Lord of the Flies: Human Nature

Master of the Flies Human Nature In the novel, Lord of the Flies, Golding has youthful and guiltless youngsters on a remote island to test how human instinct functions. Golding utilizes articles, for example, the conch and the Beast to mirror our general public strategically and mentally. The tale shows human’s own disease and human instinct. Human instinct is unavoidable and can be a wellspring of underhandedness. It is one’s nature to take the necessary steps so as to endure. By attempting to endure one’s malevolence crawls out. Jack and his trackers indicated the most underhanded. The principal pig being slaughtered was the main indication of shrewdness. They praised the killings and became ruthless for chasing. It was human instinct for the trackers and the young men to follow Jack and to attempt to make due on the island. Underhanded is an inalienable characteristic that lives inside each one. It is our parents’ occupation to instruct great ethics and qualities when we are youthful, however malice can not be completely concealed. The kids delighted in the opportunity away from rules and grown-ups. Over the long haul on the island their opportunity before long transforms into a bad dream and at long last some kicked the bucket. Human progress isn't so distant from brutality and everybody has an insidiousness hiding about. Indeed, even the little guiltless British young men have a specific measure of malevolence in themselves. The children are utilized to rules, yet they before long understand that rules don't make a difference any longer. They can not be rebuffed for tossing rocks or pushing a stone and murdering somebody. Roger can not stumble into difficulty by grown-ups any longer, so his human instinct kicks in and he uncovers his evilness. He had the option to slaughter without stumbling into difficulty. The Beast is playing with the kids’ brains and they become crazed young men. The dread makes them transform into savages and murder to endure. The Beast resembles a fear for the littluns. Mammoth from the Air shows up and creates some more mischief. It befuddles them since they understand there are more things to be careful of. The conch should be acceptable, however its intensity changes the children. Jack and Ralph quarrel over who has the conch and who is the pioneer. It is human instinct for Jack to want the conch and what isn't his. Human instinct has a major job in Lord of the Flies and huge numbers of the children can not deal with it. When human instinct was uncovered many transformed into little executioners. It was human instinct to attempt to endure and many did live toward the end, yet at the expense of lives.

Black Genocide Essay Example for Free

Dark Genocide Essay â€Å"Black Genocide in the 21st century† likewise called â€Å"Maafa† is an enemy of abortionist narrative made in 2009 that talks about the significance of contraception, White America and Black America, Planned Parenthood and how it was built up, additionally, the connivance behind premature birth. The film likewise profoundly talks about the contention between fetus removal being annihilation and it explicitly focusing on African Americans. Dark Genocide was a fascinating and intriguing bit of material that filled my insight with considerably more than I had planned it doing. Prior to watching this video, I knew a little about premature birth however not about the dark slaughter part. I realized that fetus removal was a path for the legislature to acquire legitimate rights to prematurely end youngsters who weren’t ready to be thought about however I didn’t realize the administration was utilizing fetus removal as an approach to restrict the dark populace. I likewise realized that African Americans were having a great deal of premature births and there were, and still is a ton of fetus removal offices yet never set up how they were gaining admittance to this data, besides, the association among selective breeding and slaughter. During the film, I adapted so much data that is appalled me and changed huge numbers of my perspectives toward fetus removal and different things. I discovered that in the mid 1800’s, Americans dreaded requital and revival since servitude should have finished. Intermarriage additionally lead to the loss of worldwide virtue and for that, they had an arrangement of colonization. Colonization was an influence that occurred, and made African Americans be sent back to Africa. After the colonization, the new way of thinking was built up and was called â€Å"eugenics†, the ideal answer for what was known as â€Å"negro dilemma.† I additionally discovered that Eugenics accepted that Africans were second rate and without direction, they couldn’t make it. Margaret Sanger was the organizer of the â€Å"American conception prevention league† and was effective for advancing premature birth and contraception. In the wake of viewing the 21st century of dark annihilation, I needed to find out about the circumstance with the NAACP and why the administration still hasn’t openly declared the contention between the dissenters and there covert targets. I’d additionally prefer to find out about the positive and negative selective breeding and why White America was viewed as positive genetic counseling when it was utilized to attempt to command the dark pieces of America and utilized as an ally to annihilate African Americans. I’d additionally prefer to find out about Planned Parenthood and to check whether the offices were all the while being focused in minority places. I’d likewise prefer to find out about White America and the Planned Parenthood gatherings, and furthermore whenever Planned Parenthood bunches despite everything focused on low destitution neighborhoods of various race, for example, Caucasians.

Gibson Kente Essay Example for Free

Gibson Kente Essay Gibson Kente: Arguably the most mainstream writer executive in South African Theater history is â€Å"Bra Gib†, Gibson Kente. Conceived in 1932, Kente turned into the dad of Black Theater. He was an incredible loyalist and establishing father of Black Theater in South ; a powerful voice of the abused however expressions of the human experience, he explained the financial uneven characters made by the politically-sanctioned racial segregation system. Kente was a craftsman as well as a vehicle for change. He conscientised the country through music and theater and gave a country trust amidst restraint and fierceness. Kente was to a great extent obscure to the white theater-going populace of South Africa †anyway he created 23 plays and numerous TV dramatizations from 1963-1992. Kente experienced childhood in Duncan Village, a dark town in the Eastern Cape. He was educated at a Seventh-Day Adventist College in Butterworth. In 1956, he moved to Johannesburg and enlisted at the Jan Hofmeyer School of Social Work. He in the long run surrendered his examinations after he joined a dark auditorium bunch called the Union Artists. This is the place he set out on his profession composing, delivering and coordinating, where he made the one of a kind classification alluded to as the â€Å"township melodic. Kente built up a style and example for his plays explicitly to manage the difficulties and necessities of his crowds. His plays were melodramas of township life, which were acted in a preposterous, adapted way utilizing stock characters and a declamatory style of execution. His style of guiding his en tertainers to ‘overact’ was so as to make up for a large number of the townships settings which had poor acoustics. His utilization of music, development, motion, contrivances, move and tumbling were straightforwardly identified with his concern with township settings. These huge lobbies were not complimentary to a strategy acting. The developments must be unnaturalistic, the acting was fiery and misrepresented well past the real world, so as to affect the eye and the ear. There was likewise a degrading of discourse †the exchange is in English, in any case, its vast majority was imperceptible due to crowd clamor and cooperation, terrible voice projection in the acoustically unsound lobbies, the melodic band and newness to words from the content. The crowds were not there to welcome the nuance of language using jokes or witticisms †they were there to be engaged through the stock characters tricks †to perceive themselves in front of an audience. Kente’s point was to fill township scenes and he did. Most of his plays are elaborately comparable: the acting style scarcely fluctuates, the story advancement is shallow, there is a nonappearance of contention other than the physical battles and the slanging matches between characters. The plots were basic †they were comprised of events which were going on in the townships and in day by day township life. Ian Steadman writes in his article Alternative Politics, Alternative Performance: 1976 and Black South African Theater that â€Å"while he [Kente] has been censured by increasingly extreme Black Consciousness defenders for being a-political, Kentes theater prevails with regards to making social remark and analysis †here and there by suggestion, at different occasions by direct proseltism† (1984: 219).

Human Smuggling and Border Security Research Paper

Human Smuggling and Border Security - Research Paper Example The greater part of the nations that effectively manage the issue on pirating are created countries, particularly since these nations have different assets that could be undermined or should have been ensured, just as being worthwhile spots to sell things or merchandise at more significant expenses, contrasted with less-created countries. The most notable case of a nation that is battling and buckling down in keeping out precluded things or undocumented foreigners in the United States, where it is continually being careful in the endeavored section of anything unlawfully from Central or South America, for example, medications, weapons, and even individuals, which is unexpected thinking about that there are an increasingly open trades of merchandise and enterprises, however through vigorously monitored state borders3. This is a significant fight for the US in light of the fact that not exclusively are the organizations and the economy legitimately influenced by the flood of untaxed me rchandise yet in addition human lives are in question, particularly among unlawfully pirated people4. Since antiquated occasions, alongside the development of human advancements came smart approaches to increase bigger edges of benefit among deceitful business people, and pirating got one of the most notable techniques for doing as such, which is the reason it despite everything stays uncontrolled even today, particularly in enormous countries like the US. Nonetheless, the impacts of human sneaking have more extensive impacts than simply the entry of merchandise, essentially since a great many people illicitly living in the US would likewise consider portions of the work power, making them pseudo-residents that could repopulate meagerly populated regions.

This One is Enough for You Vladimir and Estragon as Figures of the Despair of Philosophical Suicide and Denial of an Absurd Existence - Literature Essay Samples

â€Å"We can always find something, eh Didi, to give us the impression we exist?†[1] Samuel Beckett’s character Estragon asks his friend Vladimir in Beckett’s tragicomedy, Waiting for Godot. This postmodernist play has provoked an enormous amount of analysis, commentary, and criticism since its first performance in 1953. Intellectuals have not ceased trying to interpret Beckett’s intentions in creating such an obscure and disconcerting â€Å"story† if one could even go so far as to call it that. The confrontations regarding the entities of self and existence that arise from such a work elicits a demand for further understanding that stems from each individual’s quest for truth. However Beckett has been notoriously silent to all inquiries on the subject matter behind his work. He has said, â€Å"My work is a matter of fundamental sounds made as fully as possible, and I accept responsibility for nothing else. If people want to have headaches a mong the overtones, let them. And provide their own aspirin.†[2] Martin Esslin delves into Beckett and his concept of art and this very rejection of applying specific meaning to his work. He says, â€Å"[Beckett’s literary creations] through their very uncompromising concentration on existential experience, also claim attention as human documents of great importance; for they constitute an exploration, on a hitherto almost unprecedented scale, of the nature of one human being’s mode of existing, and thereby into the nature of human existence itself.† [3] Esslin argues that because Beckett denies the observer a pre-existing set of concepts or ideas to his works, that they â€Å"constitute the culmination of existential thought itself.†[4] Thus countless works today can be found associating Beckett with the existentialist philosophers like Jean Paul Sartre, Martin Heidegger, Friedrich Nietzsche, and many more. However, this essay focuses in on Beckett’s Waiting for Godot and the ways it parallels Albert Camusâ€⠄¢ specific philosophy of absurdism as described in his essay, â€Å"The Myth of Sisyphus† and argues that Beckett’s depiction of existence illustrates the consequences of failing to reach fulfillment through acceptance and revolt in such an existence as Camus describes. To best illustrate the parallels between these texts, we must begin with a discussion of Waiting for Godot’s immediate association with the absurd. The play and Samuel Beckett himself both come to the forefront of most discussions involving what is today known as the â€Å"Theatre of the Absurd.† The term came into use as a result of Martin Esslin’s 1962 book by the same title, in which Esslin defines its purpose: â€Å"Theatre of the Absurd strives to express its sense of senselessness of the human condition and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought.†[5] The term is used less to describe a movement or a genre than a collective of post- World War II writers creating extremely unconventional drama to depict the existential dilemmas of the time, specifically the absurdist view of existence proposed by Albert Camus. In â€Å"The Myth of Sisyphus,† Camus picks up where existential phil osophy leaves off. In his acknowledgement of a godless universe, the reality that existence precedes essence, and that life has no objective meaning, he claims that existence is inherently absurd, and that this is the only reconcilable truth that man can cling to. The absurdity, he deduces, stems from â€Å"the confrontation of this irrational and the wild longing for clarity whose call echoes in the human heart.†[6] This longing for clarity, understanding, and unity is one that Camus claims is inherent to human existence, and he refers to it as â€Å"nostalgia.† The truth that man must exist in a world without reason, without understanding, and without hope is truly absurd. Beckett’s depiction of the world itself through the voices and actions of the characters Estragon and Vladimir is indicative of the world’s irrationality and failure to satisfy man’s desires and needs. Camus says, â€Å"The mind’s deepest desire, even in its most elaborate operations, parallels man’s unconscious feeling in the face of his universe: it is an insistence upon familiarity, an appetite for clarity.†[7] The absurd reality is that the world cannot be this for us. The world is inherently disassociated from man, inhuman, and will forever be beyond the scope of man’s understanding or comprehension. As previously mentioned, it is the confluence of this unintelligibility and man’s desire for understanding of it that is the very essence of absurdity. Beckett’s created universe of purposeless acts, repetitive dialogue that consistently negates itself, disjointed time, and short memories lacks all elements of comprehens ible reality. There is a lack of any objective conclusion or truth to much of anything, contributing to the sense of anxiety and dissonance that results from the play’s overarching theme of eternal waiting and suspension. The tension and dissatisfaction of the characters existing in this environment is apparent. After Estragon has â€Å"despairingly† awoken from his dreaming, Vladimir protests loudly for him not to share what he dreamt. Estragon, â€Å"gesturing to the universe† as Beckett includes in the stage directions, replies: â€Å"This one is enough for you?†[8] Throughout the play Estragon and Vladimir both make outbursts such as, â€Å"I can’t go on like this!† and â€Å"This is awful!† in response to their conditions.[9] The world they exist in is utterly irrational and utterly unbearable. In addition to an irrational universe, absurdity springs from mankind’s desire to grasp it. According to Camus, this desire can never be fulfilled. Absurdist, alongside existentialist view commits itself to the absolute truth that there is no tomorrow and there is certainly no eternal—there is only the present moment in which one can exist, making lif e utterly meaningless. However, the history of man is one that constantly creates and puts faith in the fact that life has meaning and purpose. This is evident in religions in particular, and in every commitment to the eternal. However it is also apparent in the average man who spends his daily life working towards the future, towards tomorrow. The need for man to ascribe purpose and order to his life is a basic one, and also, from an absurdist view, an impossible one. It is a falsity to live for anything, to aspire towards anything. The entire culmination of purpose for the days of Vladimir and Estragon is waiting for Godot. It is for this that they find themselves in an unfamiliar, empty place where â€Å"Nothing happens, nobody comes, nobody goes.†[10] Waiting for Godot gives Vladimir and Estragon a purpose in life, though a dreadfully boring and monotonous one. What is most devastating is that Godot never comes, which can and has been interpreted as an indication of the futility of existence, and the tragedy of devoting your life to higher orders than the present moment. â€Å"Habit is the ballast that chains the dog to his vomit.†[11] Samuel Beckett and Albert Camus had similar conceptions of habit’s place in the modern life. Camus explains that the absurdity of a life committed uselessly to the future is cultivated largely out of habit. But it is out of this monotony, this habit, which often emerges what he calls, â€Å"moments of lucidity†Ã¢â‚¬â€moments that absurdity is realized.[12] One of the ways that the absurd world is born into consciousness is the rising of the â€Å"why† out of the daily repetition and rhythm. Camus declares that following this awakening to the absurdity of life is either a gradual return to the old rhythms or a â€Å"definitive awakening† in which results either ultimate despair and suicide or recovery.[13] This moment can be detected in Waiting for Godot after Pozzo’s exit in Vladimir’s monologue in which he reflects on his confusion with reality, his inability to make sense of what is happening around him. â€Å"Was I sleeping while the oth ers suffered? Am I sleeping now? Tomorrow, when I wake, or think I do, what shall I say of today? That with Estragon my friend, at this place, until the fall of night, I waited for Godot? That Pozzo passed, with his carrier, that he spoke to us? Probably. But in all that what truth will be there?†[14] We must ask then, where does this moment of realization and clarity of his condition leave Vladimir? Does he return to his monotonous life? Does he accept this reality? And if so is he to embrace it or to despair? Camus begins his argument for absurd philosophy with the question of the â€Å"one truly serious philosophical problem†¦ suicide. Judging whether life is or is not worth living.†[15] Camus’ initial question regards whether this absurd life devoid of purpose, directed towards nothing, and with no prospective except to embrace the hopelessness that all of this entailsis this life worth living? Vladimir and Estragon mention committing suicide repeatedly during the play. In the first act it is depicted as means of entertainment, and Beckett even adds a touch of humor: Vladimir: What do we do now? Estragon: Wait. Vladimir: Yes, but while waiting. Estragon: What about hanging ourselves? Vladimir: Hmmm. It’d give us an erection. Estragon: [highly excited] An erection! Vladimir: With all that follows. Where it falls mandrakes grow. That’s why they shriek when you pull them up. Did you not know that? Estragon: Let’s hang ourselves immediately![16] The two decide against the idea. They decide to wait and to hear what Godot has to say before they decide, clinging to their hope once more. Suicide is brought up again at the end of the first act and again in the second act in a more melancholy fashion, however because the characters lack rope, they cannot go through with it. At the end of the second act, following Vladimir’s â€Å"moment of lucidity† and the announcement that Godot is yet again not coming, he says, â€Å"We’ll hang ourselves tomorrow,† but then he follows it with, â€Å"unless Godot comes.†[17] Camus concludes that an absurd life is one that must indeed be lived. He even says, â€Å"It [life] will be lived all the better if it has no meaning,† referring to the vast amount of freedom that comes from living for nothing but the present moment, with no obligation or motivation except to live it.[18] He concludes that to escape the absurd life through suicide is in fact to annul its very absurdity. Absurdity only exists within the combination of man, in all his desires for order, and the world in all its irrationality. To be rid of the rational man is to be rid of the absurd. No, the answer to the question of existence in absurdity cannot be suicide. Camus deduces that the way to live this life is to live it in revolt—revolt of despair and suffering. It is to live knowing fully the state of one’s existence and to live momentously anyway, with no pursuit except that of the present moment, and he says that joy can be found there. Vladimir’s moment of lucidity brings him to a choice. He must accept this absurd reality that he has come to realize or he must deny it. Vladimir’s decision not to kill himself, however, does not indicate that he has accepted the knowledge he attains. Richard Duran argues that the existence chosen by the characters in Waiting for Godot, even if they do not kill themselves, is still a form of suicide Camus refers to as â€Å"philosophical suicide†.[19] Camus uses the examples of existentialist philosophers Kierkegaard and Chestov to demonstrate the way in which those who find themselves aware of the absurd, discovered in that moment of lucidity, in an effort to â€Å"leap† from the struggle that implies: â€Å"total absence of hope, a continual rejection, and a conscious dissatisfaction,† deny the absurd by attributing rationality to the world, despite evidence to the contrary.[20] Camus defines philosophical suicide as, â€Å"the movement by which a thought negates itself and tends to transcend itself in its very negation,† and adds, â€Å"For the existentials negation is their God. To be precise, that god is maintained only through the negation of human reason.†[21] Kierkegaard, Chestov, and other philosophers and thinkers who have experienced this moment of lucidity, and then denied it by promising some form of transcendence yet, have sacrificed knowledge in the pursuit of hope. Vladimir’s promise to return to wait for Godot at the end of the play, even after he has come face to face with the absurdity of it all, is an example of this murdering of knowledge and reason in exchange for some meaning in life. It is interesting that, even though this moment of clarity for Vladimir occurs at the end of the play, an awareness of the absurdity of their existence suggests itself in the language of the two characters from the beginning. The very first lines of the play suggests the idea of surrender: Estragon: Nothing to be done. Vladimir: I’m beginning to come round to that opinion. All my life I’ve tried to put it from me, saying, Vladimir, be reasonable, you haven’t tried everything. And I resumed the struggle.[22] Here we not only see an acknowledgement of life’s futility from both characters, but we also see the first instance of Vladimir’s relentless hope. Here it is important that we note the different ways that the two main characters approach the absurd and hope. Vladimir, though he seems to possess a sense of the absurdity of his life even before his moment of lucidity, holds on to the hope of meeting Godot more persistently than Estragon does. In th e first few pages of the play, Vladimir makes disjointed commentary referring to the notion of suicide, â€Å"It’s too much for one man. On the other hand what’s the good of losing heart now, that’s what I say. We should have thought of it a million years ago, in the nineties.†[23] It seems as though, as the overwhelming vanity of life begins to enter into his mind, he seeks escape in killing himself. However, he does not have the courage, and thus continues to commit to hope, even though he is beginning to become aware of the uselessness. His clinging to a rational world is apparent in his acknowledgement of a system of morality. He reacts to Pozzo’s abuse of Lucky: Vladimir: [exploding] It’s a scandal! Pozzo: Are you alluding to anything in particular? Vladimir: [stutteringly resolute] To treat a man†¦[gesture towards Lucky]†¦like that†¦I think that†¦no†¦a human being†¦no†¦.it’s a scandal![24] Vlad imir is largely ignored by both Estragon and Pozzo. Estragon yells out: â€Å"A disgrace!† in support of Vladimir before he goes back to gnawing on bones, and Estragon is more concerned with Vladimir’s age than the accusation set against him. In an irrational world, one without a God, one without a purpose then morality itself is obsolete. The value of a human being could also be argued to be obsolete. Vladimir struggles with this throughout the play as he continues to attribute meaning and purpose to his meaningless and purposeless life. Estragon, on the other hand, seems less aware of the general happenings that occur in the play. His memory is notoriously short, and Vladimir must constantly inform him of what is happening. The following exchange occurs repeatedly throughout the play: Estragon: Let’s go. Vladimir: We can’t. Estragon: Why not? Vladimir: We’re waiting for Godot. Estragon: [despairingly] Ah![25] Estragon is only minutely aware of the entire purpose of his and Vladimir’s life and must constantly be reminded what it is they are devoting themselves too. He is thus less committed than Vladimir, and seems to largely be engaged in this waiting simply because Vladimir is. While Vladimir reflectively ponders suicide, it is Estragon who repeatedly suggests it. It could be argued that Estragon has already become overwhelmingly aware of life’s absurdity and has already given up hope in a rational existence. His inability to remember what they are waiting for or what happened the day before or sometimes only minutes before, suggests that he exists only in his present moment, an absurd existence devoid of hope. However, he is also unable to embrace this existence and enter into Camus’ rebellion because of his tie to Vladimir and Vladimir’s hope. Estragon often suggests that the two part ways. Estragon: I sometimes wonder if we wouldn’t have been better off alone, each one for himself. We weren’t made for the same road. Vladimir: It’s not certain. Estragon: No, nothing is certain. Vladimir: We can still part, if you think it would be better. Estragon: It’s not worth while now. [26] Estragon, though he has given up hope that Godot will ever come, is still bound to waiting for him and unable to accept his fate because of his bind to Vladimir, committing him to a tragic existence condemned to monotony that one is unable to even overcome. â€Å"I can’t go on like this,† he tells Vladimir at the end of the second act.[27] The two, in each their inability to truly embrace the absurdity of their lives, can only strive to distract themselves an d avoid confronting it. They desperately try to remain occupied and to avoid silence—Vladimir especially. Estragon: In the meantime let us try and converse calmly, since we are incapable of keeping silent. Vladimir: You’re right, we’re inexhaustible. Estragon: It’s so we won’t think. Vladimir: We have that excuse. Estragon: It’s so we won’t hear. Vladimir: We have our reasons. Estragon: All the dead voices. Vladimir: they make a noise like wings. Estragon: Like leaves. Vladimir: Like sand. Estragon: Like leaves. †¦ [long silence] Vladimir: Say something! Estragon: I’m trying. [long silence] Vladimir: [in anguish] Say anything at all![28] Vladimir is aware of the knowledge creeping up on him, the unbearable reality of life’s absurdity, and because he does not want to face it, it is essential that he not allow himself time to think, time to be conscious, to be lucid. Esslin proposes this as not only an avoidance of li fe, but an avoidance of one’s very self, â€Å"The hope of salvation may be merely an evasion of the suffering and anguish that springs from facing the reality of the human condition.†[29] If we propose that Estragon has already acknowledged life’s futility, then he fears silence for a different reason. He is simply and devastatingly bored of this life that he knows is meaningless, and is unable to act against. Perhaps the greatest devastation of Vladimir and Estragon’s position is the fact that as Camus says, â€Å"Once man has admitted his truths, he cannot free himself from them. A man conscious of the absurd is forever bound to it.†[30] They no longer possess the joys of ignorance and naivety towards absurdity and even in their efforts to escape their reality by fruitless hope or by distraction, the knowledge will never leave them. However, theirs’ is also still a more tragic fate than that of the absurd man who, accepting absurdity, â€Å"lives out his adventure within the span of his lifetime, aware of his limited freedom, his revolt devoid of future, and his mortal consciousness.†[31] No, the fate of those who possess the truth but refuse to live it, is condemned to not only a meaningless existence, but a tormented one—forever stubbornly reaching for something denying one’s own knowledge that it cannot be attained. Camus says that the only true tragedy of â€Å"The Myth of Sisyphus†, a tale of Camus’ absurd hero, is that he is conscious. Thus Waiting for Godot can be argued to be an example of the misery of life lived in refusal of Camus’ revolt, the revolt that turns Sisyphus’ fate from tragic to victorious, and even, as Camus says, happy. â€Å"The lucidity that was to constitute his torture at the same time crowns his victory. There is no fate that cannot be surmounted by scorn.†[32] Camus argues that this scorn to one’s fate, this facing the devastation of a fruitless fate and conquering it is the only path to happiness in an absurd world. By this ‘yes’ to one’s â€Å"inevitable and despicable† destiny, man becomes in control of his existence on earth, and this struggle towards mastery of that existence, as Camus says, â€Å"is enough to fill a man’s heart.†[33] This is the only viable path to happiness. And this is what Vladimir and Estragon deny themselves in clinging to their routine, clinging to that last shred of hope, refusing to accept the truth that they will never be able to deny. They will return each day underneath the willow tree, and they will talk ceaselessly to avoid confronting the silence that brings with it the whisperings of truth. They will wait for Godot, even though they both know that he will never come. Estragon will try to dream, to escape briefly to some other universe, and Vladimir will wake him in fear of that other universe. And Estragon will ask again, â€Å"This one is enough for you?† And there will be no answer, only distraction, only waiting, until two fruitless and unhappy lives reach their meaningless and absurd end. Bibliography Beckett, Samuel. Proust. London: Chatto Windus, 1931 (Dolphin series); reprinted New York: Grove Press, n.d. - Waiting for Godot. New York: Grove Press, 1954. Camus, Albert. â€Å"The Myth of Sisyphus.† The Myth of Sisyphus and Other Essays, trans. Justin O’Brien. New York: Alfred A. Knopf, Inc., 1955. Durà ¡n, Richard. â€Å"‘En Attendant Godot’ or Le Suicide Philosophique: Becketts Play from the Perspective of Camuss ‘Le Mythe De Sisyphe.’† The French Review 82, no. 5, (2009). 982–993. Web. Accessed 15 Nov. 2016. Esslin, Martin. â€Å"Introduction.† In Samuel Beckett: A Collection of Critical Essays. 1-16. New Jersey: Prentice-Hall Inc., 1965. The Theatre of the Absurd. Third ed. England: Penguin Books Ltd., 1980. Mount, Nick. ’Waiting for Godot’ without Existentialism. Raritan 28, no. 2(2008). 24-34. Accessed Nov.15, 2016. Rentz, Paul August. Waiting For Godot Expresses The Existential Theme Of Absurdity. Salem Press Encyclopedia (2015): Research Starters. Web. Accessed 14 Nov. 2016. Sharma, Anurag. Waiting for Godot: A Beckettian Counterfoil to Kierkegaardian Existentialism. Samuel Beckett Today / Aujourdhui 2 (1993): 275-80. Web. Accessed 16 Nov. 2016. [1]Samuel Beckett, Waiting for Godot(New York: Grove Press, 1954), 59. [2] Samuel Beckett in a letter to Alan Schneider, printed in the Village Voice in March 1958. [3]Martin Esslin, â€Å"Introduction,† in Samuel Beckett: A Collection of Critical Essays(New Jersey: Prentice-Hall Inc., 1965), 4. [4] Ibid. 5. [5] Martin Esslin, The Theatre of the Absurd, Third ed. (England: Penguin Books Ltd., 1980), 24. [6] Albert Camus, â€Å"The Myth of Sisyphus†, The Myth of Sisyphus and Other Essays, trans. Justin O’Brien, (New York: Alfred A. Knopf, Inc., 1955), 21. [7] Ibid., 17. [8] Beckett, Waiting for Godot, 8. [9] Ibid. 58, 53. [10] Ibid., 32. [11] Samuel Beckett, Proust, (London: Chatto Windus, 1931),8. [12] Camus, â€Å"The Myth of Sisyphus†, 14-15. [13] Ibid., 13. [14] Beckett, Waiting for Godot, 81. [15] Camus, â€Å"The Myth†, 3. [16] Beckett, Waiting for Godot, 9. [17] Ibid., 84. [18] Camus, â€Å"The Myth†, 53. [19] Ibid., 28. [20] Ibid., 31. [21] Ibid., 41. [22] Beckett, Waiting for Godot, 1. [23] Ibid., 2. [24] Ibid., 19. [25] Ibid., 6. [26] Ibid., 44. [27] Ibid., 84. [28] Ibid., 52-53 [29] Esslin, Theatre of the Absurd, 61. [30] Camus, â€Å"The Myth,† 31. [31] Ibid., 66. [32] Ibid., 121. [33] Ibid., 123.

Get Your Teen On Board With The College Application Process

HomeApplyPlanHow to Get Your Student On Board With the College Application ProcessThis page may contain affiliate links.Oct 13, 2019It’s time to apply for colleges, scholarships, financing and more†¦why does it seem like you’re the only one who cares? Your senior is facing their future, but getting them to participate is like pulling teeth. It’s infuriating! As a parent, you may wonder what to do. Should you just take over? Keep nagging your student? Give up and hand them an application for McDonald’s? I have good news. You don’t have to do any of those things. Instead, you can help them get on board with the college process with some understanding and encouragement. Realize Where Your Teen is Coming From There are three things many parents forget when it comes to their teen’s perspective on college admissions. They think they have all the time in the world They are nervous about college They don’t have the perspective to realize what a big deal this is for their future This is simply part of the reality of being 17 or 18. Life looks very different from their angle. It will help to realize they’re not just trying to irritate you! Seniors are also under a lot of pressure socially and academically. They want to impress their friends, they don’t want to leave everyone behind, and they probably have a heavy class load. By pretending college isn’t happening yet, they can avoid pressure and put off the idea of leaving their friends for one more day. By talking to your teen gently and without judgment, you may be able to get them to explain their specific perspective. Ask them how they feel about college. Ask them what they think the application process is like. Ask them how they think they will afford it. These questions alone may be enough to jar them out of their complacency! Break the Process Down into Bite-Sized Pieces You find the college application process overwhelming, and you’re an adult! As a student, it seems even larger and more complex. Many students simply shut down. Take a look at the application and funding process and break it down into small parts. Talk to your teen about one part at a time. Do they know what they want to study? If not, start there. From there, you can move into creating a list of schools, getting the SAT or ACT nailed down, and more. But remember, each step should be small and hopefully fun. It benefits both you and your student to keep it small! Have Some Fun! Somewhere between childhood and adulthood many of us stop having fun and start being â€Å"serious† and â€Å"professional.† If your teen feels this pressure in the college process, they will resist like crazy! Too many parents see college as so central and important that they lose all their joy. If your child sees you as upset, stressed, and angry, they won’t want any part of it! Both you and your student will enjoy the process more if you make it fun. Be silly about it, look for funny facts about colleges, and find reasons to laugh. It will keep things light and you’ll both feel much better about it! Consider College Alternatives If you’re having fun and keeping it small but your student still isn’t interested, you may consider alternatives to college. If your student is halfway through senior year and still hasn’t committed to the college process, think about a gap year or simply transitioning straight to work. A year off can relieve a lot of pressure, give your student time to work and save money, and help them think through what they really want. You may find they’re eager to go to school after they hear about the fun their classmates are having! On the other hand, college simply isn’t right for every single person – at least when they’re 18. Yes, it’s harder to get a degree when you grow up and have responsibilities. But it’s not impossible, and they may be in a better personal and financial position at that time. Keep the College Process Manageable and Affordable If you’re frustrated with your teen and not sure what’s next in the college process, you’re not alone. Why don’t you join our Facebook group, Paying for College 101? You’ll meet professionals and families just like yours, and be able to share tips, tricks, and more. Take a deep breath. Your student will be OK, one way or another!

Sleep Loss On Attention And Cognitive Performance Essay

How often do you hear people complain about being tired all the time? Sleep deficiency has been investigated for years, but there has been no single method to explain why people nod their heads asleep in crucial times focus: during an important class lecture or even at the wheel. However, it is clear that without a good night’s rest, sleep-deprived individuals can find it difficult to pay attention, even if they want to stay awake. Thus, it becomes important to examine the underlying mechanisms that explain the negative effects of sleep loss on attention and cognitive performance. Sleep effects can be measured by alertness, which describes the overall state of the cognitive system and can be attributed to two primary components: a circadian system and a sleep homeostasis system (Ã…kerstedt Folkard, 1995). The circadian system is composed of an oscillating 24-hour cycle that fluctuates in alertness throughout one day, while the homeostasis system is a gradual decline of ale rtness as wake time increases throughout the day, only recovering after sleep (Achermann, 2004). Attention is facilitated by alertness and is the behavioral and cognitive process of focusing on one piece of information at a time. Although it is a broad phenomenon, it can be divided into two components: vigilant attention and selective attention. Vigilant attention is a person’s ability to keep concentrating on one task, while selective attention is a person’s ability to focus distinctly on one stimuli toShow MoreRelatedSleep Deprivation Is A Wide Spread Phenomenon1277 Words   |  6 PagesSleep is one of our most basic physiological needs and getting enough of it is paramount to keeping our bodies and minds functioning at optimal performance. The amount of sleep needed varies and decreases by age. 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