Van Helsing

The style Stoker uses to write the novel Dracula, in a series of diary/journal entries, newspaper clippings, letters, and other documents, makes the story more horrifying and suspenseful. This is because as written this way, the story becomes personal. The reader gets the feeling that the story he/she is reading is true. The novel takes on the persona of a case file, which makes the story stand out as a true account of actual events. It makes the reader feel that these terrifying events could actually happen. This style of writing contributes to character development because the characters' personalities are unveiled through the writing.For example, when Dr. Seward describes Renfield, one gets a closer look into the psyche of Dr. Seward. In this excerpt, even though the reader receives a description of Renfield, the description is only what Dr. Seward sees and feels. It is a first-hand account of what a character thinks and feels through his own writing. The reader does not learn abo ut Renfield in this excerpt, but learns about Dr. Seward. This is so because Dr. Seward makes certain conclusions about Renfield, which may or may not be true. Dr. Seward states what he sees, perhaps not what Renfield is actually like.Renfield is a patient at Dr. Seward's insane asylum. Renfield is described as a refined gentleman who eats live creatures such as insects and birds. He believes that eating these living things gives him their life-force. Renfield fed the flies to the spiders, then fed the spiders to the birds, stockpiling their life-force. When he was denied a cat to which to feed the birds, Renfield at the birds himself. Renfield was used by Stoker to drive the plot. It was through Renfield that the reader first learned about Count Dracula as a vampire and Count Dracula's dark world.Renfield helped Count Dracula at first, but betrayed him because he was in love with Mina. Renfield protected her, and it cost him his life. Renfield is also an image of the theme of relig ion and eternal life. Renfield ate living creatures in an attempt to reach eternal life. He thought he would live forever if he could steal others' life-force. This is the goal of the Christian faith, to achieve eternal life. However, Renfield wanted to physically live, while Christians look forward to their souls having eternal life. Renfield contributed to the conflict because he helped all of the characters in some way.For instance, Renfield helped Dr. Seward and Van Helsing realize what Count Dracula was. Renfield also helped Count Dracula lure Mina and Lucy to him. He also helped Mina to escape Count Dracula. Without Renfield, their would not be a story. Renfield contributed to the conflict most when he helped Count Dracula in his evil plans. Renfield came under Count Dracula's control when Count Dracula made an offer to give Renfield an unlimited supply of food if Renfield helped him. When confronted by Mina, Count Dracula's obsession, Renfield tells her to run away.Count Drac ula finds out about this and is so angry that he enters Renfield's cell and breaks his neck. Without Renfield, Count Dracula probably would not have been able to do most of the things he did. Religion, as a major theme of the novel, plays a large role. Many items and people are deemed either â€Å"holy† or â€Å"unholy. † For instance, Van Helsing could be considered â€Å"holy† and Dracula could be considered â€Å"unholy. † Van Helsing likens his mission of chasing Count Dracula to one of â€Å"the old knights of the Cross. † (pg. 508) Therefore, Van Helsing could be understood as a righteous man, doing the will of God to rid the world of a monster.Count Dracula is considered a satanic figure and Van Helsing suggests that Christian icons, such as a crucifix, are the most effective weapons against evil. Stoker uses religious symbolism because he intended Dracula to be a cautionary tale, such as an urban legend. Dracula was written at a time when s cientific and social advancements, such as Darwin's theory of evolution and women gaining more liberties, posed a threat to the traditional, religious way of life. Stoker decided to personify this threat in Dracula. In another passage, Van Helsing criticizes Dr.Seward for relying too heavily on reason. It could be argued that Van Helsing is the protector of tradition while Dr. Seward is a man of science. Van Helsing goes so far as to actually blame science for Dr. Seward's logic thinking. Van Helsing believes that one should rely heavily on faith, not science. This might connect to the novel's central theme of the consequences of modernity because science is a threat to religion like Count Dracula is a threat to the other characters in the story. – Stoker, Bram. Dracula. United Kingdom: Archibald Constable and Company. 1897.

Memorable and Striking Essay

How Charles Dickens Creates Characters That Are Both Memorable and Striking  One of Charles Dickens’ greatest strengths is his ability to create characters that are both believable and memorable. Dickens appealed to all classes of society: to intellectuals and simple folk alike. In ‘Great Expectations’, which was published as a weekly serial, examples of his strengths fill the novel, and this is perhaps why ‘Great Expectations’ has remained as popular now as it was when it was first written. It was not until 1823 that Charles and his family moved to London from Portsmouth. Up until this time he had a happy family life and was doing well at school, already he was a great reader. However life in London was very different, the family had no money, Dickens could not go to school and his father was imprisoned for debt. At the age of eleven he had to work in a shoe-blacking factory and this left a long lasting impression. This experience was relatively short-lived, the family situation improved and he was able to return back to school from there to working in a lawyers office, teaching himself shorthand. By the age of twenty he had become an established newspaper reporter and started to write short stories in his spare time as well as directing and acting in amateur dramatics. Even by his mid twenty’s Dickens’ ability to absorb and portray information was remarkable. Partly due to his tremendous literacy knowledge (for example he read Defoe, Fielding when he was very young) and also as a result of his employment (he frequently reported on Parliament for example) he was able to use his detailed knowledge of London life and people in his writing.  In this essay I intend to discuss the characters of Pip, Joe Gargery, Miss Havisham and Abel Magwitch, because I think these four between them demonstrate Dickens’s expertise at blending character, plot and setting within the novel. One of the techniques that Dickens uses is first person narrative. The book is written from the point of view of Pip who narrates using personal pronouns such as ‘me’ and ‘I’. This technique is effective because it shows the viewpoint of a character (namely Pip) who is able to use personal details and clearly describes surroundings.  Pip is the person on whom the whole novel revolves; the novel starts and ends with Pip. The dictionary’s definition of a pip is ‘ a small hard seed of an apple, pear or orange’. This is relevant to Pip in a way because he is a person who should develop or grow from a ‘small bundle of shivers.’ However, his circumstances at the beginning of the novel give us the impression that this will not allow him to develop. During Pip’s early childhood, he is unjustly suppressed and bullied by his sister, and to a lesser degree, by Pumblechook at the Christmas dinner and the rest of the village.  Ã¢â‚¬Å"You would have been disposed of for many shillings†¦and Dunstable the butcher would have come up to you as you lay in your straw,†Ã‚  Ã¢â‚¬Å"You come along and be dosed.†Ã‚  Pip is regularly fed tar water for any simple wrongdoing by his sister who also chastises him regularly with the ironically named ‘Tickler’. Although Pip has the friendship of his brother-in law Joe, this is not enough to stop him developing into a timid, undernourished yet sensitive child. Pip next has pressure put upon him when he goes to Satis House and has his first encounter with Estella and Miss Havisham. Pip’s overwhelming love for Estella and his change in attitude and behaviour towards others hide the real values of life. He becomes ungrateful to Joe and from time to time, his conscience tells him he has behaved badly but finds it difficult to change. It is quite easy to criticise Pip for his change of feeling towards his life long friend Joe, but we must understand that he has been deeply affected by the bullying which he had suffered in his early years at the hands of his dominating sister, as well as his need to improve his life-style. Pip is also rather gullible, we can see this in his encounter with the convict – he really believes that the convict namely Magwitch will tear his liver out; this is because of the atmosphere of death in the graveyard. Also the way that Magwitch speaks in his rough and raspy voice.  When Pip meets Estella, he is taken in by her charms. For the first time he becomes aware of the social differences and background between them. This makes him feel dissatisfied with his life, he feels ashamed of his home, of his ‘coarse hands’ and ‘thick boots’ and the first realisation that life could be better enters his mind. Unfortunately Pip becomes rather distant from his peers and when he finds out he is to come into fortune (his ‘Great Expectations’), he is quick to drop his childhood friends and family in case they embarrass him. Although sometimes he feels guilty about this, he still acts this way. Moving to London and meeting Herbert Pocket again inspires Pip to be more like him, a young gentleman.  However, Pip leaves behind one of the only true gentlemen in the novel Joe Gargery is a blacksmith who is married to Pip’s sister.  Ã¢â‚¬Å"A giant of a man, with fair hair curly hair and mild blue eyes.†Ã‚  Joe is an honest, kind and simple man who becomes a father figure to Pip. Throughout the novel he is one of, the few characters who does not really change. Joe shows the dignity and strength of a gentleman as he is still loyal to Pip, despite Pip’s neglect of Joe. He is able to accept his wife’s harsh personality without showing his true feelings and he finds it difficult to stand up to her strong will. Although partly educated, he is always willing to learn, and is very proud at Pip’s good fortune, and is happy to stay in the background whilst Pip is in London receiving his training to ‘become a gentleman’. Miss Havisham is a bitter old woman whose heart and mind are as decaying as the house in which she lives. When Pip first meets Miss Havisham ‘†¦the strangest lady I have ever seen†¦Ã¢â‚¬â„¢ she is wearing ancient yellowed bridal clothes and he notices that everything in the room is gloomy, faded and old. All the clocks and her watch have stopped at eight forty am. ‘I saw that the bride within the bridal dress had withered like the dress†¦Ã¢â‚¬â„¢

What makes a true community

Catholicism and Community Presentation T: According to the secular definition of community; Is It a group of people living In the same area with particular characteristics In common. Within the community there Is a feeling of fellowship for others, common attributes, Interests and goals. Communities are everywhere and they have a big Impact when shaping who we are. That Is why It Is Important to surround oneself with communities that reflect and lead us to who we really are. In terms of Catholicism, as humans we are very social which is part of our vocation.Therefore a community in the Catholic view is defined by the following†¦ G: A community is a gathering of a group of people that come together in solidarity to shape the world through the common good. For example, around the world the Red Cross supplies areas suffering from various disasters with relief. This picture exemplifies the community of volunteers that have come together to do the common good of helping out the less fortunate. This group of people represent the visual aspect of community. Without everyone's contribution people stand In isolation and Individualism.Plus even through group members can come from different backgrounds they work and put their deliverables aside to become equal. That Is why everyone's role Is essential when working toward the common good. T: A community gives loyalty and respect to the commitment of the community and positive actions. The quote that we choose to represent this is â€Å"Loyalty has its roots in respects, and respect is the fruit of Love† by Paulo Cello. This quote means to us that loyalty comes from the respect of the community. So therefore when people are respectful they show this through love.When a community is respected and you omit your time to it; it is another way to show love towards it and when you do this ultimately with the right guidance the community will develop positively. G: A community helps, supports and loves one another to d evelop social aspects. Knowing that we are social beings it is important to strengthen our social qualities. A community will support and help each other through thick and thin. In result from all of these encounters with one another we are developing our social valuables. Just like In the picture with all of the people communicating and Interacting with one another.The more we help the more we will be able to love and comfort each other and feel belonging to our social surroundings. Which overall will help what our call to be social. T: A community develops values and receives true happiness from doing the right thing. Whether by exercising rights, opinions, or sharing knowledge to understand perspectives and concepts one must develop values to do the right thing. Our values and morals inspire us to do good and true happiness will follow our actions. Life can be considered like a ladder, at different rungs comes new experiences and new values are learned.When new values are learned and applied within the community or outside of it, a true sense of happiness follows from doing the right thing. And a key thing to remember Is that climbing a ladder can't be accomplished alone Instead with a community to hold and steady the ladder for you. G: A community grows together and develops ones Identity, Through displaying talents and surrounding yourself with positive people you will learn more about interests. A community will teach you more about yourself than you could ever. By being with similar people to you, over time you will be able to reveal you own identity.This is part of the spiritual aspect of community and how we develop our conscious. To represent self revelation we showed this through a mirrors and the community holding them up. From the help of others to self reveal the whole community benefits and grows. T: A community takes responsibility for each other's happiness. The people within a true community with the same values will take responsibility to ma ke sure that everyone is having a similar feeling and understanding to take away from the experience. Kids are always full of Joy and happiness, primarily when they re around a group of friends.They always look out for each other and pick each other up when they are done. Communities have the same responsibility as kids do for their group of friends. They have to look out for each other's happiness and take responsibility that everyone is happy. G: Community is very important too Catholic's life and they are everywhere and began right at the beginning with the creation story of the Earth and Adam and Eve. This includes their responsibility to have dominion of the Earth. Therefore our tree in the background of our collage represents the Garden of Eden.In fact, a tree acts as community too; every part of a tree from the bark, roots to leaves and fruit must function for the community-based structure to work properly. This sense of community is very similar to modern day communities and our need of relationships. T: In conclusion, a community is a group of people in solidarity to shape the world through the common good, it is given loyalty and respect to complete these positive actions, it develops us into social beings through support, we receive happiness and values from the good, by working together we reveal our true identity and responsibility is taken for others happiness.

World's Fair Assignment Example | Topics and Well Written Essays - 500 words

World's Fair - Assignment Example These ideas manifested as planning to which the author refers to as usable future. In authors view, the theme of the fair was a new concept; he urges the reader to believe that what was being offered to the viewers was nothing more than fantasy. Fantasy was presented to the viewers to allow them to imagine and accept it as reality. Once accepted as reality, fantasy tends to arouse the desire to seek for what is being offered. Fantasy was presented in various forms; at some places it took the form of solutions to their problems while at other places the purpose was to highlight their cultural prospects. Referring to the modern art, the author asserts that there are two basic mental processes that give rise to the various forms of art whether abstract or other. Geography which follows logic as its central theme and conforms to the rational understandings of humans. Geomancy on the other hand is the product of exposure to inner experiences while following an "arbitrarily permitted number of variables". This assumption may be true for some kinds of arts, yet may not be applicable to all art forms. In authors view, geometry is appealing since it only has to be "internally logical"; while geomancy is tempting as it engages the role of viewer along with the artist to bring out something positive - clearly surpassing the limits set by logic. While talking about the relative success of geometry and geomancy the author is of the view that geometry has in influence far more prominent than geomancy. The reason for this is the fact that modern day consumers have lost their ability to appreciate the sensitive aspects of art which highlight things like "feeling, emotion, intuition and manticism". Since geometry depicts the creativity in measurable and logical manner and inhabitants of the modern world are tuned to follow and understand such presentations – geometry is more successful in art

Contract law- problem question Essay Example | Topics and Well Written Essays - 1000 words - 1

Contract law- problem question - Essay Example (Thomas v. Thomas)2 The position in respect of existing obligations under a contract and whether they can act as good consideration will now be discussed. One of situation is the one where variation of existing obligations under a contract between the parties occurs.The principle has been modified but the extent to which such modification applies remains unclear. The long established principle in respect of variation of terms and promises in that respect was that of Stilk v. Myrick3whereby it was a long accepted principle that if there was an existing contractual obligation it could never be relied upon that is it could not as good consideration for a fresh promise with the person to whom the existing obligation was owed.. The decision of Stilk and it being good law is doubtful after the case of Williams v Roffey Brothers4the facts of the case were that carpenters, plaintiff, while doing their work, asked the defendants for additional amount of money to finish the work even though they were no doing anything more than what they were already obliged to do. After completion of the work the defendants refused to pay the plaintiff. The main argument that was put forward was that there had been no consideration for the defendants’ promise to pay the additional amount and the decision of Stilk and its application would lead to the promise being construed unenforceable. However, the Court of Appeal found that that plaintiff’ could recover the promised payments for completion of work of the flats, the Court gave a broader meaning to consideration than what had been previously given. The reasoning of Glidewell LJ in particular referred to the point of ‘practical benefits’ which were likely to have accrued to the defendants as a result of them paying the additional promised amount of money, these were that such a promise ensure that the plaintiffs stayed and continued work thus the

Douglas Holt - how brands become icons Essay Example | Topics and Well Written Essays - 750 words

Douglas Holt - how brands become icons - Essay Example Followers are the consumers who value a brand the most. Next are insiders who are somewhat critical to a brand. The author has linked the success of a brand with the cultural understanding of consumers while discussing the theory for the development of iconic brands. Douglas Holt has given some valuable suggestions for development of the branding strategy. The suggestions are based on the in-depth study of the historical records of some key iconic brands, such as, Harley-Davidson, BMW, and Coca Cola. One of the main points that Holt has raised in the book is that brands do not become icons by focusing only on the benefits and functions; rather the more important thing in this regard is to create a valuable place for the brand in the national culture. The author has come up with a new branding model named ‘cultural branding’. Cultural branding is a phenomenon that is applicable to a range of categories in which consumers adopt the use of products as things which can expre ss their identities. Some prime examples of cultural branding are also discussed in the book that can be used to express consumer identity. Some of the main examples include famous places, politicians, musicians, cartoon characters, famous heroes and heroines, and sports stars. Apart from this, the author has asserted that companies need to follow hybrid strategies to create iconic brands, such as, Apple, Harley, and Coke. The author has given example of BMW, which is a renowned automobile company, by saying that the company focuses on cultural branding along with a conventional focus on quality reputation in order to remain on top. The author has given example of Budweiser advertising in the initial chapters to show the role of advertising and marketing in creating iconic brands. Advertising is the key to success of a product in any particular market. If a company succeeds in creating a positive image about its products in the mind of consumers, the ways towards forming an iconic b rand becomes easier. To make a product an important part of the popular culture, companies need to develop and follow such marketing and advertising strategies that can set a high place for the brands in any particular society or culture. In the book, the author has proposed three key principles that validate the creation of an iconic brand. The first principle given by the author is that iconic brands are those which are able to deal with the severe contradictions in society. Iconic brands go beyond the functional benefits by grouping the collective desires of people of the society. Next principle is that iconic brands inject a sense of independence and strength in the mind of consumers. Such words are used in the ads that make a person escape from the realities of life. The last principle is that iconic brands work as status symbols for people. For example, a person owning a BMW car and wearing a Rolex watch is assumed top be a successful person in the society and that perception is usually same all over the world. These are the principles that are mentioned in the book by Douglas Holt that confirm the value of a brand as an iconic brand. The author has used the case studies of some of the most famous iconic brands to support the proposed principles regarding development of iconic brands. The main point raised in the book is that cultural understanding is the factor that plays the most vital role in building an iconic brand. Moreover, it is also

HSBC Plc Essay Example | Topics and Well Written Essays - 2500 words

HSBC Plc - Essay Example rce capability, HSBC provides a comprehensive range of financial services: personal, commercial, corporate, investment and private banking; trade services; cash management; treasury and capital markets services; insurance; consumer and business finance; pension and investment and management; trustee services; and securities and custody services. financial services in 83 countries and territories. It provides its customers with a wide range of banking and other financial services, selected to complement its strategy in each market. Where HSBC enjoys large scale – or, in the case of emerging markets, where scale can be built – it offer a full range of personal financial products. In other markets, it participates more selectively, meeting the needs of customers with strong international connections. Sometimes it innovates and at other times, it relaunches some products as per the need of the market. HSBC has adopted a unified brand, using HSBC and its hexagon symbol nearly everywhere it operates, with the aim of enhancing recognition of the Group and its values by customers, shareholders and staff throughout the world. The branding initiative allowed HSBC to develop new services and products on a worldwide scale, all bearing the Group’s identity. Since 2002, the HSBC identity has carried the strap line â €˜the world’s local bank’ emphasising the Group’s experience and understanding of a great variety of markets and cultures. HSBC follows the Product Invention Strategy(Kotler,422) . This means that either it develops new products or reintroduces earlier product forms and promotion does not change. It could be diagramatically represented as follows: Managing for Growth Strategy: This strategy provides HSBC with a blueprint for organic growth and development. This strategy was launched in 2003 and would continue up to 2008. The plan aims at guiding the Group to achieve management’s vision to be the world’s leading financial services company. The company

R Sennett The Corrosion of Character. The personal consequences of Essay

R Sennett The Corrosion of Character. The personal consequences of work in the new capitalism. Norton 1999 - Essay Example There is no argument that change is sometimes good although often it disrupts people’s lives and may be traumatic. The bone of contention with sociologist Richard Sennett is that change and especially technological advances is the root cause of worker’s woes and the source of injuries to and corrosion of character. It has transformed the capitalist economy into a new form of â€Å"flexible capitalism† or what Sennett calls â€Å"New Economy† which is less concerned about interpersonal relationships. In Sennetts words it is â€Å"a regime which provides human beings no deep reasons to care about one another† (1999, 148). It has brought about new ways or working such as flexibility whereby jobs are replaced with projects and also involves reengineering, de-layering, downsizing; teamwork, decentralization and control; flextime; illegible work; disposablw workers and new work ethic not based on hard work like the earlier protestant ethic promoted by Max Weber. This in turn according to Sennett has brought injuries to employees as well as corroded their character as now they are unable to make a coherent narrative of their lives or build their identity around work. This essay will explore Sennett’s work The Corrosion of Character: The personal Consequences of Work in the New Capitalism to gain an insight as to how new ways of working injures and corrodes character and, whether it has made employees disposable and precarious workers and causes and consequences of such work in the modern corporation. The world of work is characterised by change. Sociologists like Jean Jacques Rousseau, Thomas Hobbes and John Locke give detailed accounts of how modern states and institutions emerged from state of nature to civilisation. In the state of nature, men hunted and gathered fruits for their sustenance. They then developed crude tools to skin animals and also for farming. With bountiful harvest and domestication of

Construction Law and Safety Essay Example | Topics and Well Written Essays - 1750 words

Construction Law and Safety - Essay Example The offense is one of strict liability, which means that it does not matter if the statement was intentional or negligent, but, rather, just that the statement was made and that the statement was false. So, in this case, Jimmybuild Ltd., if they made a statement with regards to the condition of the building, any kind of statement to Nina along those lines, and did not mention the fact that the foundation was defective, they would be liable under the Property Misrepresentations Act 1991. A statement that contains an omission would make Jimmybuild Ltd. liable under the Act, so, because any statement regarding the condition of the property would contain that omission, Jimmybuild Ltd. would be liable. Peter, the surveyor, may be at risk of negligence. According Murdoch (2005) surveyors may be guilty of negligence when they do not use skill in preparing their reports and the homeowner relied upon the surveyor’s report (Murdoch, 2005, p. 1). Privity of contract has historically been used as a defense on the part of the surveyor, as there was not privity of contract between the homeowner and the surveyor. Therefore, historically, the homeowner could not recover damages from the surveyor. However, the case of Hedley Byrne v. Heller [1964] AC 465 changed this rule. Heldley concerned appellants who were advertisers with a client named Easipower. Easipower defaulted on contracts to advertise on certain television and radio programmes that were procured by the appellants, making the appellants personally liable on the contracts. The appellants, however, had relied upon reports prepared by the defendant bank in which the defendant bank, Heller and Partners, which stated that Easipower was creditworthy, when, in fact, Easipower was not. The lower court ruled that the bank did not owe a duty of care to the Appellants, because the lack of privity of contract. However, the decision in the House of Lords was that proximity was not necessary to establish when attempting to show whether there was a duty of care owed (Hedley Byrne v. Heller [1964] AC 465). Therefore, privity of contract is not necessary, and an individual may sue a surveyor for negligent misstatements or omissions. Yianni v. Edwin Evans & Sons [1982] QB 438 carried this principle through, and this case is on point for the facts at hand. In Yianni, the surveyors made a representation that a house was suitable for a loan of ?12,000. However, because of structural and foundational flaws, the house was actually worth very little, yet the appellant relied upon the representation that the house was worth ?12,000 and procured a loan based upon this representation. The court still found in favor of the appellants, thus establishing the fact that privity of contract was not necessary for the appellants to collect damages. (Yianni v. Edwin Evans & Sons [1982] QB 438). Thus, Yianni established that not only does there not need to be privity of contract to sue, but that, if the individual who reli es upon the report is of modest means, there are no grounds for contributory negligence. These cases establish that privity of contract is not necessary. Nina did not have a contract with the surveyors, but, rather, had a contract with Jimmybuild Ltd., but this does not matter, she can still sue Peter and

Ethnomethodology Essay Example | Topics and Well Written Essays - 1500 words

Ethnomethodology - Essay Example As a function of this realization, the following analysis will engage the reader with a discussion of a global village, comprised of only 100 people – with representatives from around the globe, as well as seeking to promote a further level of understanding and appreciation for the way in which a more equitable representation of life within this village could be affected. It is the hope of this author that such a level of analysis will be beneficial and eye-opening with regards to many of the issues that currently face the global system. From the prompt of this essay, it was noted that of the 100 individuals that comprise the population of this village, 50 of them would suffer from now nutrition, one of them would be dying of starvation, over 80 would live in substandard housing; moreover, of the 67 adults that would live within this village, over half of them would be unable to read or write. More specifically, only one individual within the entire village would have a colleg e education. Of the 50 individuals who were members of the paid workforce, only 33 could define themselves as full-time employees with a stable/steady job. Interestingly, of these 100 residents in such a village, only five of them would be American. Yet, these five American individuals would hold 32% of the wealth of the entire village; by means of comparison, 33 people would live on 3% of the total wealth of the village. From the statistics that have thus far been presented, it can clearly be denoted that a fundamental level of inequality and disparity is represented within such a global village. Ultimately, the query for this particular analysis is concentric upon trying to understand the way in which the wealthy five individuals could live in peace with their neighbors; serving as a microcosm for the greater argument of how the United States, a uni-polar force and dynamic economic powerhouse within the world, can continue to integrate a fair and equitable manner with the world th at suffers from inequality, poverty, hardship, lack of education, and all of the other issues that have thus far been represented. The first step that can and should necessarily be made with regards to creating a more ethical and moral approach to the global realities that define our world, is with regards to demanding a level of educational parity around the world. Since the conclusion of the Second World War, the United States and other powerful Western economies have been in the position to enforce legislation and global commands upon a litany of different nations around the globe. Invariably, these requirements have been concentric upon economic requests and constraints of financial integration. However, in order to impact upon poverty, hopelessness, starvation, and a litany of other different issues that were researched and covered within the introduction of this brief analysis, it is absolutely interval to demand a level of educational attainment and access to each of the indi viduals living within this global village. Experts and scholars have long denoted that almost each of the negative realities that currently define the inequality that exists between the very rich and the very poor are contingent upon an overall lack of access and/or a lack of

Roman Stoic Philosophy Essay Example for Free

Roman Stoic Philosophy Essay Stoic Philosophy What is Stoic Philosophy? Stoic Philosophy is the school of philosophy founded by Zeno, who asserted that men should be free from passion. Roman Stoic Philosophy was a big part of the roman everyday life. Some major parts of Stoic Philosophy are how it started, the ethics, what the stoics viewed philosophy as, the most famous stoics and what stoicism is. â€Å"The philosophy of stoicism was started in Hellenistic Athens, by Zeno of Citum, who had been trained in the philosophy of the cynics, and spread to Rome where it was embraced by many Romans, including the Republican throne in Julius Caesar’s side, Cato the Younger. (Stoicism-Greek philosophy of the stoics) The Romans adopted the Greeks Gods and their philosophy. The Romans culture had a heavy Greek influence in it. The Romans made stoicism their philosophy. The stoic’s ethics set them apart from other philosophers; they believed you needed to live in agreement with nature to be a happy person. â€Å"The stoics claim that whatever is good must benefit its possessor under all circumstances. † (Stoicism) The Romans used the ethics of the famous Greek philosopher, Aristotle, to form their ethics. Aristotle’s ethics provides the form for the adumbration of the ethical teaching of the Hellenistic schools. † (Stoicism) Aristotle was a famous scientific philosopher who learned from another famous stoic Plato, he learned from Socrates who was the first great Greek philosopher. The stoics believed that philosophy was a way of life; they found themselves superior to the other citizens. â€Å"They think of philosophy not as an interesting pastime of even a particular body of knowledge, but as a way of life. (Stoicism) The stoics took their work extremely seriously; they helped in several other fields such as astronomy an d the art of healing. The Romans thought very highly of the stoics. Some of the most famous stoics are well recognized people to anyone who has a basic understanding of philosophy. Two of the best known Roman Stoics were â€Å"Epictetus, a slave, and Marcus Aurelius, an emperor. † (Stoicism, the philosophy of Rome) Then you would obviously have to add the creator of stoicism, Zeno of Citium. Stoicism is basically an indifference to pain and pleasure. â€Å"Stoicism was one of the new philosophical movements of the Hellenistic period. † (Stoicism) The stoics were all about studying mans nature, why they do what they do. â€Å"The best stoics of all time cared much for human nature and human freedom. They studied men, and found man’s nature to be essentially rational. † (Philosophy-Stoicism) As was earlier stated; they believe you must live in agreement with nature to be happy. You must remain poised in any situation that you might have come in your life. As you can see Roman Stoic Philosophy was a big part of Roman life and is studied by many people who enjoy the study of philosophy, its one of the more well recognized types of philosophies due to its tie with the Roman Republic. The views the stoics had and their ethics were like no other philosophers before them. Stoicism was derived from one of the most well known philosophers of all time, Aristotle. It’s one of the greatest forms of philosophy in history. orks cited Baltzy, Dirk. â€Å"Stoicism† Stanford encyclopedia of philosophy. 2010 5 Nov. 2012 Stanford University Parker, Proffeser Charles Pomery â€Å"Philosophy† The Harvard classics. 2012 8 Nov. 2012 Harvard University â€Å"Philosophy-Stoicism† 27 Nov 2011 8 Nov. 2012 â€Å"Stoicism-Greek Philosophy of the A stoics† ancient, classical history 12 Nov. 2012 â€Å"Stoicism, the Philosophy of Rome† 5 Nov 201 2 Thorstein, Runar M. â€Å"Paul and Roman Stoicsim: Romans 12 and contemporary Stoic Ethics† Journal for the study of the new testemant 2006 5 Nov 2012

The Shawshank Redemption Essay Example for Free

The Shawshank Redemption Essay The Shawshank Redemption You have just been given a life sentence imprisonment to be served out in Shawshank Prison. Your world as you know it will be turned upside down. Inside these brick walls everything will be different. Or will it? You are no longer part of society as a whole, but you are now part of a smaller society, the Shawshank prison. Like the large society you just left the prison has the same five social institutions that every society has, just in different forms. You will see a government enforcing the harsh rules of the prison, develop new relationships with fellow inmates who will become your family and educate yourself both academically and spiritually. From the moment an inmate arrives at Shawshank Prison it becomes obvious who makes the rules and who enforces them. Warden Norton’s speech to the prisoners when they first arrive makes this clear as his exclaims, â€Å"your ass belongs to me†. The fatal beating of â€Å"fatass† by the guard Hadley reiterates the fact that the prisoners have no voice inside the prison walls. Step a foot out of line or say something the Warden does not like and it’s off to solitary confinement. When Andy calls the Warden â€Å"obtuse†, because he would not help him prove his innocence Andy is locked in solitary confinement for two months. The Warden will even abuse his power and purposely execute an inmate he feels could get in his way. Tommy Williams is wrongly executed when he tells the Warden he will gladly testify to help prove Andy’s innocence. Of course the shooting is posed to look like â€Å"a tragic accident†. The government, or basically whatever Warden Norton says, is harsh and corrupt and there is little to nothing the inmates can do to help themselves. Although Shawshank prisoners leave their blood families behind they soon acquire a new one, their fellow inmates. Although not a traditional family the inmates actions towards each other are no different then those of two brothers. Family members are willing to take risks and make sacrifices for each other. When Andy is sitting in the Warden’s office and begins playing the record with the two singing Italian woman he is taking a risk so he can give his fellow inmates a much needed lift of spirits, if only for a few moments. Red and Andy are especially close, so when Andy uses his connections to get Red a harmonica to spark hope inside of him, it is because Andy is concerned for Red’s well being and state of mind, the same way a brother would care. Family members also have unconditional love for one another. No matter what crazy, idiotic things family members do for the most part they can forgive one another and move on. When Brooks goes crazy and whips a knife out on Heywood everyone is able to look past his momentary lapse of judgment and forgive Brooks. Although slightly shaken up even Heywood does not stay angry for too long. As family members the inmates can forgive each other for their mistakes. Although Shawshank prisoners are not receiving a formal education they are still educating themselves academically and spiritually. With the money that Andy receives from Congress he sets up a library to help his fellow inmates grow intellectually. He even goes a step further to help Tommy Williams and several others study to get their GEDs. However most of the education a prisoner receives at Shawshank is not the kind you learn in a classroom, but the kind that makes you look at life differently. Andy helps teach Red that hope does not â€Å"make a man go insane† but that it â€Å"can set you free†. When Red sits before the parole board after serving forty years of his life sentence the speech he makes differs greatly from his two previous speeches. This one shows a great amount of personal growth and understanding. Even if he stays locked up in Shawshank for another forty years he has found the hope inside of him that has already set him free. What he has learned in his time at Shawshank is something that cannot be taught, it is learned from experience Your new life at Shawshank will be filled with much pain, frustration and injustice just like it was when you were out of prison. But you will still have people there to support and care for you just like you did when you were out of prison. You will still have ways to empower you mind and grow as a human being just like you did when you were out of prison. Life at Shawshank will take time to adjust to but as long as you keep hope inside you will always be free just like when you were out of prison.

Constructs of Orientalism and Stereotyping Eastern Women

Constructs of Orientalism and Stereotyping Eastern Women According to Edward Said, the West constructs a notion of the East as â€Å"other,† through orientalism which turns the East into a place to be feared or desired as an image of the Wests imagined â€Å"otherness.† as noted in the work of Peter Brooks Mahabarata, and contemporary films like we have seen in Avatar, or of practitioners that subvert and challenge orientalist perception found in the West, as we have seen in M Butterfly. Through an examination of performance from at least two different cultures, show how the theatre is used to either exotify the other in a kind of â€Å"Oriental Gaze,† and the work of other contemporary practitioners who wish to challenge these â€Å"otherings† of a culture. Introduction The phenomenon of orientalism in art and literature is one of the most historical and cultural phenomena. The idea of orientalism played an important role in literature of the eighteenth- and nineteenth-century in Europe, It was more widely referring to the portraying of the East by Western artists, as the fascination with the orient influenced many of the romantic writers who situated novels and poetry about the mysterious Eastern lands and also dazzled many famous painters who were surprised and impressed by the charm and beauty of the East. These painters translated that fascination in their paintings using many methods, while some of them painted what they actually saw and experienced in the East, others painted their imagination about the myths and magical tales of the mysterious East. The East became an interesting destination for travellers, many of whom went on to write about and paint their experiences in the exotic lands among unfamiliar peoples and customs. In arts in gene ral, the orient became associated with beautiful landscapes, eroticism and mystery. Many scholars place the beginning of postcolonial studies in history, literature, philosophy, anthropology, and arts at the publication of Saids orientalism, published in 1978. Said focuses his attention in this work on the interplay between the Occident which refer to the West and the Orient, which refer to the East. In this essay I will explore the meaning of the other and otherness from the perspective of the European gaze. I will try to find out how the west sees the east by focusing on their image of the eastern women through theatre as it is one of the important arts that reflect the community gazes, by analyzing the â€Å"Veil† symbol and it representation through Oscar wild play â€Å"Salome† and the â€Å"Fan† symbol through Puccinis opera â€Å"M. Butterfly†. As well as I will show how some practitioners subvert and challenge orientalist perception in the West and also how they sometimes fall victims to the stereotyping in the middle east of the challenges. Orientalism Orientalism broadly defined, as the representation of the Eastern world by the western world, more deeply, as the study of the Orient by western scholars and their evaluation of its social and moral values, and its future prospects. The beginning of oriantalism perception was in the 19th century by scholars who translated some writings of the East into English, in order to know more about the Eastern cultures which will empower the west with knowledge of how to conquer and defeat the Eastern countries (Sered, 1996). By the mid-19th century oriental studies expanded and became important to many scholars. However, racist attitudes and stereotypes have become inherent to this cultural movement. The West saw the Eastern art and literature as exotic and inferior to their ideals. Many critical theorists pointed out that there is much that can be learned about the Wests image of itself through the way Western writers have portrayed the orient The idea of the oriental as the â€Å"Other,† or the mysterious unknown, reflects the European concerns about ones own identity (Byington, 2001). Orientalism is a way of thinking about the East as strange, exotic, dark, mysterious, erotic and dangerous, and has helped the West to define itself through this contrasting image. The west had always seen the East as inferior and to rationalize the colontiastion of the East, they had to define eastern people as despotic or stagnant and in need of Christianizing, civilizing or controls (Hà ¼binette, 2002). Edward Said and Orientalism Orientalism is a style of thought based upon an ontological and epistemological distinction made between the Orient and (most of the time) the Occident†¦ In short, Orientalism as a Western style for dominating, restructuring, and having authority over the Orient. (Said, 1978) The most influential critique on orientalism came in 1978 with Edward Said. He managed to attack the oriental perception not only to our notions of the ways in which the West constructs representations and portraitures the East but, to how the ideology of Othering is facilitated through Art and literature in his book â€Å"Orientalism†. According to Said, the West has created a â€Å"dichotomy† between the reality of the East and the romantic notion of the Orient. The Middle East and Asia are viewed with prejudice and racism. The West has created a culture, history, and future promise for the East. On this framework rests not only the study of the Orient, but also the political imperialism of Europe in the East. He discussed the dialectical relationship between Occident and Orient as is a manifestation of â€Å"us versus them† (Said 1978). Said argued that Orient and Occident worked as oppositional terms, so that the Orient was constructed as a negative inversion of Western culture. He studied many works of European scholars and writers specialized in the peoples of the Middle East in order to denounce the relations of power between the colonizer and the colonized in their texts. Said thinks that by knowing the Orient, the West came to own it. So according to Said, it is imperialism which motivated orientalism. Without imperialism, westerners would never have study near and Far-Eastern societies and culture (Sered, 1996). Said asserts that according to the Occidentals, the Orientals had no history or culture independent of their colonial masters. Orientalism is more an indicator of the power the West holds over the Orient, than about the Orient itself. After Said, numerous studies have been published on the different orientalisms of the West that various countries and cultures of Asia have suffered. Among many orientalists, Said ´s book provoked angry and sometimes even hateful responses, while others declared themselves ready for a fundamental change of attitude towards Asia and the Asians, their objects of study. Said ´s theory of orientalism has also provided feminists and post-colonial theorists with a general method of understanding the nature of oppression (Hà ¼binette, 2002) Said argued that the West has stereotyped the East in art and literature, since antiquity such as the composition of The Persians by Aeschylus so in modern times, Europe had dominated Asia politically that even the most outwardly objective Western texts on the East were permeated with a bias that Western scholars could not recognize. Western scholars appropriated the task of exploration and interpretation of the Orients languages, history and culture for themselves, with the implication that the East was not capable of composing its own narrative. They have written Asias past and constructed its modern identities from a perspective that takes Europe as the norm, from which the exotic, inscrutable Orient deviates. Said concluded that Western writings about the Orient depict it as an irrational, weak, feminised Other, contrasted with the rational, strong, masculine West, a contrast he suggests derives from the need to create difference between West and East that can be attributed to immutable essences in the Oriental make-up. A mean of expressing cultural and social identity The term oriantalism was increasingly used by sociologists and other scholars since the 1990s, to refer to ethnocentrism, stereotyping, and cultural representations of the Eastern societies (Chua, 2008). Orientalism became a way of thinking about the world and the cultures that inhabit it. It acquires global significance through the identification and provision of these cultures in ways that support, even promote, on a political and economic superiority of the West. Edward Said, pointed out in his definition of Orientalism that the Orient is â€Å"almost a European invention, a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences† (Said, 1978). He also pointed that the Orient helped the West to define itself, as it consider to be a contrasting image in terms of people, ideas, experiences, etc. As Orientalism lives on in the academic world, many writers, ideologues, journalists, political, historians, poets, painters, moviemakers and others contributed to the Orientalist vision of the world, they justify that by the impossibility of studying the Orient, without being influenced by Orientalism. The other and the otherness The other can be defined as the image outside oneself, each different yet somehow the same and, therefore, connected by their reflection. It can also be understood within the double of self and can be seen as organizing the very existence of individual subjects. While otherness is the condition of being different from that otherwise experienced or known (1). The term The other is usually used by social, ethical, cultural, or literary critics, they use this term in order to understand the social and psychological ways in which one group excludes or marginalizes another group. By using the term â€Å"other†, the persons begin to notice the dissimilarity from another, and this is usually shown in the way they represent others, especially through stereotypical images. The West used these terms to identify what they didnt understand about the Eastern culture as the contemporary preoccupation with other and otherness in the west which represents a concern for personal identity. But in order to understand the Eastern culture they had to exclude them from the normality and surrounding them with mystic cloud thus the focusing on â€Å"otherness† became a way of understanding the cultures differences more than similarities ((Portis, 2009). Portrayal of the Orient in arts In the nineteenth century, when more artists travelled to the Middle East, they began representing more numerous scenes of Oriental culture. In many of these works, they portrayed the Orient as exotic, colourful and sensual. Such works typically concentrated on the Middle East countries. French artists such as Jean Auguste Dominique Ingres who painted many work portraying the Middle East culture. When Ingres, painted a highly coloured vision of a Turkish bath, he made his eroticized Orient publicly acceptable by his diffuse generalizing of the female forms. Even so, in contrast to Eugà ¨ne Delacroix who had visited an Algerian harem in person which after he painted the Algerian harem, Ingres never travelled to Africa or the Middle East to see such subjects in person, and the courtesans shown are more Caucasian and European than Middle Eastern or African in appearance. For Ingres the oriental theme was above all a pretext for portraying the female nude in a passive and sexual context. Exotic elements are few and far between in the image musical instruments, a censer and a few ornaments (Elif, 2008). In Theatre, Madam Butterfly and Mikado are considering examples to the oriental perception to the Far East. As Gilbert and Sullivan in Mikado and Puccinis Madam Butterfly -which is based on a short story written by John Luther Long and dramatized by David Belasco- depict Japanese culture musically and dramatically. They used Western musical views of Japanese and Oriental music in both plays as well as they used the western stereotyping of the Japanese people as the costumes, white faces, hair design, etc. without presenting the true nature of this culture. These performances played on stereotypical Western views of the Far East in general and the Japanese culture in particular. Moreover, in movies, Arabs were largely romanticized and viewed as exotic and part of an alluring orientalism during the 1940s. The rich Arab in robes became a more popular theme, especially during the oil crisis of the 1970s. In the 1990s the Arab terrorist became a common villain figure in Western movies. The images of women in East Many scholars who wrote about or painted the East didnt really visit or experienced the Eastern culture, they just interpreted what they imagined, that inherent the image of the Eastern people, in particular the women, with stereotyping. Asian women have been portrayed as prostitutes, aggressive, opportunistic sexual beings and predatory gold diggers using their feminine to get what they want (Hofstede, 1996). Also Arab women were usually portrayed as exotic belly dancers or mute, subservient, and repressed. Western film and literature has continually portrayed such stereotypes of Eastern women. Stereotypes of Asian women There are lots of terms portraying the stereotyping of the Asian women such as the â€Å"Dragon Lady† which was portrayed as a strong, cold and ferocious woman who was knowledgeable in the art of sexual pleasure unknown to the Western world. Another is the â€Å"China Doll† stereotype which portrays Asian women as subservient, compliant and anxious to please. It also identified all Asian women as Chinese. From the perspective of the west, Asian women are meant to be seen and played with as a doll. In Western culture, The â€Å"Geisha† is seen as a prostitute or sex entertainer, this stereotype indicates that Eastern women are valued and used for their bodies for aesthetic pleasure. On the contrary, a Geisha in Japanese culture is a kind of an artist. They are trained in developing certain social skills such as dancing, singing, tea-making, conversing and serving to be an artistic entertainer not prostitute (Prasso, 2005). Also there are other terms refer of stere otyping the Asian women suggesting that they are sexually available to foreign white men as â€Å"Yellow cab†, â€Å"Sarong party girl and Comfort Women There is lots of stereotyping to the Asian women from the western perspective that harmed their identity; all these stereotypes perceptions depended on how the West misunderstands the East, Asian women are usually portrayed as beautiful, sexually available, exotic, and loyal but submissive. According to Elaine Kim a Professor of Asian American Studies, the stereotype of Asian women as submissive has hindered Asian womens economic mobility. Stereotypes of the Middle East women From decades, separation between nations and individuals has been maintained by very powerful symbolic boundaries leads us, symbolically, to close ranks culture and to stigmatize and expel anything which is defined as impure, strangely attractive precisely because it is forbidden, taboo, threatening to cultural order (Hall, 1997). Since the first contacts with the Arab world, the West has developed a set of stereotypes depicting Arabs as uncivilized and violent. As with the spread of colonization during the 19th century, an organized scholarship devoted to the representation of ‘Otherness emerged as a defining moment in this cross-cultural history (Hirchi, 2007). The stereotypical representations of Arabs and Muslims are often manifested in literature, media, theatre and other creative expressions. Arabs and Muslims in TV and movies are often involving themes associated with violence. As the words â€Å"Muslim† or â€Å"Arab† is connected with the image terrorist and bomb-making or sometimes refer to the wealthy oilmen. An Arab woman is usually represented, a belly dancer, sex objects, whore, terrorist or subservient, imprisoned behind a veil of powerlessness (Shaheen, 1988). Even in cartoons which is consider to be aimed at children is full of negative images of Arab women which portray them as belly dancers, exotic and harem girls, (Wingfield and Karaman, 1995). These stereotypes dont only harm the psychological and cultural part of the Eastern civilisation but also helps dehumanizing a group first before attacking it (Qumsiyeh, 1998). Salome as a representative of the Arab women For decades Salome figure has became a representation of the Arab women. The west used to see the Arab women evil, seductive, belly dancers, nudes and that was shown in lots of arts work of that time which is considers stereotyping to the Arab women. The origin of Salome story and her famous dance came from the Bible: But at a birthday party for Herod, Herodias daughter performed a dance that greatly pleased him, so he vowed to give her anything she wanted. Consequently, at her mothers urging, the girl asked for John the Baptists head on a tray. The king was grieved, but because of his oath, and because he didnt want to back down in front of his guests, he issued the necessary orders. (Matthew 14:6-11) Herodias chance finally came. It was Herods birthday and he gave a stag party for his palace aides, army officers, and the leading citizens of Galilee. Then Herodias daughter came in and danced before them and greatly pleased them all. Ask me for anything you like, the king vowed, even half of my kingdom, and I will give it to you! She went out and consulted her mother, who told her, Ask for John the Baptists head! So she hurried back to the king and told him, I want the head of John the Baptist right now on a tray! Then the king was sorry, but he was embarrassed to break his oath in front of his guests. So he sent one of his bodyguards to the prison to cut off Johns head and bring it to him. The soldier killed John in the prison, and brought back his head on a tray, and gave it to the girl and she took it to her mother. (Mark 6:21-28) In reading the Biblical description, we find out that there is no specification of the kind of dance Herodias daughter did. Nothing claim that her dance involved veils, or the removal of clothing, or seduction. Actually there is no proof in the bible story that the death of John the Baptist is linked to the seductive seven veils striptease. In 1891, Oscar Wilde wrote his play Salomà © based on the origin story in the bible. Wildes play portrays Salomà © as an evil character who becomes obsessed with John the Baptist (Elliot, 2002). Herod: Do not rise, my wife, my queen, it will avail thee nothing. I will not go within till she hath danced. Dance, Salomà ©, dance for me. Herodias: Do not dance my daughter. Salomà ©: I am ready, Tetrarch. [Salomà © dances the dance of the seven veils.] (Wilde, 1891) The script of the play does not specify that the dance must be seductive or a consisting any striptease of veils. In the beginning of the 20th century, the fascination with the Middle East become at its peak, the writers and painters saw the story of John the Baptist as a good example of the orient from their perspectives the story had all the elements that make for public interest sexual overtones as murder, politics and the seductive dance. However, the dance of the seven veils has never been a part of Middle Eastern dance traditions, and is not performed in the Middle East today. But it was invented by western, and has been preserved for entertainment reasons. The veil which is just only a piece of cloth is marked as a part of mystery and myth. It is both part of the culture and the imaginations of people in the East. The veil and the harem symbols have always fascinated the Western people. They were prevented from seeing and communicating with Arab women and that produced feelings of frustration and aggressive behaviour. Furthermore, the veil has provided men with the fantasy of exotic and erotic experiences with the beauty behind the veil (Mabro, 1991). In the Middle East, the veil was and still is a modesty garment which is worn to protect a respectable Muslim woman from the prying eyes of male strangers. May be it is used in some dance performance but without the incorporate removal of seven veils until the dancer stands totally nude. To conclude Salome is seen as an oriental misrepresentation to the Middle East women from the perspective of the Western. This misrepresentation have harmed the image of the true nature of the Middle Eastern women as they were seen as evil, belly dancers, seductive and nude with no respect to their own identity and religion. And the veil become associated to that mis representation as it become a seductive tool linked with nudity. M. Butterfly as a representative of the Asian women â€Å"Female sacrifice narratives can be traced back to biblical tales like the story of Ruth, who gives up everything for the sake of her husband who has a culture and religion different from her own. In America Pocahontas tales, which call for the sacrifice of the woman of color for the sake of white men, have been common. However, the Japanese Madame Butterfly has become the best known modern manifestation of this type of narrative.† (Marchetti, 1993) Madame Butterfly is an opera by Giacomo Puccini. He based his opera in part on the short story Madame Butterfly (1898) by John Luther Long, which was dramatized by David Belasco. Puccini also based it on the novel Madame Chrysanthà ¨me (1887) by Pierre Loti. Puccinis Madame Butterfly is a tragic story of love, betrayal and a young mother ultimate sacrifice. It is a story and myth lies at the heart of Western perceptions of Japanese women as passive, selfless, and dedicated completely to their husbands and families. The work reveals numerous stereotypes and prejudices of the Western world concerning oriental culture. It become an icon and myth of the Japanese woman as the ideal of loving self-sacrificing, devoted wife to a Western husband. â€Å"Despite the changes and the increasing independence of Japanese women in the nineties, the dated Western stereotypes of Japanese women remain firmly entrenched in print, broadcasted, and film media. In the latter, especially, Japanese women are still routinely depicted with painted faces and geisha attire†¦.The prototype for all of these images was Cio-Cio-San in Puccinis Madame Butterfly†¦ This classic portrayal has no doubt had a long-lasting effect on the psyche of Western males. The compliance and gentleness attributed to Japanese women have long struck a responsive chord in men used to self-assertive, confrontational, and independent Western women† (Ma, 1996) There are lots of visual elements in this performance that contributed in the stereotyping process of the Asian women as the hair style, white face makeup, scenograph of the place and most important, the costumes which are the kimonos of the main character of the play, Madam butterfly. The west attempts to understand Japan through the metaphor of the kimono. The kimono was inherent to the Asian culture for decades. There are many types and styles of kimono which are worn depending of the formality of the occasion, the age of the wearer, their marital status, time of day, and time of season. In addition to colours and styles, the way kimono is worn differs between whether it is a single or married woman. All of these factors come into play when deciding what kimono is appropriate to wear and how to wear it which means that the kimono is not just a dress but its a culture. The West has treated this culture by great contempt, as any shape of kimono represent the Asian women regardless this kimono culture. (Goldstein , 1999) To conclude, Madam Butterfly helped stereotyping Asian women by surrounding them by the fence of isolation. It has become a representation of the cultural identity and a misrepresentation associated with submission, fragility, and femininity. And by dealing with the kimono as a representation symbol of that culture it became associated to these concepts. As if Madame Butterfly didnt wear the kimono a lots of concepts and stereotyping perception could change. Contemporary representation History reveals that western arts have humiliated, demonized, and eroticized Arab women. These images inherited and embellished western pre-existing Arab stereotypes. In the 18th and 19th centurys western artists and writers offered fictional renditions of women as bathed and submissive exotic object. The stereotype came to be accepted as valid, becoming an indelible part of European popular culture. Nowadays the Arab women in western arts still trapped in the siege of being veiled, silent or a terrorist. While the Asian women representation changed a little as female characters in movies or TV dramas have shifted from obedient weak girls to strong, intelligent, working women. David Henry Hwang change attempt in his M. Butterfly David Henry Hwang is a contemporary Asian American playwright his play is a deconstruction of Puccinis opera Madame Butterfly. Hwang play shows that gender roles provide people with an identity based on determining the â€Å"other† and being the opposite. The actual categories of what we consider to be male and female exist only in our minds as ways to identify ourselves. Madame Butterfly is not just a story about love relations or the homosexuality; it is more than that where it raises themes as sexuality, ethnicity, imperialism and race. Madame Butterfly is consider one of the most important play in terms of challenging the political, social and cultural identities of the West over the last decade, This play forces its Western audience to deal differently with Eastern stereotypes involving sexual orientation, gender, and culture, especially those stereotypes issued by the myth of Orientalism (Burns Hunter, 2005). In Hwang play, the reason that Gallimard failed to discern that his lover was a man can be attributed to the cultural stereotype imposed by the West on the East. The West thinks of itself as masculine while it regards the East as feminine, â€Å"weak, delicate, poor but good at art, and full of inscrutable wisdom — the feminine mystique.† (Hwang, 1988).The West expects Oriental women to be submissive to Western men. Also the themes of racism and sexism are linked. Thus, even Eastern men are feminized. As Song puts it, â€Å"being an Oriental, I could never be completely a man.† At the end of the play, the Hwang reversed the roles of Gallimard and Song; he began to demolish the racial and sexual stereotypes that he has been steadily exposing from the beginning. Gallimard, exploited, loving, betrayed, becomes like Butterfly, while Song is revealed not only as a man but also as a deceiver like Pinkerton in Puccinis Madame Butterfly who was never what he appeared to be. He wanted to show the Western audience that stereotypes are not only dangerous, they are also false. Conclusion It is important to say that the East had fascinated the Western and became a new source of inspiration for the artists, as painting, literature, theatre, movies and other creative arts. A new artistic movement, Orientalism, was born from this fascination. However, Orientalism in the 19th century was not always representative of what and how the East really was. Many distortions and stereotypes existed, and that led to some criticisms from scholars like Edward Said who didnt agree of how the west stereotype the East without real understands to the Eastern cultures. The West treated the East as inferiors in order to have the right to colonize them; their justification was that the East has to be civilized by the hand of the West. The stereotypical images of the Eastern women which was and still promoted by the Western media has a great effect on the culture image in general and the economic mobility in particular, as this stereotyping had harmed the tourism in the Middle East as it a t errorist countries as well as created the sex tourism in the Far East it exotic countries.

Horror and Suspense in Bierces Work Essay -- Ambrose Bierce Short Sto

Horror and Suspense in Bierce's Work A novel is divided into different chapters and usually has different plots to focus on. In a novel there are lots of characters and the time scale is constantly changing throughout. Because there is more than one theme and there are different messages coming across of combined themes, makes the novel denser and more complicated to understand and to take in all the description. Ambrose Bierce wrote a lot of short stories and some we have studied and analysed. In a short story there is usually only one plot and the event usually carries on in the same setting. There are usually a couple of characters and one hidden message which makes the short stories more to the point and very direct. As I was analysing the short stories by Bierce, I realised that most of the characters in them were male and most of the stories contained physicians. Looking over Bierce’s background I was able to see that Bierce was brought up in a male dominated area where women were secondary characters. I assume this is why Bierce’s main characters are male and the female characters only play a secondary part in the setting. He had a son who committed suicide and a son who drank himself to death. I think this is why Bierce put physicians in most of his stories. The physicians don’t know when the victims of the stories are about to die, so maybe Bierce could relate to these because no physician could warn him about his sons dying. Throughout Bierce’s stories he has a good use of horror and suspense. He does this by being very concise and to the point. He also makes more impact on us as he uses pathetic thalacy. He does this by describing the weather in such a way that reflects on the mood o... ...he misery of others.’ This ties in with us laughing at the misery of Henry Armstrong. Others find it horrifying as they would be terrified of being buried alive and in those days it was quite common for medical students to dig up the corpses. This also ties in with Bierce’s definition of a grave, which I also found in ‘The Devil’s Dictionary.’ A grave is a place in which the dead are laid to await the coming of the medical student.’ Reading these stories of Bierce’s I found to be very interesting and thoroughly enjoyed. I think it is clear that Bierce was trying to scare a lot of people and effectively did as the description, the language used, the mixed feelings it sends out and the context of his writing creates a lot of horror and suspense. Some may say that Bierce is sick others say that he is very intelligent. Bierce- brilliant or disturbed?

My Writing :: Writing Composition Education Essays

My Writing When I look at myself as a writer, I never knew I could write like this. From grade school to high school I never really looked at myself as a really good writer. I doubted myself whenever a teacher said, â€Å"We are beginning another big paper.† I feared writing and never really gave my writing any thought. However, as I got into college, I knew I would be assigned numerous amounts of papers. As I walked in to the English classroom the very first day of college I was scared. I thought I wouldn’t get anywhere because I thought I couldn’t write anything. Giving much thought into the whole writing process and having many people behind me is when I knew I could write something. As my writing developed many signs of weaknesses and strengths showed through. I have many weaknesses as a writer. One weakness in particular would be that I have writer's block. I will be able to begin a paper but never really know where to go with it. When I am writing I tend to get blocked with words to say. I don’t want to not sound academic so I have to sit for a while at my computer and think of words to say. Another weakness I feel I have is that I waste time. I tend to just sit at my computer screen and feel lost. That is a waste of time for me. I need to find a way where I can just sit at my computer and write an entire paper at one time and then revise it. One other weakness I tend to have is that I never get my resources on time. I have a tendency to just get resources off line and never make a trip to the library. But now that I am in college I know I have to make many trips to the library. Aside from the weaknesses that I tend to have, there are a few strengths I am apt to be good at.

Comparison of Dylan Thomas Fern Hill and Robert Frosts Birches Essay

Comparison of Dylan Thomas' Fern Hill and Robert Frost's Birches Poets often use nature imagery to comment on the relationship between humans and the natural environment surrounding them. Traditionally, this relationship is portrayed in a positive manner as it places emphasis on the concept that nature is representative of beauty; consequently, embracing this representation will enlighten the human experience. The facets of that relationship are represented within Dylan Thomas' "Fern Hill" and Robert Frost's "Birches". Both poets invoke an image of nature that is picturesque, serene and innocent in order to convey a message that one can have a fulfilling life if they focus on the beauty that exists within the primary world. Conversely, Coleridge's "Dejection: An Ode" contains a different interpretation of what one's relationship with nature should involve. The speaker feels that a simple appreciation of beauty is insufficient; one must identify with that beauty through the soul in order to be enlightened. Despite the fact that "Fern Hill" and "Birches" initially appear to express satisfaction about the value of superficial human experiences, when analyzed in conjunction with "Dejection: An Ode", the meanings of these two poems are altered. Frost's "Birches", Thomas' "Fern Hill" and Coleridge's "Dejection: An Ode" all convey different levels of dejection upon initial examination; however, when contrasting the expressions of the speaker and the imagery patterns of the poem, these levels of dejection become increasingly ambiguous. The relationship between the... ...rly, all three poems contain elements of dejection at one point; however, the presence of that dejection is tested in Coleridge's case, and increased within the Frost and Thomas poems. It is incredibly ironic that the one poem that was an ode to dejection turned out to be the most positive of the three. WORKS CITED Coleridge, Samuel Taylor. "Dejection: An Ode." The Broadview Anthology of Poetry. Eds. Herbert Rosengarten and Amanda Goldrick-Jones. Peterborough: Broadview P, 1993. 183. Frost, Robert. "Birches." The Broadview Anthology of Poetry. Eds. Herbert Rosengarten and Amanda Goldrick-Jones. Peterborough: Broadview P, 1993. 410. Thomas, Dylan. "Fern Hill." The Broadview Anthology of Poetry. Eds. Herbert Rosengarten and Amanda Goldrick-Jones. Peterborough: Broadview P, 1993. 632.

Absolutism and Constitutionalism

1. Why did monarchs in the late 16th/early 17th centuries need new sources of income? Why did monarchs wish to get their income without the permission of the nobility? 2.Explain the role that each of the following played in the failure of England achieving absolutism, as well as the success of the French: England France  · Religion – Religion  · Parliament/Tradition – Estates General  · Personalities of Leaders – Personalities of Leaders  · Trust of Nobility – Trust of nobility 3. Henry IV came to the throne and helped to end the French Wars of Religion.After over 30 years of civil war, France was a wreck politically and economically. To set the stage for absolutism, he and his finance minister, the duke of Sully, needed to strengthen certain aspects of the nation and weaken others. Explain where the following fell into their plans, using the terms in parenthesis in your answer:  · power of nobility (parlements)  · increased money for crown (m onopolies)  · increased opportunity for economic success (canals, corvee) 4. After Henry IV’s assassination, his 9 year old son Louis XIII became king.Too young to rule, his mother named a brilliant official to serve as his regent. Explain how the following policies show the nature of Richelieu’s â€Å"raison d’etat†:  · Use of intendants  · Actions in the 30 Years War (1618-1648)  · Treatment of nobles  · Treatment of Huguenots 5. Describe the factors that led to the revolt (known as the Fronde) of the French nobility against the young Louis XIV and Cardinal Mazarin (1649-1652). What lesson did the Fronde teach Louis XIV? How did it help prepare the French people for absolutist rule?Helpful Hints for Reading this Section: o The first part of this reading provides an overview of the two systems of government that developed, and offers you hints as to why they developed as they did. Read this carefully so that many of the details listed in future sections will mean more to you. o There is a big difference between the English Parliament and the French parlements (note difference in spellings). The Parliament (-ia) historically had the ability to declare whether taxes were just (fair) or not, and so the kings/queens always had to go before Parliament whenever they needed money.Parliament, located in London, had the ability to make laws. French parlements (-e) were different in that there were many regional parlements as opposed to one central one, and they lacked the ability to make laws. Rather, the French parlements just had the authority to accept or refuse policies proposed by the monarchy. The French also had the Estates General to serve as its legislature, but it was a medieval creation that never really caught on among the French nobles. It could only meet when it was called into session by the king, and that was very rare (met once between 1618 and 1788).Chapter 13 – England 1. The Policy of Circumvention refer s to the various English kings’ efforts to go around, or circumvent, Parliament in their gathering of money for the crown. Explain how each of the following was an effort to raise or save money, and why it angered nobles/members of Parliament:  · impositions- These additional custom duties were seen as taxation on imports and exports by Parliament and as requiring parliamentary consent. They angered nobles and members of Parliament because they viewed it as taxation without consent. selling titles of nobility (think supply and demand– why would nobles feel like they each had less power if there were more nobles in the nation? )- people did anything they could to get a higher position so of course they would buy titles of nobility and since there were many nobles now, previous nobles felt less power because there weren’t as many â€Å"important† titles for everyone.  · James I’s role as peacemaker- 2. Summarize the many religious complaints that were raised against King James I. In defending the episcopacy, what did James mean when he retorted â€Å"No bishops, no king (pg. 452). – James viewed the proposal to replace bishops with presbyteries as an attempt to diminish his power in the church so he quoted that. 3. What actions led Parliament force Charles I to accept the Petition of Right? How would Charles I have attempted to defend himself and his actions? What freedoms did the Petition guarantee? -disputes between Parliament and King Charles I over the execution of the Thirty Years’ War, Parliament refused to grant subsidies to support the war effort, leading to Charles gathering â€Å"forced loans† without Parliamentary approval and arbitrarily imprisoning those who refused to pay.The Petition guaranteed restrictions on non-Parliamentary taxation, forced billeting of soldiers, imprisonment without cause, and restricts the use of martial law. 4. Why did Parliament not meet between 1629 and 1640? De scribe the circumstances that required their meeting in 1640. – The Triennial Act was intended to prevent kings from ruling without Parliament, as Charles had done between 1629-1640. The act required that Parliament meet for at least a fifty-day session once every three years. 5. Create a timeline using the following terms, explaining what each is and how the terms relate to one-another.  · Short Parliament Scottish Invasion  · Long Parliament’s New Laws (1640-41)  · Grand Remonstrance  · Invasion of Parliament (Roundhead/Cavaliers) 1639-1640 – Scottish Invasion= Breakdown of Charles's government of Scotland and two attempts to impose his will by force. Scots rose in 1639 against Charles' introduction of the English Prayer Book into Scotland, the anti-royalist London merchants encouraged the invading Scots to capture Newcastle. This they did in 1640, totally disrupting the export of coal. The Scottish army remained in Newcastle for a year and charged the Corporation a regular fee for billeting its troops. 640 – Short Parliament= sat from 13 April to 5 May 1640 during the reign of King Charles 1 of England and called â€Å"short† because it only lasted 3 weeks. He was forced to call the Short Parliament primarily to obtain money to finance his military struggle with Scotland in the Bishops’ War. -Long Parliament= established to pass financial bills. It received its name from the fact that through an Act of Parliament, it could be dissolved only with the agreement of the members and those members did not agree to its dissolution until after the English Civil War and at the end of interregnum in 1660. 641 -Grand Remonstrance= a list of grievances presented to King Charles I by English Parliament on 1 December 1641, but passed by the House of Commons on the 22nd of November 1641, during the Long Parliament; it was one of the chief events which were to precipitate the English Civil War. 1642-1651 -Invasion of Parlia ment (Roundhead/Cavaliers)= was a series of armed conflicts and political machinations between Parliamentarians (Roundheads) and Royalists (Cavaliers).The first (1642–46) and second (1648–49) civil wars pitted the supporters of King Charles I against the supporters of the Long Parliament, while the third war (1649–51) saw fighting between supporters of King Charles II and supporters of the Rump Parliament. The Civil War ended with the Parliamentary victory at the Battle of Worcester on 3 September 1651. 6. Explain how the â€Å"Rump Parliament† and, more appropriately, Oliver Cromwell, ruled England during the period between Charles I and Charles II. – ruled first England, and then Ireland and Scotland from 1649 to 1660.After the English Civil War and the execution of Charles I, the republic's existence was initially declared by â€Å"An Act declaring England to be a Commonwealth† adopted by the Rump Parliament, on 19 May 1649. The governmen t took the form of direct personal rule by Oliver Cromwell. Just before and after the execution of King Charles I on 30 January 1649, the Rump passed a number of acts of Parliament creating the legal basis for the republic. Helpful Hints for Reading this Section: o To help remember the order of the English monarchs, try to remember the â€Å"Cromwell Sandwich. As with any good sandwich, it is named after the meat, which goes in the middle. Surrounding the meat is usually CHeese. In the Cromwell Sandwich then, the buns equal James (James I on top, or first, and James II bottom, or last) and the CHeese equals CHarles (Charles I on top of the meat or first, and then Charles II below the meat or second). Thus the order goes Bun (James I), Cheese (Charles I), Meat (Oliver Cromwell), Cheese (Charles II), and Bun (James II). I don’t know, it helps me. : ) 1. Describe England under the Restoration of the Monarchy (what powers did King have?Religion? )- began in 1660 when the English , Scottish and Irish monarchies were all restored under Charles II. 2. Religion and the monarchy became an increasingly touchy subject in Restoration-era England. Discuss how the following acts/events display the conflict developing between monarch and Parliament:  · Clarendon Code= The Clarendon Code was a series of four legal statutes passed between 1661-1665 which effectively re-established the supremacy of the Anglican Church after the interlude of Cromwell's Commonwealth, and ended toleration for dissenting religions. Declaration of Indulgence= Charles II of England's attempt to extend religious liberty to Protestant nonconformists and Roman Catholics in his realms, by suspending the execution of the penal laws that punished recusants from the Church of England. Charles issued the Declaration on 15 March 1672.  · Test Act (note who this one was aimed at)= were a series of English penal laws that served as a religious test for public office and imposed various civil disabili ties on Roman Catholics and Nonconformists.The principle was that none but persons professing the Established Church were eligible for public employment, and the severe penalties pronounced against recusants, whether Catholic or Nonconformist, were affirmations of this principle. In practice nonconformists were often exempted from some of these laws through the regular passage of Acts of Indemnity 3. Both politics and religion played a large role in the forced removal of James II as King of England. Summarize the role of each, and note what served as the immediate cause of the Glorious Revolution. . Describe the political philosophy of John Locke found in his Two Treatises on Government. 5. How could one point to the Glorious Revolution and the English Bill of Rights as early successes for the history of Democracy? Helpful Hints for Reading this Section: o When trying to keep straight Thomas Hobbes and John Locke, think about what they stood for in regards to man’s â€Å"nat ural state. † Hobbes, who believed man was horrible, awful, wicked nasty and cruel, was a â€Å"Hater. † Thus, the first letter of his name and how he felt both match up (Hobbes; Hater).Locke, who said man was naturally good, was all about the Love. Thus, his name and beliefs are also connected by a first-letter principle (Locke; Love). Chapter 13 – France 1. Explain how the theory of Divine Right strengthened Louis XIV’s power as king. How did his saying â€Å"L’etat, c’est moi† reflect the teachings of Bishop Bossuet? – The Divine Right strengthened Louis XIV’s by saying that dictators, nobles, and parliament don’t have power over the people. â€Å"L’etat, c’est moi† means â€Å"I am state† reflected the teaching of Bishop Bossuet by saying God has the almighty power. 2.The Palace at Versailles is an integral part of Louis XIV’s strong reign. Answer the following with regard to life in Versailles:  · To â€Å"domesticate† something means to make it tame, or to train it to be useful to humans. In what ways did Louis XIV â€Å"domesticate the nobility? †  · Why did Louis XIV order nobles to follow such trivial social rules and elaborate social functions at Versailles? Louis ordered nobles to follow trivial social rules and elaborate social functions at Versailles because he wanted them to have less power, so they won’t be a threat to him. What types of people did Louis choose to head his government agencies? Why did he prefer to use them instead of the nobles, as was the case in other times and other countries? Louis XIV replaced the princes who had previously held positions as ministers with new aristocrats who feared him more. This gave Louis XIV, the King of France more power. 3. Explain the ways in which Jean-Baptiste Colbert made France’s economy superior to any other nations’ in the 17th century. How did the marqu is of Louvois dramatically increase the effectiveness of France’s military? 4.Louis XIV’s France became so powerful that no one nation could likely stand up and defeat the French. For that reason, Louis chose to involve himself in a series of wars that would eventually break his nation’s finances. Include each of Louis XIV’s war in a timeline that shows the following:  · Years fought  · Reasons for War  · How foreign nations worked to Balance out French power  · Outcomes of War 5. Why did Louis XIV feel it was necessary to revoke the Edict of Nantes? What impact did this move have on his nation? Huguenots as a threat to his power.Huguenots through his reign were hostile to the crown and launched revolts. The revocation of the Edict of Nantes caused large numbers of them to flee to other protestant countries and establish themselves there, weakening the French economy. 6. Explain why the War of Spanish Succession (and the subsequent Treaty of Utrec ht) makes a fitting culmination to a. the grand wishes of Louis XIV’s plans for domination of Europe, and; b. the principle of Balance of Power used to stop Louis XIV and contain French power 7. Consider Louis XIV’s Legacy. Create a list of positive and negative aspects of Louis XIV’s legacy.Then, create a thesis statement that evaluates the impact of Louis XIV on French history. Be sure your thesis 1) takes a side/has direction, and 2) does not simply list 3 things Louis did good and/or bad. o Intendants were government officials (royal civil servants,’ according to the text) in charge of oversight duties across all areas of French society. They were responsible for making sure that all tax money collected by regional tax officials went directly to the king (as opposed to some going to the collector’s pocket), and to oversee the training and discipline of the French military.They studied efficiency in production and carried their lessons to emergi ng French industries. Possibly the most important aspect of the intendants was the fact that they were not of strong noble birth. Richelieu and Louis XIV realized that using nobles to do the most important jobs of government ran counter to the idea of centralizing full power in the hands of the crown. For that reason, the intendants typically came from middle class backgrounds, people who did not possess large lands of their own. Thus, these peoples’ success in life was fully-dependent upon the king.If they became corrupt, another intendant would call them out and they would lose their job and what was likely their only chance to be very successful in life. This created an incredibly driven, obedient and loyal bureaucracy for the French kings. o During the Counter-Reformation, several different groups of Catholics came up with various ways they saw as correct in regards to Catholicism. The Jesuits were likely the most famous and most successful, as they traveled to every coas tline and set up schools and monasteries in most all prominent nations.One of the Jesuits’ key messages to people was, â€Å"we can help save you. † By this, the Jesuits promoted the fact that people who were Catholic could be guaranteed salvation, so long as they followed the 7 sacraments and did as their priest told them. Another group, the Jansenists, saw this as untrue. Much like Luther and Calvin, the Jansenists believed that there was nothing people could do on earth to guarantee their salvation. They still believed in following all 7 of the Sacraments and other areas of Catholic doctrine, but they said that getting into heaven had to be a â€Å"gift† of God’s grace.A big religious dispute broke out within the Catholic church, and the influential Jesuits led an out-cry of opposition against the Jansenists. The point the text is trying to make with the Jansenists is that their group offered a form of Catholicism that included aspects of many Protesta nt religions (role of faith/grace as gift for salvation etc. ), which potentially could have kept French Huguenots (French Protestants) within the Catholic faith and kept them within France. When Louis XIV outlawed Jansenists, he made legal only the strongly anti-Protestant Jesuit Catholics, who began pushing for strong laws against Protestants.

Photoshop Cs5

ADOBE ® PHOTOSHOP ® CS5 2010/5/5  © 2010 Adobe Systems Incorporated and its licensors. All rights reserved. Using Adobe ® Photoshop ® CS5 for Windows ® and Mac OS ® This user guide is protected under copyright law, furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide.This user guide is licensed for use under the terms of the Creative Commons Attribution Non-Commercial 3. 0 License. This License allows users to copy, distribute, and transmit the user guide for noncommercial purposes only so long as (1) proper attribution to Adobe is given as the owner of the user guide; and (2) any reuse or distribution of the user guide contains a notice that use of the user guide is governed by these terms. 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(http://www. iis. fhg. de/amm/) AdobeSystems Incorporated, 345 Park Avenue, San Jose, California 95110, USA. Notice to U. S. Government End Users: The Software and Documentation are â€Å"Commercial Items,† as that term is defined at 48 C. F. R.  §2. 101, consisting of â€Å"Commercial Computer Software† and â€Å"Commercial Computer Software Documentation,† as such terms are used in 48 C. F. R.  §12. 212 or 48 C. F. R.  §227. 7202, as applicable. Consistent with 48 C. F. R.  §12. 212 or 48 C. F. R.  §Ã‚ §227. 7202-1 through 227. 7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U. S.Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, a nd the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741.The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference. 2010/5/5 iii 1 2 : : †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 . . . . . . . . . . . . . . . . . . . . . . . . . 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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 9 : . . . . . . . . . . . . . . . . . . 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. . 269 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 10 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 2010/5/5 PHOTOSHOP CS5 v . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 11 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 12 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 13 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Digimarc Photoshop 14 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 15 Web : Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Photoshop Photoshop Web 2010/5/5 PHOTOSHOP CS5 vi 16 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 (Photoshop Extended) (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 (Photoshop Extended) (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 17 3D 3D : 3D Photoshop Extended . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 (Photoshop Extended) 3D (Photoshop Extended) 3D 18 : (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483 (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 DICOM (Photoshop Extended) (Photoshop Extended) Photoshop MATLAB (Photoshop Extended) (Photoshop Extended) 19 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 20 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504 Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515 TWAIN 21 : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516 2010/5/5 1 1 : 8 â€Å" † 185 â€Å" † 274 † 132 â€Å" † â€Å" HDR Pro 61 â€Å" HDR† 109 â€Å" HDR HDR † HDR 249 † 259 â€Å" † â€Å" 150 â€Å" † 138 † 3D 2D 3D 3D â€Å" † (Photoshop Extended)† 448 â€Å"3D Adobe Ray Tracer (Photoshop Extended)† â€Å" 3D 463 â€Å" 3D (Photoshop Extended)† 452 â€Å" â€Å"3D † CS Review CS Review Adobe Brid ge CS5 Adobe Bridge Mini Bridge RAW ISO Camera Raw Web Mini Bridge Photoshop Camera Raw 2010/5/5 PHOTOSHOP CS5 2 †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ Windows Mac OS 127 136 269 129 223 â€Å" â€Å" â€Å" â€Å" â€Å" † 205 â€Å" † † † † 188 â€Å" † 379 GPU â€Å" † â€Å" â€Å" 64 Mac OS † 124 â€Å" † † 79 64 Windows 10% 43 â€Å" † 2010/5/5 3 2 : Adobe ® Creative Suite ® 5 A B C D E G F H A. Illustrator â€Å" † B. C. D. E. â€Å" † F. â€Å" † G. â€Å" † H. †¢ Windows â€Å" † Mac †¢ †¢ â€Å" â€Å" † † â€Å" † Illustrator â€Å" † Adobe Flash ® Adobe Dreamweaver ® Adobe Photoshop ® Adobe Fireworks ® â€Å" † 2010/5/5 PHOTOSHOP CS5 4 †¢ †¢ † †¢ Dreamweaver Flash â€Å"CSS † Illustrator â€Å" † Adobe Photoshop ® â€Å" Mac â€Å" â₠¬ >â€Å" Dreamweaver for Mac Adobe Illustrator ® † Flash Mac †¢ †¢ Illustrator Adobe InCopy ® Adobe InDesign ® Photoshop Fireworks Tab Illustrator InCopy InDesign Photoshop Shift+Tab â€Å" † â€Å" (Windows ®) Fireworks † (Mac OS ®) F4 â€Å" † Illustrator â€Å" † †¢Flash Dreamweaver ? Photoshop † â€Å" † â€Å" (Illustrator) ? â€Å" † â€Å" † â€Å" † â€Å" † InCopy Fireworks Flash InDesign ? â€Å" † â€Å" Fireworks Photoshop † 2010/5/5 PHOTOSHOP CS5 5 â€Å" â€Å" †¢ †¢ † † â€Å" † †>â€Å" â€Å" â€Å" † † â€Å" † â€Å" † â€Å" † † â€Å" † † â€Å" † † â€Å" † â€Å" kb405298 †>â€Å" † â€Å" Photoshop †>â€Å" Dreamweaver (Windows) Dreamweaver †¢ †¢ â€Å" † â€Å" â€Å" †>à ¢â‚¬Å" †>â€Å" â€Å" † † â€Å" †¢ † â€Å" † â€Å" † †¢ †¢ †¢ â€Å" † 2010/5/5 PHOTOSHOP CS5 6 â€Å" † †¢ †¢ A B C â€Å" † â€Å" † A. B. C. Ctrl (Windows) Command (Mac OS) Esc †¢ †¢ (Windows) â€Å" † Control (Mac) â€Å" † â€Å" † †¢ 2010/5/5 PHOTOSHOP CS5 7 †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ Photoshop â€Å" † 2010/5/5 PHOTOSHOP CS5 8 †¢ †¢ †¢ †¢ â€Å" †¢ †¢ † â€Å" † â€Å" † 1 †¢ (Illustrator) †¢ â€Å" †>â€Å" †>â€Å" InCopy †>â€Å" â€Å" †>â€Å" â€Å" †>â€Å" † † †>â€Å" † Photoshop InDesign â€Å" †¢ (Dreamweaver) †¢ (Flash) 2010/5/5 PHOTOSHOP CS5 9 †¢ (Fireworks) 2 3 â€Å" † Photoshop InDesign â€Å" † InDesign Phot oshop ? Photoshop †¢ †¢ †¢ â€Å" Photoshop InDesign â€Å" †>â€Å" â€Å" InCopy †>â€Å" †>â€Å" † â€Å" † †>â€Å" † † â€Å" † Fireworks †¢ (Illustrator) â€Å" † â€Å" † Photoshop InDesign 1 Dreamweaver 2 â€Å" InCopy â€Å" † †>â€Å" †>â€Å" [ ]† Photoshop InDesign (Photoshop) Photoshop †¢ †¢ â€Å" Photoshop †>â€Å" †>â€Å" â€Å" † † â€Å" † ? â€Å" † â€Å" † 2010/5/5 PHOTOSHOP CS5 10 ? †¢ †¢ †¢ †¢ †¢ †¢ (Windows) †¢ A B Enter (Windows) Return (Mac OS) FOX C IT D E A. B. C. D. E. 11 â€Å" † â€Å" Enter 10% A B † â€Å" Esc † Shift A. B. â€Å" † â€Å" † â€Å" † â€Å" † 2010/5/5 PHOTOSHOP CS5 11 Shift 0 / A B â€Å" † A. B. ? 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