John Donnes Loves Alchemy Essay -- John Donne Poetry Poems Analysis

John Donne's Love's Alchemy In 'Adoration's Alchemy,'; John Donne sets up a similarity between the Platonists, who attempt, perpetually, to find profound love, and the chemists, who in Donne’s time, attempted to extricate gold from baser metals. This relationship permits Donne to communicate his convictions that such profound love doesn't exist and the individuals who are scanning for it are just burning through their time. Donne astutely utilizes language that both permits the peruser to see the associations between the chemists and the Platonists and that takes into account an increasingly sexual understanding of the piece. The sonnet opens with two lines that lay the preparation for the similarity and that have a sexual ramifications. The word â€Å"digged'; and the picture of â€Å"love’s mine';, clearly take into account the examination between the Platonist’s and the chemists. Donne clarifies that some have encountered more love than he has, and, in having done as such, have infiltrated â€Å"deeper'; into â€Å"love’s concealed puzzle,'; that is, they have arrived at a point past sexy love where they have found it’s genuine â€Å"centric'; or fundamental joy. This would be closely resembling chemists, who, after numerous endeavors, have had the option to separate gold from different metals. Because of the style that Donne utilizes and the way wherein he communicates in these two lines, it is conceivable to separate their sexual implying that serves to scorn the cases and methods for the Platonists just as the chemists. The words â€Å"digged love’s mine'; ca n be deciphered as...

Gmat Essay Writing - How to Write An Essay That Will Help Your Grade

Gmat Essay Writing - How to Write An Essay That Will Help Your GradeGmat essay writing can be a little tricky if you do not know what you are doing. In fact, this is probably the single most difficult type of essay that there is! Therefore, it is essential that you learn the correct way to write a Gmat essay, otherwise, your grades will suffer!The most important thing to remember about Gmat essay writing is that you do not need to use fancy grammar. There are many grammatical rules that apply to any type of essay, whether it is written in English or not. Therefore, you will find that the rules that apply to written English will also apply to written essays in Gmat.One of the most common mistakes that people make when writing a Gmat essay is to use poor grammar. As we all know, the grammar is very important and is often one of the main factors in determining a student's grades. Therefore, when writing a Gmat essay, always try to use a good understanding of the English language and the different types of words and phrases.When writing your essay, it is important that you use a simple sentence structure. This will make it much easier for you to write and will ensure that your essay is understandable. Remember, if you use too many complicated sentences, it will seem as though you are struggling to find something to say.All sentences should start with a capital letter. It is a rule that should be observed at all times. You should always keep a simple structure in your sentences and this will make it easier for you to understand what you are trying to say. You should never start a sentence with a period, and you should never begin a paragraph with a period either.Grammar is not only about using the right grammar, but it is also about writing the right way! If you find that you are not used to writing the right way, it may be because you are not using the correct grammar! Therefore, be sure to work on the basics first. If you find that you have problems with certain a spects of grammar, then work on it until you are fully comfortable.Always keep the most important points in mind when writing your essay. There is nothing worse than having to deal with an essay that is full of grammatical mistakes and other errors. It is therefore important that you always keep the most important points in mind as you are writing your essay.Finally, it is very important that you take time out to practice your Gmat essay writing skills. There is no point in getting frustrated and wasting time if you are not going to get better at it. In fact, the worst thing that you can do when you are working on your Gmat essay is to neglect it for a long period of time.

Proximity and Juxtaposition :: Essays Papers

Nearness and Juxtaposition So as to appropriately look into the likenesses among juxtaposition and vicinity a definition is without a doubt required of the two. Closeness for example, alludes to the general proximity of structures, and how that impacts the connection between them. Juxtaposition then again, alludes to the manner by which components or structures are put close to one another. Juxtaposition and nearness are two significant parts of plan that are regularly utilized together and must be considered while making a gem. One likeness among juxtaposition and vicinity is that the two of them can impart what sort of association ought to be made between a gathering of components or structures. For instance, when alluding to vicinity, if the components are put intently together in a plan, they transfer to the watcher that they are a gathering, and they ought to be interpreted as one. The manner in which 2 components are put together (juxtaposition) passes on a relationship also. A case of this is in Gustav Klimt’s craftsmanship (see last 2 pages) titled, The Kiss (Gombridge 65). In Klimt’s painting a man and a lady are set close to one another in a fascinating manner. The types of their bodies are contorted and look like the deliberation of dissolving and development. There is a conspicuous connection between the two structures which would not be as obvious if the structures were not compared the way that Klimt decided to. The bodies are vertically adjusted, so a unity can be accomplished. Had the man been upstanding and the lady evenly set over the ground, the two structures would impart in an unexpected way. The sentiment of development, dissolving, and unity, would without a doubt lose its’ force. Investigating Gustav Klimt’s work of art, the watcher may concentrate on the geometric shapes inside the 2 structures. From the outset the watcher sees that rectangular shapes are compared inside the male structure, and a greater part of the woman’s structure is loaded up with round shapes. Be that as it may, towards the lower and upper pieces of their bodies, juxtaposition and vicinity are utilized to frame a connection between the rectangular and round shapes. There are a couple of square shapes and circles put so near each other and so that the passerby can no longer recognize the man’s and the woman’s bodies.

Winter and Warmth in Ursula Le Guin’s The Left Hand of Darkness - Literature Essay Samples

In Ursula Le Guin’s The Left Hand of Darkness, protagonists Estraven and Genly Ai embark on a bleak journey across the Gobrin Glacier only to discover that they will fail without the balance of light and shadows. In response to Estraven falling into a crevasse neither character could see, Genly Ai draws a yin-yang sign and says to him, â€Å"light is the left hand of darknesshow did it go? Light, dark. Fear, courage. Cold, warmth. Female, male. It is yourself, Therem. Both and one† (Le Guin, 267). Although their journey depends on the combination of darkness and light in order to see on the ice, the novel makes use of each of the contradictions he mentions and their codependence on one another. The contradiction of coldness and warmth appears almost instantly since the planet Genly Ai visits, Gethen, is just steps away from being a frozen wasteland. However, the weather in Gethen and it’s opposing warmth between characters prove significant beyond the storyâ€⠄¢s setting. Indeed, there is much significance to the ideas of warmth and coolness to the plot beyond temperature and setting in The Left Hand of Darkness. Warmth has a wide range of meanings in literature, and its meaning changes throughout The Left Hand of Darkness as the plot develops. When he arrives in Gethen, Genly Ai participates in a celebratory parade only to find himself uncomfortable and hot. Moments later, Genly Ai notices his instant distrust for Prime Minister Estraven, saying â€Å"I don’t trust Estraven, whose motives are forever obscure; I don’t like him; yet I feel and respond to his authority as surely as I do to the warmth of the sun† (Le Guin, 7). This situation causes the reader to associate heat with the discomfort of a character, which proves true throughout the rest of the novel. However, for Genly Ai, this discomfort becomes a symbol of the value of certain relationships. For instance, throughout their journey, Estraven prepares to go into kemmer, the state of sexual readiness or being â€Å"in heat.† Just prior to Estraven mentioning this, Genly Ai repeatedly mentions the â€Å"hea rt of warmth† that surrounds them when they are together (241). He also discusses how Estraven used the warmth of his hands and his breath to thaw Genly Ai’s frozen eye. Then, after warmth is mentioned several times, Estraven admits to Genly Ai that he has been avoiding him since he is in kemmer, and they agree it is best that they do not have sex. When Genly Ai explains that their love is based on difference and that having sex would only cause them to be alienated for their differences, he is reiterating the fact that the discomfort he would find in feeling Estraven’s intimate â€Å"warmth† is a sign of how much he values their relationship. The dualism of warmth and coolness deepens the relationships between characters and therefore the plot since it relies on the reader’s own digging. Although the reader must seek out warmth and its significance to the novel, iciness and viciousness are everywhere. After their uncomfortable conversation by the fireplace and Genly Ai’s revelation that he has been cold since he arrived, Estraven asks Genly Ai what the Ekumen, a United Nations-type organization, calls Gethen, to which Genly Ai replies â€Å"Winter† (Le Guin, 20). At this point, the discomfort does not belong to the characters, but to the reader: the Genly Ai and the Gethenians are skeptical of each other, but Estraven’s revelation that he has fallen out of favor with the king and cannot help Genly Ai makes the reader fear what is in store for them. After this point, both Genly Ai and Estraven are dealing with a bitter government and the bitter cold. Although the warmest parts of their journey are uncomfortable, the coldest parts are the most uncomfortable; for instance, when Genly Ai is at the Kundershaden Prison, the prisoners huddle together to protect themselves not only from the cold, but also from the guards. While the uncomfortable heat proves to have a deeper meaning and to not be completely good or bad, coldness fails to do this––the cruel weather and the cruel government force Genly Ai and the Gethenians to seek warmth within each other, forging relationships. This reading of the novel is similar to that of David Lake in his essay â€Å"Le Guins Twofold Vision: Contrary Image-Sets in The Left Hand of Darkness.† An early response to Le Guin’s novel, this essay focuses on the novel’s symbols of dualism, which Lake refers to as the â€Å"cold team† and the â€Å"warm team.† The cold team, which consists of qualities such as coldness, lightness, whiteness, and iciness, is known for â€Å"rationalism, certain knowledge, tyranny, isolation, betrayal, death† (Lake, 156). The warm team, meanwhile, consists of darkness, redness, earth, and blood, and is known for â€Å"intuition, ignorance, freedom, relationship, fidelity, life† (156). Lake argues that it is important to note that neither group is riddled with inherently positive or negative qualities, but instead, they are reflections of one another––however, there is little evidence to support any positivity associated with the cold. Lake takes this argument a step further, claiming that the city of Orgoreyn is portrayed as a member of the cold team and the city of Karhide a member of the warm team. At a glance, Orgoreyn seems much more friendly and welcoming than Karhide, but a closer examination reveals that the valuable discomfort in Karhide is merely masked by its rigid social structure and the cruelty in Orgoreyn is hidden by its false friendliness and claims of equality. The characters’ key qualities, such as discomfort in love, are revealed to the reader by being a part of the warm team or cool team, the dark team or light team, the awkward team or angry team, and the Karhide team or the Orgoreyn team. Le Guin’s The Left Hand of Darkness is a novel composed of contradictions, and it relies heavily on their symbolism and the reader’s interpretation. As the title suggests, the novel is set in a realm of light and ice, the opposite of darkness, but the characters’ struggle to move between the two spheres brings the setting to life. As Genly Ai tells Estraven, life is reliant on contradictions––no matter the value of either side. Although warmth proves more valuable at certain times, the characters prove that they cannot survive without the balance of the two teams Works Cited Lake, David J. â€Å"Le Guins Twofold Vision: Contrary Image-Sets in ‘The Left Hand of Darkness’ (Vision Contrastà ©e Chez Le Guin: Les Oppositions dImages Dans ‘La Main Gauche De La Nuit’).† Science Fiction Studies, vol. 8, no. 2, 1981, pp. 156–164.Le Guin, Ursula K. The Left Hand of Darkness. New York: Ace, 1969. Print.

Don t Blame The Eater Essay - 1665 Words

â€Å"Don’t Blame the Eater,† written by David Zinczenko, was first published on November 23, 2002 in the New York Times. The article was written in response to a Jay Leno monologue depicting a newspaper headline describing kids who sued McDonalds for having made them fat. Zinczenko claims that the government should take the initiative to change the way fast-food companies market their food. â€Å"What you Eat is your Business† was written by Ray Balko and was first published on the Cato Institute on May 23, 2004. The Cato Institute’s objectives are to create â€Å"limited government, individual liberty, free markets, and peace.† Balko is responding to the three-day summit on obesity held by Time and ABC News. Balko claims that instead of intervening in an individual’s diet, â€Å"the government should focus on fostering a sense of ownership of our own health and well being.† Zinczenko and Balko wrote both articles when obesity was bec oming a huge problem in America. Although Balko fosters emotion within his reader, Zinczenko is able to better relate to his audience, evoke emotion, and establish himself as a trustworthy individual. Firstly, Zinczenko establishes his credibility numerous times within â€Å"Don’t Blame the Eater.† Zinczenko writes, â€Å"I used to be one of them† when he begins speaking about â€Å"portly fast food patrons†. This shows he has personal experience with being obese and with being a frequent fast-food visitor. In this example Zinczenko shows his audience that he is one of them,Show MoreRelatedDon t Blame The Eater Essay947 Words   |  4 Pages In â€Å"Don t Blame the Eater† by David Zinczenko, he discusses the dangers of fast foods and obesity. At first, Zinczenko blames the consumer for making such poor dietary decisions, but then says consumers are not entirely at fault. Through his article, he tries to convince the readers that the fast food industry is to blame. He uses writing techniques, appeals to emotion, appeals to personal authority, and facts to prove his case against the food industry. Zinczenko uses devices such as questionsRead MoreDon t Blame The Eater998 Words   |  4 PagesIn the article â€Å"don’t blame the eater†, David Zinczenko focuses on the reason behind the obesity problem that the modern young generations are facing. According to him, the large chains of fast-food restaurants given their availability around the country and low prices are the ones causing this problem. He brings in his own life experience and tells the story of becoming a 212 pound teenager highlighting that he had to rely on these fast food chains for everyday meal. With a single mother, who workedRead MoreDon t Blame The Eater970 Words   |  4 PagesIn the article, Don’t Blame the Eater, David Zinczenko focuses on the reason behind the obesity problem that the young generation is facing. According to him, the large chains of fast-food restaurants, given their availability around the country, and low prices are the ones causing this problem. He brings in his o wn life experience, and tells the story of transforming into a 212 pounds teenager to highlight that he had to rely on these fast food chains for everyday meal. With a single mother workingRead MoreDon t Blame The Eater Essay1007 Words   |  5 PagesIn the article â€Å"Don’t Blame the Eater†, author David Zinczenko, the editor -in-chief of Men’s Health magazine comments on the lawsuit against McDonald’s which is initiated by the overweight children’s parents. He claims that fast-food industry should accept full responsibility for a serious public problem: leading American kids to obesity. Zinczenko supports his claim with his personal experience to show how the fast-food chains marketing on them with low price. He also said it is not easy for thoseRead MoreDon t Blame The Eater1173 Words   |  5 PagesIn his essay â€Å"Don’t Blame the Eater†, David Zinczenko tells the reader that kids are suing fast food companies for making the m fat. He tells the readers that the consumer is not necessarily at fault, the food industry is the true culprit. Zinczenko argues that children are not at fault and the fast-food industry is to blame for selling unhealthy food with inadequate nutritional information available. The problem of children eating too much fast food has become a national crisis, causing an increaseRead MoreDon t Blame The Eater Essay974 Words   |  4 PagesMany people assume that the blame for unhealthy lifestyles of Americans should be justly placed on the numerous fast food restaurants located throughout America (Ch.1, pg. 24). David Zinczenko is one of these people. In his paper titled Don’t Blame the Eater, he argues that because these restaurants are on every corner, and because they do not blatantly offer nutritional menus, that fast food eateries are at fault. Zinczenko contradicts himself; on the one hand, he argues â€Å"whatever happened to personalRead MoreAnalysis Of Don t Blame The Eater988 Words   |  4 Pagescould embark on later in life due to their unhealthy choices? David Zinczenko brings up valid points on how fast-food is harmful to one’s body in â€Å"Don’t Blame the Eater,†. Zinczenko is able to effectively argue against the manipulation of the food industry by showing the reader that the consumer is the victim while the food industry is the one to blame. His use of questioning, personal appeals, imagery, direct tone and colorful diction results in a compelling case that supports his accusations of manipulationRead MoreDon t Blame The Eater By David Zinczenko931 Words   |  4 PagesThe article â€Å"Don’t Blame the Eater by David Zinczenko discusses David s childhood and how it has affected him. In addition, he speaks about fast food and the companies behind it. Zinczenko ate a lot of fast food when he was younger because that is what his mother could afford. There are countless people in this situation. People also go to fast food restaurants because it is convenient, cheap, and on the go. The problem is that these ‘restaurants’ do not sell quality food as they advertise onRead MoreDon t Blame The Eater, By David Zinczenko Essay1496 Words   |  6 Pagesdo not wish to go otherwise people would not have any income to live on. This is similar to the obesity issue. People feel like they are obligated to eat out all the time because of various issues. Some issues are explained in the essay â€Å"Don’t Blame the Eater,† by David Zinczenko. The author asserts that children are suing big corporate companies such as McDonald s because it is making them fat. He states that it is an issue worth sympathizing with. In this essay, he draws from his past experiencesRead MoreDon t Blame The Eater By David Zinczenko962 Words   |  4 PagesIn the article, â€Å"Don’t Blame the Eater, by David Zinczenko discusses about his childhood and how it has affected him. In addition, he explains thoroughly about fast food and the companies behind it. Zincozenko also talks about fast food companies have affected him and other in today’s world. Zinczenko ate a lot of fast food when he was younger because that is what his mother could afford. There were many people in this situation then and there are many people in this situation now. People go to

What Does Motivation Does Not Work - 1505 Words

Introduction: With the present state of the economy, ones need to survive is more dominant than ever. The need for shelter, food, and clothing are constant motivators to secure ones job position. Some employees may settle for poor treatment, lower positions, and no raises or advancement in current positions. As the economy in Canada still in recession, it is vital to retain key employees during recession for the success of every company. Some ramifications if motivational challenge does not work could result in low productivity and poor company morale. Motivation is the driving power which keeps people going and business always strives to motivate their employees to their best of ability. Motivation represents a crucial challenge for existing organizations. Motivation is very much driven by the work conditions companies create for their employees, how they structure goals and objectives, and how they reward people for the accomplishment of those goals. Motivated employees have greater attentiveness and are less likely to make mistakes, cause mishaps or be involved in a negative conflict. They also have a tendency to show greater loyalty to the company and have strong attendance. An unmotivated employee will demonstrate the opposite, being dissatisfied with his role in the work environment and therefore, he can negatively affect both the quality of the work as well as how efficiently employees carry out their jobs. TD Bank: TD bank headquartered in Toronto, Canada, withShow MoreRelatedUsa Olympic Uniform Controversy901 Words   |  4 Pages Jaleesa Wynn MGMT 3720 Assignment #2 Work Motivation â€Å"Magic Eye, Inc† is a case study about a company that specializes in computerized special effects. This company is made up of majority of computer programmers. Paul Reed, vice president of Magic Eye, Inc is an engineer hired aboard several individuals who share similar backgrounds and works young programmers in developing their expertise. However, Paul is disappointed in the potential level ofRead MoreThe Motivation Level Of Motivation And Self Control1203 Words   |  5 PagesIntroduction Motivation is literally the desire to do things. It’s the different between waking up before dawn to pound the pavement and lazing around the house all day. It’s the crucial element in setting and attaining goals – and research shows you can influence your own levels of motivation and self-control. (Psychology Today, 2014) An individual, while capable of determining their goals should align professional goals with the organization; in turn this organization will need to determineRead MoreIn The 1960S, Lewin Was One Of The First To Address Employees’1139 Words   |  5 PagesIn the 1960s, LEWIN was one of the first to address employees’ motivation. According to him, motivation and skills must be combined to determine the level of performance. After him, there was a lot of research done about that subject; we then realized that motivation was very important to organizations. Motivation at work can therefore be defined as the employee s willingness to do their job, the degree to which they are involved, their perseverance and continuity of their effort. Nowadays, companiesRead MoreMotivation vs. Empowerment: Which One Are You?685 Words   |  3 PagesMotivation vs. Empowerment This morning my wife and I were discussing what it means to be motivated or empowered. We both agreed that it is better to be empowered than just motivated. Which brings me to today’s blog. What is motivation and empowerment? We hear every day about motivation and motivational speakers. When do we hear about empowerment? When are we motivated and how long does it last? The next question is when are we empowered? Is there a difference in how we feel or act when weRead MoreMotivation And Maslow s Theory1324 Words   |  6 Pages In order to understand a person motivation you have to understand individuals basic needs and whether are not they are being met. A good manager has to know how those need interact with a person’s motivation and Maslow Theory is the good example. Maslow’s theory is that needs are arranged in a hierarchy, the lowest level needs physiological needs to the highest levels or self-actualization needs (Ivancevich et al., 2011). Physiological is the lowest level and it is the need for food and shelterRead MoreKellogs Case1370 Words   |  6 Pagesa better workplace through motivation 1. Using two motivation theories of your choice, explain a) the similarities and the b) differences between the two theories. Among the various motivation theories, I chose Herzberg’s theory of motivation and Maslow’s hierarchy of needs. a) Similarities Herzberg is the person responsible for the birth of the two-dimensional paradigm of factors affecting people’s attitudes about work. This is sometimes called theRead MoreMotivation Theories And Motivation Of Employee Motivation Essay1517 Words   |  7 PagesEmployee motivation is something that can directly affect an organizations production. It is no secret that un-motivated employees equates to un-productive workers, but how can we combat this? In order to better understand this concept we will look at the definition of employee motivation, some of the motivation theories and some motivation techniques that could be useful in our organizations. What is employee motivation? Motivation is a word used quite often in many different scenarios, at work, homeRead MoreMotivation Theories Of Motivation And Motivation Essay1020 Words   |  5 Pages Overview of Presentation What is motivation? Cognitive theories of Motivation Forms of Motivation Motivation Theories Profile of Motivational Problems How to Motivate Students What is Motivation? Many different theorists have tried to define what is meant by motiviation. Urdan and Schoenfelder (2006) defined Motivation as follows: â€Å"Motivation is a complex part of human psychology and behavior that influences how individuals choose to invest their time, how much energy they exert in any givenRead Moremotivation Essay809 Words   |  4 Pagesinterfering with the work of one of her colleagues (whose job she used to do). He has so far tried moving the offender physically away from her colleague, ignoring the interference (along with the colleague) in the hope that it would stop, and rewarding the staff member when she does not interfere. This situation has now been going on for six months, your manager has run out of ideas, and he has asked for your help. What advice would you give from your knowledge of motivation theory? One of yourRead MoreOrganisational Behaviour1320 Words   |  6 Pages†¢Other Groups †¢Conflict †¢Power Politics †¢Group Structure †¢Work Teams †¢Leadership †¢Decision Making Organization †¢Culture †¢Structure †¢Design †¢Technology †¢Work Processes †¢Selection Processes †¢Training Programs †¢Appraisal Practices Lecturer:  Cheryl  Ã¢â‚¬Å"Nyahra†Ã‚  Gittens †¢Perception †¢Motivation †¢Individual Learning †¢Decision Making 1 Lecturer: Cheryl Nyahra Gittens 2 The  Motivation  Process What  Is  Motivation? Motivation The  processes  that  account  for  an  individual’s  willingness  to

Music Lyrics Good or Bad free essay sample

Since the beginning of human existence, birds sing, fire crackles, water drips, and leaves rustle, creating music. Pitches, tones, and notes put together simply make music. Words added as lyrics to allow the telling of stories, let others into our thoughts, and express feelings. Many different types of music encompass several different genres. These include country, contemporary, blues, classical, electric, Jazz, religious, hip hop, and rap, Just to name a few.However, in the past few decades controversy over lyrics come forth. Rap Is defined as a style of popular music consisting of Improvised rhymes reformed to a rhythmic accompaniment (American Psychological Association, 2003). The first known rappers, was a group called the Last Poets. The Last Poets established in New York City during the civil rights era, shortly after the death of Martin Luther King in 1968 (Jamboree Studios, 2006). Emerging in the late asss, a new group from Los Angels came forward that changed the face of rap music. The N. W. A. Inning With Attitude) became notorious for their newfound gangs rap. Their music consisted primarily of violence, criminal life, harsh language, and blunt sexual lyrics. Over time, N. W. A. S lyrics became more explicit which lead the Federal Bureau of Investigation (FBI) to send them warning letters. These lyrics filled the minds and fantasies of teenagers, and the crime rate rose drastically (Thomas, 2003). Could the music and lyrics cause the increase in crime or was it Just coincident? Definitely not, music can and does have an affect people.Music attracts humans; music Is constantly at our disposal through the modern technologies of television, computers, video games, and the Internet (Della, 2007). Music can be part of a ritual, an emotional release, religious reasons, or just listening for pleasure. Without even realizing, music fills voids of silence. Often, music played in the background goes unnoticed, until it gets turned off. Music gets played constantly, so it gets overlooked, during homework, reading, studying, hanging out with friends, and especially driving. Donald F.Roberts states: Music promotes experiences of the extreme for its makers and listeners, turning the perilous emotional edges, vulnerabilities, triumphs, celebrations, and antagonism of life into hypnotic, reflective tempos that can be experienced privately or shared with others (Roberts, Christenson, Gentile, 2003). According to one study of over six hundred students from public and private schools in Minnesota, the children reported on average of spending twenty-one hours per week listening to music. Also, within that study, only thirty percent of those questioned knew the words to their favorite song (Roberts, Christenson, Gentile, 2003). These songs that teenagers and young children listen to have violent and offensive lyrics, the explicit lyrics turn the younger generation to suicide, increased aggression, stereotyping, racism, depression, drugs, and killing (Nolan and Steiner, 2009). Avid music lovers test that the words sung in these songs are Just words and is no different than poetry printed in literature books (Nolan and Steiner, 2009). However, numerous studies have been done that disprove the avid music lovers claim. Songs with violent lyrics increase aggression related thoughts, emotions, and hostility. This effect directly relates to the violence in the lyrics.The aggressive words increase the speed with which people read aggressive versus nonaggression words (American Psychological Association, 2003). Craig A. Anderson, Ph. D. Of Iowa State University stated: Aggressive thoughts can influence perceptions of ongoing social interactions, coloring them with an aggressive tint. Such aggression-biased interpretations can, in turn, instigate a more aggressive response verbal or physical then would have been emitted in a nonbiased state, thus provoking an aggressive escalators spiral of antisocial exchanges (American Psychological Association, 2003). Physicians view adolescence as a difficult time period because of the psychological and biological changes that occur. Young people are expected to develop a set of moral values through their perceptions of adult standards and behaviors. Rock music ends to symbolize the adolescent themes of rebellion and autonomy. Rap music became infamous for its derogatory remarks towards women. The two most popular forms of music for adolescents revolve around themes of disrespect and sexual imagery (King, McConnell, Orr, Scriber, Train, Thornburg, Wolfe, 2009).One study links music preference with social conditions and behaviors. Students that listened to music that promotes homicide, suicide, or satanic practices became more likely to have remarried or unmarried parents and were more likely to be white males in urban public schools, also a link between preferences of heavy metal or rap and low average grades, behavioral problems, sexual activity, drug and alcohol use, and arrests (Palmer, A. , 2003). Another study done by Ballard and Coats in 1995 determined that music and lyrical content effected suicide ideation and state anxiety.Volunteers listened to six different songs that were either heavy metal or rap crossed with three different lyrical themes. The three themes were nonviolent, homicidal, and suicidal ideation. In order to insure that the participants would listen carefully to the lyrics without giving an indication of the true nature of the study, the experimenters old the participants that the test consisted primarily of lyric memory. The results indicated that the nonviolent rap songs elicited higher scores on the Beck Depression Inventory than the violent rap songs (King, McConnell, Orr, Scriber, Train, Thornburg, Wolfe, 2009).Violent songs lead to more violent youth. Children and teenagers are murdering their schoolmates, teachers, parents, and friends. Much of the responsibility for these actions points towards music, hearing famous people sing about killing others causes these teenagers to think that these actions become acceptable, when they get aid millions to sing about raping girls or smoking pot. Doctor Frank Pabulum, a practicing pediatrician in Washington, D. C. , testifies on behalf of the American Academy of Pediatrics, Music affects people.Music generates a lot of different feelings in its listeners, and if happy songs can make us feel good and think happy thoughts, violent songs can make us angry and think angry thoughts (Dhabi, 2007). In the article, Violent Song Lyrics Encourage Aggressive Behavior in Children, Debbie Pulley explains how a normal thirteen year old boy, Mitchell Johnson, changed after buying rap compact discs. Belly was Mitchell teacher, and three months after buying compact discs by Outpace Shaker and Bone Thugs N Harmony, he and another school shooting.After the shootings other students began to come forward and tell the faculty that the boys listened to gangster rap music. They sang the lyrics, and some of the lyrics even spoke about murdering the kids at school (Dhabi, 2007). Teachers are aware of the violence that children and teenagers are exposed to, which can cause them to have a fear of doing their Job. Other students may be afraid to attend school. For a student to hear a classmate singing of even listening to explicit Eng lyrics could cause fear.These lyrics plant ideas into vulnerable minds, and some children become weak enough to buy into them. A number of adolescent suicide victims have spent the hours immediately prior to taking their lives immersed in heavy metal music. Also, several of the young people involved in recent school shooting have been avid fans of gothic rock performers (Roberts, Christenson, Gentile, 2003). The major difference between popular music and other media is musics ability to enhance or modify moods. Reasons for listening to music, presented in a study ofSwedish adolescents found factor analyses revealed three general trends: atmosphere creation and mood control, filling silence and passing the time, and attention to lyrics (Roberts, Christenson, Gentile, 2003). For most young people, music use is driven primarily by the motivation to control mood and to enhance emotional state. An example of this can be sports. When preparing for a big game or competition, music can be used to get people pumped up; this increases energy level and seeks stimulation. Usually youth like music because of its beat and sound, rarely because of lyrics. However, lyrics are far from irrelevant.Lyrics are often attended to, processed, discussed, memorized, and even taken to heart. The more important music is to an adolescent, the more importance he or she places on the lyrics. Attention to lyrics is highest among fans of oppositional or controversial music, the more defiant, alienated and threatening, the more closely its fans follow the words (Roberts, Christenson, Gentile, 2003). Along with music comes music videos. The visual images and narratives of music videos clearly have more potential to form attitudes, values, and perceptions of social reality than does the music alone.Music videos add additional information and rely less of the imagination. Even though hours less of teenagers time spent watching music videos than listening to music, the fact that the time spent watching and not listening means that music video viewing becomes more likely to be a foreground rather than a background activity. Teenagers eyes remain focused and directed on the screen, less attention can be given to other activities. Studies of music lyrics have shown that lyric intelligibility and interpretation can vary across different listeners, the meaning of the songs is shown in the video and can become self-reinforcing.If viewers listen to the song after viewing the video, likely a flash back will occur to the visual images (Roberts, Christenson, Gentile, 2003). Those who watched thirty minutes of music videos with high concentrations of sex, violence, and indistinguishable themes showed higher approval of premarital sex than did those who viewed thirty minutes of videos randomly taped off the air (Roberts, Christenson, can be dress, looks, similar history, and even music. This happens mainly in high school and Junior high levels; at this age teenagers easily influence one another.Therefore, if the music one person listens to have a negative effect on a person in the circle of friends, the chances that influence will spread to other members of that group increases. If the music being listened to brings u plifting thoughts, most likely will result in a light, uplifting person. If the music that being listened to brings violent thoughts, the temptation to be a violent person occurs (Dhabi, 2007). Rap and hip- hop music can also be stereotypical. One study measured the relationship between musical genre and the race of the singer on reactions to violent song lyrics.The searchers wanted to see if pre-existing thoughts and stereotypes affected how new information is processed and if the African American stereotype of being violent, hostile, and aggressive is gets used. One rap song and one folk song were used in this experiment. The results indicated that when either song was associated with an African American singer or as rap, the participants viewed the lyrics as being offensive. It is not only the lyrics, but also the race of the singer that created a negative connection towards the song (King, McConnell, Orr, Scriber, Train, Another stereotype used in music comes between men and women.Studies show that men have a tolerable attitude as to what is violent and what is too far in sexual advances. Women have less of a tolerance. Heavy metal music and gangster rap influences mens attitude toward women and that increased exposure to those kinds of lyrics and music containing interpersonal violence against women tended to increase mens acceptance of rape myths, such as she dressed like she wanted it or she brought it on herself (Nolan and Steiner, 2009).Many arguments can be made as to whether music should be censored or if that becomes unconstitutional to do so cause of the First Amendment in the Bill of Rights, it states: Congress shall make no law respecting an establishment or religion, or prohibiting the free exercise thereof; or abridging the freedom or speech, or of the press; or the right of the people peaceably to assemble, and to petition the government for a redress of grievances (Mulberry, Adams, Buckley, and Otis, 1791).The American Academy of Pediatrics recommends different types of behavior modifications to combat the harmful effects of this music. This can be as simple as having parents remain aware of what their children listen to, and to discuss anything hey deem as objectionable. This would be a positive way to relate emotions to the songs. Another idea proposed in the music world can be labeling the content in compact discs. Labels on the outside cover would reveal what the lyrics contained such as language, sex, drugs, and so on.People will always find something wrong with the music that others listen to; music is a form of art and a means of self-expression and emotional release. However, many read too much into lyrics and take them literally into their lives, whereas others teenagers can listen to rap music and it does not change their thoughts and actions. Parents need to pay attention to their childs behavior. Musics main power can change or maintain emotional moods. If the child listens to angry sounding music for a lengthy period of time, that may be a signal for concern, it may Children listen to music because they like it.

Lost boys free essay sample

I have chosen to write a feminist analysis of the short story â€Å"Lost boys†. â€Å"Lost boys† is a feminist short story written by Deborah Moggach. A feminist analysis of a text focus on the way men and woman are portrayed and the overall message, which I am going to deal with in this following analysis of â€Å"Lost boys†. The short story â€Å"Lost boys† is about a couple and their relationship to the narrator’s mother-in-law, Lily. The story starts in â€Å"in-medias-res†, which I can see because the reader is thrown straight into the story without any introduction. Lily’s son, Ewan, believes that Lily is an untrustworthy and abnormal mother, but the narrator doesn’t agree in that. Although Ewan has told a lot of bad things about his mother, the narrator believes that her mother-in-law, Lily, is a romantic and good woman. Ewan thinks he had a deprived childhood because he doesn’t feel that Lily took care of him. We will write a custom essay sample on Lost boys or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The narrator changes her view of Lily when she was in Hampstead Heath to visit Lily with her children. The narrator went out for a swim while Lily looked after the children, but when the narrator went back, Alex was gone. Then the narrator remembered when her husband told her about his childhood; â€Å"We’d rented a cottage in the New Forest and a lot of the grown-ups went swimming, naked, in a river. Afterwards she sat down and painted the others and I wandered off. She forgot me. I was only five. I wandered down the stream and fell in and nearly drowned All for the painting. † (Side 34 – line 31). Then the narrator realised that it was exactly the same that happened to Alex and that Ewan was right. Lily is a selfish woman who doesn’t think of anything else than her paintings and that’s the reason why she forgets Alex and Ewan. The narrator never told Ewan about what happened that day. Ewan is the narrator’s husband and the father to their two children, Cassie and Alex. Ewans father died when Ewan was a child and ever since he had been alone with his mother, Lily. Ewan believes that he had a deprived childhood with his mother, because she couldn’t take care of him. The narrator is Ewan’s husband and the mother to their two children, Cassie and Alex. The narrator tells the story in 3rd person, because she is able to empathize with all the characters in the story. In the start of the story, the narrator likes her mother-in-law, but after Lily forgot she when she supposed to look after him, the narrator changes her view of her. Lily was a famous painter and model called â€Å"Lily Frears† and lived in a cluttered mansion flat opposite the British Museum. Lily had been thought two marriages, one to a young sculptor and the other to Ewan’s father, who died of pancreatitis. In her young days she was a beautiful girl with ruddy skin and bold bypsy eyes and it seems like she can’t stand the idea of growing up and getting old, which I can see in the following quote from the text: â€Å"She was always Lily, newer Granny. She wouldn’t let them call her that because she felt the wings of mortality brushing her face; she said this, toutching her rouged check. † (Side 35 – line 26). Lily doesn’t cook dinner by herself so instead of cooking dinner she ate in the sandwich bar downstairs and her fridge was always almost empty, except from her can of Kit-e-Kat and gin. Lily is a bad mother because she can’t take care of her son, Ewan. This short story is a typical feminist story because it describes how a woman doesn’t adapt to the gender norms. A woman should be able to take care of her own children and cook dinner by herself, but Lily doesn’t live up to that. Lily can’t cook dinner or take care of her children and therefore she doesn’t adapt to the gender norms. I think the reason why Lily doesn’t adapt to the gender norms is that there is no man in her life, and therefore I think Lily behaves like a man instead of a woman. In the gender norms it supposed to be the mother who takes most care of the children and that’s the reason why Ewan doesn’t feel that he has a natural mother who takes care of him. I have chosen to put this short story into perspective to the society today because we live in a society with different gender roles. Woman’s supposed to do all the domestic duty and take care of the children whereas men supposed to do all the heavy works. Many people believe that it is wrong to have gender roles; these people are called â€Å"a feminist†. Lily is a feminist because she breaks the gender roles.

jason essays

jason essays We alone can not go down and get close enough to explore the Titanic. We now have the technology to build robotic machines to explore the ocean floor like Jason or Jason Jr. They are smaller than a submarine, actually a lot smaller, almost like a remote control car. The Titanic sank in the north Atlantic in 1912. Jason Jr. is very handy, it can reach as deep as 4000 meters. The reason they do not have Jason Jr. any more is because it got lost in 1991 off the Galapagos Island and was found 9000 feet down in the water, so it was replaced by Jason. They use remote controls like Jason and Jason Jr. because divers can not get in as close as Jason can. There also is a risk of a diver getting caught on something or getting stuck in the Titanic. Someone could die if something went wrong so if they use underwater vehicles like Jason they are not taking a risk of someone dying, but they cost about one million dollars which requires they still be careful. Jason is a somewhat small vehicle with about four fans. Jason has two special headlights that could withstand underwater pressure to about 4000 meters and a video camera and also a small 35mm still camera. Jason Jr. gave the world the very first look at the Titanic so that we can see what they are looking at and where the are going. It has a 91-meter cord attached to it from Alvin. Alvin is a little submarine that fits one person and he is the controller of Jason. Titanic disaster was said to be one of the worst maritime disasters in history. The British luxury liner Titanic on its voyage from Liverpool to New York City struck an iceberg about 95 mi. south of the Grand Banks of Newfoundland just before midnight on April 14, 1912. Of the more than 2220 persons aboard about 1513 died including the American millionaires John Jacob Astor Benjamin Guggenheim, 1865-1912, and Isidor Straus. The ship was said to have been unsinkable because of its 16 watertight compartments but the ice ...

Forensic Accounting Essay Example | Topics and Well Written Essays - 3000 words

Forensic Accounting - Essay Example (Lexicom, 2007) The standards that have been set are usually fixed making it hard for investors from other states to operate using the same starndards.Foreign investors usually have their standards and it becomes hard for them to cope with the new standards. (Lexicom, 2007) Principle based systems will provide a conceptual framework basis that will be followed by the accountants. In centrally, rule based systems has detailed rules which are to be followed. Under the principle based system, one will lay out the objectives of good reporting and then provides guidance that explains the objectives. In rule based systems the rules are unavoidable and its intent is not to provide guidance. Both systems are used by accountants depending on the nature of the objective. (Toppe, 2008) 1.2.1 IASC.This was formed as a not for profit organisation that is incorporated in the US. It is the parent entity of the IASB which is mandated with setting of standards. Its structure includes Trustees, Standard Advisory council, IASB and the International Financial Reporting Interpretation committees. (IFRS, 2012) 1.2.2 IASB assumes the accounting standard setting responsibilities from the IASC.This is because there was restricting on the move to shape IASC for the future. The structure includes IASC foundation. (IFRS, 2012) 1.2.3 SAC (Standard Advisory Council) is vital for it ensures that the objectives of the companies are met. This consists of the selected board of directors. They address on the matters that relates to the standards of the organisation. (Board, 2008) 1.2.4 IFRS Interpretation committee ensures that a consensus on the appropriate accounting treatment and providing an authoritative guidance on those issues. This normally consists of 14 voting members appointed by the trustees. (Board, 2008) 1.3.2 EC (European Commission) is mandated to regulate and

ETH501, Business Ethics, Mod 2 Session Long Project Essay

ETH501, Business Ethics, Mod 2 Session Long Project - Essay Example It is the company’s duty to inculcate such an environment in the company and practice such ethical behavior that employees have nothing bad to say about the company. Many companies, however, take the easier route, that is they coerce their employees to restrain from whistle blowing about the company. One such contract, where an employee was restrained from speaking anything bad about the company was offered Charles F. Frenette. The contract stated that the initial offer to him about a stock option will e forfeited if he is found disparaging or using bad words about the company. This was like stopping him from speaking what he wants or what he may want to speak in the future. And punishment levied on him for his freedom of expression would be forfeiting his monetary reward. As discussed before, you cannot force an employee to restrain from speaking and instead you should inculcate such policies with the company that it may never indulge in any wrongdoings and hence does not come under bad wording by its employees. Let’s now look at the issue under the two most important ethical frameworks of deontology and utilitarianism. Unitarianism is all about the good for the society. This principle states that every action should increase the goodness for the society in all cases. An action should only be taken if costs associated are less than the benefits attained from it. For example, if Coke’s decision to stop its employees from whistle blowing or from telling people about any wrong doing of the company, this action would bring upon people very negative effects and will save only the reputation of the company. In other words, the costs inflicted in the society might be very high as compared to the reputation of the Coca-Cola that will be protected from any controversy. Under this ethical framework, the clause added by the Coca-Cola Company is never justified. They are inflicting costs on the

Macroeconomic Environment of Business Case Study

Macroeconomic Environment of Business - Case Study Example This paper seeks to address whether the expected advantages of the euro as a single currency for Europe was achieved, while in the process, we expect to discover the reasons behind. The euro was introduced in the financial market back in 1999. It is the culmination of the three-stage European Economic and Monetary Union (EMU) which aims to coordinate economic policies. There was a three-year transition period and, after, national currencies from participating countries ceased to exist. Today, states seeking membership to the European Union must adopt this currency as a requirement within varying timetables in the span of ten years based on specified economic factors. The United Kingdom and Denmark, however, is exempted to this policy. Ideally, there is a list of economic advantages in using euro in the European Union. Foremost of this is that it is said to be a tool for political solidarity. On the economic front the following are some of the most important output: As mentioned beforehand, problems not previously anticipated emerged with the introduction of the euro. For instance, a minimal rise in inflation was expected only during the transition period, but until now, Europeans are complaining about skyrocketing prices in commodities. On a more general scale, we have also a report by the Centre for European Policy Studies that the euro is responsible for Italy's plunge into a full-blown recession. (Browne, 2005) In Germany the euro is also believed to have failed in invigorating employment statistics or curb rising prices, insolvencies and general stagnation of the economy. Not just economic managers but senior government officials have floated around the idea of a return to national currencies as a way out of their current economic woes. What is worse, unofficial currencies are currently being circulated in some parts of Germany to replace the euro in business transactions. Vissol (1999, p. 75) tells us that "the short term economic benefit s accruing to consumers through the transition to the euro concern only the minority of consumers who travel and/or cross the borders." He argued that the long term benefits are uncertain and difficult to put across unless an explanation could be given on how the euro will guide the future payment community as a sovereign community and a value system shared by the vast majority. At present, the global economy is recovering but the Eurozone is lagging behind, posting a meager 1% growth. The Germans are fearful of losing their jobs; Italy is on recession while inflation is high. So one might say, there is more than a hint of failure here and euro is in the thick of things. While officials are running around Europe trying to dispel the rumor that the euro is going down the drain, economic managers' prediction and finance ministers' slips shows otherwise or at the very least express trouble. Milestones But if there were a question on whether the euro has been successful so far, the answer would still be indefinite especially if we are to use the foregoing in quantifying a

Sacrifice of Values to Please Authority in Shakespeares Hamlet Essay

Sacrifice of Values to Please Authority in Shakespeare's Hamlet It seems that it is human nature to want to please others, but compromising ones values in order to do so can result in people getting hurt emotionally or physically. In William Shakespeare's Hamlet, the desire to please those in authority overweighs the judgment of many characters. These characters are more interested in pleasing those in power than doing what is in their best interest. This is seen in Polonious' eager attempt to use Ophelia, in Rosencrantz and Guildenstern's being coerced into spying on a good friend, and finally in Laertes' all too easy manipulation by Claudius to take revenge on his fathers' death. In all these instances, the characters put their better judgment aside in order to do something to please a monarch. The bond between father and daughter is something that some consider sacred. Polonious uses this bond with Ophelia to please Claudius and Gertrude in finding our what is wrong with Hamlet. The King and Queen were very upset at Hamlet's seeming insanity. They tell Rosencrantz and Guildenstern that finding out what is wrong with Hamlet would be "the supply and profit of [their] hope (P.34)." They are obviously disenchanted at his behavior, and Polonious knows this, and tries to use his daughter to prove his theory. When Ophelia came and described to him her meeting with Hamlet in Act I, Polonious immediately took her to the King. Polonious, acting on his duty to "both [his] God and to [his] gracious king (P. 34)" took Ophelia to Claudius to see if he could be any help in trying to find out what is wrong with Hamlet. He quickly tells the king that he will ".loose [his] daughter to [Hamlet] (p. 38)" and concocts an elaborate plan t... ...how others perceived them, especially those in power, than doing what was really in the best interest for everyone. These characters were manipulated by brutal puppet-masters that toyed with their strings to get the response that they wanted, knowing full well that all would agree to anything in order to please them. This urge to do what was wanted by those in ascendancy was so great a weight, that values were pushed aside for a chance to glimmer in the light of attention from important figures in society. Works Cited and Consulted Long, Michael. A Study of Values in Shakespearean Tragedy. London: Methuen and Company, 1976. Mirrior, Ivor. "Hamlet." The Role of Authority in the Tragedies. London: George Allen and Unwin, 1972. 369-430. Shakespeare, William. Hamlet. Ed. Susanne L. Wofford. Case Studies in Contemporary Criticism. Boston: St. Martin's, 1994.

Documentary Aspects on Kieslowski Fiction

Winter 2012-13 – Free written home-assignments (To be uploaded to Absalon – 1 copy only). (Uploades til Absalon i et eksemplar) Navn (Name) Katarzyna Inez Dawczyk Studienummer (Student ID) qtw401 Telefon (Telephone) 27632783 e-post (e-mail) k. inez. [email  protected] comVed gruppeopgave anfores ovrige navne (Names of other participants in group essays) Navn (Name) : __________________________ Navn (Name) : __________________________ Navn (Name) : __________________________ Navn (Name) : __________________________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ If the information concerning length below is not filled in correctly, the assignment will be rejected and you will be graded as a †no show†.ANTAL NORMALSIDER: 25 (Number of standard pages of 2400 keystrokes) ANTAL TYPEENHEDER: 60 178 (Total number of keystrokes, including spaces and notes but not cover p ages, bibliographies and appendices). OMFANG AF OPGAVER: L? ngden af en opgave er en del af opgaven – hverken for lange eller for korte opgaver accepteres. LENGTH OF THE ASSIGNMENT: Neither too long nor too short assignments are acceptable. S? T KRYDS (Mark) S? T KRYDS: (just Danish students) Individuel opgave X (Individual essay) Intern censor__________ se i studieordningen) Gruppeopgave _________ (Group essay) Ekstern censor X (se i studieordningen)Studieelement/Modul (Study Element/Module) 47790313-01/ Module 3 (f. eks. 47790316 Modul 4: Skriftlig formidling) Emne (Subject) : Between Documentary and Fiction (f. eks. Japansk Film) Er opgaven fortrolig (s? t kryds) JA___ (Is the essay confidential? ) (mark) Studieordning (s? t kryds): (Curriculum) (mark) : NEJ X (Yes) EKSAMINATOR: Arild Fetveit (Examiner) (No) __ Anden studieordning: _________________________ __Gymnasierettet Kandidattilvalg 2008-ordningen __Grundudd. i Film- og Medievidenskab 2005 – eller 2012__ __BA -tilvalg i Medier og Kultur, Tv? Hum. 2007 __Gymnasierettet tilvalg i Film- og medievidenskab 2007 __Enkeltstaende tilvalg i Film- og Medievidenskab 2007 (Curriculum for Elective Studies in Film and Media Studies 2007) __Kandidatuddannelsen i Filmvidenskab 2008 (Curriculum for the Master’s Programme in Film Studies) x__Kandidatuddannelsen I Medievidenskab 2008 (Curriculum for the Master’s Programme in Media Studies) __Master i Cross Media Communication __Tv? rhumanistisk Tilvalgsfag i Digital Kommunikation og ? stetik 2007 Dato og ar 1. 01. 013 Date and year DOCUMENTARY ASPECTS ON KIESLOWSKI? S FICTION ABSTRACT This paper examines different concepts of documentary and the influence of documentary dispositions on Kieslowski? s fiction that might be found by analysing his selected feature films. Different definitions of documentary in cinema created by various critics and cinematographers will guide the discussions of the ways in which Kieslowski comments on filmmaking, particularly how his fiction might carry the echo of reality which is recorded by documentaries.The paper is an attempt of describing the pattern, where realism is a dominant factor that might create an illusion of reality. This project is important to provide the theory about documentary aspects on Kieslowski? s fiction in order to find similarities and connections between two genres of film that are on the opposite poles. The study provides the unit of analysis about which the information were collected in order to create an understanding of the context. The assignment has got theoretical dimension and analyses.KEYWORDS: documentary, fiction, film studies, Kieslowski, realism, representation Before starting evaluate documentary as a form of film, it is necessary to replay on fundamental questions: what is a film? ; and how film can be understand? The elementary definition of film says that film is a story or event recorded by a camera as a set of moving images and shown in a cinem a or on television. †1 Furthermore, it is a medium and an art and a very complex technology undertaking . 2 Film belongs both to recording media and representative media.The spectrum of film looks like: -the performance art, which happen in real time -the representational art, which depends on the established codes and conventions of language – the recording art, which provides a more direct path between subject and observer: media not without their own codes but qualitatively more direct than the media of representational arts. 3 1 2 www. oxforddictionaries. com James Monaco, â€Å" How to read a film†, 3rd Edition, Oxford University Press, 2000, p. 17 3 Inbid. ,p. 27 Every film contains a range of various messages, which are not always apparent.However, by analysing film, messages can be discovered. Film makes absence presence. Moreover, the special techniques of film-the concentrated close-up-and the special qualities of film projection, make intimate experien ce of face as the sole, cause impression of living reality. 4 DOCUMENTARY John Grierson, a father of documentary used the phrase â€Å"documentary value† in reviewing Robert Flaherty? s â€Å"Moana† in 1926 for a New York newspaper. It was the first occasion on which the word â€Å"documentary† was applied in English language, to this specific kind of film. In English language, the adjective â€Å"documentary† was invited quite late as in 1802 with the modern meaning of its source word â€Å"document† as something written, which carry evidence or information. The contemporary use of â€Å"document† still carries the connotation of evidence. Besides, from the beginning of documentary, a photograph was received as a document and therefore as an evidence. 6 Documentary film has begun in the last years of the IXX century. It seems that, its beginning had many faces, as for some scholars the first documentary was â€Å" Nanook of the North† (1922) about Eskimo life ; some claimed that it was Joris Ivens? â€Å" Rain† ( 1929) a story about a rainy day; for another â€Å" Man with a Movie Camera† (1929) made by Dziga Vertov. 7 So what is a documentary then? A simple answer might be that is a movie about real life. However, it sounds to be too simplified, as there is not such a real life, as a camera can see just a part of real, just a small piece. Irritating are arguments that the camera is a window of world. On which worldthe question is rising? The camera can see just a part of the world, the part of real, the part of life.As a result, it could be said, that documentary movie does its best to represent a part of real life and it does not manipulate about it. 4 Philp Simpson, Andrew Uttern and K. J. Shepherdson, â€Å"Film Theory. Critical Concepts in Media and Cultural Studies†, Routledge, London, 2004, p. 70 5 Brian Winston, â€Å"Claiming the real. The Griersonian Documentary and Its Legitimat ions†, British Film Institute, 1995, p. 8 6 Inbid, p. 11 7 Patricia Aufderheide, â€Å" Defining the Documentary† in â€Å" Documentary Film. A very short introduction†, Patricia Aufderheide, Oxford University Press, New Your 2007, p. In other words, it could be said that â€Å"documentary is defined and redefined over the course of time, both by makers and by viewers. Viewers certainly shape the meaning of any documentary, by combing our own knowledge of and interest in the world with how film-maker shows it to us. †8 From another point of view, Plantiga claims that documentaries are moving picture texts of affairs represented in the world hold in actual world. Sobchack claims that documentary is a subjective relationship to a cinematic object.Patricia Aufderheide arguments in documentaries, â€Å"we expect to be told things about the real world, things that are true (†¦) we expect that a documentary will be a fair and honest representation of someb ody? s experience of reality†. 9 Additionally, she points out â€Å"the truthfulness, accuracy, and trustworthiness of documentaries are important to us all because we value them precisely uniquely for these qualities. † 10 According to Eric Barnouw â€Å"some documentaries claim to be objective-a term that seems to renounce an interpretative role.The claim may be strategic, but it is surely meaningless. The documentarist, like any communicator in any medium, makes endless choices. He selects topics, people, angels, lens (†¦). Each selection is an expression of his point of view. †11 John Grierson defined documentary as the â€Å"autistic representation of actuality† 12, additionally as â€Å"the creative treatment of actuality†. 13 It seems that, by using the term â€Å"creative treatment†, he meant that the documentary go beyond simple recording of reality, as documentary is fulfilled by sort of material creatively.It could be said tha t, documentary is based an authentic recordings with realist tendency, construct on fascination with a visible evidence. The evident share about the discussion of documentary has got Bill Nichols. He arguments that the documentary tradition relies on being able to conduct the impression of reality, â€Å"(†¦ ) a powerful impression. It began with the raw cinematic image and the appearance of movement: no matter how poor the image and how different from the thing photographed, the appearance of movement remained indistinguishable from actual movement. 14 Nichols claims, filmmakers often use in documentary modes of representation, in aim to make questions that are directly depend on historical world, narrative has existed in every known human 8 9 Inbid. ,. 2 Patricia Aufderheide, â€Å" Defining the Documentary† in â€Å" Documentary Film. A very short introduction†, Oxford University Press, New Yor k, 2007, p. 3 10 Inbid. , p. 4 11 Stella Bruzzi,â€Å" Introducti on† in â€Å" New Documentary. A Critical Introduction†, Routledge, London, 2000, p. 4 12 Patricia Aufderheide , â€Å"Defining the Documentary† in â€Å"Documentary Film .A very short introduction †, Oxford University Press, New York, 2007, p. 3 13 Brian Winston,â€Å" Claiming the real. The Griersonian Documentary and Its Legitimations†, British Film Institute 1995, p. 11 14 Bill Nichols, â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. XIII society. 15Moreover, Nichols offers the theory that describes every film as documentary. Even the most fantastic fiction, as it gives evidence of the culture that is reproduced of the people who perform within. As well, he divides documentaries on two kinds: (1) documentaries of wish- fulfilment nd (2) documentaries of social representation. 16 Documentaries of wish- fulfilment are on the shape of fictions, that give expression of people? s dreams and wishes and a sense what peopl e wish, or fear, reality might be or might become. And documentaries of social representation are non-fiction that make the stuff of social reality visible and give representation to aspects of the shared world. Moreover, they deliver a sense of what might be understand as reality, of what is now, or what might become. Documentaries of social representation offer ideas on common world to explore and understand it. Documentaries offer the sensuous experience of sounds and images organized in such a way, they come to stand for something more than mere passing impressions: they come to stand for qualities and concepts of a more abstract nature. †17 15 16 Edward Branigan, â€Å"Narrative, Comprehension and Film†, Routledge, London, 1992, p. 1 Bill Nichols, â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. 1 17 Inbod. , p. 65 According to Nichols, every documentary has its own distinct voice that has got a style. In order to analyse those styles, he provides a typology that enables various modes of documentary.He identified six modes of representation that function as like sub-genres of the documentary as genre itself. These six modes are: the expository mode- emphasizes verbal commentary and argumentative logic, has got more rhetorical and argumentative frame, addresses the viewer directly often with a narrator-voice over commentary (a voice of God, voice of authority) the poetic mode- is more subjective with artistic expression that moves away from objective reality of a given subject, situation or people to take at inner â€Å" truth† can be possessed by poetical manipulation, characters are with psychological complexity he observational mode- coming close as it possible to objective reality, observation of what happens in front of camera and recording it, the filmmakers takes a position of observer and makes impression of not intruding on the behaviour of characters the participatory mode- direct engagement betwe en a filmmaker and subject, the filmmaker becomes a part of the recorded event using the methods of anthropology of going into the field the reflexive mode- increases awareness of the sample of representation in film that shows not just historical world, but also the problems and issues that call into questions.It is the most selfconscious and self-questioning mode of representation the performative mode- direct engagement between a filmmaker and subject, the filmmaker as a participant Presented above modes are well knew in a documentary discussion. However, the critic with Stella Bruzzi towards them, it seems to be well argumentative. She criticises Nichols for suggesting that filmmakers doing documentaries, aim for the ‘perfect representation of the real? and that would fail in this impossible aim as all types of documenters exist at different time.Moreover, his typology of modes seems to be quite weak, cause documentaries very often has got mixed styles of modes. There is n ot such a one mode for one movie. As the result, the question of necessity labelling documentary on modes, arises. Documentary might be also defined as an organised arrangement of images that construct metaphors. Metaphors in movies help in defining and understanding matters in terms how they look or feel with involvement in physical and experiential encounter. Metaphors draw on basic structures of personal experiences to assign values to social concepts. The selection and arrangement of sounds and images are sensuous and real; they provide an immediate form of audible and visual experience, but they also become trough their organization into larger whole, a metaphorical representation of what something in the historical world is like. † 18 Types of Kieslowski? s documentaries psychological portraits In a documentary film about himself â€Å" I`m so-so†, Kieslowski admits that his early films, were made in order to get a common portrait of Polish mental condition.In â⠂¬Å"From the City of Lodz†, he presented people and their sad faces with a dramatic expression in their eyes in order to portray the reality of this city. Lodz is presented as a grey mass of ruins with its citizens lacking of vitality. He shows a factory and an old women who is going to retiring, however she says she would like to continue the work, but she cannot; workers who complain about a lack of support for their orchestra, in streets some men who seems to wander aimlessly. Another movie within psychological portrait is â€Å"The Railway Station†.A movie begins with television news broadcast â€Å"Nasz Dziennik† about production figures on the rise. The presented news is on the contrast to the sad and stony faces of people who are waiting in the station. There is a picture of a slice of Polish reality with so many trains delayed and cancel with not much care about passengers. Crucial is a detail of a camera at the station, with its reference to communist sy stem which seems to be this camera-eye. recording metaphors Kieslowski interest in metaphor, appears also in his documentaries.For example in the one called â€Å"The Office† ( 1966) that deals with intimate burdens in an impersonal routine manner office. In an insurance office in spite of dialogue, there is not people? s lips moving. The emphasis is on what kind of rubber stamps are needed on form. A clerk acts impersonal. The movie is not just a 18 Bill Nichols,â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. 74 picture on bureaucracy, but clearly stands for the whole communist system. Especially the last scene which shows a room filled with documents about everyone.The last scene might be used as a clear metaphor for communist system, where everyone was checked and a state tried to know everything, what a single man did. The communist system seemed to be as this office, an executor of strict control. Another metaphor on society, he used in a d ocumentary â€Å"Factory†, where in close-up shots, he presents the disproportion between the workers and those in power. Also the movie shows the Poland? s economic limitations that time when factory was lacking equipment due to bureaucracy.Personal stories In â€Å"I was a Soldier he interviews 7 men who lost their sight during the war. In this simple story the characters sit and talk about their feelings, in close up shots. Every scene ends by fading to white. Although, the movie ends by fading to black that might be seen as deliver of personal ant-war message. It seems to, be one of the most powerful documentaries, not only for a subject that men presented in movie are blinded during military service in World War II. It is powerful for its understated treatment. The war is a subject of blame of movie? s anti-war expression.The next documentary, where Kieslowski uses the same technique of interviewing people is movie called â€Å"Talking Heads†, which serves also h is interest in human faces. In the movie, he interviews 40 people (he begins with a toddler and ends with a 100 years old women), asking them few elementary questions: Who you are? , Where were you born? , What matters most for you? It seems that, the majority of people sound quite idealistic and overwhelmingly democratic. However, the irony punches a line in a replay of 100-year old women who just simply wishes to live longer.It could be said that the ethnics of Kieslowski? s documentary are based on respect for a single character. He tried to interfere as less as possible in order to respect his character? s privacy. To achieve it, he applied various methods of implementation as like: the documentary observation or interviews. REALSIM- RECORDED PATERN BY DOCUMENTARY Realism is a contentious field of debates across scholars of philosophy, social science, and aesthetics in on-going dialogue about the role of representation: in fine art as like photojournalism for example, and writte n forms as reports or autobiographies.It would seem that, there are two tendencies in realism. The one extensive tendency goes into some material aspect of the physical or social world, the other intensive that penetrates further into the recesses of the soul. 19 The term â€Å"realism† came to cinema from literary and art movement of the IXX century and went against the solid tradition of classical idealism in order to portray the life as it â€Å"really† is. The focus was on ordinary life, indeed the lives of socially deprived people.It seems that, questions of realism in the art came before the discovery of the cinematographic process by brothers Lumiere. The creation of photography brought about realism many different assumptions, precisely about possibilities of realistic representation on pictures. Fox Talbot, one of the precursors of photography, reminisces about seeing in a camera obscura â€Å" the inimitable beauty of the pictures of nature? s painting† (†¦) It could be said that, Talbot uses the phrases â€Å" nature? s painting† and â€Å" natural images† in order to refer the invention derived from earlier observations.Later â€Å" natural images† were patented by Daguerre that could bring out in daguerreotype photographs â€Å"One positive view held photography to be a medium of absolute truth; the negative estimation saw demonic powers at work in this strange apparatus. Both views are closely connected: one is merely the flipside of the other. Both are alike in that they view the outcome of any daguerreotype to be completely independent of human agency. † 20 The important pattern is perhaps, the world â€Å" truth† that is used to describe a photographic image.There is a tendency for perceiving photographic images as displaying something about truth and real word. And film shares with moving photography as a part of its most obvious technical process. Watching those moving pictures mak e in people feelings different than watching paintings on the grounds of reproducing reality. Somehow, photography and film have a special place in the debate of realism. Williams claims that film â€Å"combines elements drawn from pre-existing forms of still photography, painting, the novel (†¦) and the theatre, and all welded together on a specific technological base. 21 Realism in cinema might mean different things. There are various ways of defining and exploring 19 20 Arthur McDowall, â€Å" Realism. A Study in art and thought†, E. P. Dutton& Company, New York 1852, p. 24 http://home. foni. net/~vhummel/Hawthorne/hawthorne_1. 3. html 21 Christopher Williams,â€Å" Realism and the Cinema†, A Reader, London: Routledge 1980, p. 2 cinematic realism in debates. Cinema Verite filmmakers perhaps hope to produce something that is more or less â€Å"true to nature†. Jean-Luc Goddard comments that cinema is not the reflection of reality, but the reality of the reflection.Andre Bazin considers that in order to be realistic, a film must be located its characters and action in historical and social setting. It also worth mentioning that Grierson founded in British documentary movement, three basic principles: -a documentary should photograph the living scene and the living story – it should use original actors and scenes -â€Å"the materials and stories thus taken from the raw can be finer than the created article† 22 Allied to the more formal concept of realism is the notion of truth telling.Realism seems to be obliged to represent social reality and make sense of this realty. Jakobsen discusses five ways to make sense of realism: – – – – Realism can be an artistic aim, the artist considers his work to inhabit Realism can be something perceived ( by others than artist) as realistic Realism can refer to specific periods in history defined by historians and critics Realism is defined by convinced narr ative techniques ( customs of spending time on actions) Realism is defined by the way it motivates style or narrative 23It could be said, the steam of realism was adapted to cinema well, as camera seems to be natural tool for realism as it reproduces what is there, in the physical environment. Cinema makes absence of presence and puts reality up on the screen. Besides, cinema might be an attempt to present a direct and truthful view of real world through its presentation of the character and environment of realm functions in film both on the narrative level and the pictorial and photographic level. Through the narrative structures, physical realism goes into psychological one to address social issues.Scholars, Lapsley, Westlake and Williams divide two types of realism with regard to film: the first one with ideological function that concealment the illusion of realism and the second one with naturalizing function that attempts to use a camera in a non-manipulative way. However, Andr e Bazin supports conversely ideas. Bazin? s argument illustrates that realist discourses not only 22 23 Inbod. , p. 17 Anne Jerslev,â€Å" Realism and Realty in Film and Media†, Museum Tusculanum Press University of Copenhagen 2002, p. 16 suppress certain truth, but also produce other truth.The realist aesthetics recognise the reality-effect produced by cinematic technique in such a way that provides a space for the audience to read the message for themselves. The critical approach to realism in film studies is briefed by two strands of thought, both with roots in formalist conceptions about how film texts which are arranged on abilities to comprehended artistic products. One strand espouses debates in which realist films are departing from the codes and conventions of film practice as like commercial film practice and mainstreams.Another one is modulate by ideological approaches, which treat all mainstream film texts as versions of the classic realist texts which developed i n the XIX century novels. 24 According to these approaches, realism cannot be confined to a particular style of representation as is contingent, in alternation. Important was the development of photography made painting become obsolete, changed the impressionistic mimesis by the empirical objectivity of the photographic image. From the other side, in literature, the early realists called themselves as careful painters of human life, asserting that `art always aims to represent reality?. 5 Although, George Eliot, the realist writer Adam Bede ( in chapter 17) demonstrated her appreciation of difficulty, in particular, how a writer is able to translate the truth into words? Writers took different positions on realism. Guy Maupassant suggests that realists are illusionists, but Henry James favours of terms as impression of life and air reality. In film studies, the post- structuralism position on realism is presented by Collin MacCabe in his well know essay called â€Å"Realism and the cinema: notes on some Brechtian theses†.MacCabe argues in some conventional documentary films, there is metalanguage in the form of voce over narration which provide different versions of reality presented by numerous voices in order to perform a truth-telling function. 26In turn, he claims that fiction film is similarly structured, just with images taking precedence over words. The photographs show to the spectator what happens; the camera provides the metalanguage by situating the spectator within the fictional narration of the film. He also argues that the truth of the situation is created by the images: we as an audience believe what we see rather than what we are told about.In contrast, Bazin advocates a realist cinema that upholds the freedom for spectators to choose their own interpretations of an object, narrator and story. This concept of realism respects 24 25 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinema†, Manchester University Press, 20 0, p. 4 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinema†, Manchester University Press, 200, p. 4 26 Inbid, p. 11 perceptual time and space, advocating depth of field and the long take techniques which seem to be at the level of recording as they take place.However, he also adds that just techniques cannot guarantee that a realistic cinema will be a result from its use. 27 Jakobsen discusses five ways to make sense of realism: Realism can be an artistic aim the artist considers his work to inhabit Realism can be something perceived ( by others than artist) as realistic Realism can refer to specific periods in history defined by historians and critics Realism is defined by convinced narrative techniques (customs of spending time on actions) Realism is defined by the way it motivates style or narrative 28REALITY CAPTURED BY KIESLOWSKI? s CAMERA It could be said that, for some â€Å"the real is the same thing as the true. Others describe reality to what exists or happens in the surrounding physical world and at the heart of realism, in all its variations seems to be the sense of actual existence, an acute awareness of it, and a vision of things under that form. 29 Descrates with his theme,† I think, therefore I am†; began the first of many attempts in order to explain reality in terms of mind. Pascal said, man is but a reed, yet he is a thinking reed. 0 â€Å"The reality represented in film is constituted by the so-called represented objects. †31 Plesnar writes that the represented reality of film consists in four ontological levels. The first level comprises represented events-individuals. The second level consists of represented things, which depend on represented events; the third level is designed for represented process and the fourth for strictly relative categories. As cohesion to his four levels, the represented reality in film must be defined as a set of all represented events.Slavoj Zizek presents â€Å"Kies lowski? s starting point was the same as all cineastes in the socialist countries: the conspicuous gap between the drab social reality and the optimistic, bright image which pervaded the heavily censored media. The first reaction to the fact, in Poland, social 27 28 Inbid, p. 15 Anne Jerslevâ€Å" Realism and Realty in Film and Media†, Museum Tusculanum Press University of Copenhagen 2002, p. 16 29 Arthur McDowallâ€Å"Realism. A Study in art and thought†, E. P. Dutton& Company, New York 1852, p. 3 30 Inbid, p. 5 31 Lukasz Plesnar â€Å" Represented Space in film† in â€Å" The Jagiellonian University Film Studies†, Wieslaw Godzic, Universitas Krakow 1996, p. 77 reality was unrepresented, as Kieslowski put it, was, of course, the move towards a more adequate representation of real life in all its drabness and ambiguity-in short, an authentic documentary approach. †32 In the interview with Danuta Stok, Kieslowski says: â€Å"At that time, I was inte rested in everything that could be described by the documentary film camera. There was a necessity, a needwhich was very exciting for us-to describe the world.The communist world had described how it should be and not how it really was. We-there were a lot of us-tired to describe this world and it was fascinating to describe something which had not been described yet. It is a feeling of bringing something to life, because it is a bit like that. If something has not been described then it does not officially exist. So that if we start describing it, we bring if to life. † 33 After the Second World War, the political atmosphere in Poland was extremely tense. Siegel, quoting Norman Davies? work called â€Å"Heart of Europe: A short History of Poland†, adds: â€Å"Poland became a Stalinist one-party. By 1946 the State had taken away over ninety present of Poland? s industrial production, and sweeping land reforms broke up the pre-war Polish estates. Heavy industry was give n precedence over agricultural production, and the general standard of living declined as the private sector was abolished and worker were exploited†¦ Anyone suspected of disloyalty was interrogated, censored and put in prison. † 34 The situation in Poland definitely caused Kieslowski? s pessimist in his movies which was dictated by communist.In the same interview with Stok, he provides examples when he was forced to edit part of reality that he recorded, particularly when the reality in film did not impose the reality that government wanted to provide. However, he tried always to find methods in order to present â€Å"the truth† by tricking the censors, he adds. Realism was what Krzysztof Kieslowski concentrated on, and his fictions have a documentary feel to it. In his movies there is a shift from using the observational camera-work associated with documentary with classical conventions of continuity as like in a questions session in Decalogue 1, between Pawel an d his auntie.This questions session becomes the focus of narrative interest through the use of medium/ close ups and shot of dramatically the curious face of Pawel. 32 33 Slavoj Zizekâ€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 71 Danuta Stok,â€Å" Kieslowski on Kieslowski†, faber and faber, London 1993, p. 54, 55 34 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York 199, p. 9 DOCUMENTARY+/= FICTION When documentary aspects can be visible in Kieslowski? s fiction? How these aspects influence on his fiction? Are these aspects make similarities between his documentaries and fictions?Kieslowski started with documentary as an attempt to describe reality that surrounded him and later moved from describing form of reality to expressing form of reality, in his fiction. However, it seems that, there is number of corn similarities between his documentaries and fictions. Firstly, he shifted his in terest about a man from documentaries to fiction. â€Å"Even the short documentary films were always about people, about what they? re like. † 35( †¦) In addition, in documentaries and fictions his main interest was inner-life. Secondly, almost all his work, apart from this feature Short Working Day ( 1981) that shows the worker? strikers from 1976; are set in the present, although they might have got some links to the past. Kieslowski focus on the present, on the stories of ordinary people, demonstrate them on the grounds of importance. In addition his focus on individual character, an observation of a small portion of reality is well seen not just in documentaries, but also in his fictions. In â€Å"Blue† a melting cube of sugar which proves Kieslowski? s obsession of close up, shows that the main character is not interested in something else then in this cube of sugar.For her, important is what is in front of her, her inner world. He achieved this technique by close-up zooming which creates an illusion of isolation a person of object from the wider context. The same techniques can be notice in his documentary called â€Å"Hospital† where details also play a significant role. A detail has got a significant role to evoke feelings in the audience as it delivers also a metaphysical context. Closing-up on doctors who hold and smoke cigarettes is seem to be reaction that in hospital they do not have medical tools to heal their patients and they use some building tools. The realist paid attention to redundant detail, which often meant writing dialogue that accurately reflected a character? s social identity, as well as, or instead of, forwarding the plot. In production, realist effect was created through props and sets that reproduced everyday life in great detail. † 36 35 36 Danuta Stok,â€Å" Kieslowski on Kieslowski†, faber and faber, London 1993, p. 144 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinemaâ € , Julia Hallam, Manchester University Press, 2000, p. 20 Furthermore, from his documentaries, he brought kind of simplicity of presenting subjects or person, much avoiding authorial intervention.He never used both in documentaries and fictions his voice over commentary. It would seem that he believed that shooting in close-up characters tell story enough well without the need of commentary. Also from his documentaries, he gained the skills of photographing people? s feelings as like happiness, sorrow, tiredness, hopeless, indecision and hope ( most evident â€Å" I was a Soldier, â€Å" X-Ray†, â€Å" Talking Heads†), and adopted them into his fiction, Clearly seen in the scene of Decalogue 1, when Krzysztof lost his son, when he runs to the church to protest and despair.Thirdly, Kieslowski also used the documentary technique to raise tension and attention in his fiction. This statement supports the view in Blue, when Julie asks the housekeeper lady, why she is c rying and when she hears â€Å"because you are not†. Julie who is normally unresponsive to others; reacts by embracing. And what a camera does in this particular moment? The camera is moving in close, reframes. The camera fallows the action rather than leading it. It seems that the moment might feel as documentary, as cameraman was surprised by Julie? s sudden reaction as audience might be. 7 By using this documentary technique in fiction he was more to fallow â€Å"the focus†. As in documentaries, noticed event that just happened is a part of what makes a documentary feels real. Fallow feeling with the character, not purely indemnification with him or her, but the kind of recognition of what the character feels in his/her world. His fiction (especially Camera Buff, Personel or Decalogue) provide feelings of authenticity and naturalness. Moreover, he often uses â€Å"deep focus† which is a technique that depends on a wide depth of field.Depth of field is a cinem atographic practice, whereas deep focus is a technique in a film. Depth of field refers to the facial length and is achieved by a wide-angle lens. Deep focus, Bazin arguments as a greater objective realism possible. Besides, Kieslowski use to start the first scenes of showing the setting which carry information of the plot. In his documentary â€Å"From the city of Lodz†, at first a spectator sees the fabric, which is a basic and corn place for the characters of movie. The spectator, can observe the same technique in his fiction, for example in Decalogue 1, when at first sees the lake, the place of catastrophe. Kieslowski represents a creation as a form of suffering, an urgency that nothing can impede, like solitary cry before indifference of ? deals. †38The tendency of showing the setting first in movie might be a shadow what is a film about. The same tool is in Decalogue 7, when a movie starts from the off-screen scream of a child who is a main matter of the movie. 37 Steven Woodward, â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 154 38 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York, 1999, p. 3 In addition, there is also characterisers melancholy which seem to be started in documentaries and was continued in fictions, which has got some philosophical reflections. There is a tendency in both his fiction and documentaries to show the same kind of man who does not how to life and for what reasons. Consequently, cyclical nature of his fiction movies had background in documentaries. For example the documentaries such as: Hospital, Office, Station, Factory might be put in one cycle, as all of them tell the story about Polish national institutions.The documentaries such as X-Ray, I was a Soldier , The Talking Heads might create another cycle. There is a same technique in fiction with the cycles as Blind Chance, Decalogue, Three Colours. In many intervi ews, Kieslowski pointed out that he makes movies in order to register. In 1976 he remarked: â€Å"I started to combine elements of both filmic genres- documentary and fictionfrom the documentary taking the truth of behaviour, the appearances of things and people, and from fiction, the depth of experience and action- the driving force of this genre. †39 39Marek Haltof, â€Å" The cinema of Krzysztof Kieslowski†, Wallfower Press, London, 2004, p. 27 KIESLOWSKI? S AESTHETICS â€Å" Critics, particularly Polish film critics, usually debate the distribution between the ? early realist „and ? mature „metaphysical Kieslowski, and majority of them clearly favour `Kieslowski the realist?. †40 The argument for that might be, he started from detailed representation of reality, later moved this realist form of observations of people to his fictions. , the most evident in Decalogue, where he keeps a camera on a character, often working class character.Kieslowski believed that trough the documentary he can describe the world around him. His documentaries and early fictions show Poland and all its ugliness. He used very cold form of showing the grimy period of Poland under the communist regime whit a main focus on every day? s life of ordinary Poles. The world in which he grow up as an artist, the world with he continually dialogued in his movies, was not stable, free and economically successful like in Western Europe. The suffering of his country in many ways appears in his work.In Decalogue ( 10 parts that refer to the Biblical Ten Commandments), the ugliness of grey urban setting dominates the filmic landscape, together with close-ups of characters who endure these harsh conditions. Kieslowski? s observation of desperate characters, struggled for a better tomorrow, entanglement to the system, living in a communal way of life in grey, tenement blocks give Decalogue the feeling of documentary film. It seems that an inspiration for Decalogue were â€Å"chaos and disorder ruled Poland in the 1980s-ever-where, everything, practically everybody? s life. Tension, a feeling of hopelessness . 41 However, the Decalogue combines both; realism and hallucinatory style, as there is a mysterious zone in this cycle which is represented by a mysterious stranger who appears at crucial moments in different parts. The mysterious stranger is the silent witness and appears symbolically. He brings the element of mystery, something inexplicable also the tone for the series by dramatizing the conflict between the rational and the spiritual. Moreover, in Decalogue, Kieslowski preoccupied with issues of chance, fate, alternative possibilities, and the tentative suggestions of a providential esign to the arc of human life quite similar as Ingmar Bergman. His characters suffer from dislocation, a displaced orientation, a disappear identity. In many ways, Decalogue is a set of the dramatic conditions and tone of isolation, despair, longing what cannot be recovered. â€Å"Chaos and disorder ruled Poland in the mid. 1980s-everwhere, everything, practically everybody? s 40 41 Inbid. , p. XI Danuta Stokâ€Å" Kieslowski on Kieslowski†, faber and faber, London, 1993, p. 143 life.Tension, a feeling of hopelessness, and a fear of yet worse to come were obvious (†¦) I am not even thinking about politics here but about ordinary, everyday life (†¦) I was watching people who did not really know why they were living. † There is also kind of tendency for them going round and round in circles, without achieving what they wish to achieve. The series of Decalogue is also a compact about such questions as what is right, what is wrong? how to be honest? .how to live with the acceptance to the nature? However, considering these questions, it seems that in movies Kieslowski avoids easy answers. Slavoj Zizek argues that Kieslowski? interest in Decalogue is ethic not morality. This is showed by breaking the moral code in each film that the ethical path is to be found. † 42 Moreover, Kieslowski used a form of ethical questioning as opposite to the strict moral code based in religious principles in 10 Commandments. It as an attempt to narrate ten stories about different individuals, caught in some struggles of difficulties of Polish life. The Decalogue is â€Å"the virtualisation of (†¦) life experience, the explosion/ dehiscence of the single ? true` reality into multitude of parallel lives, is strictly correlative to the assertion of the pro-cosmic abyss of a chaotic. 43 Decalogue has got an authentic recording of reality, but also has got acting and stimulation which offers still authentic imagery. â€Å" The major staples of Catholic thought-moral law, sin, guilt, free will, angels; infuse Kieslowski? s world† 44 in Decalogue. The first Decalogue episode presents the death of a child. The film opens with a picture of the frozen lake, suggesting a winter. It seems that the camer a surveys this elemental image in order to avoid the human habitation, depicting despoil universe. A young man seats beside a smoking fire. He is a part of this landscape, the furry collar of his coat add animal look.The same returns at least 4 times in this part of Decalogue and returns in another part. He has no influence on action, however he leads the characters. Again in the first episode of Decalogue, there is the same technique, which Kieslowski used in his documentaries, called the technique of details. For example, Krzysztof is upset when ink that suddenly stains on his paper. It is like liquid is out of the control. This detail is reference to moment when Pawel his son is on the ice and this liquid functions as a foreboding liquid of out of control. 42 Steven Woodward , â€Å"After Kieslowski.The Legacy of Krzysztof Kieslowski†, Wayne State University Press, Michigan 2009, p. 44 43 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 95 44 Steven Woodward, â€Å" After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan 2009, p. 186 In the third Decalogue episode, there is the same technique of playing with light as for example in his documentary X-Ray. In this documentary light presses on characters? hope and fears. The first shot is of blurred light that comes into focus when a drunk appears. Light is significant foreground here.Later when a police car is fallowing Janusz in stolen taxi, the scene is shot with close-ups of flashing blue light. As in other segments of the Decalogue, close-ups with wider shots filled with variations of lighting tend to isolate characters. If one character is in shadow, the other in light present the formal separation on emotional state. In X-Ray, light press characters? desires. Shots of a wood at sunrise follow, with a mysterious fog rolling through the scene. The abstract impulse is clearly in these sh ots and they act as a suggestion of eternal space cut against images of facing death people.Also the stark contrast between the pastoral rehabilitation centre and the smog-ridden city is showed by visual rhetoric of lighting as well. From the other side, Decalogue can be also analysed trough the terms used by Joseph G. Kickasola: the mosaic structure and Multivalent Consciousness. The mosaic structure is a kind of film composed with small pieces of narrative. Mini narratives come together to form a larger narrative. Narratives are related, and the drama of the film is contingent on these relationships developing and changing throughout the course of the film.The watching elements come together to form a whole. 45 In Decalogue all 10 episodes take place in Warsaw, the same blocks- tenements arrangement, among neighbours who may know each other. There is the connection between characters within the theme. Kieslowski realised argument that â€Å" We perceive our environment by anticip ating and telling ourselves mini-stories† about that environment based on stories already told†. 46 Multivalent Consciousness takes a place when one person in some ways or another has got two or more simultaneous modes. It presents the idea of two people who might be the same person.In Decalogue, there is a mysterious man who once is a man sitting by lake in another part he takes different role. Somehow, there is an experience of a sense of mysterious connection between this one character to another character in particular episodes of Decalogue. â€Å"Tim Pulleine writes that Kieslowski? s perception of the world is saturated with â€Å" East European sinisterness. Even if one agrees with this comment-suggesting that the characters in Decalogue are themselves the products of specific East-Central European historical, political and 45Steven Woodward , â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 168 46 Edward Branigan, â€Å"Narrative, Comprehension and Film†, Routledge, London, 1992, p. 1 cultural circumstances- one also has to notice that they face universal, truly Bergmanesque dilemmas. †47 The open structure in Decalogue which is also in Bergman? s movies invite to fallow the action of his characters written in symbols, allusions, ambiguity and a number of motifs such as bottle of milk- sipped, frozen, spilled and delivered.In Decalogue 1, the frozen milk in a bottle seems to be a signal that the ice is thick enough for Pawel to go skating. Ironically, the ice cracks as the water was too warm in a lake, may it be a motif of the bottle of milk de-freezing itself? Furthermore, when Pawel is on the ice-skating, the ink bottle spills on his father? s table, makes uncanny spot. Is that can be read as melted milk? In addition, the motif of milk appears later in another parts of Decalogue. In Decalogue 2, the old doctor goes to buy a bottle of milk when in Decalogue 4 is very similar scene, when father goes to buy a bottle of milk.And the same bottle of milk is prominent in Decalogue 6, when young boy Tomek distributes milk in order to contact with Magda. Magda spills the bottle of milk on a table. Might the spilling of milk occurring as an echoed red stain of blood that fills the washbasin after Tomek? s suicide attempt, when he cuts his wrists? It could be said that, the bottle of milk is a sublimation of the detail which gives a meaning for another scenes as a simple trick of theatrical play. However, Kieslowski says â€Å"When it spills, it means milk? s been spilt. Nothing more (†¦ ) And that is cinema. Unfortunately, it does not mean anything else. 48 Anyhow, this statement does not mean that he disagreed with metaphorical ability of cinema, but he simply found it more difficult for cinema than for example for a novelist to capture the inner life. One of the Kieslowski? s famous actor Jerzy Stuhr says that Kieslowski used a method of perfect dialogue. Two people on the screen are silent, and a third one in the audience knows why. From documentaries, he avoided in his movies over informative dialogue. He weaved the information through character? s behaviour and details which were always important tools of information in his movies. 9 Idziak one of his famous cameraman said about Kieslowski: â€Å"He strongly believes that the look is more important than anything else, he understand to what extent the style affects the story. He understand that the style is the story itself. † 50 Also memories are important part of his movies. This approach to memories, dreams is visible already in his documentaries ( â€Å" I was Soldier†, â€Å" X-ray†) and it is much developed and 47 48 Marek Haltof,â€Å" The cinema of Krzysztof Kieslowski†, Wallfower Press, London, 2004, p. 79 Danuta Stok, â€Å"Kieslowski on Kieslowski†, aber and faber, London 1993, p. 127 49 Steven Woodward, â€Å" After Kieslowski.The Legacy of Krzysztof Kieslowski†, Wayne State University Press, Michigan, 2009, p. 70 50 Steven Woodward , â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 150 questioned in his fiction. In his documentaries, dreams were treated more as portraits of characters; in fictions they have got more metaphysical and spiritual aspects. From time to time Kieslowski characters confess to odd feelings, strange dreams that dived them in a certain direction. Torkovsky once wrote: â€Å"Time and memory merge into each other; they are like two sides of a medal. Memory is a spiritual concept†¦Bereft of memory, a person becomes the prisoner of an illusory experience; falling out of the time he is unable to seize his own link with the outside world-in other words he is doomed to madness. †51 51 Andrei Tarkovsky, â€Å" Sculpting in Time†, trans. Kitty Hunter-Blair, Austin: University Texas Press, 1986, p. 58 WHY RETRACTION FROM DOCUMENTRY? In the switch to fictions, it is quite clear that Kieslowski started to see the limits of the realist aesthetics. He discovered there was still much in life to be explored. â€Å"Not everything can be described. That is the documentary? s great problem. It catches itself as if in its own trap†¦If I am making a film about love, I cannot go into a bedroom if real people are making love there†¦ I noticed, when making documentaries, that the closer I wanted to get to an individual, the more objects which interested me shut themselves off. That is probably why I changed to features. † 52 In the interview with Stok, Kieslowski gives example about one documentary that he was making during Polish martial law in the early 1980s. He received permission from the lawyer Krzysztof Piesiewicz ( his co-scriptwriter of Decalogue). The case for it was, expose the brutal and unfair sentences of the Polish judges were passing on Piesiewicz? worker clients. â€Å" The moment I started shooting†¦ the judges did not sentence the accused. That is, they passed some sort of deferred sentences which were not in fact, at all painful. † 53 It seems that judges did not want be recorded on film passing unjust sentences. Kieslowski understood that this causes false visions of reality behind him. According to the interview with Stok, Kieslowski claims that he made his films on documentary principles. These principles reflected not to â€Å"unmediated truth, but the premise that films â€Å"evolve trough ideas and not action. 4 However, he still believed in human experiences and describing the reality as his artistic territory although, at the end of his carrier, he moved from social focus to more universal metaphysical ideas of life. It could be said that the instruments of authenticity which he used in documentaries, went toward the task of metaphysical exploration which still caused thrust to his all movies, just i n this case metaphysical thrust of portraying human feelings. Another reasons, seems to be more ethical. Probing into other? s intimacy by referring to the right. â€Å" I managed to photograph some real tears several times.It is something completely different. But now, I have got glycerine. I am frightened of real tears. In fact, I do not even know whether I have got the right to photograph them. At such times I feel like somebody who has found himself a realm which is, in fact, out of bounds. That is the main reason why I escaped from documentaries. †55 52 53 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 72 Danuta Stok, â€Å" Kieslowski on Kieslowski†, faber and faber, London 1993, p. 127 54 Joseph G.. Kickasola â€Å" The films of Krzysztof Kieslowski†, Joseph G. Kickasola,continuum, London 2004, p. 3 55 Slavoj Zizek, â€Å"†The fright of real tears. Between theory and post-theor y†, British Film Institute, 2001, p. 72 Zizek argues that Kieslowski supplements the prohibition to depict the intimate moments of real life with false images of fiction. He adds that Kieslowski moved from documentaries as when somebody films real life scenes in documentary, people ( actors) play themselves and he claims that the only way to depict people beneath their protective mask of playing it, paradoxically is making them directly play a role into fiction. It seems that, in Zizek? s augment fiction is more real than the social reality of playing roles.He supports the view that if in Kieslowski? s documentaries, the characters seem to play themselves, then his fictions cannot but appear as documentaries about the brilliant performance. 56 Zizek also makes very crucial questions in order to analysing Kieslowski? s. He asks; if his escape from documentaries to fiction was dictated by the ? fright of real tears? , by the insight into obscenity of directly performance real li fe intimate experiences? How fictions are even in a way even more vulnerable than reality? If documentaries show the hurt the personal reality of the character, that fiction intrudes into and hurts dreams themselves?Documentary has got its limits; â€Å"not everything can be described†, he said in â€Å" Kieslowski on Kieslowskim†. Turning camera on external events cannot capture the intimate experiences such as making love or dying he said. Analysing his fictions, the question this arises: â€Å"Could a feature describe better than a documentary? † The dominant characteristic of the fiction film is that it represent something what is imaginary of the director. However, the feature representation seems to be more realistic then in another field of art such as painting or theatre as those show effigies of objects, their shadows.When in a fiction, the setting and actors represent the â€Å"real† situation even if they played it of the certain number of film ed conventions which we recognize from our life. In â€Å"Blind Chance† , Kieslowski composed three version, which seems to begin as a dream; the young man running to catch the train to Warsaw. The movie starts, that the main character is screaming as he lost his father who wished that he becomes a doctor, however he loses his wishing whist he was dying, he tells to Witek: â€Å"You do not have to do anything†. And somehow his father? death frees him from necessity. Later in the same part he becomes a Party activist, in the second part he gets lost and in third one, he got marry, become a doctor and suddenly die in an aircraft explosion. â€Å" Witek 1 is shot with a Tarkovskian adherence to ? real time? : no time is edited out of any of the 56 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 75 sequences. The life of Witek 2 is edited more conventionally, highlighting the â€Å" key† moments † (†¦) The final version of Witek? life is edited most conventionally from all, virtually in the no-nonsense manner of a television movie. † 57 The end of the movie confers a sense of fantasy. â€Å" By beginning Blind Chance with Witek? s scream and by developing opposite scenarios that logically require a middle one to complete and close them, Kieslowski gives to his film a structure that preserves it from succumbing entirely to the dictates of chance. † 58 Start with a close-up of a man who screams â€Å" No† with a moving camera into darkness of his throat. This might be a scene of Witek? s flashback.Witold? s scream at the beginning, might be a replay on the end of the film, when a plane? s explosion occurs. Blind Chance seems to be more of the same elevated to an iconic Munch-like open-mounted scream with which the film starts, and exactly this scene realises at the conclusion of the film, when it means the death of the main character. As the res ult, the movie might be described as the binary of â€Å"catch† or â€Å" miss† the train: missing the train with positive outcome, missing the train with negative outcome, corresponding to the third story when he caught the plane.Catching or missing, determined his death. 59 The term Forking Paths created by Joseph G. Kickasola, where one character proceeding along a particular narrative trajectory that divides in several directions. One path might be a true, and the others just are alternative endings. 60 This term suits for Blind Chance as outcome the moment of contingency. Alain Masson refers to the construction of Blind Chance as a dilemma or trilemma, where Kieslowski invites the audience to puzzle over whether Witek? s experiences device from choice, chance or perhaps destiny.As he said in â€Å" I? m So-So`, â€Å" We are sum of several things, including individual will, fate and chance which is not so important. It is the path we choose that is crucial. â₠¬ 61 57 Paul Coates, â€Å" Kieslowski, Politics and the Anti-Politics of Colour†: From the 1970s to the Three Colours Trilogy† in The Red and The White. The Cinema of People? s of Poland†, Wallflower Press, Great Britain, 2005, p. 191 58 Inbid. , p. 192 59 Steven Woodward, â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan 2009, p. 122 60 Inbid. , p. 69 61 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York 199, p. 59 CONCLUSION In Poland in mid-1970s and 80s, Kieslowski was a leading documentary film- maker with the following output :The Office ( 1966), The Photograph ( 1968), From the City of Lodz ( 1969), I Was a Soldier ( 1970), Factory ( 1970), Before the Rally ( 1971), Refrain ( 1972), Between Wroclaw and Zielona Gora ( 1972), The Principles of Safety and Hygiene in Copper Mine ( 1972), Workers? 71: nothing about us without us ( 1972), Bricklayer ( 1973), X-Ray ( 1974), Curri culum vitae ( 1975), Hospital ( 1976), From a Night Porter? Point of View (1977), I don? t know (1977), Seven Women of Different Age ( 1978), Station (1980), Talking Heads ( 1980),Seven days a Week ( 1988). Kieslowski started from documentaries as a fight for a representation of the lack of an adequate image of social reality in Polish cinema caused by Communist regime. It seems that, he moved into fiction, as he noticed that when he let go of false representation and directly approach of reality, he lost reality itself in his documentaries. Notably, his documentary achievement has got unquestionable reflections on his fiction.Precisely, to feature films, Kieslowski moved â€Å"a criterion of authenticity† visible for example in â€Å" Personel†, where he made significant remark toward â€Å" authentic cinema†. For this production, he used improvised dialogue within the tradition of Italian neorealists, to cast non-actors for majority of roles. In the interview with Stok, he describes, how characters are true as they contradict the conventions of filmic stereotypes. Moreover, the next important tool in his movies is the tool of detail. Kieslowski, already started using this tool in his documentaries, whereby he developed within fiction.A detail in Kieslowski? s films, it is not just a construction of reality, but the detail plays crucial role in the transmission of reality. Furthermore, analysing Kieslowski? s films on the grounds of its documentary elements in his fiction, it is also important to interlace them with the term of naturalism which is closely associated with realism and which was not mentioned before in the paper. Naturalism fist came in the theatre of the nineteenth century with the work of Andre Antonie. He created a method of acting in order to get the actors to move away from the theatrical gestural.It means that the actors supposed to act as the audience was not there and audience feels as if it witnessing slice-of-life realism, which was also crucial for Stanislavsky? s method of acting. Actors enter the personae of their characters in order to not represent themselves. The essays describes the importance of naturalism, as Kieslowski? s actor appears to play in very natural and realist way and Kieslowski precisely stylised a life in a film. Especially, the Decalogue delivers naturally the conclusion for Poles- â€Å"they speak just like us†. The reality of what that might be seen in front of eyes, can drives nto the illusory nature of representation. It could be said that in this way, naturalism has got also an ideological effect of naturalizing. Therefore, it gives a surface image of reality. Always, aesthetic, social and moral concerns work together to deepen Kieslowski? s films. â€Å"Kieslowski? s work was prescient in all kinds of ways, that developed innovative narrative forms and stylistic methods to address pressing existential, moral and political issues ( †¦) with references to his social context and the tensions and conflicts that surrounded him. † 62Emma Wilson describes Kieslowski as a director of intimacy and interiority.Kieslowski in his movies guid