Syrian Civil War: Causation Essay example -- arab republic, ottoman rul

Middle East Project Syrian Civil War CausationAfter four one C years of indecisive Ottoman rule, and three decades fighting the mandate of the French, the many diverse peoples of Syria finally could call Syria their own. Yet, independence was not synonymous with peace. Without a park enemy, the Syrian people remembered their differences and began to squabble amongst themselves. Even now, seven decades after the formation of the Syrian Arab Republic, peace is yet but a far-flung dream. In June of 2000, then-President Hafez al-Assad, of the precedent Baath Party, passed away and his title was left, through an unfortunate accident, in the hands of his second, less determined son, Bashar al-Assad. With his death came strife. Powerful clashing forces previously kept quashed by Baath Party Rule began to emerge yet again, and Syria was plunged into conflict. The Syrian civil war crisis, commonly accepted to have begun with the rule of Bashar al-Assad, had roots in storey extending past Hafez al Assad (Baath Party Ruling) and, through a combination of external pressures, environmental and foreign, and internal inconsistency and weakness blossomed into the situation today.The Baath Party, the name Arabic for Renaissance or Resurrection (Polk), was founded in 1947 by Michel Aflaq, a Syrian teacher whose views on nationalism gained him support from Arabs across the area (Profile). Quickly group meeting with other parties, the now-Arab Socialist Baath Party became real competition to its opposition as its popularity surged among students of the nation. Historically, as Syrian people were (and are) extremely diverse, a wide reach of opinions on nationalism and religion have been presented, each addressing a different aspect of ... ...LIO, 2014. Web. 5 Mar. 2014.Urban and Rural Human Geography in Syria. parole and Events Point of View. Geography Services, n.d. Web. 4 Mar. 2014. .Warner, Andy. Syrias First Family. Slate. SlateGroup, n.d. Web. 21 Mar. 2014. . chapiter P ost. Syrian Civil War A Rising Death Count. Washington Post. Washington Post, n.d. Web. 4 Mar. 2014. .Zahler, Kathy. The Assads Syria. Minneapolis Twenty-First Century, 2010. Print. Dictatorships. Zuhur, Sherifa. Bashar al-Assad. World History The Modern Era. ABC-CLIO, 2014. Web. 3 Mar. 2014.

Exploration of Capitalitsm In Norma Rae Essay -- Capitalism Economics

Exploration of Capitalitsm In Norma Rae While many of us tend to view capitalism as the ultimate goal when talk of profit capability and worker freedoms, we are shown a much different reality in the film Norma Rae in which the economic system comes under level and harsh scrutiny. While the economic system on display in Norma Rae is a vast improvement from the impoverished feudal economic system shown in Matewan, there are still s constantlyal improvements that can clearly be made to the O.P. Henry Textile Mills definition of capitalism in this 1978 film base on actual events. The textile workers at the O.P. Henry Mill are used to struggle and adversity as both characterized thier employment in the manufacturing plant and the hardships they had to face in their everyday lives. Many of the factory employees had been working in the mill for their entire lives, enduring the worker cruelty that the company dealt out with dismay regularity. However, many of the workers in th e factory had little or no choice in seeking other employment, as the Textile Mill was the largest employer in the area, particularly for unskilled laborers. While the employees were not forced to work in the factory, they stayed so as not to risk unemployment. This fear of unemployment was the mechanism that allowed the Textile Mill to run its workers to the limit. In this particular capitalist system on display in Norma Rae, the workers were the ones who had everything to lose. The workers had their livelihoods tied up in their jobs and would have to face the consequences if the company suffered economic difficulty, relocated, or had to downsize and make worker cutbacks. In this way, the workers bargaining power with the company was weakened... ...a vote of 427 to 373. The negative capitailism that existed in the story of Norma Rae was modified to a much more worker-friendly figure of capitalism in which worker concerns could be voiced and even answered without the fe ar of job termination while the company was still satisfied because it ws turning a profit. In this way, unions help to neutralize the potential for capital job markets to become dominated by an elite few and ingore the rights of laborers. Union helps secure the worker conversance of being able to compete for a position in a labor market rather than being forced to work in a poor working environment outof simple necessity. Unions provide workers with a valuable bargaining tool so that their rights will be protected in an ever changing and expanding profit-driven system, hopefully bringing the realization of capitalism closer to its intended state.

The Fall of the House of Usher :: Literary Analysis, Edgar Allan Poe

In the short story, The Fall of the House of Usher by Edgar Allen Poe, diction is extensively used to piddle an air of incredulity. Poes use of diction along with symbolism contributes to establishing a mood of despair. By using symbolic comparison mingled with the Ushers and their house, the storys suspense builds and the characteristics of the Ushers are portrayed. Poes cunning tactics are evident in the way he achieves a story of both suspense and horror. In The Fall of the House of Usher, Poes use of dark, descriptive words allow him to establish an eerie mood. Poes unique style of writing along with his foreshadowing vocabulary is significant in creating a suspenseful gothic story. At the beginning of the short story, Poe describes the House of Usher to be dull, heavy, and dreary (1265). His choice of words strongly emphasizes a mood of darkness and suspense as he builds on the horrific aspects of this daunting tale. At first base glimpse, the house itself is surrounded by the feeling of insufferable gloom, (1265) there was an iciness, a sinking, a sickening of the heart, an unredeemed dreariness of thought ... (1265). The atmosphere that Poe describes in the relation above establishes a spine-chilling mood. Poe uses words such as insufferable gloom (1265) along with other disturbing words to stress the mood of horror. Furthermore, the house evokes suspense as it strikes the reader with curiosity as to why the building presents such a dreadful and uneasy feeling. Poe describes the house with further detail emphasizing its spectral traits Dark draperies hung upon the walls. The general furniture was profuse, comfortless, antique, and tattered. Many books and musical instruments lay scattered about, but failed to give any vitality to the scene (1267). Poe describes the house using rattling descriptive and daunting words contributing to the storys depressive mood as well as its suspense. Poe also uses symbolism to represent the connection between the house and the Usher family. The description of the house itself has a shocking resemblance to that of Roderick and Madelyn Usher. Upon the main characters arrival, Poe offers an interesting description of the buildings tangible state. The discoloration of age had been great. Minute fungi overspread the whole exterior, hanging in fine tangled web-work from the eves (1266). Poe is able to establish an air of suspense by relating the state of the house to that of Roderick and Madelyn Usher.

The Struggle for Identity in A Doll’s House :: A Doll’s House

The Struggle for Identity in A Dolls House A Dolls House by Henrik Ibsen, is a play that was write ahead of its time. In this play Ibsen tackles womens rights as a matter of importance. Throughout this time period it was neglected. A Dolls House was written during the movement of Naturalism, which comm and reflected society. Ibsen acknowledges the fact that in 19th century life the role of the woman was to stay at home, raise the children and attend to her husband. Nora Helmer is the character in A Doll House who plays the 19th woman and is portrayed as a victim. Michael Meyers said of Henrik Ibsens plays The common denominator in many of Ibsens dramas is his interest in individuals try for and authentic indistinguishability in the face of tyrannical kind conventions. This conflict often results in his characters being divided between a sense of tariff to themselves and their responsibility to others.(1563) All of the aspects of this quote can be applied to the play A Doll Hous e, in Nora Helmers character, who throughout much of the play is oppressed, presents an inauthentic identity to the audience and throughout the play attempts to discovery her authentic identity. The inferior role of Nora is extremely important to her character. Nora is oppressed by a variety of tyrannical social conventions. Ibsen in his A Dolls House depicts the role of women as subordinate in order to emphasize their role in society. Nora is oppressed by the manipulation from Torvald. Torvald has a very typical relationship with society. He is a smug bank manager. With his job arrive many responsibilities. He often treats his wife as if she is adept of these responsibilities. Torvald is very authoritative and puts his appearance, both social and physical, ahead of his wife that he supposedly loves. Torvald is a man that is worried about his reputation, and cares little about his wifes feelings. Nora and Torvalds relationship, on the outside appears to be a happy. Nora is treate d like a child in this relationship, but as the play progresses she begins to realize how phony her marriage is. Torvald sees Noras only role as being the subservient and loving wife. He refers to Nora as my little squirrel (p.1565), my little lark (p.1565), or spendthrift(1565). To him, she is only a possession. Torvald calls Nora by pet-names and speaks down to her because he thinks that she is not intelligent and that she can not think on her own.

Russian Avant-Garde Essay -- Russian History, Artists, Russian Revolut

Russian Avant-Garde was born at the start of the 20th century out of intellectual and ethnical turmoil. Through the analysis of artworks by Aleksandr Rodchenko and El Lissitzky this turn up attempts to explore the freedom experienced by artists after the Russian Revolution in 1917. This avant-garde causal agent was among the boldest and most advanced in Europe. It signified for many artists an end to the past academic conventions as they began to experiment with the notions of space, following the basic elements of colour, shape and line. They strove for a Utopian existence for all benefited by and inspired through the art they created. They worked with, for and alongside the politics of the time. The equality for all that they sought would eventually take from them the freedom of their throw artistic individual(a)ity.The Russian Revolution energized the artists to expand their social influence to produce statements that could inspire human aspirations. Rodchenko and El Lissitzk y approached their avant-garde art practice in visually similar ways, but theoretically they varied considerably. Victor Margolin (1997) explored the two artists principal approaches to building their art and their commitment to the political influences of the time within his first essay in The Struggle for Utopia. Rodchenko felt the objects produced should both facilitate change in people, making them more ideally Soviet, as well as represent Soviet ideals through their materials and construction. Both artists sought to design architectural structures. Rodchenko was a Constructivist who strove to produce new, functional, material objects. His designs were not constructed around aesthetics they were intended to be a catalyst for social change. Works like The Fut... ...sts will be remembered for the mastery in which they applied the principles of Constructivism and Suprematism within their graphic design rather than the political ideologies they were unavoidable by the regime to pr omote.It is difficult to ascertain the political commitment among the Russian Avant-garde artists. Rodchenko and El Lissitzky were both sympathetic to the socialist cause. The Bolsheviks continued to consolidate their authority, progressively dictated artistic policy and freedom to think and act independently was substantially curtailed during the 1920s (Mayakovsky 2000). In 1934 Joseph Stalin decreed the end to the practice of Socialist naive realism and the period of avant-garde experimentation and innovation ceased. Rodchenko and El Lissitzky would both become disillusioned, as their utopian vision became a struggle to maintain their own individual identity.

Russian Avant-Garde Essay -- Russian History, Artists, Russian Revolut

Russian Avant-Garde was born at the start of the 20th century out of quick-witted and cultural turmoil. Through the analysis of artworks by Aleksandr Rodchenko and El Lissitzky this essay attempts to explore the exemption experienced by artists after the Russian Revolution in 1917. This avant-garde movement was among the boldest and most advanced in Europe. It signified for many artists an end to the past academic conventions as they began to experiment with the notions of space, following the basic elements of colour, shape and line. They strove for a utopian existence for all benefited by and inspired through the art they created. They worked with, for and alongside the politics of the time. The equality for all that they sought would eventually take from them the freedom of their witness artistic individuality.The Russian Revolution energized the artists to expand their social influence to produce statements that could inspire human aspirations. Rodchenko and El Lissitzky appro ached their avant-garde art practice in visually similar ways, but theoretically they varied considerably. Victor Margolin (1997) explored the two artists principal approaches to building their art and their commitment to the semipolitical influences of the time within his first-year essay in The Struggle for Utopia. Rodchenko felt the objects produced should both facilitate change in people, making them more ideally Soviet, as well as do Soviet ideals through their materials and construction. Both artists sought to design architectural structures. Rodchenko was a Constructivist who strove to produce new, functional, material objects. His designs were not constructed around aesthetics they were intended to be a catalyst for social change. Works like The Fut... ...sts will be remembered for the mastery in which they applied the principles of Constructivism and Suprematism within their graphic design rather than the political ideologies they were required by the regime to promote. It is difficult to ascertain the political commitment among the Russian Avant-garde artists. Rodchenko and El Lissitzky were both sympathetic to the socialist cause. The Bolsheviks continued to unify their authority, increasingly dictated artistic policy and freedom to think and act independently was substantially curtailed during the 1920s (Mayakovsky 2000). In 1934 Joseph Stalin decreed the end to the practice of collectivized Realism and the period of avant-garde experimentation and innovation ceased. Rodchenko and El Lissitzky would both become disillusioned, as their utopian vision became a struggle to maintain their own individual identity.