String and tube instruments Essay Example | Topics and Well Written Essays - 1500 words

String and tube instruments - Essay Example On account of some wind instruments, sound is generated by blowing through a reed; others presuppose buzzing into a metal mouthpiece. Sound from string instruments’ is created by the transformation of vibrating strings. Large strings are either culled or bowed to make sound. In both cases the string does not experience the basic situation of music depicted previously. Culling a string at the core does not make a superbly molded sinusoidal wave; rather you begin with a triangle shape on the string. It is clear that Fourier's work of rehashing shape could be structured from an arrangement of sine waves. Culling a string at the middle stresses the principal such that different music types will be incorporated. Culling the string at an area 1/4 of the path along the string makes the second consonant which creates a touch louder and at the same time availing different music. The consequence of culling at diverse areas is that the range produced is not uniform. In any case, culling the string verifies which sounds are underscored. In the culled case the triangle shape promptly changes over into a consolidation of sines and cosines, some of which decrease rapidly. Assuming that the string is bowed, the triangle wave is looked in such a way that the bow presses on to draw the string to one side at the purpose of contact. The triangle wave formed ventures out to the extension, reflects, and comes back to the bow’s contact area. The point when the purpose of the triangle shape comes back to the bow it makes the string break detaching from the bow. The wave proceeds and reflects off the fuss end, coming back to the bow once more, now making the string adhere to the bow. This slip-stick component upholds a triangle molded wave and proceeds to the string, reflecting from every close. At the end of the day, changing the area of the bow contact figures out will accentuate the music. Because Fourier's work to form from a series of sine waves. Now that the harmoni cs are included in the sound, they will remain through plucking in different locations. Again, there is no uniformity in the spectrum meaning that different harmonics will be emphasized as you pluck. When the string is plucked, it immediately converse to the combination sin and cosines. Now that some combinations die away quickly then the other, the sound generated by a string in different positions will be different. String instruments have harmonic resonances associated with a surface which has extra hints, some of which are not consonant. Most stringed instruments will have an empty figure with an opening so there is air resonances connected with the form hole. These resonances make it less demanding to achieve a given note and the note being played sounds louder. For most stringed instruments the extension transmits vibrations from the string to the group of the instrument. Numerous guitar and violin extensions are cut with fascinating shapes. This makes them more adaptable so t hey are closer to the thunder frequencies of the string and figure. The implication therefore is that they can go about many channels since they don't transmit frequent and effective frequencies. A few scaffolds will be somewhat adjusted with the goal of marginally changing the length of the string as it vibrates. This will definitely influence the frequencies emitted by the instrument. The picture on the left shows the extension of a

Theoretical relationships between market structure and bank Essay

Theoretical relationships between market structure and bank performance - Essay Example Besides, most banking institutions are failing to engage with customers due to the rising competition from other customers. As opposed to this, it remains the duty of the bank to re- arrange itself in order to beat the other competitive banks in the market. For instance such a bank needs to sell its services well to its potential clients outside through sales representatives ( Gutek, Barbara, & Theresa, 2000). The market structure is normally very sensitive for any institution to sell its services to the publics. The banking institutions at time sell customer products and services they do not comprehend. This makes it easier for banks to really charge these services rather than focus on customer needs which is the most important aspect in the market. High concentration in market encourages organizations to collude. A bank in a more concentrated market will earn higher profits than a bank operating in a less concentrated area ( Etro,2009). In order a bank to know the relation that exi sts between market structure and their performance it should employ or investigate the effects that are caused by changes in the structure or formation of the market. There are two theories that are used to explain how a bank can determine its profitability and understand better its relation with the market structure. They are namely; the structure-conduct- performance (SCP) and the efficient-structure (E-S) hypotheses. The bank will also use the following measures to evaluate the banks performance; return on asset (ROA), return on capital and return on capital ( Baligh, 1997). Structure-conduct-performance theory Structure-conduct -theory determines the degree of a firn’s performance....Most banks may therefore end up in lobbying in order to stop or delay the success of any competitive policy. The market power may however be lost if banking institutions establish non-competitive prices in their products and services. This theory mainly uses market share to measure efficient structure hypothesis. This hypothesis is negatively related with profitability. Market power is the ability of a company to control the prices in the market by manipulating the demand or the supply of goods and services or both. The ability of a company to control prices can have a negative effect on the bank performance due to lower interest rates that will have to be charged on the clients when acquiring loans from the commercial banks. This is due to monopoly in provision o services and goods which money supply low ( Etro,2009). â€Å"Quiet life hypothesis† indicates that the banks tend to enjoy the market power through foregone revenues and the savings on the costs, while the â€Å"efficient structure hypothesis† describes companies are able to make bigger profits into the company than their competitors due to maximum efficiency and not sales or provision of services.

Two Types Of Spread Spectrum Computer Science Essay

Two Types Of Spread Spectrum Computer Science Essay There are two types of spread spectrum that have been approved for use. This article analyzes the approach in to determining performance comparison of Frequency Hopping and Direct Sequence Spread Spectrum Systems in the 2.4 GHz range. The analyses till present show that up to 13 collocated FH networks can be placed before network throughput peaks. (A. Carl, S. Harris B. Palm, n.d.). The article further lists in categorizing the advantages and limitations of spread spectrum and the comparisons between the Frequency Performance and Direct Sequence. The article details itself via valid resources obtained from researched websites and journals with more details available with those references being provided. The Spread-spectrum is or are a series of techniques which are methods by which a signal that could be of electrical or electromagnetic or acoustic signals that are being generated in an exacting bandwidth which is then by design spread in the frequency domain, ensuing in a signal with a vast or wider bandwidth. These techniques are utilized for a range of reasons, together with the establishment of safe and sound communications, increasing resistance to natural interference and congestions, to prevent uncovering, and to frontier power flux density. Out of many Spread Spectrums, this report analyses the two main spread spectrum systems which are the Frequency Hopping and Direct Sequence and in addition an overview of the Chirp Spread Spectrum. Spread Spectrum technologies The spread spectrum technology is more of a technique in which a telecommunication signal is transmitted on a bandwidth significantly bigger than the regularity content of the original information. Spread-spectrum telecommunications is a signal structuring technique that employs direct sequence, frequency hopping, or a hybrid of these, which can be used for multiple access and/or multiple functions.(Anonymous, 2007). This technique reduces the possible intrusion to other receivers while achieving privacy. Spread spectrum in general makes use of a chronological noise-like signal formation to spread the normally narrowband information signal over a comparatively wideband (radio) band of frequencies. The receiver correlates the received signals to retrieve the original information signal. Initially there were two motivations: either to resist enemy efforts to jam the communications known as an Anti-Jam or to conceal the fact that communication was even taking place, sometimes called low probability of intercept. Spread-spectrum clock signal generation The Spread-spectrum clock generation is used in some synchronous digital systems, especially those containing microprocessors, to cancel of the spectral density of the electromagnetic interference that these systems generate. A synchronous digital system is one that is driven by a clock signal and because of its periodic nature, has an unavoidably narrow frequency spectrum. (Anonymous, 2007). In fact, a perfect clock signal would have all its power determined at a single frequency and its harmonics, and would therefore radiate energy with an inestimable spectral concentration. Practical synchronous digital systems radiate electromagnetic force on a number of narrow bands spread on the clock frequency and its harmonics, follow-on in a frequency spectrum that, at certain frequencies, can exceed the regulatory limits for electromagnetic interference The Spread Spectrum Systems Overview Frequency Hopping Spread Spectrum This is a method of transmitting radio signals by speedily switching a mover among many frequency channels, using a pseudorandom cycle known to both transmitter and receiver. It is utilized as a several access method in the frequency-hopping code division multiple access scheme. The three main advantages over a fixed-frequency transmission: -Its signals are highly resistant to narrowband intervention. The procedure of re-collecting a spread signal spreads out the interfering signal, causing it to retreat into the background. -Spread-spectrum signals are tricky to interrupt. A Frequency Hopping Spread Spectrum signal plainly appears as a boost in the background noise to a narrowband receiver. An eavesdropper would only be able to seize the transmission if the pseudorandom sequence was known. -The Spread-spectrum transmissions can contribute to a frequency band with many types of conventional transmissions with minimum interference. The spread-spectrum signals affix minimal noise to the narrow-frequency communications, and vice versa. As an effect, bandwidth can be utilized more resourcefully. The Basic algorithm The initiation of a Frequency Hopping Spread Spectrum (FHSS) communication is as follows: -The initiating party sends a request via a predefined frequency or control channel. -The receiving party sends a number, known as a seed. -The initiating party uses the number as a variable in a predefined algorithm, which calculates the sequence of frequencies that must be used. Most often the period of the frequency change is predefined, as to allow a single base station to serve multiple connections. -The initiating party sends a synchronization signal via the first frequency in the calculated sequence, thus acknowledging to the receiving party it has correctly calculated the sequence. -The communication begins, and both the receiving and the sending party change their frequencies along the calculated order, starting at the same point in time. Technical considerations The overall bandwidth necessary for frequency hopping is a great deal, wider than that required to transmit the same information using only one carrier frequency. Nevertheless, because transmission occurs only on a small segment of this bandwidth at any given time, the effectual interference bandwidth is actually the same. Even as providing no extra protection against wideband thermal noise, the frequency-hopping approach does reduce the deprivation caused by narrowband interferers. One of the challenges of frequency-hopping systems is to coordinate the transmitter and receiver. One approach is to have an assurance that the transmitter will use all the channels in a set period of time. The receiver can then discover the transmitter by picking a random channel and listening for suitable data on that channel. The transmitters data is recognized by a unique series of data that is unlikely to occur over the section of data for this channel and the segment can have a checksum for reliability and further detection. The transmitter and receiver can use fixed tables of channel sequences so that once synchronized they can maintain communication by following the table. On each channel segment, the transmitter can send its current position in the table. Direct Sequence Spread Spectrum Direct-sequence spread spectrum (DSSS) is a modulation method. As with other spread spectrum technologies, the transmitted signal takes up more bandwidth than the information signal that is being modulated. In this technology the transmissions multiply the data being transmitted by a noise signal. This noise signal is a pseudorandom sequence of 1 and à ¢Ã‹â€ Ã¢â‚¬â„¢1 values, at a frequency much higher than that of the original signal, thereby spreading the energy of the original signal into a much wider band. (W. Jimmy, n.d.) The resultant signal resembles white noise, like an audio recording of static. On the other hand, this noise-like signal can be used to precisely recreate the original data at the receiving ending, by multiplying it by the same pseudorandom sequence. This process, known as de-spreading, mathematically constitutes a correlation of the transmitted PN sequence with the PN sequence that the receiver believes the spreader is using. For de-spreading to operate correctly, the transmit and receive sequences must be synchronized. This requires the receiver to coordinate its sequence with the transmitters sequence via some sort of timing search process. However, this noticeable drawback can be a significant benefit: if the sequences of multiple transmitters are synchronized with each other, the relative synchronizations the receiver must make between them can be used to resolve relative timing, which, in turn, can be used to compute the receivers point if the transmitters positions are known. This is the base for many satellite direction-finding systems. The resultant outcome of enhancing signal to noise ratio on the channel is called process gain. Benefits in Direct Sequence Spread Spectrum -It is resistant to planned or unintentional jamming. -The sharing of a single channel between numerous users. -Reduced signal/background-noise level hampers interception (stealth). -Determination of relative timing between transmitter and receiver. Chirp Spread Spectrum On the other hand, the Chirp spread spectrum (CSS) is a spread spectrum technique that uses wideband linear frequency modulated chirp pulses to encode information. A chirp is a sinusoidal signal whose frequency increases or decreases over a certain amount of time. (W. Jimmy, n.d.) Chirp Spread Spectrum is ideal for applications requiring low power usage and needing relatively low amounts of data rate. CSS uses its entire owed bandwidth to televise a signal, building it robust to channel noise. Further, because the chirps utilize a broad band of the spectrum, Chirp Spread Spectrum is also challenging to multi-path fading even when working at very low power. However, it is not like direct-sequence spread spectrum or frequency-hopping spread spectrum in that it does not add any pseudo-random elements to the signal to help differentiate it from noise on the channel, instead relying on the linear nature of the chirp pulse. Moreover, Chirp Spread Spectrum is resistant to the Doppler Effect, which is typical in mobile radio applications. Comparisons against Performance between Frequency Hopping and Direct Sequence Spread Spectrum Systems A Simulated Model/Design Conclusion

Relationship Between Moby Dick and Ahabs Wife :: Moby Dick Essays

Examining the Relationship Between Literary Works: Moby Dick and Ahab's Wife Literature changes. One story creates a niche for another story to come into existence, or be written. What is a literary niche and how exactly does an evolutionary text fill it? Who gets to decide? This question is easiest to answer by first establishing what a text cannot do: it does not fill in all the missing gaps. Moby Dick created a niche for another book to come into being: Ahab's Wife. In examining the relationship between the two books, one might say that Ahab's Wife functions in filling in all the missing pieces that Moby Dick left. For example, take the opening lines of the two books: In Moby Dick, "Call me Ishmael." (18) In Ahab's Wife, "Ahab was neither my first husband, nor my last." (1) The first sets up a premise; the second could be seen as offering, in response, another story to pick up where the other leaves off. However, upon closer analysis it becomes clear that trying to fill in all the places where Moby Dick leaves off would be impossible; such a feat could not be imagined in one text. This is because Moby Dick opens up so many niches to be filled, not only responses to its specific text or story such as Ahab's Wife but also places in the succession of literary tradition. For example, it was evolutionary in assigning heroic qualities to characters traditionally seen as renegades. The picture becomes clearer if one regards Moby Dick not as the premise but coming from an evolutionary line itself, responding to the treatment of characters in texts such as the Bible and Shakespearean plays. When one thinks of how Ahab's Wife works in relation to this line, it is difficult to say whether it actually is an evolutionary text. It does not seem to evolve from Moby Dick at all; it is simply the same story. The reader may not realize this until near the very end of the book, when Una addresses Ishmael: Do you mind we write the same book? (663) To come to any conclusions about what kinds of niches a text might fill it helps to look at other lines through which texts have evolved. John Gardner, a modern academic novelist, wrote a book, Grendel, which complicates the monstrous villain from Beowulf. In discussing evolutionary literature, Beowulf is interesting because it is the first known recorded work in English.

Compare and Contrast Paper: Abraham Maslow and B.F. Skinner

According to Maslow, all of us are motivated by our needs. Maslow's Hierarchy of Needs states that we ought to satisfy each need in turn, starting with the first, which deals with the most obvious needs for survival itself. According to Skinner, people are motivated through the way that they are rewarded. Reinforcement is the key element in Skinner's model. In order for individuals to do well, they have to have positive reinforcement. In addition, negative behaviors should be reprimanded.How motivation changes for elementary versus secondary student Maslow states that motivation changes for elementary and secondary students in that younger children needs basic needs met first (basic needs) and once those needs are met; the students can development towards advanced needs such as intellectual needs. Work from easy to complex steps; performance/feedback motivation and actualization changes; amount of reward changes; kind and quality of reward changes.Similarities/Differences Both Maslow and Skinner's theory sustain the notion that individuals must development through stages. The two theories are unlike in that they differ in the method in which the people meet their needs. Maslow suggests that people should be rewarded in order to progress to the next level wile Skinner emphasizes reward and punishment.Both Maslow and Skinner's theory sustain the notion that individuals must development through stages. The two theories are different in that they differ in the method in which the people meet their needs. Skinner suggests that positive and negative reinforcement can shape the behavior, unpleasant experience (such as punishment) are negative reinforce it causes learners to avoid desirable response to stimuli Applied in classroomEducators ought to utilize self actualization to assist students reach his/her full potential, positive reinforcement ought to be used to remain students motivated, and continuing to research in order to help students reach their full potentia l. Educators ought to use motivation in the form of rewards, develop the Operant Conditioning model in order to educate/ reinforce lessons, and continuing to research in order to help students reach their full potential.In conclusion although Maslow and Skinner both has influences positive impact in the classroom and positive outcome on student’s progress, but we as educators must continue to research ways and use different instructions to reach the needs of our students. Computers and other technology within the today’s classroom have become student’s rewards. This week lesson have shown me that Maslow needs is best describe in the way we as people live and to be happy; were as Skinner behaviorist theory is want need to be used in order to teacher and conduct in a classroom.

Stephen J. Dubner’s novel Turbulent Souls Analysis

According to Soren Kierkergaard, a prominent existentialist, in Stephen J. Dubner's novel, Turbulent Souls, the protagonists, Stephen, Veronica, and Paul Dubner, are the quintessential â€Å"Knights of Faith†. A † Knight of Faith† is the existentially perfect man or woman who could grasp his own freedom and create his own destiny. Despite the disconnectedness of the world, the â€Å"Knight of Faith† finds the courage to unify his or her world through an act of determination. Through much searching, the â€Å"Knight of Faith† discovers that man is entrapped in absolute isolation. Prior to becoming a † Knight of Faith† he or she must take a † leap of faith† into something higher and beyond the self such as into belief in G-d. The only way authentically to take a † leap of faith† and to escape the anxiety and despair that is the quintessence of the universal human condition is to choose despair, and to sink so deep into despair that one loses all commitment of family, friends, and community. When these are all lost, with absolutely nothing left, in a complete crisis, and at the edge of the abyss, he or she will be prepared for faith in G-d, he or she will chose G-d, and make the â€Å"leap of faith† to G-d. Therefore, he or she has created a unique connection with G-d and has conquered his or her fears, and the hypocrisies and tribulations in the world. Propelled by psychological despair and existential emptiness, each of the three principal characters embarks upon a quest for spiritual enlightenment and/or emotional healing. The novel begins by discussing the childhood of Stephen's parents, Sol and Florence, and after their conversion, Paul and Veronica. Florence's basis of her conversion and her quest for spiritual bliss began even as a little girl in her parent's, Esther and Harry, small apartment in Brooklyn, New York, above Harry's candy store. Every night, when Florence's mother would come up the stairs from the candy store she would say to Florence, â€Å"Your father, he works so hard he must be made from iron. And Florence in her singsong voice, always gave the same retort: Well then, he better not go out in the rain or he'll get all rusty†(3). Florence had a special connection with her father, and it was only her mother who she ridiculed. Both Florence and her father did not appreciate how â€Å"Esther would prattle on about her brother the big fabric man, who just bought a new house, and how his wife always has new hats and how their children were smarter and healthier that their own children, how little Irving could eat a whole head of lettuce and drink a whole quart of milk at one meal†(4). In addition, † Every year Florence asked her mother to teach her the Four Questions so she could ask them at the Seder. What's the use, her mother would say. Your cousin Irving's the boy, and he's the smarter one anyway, so Irving gets to ask the questions†(7). This had a tremendous impact on her because her mother instilled in her the notion that she is not worthy, which could possibly be a reason for her conversion to Catholicism, which she felt to be more accepting. Florence and her sister Della did not get along very well, so â€Å"Florence's favorite playmate was her grandmother Sarah-Ruhkel†¦ they would giggle and cuddle like friends†¦. At night she sat on the edge of Florence's bed and told stories of Queen Esther. She taught Florence how to thank G-d for the good day and ask him for a good husband when the time came†(6). Unfortunately, â€Å"When her grandmother wasn't around she was lonely†(7). One afternoon, Florence was playing outside with another friend, they both needed to go to the bathroom but her friend lost her house key, so they waited by the stoop. Her friend said a prayer and a few minutes later a man came home and let them in. Florence thought about what happen and she â€Å"knew it wasn't magic, quite; it was certainly a different way of looking at things. She didn't mention it to anyone. Who would listen? â€Å"(8). In this moment, she sees her friend's prayer answered and concludes that it was more then luck that caused it. It was the will of G-d. One spring when Florence was sick in bed and she heard her friends playing outside, she experienced her first existential thoughts in her life. She thought, â€Å"Boy oh boy, life goes on all by itself whether I'm there or not†(8). The one thing she feared the most was death, and when her grandfather died, She wonder[ed] what had become of him. Not his corpse-that she understood-but the rest of him. Was there more of him. She wasn't sure. She could not forget the realization she'd had lying in bed that day, hearing her friends playing with out her. If things didn't change when she wasn't here, what did it matter if she was here or not? But she was here. What for then? To think of herself as merely a random collection of muscle and teeth and curls was unspeakably sad. And yet the other possibility-that there was some sort of purpose to life that she must fathom and follow-made her dizzy (20). The first time Florence introduced anti-Semitism was when † a girl named Ann Ross, with blond hair and very blue eyes, had stood up and declared: My father says that Hitler has the right idea about the Jews†(21). Again, she encountered anti-Semitism when an older boy from her neighborhood said, â€Å"What do you want little Jew? He said, and spat in her face†(22). She did not mention either incident to her parents because her father did not have the time for it and her mother already had to many worries. A few years later Florence went to ballet classes with a friend who invited her. The teacher's name was Asta Souvorina, but every one called her Madame Souvorina, and Florence felt that â€Å"there was an intensity spilling from her, and it attracted Florence like a magnet†(22). Florence became Madame Souvorina's best student and went to class everyday, and sometimes when Madame was sick she taught the class instead. Florence imitated everything that Madame did, and just like Madame was a vegetarian, she became a vegetarian. Florence also knew that Madame was Catholic, but all she ever knew about Catholicism seemed unbelievable, such as the virgin birth or the Resurrection. Madame was not interested in arguing with Florence about the eternal verities of Christendom, so she told Florence, â€Å"If you are so curious, †¦ you should read about it yourself†(25). Florence went ahead and read the Epistles, which were the letter from St. Paul, and she Was astounded to discover that a living, breathing person-a Jew, no less-had left behind such testimony. Everything she ever heard about Jesus seemed so far away, like a fairy tale. But Paul had been there. No, he hadn't actually met Jesus, but his letters, she felt had the ring of truth. After all, Paul was an educated Jew who had traveled widely. Why would he write of being struck down blind on the road to Damascus, hearing Jesus calling to him from the clouds, had it not happened that way (25). Florence never had done much thinking about God, and wondered what he looked like. She thought maybe he looked like, old Moishe, [her grandfather who past away], with a long, dusty beard; perhaps he had the face of a cloud. Or, Florence thought, perhaps the face of God was the face of Jesus, the young, loving, tortured face she had seen on the wall of Madame's bedroom†(25). By now Florence was approaching stardom, and was going dance at Radio City Music Hall, but Florence's mind still constantly swirled with distressing questions: â€Å"Why had she been born and where would she go afterward? And might Jesus have anything to do with it? (26). Her one fear, death, according to Catholicism was not something to be afraid of, but was something to look forward to, which brought her a lot of comfort. She remembers, â€Å"† as a young girl she always was bemused when her Catholic friends talked about Heaven, as if they were sure of it. But St. Paul, in his Epistles, was sure of it to: † Then we who are alive, who are left, shall be caught up together with them in the clouds to meet the Lord in the air†Ã¢â‚¬ (26). Madame directed her to the Church of the Blessed Sacrament, where she spoke with a Catholic priest, Father Conroy, who taught her a little prayer that he promised would help. The prayer was, â€Å"Give me the grace to know Your truth and the strength to follow it†(27). Over time, her curiosity became a need, and when Madame told her she â€Å"did not need to be Catholic to taste the Sacraments of the Church, and so she did†(28). She began attending mass and even went to confession. One morning at mass she listened absorbedly to the priest's sermon, and â€Å"he cited the Gospel of John: God said, this is my beloved son in whom I am well pleased; hear him†(29). Florence took this to heart and realized the â€Å"instructions could not have been simpler, or more welcome. Florence, having exposed her heart, was now rewarded with the kiss of God upon her ear. The shadows of her soul were flooded with sunlight; a sublime peace settled over her. She understood that she had received the gift of faith, and she would be eternally grateful†(29). Finally, through much searching she found spiritual enlightenment and has become a true â€Å"Knight of Faith†. Solly Dubner grew up in an orthodox family in Brownsville, New York. His parents' names are Shepsel and Gittel. Unlike Florence, he loved his mother more then anything in the world. Also, he loved to whistle all the time. Unfortunately, â€Å"whistling was forbidden in his father's house. You might as well invite the Angel of Death. That, at least, is what his father believed†(9). Although his father kept a strict house, Solly obeyed his father because Any disobedience, however slight, made his father angry. And when is father was angry for whatever reason, he took it out on Solly's mother, Gittel, rarely shouting but unfailing choosing the half dozen words that would conjure up the bitterest tears. Solly, who loved his mother dearly, would have rather taken the strap any day. But Shepsel would never strike his children, for it is written. And if one were to ask him, Where is it written? It is written, it is written, he would say impatiently. The where is not important (10). Solly was never satisfied with his father's answers. Nat, Solly's older brother, always came home on Shabbat because he felt bad the others had to suffer Shepsel alone. Nat was particularly worried about Solly because â€Å"Shepsel seemed to have a particularly hard heart for him. Solly, was different; he wanted more out of life, and Nat knew that more was the one thing that could not be found in their father's house. As he walked home from school one Friday afternoon, † from the second floor window, a man in his undershirt shouted down to him: Hey, Solly, what the hell are you whistling for-don't you know your mother's dead†(12). His father always said whistling was forbidden and you might as well invite the angel of death; therefore, after his mother's death, Solly felt partially responsible because he always whistled. This guilt lead to the beginning of his bottomless depression. According to Jewish law, one should bury the deceased as soon as possible, but since out of town relatives would not be able to attend to the funeral, they were forced to wait until they arrived. Shepsel gathered all of his children to watch their mother's body until it was time to burial. The ice that was packed in her casket was melting; therefore, â€Å"a metal bucket was placed beneath the leaking casket. The dripping, the rising stench, the stab of his mother's death-it was all to much for Solly, and he stood up to get some fresh air, but his father pressed him back into his seat†(17). Solly had a lot of questions regarding Jewry, but sadly, † concerning their religion, there was no question Solly could ask his father for which he received an answer that was remotely satisfying†(17). He kept falling deeper and deeper into depression and â€Å"everyone who knew Solly Dubner in the late 1930's could see that a blanket of despair had befallen him. Though he was only in his early twenties, the courage of his youth had melted away and his optimism had withered†(31). In 1942, â€Å"the war at last came to America, Solly immediately enlisted in the Army. Finally he could escape his father's house†(33). It seems as if he is looking forward to the war coming to America, but since war is unpleasant, violent, and awful. After, the reader realized the reason he is jubilant is because the war is his savior from his father. After, serving in the Army for quite a while he came home for six weeks, and when he arrived home he went to the Church of the Blessed Sacrament. He met Father Conroy and asked him, â€Å"Have you ever heard of a creature like me, Father, a Jew who wants to be Catholic? As a matter of fact, Father Conroy answered, I have. He told Sol about the group of young Catholic Activists he met with every Monday night. Two of the women, he explained were Jewish converts†(42), who were Florence and her friend, who was also a ballerina. At the end of his first meeting he told his story: He felt as if he'd been walking around in the dark, and†¦ While he was station overseas, someone finally turned on the light, and that light was Jesus. She saw that there was a natural kindness about this soldier, and earnestness. He mentioned his father, a traditional Jew named Shepsel, who sounded an awful lot like Florence's grandfather Moishe. He hated what his decision would do to his father, the soldier was saying now, but there seemed no way around it-didn't Jesus say that he had come to set a man against his father? (43). He told them that he had already had been baptized as a Christian, but he was not sure which denomination of Christianity to settle on. He wanted to become a Catholic, but did not understand the role of Virgin Mary in Catholicism. He asked the group, â€Å"Since she isn't a member of the Holy Trinity, why would you worship her? Why would you pray to the Virgin Mary when you can pray directly to G-d? Florence answered, â€Å"You don't worship the Blessed Mother, you ask her to intercede†¦ This is part of the beauty of Catholicism that you have all these wonderful saints you can pray to. Who better to Petition G-d than His mother, the Queen of Heaven? â€Å"(43). This was the first answer in his life that he was satisfied with. When he went to visit Nat and his wife, Dottie, † They could see there was something different about him; it seemed as if the spark of his youth had returned, as if once again he had something at stake†(44). He was once again sent out to war. Florence soon received a letter from Sol, which he wrote, † I have been baptized and received my first communion. Needless to say, it was a most wonderful experience and I hope to strengthen my faith in Christ each single day†(47). At last, Sol has climbed out of his emotional despair, and not only has he gone through an almost complete emotional healing, but he has become spiritually enlightened through Catholicism. Stephen grew up in upstate New York on Gallupville Road, where his family was a safe distance from the true world, which is based on a materialistic and inauthentic way of life. He is the youngest of Paul and Veronica's eight children. His had no complaints about his isolated Catholic upbringing until his father died when he was ten. He only remembered a few things about his father. Such as every night at dinner he said, â€Å"You get a little food in your belly and you get rambunctious†(107), and once his father took him to a baseball game without any other siblings. After his father's death he put his yearn for spiritual enlightenment to the side for a little while. When he went to College, he and a few of the other students created a band called â€Å"The Right Profile†. When he had a little time off from school he caught a ride down to Florida with a friend, who was going down for his grandfather's birthday, to visit his mom, who moved there about the same time he began college. On the way down to Florida he met an elderly Jewish woman at the birthday party and was attracted to her. He thought to himself, â€Å"I had never felt so instantly attracted to another person. But the feeling went beyond attraction. It was as if I were a piece of her somehow, or as if within her dwelled a piece of me that I had been searching for†(161). He was attracted to her Neshama, her Jewish soul, and as a result of this attraction he began to question his ways of life and search for the truth. One day while fixing up a song that he was going to record the next day, â€Å"[his] hand without any instruction [he] was aware of, printed on the page: What do I want? â€Å"(166). He knew he did not want to continue this life of being a rock star, and on the other hand he said to himself, † The band is all I [have]; the band is all I [am]†(167). His life contained no depth to it, and he needed to find his meaning of life. He did not know at the time, that he was the same age as his mother when she quit ballet. AS he later learned, they both had removed themselves from one pursuit they cared about; they both felt, momentarily at least, that their lives were over. They had both asked themselves an unanswerable question and, hearing nothing but a still, small voice from within, a feathery voice of encouragement, had taken the leap. She leaped into the arms of Jesus, and he wound up leaping into the arms of Abigail Seymour. He could hardly have known that Abigail would lead him into a reckoning with his Jewish blood. Abigail studied to become an actress with a Jewish man named Ivan Kronenfeld, who she introduced to Stephen. He was an inspiration to Stephen life Madame Souvorina had been to his mother. He gave a lot of things for Stephen to ponder like when he told him, â€Å"you'd have been plenty Jewish for Hitler. You've got the map of Poland written all over your face. You could have worn a crucifix down to your knees, and they still would have thrown you in the ovens†(174). Also he informed Stephen that according to Jewish law he was still Jewish because his mother was Jewish. He attended Synagogue one Saturday with Ivan and when he saw all of the Jews kiss the Torah as if it contained everything that they would ever need and everything that could ever be known. And on that day hope rested on his soul. He did not know anything about his father and mother, or why they had converted, and what it meant to him. This unawareness Was beginning to gnaw at [him]. Spending time with Ivan had awakened in [him] the idea of a father. It wasn't that [he] wanted him as a father. [He] had his own;[he] just didn't know him yet. But Ivan had awakened something else in [him]† an appetite for the Jewish wisdom he dispensed. It was kaleidoscopic, baffling, thrilling; it spoke to [him] as nothing ever had. Did it speak to [him], though, on its own merit? Or because [his] long-lost father had been nourished on the same wisdom? Or perhaps it was because curling around somewhere inside [him] was a Jewish neshama, a Jewish soul? †¦ The time had come to find [his] own [family] (183). So he followed the noise inside his soul, he searched for his parent's roots. He became consumed with the desire to know how his mother and father decided to become Catholic. He wanted to know why they stopped being Jews. He met a few of his long lost relatives from his father's side, and began to reveal his father as a Jew. He broke up with Abigail because her Jewish quest was over, and also he was more focused on writing anyway. He went to Poland to the shtetl his family lived in to understand more about his family but he still was not satisfied. While his search for his parent's past continues he continues studying Judaism fervently. Stephen's leap of faith and spiritual enlightenment is not as immediate as his parents, but through much pain and toiling he has discover himself and has untangled his family's roots. According to Rabbi Eric Bram, Turbulent Souls is not only the story of a son's individuation and journey; it is also the story of American Jewishness in the twentieth century. The connection between the country of American and its Jews has transformed significantly in the past century, Turbulent Souls is a proof of that transformation, as observed through the generations of Stephen Dubner's family. Jewishness has been both a basis of triumphant pride and of bottomless shame, and something to flee from as well as to embrace. Along side Stephen Dubner, Jews today walk the tightrope of the American- Jewish.

Parallel Structure Exercises

Parallel Structure Exercises Parallel Structure Exercises Parallel Structure Exercises By Mark Nichol Previous posts on this website have discussed syntactical errors that result in a lack of grammatical balance between equivalent words and phrases; this post lists the various types of mistakes that lead to flawed parallel structure. You are invited to fix each sentence before reading the explanation. Absence of One Word Most sentences with faulty parallel structure merely lack one word that, once added, repairs the damaged equivalence. The multiple examples in this section illustrate an array of problematic sentence constructions. 1. More diverse corporate leadership will lead to better decision-making and products and services that are more relevant to customers. The adjective better refers only to decision-making, not to products and services, which share a distinct phrase that, like better, qualifies a benefit; inserting to before those terms to match the preposition preceding â€Å"better decision-making† clarifies that the sentence has a compound predicate: â€Å"More diverse corporate leadership will lead to better decision-making and to products and services that are more relevant to customers.† This problem also occurs in sentences that feature an in-line list (a succession of equivalent words or phrases, set off by identical punctuation marks, that appear within the horizontal structure of a sentence rather than being formatted vertically, like items on a shopping list). Often, a compound predicate is mistaken for an in-line list, which requires insertion of a supporting conjunction and deletion of an intrusive punctuation mark. 2. Crowds fled in panic, taking shelter in shops, hotels, or leaping off the elevated pavement onto the beach below. This sentence is formatted as a list, implying that people employed one of three methods to escape danger- resorting to shops, hotels, or the beach. However, only two survival strategies were employed: taking shelter in one of two types of business establishments, or leaping onto the beach. The sentence, therefore, must be slightly revised to refer collectively to shops and hotels as two examples of the implied category â€Å"structures in which to seek refuge†: â€Å"Crowds fled in panic, taking shelter in shops or hotels or leaping off the elevated pavement onto the beach below.† 3. The contraception app has become a popular alternative because it doesnt involve taking any medicines, inserting devices, or hormone patches. Here, the three alternative contraception methods must be treated with the same structural support- because verbs accompany medicines and devices, â€Å"hormone patches† requires equivalent treatment: â€Å"The contraception app has become a popular alternative because it doesnt involve taking any medicines, inserting devices, or using hormone patches.† 4. Those complaints ranged from water dripping from ceilings and walls, gas leaks, electrical shorts, and stopped-up toilet bowls- or no toilet bowls at all. Often, a â€Å"from . . . to† construction is flawed because in the assembly, to has been omitted, but it is required to complete the equivalence: â€Å"Those complaints ranged from water dripping from ceilings and walls to gas leaks, electrical shorts, and stopped-up toilet bowls- or no toilet bowls at all.† (Note that no punctuation interrupts the from . . . to continuum; this is true even if to is employed more than once.) Better yet, however, when the order of words or phrases in the list does not obviously express an ascending significance, employ a simple list structure that omits from and to: â€Å"Those complaints included water dripping from ceilings and walls, gas leaks, electrical shorts, and stopped-up toilet bowls- or no toilet bowls at all.† Incorrect Word Order The sequence of words, rather than an absence of words, can impede logical syntax. 5. Employers frequently have resource needs, both as part of digital-transformation initiatives and other projects. â€Å"As part of† applies only to â€Å"digital-transformation initiatives,† not to the corresponding phrase â€Å"other projects,† so â€Å"as part of† must be repeated before the latter phrase: â€Å"Employers frequently have resource needs, both as part of digital-transformation initiatives and as part of other projects.† Better yet, simply transpose both and â€Å"as part of† so that the phrase applies to both corresponding phrases: â€Å"Employers frequently have resource needs, as part of both digital-transformation initiatives and other projects.† Absence of One Word and Incorrect Word Order Sometimes, a sentence is flawed in both respects. 6. The cynic in me believes it’s rarely done for aesthetic reasons but for strictly commercial ones. This sentence requires a counterpoint to rarely, and because that adverb and its opposite must share the verb done, the verb must precede both adverbs: â€Å"The cynic in me believes it’s done rarely for aesthetic reasons but often for strictly commercial ones.† Insertion of Extraneous Word Here, a superfluous repetition of a preposition disrupts a sentence’s parallel structure. 7. These processes can be used to evaluate internal controls to prevent and detect drug diversion in inpatient and outpatient pharmacies, research facilities, and in clinical and procedural areas. Repeating the preposition in before each example of a place where drug diversion can occur is a valid (but unnecessary) alternative to allowing a single iteration to support the entire list, but this sentence is flawed in that it does not succeed in applying either choice- either â€Å"research facilities† must be preceded by in, or, as shown here, the instance of the preposition before the final list item can be omitted: â€Å"These processes can be used to evaluate internal controls to prevent and detect drug diversion in inpatient and outpatient pharmacies, research facilities, and clinical and procedural areas.† Incorrect Inflectional Form Occasionally, the error is the wrong inflectional form of a word, rather than omission of a necessary word or insertion of an extraneous one. 8. It has chosen to reach settlements rather than levying civil monetary penalties in all but the rarest of cases. Here, to match the bare inflectional form reach, levying must be pared down to levy: â€Å"It has chosen to reach settlements rather than levy civil monetary penalties in all but the rarest of cases.† Misuse of â€Å"As Well As† The phrase â€Å"as well as† is often misunderstood to be a conjunction. 9. This type of assessment helps further inform management’s overall risk tolerance, target fit, valuation assessments, as well as the overall strength of the target. â€Å"As well as† is not equivalent to and or or, so when the last item of an in-line list is preceded by that phrase, rephrase the sentence so that â€Å"as well as† and what follows constitute a clause separate from the list (and insert a conjunction before what is now the final list item): â€Å"This type of assessment helps further inform management’s overall risk tolerance, target fit, and valuation assessments, as well as aiding in measuring the overall strength of the target.† Alternatively, do so but replace â€Å"as well as† with an additional conjunction (â€Å"This type of assessment helps further inform management’s overall risk tolerance, target fit, and valuation assessments and aids in measuring the overall strength of the target†) or incorporate the clause into the list (â€Å"This type of assessment helps further inform management’s overall risk tolerance, target fit, valuation assessments, and measure of the t arget’s overall strength†). Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Grammar category, check our popular posts, or choose a related post below:Definitely use "the" or "a"â€Å"As Well As† Does Not Mean â€Å"And†Dealing With A Character's Internal Thoughts

Affirmative Action misc3 essays

Affirmative Action misc3 essays Affirmative action is described as the term meant taking appropriate steps to eradicate the then widespread practices of racial, religious, and ethnic discrimination. The history of affirmative action starts a long time before this definition was stated during the early 1960's. It starts back to the Declaration of Independence where it states all men are created equal. It moves toward the Emancipation Proclamation, the 13th, 14th, and 15th Amendments which involved the freeing of slaves, abolishing slavery, conferred citizenship on all persons born in the United States, and guaranteeing voting rights to all citizens. There were also many court cases that helped move forth into affirmative action. A few examples would be Buchanan v. Warley, Plessy v. Ferguson, and Brown v. Board of Education. The latter court case was a real firestorm over affirmative action, which ruled that all local, state, and federal laws that enforced segregation in education was striked down. President John F. Kennedy first used the phrase "Affirmative Action" when he issued Executive Order 10952. This order created the Equal Opportunity Commission or the EEOC and contractors on projects financed with federal funds to "take affirmative action to ensure that applicants are employed, ant employees are treated during their employment without regard to race, creed, color, or national origin." President Kennedy also pushed for more legislation but was not alive to see it go through. Proceeding Kennedy, Lyndon B. Johnson took over the fight and pushed for the passing of Civil Rights Act of 1964, which barred discrimination in the variety of private and public settings. It included prohibiting discrimination in private facilities, outlawed discrimination in federally-funded-programs, and prohibited discrimination by both private and public employers and so forth. Still under Johnson's control, the Executive Order 11246, placed the responsibility for a...

5 Steps to Finding Success on Your Job Hunt

5 Steps to Finding Success on Your Job Hunt Struggling to find a job? Starting to despair? Feel like you’re doing all of the right things, but still not getting results? It’s possible that you are doing all the right things. But there are a few extra tricks you could still try to give yourself a little edge and improve your prospects on the job hunt. 1. Restrain yourselfIf you’re obviously overqualified for a position, resist the temptation to send your resume in anyway. You’ll look desperate. You’ll feel desperate. And the employer will toss your resume at first glance. If it’s obvious to you; it’s obvious to them. They’ll be worried that you’ll leave for a better opportunity at the drop of a hat- and, let’s face it, they’re probably right.2. Future-fit your resumeDon’t make your resume a simple list of where you’ve been and what you’ve done. Target it for the job you’re looking for, not the ones you’ve had. And cra ft it individually for each position you apply for. Reframe your skills and experience to be a perfect fit. Describe your background and interests in terms this company will jump about. (When in doubt, study the job description and the company’s mission statement for clues.)3. Never assumeYou know what they say: to assume is to make an â€Å"a**† out of â€Å"u† and â€Å"me.† So don’t expect a recruiter or hiring manager to read between the lines of your resume. If you haven’t spelled it out as clearly and concisely as possible- enough to be noticed in a quick skim- then you’re assuming they’ll put more work into reviewing your application than they ever will.4. Branch outDon’t ignore a potential connection because you don’t think they’re directly in a position to help you. You never know who will be your next link to your big fish. Don’t underestimate or overlook anyone. The world is wide and the b roader your network, the better your odds.5. Don’t advertiseIt’s one thing to tell close circles of contacts and friends that you’re looking for a job. It’s another to broadcast it and have to conduct the rest of your search under the scrutiny of your entire social network. Instead, be savvy with your social media. Publicize any transition skill/new qualifications or certifications on LinkedIn. And start being a resource for current trends and information in your other feeds. If people start to see you as an asset, they might think of you spontaneously and come to you first with new opportunities.

AppLIED 3000 word Essay Example | Topics and Well Written Essays - 3000 words

AppLIED 3000 word - Essay Example The report also includes a proposed budget for the year 2010-11 which will help to give an idea about the decisions taken by the management to improve the situation. Hard cash or liquid cash is required by any business organization to survive or to run successfully. Normally, most of the companies keep a lump sum amount of cash at their disposal for the daily expenses of the business. It ensures the smooth running of daily business operations. But, the financials of Cyclermate Ltd gives a shocking picture. There is only 675 pounds of hard cash left in the bank. With such a meager amount as its savings the company cannot even run a single day’s operation. The company is on the verge of close down. Mismanaged budget, uncontrolled cost and lack of proper supervision have lead to such a dismal situation. It is clear from the income statements of the last five years that selling price and total sales of the articles have gone down while total costs have shown a steady rise. The financial ratios also bring out the same poor condition of the company. The company’s Acid Ratio which is the relationship between the current assets (stocks not included) and current liabilities is 0.76:1. The Acid Ratio of 0.76:1 shows that the company will not be able to any financial problems nor needs that may rise in the near future (Netmba, 2010). The relationship between revenues and total assets is known as Asset Turnover Ratio. This company has an Asset Turnover Ratio of 2.06:1. The main reason for this ratio to be so high is the poor profit margin. There is also a possibility that the company is following a faulty a pricing strategy for its products. From the income statement of the past five years the return on capital employed is calculated as low as 0.11. The company is getting only a return of 11% on the capital it is employing which is not at all satisfactory. The debtors to the company generally

Health Risks Associated with VOC's and are Alternative Compounds Essay

Health Risks Associated with VOC's and are Alternative Compounds Readily Avaialable in Residential Building Use - Essay Example ompounds are gasoline, formaldehyde, benzene, and solvents such as toluene, xylene and tetra-chloroethylene, which is the main solvent used in drycleaning.(www.toxtown.nlm.nih.gov). Volatile Organic Compounds used in building materials are frequent indoor air pollutants. According to Meininghaus et al (2000), certain materials that are present indoors can function as buffers which may reduce the peak concentrations but prolong the presence of the compounds in the air. A two flow system was used in this study to allow direct observation of mass flow across materials. The results in this study showed that diffusion through materials can reduce the room air concentrations, which can affect ventilation requirements. However, VOC levels in indoor air is an important issue of indoor air pollution because most humans spend an average amount of 90% of their time indoors.(Klepeis et al, 2001). Studies show that concentrations of VOCs are typically higher indoors than outdoors and building characteristics can influence the relevant levels.(Wallace, 2001). VOCs are an important category of indoor and outdoor pollutant, although they do not last as long outside because they are easily broken down by microorganisms and sunlight. However, die to their ubiquitous nature, VOCs from indoor sources such as chloroform, p-dichlorobenzene, d-limonene, ÃŽ ±- and ÃŽ ²-pinene are associated with long term health risks.(Pratt et al 2000; Woodruf et al 1998). While the cumulative risks that accrue from long term exposure to multiple VOCs remains indeterminate, the Eleventh Report on Carcinogens which is published by the National Toxicology program identifies damages to the liver, kidneys and the central system in the long term (www.toxtown.nlm.nih.gov). Studies have also shown that several types of cancers as well as cardiovascular and neurological diseases have been reported as adverse health effects of exposure to VOC, either through inhalation or through the presence of VOC’s in

Business case analyse Essay Example | Topics and Well Written Essays - 1000 words

Business case analyse - Essay Example In the assessment internal aspects of the partnership between Woolworths and eBay, the study focused on the utilization of SWOT analysis tool. This provides the opportunity to assess the strengths, weaknesses, threats, and opportunities in relation to business activities of the two major business entities in the case of Australia. The partnership will have the opportunity to enhance Woolworth’s market coverage through the integration of adequate resources to address consumers needs. Secondly, the approach will provide a new convenient and flexible approach for customers to handle their needs and preferences. Similarly, the approach will enable eBay to cut down logistic costs while enabling Woolworths to increase its stock, as well as number of customers for the products. One of the major weaknesses of the partnership is the likelihood of loss of employment for employees involved in the delivery of products, as well as increased competition for the retailers from Woolworths. Additionally, the partnership might affect the image and reputation of the entities in the global context. One of the opportunities to decrease the cost of transportation and logistics since customers will click and collect their products at appropriate destinations. The entities might use this platform to enhance their business relationship with the intention of increasing their market share in other locations within Australia. The Woolworths/eBay will have to deal with diverse lawsuits concerning violation of antitrust regulations. In addition, the damage to the image and reputation of the two entities might affect their global transactions, thus a massive reduction in the volume of revenues and profitability levels at the end of the fiscal period. In the achievement of this goal, the study focused on the utilization of the PEST analysis tool, thus assessment of the political, economic, social, and technological

The Role of Tracking in American Schools Essay Example | Topics and Well Written Essays - 2000 words

The Role of Tracking in American Schools - Essay Example He further explains that tracking may take place within a specific grade, as well as extend to grade levels. To illustrate the former, Loveless talks about eight graders who can hardly read and students who enjoy Shakespeare plays being placed in different English classes. The latter may be well illustrated by the practice of students’ assignment to math courses starting with fundamentals and ending with abstraction of calculus (Loveless, 1999, p. 1). Theoretically, the purpose of this practice is grounded on the belief that tracking promotes learning thanks to its provision of a good fit between the instruction level and needs of students regarding their learning. The tracking theory asserts that tracking allows tailoring the instruction according to students’ ability levels (Hallinan, 1999, p.79). This is thought to enhance the efficiency and effectiveness of the overall instructional process. These claims, however, have been widely criticized by opponents of tracking , who mention a number of negative effects of tracking on students’ academic, social and emotional development, thus questioning the relevance of this practice to the school setting. For example, Jenny Oakes, a professor from University of California at Los Angeles, believes that among other aspects, tracking practice is related to racial segregation in modern American school (Oakes, 1994, p.91). My goal in this paper is to discuss the role of tracking in modern American school. To achieve my goal, I have divided the essay into four parts. The first one aims at highlighting the historical background of tracking in American schools. The second section discusses the positive effects of tracking on school practice, focusing on the proponents’ views regarding this phenomenon. The third part of this paper looks into criticism of tracking by its opponents and possible negative effects tracking has on the school practice. Finally, I conclude my paper with the fourth part whic h sums up the role of tracking within an American school. Historical Background of Tracking The history of tracking within American school system can be traced back to the turn of the 20th century. Since that time, believes Oaks, schools have used tracking â€Å"to address social, personal, and workforce needs, as well as cognitive ones.† (Oakes, 1994, p. 86). In Rubin’s research â€Å"Detracking in Context: How Local Constructions of Ability Complicate Equity-Geared Reform†, it is stated that tracking with a variety of its modifications has been one of the major organizing practices typical for American public schools for nearly a century (Rubin, 2008). Tracking started to come into use at the beginning of the 20th century when G.Stanley Hall’s notions about the inclinations and emotional peculiarities of adolescents were taken as the theoretical ground for implementing a non-scholarly curriculum at American school. At the same time, at the outset of the previous century schools were known to enroll lots of immigrant kids.In this respect, the statement made by Lewis Terman should be mentioned that despite the fact immigrant pupils could not be expected to develop mental abilities that allowed mastering abstractions, they could be enrolled to separate classes, which might help them become well-qualified workers. This is how tracking became a means of sorting out children who were noticed to have limited preparation or

Illustration essay Example | Topics and Well Written Essays - 500 words

Illustration - Essay Example In that respect, this paper will seek to discuss why sources maintain that when parents give their children everything that they ask for as soon as they want it, they set them for failure in life. Children expect to get what they ask for as soon as they ask for it. Thus, it is upon the parents to make sure that a child gets what is important at the time of need – not just anytime and anyhow. However, a parent must be in a position to set boundaries as a means of training the child on matters related to ways and time for asking for what they want. When a parent has a child, he or she works tirelessly in order to make sure that the child gets everything that the parent was unable to have at the child’s age. Under this spectrum, children grow knowing that their parents are always there to provide for their needs, wants, and current wishes. Nevertheless, every parent must bear in mind that if parents or rather guardians provide every want at the time their children asks for, it is understandable that that child will be a failure in life (Sherman, 2008). Family lawyers suggest that a child should get what is essential followed by wants, but the availability or presence of these things must have a limit in order to avoid training children for a life where they get what they want at the time of want. Fact-finding depicts that most adults who are now failures in life grew up in familial backgrounds where intervention and training for manners was not proper or tailored to suit the best interest of the child in the future (Sherman, 2008). With reference to these examples, it is agreeable that parents, who bring up their children recklessly by mostly providing for their children’s wants at the time they want, render their children useless in the future, as the children cannot be on their own since they are used to getting everything

The Debate about Quasi-Military Style Policing Essay

The Debate about Quasi-Military Style Policing - Essay Example As such, this effective red-tape that hinders the proper working of the police force is a common problem across the world. In this context, it is also important to note that most police departments operate as quasi military entities. Police personnel wear uniforms, carry weapons for self defense and are organized along the hierarchical structure described above according to their rank. As such, an officer within this chain functions under a authority in which the orders flow in a single direction i.e., top to bottom. Like the case with the military, the police have often abused their powers and have resorted to various crimes apart from being riddled with corruption in various forms. As such, the military model of this quasi structured organization has created problems. By deeming that anything against crime is genuine, police can often embrace the belief that anything in justified in a war like situation. This not only leads to violence as a result of the abuse of power by police officers, but can also create serious rifts between them and the general population. However, despite these negative traits, a police force performs several important duties that are important for the maintenance of law and order and to keep crime under check if not do away with it completely. The police department, through its ranks, operates in an organized fashion and maintains control during occasions where a large number of people come out to interact with one another. Likewise, the police department maintains an intelligence arm much like its military counterpart and gathers information about the events and trends in the local area, allowing its decision makers to make the proper and timely choices necessary to keep illegal elements within check. Further, it is this very quasi static structure that provides the necessary structure that allows several

Illustration essay Example | Topics and Well Written Essays - 500 words

Illustration - Essay Example In that respect, this paper will seek to discuss why sources maintain that when parents give their children everything that they ask for as soon as they want it, they set them for failure in life. Children expect to get what they ask for as soon as they ask for it. Thus, it is upon the parents to make sure that a child gets what is important at the time of need – not just anytime and anyhow. However, a parent must be in a position to set boundaries as a means of training the child on matters related to ways and time for asking for what they want. When a parent has a child, he or she works tirelessly in order to make sure that the child gets everything that the parent was unable to have at the child’s age. Under this spectrum, children grow knowing that their parents are always there to provide for their needs, wants, and current wishes. Nevertheless, every parent must bear in mind that if parents or rather guardians provide every want at the time their children asks for, it is understandable that that child will be a failure in life (Sherman, 2008). Family lawyers suggest that a child should get what is essential followed by wants, but the availability or presence of these things must have a limit in order to avoid training children for a life where they get what they want at the time of want. Fact-finding depicts that most adults who are now failures in life grew up in familial backgrounds where intervention and training for manners was not proper or tailored to suit the best interest of the child in the future (Sherman, 2008). With reference to these examples, it is agreeable that parents, who bring up their children recklessly by mostly providing for their children’s wants at the time they want, render their children useless in the future, as the children cannot be on their own since they are used to getting everything

A personalised induction will always be more affective Essay Example for Free

A personalised induction will always be more affective Essay A personalised induction will always be more affective Discuss. Base your answers on theoretical concepts and techniques presented in class This essay will assess the usefulness of personalised inductions in hpnotherapy sessions. As well as taking a look at when a personalised screed is not needed and the many ways there are to assess which style of screed will be most affective. The main body of this essay will focus on the evidence both for and agisnt a personlised screed and attempt to provide a conhertent argument with which the reader can make up their own mind. A hypnotic intuction is the tool used by hypnotherypists in order to aid their clients in achieveing a trance state, it is known that this is harder for some clients to achieve then others, it is generaly accepted that some clients find it almost impossible to reach a trance state through hypnosis (Boys and Karle 2010), the majority of clients are however able to achieve light trance states and deeper. The simple fact that some clients find it easier to achieve hypnosis then other highlights the potential need for personalised inductions, every body is different, we all have different likes and dislikes, personalities and indeed life experiences that make us more responsive to different ques. When in a session with a client the words we use to produce a trance state are vary importent, more so then in a regular conversation, this is due to the fact that the client generally has their eyes closed and is therefore cut off from a great deal of the everyday comunication ques that aid in understanding each other. Body language is considered to make up 55% of human comunication with tone and volume making up 38% and words come in last making up just 7% of comunication. With words making up such a small percentage of how we comunicate with each other, the need for a personalised induction could be seen as vital, a way of taloring the words used so they have more meaning to the client and therefore much more impact. Two of the main types of induction are authoritarian and permissive, they are both vary different and have been shown to be effective in vary different situations with various clients. The authoritarian approch is vary direct and to the point, with the hypnotist playing the role of the authority figure, (Hadley and Staudacher 1996), it is believed that clients that respond best to this style are the ones that respone well to authroity figures in real life, people with a scientific backgrouds tend to respond  well, this style is effective on conditions such as anaxity, it is believed that problems such as this are often caused by an authortain figure in childhood and therefore need another authoratians figure in order to relieve the problem. On the other hand submissive styles tend to invovle the client and therpist as equals, a softer voice is often used and suggestion are offered rather then comands. The use of more guided imagery allows these inductions to be further personlised to suit the clients needs. more imaginative clients respond well to this style and it is perticulary valuabl in aiding clients that wish to achieve certain goals. The fact that these tw o different styles of inducton have been seen to be more affective on different clients and in different situations is strong eviedence for the need for personalised induction. The age of the client also affects which type of style that is used, it could be arued that children, who reach a peak point of suggestablity at around the age of ten(Boys and Karle 2001) may be more responsive to a permissive style due to the fact that choldren tend to be more imaginative then older clients. At the other end of the spectrum suggestablity declines with age so a more authertrian style may be more effective with an older client, it may also be in part to the fact that socialty was different when an older client was growing up with more importence and respect given to people with power and i higher inclination toward conformity (milgram, 1963). A futher way in which it has been therorised to personalise screeds is to use words that are assoiated with the clients modality. There are three main modalities, kinaesthetic, visual and autitory. Kinaesthetic clients are often vary in tune with their feelings and indeed the feelings of others, they enjoy phyical activity and fo r the purposes of hypnotic induction respond better to words that decribe feelings and touching things. It has been observered that poeple with this modality will show a prefence for texture and temperature words. Visual clients tend to be vary imaginative and have a tendency to daydream, they are more concerned with how things look, and for the purposes of hypnotic induction find it easier to visualise things. They use a lot of colour references. Lasty autitory clients are vary in tune with music and speech, anything that can be listened to, they tend to respond to words that relate to music and speech, such as listen and harmony. personalising introductions to suit modalities is a vital tool in aiding clients in their journey into  hypnotic trance, the use of words that relate to the clients primary modality enable them to feel more safe and in control and allow them to more easiely facilitate themsevles in their session, purly due to the fact that the words choosen are ones they relate to more strongly. this is again strong eviendence for the need and power of personalised inductions. However it will now be considered if a personalised induction is always needed or fact sometimes not poss ible. The type of suggestion used is also a way of personalising a screed in order to suit a client. the are two types of suggestion available, the direct suggestion, which is short and too the point and given as more of a comand. This type of suggestion works better with the above mentioned authoritarian induction due to the fact that in these inducton the therpist is seen more as the authority figure and the client is more likley to respond possitivly by doing what the therpist asks. Indirct suggestion are more symbolic and are more suited for the more imagintive clients, they have been found to be vary usefull when resistence is present as they have a way of seeping into the subcousous symbolically, which the subcounsous responds vary well to. One of the most obvious instences when a less personalised induction is needed is during group therapy. this is not desirable for numerous reasons. As we discussed before everybody is different so what may be effective for one client may leave ano ther less then impressed and unable to achieve a satifacory trance state. In these instences a more general induction is required. inductions that are aimed at changing a habbit, such as quit smoking indutions are also more often then not best if they are not personaliesd, this could be due to the fact that changing a habbit is vary differcult work that may require a vary deep trance and often an authorative induction. Another time when a personlised induction is not needed would be for the purposes of hypnosis cds and Tv shows, again this is due to the fact that the hypnotheripist has no contact with the client and is therefore unable to construct a induction that is personalised for them. in the case of TV shows the hypnotist is talking to thousands of people at once, this brings about a need to create an induction that is extreamly general so as to hypnotise the most members of the audience at once. However it could be considered that a kineasthetic induction could be used as this is the modality that the majorty of people have a perference towards, and may well lead to a deeper trance for people  with this modality. is it better to spread word of mouth and gain popularity and notariatly though sucessfully hypnoting more people lightly or less people more sucessfully. There are also a number of induction available in which no verbal comunication are used. these so called non verble hypnotic in duction involve enabling the client into an hypnotic trance through the use of a seris of progressivly changes in posture, with the hypnotherapist moving around the room in front of the client. In order to bring the client back up from this trance the movements are simply reversed, many people claim that these types of inductions are quite effective. it is clear that the used of inductions such as these would not need to be personalised as no words are used, although the positions may need to be altered and it is possible that with certain clients that have a tendenciy to be less suggestable a longer seires of postures may be needed in order to achieve the desired level of trance. this type of induction may be vary usefull when dealing with clients that are hard of hearing or indeed deaf. However it must be considered that this induction could be more affective with clients that are more inclined to the visual modaltiy, and in such the cases the use of a non verble induction could be how the therapist has personalised the induction to suit the clients needs in order to achieve the best state possible in order to faciltate the clients goal. It should be noted that this is always the main aim of hypnotic induction, so the client recieves the best therapy the therpist can offer. In many of the stage shows and TV programs that featur e hypnosis the use of non verble hypnosis is often shown. This is often due to the fact that the perticipants have already been vetted and shown to be highly suggestive, so again this use of non verbal hypnosis could be used highly effectively with suggestable clients. It has become clear that the use of personalised inductions is vast and far reaching. It is also clear that in many cases the use of an induction that has been designed to cater for the clients personality, age, stage in treatment, modality and affliction is indeed a vary important and valuable tool in therapy and can aid in the depth of trance, enjoyment of hypnosis session and overall outcome. However on the other hand it can not be denined that this is not alway needed or indeed possible, group therpy sessions, treatment for addictions and pre recorded hypnotherpy sessions all benifit from a more general induction, however it should be pointed out that the  need for a more general induction is not due to the fact that this type of induction is more affective, more due to the fact that it is not plusable to hypnotise so many different people using a personalised induction at one time. In fact in many cases it could be argued that personalised induction may be more affective, on the flip side the use of group therapy has also been shown to be a valuable tool in the recovery of many disorders, which is more benifial, the personalised induction or the good consil that can be achieved with a group of people with similar problems as your own. It would also be important to note that at the start of a therapists career there will most likly be a perfence of the therapist towards a ccertian a style of induction, this may mean that they use a style that is less personalised and not nessacellaly the best for the client, however confidence is key with hypnotic induction so although the therapist should always indevour to use the best induction it may be more benifial for them to use the style they are most comfortable with. In conclution a personalised induction is the more affective choice in a wide range of cases, particalary in cases when therapy is likey to be more lengthy. however there are indeed times when a more generalised induction is the most effective route. it should be highlighted that both personalised and general inductions are a choice that is made by the client with the intention of delivering the best therapy possible, in this way even a decision to use a general induction could be considered a personalised chioce due to the fact that this is the route that the therapist deems best to take. In short a personalised induction is the most effective method in the vast majority of cases, however there are instences when this is not the case.

Bunraku Theater and Kathakali Dance Drama

Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. . Bunraku Theater and Kathakali Dance Drama Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. .