Catcher In The Rye :: essays research papers

Catcher in the Rye Essay "I keep picturing all these kids playing some game in this big field of rye and all. Thousands of little kids, and nobody''s big but me. And I''m standing on the edge of some crazy cliff -What do I have to do, I have to catch them. I mean their running, and they don''t look where their going, so I must come out of somewhere and catch them."(Salinger,173) J.D. Salinger, in his timeless classic, The Catcher in the Rye, a novel depicting the complications of life as an adolescent, uses reality verses allusion, phoniness in society, and the loss of innocence as themes in his novel, to present the true inner character of Holden Caufield. Beginning to learn the truths of society and growing up, sixteen year old, Holden has a hard time adjusting to maturity. After the death of his younger brother Allie, his inability to remain in one school, and his ongoing dislike of many people and their morals, Holden has been driven to depression in which he dispenses to a psycoanaylgist throughout the novel. Through his novel, Salinger incorporated the theme reality verses allusion, to demonstrate how the mind of some adolescents are so unwilling to face the truths of society. As stated above, Holden wishes to accomplish an futile task, save children from growing up, and protect them from the corruption of adulthood. The following presents an example of Holden''s inability to grasp the differences between reality and allusion. "Somebody written ''Fuck You'' on the wall. It drove me damn dear crazy. I thought how Phoebe and all the other kids would see it, and then how they''d wonder what the hell it mean, and finally some dirty kid would tell them- all cockeyed, so I rubbed it out."(Salinger,201) Presented here, an another example on how Holden once again attempts to accomplish the impossible, save children from the words and instances that they are going to transpire no matter how hard someone desires to hide it. Holden allows himself to live in a state of unrealistic tho ughts, with the idea that change will forever be deleterious. Yet Holden seems frightened to admit to himself that change and development are a necessary part of reality. The only way one would be able to avoid change would be to die young, avoiding maturity, and maintaining innocence. Holden''s dislike towards change attracts his interest to the museum, because a museum continues to be never changing, the displays are forever set in stone, and preserved.

The Problem of Poverty: Welfare in America Essays -- Poverty Essays

The Problem of Poverty: Welfare in America For centuries, nations, cities, and individual families have dealt with the problem of poverty; how to remedy current situations and how to prevent future ones. For most of history, there have been no government controlled poverty assistance programs. The poor simply relied on the goodness of their families or, if they did not have a family, on the generosity of the public at large. In the United States, this situation changed in 1935 with the passage of the Social Security Act. The Social Security Act has seen many successes, but it also faces many critiques of its structure and function. In the past, most governments did little to actively aid their poor population. This duty was understood to fall on the families of the poor individuals, charity groups, and generous individuals. Some governments aided their needy in indirect ways. One of the first government-mediated assistance programs was passed by the English Parliament in 1601 as the Act for the Relief of the Poor. This act s et up local 'parishes' that were responsible for taking care of the poor in their own district. However, the government provided no funds to facilitate this program?the parishes were responsible for levying and collecting taxes to finance their programs. Though it would be considered a very primitive form of welfare by today?s standards, it was a large step toward government-mediated welfare compared to the English system 250 years before that. In 1349, Parliament forbade charity on the grounds that it might encourage laziness. Since then, public attitudes have changed about the responsibility of the citizens and the government to provide for the assistance of the needy. Limited federal assistance was given to war veterans and their families beginning during the Civil War, but large scale assistance to the general needy community was not available for almost 75 more years (Komisar 48). A large contribution toward the assistance of the poor in the United States came during the Progre ssive movement around the turn of the century. Activist groups championed not only workers rights in the form of unions, but also the right of every citizen to have access to decent living conditions (Komisar 67). The Progressive movement slackened during the prosperous ?20s, but the social welfare issue was forcefully placed back into the public con... ...banks could meet the needs of the increased number of people who seek their services. Although it is probably impossible to achieve complete freedom from poverty, society need not sit idly by in the face of such a monumental challenge. Indeed, it is the public duty of each individual to aid in the improvement of the lives of poor persons around the nation and around the world. Large-scale, complex systems such as the one now in place in America, only serve to create an inefficient, costly effort that could be achieved with less manpower and fewer dollars. Government oversight and subsidizing of private contributions toward the elimination of poverty is a far more efficient, adaptive, and economical way of working toward the eradication of the problem of poverty. Bibliography Garfinkel, Irwin. ?Welfare?, World Book Encyclopedia, World Book Inc., New York, Vol 21, pp. 191-193, Â ©1988. Komisar, Lucy. Down and Out in the USA: A History of Public Welfare. Rev. ed. Watts, Chicago, Â ©1977. Patterson, James. America?s Struggle Against Poverty, 1900-1980., Harvard Press, Boston, Â ©1981. Segalman, Ralph. Poverty in America: The Welfare Dilemma, Greenwood, Los Angeles, Â ©1981

Nebular Theory

The Nebular Theory is one of the famous theories which explains the formation of the universe primarily the stars, planets and other heavenly bodies. The theory was first applied on to the creation of the solar system and was later applied to the universe. It is sometimes called solar nebular model. According to the theory, the universe was created accidentally from a cloud of dust and gas called Nebula.The cloud collapsed due to its unstable gravitational force and spin faster and faster due to its angular momentum conservation. The gas involved in the nebula was mostly hydrogen. The nebular disk due to the unstable gravitational forces collapse and forms the sun, moon, and the planets. The theory is highly debated due to its inability to explain many of its proponents like angular momentum, the formation of giant planets and stars etc.Uniformitarianism in relation to the evolution of Earth and solar system Uniformitarianism is the assumption that natural processes which operated in the past can be observed and said to be also operating in the present. In relation to the evolution of the earth and the solar system, this philosophy of science explains that the Earth’s processes like moving of the tectonic plates and the formations of mountains and seas can be seen in the past.Uniformitarianism explains that what happens today has also happened in the past. This is why the evolution of the earth and solar system can be observed and known to us by observing the present state of the Earth and the solar system through thorough scientific methods of observation. Uniformitarianism is a principle used to explain why scientist observe and evaluate the earth today and is able to formulate hypothesis and theories on how the earth and solar system evolved through time.

The True Gospel of Wealth: Andrew Carnegie.

U. S History September 17,2012 The True Gospel of Wealth: Andrew Carnegie The True Gospel of Wealth, an article written by one of the richest, most powerful men of the 19th century, is a guide to a nation virgin to mass amounts of wealth, and power. Carnegie is a self made millionaire, who immigrated to the United States with less than a dollar in his pocket. This fact would serve important in Carnegies epic rise to fortune, also in developing such philosophical understandings as, The True Gospel of Wealth. Andrew Carnegie was a firm believer in idea of individualism.That everyman must work and rise on his own ambition alone, that each man for themselves. In other word, he did not believe in the communist thought of working for the wealth of your brotherhood. Carnegie describes it as evolution of the human class. That it is beyond human control to determine the distribution of wealth. It is good for a nation to have, one end the wealthy, while on the other side, the poor. In this, ou r nation has grown to know a higher grade of living than what our forefathers experienced. Carnegie goes on to say, â€Å"The poor enjoy what the rich could not before afford.What were the luxuries have become the necessities of life. The laborer has now more comforts than the farmer had a few generations ago. † This passage explains Carnegie’s idea that as the rich get richer, the poorer ultimately reap the benefits of this evolutionary growth of class. This, in fact, depended entirely upon the mode of distribution of wealth the rich man chooses. Moreover, Carnegie explains that there are three different modes of distribution a rich man can employ. The first mode described, a bestowment of fortune to the first son. Which was a common practice during many years f a stringent class system in Great Britain. This ultimately led to a burden of wealth amongst rich who have no conscientiousness of how critical proper distribution of wealth is for evolutionary growth. The sec ond mode, which Carnegie describes as the worst possible thing a man can do in his life, is distributing wealth, cash over fist to the impoverished. To simply give money as â€Å"charity† to a man who has none, is to only feed into his follies as a man. Carnegie believes that in an every 1,000 dollars given to charity, 950 dollars of it goes to waste.The rich man who simply hands money away in small sums to others themselves only stalls the growth of character and ambition throughout the Nation. Nonetheless, the third mode is which Carnegie beckons as the start of a great evolutional growth in the distribution of wealth amongst classes. Carnegie believes that the rich must supply the poor with not money directly to their pockets, which would coax temptations. Rather, the rich must supply the less fortunate with the means to grow as people, to heighten ambitions, and raise the level of class.This is done through, for example, the construction of a public library. Carnegie, in fact, tells a tale of Mr. Tilden. Mr. Tilden, a wealthy man, builds a large public library in New York City. This distributes more than a couple quarters could ever, the ability for any man to enhance his learning and opportunities for free. In result, Carnegie has lead us as a young nation on the brink of unthinkable upsurge of wealth, power, and respect from around the world to a place of great thought. In this individualistic ideal of life, Carnegie believes we can grow exponentially as a people under the right circumstances.A system of distribution, and a system of support meant to reach the lowest of the impoverished. A system, nonetheless, that requires a strict set of laws. Best described by Andrew Carnegie himself. â€Å"Thus is the problem of Rich and Poor to e solved. The laws of accumulation will be left free; the laws of distribution free. Individualism will continue, but the millionaire will be but a trustee for the poor†¦ but administering (wealth) for the commun ity far better than it could or would have done for itself. †

The Twilight Saga 4: Breaking Dawn 3. BIG DAY

My own eyes flew open. I lay shivering and gasping in my warm bed for several minutes, trying to break free of the dream. The sky outside my window turned gray and then pale pink while I waited for my heart to slow. When I was fully back to the reality of my messy, familiar room, I was a little annoyed with myself. What a dream to have the night before my wedding! That's what I got for obsessing over disturbing stories in the middle of the night. Eager to shake off the nightmare, I got dressed and headed down to the kitchen long before I needed to. First I cleaned the already tidy rooms, and then when Charlie was up I made him pancakes. I was much too keyed up to have any interest in eating breakfast myself – I sat bouncing in my seat while he ate. â€Å"You're picking up Mr. Weber at three o'clock,† I reminded him. â€Å"I don't have that much to do today besides bring the minister, Bells. I'm not likely to forget my only job.† Charlie had taken the entire day off for the wedding, and he was definitely at loose ends. Now and then, his eyes flickered furtively to the closet under the stairs, where he kept his fishing gear. â€Å"That's not your only job. You also have to be dressed and presentable.† He scowled into his cereal bowl and muttered the words â€Å"monkey suit† under his breath. There was a brisk tapping on the front door. â€Å"You think you have it bad,† I said, grimacing as I rose. â€Å"Alice will be working on me all day long.† Charlie nodded thoughtfully, conceding that he did have the lesser ordeal. I ducked in to kiss the top of his head as I passed – he blushed and harrumphed – and then continued on to get the door for my best girlfriend and soon-to-be sister. Alice's short black hair was not in its usual spiky do – it was smoothed into sleek pin curls around her pixie face, which wore a contrastingly businesslike expression. She dragged me from the house with barely a â€Å"Hey, Charlie† called over her shoulder. Alice appraised me as I got into her Porsche. â€Å"Oh, hell, look at your eyes!† She tsked in reproach. â€Å"What did you do? Stay up all night?† â€Å"Almost.† She glowered. â€Å"I've only allotted so much time to make you stunning, Bella – you might have taken better care of my raw material.† â€Å"No one expects me to be stunning. I think the bigger problem is that I might fall asleep during the ceremony and not be able to say 1 do' at the right part, and then Edward will make his escape.† She laughed. â€Å"I'll throw my bouquet at you when it gets close.† â€Å"Thanks.† â€Å"At least you'll have plenty of time to sleep on the plane tomorrow.† I raised one eyebrow. Tomorrow, I mused. If we were heading out tonight after the reception, and we would still be on a plane tomorrow†¦ well, we weren't going to Boise, Idaho. Edward hadn't dropped a single hint. I wasn't too stressed about the mystery, but it was strange not knowing where I would be sleeping tomorrow night. Or hopefully not sleeping †¦ Alice realized that she'd given something away, and she frowned. â€Å"You're all packed and ready,† she said to distract me. It worked. â€Å"Alice, I wish you would let me pack my own things!† â€Å"It would have given too much away.† â€Å"And denied you an opportunity to shop.† â€Å"You'll be my sister officially in ten short hours†¦ it's about time to get over this aversion to new clothes.† I glowered groggily out the windshield until we were almost to the house. â€Å"Is he back yet?† I asked. â€Å"Don't worry, he'll be there before the music starts. But you don't get to see him, no matter when he gets back. We're doing this the traditional way.† I snorted. â€Å"Traditional!† â€Å"Okay, aside from the bride and groom.† â€Å"You know he's already peeked.† â€Å"Oh no – that's why I'm the only one who's seen you in the dress. I've been very careful to not think about it when he's around.† â€Å"Well,† I said as we turned into the drive, â€Å"I see you got to reuse your graduation decorations.† Three miles of drive were once again wrapped in hundreds of thousands of twinkle lights. This time, she'd added white satin bows. â€Å"Waste not, want not. Enjoy this, because you don't get to see the inside decorations until it's time.† She pulled into the cavernous garage north of the main house; Emmett's big Jeep was still gone. â€Å"Since when is the bride not allowed to see the decorations?† I protested. â€Å"Since she put me in charge. I want you to get the full impact coming down the stairs.† She clapped her hand over my eyes before she let me inside the kitchen. I was immediately assailed by the scent. â€Å"What is that?† I wondered as she guided me into the house. â€Å"Is it too much?† Alice's voice was abruptly worried. â€Å"You're the first human in here; I hope I got it right.† â€Å"it smells wonderful!† I assured her – almost intoxicating, but not at all overwhelming, the balance of the different fragrances was subtle and flawless. â€Å"Orange blossoms†¦ lilac†¦ and something else – am I right?† â€Å"Very good, Bella. You only missed the freesia and the roses.† She didn't uncover my eyes until we were in her oversized bathroom. I stared at the long counter, covered in all the paraphernalia of a beauty salon, and began to feel my sleepless night. â€Å"Is this really necessary? I'm going to look plain next to him no matter what.† She pushed me down into a low pink chair. â€Å"No one will dare to call you plain when I'm through with you.† â€Å"Only because they're afraid you'll suck their blood,† I muttered. I leaned back in the chair and closed my eyes, hoping I'd be able to nap through it. I did drift in and out a little bit while she masked, buffed, and polished every surface of my body. It was after lunchtime when Rosalie glided past the bathroom door in a shimmery silver gown with her golden hair piled up in a soft crown on top of her head. She was so beautiful it made me want to cry. What was even the point of dressing up with Rosalie around? â€Å"They're back,† Rosalie said, and immediately my childish fit of despair passed. Edward was home. â€Å"Keep him out of here!† â€Å"He won't cross you today,† Rosalie reassured her. â€Å"He values his life too much. Esme's got them finishing things up out back. Do you want some help? I could do her hair.† My jaw fell open. I floundered around in my head, trying to remember how to close it. I had never been Rosalie's favorite person in the world. Then, making things even more strained between us, she was personally offended by the choice I was making now. Though she had her impossible beauty, her loving family, and her soul mate in Emmett, she would have traded it all to be human. And here I was, callously throwing away everything she wanted in life like it was garbage. It didn't exactly warm her to me. â€Å"Sure,† Alice said easily. â€Å"You can start braiding. I want it intricate. The veil goes here, underneath.† Her hands started combing through my hair, hefting it, twisting it, illustrating in detail what she wanted. When she was done, Rosalie's hands replaced hers, shaping my hair with a feather-light touch. Alice moved back to my face. Once Rosalie received Alice's commendation on my hair, she was sent off to retrieve my dress and then to locate Jasper, who had been dispatched to pick up my mother and her husband, Phil, from their hotel. Downstairs, I could faintly hear the door opening and closing over and over. Voices began to float up to us. Alice made me stand so that she could ease the dress over my hair and makeup. My knees shook so badly as she fastened the long line of pearl buttons up my back that the satin quivered in little wavelets down to the floor. â€Å"Deep breaths, Bella/7Alice said. â€Å"And try to lower your heart rate. You're going to sweat off your new face.† I gave her the best sarcastic expression I could manage. â€Å"I'll get right on that.† â€Å"I have to get dressed now. Can you hold yourself together for two minutes?† â€Å"Urn†¦ maybe?† She rolled her eyes and darted out the door. I concentrated on my breathing, counting each movement of my lungs, and stared at the patterns that the bathroom light made on the shiny fabric of my skirt. I was afraid to look in the mirror – afraid the image of myself in the wedding dress would send me over the edge into a full-scale panic attack. Alice was back before I had taken two hundred breaths, in a dress that flowed down her slender body like a silvery waterfall. â€Å"Alice – wow.† â€Å"It's nothing. No one will be looking at me today. Not while you're in the room.† â€Å"Har har.† â€Å"Now, are you in control of yourself, or do I have to bring Jasper up here?† â€Å"They're back? Is my mom here?† â€Å"She just walked in the door. She's on her way up.† Renee had flown in two days ago, and I'd spent every minute I could with her – every minute that I could pry her away from Esme and the decorations, in other words. As far as I could tell, she was having more fun with this than a kid locked inside Disneyland overnight. In a way, I felt almost as cheated as Charlie. All that wasted terror over her reaction†¦ â€Å"Oh, Bella!† she squealed now, gushing before she was all the way through the door. â€Å"Oh, honey, you're so beautiful! Oh, I'm going to cry! Alice, you're amazing! You and Esme should go into business as wedding planners. Where did you find this dress? It's gorgeous! So graceful, so elegant. Bella, you look like you just stepped out of an Austen movie.† My mother's voice sounded a little distance away, and everything in the room was slightly blurry. â€Å"Such a creative idea, designing the theme around Bella's ring. So romantic! To think it's been in Edward's family since the eighteen hundreds!† Alice and I exchanged a brief conspiratorial look. My mom was off on the dress style by more than a hundred years. The wedding wasn't actually centered around the ring, but around Edward himself. There was a loud, gruff throat-clearing in the doorway. â€Å"Renee, Esme said it's time you got settled down there,† Charlie said. â€Å"Well, Charlie, don't you look dashing!† Renee said in a tone that was almost shocked. That might have explained the crustiness of Charlie's answer. â€Å"Alice got to me.† â€Å"Is it really time already?† Renee said to herself, sounding almost as nervous as I felt. â€Å"This has all gone so fast. I feel dizzy.† That made two of us. â€Å"Give me a hug before I go down/7Renee insisted. â€Å"Carefully now, don't tear anything.† My mother squeezed me gently around the waist, then wheeled for the door, only to complete the spin and face me again. â€Å"Oh goodness, I almost forgot! Charlie, Where's the box?† My dad rummaged in his pockets for a minute and then produced a small white box, which he handed to Renee. Renee lifted the lid and held it out to me. â€Å"Something blue,† she said. â€Å"Something old, too. They were your Grandma Swan's,† Charlie added. â€Å"We had a jeweler replace the paste stones with sapphires.† Inside the box were two heavy silver hair combs. Dark blue sapphires were clustered into intricate floral shapes atop the teeth. My throat got all thick. â€Å"Mom, Dad†¦ you shouldn't have.† â€Å"Alice wouldn't let us do anything else,† Renee said. â€Å"Every time we tried, she all but ripped our throats out.† A hysterical giggle burst through my lips. Alice stepped up and quickly slid both combs into my hair under the edge of the thick braids. â€Å"That's something old and something blue,† Alice mused, taking a few steps back to admire me. â€Å"And your dress is new†¦ so here – â€Å" She flicked something at me. I held my hands out automatically, and the filmy white garter landed in my palms. â€Å"That's mine and I want it back,† Alice told me. I blushed. â€Å"There,† Alice said with satisfaction. â€Å"A little color – that's all you needed. You are officially perfect.† With a little self-congratulatory smile, she turned to my parents. â€Å"Renee, you need to get downstairs.† â€Å"Yes, ma'am.† Renee blew me a kiss and hurried out the door. â€Å"Charlie, would you grab the flowers, please?† While Charlie was out of the room, Alice hooked the garter out of my hands and then ducked under my skirt. I gasped and tottered as her cold hand caught my ankle; she yanked the garter into place. She was back on her feet before Charlie returned with the two frothy white bouquets. The scent of roses and orange blossom and freesia enveloped me in a soft mist. Rosalie – the best musician in the family next to Edward – began playing the piano downstairs. Pachelbel's Canon. I began hyperventilating. â€Å"Easy, Bells,† Charlie said. He turned to Alice nervously. â€Å"She looks a little sick. Do you think she's going to make it?† His voice sounded far away. I couldn't feel my legs. â€Å"She'd better.† Alice stood right in front of me, on her tiptoes to better stare me in the eye, and gripped my wrists in her hard hands. â€Å"Focus, Bella. Edward is waiting for you down there.† 1 took a deep breath, willing myself into composure. The music slowly morphed into a new song. Charlie nudged me. â€Å"Bells, we're up to bat.† â€Å"Bella?† Alice asked, still holding my gaze. â€Å"Yes,† I squeaked. â€Å"Edward. Okay.† I let her pull me from the room, with Charlie tagging along at my elbow. The music was louder in the hall. It floated up the stairs along with the fragrance of a million flowers. I concentrated on the idea of Edward waiting below to get my feet to shuffle forward. The music was familiar, Wagner's traditional march surrounded by a flood of embellishments. â€Å"It's my turn,† Alice chimed. â€Å"Count to five and follow me.† She began a slow, graceful dance down the staircase. I should have realized that having Alice as my only bridesmaid was a mistake. I would look that much more uncoordinated coming behind her. A sudden fanfare trilled through the soaring music. I recognized my cue. â€Å"Don't let me fall, Dad,† I whispered. Charlie pulled my hand through his arm and then grasped it tightly. One step ata time, I told myself as we began to descend to the slow tempo of the march. I didn't lift my eyes until my feet were safely on the flat ground, though I could hear the murmurs and rustling of the audience as I came into view. Blood flooded my cheeks at the sound; of course I could be counted on to be the blushing bride. As soon as my feet were past the treacherous stairs, I was looking for him. For a brief second, I was distracted by the profusion of white blossoms that hung in garlands from everything in the room that wasn't alive, dripping with long lines of white gossamer ribbons. But I tore my eyes from the bowery canopy and searched across the rows of satin-draped chairs – blushing more deeply as I took in the crowd of faces all focused on me – until I found him at last, standing before an arch overflowing with more flowers, more gossamer. I was barely conscious that Carlisle stood by his side, and Angela's father behind them both. I didn't see my mother where she must have been sitting in the front row, or my new family, or any of the guests – they would have to wait till later. All I really saw was Edward's face; it filled my vision and overwhelmed my mind. His eyes were a buttery, burning gold; his perfect face was almost severe with the depth of his emotion. And then, as he met my awed gaze, he broke into a breathtaking smile of exultation. Suddenly, it was only the pressure of Charlie's hand on mine that kept me from sprinting headlong down the aisle. The march was too slow as I struggled to pace my steps to its rhythm. Mercifully, the aisle was very short. And then, at last, at last, I was there. Edward held out his hand. Charlie took my hand and, in a symbol as old as the world, placed it in Edward's. I touched the cool miracle of his skin, and I was home. Our vows were the simple, traditional words that had been spoken a million times, though never by a couple quite like us. We'd asked Mr. Weber to make only one small change. He obligingly traded the line â€Å"till death do us part† for the more appropriate â€Å"as long as we both shall live.† In that moment, as the minister said his part, my world, which had been upside down for so long now, seemed to settle into its proper position. I saw just how silly I'd been for fearing this – as if it were an unwanted birthday gift or an embarrassing exhibition, like the prom. I looked into Edward's shining, triumphant eyes and knew that I was winning, too. Because nothing else mattered but that I could stay withhim. I didn't realize I was crying until it was time to say the binding words. â€Å"I do,† I managed to choke out in a nearly unintelligible whisper, blinking my eyes clear so I could see his face. When it was his turn to speak, the words rang clear and victorious. â€Å"I do,† he vowed. Mr. Weber declared us husband and wife, and then Edward's hands reached up to cradle my face, carefully, as if it were as delicate as the white petals swaying above our heads. I tried to comprehend, through the film of tears blinding me, the surreal fact that this amazing person was mine. His golden eyes looked as if they would have tears, too, if such a thing were not impossible. He bent his head toward mine, and I stretched up on the tips of my toes, throwing my arms – bouquet and all – around his neck. He kissed me tenderly, adoringly; I forgot the crowd, the place, the time, the reason†¦ only remembering that he loved me, that he wanted me, that I was his. He began the kiss, and he had to end it; I clung to him, ignoring the titters and the throat-clearing in the audience. Finally, his hands restrained my face and he pulled back – too soon – to look at me. On the surface his sudden smile was amused, almost a smirk. But underneath his momentary entertainment at my public exhibition was a deep joy that echoed my own. The crowd erupted into applause, and he turned our bodies to face our friends and family. I couldn't look away from his face to see them. My mother's arms were the first to find me, her tear-streaked face the first thing I saw when I finally tore my eyes unwillingly from Edward. And then I was handed through the crowd, passed from embrace to embrace, only vaguely aware of who held me, my attention centered on Edward's hand clutched tightly in my own. I did recognize the difference between the soft, warm hugs of my human friends and the gentle, cool embraces of my new family. One scorching hug stood out from all the others – Seth Clearwater had braved the throng of vampires to stand in for my lost werewolf friend.

Post Mortem

Victorian post mortem photography was a custom prevalent in Europe and, to some lesser extent, the United States. It was a culture where people used to pose for photographs with their deceased loved ones for memory purposes. This was a way through which families could mourn and accept the loss of their loved ones. Remembrance encouraged the practice of post mortem photography since most people, especially infants and young adults, were photographed together with their family members to keep their memories alive.This paper will argue that many individuals from the Victorian era who participated in post mortem photography were heavily influenced by religious beliefs that in time developed into religious fixations. Post mortem photography is defined by modern psychiatry as an aspect of acute grief, which occurs in the early aftermath of a death. Acute grief can be intensely painful and is often characterized by behaviors and emotions that would be considered unusual in normal everyday l ife.Some individuals from the Victorian era (1837-1902), who believed in post mortem photography, saw their life here as an entrance to eternal life in heaven. However, these individuals from the Victorian era further believed in freeing the soul so that it was not enslaved in the body after death and further believed that post mortem photography would so free the soul of the deceased. Background: Even though post mortem photography and the dead have a long history, most associate post-mortem photography to the Victorian period in Europe and, to some lesser extent, the United States.Post-mortem photography was very popular in this 19th century period because the invention of the first photographic process, daguerreotype (a photographic process, which a picture on a silver surface sensitizes tit iodine was developed by exposure to mercury vapor, invented in 1839) made photography much more affordable. Daguerreotype photography was embraced since it was cheap and fast as compared to d rawing; this faster and cheaper technique also offered the middle class with a way to remember the deceased.Basically meaning, that those authorizing a post-mortem photographic sketch of a relative or friend also had the financial ability to meet the cost. Because of post mortem photography new nature, society embraced the daguerreotype quickly without having a second thought. â€Å"Post- mortem photography thrived in hydrotherapy ancient decades, among costumers who preferred to posses a photo of their deceased members as compared to lacking a memory. † (Cornwall, 2004, p. 61). The photographs were used as keepsakes to remember family and friends.Some photographers dedicated a substantial portion of their time to photograph the deceased. The strict relation between post mortem photography and the Victorian period inclines to overlook a number of variables. For instance, post mortem photography is still appreciated today in the same way as it was in the 19th century (Carmicha el, 1966, p. 53). Nevertheless, there is a limited amount of photographers wrought the United States who still perform post mortem photography, and death masks.However, many modern post mortem photos put less effort on giving the deceased a life-like appearance, and instead captures pictures of the deceased in coffins. Main Point 1: During the Victorian era, it was clear there were bizarre superstitions and rituals that families abided by to ensure their loved ones got the proper burial. In addition, to the bizarre superstitions and rituals, during the Victorian era some individuals participated in witchcraft and Joined cults. Victorian society was full of bizarre prepositions and rituals, like covering all mirrors with black fabric when someone died.Most people participated in this bizarre superstitions and rituals because it was feared that the mirror could steal the decease's soul and keep it. Also, during the Victorian era many individuals in Europe and, to some lesser extent, t he United States believed in death omens, which is an indicator that the person who is visited by bad spirits is going to die. For instance, seeing themselves in dreams, or seeing an owl during the day. Main Point 2: An initial dwelling of the deceased is considered to be normal.However, Jean Calenderer, a researcher at the University of North Carolina at Chapel Hill of Victorian ghost stories and early psychology, describes acute grief as pathological (meaning evidence of being mentally disturbed). It then becomes a fixation. (Spirit Photography: Victorian Culture of Mourning, 17). These bizarre superstitions and rituals were really Just symptoms of some deeper-seated pathological issues. Prevailing Theories There are other psychological answers to the obsession with the deceased.Post mortem photography in and of itself is not necessarily evidence of some sort of pathological issue. Even though the today's society looks at post mortem photography as a morbid action, most of us stil l practice it in various ways. Only the actual real life posing for the pictures is what has been abandoned. People have cultural practices that make them still value the practice of post mortem photography for purposes of remembrance. Also, the practice of post mortem photography is still essential in some religions, such as for Catholics, who cherish respecting the deed for several reasons.One is the continued need to memorial the deceased using a worshiped treasure, such as a photograph. A second reason is to maintain the continuity of church growth and ideas, as the process of the passing down of information regarding certain prominent church personalities and how they dedicated their life to serve could trigger the use of post mortem photography. This is because in current society, we identify ourselves with these people. Post mortem photography also is currently used in criminal investigations.The use of post mortem photography is essential in ensuring that even the dead can b e accorded Justice. Post mortem photos are often used as aids to deduce the cause of death of an individual, specially in a case where the death occurred under mysterious circumstances. This shows that the current use of post mortem photography in our Justice system is justifiable. Documentation does have limits. For example, in a massacre, for purposes of evidence, it is essential for the Journalist and people concerned to take pictures of the dead, but to be able to pose them for the public is not accepted.Nature always exposes human beings to challenges that need to be recorded for future generations. The use of post mortem photography as a record for future reference is commendable. For instance, in the field of anthropology, photographic communication of events is essential for they act as proof of what actually happened. Though, some people depict this as uncultured to some extent. There are certain photos that anthropologists would use, but societal moral values and beliefs r estrict the use of such photos.Yet, in order to validate the scientific findings, it is still justifiable to use post mortem anthropology to achieve this purpose regardless of societal values. Rebuttal People today are scared of death, it is not perceived as in the early 19th century when people used to take death as a normal thing. Death was more of a way of life urine the Victorian era for several reasons. Mothers died in childbirth, children died from preventable diseases, adults lived much shorter life spans. Modern medicine and technology have eliminated all of these as concerns.Celebrations such as Halloween show how people today are scared of death, as, for example, the masks used are normally from images related to death. They are intended to scare people, but at the same time they actually depict what was meant for post mortem photography. People avoid death, it is still something that happens to all of us eventually, but modern society has made it into something to be afra id of, something o scare little children and something to be kept at a distance. Most people no longer associate death as being a normal event as in the 19th century.Thus, what occurred in the 19th century was more related to trying to understand death as a normal part of life, not a pathological condition requiring medical treatment. Conclusion Even though post mortem photography was mostly attributed to the Victorian era, today people still practice this through recordings as keepsakes, the taking of post mortem pictures for use in our Justice system, the use of methods such as tattoos rented on our skin, graffiti painted on our cars and walls, images and pictures of the dead in their graves, as well as statues.We are not running away from death and post mortem photography, but we are only distancing ourselves from death while adopting other ways to remember the departed ones.

Abstract format Essay Example | Topics and Well Written Essays - 500 words

Abstract format - Essay Example In their study, Allen, Gibson, McLean, Davis, and Byrne (2014), wanted to establish the ancestry and maternal aspects that may foretell increases or decreases in the signs of a child eating disorder over a duration. The Allen, Gibson, McLean, Davis, and Byrne (2014), study had 221 participants, mother-child dyads. The study participants were evaluated at baselines; 1-year and 2-years sequel. The investigators used linear mixed models and other methods to find the forecasters of the signs of child eating disorder. The findings of the study showed that the youngsters of mothers with a preceding or current eating condition registered considerably higher levels of worldwide indicators of eating conditions as well as emotional food intake, compared to children of other mothers. Moreover, mothers with a preceding or current eating condition were more concerned of their children weight. Family susceptibility to constant worry/stress and little motherly education were additional risk considerations for eating disorder indicators. Allen, Gibson, McLean, Davis, and Byrne (2014), concluded that a mother’s concern of a child’s weight, stress in the family, the mother’s education level, and a child’s level of family gratification could foretell the signs of eating disorder in a child. The article is informative and fills the gap in research that family aspects can precisely foretell the signs of an eating disorder in a child. Moreover, the article addresses a relevant issue in our society, childhood obesity. Drobnjak, S., Atsiz, S., Ditzen, B., Tuschen-Caffier, B., & Ehlert, U. (2014). Restrained eating and self-esteem in premenopausal and postmenopausal women. Journal of Eating Disorders, 2 (23), 1-10. DOI:10.1186/s40337-014-0023-1 Drobnjak, Atsiz, Ditzen, Tuschen-Caffier, and Ehlert (2014) did the research because of the lack of information about disordered food consumption in middle-aged females. Therefore, in