Research Paper Outline Examples Essay

Once you’ve already decided what topic you will be writing about, the next thing you should pay attention to is the scope of your paper or what you will be including in your discussion. The broader your topic is, the more difficult it is to discuss your topic in full details. This is why you should establish before hand the scope and limitations of your paper and this will be the foundation of your research paper outline. Basically, your outline will constitute three main parts namely the Introduction, the Body and the Conclusion. But to make sure your paper is complete, consult your instructor for specific parts he/she wants to be included in your research paper. Sample outlines for research papers will be given later on. But first, let us discuss the main parts of your paper and what information each should cover. Introduction The Introduction should contain your thesis statement or the topic of your research as well as the purpose of your study. You may include here the reason why you chose the particular topic or simply the significance of your research paper’s topic. You may also state what type of approach it is that you’ll be using in your paper for the entire discussion of your topic. Generally, your Introduction should state briefly all the major points of your topic your readers will be reading about. Body The body of your paper is where you will be presenting all your arguments to support your thesis statement. Please be reminded of the â€Å"Rule of 3† where you should find 3 supporting arguments for each position you take. Start with a strong argument, followed by a stronger one, and end with the strongest argument as your final point.

A World Lit Only by Fire: the Medieval Mind and the Renaissance

In the first section of William Manchester’s A World Lit Only By Fire, we are taken into a world that is vastly different from our own, and we see a kind of attitude which is rarely seen today. Manchester stresses the fact that the peasants in the Dark Ages had no knowledge of what was happening in the rest of the world. In our age of twenty-four-hour news networks and instantaneous access to information from across the globe through the internet, it is hard to fathom that if we were still living in the Dark Ages most of us would be completely oblivious to the activities of the rest of the world outside of our small village.Manchester also points out that the common people in the Dark Ages had no conception of time. Most would not have known what century it was, let alone the specific date. For most peasants, time passed in a cycle of seasons, and they only needed to know the days of the week in order to know when it was the Sabbath. This is in stark contrast to the life of a modern man. We can know time down to the second. And we need to know time with greater precision. While the peasants of the Dark Ages needed only to recognize the passing of the seasons and when the Sabbath was, modern man often needs to know the time of day precisely.We are constantly on a schedule. School and work starts at a certain time, and we must be there on time. Another fascinating difference which Manchester points out is the fact that most of the peasants did not have surnames and were either referred to by their first name alone, or by a nickname. I found this very strange. Manchester does a good job of showing the differences between the modern mind and the medieval mind. Being aware of these differences allows the reader to appreciate the huge impact that the Renaissance had on Europe.Now in the next section of A World Lit Only by Fire, entitled â€Å"The Shattering,† Manchester shows us several events that â€Å"shattered† beliefs during the Renaissance. Most of these had something to do with the Church at the time because religion was one of the most important parts of Medieval and Renaissance life. The first event that shattered beliefs and changed life did not immediately cause a revolution but had a long-lasting impact on the future of Christianity. That event was the dissemination of the works of Erasmus.With his constant criticism of the Church and his calls for papal reform, he proved that one could criticize the church without being a radical revolutionary, for Erasmus was a devout Catholic. Before Erasmus, few had dared to criticize the Roman Church and those who did were not taken seriously. However, with his satires, Erasmus appealed to all classes of people and gave the people the encouragement to call for reform and criticize the Church. This may have influenced Martin Luther, even though he disliked Erasmus’ work, to nail his 95 Theses to the Castle Church door at Wittenberg.The fact that Erasmus was widely pop ular also contributed to the change in the thinking that anyone who criticized the church would be damned to hell. Even though Erasmus didn’t do anything as revolutionary as Martin Luther, his brilliant satires were able to change the mindset of Europeans and may have enabled, against his own wishes, the Protestant Reformation. The next event discussed by Manchester is the Reformation itself. Sparked by Martin Luther’s outrage at the sale of indulgences, this is the event that split Christianity in half.Those loyal to the existing Christian Church headed by the Pope became known as Roman Catholics, and those who were not loyal to that Church formed different Protestant Churches. Before the Reformation there was one authoritative representative of the word of God; i. e. , the Pope. Most Christian literature was in Latin, but since Latin was essentially a dead language, most people could not read or understand it, and this helped the Church maintain control of Christians of the age. Within this system, freedom of religious thought was extremely limited.Saying anything that contradicted the pope could get you labeled as a heretic and sentenced to jail, or even death. After the Reformation, several different Churches formed and as they formed, they warred with each other. The pope was no longer the supreme head of Christianity as he had been before the Reformation. Bibles where published in living languages. All kinds of opinions were published in pamphlets. One undesirable consequence of the Reformation was the different sects fighting with each other.Each different sect believed it represented the one true religion. Fighting between sects became common. Fighting between Catholics and Protestants was rife. Protestants burned Roman Catholic churches, smashing mosaics and statues, and even killing innocent women and clergy. The Roman Church started its notorious Inquisition, which was especially violent in Spain. Before the Reformation there was only one Christian Church so religious violence in Europe was rare, but after the Reformation religious violence and persecution became commonplace.The Reformation was a major turning point in the history of Christianity. Without it, America today would be a different country, since many settlers in early America came to escape religious persecution. Manchester’s section on the Reformation is therefore perhaps the most important section in the book. In the last section of A World Lit Only by Fire, entitled â€Å"One Man Alone,† Manchester writes about Ferdinand Magellan and his circumnavigation of the globe.In this section, Manchester takes time to go into extremely fine detail about Magellan’s voyage in order to explain what type of man Magellan was, and, more importantly, to show how big the odds were against his actually finishing his voyage. Manchester seems to idolize Magellan, in part because Magellan wasn’t seeking fame or wealth, but instead simply had a dream and was determined to make it a reality, something that I think most people can respect.

Functionalism And Machine Aesthetic Of Modern Architecture Architecture Essay

Functionalism in Architecture was a motion during the late nineteenth century and early twentieth century was a merchandise of one American designer Louis Henri Sullivan who coined the term â€Å" signifier follows map. It was Distinct to hold exposed architecture of the being of ornamentation and hence aesthetics so that a construction merely expressed its intent or map. Both in the United States and in Europe, functionalism and machine aesthetics became existing due to the development of the epoch. During the 1920s and early 1930s in the United States, there was a turning automated civilization. The machine ‘s influence on art and architecture reflected the machine ‘s detonation as a valuable signifier of aesthetic. Both Functionalism and machine aesthetics held its ain influence in modern architecture. The reaching of the machine was to hold such radical significance that the undermentioned old ages can lawfully be termed the Machine Age. Among the great figure of cultural alterations engendered by this new epoch was the installing of a machine aesthetic in the Fieldss of architecture and design. This was of cardinal importance to the Modern Movement as it provided a agencies by which its practicians could prosecute with what they regarded as the spirit of the age. The machine aesthetic can be distinguished in the work of each major figure of the Modernist pantheon ; it hence conditioned the full scope of Modernist activity. By using these facets, the ornamentation and unneeded signifiers of designs were obliterated and alternatively replaced by a plainer but functional expression. Despite the turning motion of functionalism and machine aesthetics during the early twentieth century, there still lie the differences and comparings between the uses, positions, and thoughts about them from America and Europe. The difference of the two topographic points someway manifested assorted attacks towards the subject. The machine was valued for its service. Its aesthetic was promoted by those who saw a beauty in the machine — a beauty in visual aspect and map. The machine aesthetic was assumed by all kinds of objects. The expression of the machine was non universally celebrated, yet it was widespread however Despite this consistence, the grounds why single Modernists employed the aesthetic varied greatly, and to reason that they did so merely to arouse the current Zeitgeist would barely look satisfactory. Alternatively, the purpose of this essay is to analyze functionalism and the several utilizations made of the machine aesthetic in order to find why it was so cardinal to Modernist theory and pattern. Since the peculiar character of the aesthetic varied harmonizing to the nature of the involvement in it ( e.g. political, economic ) , the grounds for its usage are cardinal to any apprehension of Modernism. First, the thought that Modernism embraced the machine aesthetic in order to give concrete signifier to the spirit of the age, though non the exclusive motive behind Modernist motion is valid in itself and deserves to be expounded. The Industrial Revolution precipitated a series of huge alterations which can be understood to hold truly transformed the universe. These include industrialization, the rise of the city, an attach toing diminution in ruralise, and rapid technological advancement. In being plundered for their natural resources, even Third World states felt the impact of the new epoch. For many these alterations threatened to make an environment that was both foreign and hostile to humanity and nature. In the cultural domain, the nineteenth-century design reformists John Ruskin and William Morris attacked machine-production for disheartenment the trade accomplishments and individualism of the worker. Since the machine took both tradition and single effort, it would go impossible for the creative person or craftsman to take pride in their work, and the consumer, in bend, would endure the religious disadvantages of no longer life in an environment that had been fondly crafted.1 As a neutralizer, Ruskin, Morris and others proposed a return to traditional trade procedures and beginnings of inspiration that were chiefly mediaeval. In other sectors, this reactionist step was felt to be unrealistically hidebound. Since the machine was, as Ruskin and Morris had argued, incompetent at fiting traditional trade procedures and designs, those who recognised that the machine was an beyond uncertainty world were cognizant of the demand to germinate a new aesthetic that it was suited to. This would re-establish a high criterion of quality in design and guarantee that designed goods were adjusted to the age, instead than being hopelessly evangelist. One such figure was Adolph Loos, whose essay ‘Ornament and Crime ‘ ( 1908 ) argued that using ornament to a designed merchandise was both inefficient and condemnable, because finally it resulted in the use of the craftsman: ‘If I pay every bit much for a smooth box as for a adorned one, the difference in labour belongs to the worker. ‘2 Alternatively, the new aesthetic was to be derived from the new procedures of mass production. The consequence was a simple, essentialist manner that was based on geometry ( particularly the consecutive line and the right angle3 ) . Geometry became a theoretical account, non merely because geometrical signifiers were theoretically easier for the machine to put to death, but besides because of overtones that Plato, amongst others, had invested it with. In Plato ‘s doctrine, geometrical signifiers were beautiful because they were elements of the ageless and absolute ‘world of thoughts ‘ that existed beyond stuff world. The most conjunct effort to joint this manner was given in an exhibition on â€Å" Modern Architecture † at the Museume of Modern Art in 1932.A The International Style: Architecture Since 1922A accompanied the exhibition. Historian Henry-Russell Hitchcock and critic Philip Johnson outlined the rules of the â€Å" International † manner: The thought of manner as the frame of possible growing, instead than as a fixed and oppressing mold, has developed with the acknowledgment of underlying rules such as designers discern in the great manners of the yesteryear. The rules are few and wide. . . . There is, foremost, a new construct of architecture as volume instead than mass. Second, regularity instead than axial symmetricalness serves as the main agencies of telling design. These two rules, with a 3rd proscribing arbitrary applied ornament, tag the productions of the international style.4 Progresss in building techniques and stuffs allowed for a displacement in structural support. Whereas walls were one time weight-bearing, and therefore monolithic, support was now given by skeletal infrastuctures. This alteration provided greater flexibleness in window arrangement ; one time nil more than holes cut in a wall, they could now be located virtually anyplace. Therefore, advocates of the International manner, the architectural equivalent of machine pureness, moved Windowss away from walls ‘ Centres, lest they suggest traditional building. Armed with these new possibilities, asymmetrical designs were encouraged, as â€Å" map in most types of modern-day edifice is more straight expressed in asymmetrical forms.5A Ideally, constructions were non to be randomly asymmetrical, but it was assumed that the demands of occupants and the intents of different infinites in the edifices would non bring forth symmetrical designs — in fact, arbitrary dissymmetry would be a cosmetic device, and therefore an bete noire to the Internationalists. Machine pureness was a reaction against the ornamentation of old decennaries and even the Moderns. Honesty in usage and stuffs was sought — maps should non be concealed beneath a covering, and points should n't be presented as something they were non. Simplicity and asepsis championed the pure white of the infirmary and lab. Stucco was an ideal stuff, as it provided for unbroken, uninterrupted surfaces. Walls were teguments, stripped down and leting for a upper limit of interior infinite. These interior infinites were to be designed separately, fiting the demands of the occupant, to â€Å" supply for the betterment and development of the maps of life. â€Å" 6A Suites were to be determined by map, and the motion between suites was to â€Å" emphasize the integrity and continuity of the whole volume inside a edifice. â€Å" 7A Book shelves and populating workss were the best cosmetic devices in the place.This appealed to Modernists, whose plants and Hagiographas revealed a desire to transcend the pandemonium of impermanent solutions and preoccupation with manners that had characterised nineteenth- century design.The purpose of Modernism was to accomplish the ideal solutions to each design job in plants that would be manner less, timeless and possess the same pureness and lucidity as geometry.Given the widespread belief that the machine symbolised the new century, it was possibly inevitable that certain Modernists should encompass it wholly for its ain interest – strictly as a metaphor, and with no concern for its practical applications. To some extent at least, this tends to be the instance for most canonical Modernists, but this attack is exemplified by the Italian Futurist motion.INCLUDEPICTURE â€Å" hypertext transfer protocol: //factoidz.com/images/user/Boccioni-The_Noise_of_the_Street_detail ( 1 ) .jpg † * MERGEFORMATINETAs this brief analysis indicates, Futurism was chiefly a literary and artistic motion. It was characteristic of its self-contradictory nature that a motion initiated as a response to the altering environment should possess no agencies of look in the art signifier that most straight conditioned the environment – architecture. This was the instance until 1914, five old ages after the publication of the first Manifesto, when Marinetti was eventually able to welcome Antonio Sant ‘ Elia into the ranks.Sant ‘ Elia recognised the city as the environment of the new age, and consequently pioneered designs that were full with hints of the machine aesthetic. His positions for La Citta Nuova ( 1914 ) underscore the geometry and verticalness of his vision by juxtaposing stepped-back subdivisions with sheer verticals. The interaction of diagonals and verticals this produces invests his plant with the same energy and dynamism to be found in model Futurist pictures. In add-on, his edifices are often surmounted by characteristics resembling industrial chimneys or wireless masts ( e.g. Casa gradinata con ascensori, 1914 ) , therefore doing possibly somewhat picturesque usage of an iconography derived from machines. Futurism ‘s involvement in the machine aesthetic arose from a naA?ve and romantic jubilation of the machine for its qualities of energy and dynamism. The machine was hence valued entirely for the expressive potency it offered. Since they failed to hold on its practical facets the Futurists neglected to accommodate their aesthetic to technological restrictions. For this ground Sant ‘ Elia ‘s designs remained on the pulling board. INCLUDEPICTURE â€Å" hypertext transfer protocol: //factoidz.com/images/user/Picture6 ( 6 ) .jpg † * MERGEFORMATINET INCLUDEPICTURE â€Å" hypertext transfer protocol: //factoidz.com/images/user/Picture7 ( 6 ) .jpg † * MERGEFORMATINETA deeper battle with the worlds of the machine was demonstrated by those who embraced the construct of ‘functionalism ‘ . This thought played a important function in most signifiers of Modernist design and theory. The cardinal contention was that the signifier of an object should be dictated by its map. The Bauhaus, for illustration, aimed to ‘originate the design of an object from its natural maps and relationships, '11 so that they could be used efficaciously and were rationally related to each other.Of class, the chase of functionalism complemented the Modernists ‘ purpose to get at ideal design solutions – unless objects fulfilled their intent they could hardly be ideal. This led to the impression that a designed object could be beautiful if, and merely if, it functioned absolutely.Function hence replaced visual aspect as the premier rule of aesthetic quality. Artistic amplification was eschewed in favor of clear signifier that both expressed its intent and ensured that this intent was satisfied. Henry-Russell Hitchcock and Philip Johnson, in their treatment of ‘European functionalist ‘ designers ( i.e. canonical Modernists ) , wrote that, ‘If a edifice provides adequately, wholly and without via media for its intent, it is so a good edifice, irrespective of its visual aspect. '12 Explanation of this slightly extremist position was found in the machine. Since the machine ‘s visual aspect was derived wholly from its map it was both morally and economically admirable, which made it beautiful. Karl Ewald ‘s composing The Beauty of Machines ( 1925-6 ) contained the expression, ‘A good modern machine is aˆÂ ¦ an object of the highest aesthetic value – we are cognizant of that'.13 For grounds of this the Modernists looked to the USA, where an unselfconscious functionalism had been put into pattern by innovators like Samuel Colt and, in peculiar, Henry Ford. Ford brought the construct of standardization to his auto works, with consequences that were seen as about amazing. His traveling meeting line system, which involved specialized phases of fiction and indistinguishable parts, had enabled him to dramatically increase auto production. His success was such that industrialists and makers across the universe were following these methods. Theoretically, their goods were now readily available and continually deprecating in monetary value, even as net incomes soared. Paul Greenhalgh has observed that Modernists recognised the demand to encompass engineering for these grounds of economic system and handiness. It was the agencies by which Modernism could be promoted worldwide. In add-on, the standardization advocated by Ford would ease rapid building and maintenance.14A Therefore, the illustration of Ford and others encouraged the Modernists to see the machine as the absolute ideal of functionalism. This can be confirmed by mention to Le Corbusier. INCLUDEPICTURE â€Å" hypertext transfer protocol: //factoidz.com/images/user/c-11.jpg † * MERGEFORMATINET Much of Le Corbusier ‘s pronunciamento Vers une architecture ( 1923 ) is dedicated to advancing the architectural virtuousnesss of the machine. His celebrated declaration, ‘The house is a machine for life in, '15 frequently misunderstood, meant that the guiding rule for designers should be to do the house as good suited to its intent as was a machine. This reiterated the statement that functionalism was more of import than visual aspect. In order to come on, he believed, it was necessary for designers to abandon the impression of traditional manners and cosmetic effects: ‘Architecture has nil to make with the assorted ‘styles'aˆÂ ¦ [ They are ] sometimes reasonably, though non ever ; and ne'er anything more. '16 this implies that he saw the aesthetic, non as merely another manner, but as the really substance of architecture. Alternatively, he drew analogues between architecture and the ‘Engineer ‘s Aesthetic ‘ , reasoning that applied sc ientists were to be praised for their usage of functionalism and mathematical order. As a effect, designers were encouraged to emulate applied scientists and follow these rules in order to achieve harmoniousness and logic in their designs. To reenforce this statement the illustrations of Vers une architecture celebrated the functional and architectural integrity of Canadian grain shops, ships, airplanes and cars. From a present twenty-four hours perspective his rules are better illuminated by his architecture, since these illustrations ( e.g. the Caproni Triple seaplane ) seem instead old. The Maison Dom-Ino ( 1915 ) was an early illustration of his Engineer ‘s Aesthetic: three indistinguishable planes are suspended above each other by steel columns, a method of building that frees the walls of their supporting intent, and allows his construct of the ‘free facade ‘ to be introduced. An external stairway communicates between each degree, and its location permits an unprecedented infinite and lucidity in the program. The constituents were all to be standardised and pre-fabricated, which would let for rapid building. This house was hence a merchandise of Le Corbusier ‘s purpose to use the rules of mechanical mass production to domestic architecture. INCLUDEPICTURE â€Å" hypertext transfer protocol: //factoidz.com/images/user/VillaSavoye ( 1 ) .jpg † * MERGEFORMATINET However, a significant organic structure of unfavorable judgment ( e.g. Greenhalgh, Sparke ) has argued that this functionalism of Modernist theory was non based in world. The machine aesthetic remained merely that, as few of the designs were capable of being standardised. For illustration, the Grand Comfort chair by Le Corbusier and Charlotte Perriand was neither functional nor standardized. It required no less than 18 dyer's rockets and three stuffs, doing it expensive and capable of production merely by workmanship. Le Corbusier ‘s marquee L'Esprit Nouveau featured door grips purportedly derived from auto or airplane grips. These were non standardised but had to be made separately. INCLUDEPICTURE â€Å" hypertext transfer protocol: //factoidz.com/images/user/05-esprit-nouveau ( 1 ) .jpg † * MERGEFORMATINET At the Bauhaus, Marianne Brandt ‘s tea service ( 1928/30 ) embodies the machine aesthetic with its geometrical, angular signifiers, but, once more, these characteristics made it unsuited to machine production. For this ground, virtually no merchandises of Modernism were mass-produced, at least until the manner was modified and practised on an international degree in what became known as the International Style. For the innovator stage, mass production remained a metaphor that could non yet be emulated.17A farther dimension which has non yet been discussed is the political map of the machine aesthetic.This was hinted at in Loos ‘ belief that it improved the domination of the worker, but here the importance was on the labour-saving potency of the machine. Loos celebrated the aesthetic because, theoretically, it reduced the hours of attempt required of the worker by avoiding unneeded decoration. This line of concluding even occurs in the theories of the politically diffident Le Corbusier, whose Freehold Maisonettes of 1922 used mechanical applications and ‘good administration ‘ derived from machines to cut down the demand for human labor, and therefore relieve the work loads of servants.18 It did non needfully follow in either instance, nevertheless, that the machine could function as an instrument for societal release. INCLUDEPICTURE â€Å" hypertext transfer protocol: //factoidz.com/images/user/Bauhaus.jpg † * MERGEFORMATINET This possibility was non to the full explored until the influence of Modernism had spread and produced a diverseness of practicians. To the progressively machine-orientated Bauhaus Moholy-Nagy imparted his belief that the machine was inextricably linked with socialism because it was an absolute. He wrote: ‘Before the machine, everyone is equal – I can utilize it, so can you. . . There is no tradition in engineering, no consciousness of category or standing. Everybody can be the machine ‘s maestro or slave. '19 This belief was widespread amongst Modernists, with Theo Van Doesburg being another noteworthy advocate. Van Doesburg praised the machine as a medium of societal release, and denied that handcraft possessed this capableness, since handcraft, ‘under the domination of philistinism, '20 reduced work forces to the degree of machines. But as Charles Jencks has observed, Van Doesburg ‘s enthusiasm for the machine went beyond its labour-saving potency, it was besides based upon its ‘universalising, abstract quality. '21 In Jencks ‘ lineation, the machine ‘s impersonality enforces equality between its users, which in art would take to the universal and the abstract. The consequence would be the realization of a corporate manner that was universally valid and comprehendible, based as it was upon the abstract signifiers of the machine. INCLUDEPICTURE â€Å" hypertext transfer protocol: //factoidz.com/images/user/in-de-stijl-van-de-stijl.jpg † * MERGEFORMATINET Paul Greenhalgh suggests that such an internationalism was cardinal to Modernists ‘ theory and was an inevitable status of their pursuit for a ‘universal human consciousness. '22 In order to accomplish this, national boundaries had to be disposed of, every bit good as those between subjects ( such as all right art and design ) and political categories. Greenhalgh confirms that the abstract, geometrical aesthetic appealed to Modernists because it could be used as a common linguistic communication through which different nationalities could get at unvarying solutions, thereby fade outing national boundaries. ‘In its exclusion per Se of linguistic communication, abstraction was the aesthetic which enabled the ethic, internationalism, to be realised. '23 Though he does non utilize the term, the aesthetic Greenhalgh refers to is that of the machine, since it is derived from and ( theoretically ) tailored for machine production. I would therefore argue that Modernists associated the aesthetic with internationalism, non merely because of its abstract quality, but besides because its beginnings in the machine imbued it with the cosmopolitan quality that Moholy-Nagy and Van Doesburg recognised in this beginning.The practical usage of the machine aesthetic ‘s political map is best illustrated by the Russian Constructivist motion.It is possibly surprising that an aesthetic originating from the machine – the foundation of capitalist economy – could boom in the political clime following the Communist revolution. Loos ‘ thought of the machine as labour-saving device was, of class, cardinal in deciding this quandary, as was the societal release and classlessness revealed by Van Doesburg and Moholy-Nagy. Besides instrum ental, no uncertainty, was the fact that, in this epoch, Russia was still mostly a rural, peasant state possessing no heavy industry. The negative facets of the machine would hence hold been less obvious than the myths of its glorious effects. In this clime of rural poorness and political excitement, the machine seemed capable of transforming society, and the aesthetic became the perfect metaphor for revolution and nation-wide advancement. Since this made the aesthetic an priceless resource for Communist propaganda, many of the taking interior decorators were commissioned to make plants that mythologized the revolution. Significantly, this state of affairs did non merely affect the authorities pull stringsing design to its ain terminals ; many of the creative persons and interior decorators were every bit committed to the thought that they could function the new society. The Constructivist motion was so named because its members saw it as their undertaking to ‘construct ‘ the environment for a new society in the same manner that applied scientists constructed Bridgess and so on.25 Proletkult promoted the integrity of scientific discipline, industry, and art: Vladimir Tatlin, for illustration, believed design was linked to technology, and saw the interior decorator as an anon. worker edifice for society.26 Tatlin ‘s Monument to the Third International ( 1919-20 ) reflects this ethos. This projection for a 400m tall tower ( merely a scaled-down theoretical account was built ) clearly represents the brotherhood of art and building – its sculptural signifier of two entwining spirals and a surging diagonal constituent is rendered in a lattice building suggestive of technology. Equally good as resembling a machine, the tower really functioned as one: it featured four transparent volumes that rotated at different velocities ( annually, monthly, day-to-day and hourly ) . These were intended to house authorities offices for statute law, disposal, information and cinematic projection. It should be pointed out that none of these grounds for involvement in the machine aesthetic were reciprocally sole, and single Modernists did non adhere to it for any individual ground. Each partook, to some extent, of most of them. The enthusiasm of the European Functionalists besides involved the political involvement observed in Constructivism. At the same clip, an component of the Futurists ‘ romantic captivation can be detected in the thought of Le Corbusier, the Bauhaus, and all those for whom mass production remained out of range. In decision, as instance after instance demonstrates, the Modernists ‘ enthusiasm for the machine aesthetic continued to be of an ideological instead than a practical nature. The machine was embraced as an thought by interior decorators who failed to hold on the worlds of mass production. Since their aesthetic was hence inspired by the machine but non adapted to it, in many instances this really impeded its realization. This is highlighted by the illustrations of Futurism, Constructivism and even facets of the Bauhaus, where legion strategies could non be put into practice.A However, the importance of the machine aesthetic within Modernism should non be underestimated ; it was practised so widely, so constituted an International Style, exactly because it was deemed to be the ideal and most logical manner of gaining the cardinal dogmas upon which Modernism was founded. These included truth, internationalism, map, expiation with the age, and so on. The belief that the aesthetic w as universally valid is reflected by the great assortment of utilizations to which it was applied, such as Utopian, political, economic etc. For this ground it is no hyperbole to state that, for the Modernists, it was non a inquiry of aesthetics at all, but of a Machine Ethic.

Strategic Marketing Master Assignment Example | Topics and Well Written Essays - 2000 words

Strategic Marketing Master - Assignment Example These three elements form the basis of a marketing management audit. The following sections will explain how one can use the marketing audit to uncover the information one will need to shape one's eventual marketing activities. First point of comparison between the two is that marketing audit is a comprehensive, systematic and periodic examination of a firm's environment, objectives, strategies and activities to find problem areas and opportunities to recommend a plan of action to improve the performance of marketing strategies of the firm. Whereas an audit of financial statements is defined as the assessment by an autonomous third party of the financial statements of an organization or a company or other, ensuing in the publication of a sovereign view on whether or not those financial statements are appropriate, correct and comprehensive. Financial audits are characteristically carried out by firms of practicing accountants, due to the expert financial reporting information they need. The financial audit is one of many declaration or evidence of tasks provided by accountancy firms, whereby the firm offers an independent view on published data. Financial audits also help investors deciding whether to invest in a firm or not. Marketing audits are also performed by independent third party with the purpose of defining the shortcomings of the present strategies of the firm. The Market Audit Element A market audit is an attempt to define the structure of the environment in which a company operates-the marketplace. Its function is to collect information and organize it in a fashion that alerts one to marketing needs, problems, and opportunities. This information becomes a document that provides a detailed, accurate, and unbiased view of the marketplace. Why Perform a Market Audit The purpose of performing a market audit is to find out what to expect from the marketplace one are currently in or are considering entering. It provides one with data on any barriers or limitations one might encounter in entering or expanding into a market so that one can determine what it will cost to exist or compete. It also tells one what the possible return will be; in other words, what the market is worth to one (market value) or what one can expect in terms of revenue generation (sales volume/ earning potential). The market audit is the base from which one will develop tactic to get these returns. A market audit builds the foundation for future marketing decisions. The golden rule in performing a market audit is that one must be objective and read the market as it actually is. This means the audit must not be structured around one's product, service, or business. Though these may be mentioned as reference points, don't make them central to the audit. To do so could result in conclusions slanted toward one's business, giving one an inaccurate picture of the market and defeating the purpose of the exercise. The audit is based on market research activities and must be completely independent from research on the performance of one's product, se

SONY Essay Example | Topics and Well Written Essays - 2000 words

SONY - Essay Example Marketing can be said as identifying the wants of the customer and providing them with those wants at a price they are willing to buy. It is not only about advertising your product but also making sure that your marketing of a product reaches to the right target market. To get better results, we use several components of marketing which include planning, pricing, promotion and distribution (Kotler, 2012). The concept of 4p’s that is product, pricing, placement and promotion mixed together in an efficient manner gives out effective results (Joshi, 2005). Talking briefly about the 4p’s, they are said to be the backbone of marketing. Using the 4p’s in correct manner can bring out good results. The first P is taken as product, the product or service being sold by a company (Adcock & Al Halborg, 2001). This may include the product characteristics such as quality, design, service warranty, variety and brand name. The second P is the place. It concerns majorly with the target market of the company’s product. What product is made for whom and in what geographical location it should be sent the most is what is decided in place. The third P is the price which decides what price to a company should charge for its product. This is decided by the purchasing power of the consumers, the demand for the product and its utility. The forth and the last P is promotion in which the company decides what promotional techniques to use to gain maximum sales and profit from their product. This may include advertising, door to door selling, distribution channels etc (David A. Acker, 1988). The company we have chosen to study the marketing techniques and the application of these techniques is Sony Inc. The word Sony is a Latin word which means sound and in Japanese it means smart and presentable (Inc., 2013). Sony Corporation known as Sony is a Japanese company and have it’s headquarter in Tokyo, Japan. It has many diversified businesses under its umbrel la. The company is majorly known for its entertainment products it provides to its customers which include televisions, stereo systems and playsation games. It also has a financial service head which includes banks and investment companies, though Sony is majorly recognized as a company which provides high quality electronic entertainment products. Sony stands on 87th in the top 500 companies of Fortune (Global, 2013). Sony Corporation is the subsidiary of Sony Group which deals in the electronics. It has a research and development department which is responsible for the development of the new products. This makes Sony one of the greatest and largest electronic manufacturing companies in the world. We will now examine that how Sony’s marketing techniques have given the company a huge brand name and success globally. We will look into the four P’s that is product, place, price and promotion of the company and discuss their roles in building up what Sony is now today (So ny Corporation, 2012). Product Sony’s product portfolio is extremely vast ranging from a variety of electronic devices to a number of products in the entertainment category. Sony manipulates the attributes of its products to satisfy its diversified large target market. Customers constantly demand new and innovated

GLOBAL CHANGE Essay Example | Topics and Well Written Essays - 500 words

GLOBAL CHANGE - Essay Example He argues that some of these skeptics are using a lot of money in their goal to attract scientist to come up with findings that favor their argument. This serves as a precaution on whoever takes these skeptics serious in their arguments on global warming. These skeptics, majority who are non scientist also set up some obscure arguments trying to defend the causes of global warming. They are shamelessly claiming out that the current global warming experienced is usually as a result of increase in the amount of radiation coming from the sun (Dixon& Weaver, 2009). This clearly shows their hidden agendas on why they are opposing the scientific facts on causes of global warming. Facts stand that the sun only warms the earth surface only a third of a watt per square meter. This effect is minimal compared with the impact of the green house gases that human beings have emitted. It is estimated that these green house gases warm the earth about three watts per square meter. This simply means that these green house gases emitted by human beings are three times detrimental to the climate as opposed to the sun effect (Dixon& Weaver, 2009). The arguments brought out by these skeptics in their attempt to counter scientific facts and findings are so vague. So the world should be extremely careful when dealing with the arguments of these skeptics on global warming. Majority of the skeptics are out to cause confusion on the attempt by scientist to address the problem of global warming; thus they should be entirely

Notice of cafeteria construction Case Study Example | Topics and Well Written Essays - 250 words

Notice of cafeteria construction - Case Study Example After the renovation, the changes will be made as follows: Meanwhile, you will have to eat lunch outside our building for the three days. Our company has made contracts with three restaurants on Lifelong Building, whose location is next to our building. You will not have to use money to get services from the restaurants for the three days shutdown period. The restaurant will allow every individual to have meals that do not exceed twenty dollars per day upon retrieval of their Employees ID as you would do at our cafeteria. To make it clear, you may spend twenty dollars including taxes in each restaurant (up to 60 dollars in total) in three days. The available restaurants include: If you have any queries regarding the closure of the cafeteria, you can get most of answers from our constructors’ website www.restaurantrenovators.ca. The Human Resource Team are also ready to answer any queries regarding the closure of our cafeteria. Sorry, for any inconvenience

Media, marketing and advertisment Research Paper

Media, marketing and advertisment - Research Paper Example This is more compounded in the fact that marketers have increasingly stated that with advancement in advertising, the level of copying by target audience or consumers need to be scrutinized. This is given that some pundits have constantly argued that consumers tend to be inexperienced with technology (AMS 2011). It is increasingly clear that a consumer in the modern world is exposed to a number of choices emanating from adverts and marketing. This comes with a number of dimensions as we live in a postmodern world and attempt at building a culture of consumers being the driver of decisions and processes that manufacturers and distributors engage in. Postmodernism as an age and a phenomenon had increasingly bore the greatest responsibility as far as consumerism is concerned. In the United Kingdom for instance, a number of departmental stores have cropped up in response to consumerism (Hincliffe 2009). Hincliffe (2009) again notes that one of the escalating habits nowadays is that with the arrival of convenience stores, people spend a great deal of their money shopping in supermarkets and the decisions they make have to do with adverts they see in the media, whether mainstream or otherwise. On average in the USA, most people consume 275 pounds of meat which is quite a high margin and this is attributed to advertisement regarding this commodity. Further, according to him, there is an average of one passenger car for every two people in the US, One passenger car for about three people in Europe and one passenger car for 49 people in the developing countries. Overall, the argument that consumer society is driven by choices or that it drives choices as far as consumption of goods and services are concerned must be examined in a number of ways. These should include understanding what consumer society is all about, the features of the Consumer Society, the drivers of Consumer Society as it is today with advertisement and phenomenon e.g. technologies like the internet, and other gadgets used nowadays by people all of which ensure that consumers purchase more and more. This paper focuses on the advertising and promotion within the context of media, taking into account consumerism as a recent phenomenon which has necessitated consumption landscape and other market changes. It focuses on overall view of advertisement and zeroes on the forms of media other than the traditional media technology. Advertising as a Promotion and Marketing tool: Overall View Advertising is considered to be a central part of marketing and distribution mechanism of a variety of goods and by large, creation of choices in a consumer society tod ay. This is more because, it is mostly propagated by the media. Even though advertising is relatively new as a profession, its effects beat those of religion and education in shaping public view and perception. In the United States for instance, the money spent annually on advertisement outsmarts the total public expenditure on natural resources, higher education and police protection combined. Usually if one goes to a departmental store the goods they see displayed are often correlated with adverts they have seen either on billboards, in the media (print and otherwise) and this aids in decision making (Hincliffe 2009). Today, advertising is seen as quite crucial in promoting the Consumer Soci

Exploring Inclusion in a United Kingdom School Dissertation

Exploring Inclusion in a United Kingdom School - Dissertation Example The intention of this study is Inclusion of children with special needs and abilities in schools. Some parents and teachers have different views depending on their situation, as some accept it as a positive educational practice that benefits the included children with special needs as well as mainstream children. On the other hand, others do not agree to combining children with differing abilities and needs. However, breakthroughs in educational research has pushed individuals to acknowledge the practice of inclusion as viable intervention in supporting the development of children with special education needs who are placed in inclusive classrooms. This paper will endeavour to report on explorative research on inclusion in primary schools in the United Kingdom. It reviews related literature on the topic, reporting findings of various studies which mostly include the research methods of observations and interviews. The researcher has gained access to an inclusive classroom as a volunt eer, and in effect, she became a participant observer in the inclusive class. She was not only able to gain information about inclusion in her task as volunteer, but was immersed in the system so she had more in-depth perspective of what it was like to be in an inclusive class. On top of assisting the main teacher, she was vigilant in observing the children’s interactions with each other (how mainstream children interact with children with special needs) and how teachers may have differentiated the mainstream children from the children with special education needs in terms of treatment, planned activities and relationships with them. Research Questions The main research questions that guided this study were the following: Main question: How is inclusion implemented in a UK school? Sub-questions: What are the views of teachers and other adults working in inclusive settings regarding the blending of mainstream children and children with special needs in their classes? Are there any differences in treatment and the given educational programmes for mainstream children and children with special needs within the inclusive classroom? 1 Research Design The researcher was a participant observer in an inclusive school setting. She took down notes on her observations of some classes indoors and the children at play during outdoor play periods. Apart from her observations, she conducted semi-structured interviews

Data Warehouse Case Study Essay Example for Free

Data Warehouse Case Study Essay History of the CDR When the project began in 1995–96, the CDR, initially referred to as the â€Å"clinical research database,† was intended to support and enhance clinical research at the University of Virginia by providing clinicians, students, and researchers with direct, rapid access to retrospective clinical and administrative patient data. Re? ecting this intent, the system was funded by the School of Medicine and housed in the Academic Computing Health Sciences group, which is distinct from the medical center’s IT group. With considerable assistance and cooperation from data owners and stewards, legacy data from several different sources were loaded into a single relational database and periodically updated. Authorized users accessed the CDR through a standard Web browser and viewed or downloaded data to their personal computers for further analysis. Initially, emphasis was placed on getting the CDR running as quickly as possible and with a minimum of resources; consequently, extensive transformation of data to an enterprise data model was not performed. The CDR project team consists of 2. 5–3. 0 FTEs (full-time equivalents)— one developer, one developer-database administrator, and portions of analyst, clinician, and administrative FTEs. To date, the costs of developing and operating the CDR have been approximately $200,000 per year, underwritten by the School of Medicine. Over the course of the project, there have been signi? cant enhancements to the user interface, incorporation of additional data sources, and the development of an integrated data model. There has also been increasing interest in using the CDR to serve a broader audience than researchers and to support management and administrative functions—â€Å"to meet the challenge of providing a way for anyone with a need to know—at every level of the organization—access to accurate and timely data necessary to support effective decision making, clinical research, and process improvement. In the area of education, the CDR has become a core teaching resource for the Department of Health Evaluation Science’s master’s program and for the School of Nursing. Students use the CDR to understand and master informatics issues such as data capture, vocabularies, and coding, as well as to perform Case Study: A Data Warehouse for an Academic Medical Center 167 exploratory analyses of healthcare questions. Starting in Spring 2001, the CDR will also be introduced into the university’s undergraduate medical curriculum. System Description Following is a brief overview of the CDR application as it exists at the University of Virginia. System Architecture. The CDR is a relational data warehouse that resides on a Dell PowerEdge 1300 (Dual Intel 400MHz processors, 512MB RAM) running the Linux operating system and Sybase 11. 9. 1 relational database management system. For storage, the system uses a Dell Powervault 201S 236GB RAID Disk Array. As of October 2000, the database contained 23GB of information about 5. 4 million patient visits (16GB visit data, 7GB laboratory results). Data loading into Sybase is achieved using custom Practical Extraction and Report Language (Perl) programs. CDR Contents. The CDR currently draws data from four independent systems (see Table 1). In addition, a number of derived values (for example, number of days to next inpatient visit, number of times a diagnostic code is used in various settings) are computed to provide summary information for selected data elements. Data from each of these source systems are integrated into the CDR’s data model. In addition to the current contents listed in Table 1, users and the CDR project team have identi? ed additional data elements that might be incorporated Table 1. Contents of the CDR Type of Data Inpatient, outpatient visits Source of Data Shared Medical Systems Description Patient registration and demographic data, diagnoses, procedures, unit and census information, billing transactions, including medications, costs, charges, reimbursement, insurance information Physician billing transactions from inpatient and outpatient visits, diagnoses, and procedures Laboratory test results Available Dates Jul 1993–Jun 2000 Professional billing Laboratory results Cardiac surgery IDX billing system HL-7 messages from SunQuest Lab System Cardiac surgery outcomes data (de? ned by Society of Thoracic Surgeons Oct 1992–Jun 2000 Jan 1996–Jun 2000 Clinical details for thoracic surgery cases Jul 1993–Jun 2000 168 Einbinder, Scully, Pates, Schubart, Reynolds into the CDR, including microbiology results, discharge summaries (and other narrative data), outpatient prescribing information, order entry details, and tumor registry information. As of October 2000, we have just ? nished incorporating death registry data from the Virginia Department of Health into the CDR. These data will provide our users with direct access to more comprehensive mortality outcomes data than are contained in local information systems, which generally are restricted to an in-hospital death indicator. User Interface. The user interface runs in a standard Web browser and consists of a data dictionary, a collection of common gateway interface (CGI) programs implemented using the â€Å"C† programming language, and JavaScriptenabled HTML pages. Structured query language (SQL) statements are generated automatically in response to point-and-click actions by the user, enabling submission of ad hoc queries without prior knowledge of SQL. The SQL queries are sent to the CGI programs that query the database and return results in dynamically created HTML pages. The entire process is controlled by the contents of the data dictionary, which is used to format SQL results, set up HTML links for data drill-down, and provide on-line help. Data may be downloaded immediately into Microsoft Excel or another analysis tool on the user’s workstation. Query Formulation. Most CDR users use the Guided Query function to retrieve data. This process involves three steps: 1. De? ne a population of interest by setting conditions, for example, date ranges, diagnostic codes, physician identi? ers, service locations, and lab test codes or values. 2. Submit the query, specifying how much data the CDR should return (all matching data or a speci? ed number of rows). 3. After the CDR returns the population of interest, use the Report Menu to explore various attributes of the population on a case-by-case or group level. Custom reports can also be de? ned, and the results of any report can be downloaded into Microsoft Excel, Access, or other analysis tool. Generally, the query process requires several iterations to modify the population conditions or report options. In addition, â€Å"browsing† the data may help the user generate ideas for additional queries. We believe that it is helpful for end users to go through this query process themselves—to directly engage the data. However, many users, especially those with a pressing need for data for a meeting, report, or grant, prefer to use CDR team members as intermediaries or analysts. To date, we have attempted to meet this preference, but as query volume increases, our ability to provide data in a timely manner may fall off. Security. A steering committee of clinicians guided the initial development of the CDR and established policies for its utilization and access. Only authorized users may log onto the CDR. To protect con? dentiality, all patient and physician identifying information has been partitioned into a â€Å"secure† Case Study: A Data Warehouse for an Academic Medical Center 169 database. Translation from or to disguised identi? ers to or from actual identi? ers is possible but requires a written request and appropriate approval (for example, from a supervisor or the human investigations committee). All data transmitted from the database server to the user’s browser are encrypted using the secure Netscape Web server, and all accesses to the database are logged. In addition, CDR access is restricted to personal computers that are part of the â€Å"Virginia. edu† domain or that are authenticated by the university’s proxy server. Evaluation Understanding user needs is the basis for improving the CDR to enable users to retrieve the data independently and to increase usage of the CDR at our institution. Thus, assessing the value of the CDR—how well we meet our users’ needs and how we might increase our user base—has been an important activity that has helped guide planning for changes and enhancements and for allocation of our limited resources. Efforts to evaluate the CDR have included several approaches: †¢ Monitoring user population and usage patterns †¢ Administering a CDR user survey †¢ Tracking queries submitted to the CDR and performing follow-up telephone interviews Usage Statistics. Voluntary usage of an IS resource is an important measure of its value and of user satisfaction. 5 However, usage of a data warehouse is likely to be quite different than for other types of information resources, such as clinical information systems. A clinical system is likely to be used many times per day; a data warehouse may be used sporadically. Thus, although we monitor system usage as a measure of the CDR’s value, we believe that frequency of usage cannot be viewed in isolation in assessing the success of a data warehouse. Since the CDR went â€Å"live,† more than 300 individuals have requested and obtained logon IDs. As of September 30, 2000, 213 individuals had logged on and submitted at least one query. This number does not include usage by CDR project team members and does not re? ect analyses performed by team members for end users. Figure 1 shows the cumulative number of active users (those who submitted a query) and demonstrates a linear growth pattern.

When Blood Isnt Thicker Than Water English Literature Essay

When Blood Isnt Thicker Than Water English Literature Essay In Barn Burning William Faulkner examines a young boys struggle against his father, Abner, who has a behavior problem. Abner keeps his family together by forcing them to lie for him while in trial and deal with his anger. Through the use of historical context, symbol, and character, Faulkner is able to demonstrate a theme that family loyalty is a vital part of life, however, sometimes being loyal to yourself ends with having to break loyalty to the ones you love. To understand more about Faulkners theme, one must begin with the historical context in which this story is written. The story takes place about ten years after the Civil War. Abner is portrayed to be a veteran, which may influence his wrongful actions. Being in a war could have had some affect on Abners mentality, which causes him to be hostile. Once a person leaves for war he or she never returns the same. Constance L. Shehan puts it like this: The after effects exhibited by many of these veterans appear to constitute a syndrome identified as post-traumatic stress disorder (PTSD), which is defined as a delayed but persistent malaise characterized by nightmares, loss of control over behaviorà ¢Ã¢â€š ¬Ã‚ ¦ (55). Abner could be experiencing a little bit of this syndrome, which is causing him to act in such ways. Also, this story is most likely set in the southern part of America where the farming and tobacco industries were booming. This is important when thinking about the title of the story because many people owned barns in order to dry their tobacco and store farming equipment and animals. This is relevant because barns were an obvious treasure to those who owned them. It was considered not only a way of living, but something that kept a family living. Farming was important to the wealthy and to the poor. It cost a lot of money to build a barn and was very important to the owner, and Abner knew this, so this is what he went after in order to hurt someone. Secondly, the time period displays social discrimination. When Abner reaches the home of a family he will be renting farmland from, the black man at the door states: Wipe yo foots, white man, fo you come in here. Major aint home nohow. Abner replies with, Get out of my way, nigger and wipes his muddy feet on a rug (Faulker 191). In the 1930s blacks were still in the minority. Perhaps walking into a home full of chandeliers put Abner back into his place, a place that is no better than the minority, and caus ed him to become even more out of control. Many of Abners actions act as symbols in the disclosing of Faulkners theme, beginning with the most occurring, fire. Abner builds fires at night while the family is in the process of moving. These fires are described as a small fire, neat, niggard almost, shrewd fire; such fires were his fathers habit and custom always, even in freezing weather (Faulkner 189). The fires Abner would build while the family was moving would be small, which was out of the ordinary for him. Not only the reader begins to wonder why he would do this, but also Colonel Sartoris. Faulkner states that if he were older the boy might have remarked this and wondered why not a big one (189). After seeing his father start so many fires, which resulted in big disasters, Colonel Sartoris cannot understand why his father would want to build such a small fire. Later, it is revealed that the element of fire spoke to some deep mainspring of his fathers being, as the element of steel or of powder spoke to other menà ¢Ã¢â€ š ¬Ã‚ ¦ (189). This suggests that fire is a symbol of Abners control. He is able to control the size, place, and how long the fire burns, whereas, he is not able to control his own anger. A second symbol in the story involves all of the broken items in their wagon. Faulkner writes, the battered stove, the broken beds and chairs, the clock inlaid with mother-of-pearl, which would not run (188). All of the broken items together symbolize the brokenness of the family. Everyone is the family is trying to stay loyal to Abners deceit and as a result they become unaware of the fact that they can be happy as a family. More specifically, the broken clock could symbolize Abners control over the every member of the familys life. Neither are they able to move forward with their lives, nor are they able to remember happiness from their life before. With Abners actions, the family must try and make it through each day without having to be sent out of town or possibly visiting their father/husband in jail. Instead, the family is stuck trying to make the best of their controlled lives. Another symbol in the story is blood. This, however, is not an ordinary literary symbol. Blood represents family, which is obvious to the reader, but has a more revealing meaning when the term is linked to the Snopes family. In the beginning of the story, the reader experiences Colonel Sartoris agony as he sits before a judge, hungry, with the smell of food in the air. Despite his hunger, the smell of meat and cheese is over powered by the smell of à ¢Ã¢â€š ¬Ã‚ ¦old fierce pull of blood (186). This symbolizes the bond between Colonel Sartoris and his father. It is obvious that the boy feels as though the bond and loyalty of family is important because even though he is hungry and the reader can assume he has not eaten in several days, the only thing on this young boys mind is keeping his father safe. While other children would be sitting at a dinner table with their family, Colonel Sartoris (and the rest of his family) is stuck in a courthouse having to lie to get Abner out of trou ble, because at this time, the familys first priority is loyalty to their father. One reason for Colonel Sartoris oath of loyalty to his father may be a reaction to his fathers threatening words. Abner tells him, You got to learn to stick to your own blood or you aint going to have any blood to stick to you (189). Abner is threatening Colonel Sartoris by telling him if he is not devoted to his own blood, he will either be left behind with no one at all, or be the cause of his father to be taken away or even his death. The third and most revealing of the literary elements is character. It can be argued that Abner is the protagonist and the antagonist in this situation is undoubtedly Abners son, Colonel Sartoris. However, as the story starts, this is not obvious to the reader, or to his Abner. Faulkner writes, He aims for me to lie, he thought, again with that frantic grief and despair. And I will have to do hit (187). Colonel Sartoris obviously knows lying is the wrong thing to do, but is pressured into it by his fathers comments and swats. When he seems as though he wants to tell the truth, his father will hit him. With Colonel Sartoris being loyal to his father, it is hard to tell that he is actually against what is happening. But when Colonel Sartoris matures, he realizes what his father is doing is wrong and knows he needs to help himself, along with the families his father is tormenting, and finally decides to display his emotions. When he does, the reader and Abner get a glimpse of Colonel Sa rtoris as the antagonist. Faulkner states, Hold him, the father said. The aunt made a startled movement. Not you, the father said. Lennie. Take hold of him. I want to see you do it. His mother took him by the wrist. Youll hold him better than that. If he gets loose dont you know what he is going to do? He will go up yonder. He jerked his head toward the road. Maybe Id better tie him (196). It is obvious that Abner has now realized that Colonel Sartoris has decided that his actions are unacceptable and is planning on revealing his actions to the judge, families he has betrayed, and families he will betray. Another arguable point when it comes to characterization is that the roles of Abner and his son, Colonel Sartoris, can be switched. In this case, Abner is the antagonist because he is keeping his family from living a normal life and, as mentioned before, from moving on with time. Abner moves his family from place to place, and does not carry with him a good reputation, which reflects on the whole family. Colonel Sartoris, as the protagonist, has a goal of living a better life and looking forward to a brighter future. His father, nonetheless, interrupts his thinking. Faulkner states, They walked beside a fence massed with honeysuckle and Cherokee roses and came to a fate swinging open between two brick pillars, and now, beyond a sweep of drive he saw the house for the first time and at that instant he forgot his father and the terror and despair both, and even when he remembered his father again (who had not stopped) the terror and despair did not return. Because, for all the twelve movings, they had sojourned until now in a poor country, a land of small farms and fields and houses, and he had never seen a house like this before (190). Colonel then begins thinking this family will be safe from his father (190). Colonel Sartoris could perhaps be wishing that he and his family was safe from his own father. At this point, the reader can conclude that Colonel Sartoris is a round character who evolves from feeling obligated to keep a promise to his father to caring more about himself and his future. In the end, Colonel Sartoris finally runs away and does not look back. In conclusion, Faulkner is able to express many different aspects of family throughout the story Barn Burning. He stresses the significance if sticking together through hard times and the importance of what it actually means to be a family. However, through the use of these three important literary elements, Faulkner is able to illustrate the line between loyalty to a wrongful family member and loyalty to oneself.