools for the inflation. (2002) Thus, a major shortcoming on the assumption of Ricardo is the consideration of the cooperation of countries in the liberalisation and trading initiatives. Without this variable, inflation rates will continue to be erratic and out of control.    On the other hand, another implication of the infusion of cost efficiencies of globalisation is the reduction of price of goods and services. Essentially, this price reduction tends to similarly give benefit for the end-users and consumers. The presence of an intensified level of competition among both the local and international players in different industries has triggered this cost efficiency. The problem in this scenario is that the factor of trade liberalisation plays a huge part on this. In the same regard, issues on whether free trade is actually tantamount to fair trade still continue. There has been claim that the conditions held by globalisation essentially spell the end of the democratisation of wealth. (1999) This also entails that countries that have power and resources over the others tend to benefit more on the current manifestation of globalisation.    C.   Better allocation of natural, financial, and human resources The claims of Ricardo also pointed out that globalisation have improved the possibilities of allocating the resources of organisations. To some extent, this may have been rather accurate as contemporary businesses do consider the reduction of costs as among their major concerns in their operations. For instance, the concept of outsourcing has become a major element in contemporary globalisation efforts of companies. Basically, the process of outsourcing tends to cover subcontracting endeavours of a business to another business. ( 2007) In this regard, the consideration of the price and possible costs that the parties involved will be taken highly as the price of a particular product or service tends to differ geographically. A fairly recent contribution to this model is the concept of strategic outsourcing. (2002) In this regard, the consideration of exchange rates and other location-specific attributes tend to contribute highly on the decisions of modern businesses. As mentioned above, it appears that reducing the costs of operations is as important nowadays as gaining profit. Essentially, the intensification of the competition as manifested by the consequent intensification of globalisation and competitive positioning in the international market has triggered some level of change on the part of modern businesses. However, this practical set of circumstances may have some inconsistencies with the claims provided by Ricardo. For instance, the claim of Ricardo pointed out that a better allocation is imminent as globalisation flourishes. Possibly the sole element that may have been accurate in this sense is the allocation of financial resources. Essentially, globalisation encourages the provision of foreign direct investments from countries with capital to those that require it. (2007) The problem in this regard is that it has taken away the factor representing the propensity of man to exploit and abuse his resources. (2003) Basically, studies have been calls for sustainable development as major corporations tend to exploit the natural resources occupied by their subsidiaries. This is similarly true with regards to the allocation of human resources. This will be discussed in the later part of the paper.    D.   Reduces Corruption The work of Ricardo also indicated that globalisation tends to reduce corruption. Basically, he assumes that the free market trade will be sufficient to take on any form of corruption both from the states and from the corporations competing as well. Unfortunately, in the current setting of globalisation is far from being free from corruption. For instance, powerful nations have the propensity to bend the rules in their favour. A lot of articles have pointed to the inclination of the United States to engage in protectionists policies despite the fact that these policies directly contradict those that they have signed in international free trade agreements. (2001) This basically shows how major economies could implement rules on their favour and in doing so they tend to widen the polarity between them and developing and less developed nations. In the same regard, it is apparent that the claim of Ricardo regarding the reduction of corruption is attributable to the invisible hand mention ed in the early works of classical economists. (1998) Basically, the said concept came from Adam Smith claming that absolute free trade will be enough to regulate itself from any inconsistency. It claims that that the community will be able to manage it and rid of any wrongdoing. Again, this plainly indicates that the claims provided by Ricardo may have been based on pure theoretical assumptions without regard of the actual happenings in the real world. In reality, unethical practices do exist. From corruption to corporate bribery, this shows that the theory of the invisible hand is reduced to a mere myth. (2000) III.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Cons of Globalisation The consequent discussions will be covering the stated disadvantages of globalisation as indicated by Ricardo. Same as the claims of advantages above, the said disadvantages will be examined and related to the academic and scholarly journals. A.   Imposes strain on labour force In the claim of Ricardo, there are also some shortcomings and adverse effects of globalisation in the imposition of strain in the workforce. Basically, Ricardo claims that globalisation tends to have an implication on both developing and developed countries. It has been said that developed countries tend to encounter possible abuses from the investors. There have been reports that sweatshops in India tend to employ children in their operations. (2004) Specifically, the said study indicated that companies with such operations still proliferate in countries like India and Pakistan. Essentially, because of the failure of the laws protecting the rights of the labour force, particularly the children, abuses tend to become apparent. On the other hand, in the context of developed countries, the labour conditions of the country tend to encounter what is called job destruction. (1996) Essentially, the phenomenon tends to highlight the shift of the attention of corporations towards the less de veloped countries with less costly labour. B.   Standardises customer tastes In the claim of Ricardo also indicated that globalisation tends to establish that at some point, the world will come to a level of standardisation. This means that every state or organisation will be taking on the closely the same elements that they contend. Basically, the claim focuses on the assumption that the customer tastes will become so standardised that companies will tend to be less diversified in terms of their products and services. Specifically, the claim indicates that eventually in every industry, the companies will offer rather indistinguishable products and services which the consumers will have no regard on brand. To some extent, this claim is true. The matter of it is that the modern business folk realised that if they do not differentiate their products, they will eventually meet their demise in the industry. For instance, the study of   (2005) indicates that multinational companies tend to establish complex differentiation strategies to endure continued existence and possibly even market leadership. One could also be sure that the competitors of that particular industry will do the same. In this regard, the context of diversity tends to be the end result of such differentiation processes. Other multinational companies tend to extend their diversity by infusing both localisation and globalisation principles. (2004) This means that they tend to immerse themselves to the behaviour of the market. C.   Induces concentration of power in a few global corporations Globalisation tends to induce power into a chosen and privileged few. This is another claim given by Ricardo in his classical view of globalisation. Basically, this indicates that international business tends to represent a certain type of inherent inequality. This is especially true for those that are a part of a trade liberalisation organisation like European Union (EU), Organisation for Economic Cooperation and Development (OECD), International Monetary Fund (IMF) and the World Trade Organisation (WTO). (2007) The problem in this setting is that those that have the capital and loads of it tend to wield it to those who may appear to succumb to their influence. As mentioned in the discussions above, trend towards joining these trading organisations opens up their market to open competition with foreign companies. Specifically, the local business folks tend to suffer the implications of globalisation and the consequent opening up of their trade routes. As indicated by   (1996, 40) there are other elements other than competition that comes into the picture when international businesses are concerned. Such elements included in the fray are those directly involved in the economy of the host country like the exchange rate, the policies of the land and other elements that are particular to that state.   Ã‚  Ã‚   IV.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Practical Implications of Globalisation The discussions above have discussed the theoretical implications of globalisation in businesses. The following discussions will be focusing on the globalisation endeavours of an existing company. Specifically, the discussions will be focusing on the conditions surrounding Proctor and Gamble (PG). The companys bout with globalisation was dealt with proper strategy formulation. The said company is among the leaders in the consumer product industry. (2003) Based on the observation of recent articles, the company have conducted a fairly good diversification initiative. (1995) They have divided the company into several segments that will be battling it out with the rest of the brands present in consumer product industries. As indicated by   (2003) the segments were divided into fabric and home care; baby, feminine, and family care; beauty care; health care; and food and beverage. With these segments, it is anticipated that PG will possess a culture with an innovative flair. However, the rest of the players in the industry have caught up with competencies of the company. This may be the grounds for   (2003) to mention that the company is lagging off in its innovation levels. However, this rather perceptible weakness has been offset by the impeccable wherewithal of the company to operate its international machinery to their advantage. The installation of the global business units (GBUs) triggered their meteoric rise to the international product industry. ( 2003) (2003) further claimed that the company have seized the opportunities in expanding the network of their operations in the other countries by putting in directly investing on plants and equipment in these areas. They have exploited the lower costs of labour in other nations provide the opportunity to cut the operational costs and allow the company to spend it to other areas. It is in this likely lessening of operational costs that increases the likelihood of developing the existing top brands of company in major markets all over the world. () In the later part of the operations of the company, they have acquired another major brand in the consumer product industry: Gillette. Basically, this is the companys attempt to alleviate its limited access to the market share of the male grooming industry. The buying of Gillette places a major shift on the all the company as over  ½ of the existing market share in the said area is held by Gillette. ( 2004) Basically, Gillette possesses a substantial number of brands in the supposed market as equalled to PG. Basically, the intention of PG to continuously improve and garner a huge proportion of its market share is based on the fact that its major competitors have been breathing down their necks. (2005) With the constant intention to gain favour on their marketing position, PG has become one of the most successful companies in the world holding among the most popular brands known in recent history. And as observed by this researcher, this may only be the beginning for PG on its quest to gain more brands and conquer the rest of the world with its products.    V.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Analysis The discussions above have provided specific elements that deal directly with the actual implications of globalisation to society. Basically, the study provided the perceived obstacles to globalisation, effects on product/services and the labour market, and influence of culture. In the case of the perceived obstacles to globalisations, discussions on over-regulation and the imposition of trade barriers are noted. In the same regard, political implications of individual states are indicated to be among the major obstacles for globalisation. Poor currency policies such that of the exchange rate as well as the existence of barefaced corruption allows for the advantages of globalisation to sink in. On the other hand, the study has also mentioned the effects on product/services and the labour market. Studies have been pointed out claiming that the labour market tends to suffer in developed countries as companies tend to find competitive advantage in finding less costly labour in developin g and even in less developed countries. In the context of consumer tastes, the existing literature on literature indicates that globalisation will essentially make the demands of the consumers more similar. To an extent, this intensifies the competition between companies as their products and services become less and less distinguishable. Moreover, another factor emerged as a component in the success of globalisation: culture. In this regard, the regard of culture as a determinant of organisational and marketing success of multinational companies added complexity on the early provided theories like that of Ricardo. The discussions above have pinpointed the need for companies to engage in localisation initiatives in line with their globalisation endeavours to keep up with the demands of their individual market though monitoring and adapting to the subtle changes in its behaviour.   Ã‚  Ã‚   VI.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Conclusion The discussions above have presented an examination of the advantages and disadvantages of globalisation as indicated in the work of Ricardo and Lasserre. Essentially, some of the theoretical claims of above may have been contradicted throughout time as numerous studies have similarly gone against the said assumptions. At some point, one must realise that the concept of globalisation has changed since the times of Lasserre and Ricardo. They must realise that to some extent, the theories that they have formulated has become rather obsolete in the current setting. In any case, the fact remains that the constant changes in the environment as implicated by globalisation tends to similarly augment the demands on the individual businesses.   Ã‚  Ã‚   VII.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Recommendation The following recommendations are to be based on the conclusion above as well as the arguments and observations held in the paper.    Take initiatives to gain fair trade in this era of free trade Civic organisations as well as the individual member states of particular trading organisations like the EU and the WTO should take steps to minimise the occurrence of fraud and corruption in international trade. Basically, protectionist laws as well as rights encouraging competition should be drafted carefully such that those who are not privy to power and capital would not be subjected to abuse from their counterparts.    Studies should focus on the current trend of diversification among multinational companies Multinational companies now realises the potential of implementing the paradox of globalisation and localisation. In this regard, the multinational companies nowadays have become more engrossed to diversification of the products and services that they offer to their consumers. In this regard, studies should also focus on the said idea as this may indicate a shift in the definition of globalisation as it did in the classic definition of Ricardo.    Carry out further studies on the dynamic nature of globalisation Related to the recommendation above, the findings of this study should serve as an impetus to find further explanation and possible forecasts on the possible path on which globalisation could take in the future.

Dreams in Death of a Salesman. Essay -- English Literature

Dreams in Death of a Salesman. In this essay I’m going to consider Arthur Miller’s perception of dreams, particularly the American Dream. Arthur Miller's play "Death of a Salesman" is a detailed review on the capitalist American society of the 1940s and also on human psychology and how much materialistic success means to us. He uses the misfortunes of a salesman named Willy Loman to illustrate this. Miller introduces the Loman family in a depressing mood (dim lighting is used and shows a house that has "towering, angular shapes" surrounding it and with little furniture). This immediately gives the audience a glum feeling about the play. The Loman family is a very stereotypical American family, with the father, Willy, working all day, a loving mother, Linda, and two children, Biff and Happy. As the play develops however, we learn more and more about the real tragedy of the family. Willy believes in the American dream. It was very influential in the American society of the 1940s and still is to some people, today. But only a few people have benefited from it. The American dream is based on the idea that as long as someone works hard, they will achieve great success no matter what their sex, age, nationality is. As the audience learn about the Loman family's poor financial situation, it becomes clear that Willy is a victim of the American dream. Willy's failure in leading a rich or even just a comfortable life is very apparent. He complains about his work and struggles to pay his bills. He is also frequently shown in a state of depression, he cannot concentrate when driving; he is still working at his old age and is struggling to bring in a steady income. His unstable mind makes him contradict himself in th... ...fridge fails. Arthur Miller seems to see her, not Ben, as the real hero of the play. This is reflected in the gentle respect he gives to her in his writing. This play is a strong message against the principle of the "American Dream". Willy Loman is constantly striving to achieve the dream, but drives himself crazy. Biff seems to be the only character in the Loman family that is able to set himself aside from this dream, wanting only to be happy - his own man. Although I believe dreams to be an important, if not essential part of life, I also believe that contentment is far more important. If you cannot be happy with what you have, you cannot possibly hope to be happy with what you wish for. Willy Loman dreams of becoming a great man, dreams of the great man he was and dreams of the great man Biff can be, he just fails to realise that they are great men.

Ireland Trip :: essays research papers

The Ireland Trip   Ã‚  Ã‚  Ã‚  Ã‚  When I was fifteen I was with my best friend when we encountered funny experience when we overslept for our first tour of The Taste of Ireland. I stayed over at Ryan’s house. Ryan, my best friend since I was six, and me were leaving fro Ireland the next morning and we were so excited that we slept only two hours all night. The next morning we woke up and got all of our stuff put into his mom’s car. We then told her we’re ready, so we jumped into the car and headed for the Huntington Tri-State Airport.   Ã‚  Ã‚  Ã‚  Ã‚  Once we arrived we jumped out of the car and got our luggage checked in. At the point I was a little nervous because I had never flown in an airplane. We finally make it on the airplane and we were off to Pittsburgh’s Airport. Once we arrived we stepped into the airport and it was huge. No one in the group of fifteen had been in the airport and didn’t know where to go except Mr. Shy, the leader of the group. Our next plane was leaving in fifteen minutes so Mr. Shy had to hurry and get all of us kids together so that we could get on the other side of the airport to catch out next flight. While we were walking through the airport, Ryan asked me, â€Å"If I liked flying yet.†   Ã‚  Ã‚  Ã‚  Ã‚  I asked, â€Å"Why is that?†   Ã‚  Ã‚  Ã‚  Ã‚  He replied, â€Å"This plane is a monster compared to the last one.† We stepped on the plane and I looked towards the back and it looked like there were four hundred seats on the plane compared to the last one, which held only twenty passengers. We got seated, and a few minutes later we started to take off. As we were taking off unlike the crop duster, this plane made me feel like I was implanted in the seats because the plane took off so fast. I was so excited because I was flying on this monster plane. The whole time we were in flight I was watching out the window at the ground where there weren’t clouds below us. Not feeling like we had been on the plane for very long, we arrived in New York to catch our next flight. Once we arrived we went to the section of the airport where our plane is leaving.

Evita: Saint Or Sinner? :: essays research papers

Evita: Saint or Sinner?   Ã‚  Ã‚  Ã‚  Ã‚  The story of Eva Peron is a fascinating one . Evita, as she is known, enjoyed a rise to power like no other. The details of this ascension are often disputed, making Santa Evita's tale all the more intriguing. . .   Ã‚  Ã‚  Ã‚  Ã‚  Maria Eva Duarte was born on May 7, 1919,1 the fifth and youngest illegitimate child of Juan Duarte and his mistress, Juan Ibarguen. The week of her birth was known as Tragic Week, when the army massacred striking workers, perhaps a foreshadow of what was to come in her life.2   Ã‚  Ã‚  Ã‚  Ã‚  Eva spent her childhood in an adobe farmhouse, with farm animals and earthen floors. In the farming trade, Juan Duarte incurred many debts, eventually leaving him with nothing. Thus, early in her life, Eva learnt the humiliation of poverty.   Ã‚  Ã‚  Ã‚  Ã‚  The Duartes were further put down by the stiff Argentine caste system, which divided the poor from the wealthy. Being a bastard child, Eva and her four sisters were seen as 'brats,' and were stopped from associating with the other village children. Rejection, thrown upon young Eva through no fault of her own, would not be forgotten nor forgiven.3   Ã‚  Ã‚  Ã‚  Ã‚  At age fifteen, Eva Duarte set out to become a radio actress. She knew she could be like the women in the movie magazines she either stole or borrowed from her friends. Eva met singer Agustin Magaldi, and, packed her bags and sneaked out of her mother's boarding house to the city of Buenos Aires.   Ã‚  Ã‚  Ã‚  Ã‚  Once Eva learned the rules of the 'casting couch,' she dropped Magaldi and began her ascent to stardom. For years she wandered the streets, auditioned, and did whatever she had to do, no matter how distasteful. Eva gained modeling work and small parts in radio plays, frequenting nightclubs, and began to find better work.   Ã‚  Ã‚  Ã‚  Ã‚  After several jobs in theatres, she was interviewed by the magazine Sintonia. After Eva started an affair with the magazine's owner, he began to give her good exposure. This led to jobs in the film industry. Though she made several, she had no talent to be seen in any of her films.4   Ã‚  Ã‚  Ã‚  Ã‚  Eva's body was what sold her to the masses. She could have any man that she wanted, and soon set her sights on Colonel Juan Peron, who had political ruthlessness, a passion for younger women (especially good-looking actresses), and was a 48-year-old widower.5   Ã‚  Ã‚  Ã‚  Ã‚  On January 15, 1944, San Juan Argentina was hit by a terrible earthquake. A gala benefit show was held to support the relief effort, where Eva and Colonel Peron first met. They were seen leaving the gala together.

Us Soldiers Imaging the Iraq War

Popular Communication, 7: 17–27, 2009 Copyright  © Taylor & Francis Group, LLC ISSN: 1540-5702 print / 1540-5710 online DOI: 10. 1080/15405700802584304 Popular Communication, 1540-5710 1540-5702 HPPC Communication Vol. 7, No. 1, Nov 2008: pp. 0–0 US Soldiers Imaging the Iraq War on YouTube Kari Anden-Papadopoulos Stockholm University Anden-Papadopoulos US Soldiers Imaging the Iraq War on YouTube This article examines the homemade videos uploaded to YouTube by coalition soldiers stationed in Iraq and Afghanistan.I interrogate how perceptions of war, and the conventions of war reporting, change as new media technologies allow soldiers to log on to the Web and upload personal views from the frontlines. The Iraqi conflict is emerging as the first YouTube war, where homemade soldiers’ videos throw into sharp relief the reportorial conventions of the mainstream news coverage. I take into consideration the format, meanings and communicative functions of these amateur videos, and the distinctive ways in which they reconfigure professional standards of ethics and authenticity.The firsthand testimonials by soldiers offer the public uncensored insights into the experience of warfare and may provide the basis for a questioning of the authority and activity of U. S. foreign policy. INTRODUCTION This article considers the specific challenges that the online proliferation of alternative imagery of violent international conflict raises for traditional journalism and its standards of ethics and credibility.I examine how modern communication technologies that allow active duty soldiers to log on to the Web from Afghanistan and Iraq, and upload personal and at times shockingly brutal views from the frontlines, can alter our perception of war and the conventions of war reporting. The most graphic images show the gruesome aftermath of suicide bombings and fierce gunfights between coalition forces and insurgents. Sites such as MySpace, YouTube, Google Video, L iveLeak, and military. com abound with violent videos and stills from combat soldiers, some set to heavy metal or rap music, and include troops using obscene language.My article examines the homemade videos uploaded to YouTube by coalition soldiers stationed in Iraq and Afghanistan. These personal, poignant and sometimes shockingly brutal video testimonies clearly diverge from, and subvert traditional forms and standards for war reporting. I take into consideration the format, meanings, and communicative functions of these amateur videos, and the distinctive ways in which they reconfigure professional standards of ethics and authenticity.The soldiers’ firsthand accounts of the war have introduced new and sometimes highly controversial perspectives into the documentation of warfare that military and media elites are struggling to contain. The most contentious imagery uploaded to YouTube is undoubtedly Correspondence should be addressed to Kari Anden-Papadopoulos, Department of Journalism, Media, and Communication, Stockholm University, Karlavagen 104, P. O. Box 27 861, 115 93 Stockholm. E-mail: [email  protected] jmk. su. se 18 ANDEN-PAPADOPOULOS he live recordings of violent confrontations, in which U. S. troops can be seen taking part in aggressive and seemingly indiscriminate killings of Iraqi citizens. However, some of the soldier videos that have caused most public outrage are shot behind the scenes of combat, showing troops entertaining themselves by demeaning Iraqi children or abusing pet animals. Also, the recurrent video tributes to fallen soldiers foreground a controversial and highly emotional subject: the premature and violent deaths of young U. S. soldiers in Iraq and Afghanistan.My analysis suggests that these audiovisual productions by active duty soldiers can provide us with the kind of critical perspectives needed for a more open democratic questioning of U. S. foreign policy and the conduct of the wars in Iraq and Afghanistan. IMAGE W ARS IN THE TWENTY-FIRST CENTURY During almost all major wars in modern times, governments have made systematic efforts to shape the visual experience of the citizenry (Brothers, 1997; Campbell, 2003; Griffin, 1999, 2004; Moeller, 1989; Roeder, 1993; Taylor, 1991, 1998; Zelizer, 1998, 2004).In recent years, increasingly professional government media management strategies have strengthened the dominance of official perspectives in the U. S. and UK mainstream news media (Robinson, 2004). The media tend to support the government course of action during military operations and privilege the official version of events (Allan & Zelizer, 2004; Thussu & Freedman, 2003; Tumber & Palmer, 2004). Central to the manufacture of this version is the representation of warfare as clinical and even compassionate.What is most striking about traditional war coverage in the Anglo-American news media is that the images are relatively bloodless and seldom hint at the capacity of modern warfare machinery to injure the human body. However, cable and satellite television, as well as new media technology, have made it more difficult for nation states to control the information crossing their borders (Webster, 2003). The information front is no longer confined to traditional mass media but extended to an increasingly porous and fast global communication space (Taylor, 2003).Alternative imagery of violent international conflict that has not been created or disseminated by mainstream media is exploding onto these new nonfiltered public spheres, and often finds its way to conventional news outlets. It includes stills and videos created by active duty soldiers and imagery produced by civilians in the war zone. Iraqi insurgent imagery is also prevalent, showing the bloody work of sectarian death squads, and U. S. soldiers being shot and blown up (Johnson, 2007).The insurgent videos, set to inspiring religious soundtracks or chanting, are not only aimed at drawing new recruits and donations but also at terrorizing of the enemy with the violent spectacle. Increasingly, these spectacles of terror are staged primarily to generate footage to be circulated in the media and thereby subject potential mass audiences to the shocking displays of destruction. The proliferation of vernacular imagery of international conflict has become a key issue of concern for both military and media elites (Kennedy, 2008).The military is uneasy with the threat such communications pose to operational security and also with their potential to subvert the understandings of war and foreign policy so powerfully framed by government and military powers. For the media, the main concern with the advent of citizen journalism is that it bypasses the established forms of news production and representation and even challenges the professional status of journalists. The popularity of internet communications in war zones has led the US SOLDIERS IMAGING THE IRAQ WAR ON YOUTUBE 19Pentagon to begin closely monitori ng what its troops post online, with special attention being paid to images that show the aftermath of combat (Greene, 2006). A policy instituted in the spring of 2005, however, requires all military bloggers inside Iraq to register with their units. It gives unit commanders the authority to review blogs and other communications before they are sent to make sure there are no violations of operational security. The internet has become a key battleground of information and image warfare, a territory long dominated by Islamist extremist groups that have demonstrated greater sophistication than the U.S. Army in their use of Web 2. 0 tools. They utilize the net for â€Å"fundraising and recruitment, training and instruction, and propaganda and psychological warfare, and for gathering open-source information with which to plan attacks† (Weimann, 2006, p. x). The online response from official U. S. military sources has been fairly subdued, characterized by an unwillingness to exploi t new media to get their message out. However, in March 2007, the U. S. Defense Department made a significant move into the cyberspace battleground with the launch of its own channel on YouTube, called Multi-National Force – Iraq. The videos uploaded to the site adhere to traditional norms of propaganda, showing American soldiers succeeding in â€Å"clinical† combat and aiding local Iraqi citizens (Christensen, 2008). The channel is a direct attempt by the U. S. Defense Department to counteract the prolific posting of damaging video clips by its own troops, an attempt at online visual management accompanied by what appears to be a concerted effort to suppress online publications by troops in the field.In May 2007, the U. S. military announced that it had blocked troops from accessing popular video-sharing sites, including YouTube and MySpace, on military computers. Shortly after, YouTube removed dozens of soldiers’ videos from its archives and suspended the acco unts of some users who had posted them. The U. S. Army is facing a dilemma over how to manage internet access by its troops. On the one hand, online communication clearly serves to boost battlefield performance and morale.Soldiers and their families visit social networking sites to exchange notes, swap images, and share recorded messages – a form of instant communication that, together with e-mail, has largely replaced the mail call. Moreover, a large majority of military bloggers in the war zone express unabashed support for the operations in Iraq and elsewhere and, most importantly, lend them a human face, which provides invaluable PR for the military. On the other hand, the Pentagon knows that enemies are proficient at mining the Web to collect intelligence on potential targets.In addition, the occasional posting of gruesome battle photographs and videos by serving soldiers not only jeopardizes operational security but also contradicts the carefully crafted image of modern warfare as clean, rational, and even humanitarian. THE â€Å"YOUTUBE WAR† A new digital generation of soldiers in Afghanistan and Iraq is turning to the internet in a strongly felt urge to communicate and come to terms with the realities of experiencing a war up close. Today’s soldiers are equipped with the same digital tools and technology as the media, which enable them to share their experiences with potentially vast audiences.The omnipresence of digital cameras and camcorders among serving soldiers means that they â€Å"exist in a new relationship to their experience of war, they are now potential witnesses and sources within the 1 http://youtube. com/profile? user=MNFIRAQ 20 ANDEN-PAPADOPOULOS documentation of events† (Kennedy, 2008 p. 4; see also Mortensen, 2007). This also means that the boundaries between those who are fighting and those who are documenting the war are becoming more and more blurred. In the age of digital media, the waging and represent ing of war are enmeshed almost to the point of being inseparable.Much of the imagery that coalition soldiers produce of their experiences in Iraq and Afghanistan is shared primarily with close family and friends, and within their units, via e-mail or burned to CDs. Still, a large amount of the imagery is made available to the public via a wide range of internet venues, in particular through the rapidly growing subculture of â€Å"milbloggers† – firstperson online diaries by serving troops. Since their first appearance in 2003, the number of milblogs has increased rapidly. Today it is estimated there are more than 2,500 milblogs (Kennedy, 2008).More recently, video-sharing platforms such as YouTube have become popular outlets for soldiers to publicize their audiovisual productions. YouTube has become one of the fastest-growing Web sites in the world – in January 2008 alone almost 79 million users watched more than 3 billion videos on the site. 2 By offering users the unprecedented ability to share their experiences inexpensively and instantly with a potential mass audience, YouTube has turned video sharing into one of the most significant features of contemporary internet culture.The Web site’s community guidelines forbid the uploading of material likely to be perceived as inappropriate or offensive, such as videos containing pornography or sexually explicit content, animal abuse, bomb making, graphic or gratuitous violence, or dead bodies. 3 Still, the enforcement of these guidelines is relatively weak, and videos that clearly violate YouTube’s terms of use are proliferating on the website (Gimeno, 2008). 4 The video clips uploaded by U. S. oldiers on YouTube cover a range of settings, activities, and emotions: combat action, routine patrolling, colloquial interaction with Iraqi civilians, recreation in the barracks, and tributes to fallen comrades. 5 It is often the case that several or all of these five general thematic cat egories can be found in individual video clips. The videos contain not only private footage created by the troops themselves but also imagery appropriated from other sources such as official military recordings, news broadcasts, music videos, and so forth.There is a significant degree of visual redundancy in these videos in the sense that certain stills and moving images tend to reappear time and again. This is also to say that the question of authorship and authenticity is difficult to decide when it comes to this type of image production. The Iraq war is being fought by what has been called the first Playstation generation, raised on Hollywood war films, graphic video games, and internet porn.When this generation of soldiers now documents and tries to communicate their experiences of actual warfare, they fall back on contemporary popular culture and its broad repertoire of war as entertainment. The video clips follow an MTV style of format, with a montage of stills and live footag e cut rapidly to music. The more violent scenes are typically edited to heavy metal or rap music, while the recurrent themes of brotherhood, mourning, and loss are set to power ballads. In creating, posing http://en. wikipedia. org/wiki/Youtube http://www. youtube. om/t/community_guidelines 4 Thousands of videos on the website are for example explicitly tagged with human rights violation terms such as â€Å"execution,† â€Å"torture,† â€Å"rape and sexual abuse,† and â€Å"mass killings† (Gimeno, 2008). 5 A sixth type of content is the dissenting soldier testimony: Iraq war veterans bearing public witness to dark war experiences, such as killing unarmed civilians with the consent of their superiors. Since this is a specific genre that does not entail images that document the controversial aspects of warfare, I will not consider it further in this article. 2 US SOLDIERS IMAGING THE IRAQ WAR ON YOUTUBE 21 for, and uploading these videos the American soldie rs also follow the trend in contemporary â€Å"confessional† media culture to employ digital technologies as tools for exposing and exhibiting the self on the internet or other media venues. They are part of the recent explosion of (until now) private discourses in public spaces, such as swapping intimate details about your life via MySpace and Facebook. The troops can and do post footage on personal Web sites, but the networking sites and video-sharing platforms rovide a more public arena where the videos become open to global audiences who can communicate directly with the soldiers and give feedback on their audiovisual productions. COMBAT ACTION Since the Vietnam War, news organizations and media scholars have debated the question of whether, and how, explicit images of the violence and carnage of war should be broadcast. For the soldiers serving in Iraq, however, this is not an issue. They are clearly not impartial or external observers of the war, who abide by the dictat e to serve the so-called â€Å"public interest. † They are combatants documenting the war as they wage and experience it.Many combat videos focus on the physical actions of the U. S. troops, shooting or blowing up targets that are in the distance. Most of them are edited to music, but some present live action footage with original sound, showing troops engaged in intense street battles and gunfights. Young soldiers often take what appears to be a near-sexual pleasure in the violent fighting – you hear them breathe heavily, moan, and make excited comments. One example is an entry on YouTube titled â€Å"Iraq Witness War Crimes U. S. Soldiers Murder Unarmed Civilians. †6 The clip shows a group of U. S. oldiers open fire on unidentified targets across the street from a rooftop in Ramadi. The troops cheer and laugh loudly as they fire on two cars that apparently by chance drive into the line of fire. The unarmed passengers leave the cars running in an attempt to see k protection in the nearby buildings but are summarily gunned down by the soldiers. The boasting comments made by different soldiers on the video make the scene of what appears to be unprovoked aggression even more disturbing: â€Å"See that car, I lit that fucker up! He got 30 rounds in that bitch! † â€Å"Oooh, my bitch is fucking done dude! â€Å"Dude, look at it! We fucked those people all to shit down there! † The edited to music combat videos are typically made in a fragmented style with a rapid succession of various battle scenarios. They are often set to hard rock music – a symbolic expression of the adrenaline rush felt by soldiers going into a fight. In some cases, these videos seem to glorify violence and promote a kind of adolescent machismo with soldiers taking keen delight in shooting or blowing up targets. Other combat videos however clearly distance themselves from such a pro-war sensibility and militaristic celebration of power.One example is a video titled â€Å"U. S. Army, Marines-Iraq War-Kill Insurgents (4th video Battle). † Set to the heavy metal song â€Å"Eyes of the Insane† by Slayer, it is a montage of stills and moving images that shows U. S. troops engaged in various spectacular combat scenes. The lyrics of the song are the guiding principle 6 http://www. youtube. com/watch? v=JWYNn1pTwPM Added February 22, 2008, by â€Å"Slavesrevolt. † Accessed June 15, 2008. 22 ANDEN-PAPADOPOULOS for the set up of the video, taking the point of view of a soldier who suffers from the traumatic effects of war.He testifies to the â€Å"devastating insanity† of war which he keeps re-experiencing in the form of intrusive images: â€Å"I keep seeing mutilated faces/Even in my dreams/Distorted images/Flashing rapidly /Psychotically abusing me/Devouring my brain. † The video starts with an extreme close-up of an eye, in which the reflection of a soldier can be seen. This visual effect emphasizes th at the rapid flashes of violent battle imagery in the video represent horrific war experiences as they are reflected – and compulsively replayed – in the eyes and mind of a traumatized soldier.One scene shows what appears to be an unarmed Iraqi civilian driving a motorcycle being gunned down from across the street by U. S. troops. Another shows two unidentified men running for their lives down a dusty Iraqi street before they are killed by U. S. troops in a Humvee. Yet another shows three marines on a balcony as they are hit by shrapnel blasting back at high speed from a distant exploding building. The video documents and expresses the maker’s own experience of the insanity of war – the chaos, panic, vulnerability, and kill-or-get-killed logic that compels soldiers to use sometimes indiscriminate violence.It presents warfare as a traumatizing experience that leaves the soldier full of questions and disturbing memories. In many cases, the videos contain im agery that originates from military surveillance devices such as night vision cameras and aerial surveillance technologies. Here, the representation of war becomes one with the waging of war itself. One example is a clip titled â€Å"Apache Kills in Iraq,† which consists of guncam footage taken at night from an Apache helicopter. 7 The video shows a U. S. ttack aircraft using high power ammunition to eliminate three suspected weapon smugglers on the ground. The clip is disturbing not only because the Iraqi men apparently are gunned down without a confirmed identification, but also because it visualizes the devastating impact of high power artillery when used against humans. The thermal imaging system used at night shows the glowing presence of the warm human body against the dark surroundings, making the effect of impact shockingly apparent: When the 30mm rounds hit the Iraqi men, you literally see warm viscera scattering in all directions.As one of the three victims lies hel pless and wounded on the ground, the Apache pilots take aim and kill him with a second salvo, an action that would seem to qualify as a war crime. â€Å"OPERATION IRAQI BOREDOM† Soldiers have privileged access to the frontline of war and also to its back stage. They can go behind the scenes and document the more private settings, activities, and feelings that professional photographers cannot access and would not necessarily attribute news value to.The soldiers perform not only in front of the camera, but apparently even for the camera, often in playful, intimate, and humorous ways that clearly defy the more formal and distancing conventions of professional journalism. They often film themselves and their comrades goofing off for the camera, playing pranks such as capturing and overtaking a port-a-John housing a soldier dressed mockingly as a terrorist. 8 Frat-style humor is a key feature not only of these recurrent http://www. youtube. com/watch? v=LoFq9jYB2wo. Added July 24 , 2006, by â€Å"acdclights. Accessed June 19, 2008. http://www. youtube. com/watch? v=XvMLREePkyY&NR=1. Added June 16, 2007, by â€Å"Sensicane. † Accessed June 29, 2008. 8 7 US SOLDIERS IMAGING THE IRAQ WAR ON YOUTUBE 23 â€Å"toilet action† clips, but of many of the videos that show troops in downtime activities. The soldiers waste time in measured nonsensical performances such as taping a comrade to the front of a Humvee, dancing poorly in their underwear, drinking maple syrup, or pouring canned air – which boils at room temperature – into the palm of their hand and watching as it burns the skin.These videos testify to the boredom that soldiers feel when not in action. Making videos is a way to offset the monotony, and also to release stress and frustration. Some of them are rather creative and witty, such as the celebrated rap song spoof about Ramadi titled â€Å"Lazy Ramadi. †9 This is a battle zone parody of the widely popular Saturday Nigh t Live’s â€Å"Lazy Sunday,† created by and starring two National Guard staff sergeants who rap jokily about insurgents, body armor, Jell-O, and their hometown Muncie, Indiana. The clip evidently struck a pop-cultural chord.It became an overnight internet sensation that has been viewed millions of times on different internet venues. Ramadi is considered to be the most dangerous city in Iraq. The rap skit makes light of a hazardous and high stress situation, providing comic relief for both soldiers and the home front. â€Å"Lazy Ramadi† has many imitators on YouTube, with music video parodies that mock the grim conditions of war. There are also more controversial examples of activities that soldiers resort to in order to entertain themselves and their YouTube audiences. A clip posted in March of 2008 shows a U.S. Marine, David Motari, throwing a puppy off a cliff while on patrol in Iraq. 10 The 17-second clip generated international attention and sparked outrage from animal right groups around the world when it came to light. In the video, Motari smiles and jokes with his comrades before he hurls the puppy over a cliff as it yelps. An unknown person operating the video camera is heard laughing and another voice saying, â€Å"That’s mean. That’s mean, Motari. † The video clip caused the Marine Corps to expel David Motari and to take disciplinary measures against a second Marine involved.TRIBUTES TO THE FALLEN US SOLDIERS Tribute videos foreground a controversial and highly emotional topic: the deaths of U. S. soldiers in Iraq and Afghanistan. They are made as specific tributes to individual soldiers or as a generic homage to the U. S. troops serving and dying overseas. The former are typically created by close family members or friends and show private recordings from the funeral ceremonies interspersed with snapshots from family albums. The latter often present melancholic meditations on the ordeals U. S. troops face in Iraq, highlighting the harsh conditions and consequences of their mission.These memorial videos almost obsessively parade images of coffins draped in the American flag, a motif that inevitably conjures up the ghosts of Vietnam. In contrast to much official imagery, they also show seriously wounded American soldiers, soldiers being hit, and soldiers breaking down and crying. The Pentagon and the Bush administration have gone to great length to avoid images of U. S. casualties being broadcast or published in the U. S. media and have enforced a ban on pictures of the flag-draped coffins returning home from Iraq and 9 http://www. youtube. com/watch? v=5k3L-_Snu7k.Added May 15, 2006 by SSG Matt Wright and SSG Josh Dobbs. Accessed June 30, 2008. See also Lazy Ramadi’s official site at http://lazyramadi. com 10 The video was viewed tens of thousands of times before YouTube took it down because of a violation of the site’s terms of use. The clip is still widely available on t he internet, however. 24 ANDEN-PAPADOPOULOS Afghanistan. Military and governmental officials always have been careful to prevent images that show their own troops dead or seriously wounded, since such sights might arouse fears about war’s personal and social consequences and undermine faith in the cause.What makes these images so contentious is not only the disturbing sight – actual or symbolic – of dead bodies, but the repressed question that they might evoke: Is the war worth the cost? Hence, official narratives have persistently sought to put depictions of American death in a meaningful context. Blood is sacrifice, spilled for sovereignty and freedom. Corpses are swiftly transformed into martyrs, whose surrender warrants our redemption. Mortality is relied on to project immortality, impregnability, and a reinvigorated sense of national purpose.In contrast, soldier tribute videos present more mixed messages. The themes of bravery, camaraderie, and patriotic pr ide are counterbalanced or even nullified by distressing expressions of pain, vulnerability, and irretrievable personal loss. One example is an entry on YouTube titled â€Å"Final Salute: American Soldiers in Iraq. †11 The clip starts with footage taken from a moving military vehicle, shot through the front windshield. After a couple of seconds, a roadside bomb explodes and shatters the windshield right before our eyes, as smoke and fire fill the screen.The spectacular scene positions the viewer with the vulnerable soldiers, making palpable the experience of lethal danger. This is followed by a slide show with images of soldiers crying, embracing, and paying tribute to fallen comrades. A recurring motif is the ritual shrines assembled of the dead soldier’s military gear. These memorials symbolically resurrect the dead soldier, with the rifle as a body placed in the boots, crowned by the helmet and dog tag. Sometimes they also include a formal portrait of the deceased. Images of flag-draped coffins are also repeatedly shown in the video, as are photographs of wounded U.S. soldiers. Some of the latter are extremely graphic, such as a close-up of the remains of a soldier’s blown-off feet. The overall theme of many tribute videos is the anguish and grief that the casualties of war cause for the U. S. soldiers and their families. They ask us to remember and fully appreciate the sacrifice of the young men and women serving overseas. Where the military and government elites attempt to spin American death into a political weapon, used to reinforce loyalty to the nation and to the military effort, tribute videos lament the loss of young lives in their own right.They insist that we recognize and recall the fallen American soldiers as persons, as unique individuals, whose sacrifice can only truly be measured through the consideration of what they meant to those who knew and loved them. INTERACTION WITH IRAQI CIVILIANS A great number of the soldier vi deos contain images of Iraqi children, the epitome of innocence and hope for the future. Many clips clearly attempt to cultivate the image of a good relationship between U. S. forces and local civilians, showing troops in amiable exchanges with Iraqi children and families. 2 The soldiers hand out candy, toys, and books to happy children, play with them, and give them medical care. The Iraqi children laugh, give a â€Å"thumbs up,† and wave 11 http://www. youtube. com/watch? v=WIw-BP4zfW4. Added August 27, 2006, by â€Å"prezjackie. † Accessed June 27, 2008. 12 â€Å"Iraq War: The Soldiers,† at http://www. youtube. com/watch? v=FUm05_I8xJ4. Accessed July 16, 2008. Iraq video â€Å"Why† at http://www. youtube. com/watch? v=hPVPqERfTM4. Accessed July 16, 2008. US SOLDIERS IMAGING THE IRAQ WAR ON YOUTUBE 25 small American flags, and are often seen embracing and even kissing the troops.These clips are obviously intended to project an image of the U. S. and coa lition soldiers as humane and compassionate. They reflect and reinforce the official U. S. framing of the Iraq conflict as a â€Å"war of liberation† – the troops appear as the longed-for saviors of an undeveloped nation in need of paternal guidance. Other clips, however, employ the symbolic power of the innocent child to communicate strong anti-war messages. 13 Here, the Iraqi children are foregrounded as defenseless victims who cry out for us to take a critical stand on a conflict that deprives even infants of their tender life and limb.These videos contain graphic depictions of children seriously wounded, bleeding, screaming, and crying – often with a direct address to the camera, imploring us to act upon their unjust suffering. Such imagery evidently reflects negatively on the military effort in Iraq. By implication, if not explicitly, the U. S. forces are portrayed as cruel assaulters – rather than fatherly protectors – of the people of Iraq, bringing injury, death, and destruction to the country. In contrast to the feel good visuals of smiling Iraqi children, these depictions present the war as immoral and misguided.Apart from the clips that implicate U. S. soldiers in physical cruelties, there are also videos that document troops abusing Iraqi children in a more psychological sense. A notorious clip, â€Å"Iraqi Kids Run for Water,† shows U. S. soldiers dangle bottles of clean water over the back of a truck. 14 Much to the amusement of the soldiers, the trick makes Iraqi children run after the truck for a long period in a vain attempt to reach the bottles. Another clip shows U. S. soldiers entertaining themselves by teaching a group of Iraqi children (who apparently do not understand English) to say â€Å"Fuck Iraq. 15 In another video, a U. S. soldier dupes a clueless Iraqi boy to admit that he has â€Å"fucked donkey. †16 Needless to say, the humanitarian halo fades in the light of such stark enactment s of patronizing, neo-colonial arrogance. CONCLUSIONS The frames of media and military elites no doubt remain powerful controls on the public understanding of international affairs. Still, the explosion of vernacular imagery of international conflict is becoming an increasingly important factor in the representation and shaping of the news and the newsworthy, and in mediating perceptions of war and foreign policy.The Iraqi conflict is emerging as the first YouTube war, where homemade soldiers’ videos throw into sharp relief the reportorial conventions of mainstream news coverage. Contrary to the myths of national glory, macho heroism, and clinical warfare manufactured by military and media elites, the firsthand testimonials by soldiers actually living the war offer the public uncensored insights into the mundane, violent, and even depraved faces of warfare. They challenge traditional 13 â€Å"War in Iraq† at http://www. youtube. com/watch? =4Gu7pswE43Y&mode=related&sea rch=. Accessed July 16, 2008. â€Å"Iraq anti war video† at http://www. youtube. com/watch? v=3wKG9T1xPwY. Accessed July 16, 2008. 14 http://www. youtube. com/watch? v=L71Y1galpyA. Accessed July 2007, 2008. This clip has been submitted to YouTube numerous times by different users. 15 http://www. youtube. com/watch? v=eBGi8jr_CBE&feature=related. Added December 18, 2006, by â€Å"tmacdagreat. † Accessed July 27, 2008. 16 http://www. youtube. com/watch? v=kpHWaUSfYj8&feature=related. Added February 7, 2007, by â€Å"666stunts666. Accessed July 27, 2008. 26 ANDEN-PAPADOPOULOS journalism’s claim to authenticity and credibility precisely by showing that which the mainstream news will not show and thus rendering dubious the professional practices of selection, framing, and editing. The authenticity of the soldiers’ experience lends a heightened sense of veracity and immediacy to their representations of war. The â€Å"reality effect† is further undersco red by the soldiers’ personal points of view and the often raw emotionalism and poor technical quality of their amateur videos.Many of the soldier videos not only conflict with the official message that the military mission in Iraq is about rebuilding and peace but also with the persistent marketing – and popular perception – of â€Å"our† troops as fair, courageous, and caring. They show aggressive fighting by U. S. and coalition troops that at times revel in violently destroying the enemy. Other recordings contradict the image of a benign American presence in Iraq by showing troops unscrupulously abusing Iraqi children and pets – the embodiment of a degenerate abuse of power.The soldier videos also challenge the mainstream news convention of hiding the disturbing sight of dead and badly injured bodies from public view. They display gruesome images of dead and mutilated Iraqi insurgents and civilians, and also of U. S. casualties. The many memoria l videos also defy the mainstream practice of transforming dead soldiers into generic symbols of national purpose and rectitude. Instead, they urge us to remember the fallen soldier as a specific individual whose death has devastating consequences for the loved ones left behind.This highlighting of war’s personal and social consequences undermines the official attempts at concealing these costs of war. Another sight not often found in official imagery, but frequently so in the soldier videos, is of troops crying. Here, the soldiers openly express their vulnerability when faced with the fatalities of war. If such a display of emotions contradicts the ideal of macho heroism, this is even true of some of the mundane imagery showing troops killing time in the barracks.Their playful performances for the camera abound with obscenities and adolescent humor, showing an unruly, even silly side of the troops that works against the official image of the regimented U. S. soldier. Yet the y serve to put a human face on the U. S. military. For better and worse, many of the soldier videos bring us closer to the troops as real people, as opposed to prescribed images of dutiful soldiers who place their lives at risk in order to restore security to the sacred homeland.The homemade soldier videos represent a way of dealing with the stress, agony, and boredom of experiencing a war first-hand. Making these videos, though often a form of entertainment, can be seen as a coping mechanism, helping the soldiers to make sense of and communicate about a war that has gotten more and more complicated since Saddam’s statue fell. These new sources allow for more diverse points of view that complement, and at times disrupt the traditional framings of war.As my analysis of the soldier videos makes apparent, these nonprofessional contributions can provide us with critical insights into the complex, painful realities of experiencing a war directly, thereby offering the basis for a m ore open and democratic questioning of the authority and activity of U. S. foreign policy. It may be that these dispatches lack a coherent explanation for why the bombs are going off, and that it is often difficult to ascertain what is going on in each video, when and where it was shot and who shot it.Still, it is precisely the lack of prescribed framings and official narratives that make the soldier videos valuable, in that they provide raw, often unfiltered views that resist an all too neat packaging of war by those who direct it. The soldiers, as war insiders, can record, synthesize, and disseminate information that circumvents official channels of discourse. Their productions include the messy, visceral, chaotic, mundane, and emotional aspects of war often left out in the sanitized reports available on the network news. These, along with videos from insurgents, are transforming YouTube andUS SOLDIERS IMAGING THE IRAQ WAR ON YOUTUBE 27 other video-sharing sites into alternative n ews networks. This multiplying of perspectives, accessible on the World Wide Web, empowers internet users to go beyond the one-way broadcasts directed at them and to actively seek out other points of view on the tangled realities of war and its policies. REFERENCES Allan, S. , & Zelizer, B. (Eds. ). (2004). Reporting war: Journalism in wartime. London and New York: Routledge. Brothers, C. (1997). War and photography: A cultural history. London and New York: Routledge. Campbell, D. (2003). Representing contemporary war.Ethics and International Affairs, 17(2), 142–164. Christensen, C. (2008). Uploading war and peace: YouTube and military propaganda. Media, War & Conflict (forthcoming). Gimeno, J. (2008). YouTube and mainstream journalism: Strange bedfellows? Paper presented at the 58th International Communication Association conference, Montreal, Canada May 22–26. Greene, R. A. (2006, July 29). Pentagon keeps eye on war videos. BBC News. Griffin, M. (1999). The Great War photographs: Constructing myths of history and photojournalism. In B. Brennen & H. Hardt (Eds. ), Picturing the past: Media, history, photography (pp. 122–157. Urbana and Chicago: University of Chicago Press. Griffin, M. (2004). Picturing America’s â€Å"War on terrorism† in Afghanistan and Iraq: Photographic motives as news frames. Journalism, 5(4), 381–402. Johnson, S. (2007, January 15). We’re losing the infowar: Insurgents using single cell-phone cameras, laptop editing programs and the web are beating the United States in the fierce battle for Iraqi public opinion. Newsweek. Retrieved August 14, 2008, from http://www. newsweek. com/id/56592 Kennedy, L. (2008). Visual blowback: Soldier photography and the war in Iraq. Review of International Studies (forthcoming).Moeller, S. D. (1989). Shooting war: Photography and the American experience of combat. New York: Basic Books. Mortensen, M. (2007). Krigen pa billeder. Visuel krigsforelse i digitali seringens og globaliseringens tidsalder. KRITIK, 186, 17, 7–17. Robinson, P. (2004). Researching U. S. media-state relations and twenty-first century wars. In S. Allan & B. Zelizer (Eds. ), Reporting war: Journalism in wartime (pp. 96–112. ) London and New York: Routledge. Roeder, G. H. (1993). The censored war: American visual experience during World War Two. New Haven and London: Yale University Press. Taylor, J. 1991). War photography: Realism in the British press. London and New York: Routledge. Taylor, J. (1998). Body horror: Photojournalism, catastrophe and war. New York: New York University Press. Taylor, P. M. (2003). â€Å"We know where you are†: Psychological operations media during Enduring Freedom. In D. K. Thussu & D. Freedman (Eds. ), War and the media: Reporting conflict 24/7 (pp. 101–113. ) London: Sage. Thussu, D. K. , & Freedman, D. (Eds. ). (2003). War and the media: Reporting conflict 24/7. London: Sage. Tumber, H. , & Palmer, J. (2004 ). Media at war. The Iraq crisis. London: Sage.Webster, F. (2003). Information warfare in an age of globalization. In D. K. Thussu & D. Freedman, D. (Eds. ), War and the media: Reporting conflict 24/7 (pp. 57–69. ) London: Sage. Weimann, G. (2006). Terror on the internet. Washington, DC: United States Institute of Peace Press. Zelizer, B. (1998). Remembering to forget: Holocaust memory through the camera’s eye. Chicago and London: Chicago University Press. Zelizer, B. (2004). When war is reduced to a photograph. In S. Allan & B. Zelizer (Eds. ), Reporting war: Journalism in wartime (pp. 115–135. ) London and New York: Routledge.

African American Literature Essay

This process, wherein the reading of a text becomes a vehicle for self-realization and self-transformation is emphasized in the slave narratives of African American Literature. These narratives present us with accounts of individual self-transformation evident in the process wherein the individual writes his or her self into a being recognized by the dominant society. Within such works, the authors portray the process in which he or she overcomes the slaveholding society’s continuous attempts to deny or eradicate his or her identity. Despite of this, it is important to note that although such a process involves the creation of a referent, which is tantamount to the creation of an identity, such a process also involves the assimilation of the dominant culture’s norms. In this sense, slave narratives may be seen as depicting the conflict involved in the creation of an African American identity. The conflict is evident if one considers that the aforementioned assimilation of values involved in the creation of an African American identity stands in direct conflict to the individual’s experiences during and after slavery. African-American slave narratives, in this sense, provide a dramatic model of the textual construction and development of African-American identity. Such a process, on the other hand, mirrors the correlation between literature and politics and thereby allows us to consider the theoretical and ethical implications of a literary work. This is evident if one considers that African American slave narratives aide in the construction of an African American identity by raising issues regarding the comportment and formation of the self within an inscrutable literary form. In lieu of this, this paper opts to present an analysis of the textual, social, and political conditions that affect the creation of the African American identity. The paper is divided into three parts. The first part of the paper aims to explicate the aforementioned relation of the textual construction of identity evident within literary texts. The necessity of such is evident if one considers that the process sets the contextual background for the analysis of literary texts. The second part of the paper, on the other hand, opts to explicate the manner in which certain forms of slave narratives may aide in the creation of an African American identity. Such an explication involves the analysis of Frederick Douglass’ Narratives of the Life of Frederick Douglass as well as Harriet Jacob’s Incidents in the Life of a Slave Girl. The following texts will be used due to the autobiographical character of the aforementioned texts. It is important to note that the aforementioned genre provides a form of discursive control both as an authorial choice and as a privileged aesthetic and ethical discourse. This stems from the presumed unitary character of the narratives within the genre (Gilligan 89). Such a character, on the other hand, enables the promotion and presentation of a self that shares confessional discourse and an assumed interiority with an attached moral law in the examination of an individual and in the creation of the author’s individuality. In this sense, the inclusion of the aforementioned works within the genre of autobiography may be seen as political act, which mirrors the same conflicts evident in the political construction of the self that African American’s experience in the creation or formation of an identity. In this part of the paper, I will also argue that the aforementioned works enable the act of transformative recognition, which is necessary in the creation of an African American identity. The third part of the paper, on the other hand, involves the setting of the power relations that enables the conflict of identity formation amongst African Americans within the current American society. The third part of the paper thereby provides a social analysis of the aforementioned conflict in identity formation. In the last part of the paper, I will argue that such a conflict continually pervades the current American society and that the reason for such lies in the continuation of African American slavery within the 21st Century America. It is important to note that the continuation of such is enabled by the continuous perception of the African American as a slave. The continuation of slavery thereby is enabled by the continuation of the â€Å"perceived status characteristic† of the African American as a slave (Levin 227). Let us now proceed with the initial part of the paper. Due to the interconnectedness of the text and the individual, discussions of African American Literature can be placed within a theoretical and ethical arena. It becomes possible to conjoin the effects of the ethical and aesthetic character of a work in the realization of a self-identity and political identity in the reader. At the same time, this view allows us to posit the individual reading a text as someone whose ethical problematization necessitates a theoretical problematization. Through this, it also becomes possible for us to ask whether the predisposed reading of texts is in itself a mode of exercising power over the ethical predispositions of individuals and not necessarily a theory, which opts to pave the way for human emancipation. All of these will show that the spontaneous and habitual orientation of attention is inimical to the maintenance of reality. Therefore, the event of ascribing an identity towards one’s self is a reorientation of attention and a kind of ontological conversion, which affects the aesthetic, ethical, and political perceptions of the individual. In order for literature to be considered as a form of social practice, there are factors that need to exist. These are the writer, the reader, and the text. Spatiotemporal and material conditions may affect the relationship between the three. For example, not all authors know their readers and the meaning ascribed to a text is dependent upon the conditions within the society in which the text is located. There are other complexities in the relationship between the three. For example, by looking at the material conditions closely, we will see that writers normally write for a specific audience whose inclinations and attitudes they consider in the process of writing their stories. This leads to the creation of genres, which dictate how a particular form of literature will be read and considered. Of course, genre formation is not this simple but what I would like to emphasize here is that in the process of genre formation abstractions are being created and established within a system, which leads to the creation of a new set of categories and a new paradigm for assessing a literary text. Since writing occurs within a specific logonomic system, which constrains and determines the meaning of a text, it becomes important to consider whether what is being written and produced will not disrupt the dominant paradigm. That is why, within a patriarchal society, any form of literature that questions or presents another alternative to the normative form of existence becomes marginalized and silenced. True enough, there are instances wherein a space is provided for the existence of deviant perspectives. However, it should be noted that no dominant social discourse includes or exhausts all human practice, energy, and intention. On the contrary, it is a fact of all modes of domination that they select from and consequently exclude the full range of human practice. Therefore, when an excluded and marginalized discourse becomes incorporated or is allowed to exist within the dominant paradigm, it has already been reinterpreted to suit the dominant paradigm’s perspective. Such is the case of African American slave narratives. Acceptance of the aforementioned narratives within the literary sphere involves recognition of the African American existence as individual entities with their own ontology. It is important to note, that early slave narratives took the form of â€Å"spiritual autobiography, the providential tale, criminal confession, Indian captivity narrative, sea adventure story, and the picaresque novel† (Fisch 13). The religious character of such slave narratives accounts for the process of liberation [spiritual and then political] character of the aforementioned forms evident within the genre. Acceptance of the genre thereby involves a predetermined creation of an ontology for those who are depicted within the genre itself. Such an ontology is provided by the religious conversion associated with the narratives of the self evident within the aforementioned genre. According to Fisch, the acceptance of the genre was characterized by a form of â€Å"racial condescension that often takes the form of romantic primitivism† wherein the African American ex-slave is portrayed as a â€Å"’native people’ who were more virtuous since they were removed from the corrupting influences of society† (25). From this, we can see that African Literature faces the problems of categorization. Knowing that recognition will only be achieved when one is accepted within the dominant paradigm, there is a considerable desire to be a part of the canon. However, working with the knowledge that acceptance is tantamount to the loss of the subversive and revolutionary character of their writings; African American Literature strives for a form of recognition, which erases all forms of domination wherein the literary works from the centre, periphery, and the middle all possess equal ground. This is possible if we perceive African American Literature as a form of â€Å"minor literature†. Minor literature does not designate a specific literature but it refers to the recognition that all forms of literature have been placed in â€Å"revolutionary conditions†¦within the heart of what are called great (or established) literature† (Deleuze and Guattari 18). However, this recognition that all forms of literature once held a revolutionary position against the canon does not erase the dominance of a particular mode of perceiving texts. Drawing a boundary of what is or what is not African American Literature is a problematic exercise since the talk of African American writing aims to raise issues of difference by implying the presence and the absence of something that is not yet fully defined [African American identity]. Furthermore, the answer to the question is dependent upon the establishment of meaning in relation to the text. Within this perspective, meaning may exist in the identity apparent in the writer, the reader, or the text itself. However, there are problems with this viewpoint. If what is necessary for a text to be considered as African American Literature is the race of its writer, it becomes problematic when we consider a text written by a African American who has not yet identified himself with the struggles of the class and the race. Second, not all the texts produced by African American writers pertain to experiences of racism and slavery. Third, contrary to the constructivist’s account of the fluidity of identity, such a perspective is based upon the assumed fixity of identity of the writer.