War News Censorship Essay Example for Free

War News Censorship Essay Censorship is a general term used to describe the manner at which control of information and its circulation is being employed within a society. Censorship is often administrated with the goal to implicate political suppression and to deliberately impose moral values on others. It can be implemented through government and private pressures, although government sponsored censorship is rendered unconstitutional (â€Å"What is Censorship† 1 ). In the global context, censorship is employed is various ways and behind different rationales. The earliest argument used to rationalized censorship is with respect to religious context, it inculcates values for conscience and moral entities that can make censorship acceptable to the public. Another, issues on national security and defense is also used to justify the censorship. â€Å"Censorship through intimidation† and â€Å"censorship though consensus† are also possible to be employed (â€Å"What is Censorship† 2) On the context of war news media, censorship is used as a tool for propaganda. In every war, there are two battles fought; one is in the battlefield, and the other is through the minds of the people made possible in the propaganda and news releases that are being circulated. The labeling used between the â€Å"good guys† and the â€Å"bad guys† are done in such a way that the media and the government can influence the minds of their readers and the majority of the people to support their cause, or to develop a sense of legitimacy on why they are really ought to be involved in a war. Misleading the people is possible through (1) only covering selected stories; (2) giving out only partial facts; (3) reinforcing reasons and motivations; (4) narrow sources of â€Å"experts† and other resource persons; (5) demonizing their opponents; and (6) narrow range of discourse (Shah, 2005). Moreover, war news media is being censored to restrict and to minimize occurrences for leakage of war photos which are deemed to be violent. Thus, this aspect of censorship is deemed to have implications on the moral values of the people. In a way, censorship is also employed to eliminate the possibility that people will become violent if continuously, they are exposed to violent images and occurrences behind the war (â€Å"What is Censorship† 1 ). Vietnam Era   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Vietnam War was the first war that was given full access and full freedom to the journalists. During this era, the journalists were given the freedom to report the war as they have seen it, and they were able to publish images in order to enable to let the public view the war in the most accurate possible way. The earlier war occurrences were beneficial to the American community. The events before the Tet Offensive were proven to have gathered support for the American offensive. However, the spark of the American Embassy in Saigon, as it been publicly watched by the American people, signaled the defeat of the American troops and consequently they have become doubtful to the then present President Johnson’s credibility. Consequently though, this event has led the American support for the war to decrease and falter (Media’s Role in the Vietnam Era) These turn of events, the complete media access and the full freedom to journalistic reporting has proven to be detrimental to the flight of American troops. The outcome of the media coverage and the humiliating coverage of the American defeat in the war have caused the morale of the US soldiers to surge down; and in turn, have boosted the morale of the Vietnamese soldiers which was during this time, were perceived to be the enemy. Further, the media coverage has implicated that the war was more like a â€Å"Communist victory† rather than just plainly the failure of the Tet Offensive. Thus, the war’s ultimate failure to repress the growing Communist idealism in Vietnam was blamed on television and media – that the public has turned against their support against Vietnam War was due to the media’s accurate depiction of the horrors that were inculcated in the war (Humphreys). Contemporary War: Iraq War   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The war in Iraq is currently viewed as media’s â€Å"crisis coverage†. This contemporary war occurrence has also proved the innate strong influence of media, as they still have contributed a delicate role in the anti-Iraq hysteria. The media has published sinister images of the Iraqi leaders that connoted the meaning that they are indeed enemies (Smith, 2001). More so, the media’s mainstream performance has caused the Iraq War to become a disaster. The subjective allegations of the Bush administration that were further accepted , published and proliferated by the media have served as direct blows that further hastened the development of the war. And though there were critical journalists who raised questions despite the growing support for the Iraq war, still the damage of unfair reporting and biased presentation of information has caused the war to further burn (Iraq and the Media).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In addition, aside from the military conflicts and aggression, the Iraq War is more likely a â€Å"war of ideas†, in which the US government has instigated first. The obvious fact is that, the US has anchored their attack solely on the basis of allegations which up to now haven’t been proven to be accurate. And despite the oppositions to the war due to insufficient proofs of Iraq’s direct US threat, the US government has still pushed to the war (Regan 2006). And now, they are under the pressure of winning this â€Å"war of ideas† in order to keep US support from the majority of the world community, which is attainable through strategic dispensing of information and tactical censorship of ideas that are flowing in the global community.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Moreover, the current war in Iraq has once again instituted the means for media censorship. In contrast to the Vietnam War wherein full coverage was given to access the entire war discourse, the current aggression in Iraq has proven to be rather selective and biased on which issues are to be leaked outside for the media to circulate. Moreover, the media along with the military have also covered up the truth behind the occurrences of war – they have been leaking false tallies of war casualties and other records that are relevant to assess the true status of the war. Conclusion   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   War news censorship indeed plays an integral role in any war occurrences. In Vietnam, less censorship has led to the tumbling down of war support from the US community, due to the adversaries that were shown by the media as they were entitled for full coverage of the war. On the other hand, the war on Iraq which is currently under minimal media coverage, in addition to the highly censored and filtered nature of news standards, the US government is able to gather the support from the global community. Further, war news censorship has also greatly influenced the morale of the people who are directly and indirectly involved in the war. Positive or negative feedbacks gathered from media coverage relatively affects the feelings, attachments and morale of the people involved. Works Cited Humphreys, Donald. War on Television. The Museum of Broadcast Communications. 4 December 2007 http://www.museum.tv/archives/etv/W/htmlW/warontelevi/warontelevi.htm Iraq and the Media. 19 March 2007. Fairness and Accuracy in Reporting. 4 December 2007 http://www.fair.org/index.php?page=3062 Media’s Role in the Vietnam Era. Trinity College, Department of History. 4 December 2007 http://www.trincoll.edu/classes/hist300/media.htm Regan, Tom. Experts: US Must Win â€Å"War of Ideas†. 16 June 2006. CSMONITOR.COM. 4 December 2007 http://www.csmonitor.com/2006/0616/dailyUpdate.html Shah, Anup. War, Propaganda and Media. 31 March 2005. Global Issues. 4 December 2007 http://www.globalissues.org/HumanRights/Media/Military.asp Smith, Sharon. â€Å"Targeting Iraq: US Hypocrisy and Media Lies.† International Socialist Review. November-December 2001. What is Censorship?(1) American Civil Liberties Union. 4   December 2007. http://www.aclu.org/freespeech/censorship/26611res20060830.html What is Censorship?(2) 4 December 2007 http://www.gilc.org/speech/osistudy/censorship/

The Merchant Of Venice :: Free Merchant of Venice Essays

The Merchant Of Venice Act 1 In the fist act, Antonio is introduced as the Merchant of Venice. A friend of him, Bassanio, desperately needs money because all of his money is on his ships and he wants to go to Belmont to visit the woman of his dreams, Portia. Therefore he goes to Antonio to ask if he is willing to go to Shylock and ask him if he can have 3000 ducats. Antonio agrees and goes to Shylock and explains that he has to pay it back within 3 months. If he doesn't do this, he may cut one pound of his fair flesh... Act 2 In Belmont, the casket bond proceeds: with two already rejected, news comes that Bassanio is at Portia's gate. Meanwhile, Shylock is left bewailing the loss of his ducats and his daughter that has run away with Lorenzo and the treasure. Shylock doesn't like this at all because he really doens't like the Christians and Lorenzo is a Christian Act 3 Jessica is now together with Lorenzo. She is a Jew and he's a Christian. Jessica is embarrassed to be a Jew is planning to change religion for Lorenzo. Shylock is still looking for them and is very mad when he finds out that she has sold a ring, that was given to Shylock by his wife, for a monkey. Meanwhile Bassanio is picking one of the caskets and takes the correct one; the leaden casket. He may now marry Portia. Because Antonio hasn't paid back the 3000 ducats he had lend from Shylock, Shylock may have one pound of his fair flesh. Shylock takes it to court... Act 4 Still in the court of law, Portia and Nerissa have disguised themselves as doctor and clerk. Shylock wants his revenge on the Christians because they treat him like a dog and spit on him. He wants his bond and the one pound of the flesh of Antonio. Portia very smartly knows how to trick him by saying that it doesn't say in the bond that any blood can be spilt and that he has to take exactly one pound of the flesh. No more and no less. Shylock has to give up because he can't deny this. Antonio is safe! Bassanio has given the ring that he had got from Portia to the doctor and Gratiano has given the ring that he had got from Nerissa to the clerk... They had said to their women that they would never give the rings away.

A practical criticism of Chapter 20 of Captain Corelli’s Mandolin

Louis de berniires wrote this chapter in the third person narrative, nonetheless, the narrator does not indicate to us who this ‘wild man of the ice' actually is. We assume that he indeed does know who this man is. The opening of the chapter is quite an idyllic picture created by Pelagia with her mention of seeing, ‘Her first butterfly of the year,' which gives the reader a sense of bliss as well as Pelagia. However, this idyllic picture is shattered in the second chapter as she saw, ‘There was a stranger seated at the kitchen table,' she described the man as, ‘A most horrible and wild stranger who looked worse than the brigands of childhood tales. ‘ This particular sentence indicates to the reader a sense of foreboding. Although, we later find out that this man is Mandras, now neither Pelagia nor we have any idea. This then proves a scenario than many people dread and some can even relate to, coming home and finding a strange in your home. This is a nightmare situation, and although we do not have a detailed description of Pelagia's feelings, the reader would have a good idea of how she felt at that moment. In a way, this is clever by de berniires as he is leaving the reader to become Pelagia and feel the feelings she is feeling. Although, this is only one interpretation of this section, it does seem like an intention of de berniires as he does not go into a lot of detail about Pelagia's feelings now, but in other parts of the book, he does. Following this, de berniires shows us the state that Mandras is in, he uses a lot of very descriptive and quite gruesome images created of Mandras', ‘Suppurating wounds,' and the, ‘reek of rotting flesh. ‘ These images help to create an image of how Mandras may have appeared to Pelagia and do help to prove the fact of why he is unrecognisable to Pelagia. De Berniires has given us a lot of information about Mandras at this point and Pelagia sees very uneasy and she can only say that her, ‘Father's out,' which indicates her level of diffidence. We can also see form Mandras' speech that because of his physical pain he is projecting a sense of mental instability. This could be evident from his short sentences and his bad language. He comes a point of almost breaking down where he is accusing his perpetrators as, ‘Bastards, Bastards,' but Pelagia, although appalled, seems to try and be sensible and not try anything untoward, by just asking him to leave, in not so many words. From this Mandras begins to talk very quickly and he seems very uncomfortable until finally he asks Pelagia to look at his hands. He then, ‘Held them up to her, palm outwards in the gesture that would normally be an insult,' which showed Pelagia the extent of the injuries he had been subject to, which may have made her feel sorry for him. On the other hand, it may just have made her feel unwell. After this, Mandras again begins with his quick-paced narrative. He begins by talking about the way, ‘The ice screams. It shrieks. ‘ This could be a failure of communication of the part of Mandras and an idea of his mind playing tricks on him. This would highlight what the war had done to Mandras, and shows us the situation he was in. It also specifies the kind of physical torture he must have endured. There is also a point that he may have been subject to extremely cold weather and may have lost his fingers to frostbite. This would explain this section of the chapter quite clearly. The sentences are very abrupt and every sentence is almost self-contained. Due to the fact that the sentences are short and sharp and as the sentences are disjointed we can clearly see the madness of Mandras. Following this section, we can see that Pelagia is beginning to get desperate, this desperation if evident in the tone of voice she uses. She wants him to leave and pleads with him. This may or may not be an indication of sorrow and tearfulness. However, when she pleads for him to leave, it does seem to provoke a reaction in Mandras. This reaction is the first response that she has received from him, this could prove to Pelagia that maybe he is not a, ‘Wild man,' and that he is probably a man. On the other hand, Pelagia still has no idea who he is and why he is here in her kitchen. As a result, the narrator then has decided upon the introduction of Psipsina. This is very important and is probably the turning point of the chapter. There is a sudden change in atmosphere and this is an indication of reality being restored. This is introduced by firstly, the realisation that, ‘At least Psipsina remembers me. ‘ This is a very revealing sentence as it brings Pelagia's thought to a different place. It makes her wonder who this man actually is. Pelagia knows how, ‘Psipsina was afraid of strangers,' and this begged the question form her about, ‘how did this ghastly ruin know her name? ‘ Although these questions seem inconsiderate, she suddenly had a thought of maybe this was her beloved Mandras. This may have seemed like a very good guess, but it also may have been something she was always thinking in the back of her mind. Although she kept calling him, ‘ghastly,' and, ‘wild,' she may have been only saying these things to try and block out the truth. This could be described as a manipulation of her mind and could be a disguise for her anger towards Mandras. This anger would be because Mandras went and got badly injured, which is an idea that some people adopt as it could be a reckless thing for them to do. In this case is it could also be that Pelagia was calling him so many different things to block out any possibility of it being Mandras. When Mandras realises that Pelagia has recognised her, he describes how he has, ‘got lice,' and how he, ‘Shat himself when a bomb fell,' which specifies how maybe all he wants is to be with her, but he does not want to subject her to all the troubles he has been victim to. This provides an answer as to why he did not to tell her who he was straight away. Subsequent to finding out about Mandras, Pelagia then begins questioning him about why, ‘You never wrote to me,' which is an accusation that Mandras can only answer truthfully by telling Pelagia that he, ‘Can't write. ‘ This is a new idea introduced by de berniires and does make Pelagia think of why he had not tried other things like, ‘couldn't someone else have written for you? ‘ We now see an element of Pelagia as a young immature girl and Mandras as a mature person. Where before Pelagia had realised it was Mandras, these roles were reversed. The maturity of Mandras could be associated with the things he has faced in war, and now that he is able to talk, he beings to apologise and explain. Mandras is further depicted by the narrator as, ‘An infinity of fatigue,' which is connected with his eyes, but could well be a generalisation for his whole body at this moment. We see his frailty being embellished as, ‘He tried to steady his cup to drink, failed, and put it down on the table. ‘ This reminds us simply that he is severely injured even though he is know talking instead of the painful silence and very disjointed sentences spoken earlier in the chapter. Furthermore, this provokes Pelagia to ask about the letters she had sent to him. Mandras, ‘Fumbled inside his clothing and drew out a huge and bedraggled packet bound together with tripwire. ‘ It showed to Pelagia that he had indeed received the letters, but he then stated that he, ‘Couldn't read them,' which would have made Mandras seem very inferior, but he now seems more powerful and this illiteracy does not seem to dumb him down that much. However, Pelagia then tries to take control by not reading the letters to Mandras when he asked her to, ‘Even if it's too late. This creates a sense of longing and makes us have pity toward him, but rather than Pelagia pitying him, she takes control by saying that she will read them, ‘Later. ‘ This is ironic as later Mandras forces her to read them to him, which gives he may think gives him back his control. However, the fact that Pelagia can read and he cannot still gives her the power over him. After all th is has gone on Mandras simply fondles Psipsina and thinks that, ‘Only the animals know me. ‘ Yet, it seems that Pelagia does know take pity of him as she sits with him and comforts him at the end of the chapter. The way Mandras, ‘Buried his face in his hands and began to rock like an injured child,' does point to a very scared and lonely position. People who want to shut themselves out form the world and live in a world of their own adopt this position. Therefore, Pelagia notices this and tries to comfort him, and maybe succeeds in letting Mandras know that she will be there for him. This would have made him feel that he is not alone and even though he is physically repulsive, Pelagia is more interested in his feelings more.

Diploma In Computing (With Strands In Software Development

Diploma in Computing (with strands in Software Development Networking) Level 7 STRATEGIC IMPLEMENTATION FOR INFORMATION SYSTEMS – DC202 NQF Level 6 (12 credits) Assessment 1 CASE STUDIES ASSIGNMENT (v2) Final Result: _______________ Assessor Signature ___________________ Student Name Student ID Student Signature Assessor DATE :- 13/03/2017 MARKING SCHEDULE Student Name: Case Study 1 - Question number: Possible Marks: Student Marks: 1 3 2 5 3a 3 3b 3 4 12 5 18 6 16 Sub-total: 60 Case Study 2 – Question number: Possible Marks: Student Marks 1 11 2 5 3 5 4a 4 4b 4 4c 4 5 7 Sub-total: 40 OVERALL TOTAL: 100 = 60% Table of Contents 1. Introduction 2. Different†¦show more content†¦Business Level:- The business strategy sets goals for performance, evaluates the actions of competitors and specifies actions the company must take to maintain and improve its competitive advantages. In AHS, the company was mainly established in 1995 and was the one the first kind in San Francisco. And today they have a proliferation of healthcare provider already spread through the outskirts of the Los Angeles and they all are doing the same kind of services across 225 healthcare. Operational Level:- This level of strategy is extremely significant in shaping the success of other strategies as it translates strategic decisions into strategic actions by directly impacting the design of operational processes and networks, human and other resources etc. (3) Where the ‘Power’ lies in the organization ? Where the power lies in the organisation is always a topic of doubt and a debate is always there as in this the departmental head of this company the departmental head of the company are taking the decision cause more problem and hence the discussion could solve this problem. This is only be solved by the strategic implementation that are: 1) Managing includes the change in the requirement as the strategy of the company is to take a decision without the senior. 2) Structuring the company base to achieve the success. 3) Enabling the success rate that the differentShow MoreRelatedProject Mgmt296381 Words   |  1186 PagesActivity duration estimates (.3) 6.4.2 Estimating tools (.1.3.4) 6.3.1 Identifying resources 7.1 Activity cost estimates (.2.3.4.5) 5.1.2.4 Delphi method Chapter 6 10.5.3 Cost/schedule system (.1) 6.6 .2.1 Time performance 7.2.3.1 Cost baseline development 7.3.2.1 Earned value system (F.4) 7.3.2.4 E.V., performance status report 7.3.2.2 E.V., forecasts 7.3.2.3 EV., to complete index (EAC) 7.3.2.5 Schedule and cost variance Developing a Project Plan 4.2.2 Planning tools 6.2 Sequence activitiesRead MoreLibrary Management204752 Words   |  820 PagesTotal Quality Management (TQM) . . . . . . . . . . . . . . . . . 80 Policy Making . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Sources of Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Effective Policy Development . . . . . . . . . . . . . . . . . . . . . 84 Implementing Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Decision Making . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Steps in Making Decisions . . . . . . . .Read MoreDeveloping Management Skills404131 Words   |  1617 PagesPermissions: Karen Sanatar Manager Central Design: Jayne Conte Cover Art: Getty Images, Inc. 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Fun with Chemistry - Honeycomb Candy Recipe

Honeycomb candy is an easy-to-make candy that has an interesting texture caused by carbon dioxide bubbles getting trapped within the candy. The carbon dioxide is produced when baking soda (sodium bicarbonate) is added to hot syrup. It is the same process used to make some baked goods rise, except here the bubbles are trapped to form a crisp candy. The holes in the candy make it light and give it a honeycomb appearance. Honeycomb Candy Ingredients You only need a few basic cooking ingredients to prepare this recipe: 3/4 cup sugar2 tablespoons honey2 tablespoons water1-1/2 teaspoons baking soda Honeycomb Candy Instructions Grease a cookie sheet. You can use oil, butter, or non-stick cooking spray.Add the sugar, honey, and water to a saucepan. You can stir the mixture, but it isnt necessary.Cook the ingredients over high heat, without stirring, until the mixture reaches 300Â °F. The sugar will melt, small bubbles will form, the bubbles will become larger, then the sugar will start to carmelize to an amber color.When the temperature reaches 300Â °F, remove the pan from heat and whisk the baking soda into the hot syrup. This will cause the syrup to foam up.Stir just enough to mix the ingredients, then dump the mixture onto the greased baking sheet. Dont spread out the candy, as this would pop your bubbles.Allow the candy to cool, then break or cut it into pieces.Store the honeycomb candy in an airtight container.

Cathedral Essay examples - 901 Words

Cathedral â€Å"I wasn’t enthusiastic about his visit. He was no one I knew. And his being blind bothered me† (99) the narrator tells us in Raymond Carver’s Cathedral. An old friend of the narrator’s wife, Robert, is coming to visit them at their home. The narrator is not at all pleased with this situation and lets us know it from the beginning. Throughout the story, the narrator begins to see the blind man in a different light and his mind-set begins to change to admiration. The narrator seems to be somewhat jealous at first of the relationship between his wife and their visitor. He says, â€Å"She told him everything, or it seemed to me† (100). His wife had worked for the blind man for one summer ten years ago, yet she†¦show more content†¦- these past ten years† (103). â€Å"Robert had done a little of everything, it seemed, a regular blind jack-of-all-trades† (103). In this quote, the narrator is both envious, because of all the talk about Robert, and admiring of all the things that Robert has accomplished although blind. As the night progresses, the wife begins to get sleepy and goes upstairs to change. The narrator tells us, â€Å"I wished she’s come back downstairs. I didn’t want to be left alone with a blind man† (104). At this point, the narrator does not know how to react to this man let alone what to say to him. His wife is no longer there to act as the link between the two. The narrator keeps the conversation going by offering more drinks and â€Å"rolling two fat numbers† (104). His wife falls asleep on the couch and the blind man stays up with the narrator because he feels as though they had not had a chance all night to talk. The narrator says he is â€Å"glad for the company† (105). He really means this when he says it too. They continue to watch TV for a while and the narrator, sensing the quiet, tries to tell Robert what it is that he is seeing on the television at the moment. The narrator tries to explain to Robert what a cathedral looks like but cannot think of better descriptions than â€Å"big† and â€Å"massive†. Robert suggests to the narrator that they could â€Å"draw one together† (108). At first the narrator draws a simple box with a roof. Then he begins toShow MoreRelatedCathedral684 Words   |  3 PagesCathedral It is an ongoing problem that people are narrow-minded and have preconceptions. It does no one good and is an obstacle in your everyday life. By closing your eyes, the other senses, like feeling, hearing and smelling, tune in and take over. A lot can be learned from these senses and new truths can be unrevealed. In the short story Cathedral, the main character stops his prejudices and sees a new truth. The short story Cathedral takes place in the 1990s in a married couple’s house inRead MoreThe Cathedral Of Canterbury Cathedral1209 Words   |  5 PagesThe word Cathedral is a Latin word for chair â€Å"Cathedra† which was taken from the Greek ‘Kathedra’ meaning seat. The Canterbury Cathedral is located in England, United Kingdom. The Cathedral is one of the most famous and oldest Christian structures in England. 597 AD was the founding of Canterbury Cathedral. The cathedral’s physical context is located in a sprawl area meaning there is low density residential, there are many other attractions around such as the theatre,hotel and museum. Saint AugustineRead MoreAnalysis Of Cathedral By Raymond Carver1541 Words   |  7 PagesA New Perspective Everyone at one point has judged a book by its cover. In the short story, â€Å"Cathedral†, Raymond Carver creates a narrator who bases off ideas and assumptions about blind people from movies. 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Modern Literature Existentialism Essay Example For Students

Modern Literature: Existentialism Essay EXISTENTIALISMExistentialism is a philosophical movement that developed in continental Europe during the 1800s and 1900s. Most of the members are interested in the nature of existence or being, by which they usually mean human existence. Although the philosophers generally considered to be existentialists often disagree with each other and sometimes even resent being classified together, they have been grouped together because they share many problems, interests, and ideas. The most prominent existentialist thinkers of the 1900s include the French writers Albert Camus, Jean-Paul Sarte, and Gabriel Marcel and German philosophers Karl Jaspers and Martin Heidegger. The Russian religious and political thinker Nicolas Berdyaev and the Jewish philosopher Martin Buber were also famous existentialists. Existentialism is largely a revolt against traditional European philosophy which reached its climax during the late 1700s and early 1800s. Principles of knowledge that would be objective, universally true, and certain were produced. Existentialists rejected the methods and ideals of science as being improper for philosophy. They investigated what it is like to be an individual human being living in the world instead of making the traditional attempt to grasp the ultimate nature of the world and abstract systems of thought. They stress the fact that every individual is only a limited human being. Each must face important and difficult decisions with only limited knowledge and time in which to make these decisions. Human life is seen as a series of decisions that must be made without knowing what the correct choice is. They must decide what standards to except and which ones to reject. Individuals must make their own choices without help from external standards. Humans are free and completely responsible for their choices. Their freedom and responsibility is thrust upon them and they are condemned to be free. Their responsibility for actions, decisions and beliefs cause anxiety. They try to escape by ignoring or denying their responsibility. To have a meaningful life one must become fully aware of the true character of the situation and bravely accept it. Existentialists believe that people learn about themselves best by examining the most extreme forms of human experience. They write about such topics as death and extreme situations. This concentration upon the most extreme and emotional aspects of experience contrasts sharply with the main emphasis of contemporary philosophy in England and th e United States. This philosophy focuses upon more common place situation and upon the nature of language rather than experience. JEAN-PAUL SARTREJean-Paul Sarte was born in Paris in 1905, and died in 1980. In 1964, he was awarded the Nobel Prize for literature. However he refused to accept the reward. Sarte was a French existentialist philosopher who expressed his ideas in novels, plays, and short stories, as well as theoretical works. The mere existence of things, especially his own existence, fascinated and horrified him. To Sarte there seemed no reason why anything exists. He stated that only human existence is conscious of itself and of other things. He argued that non-living objects simply are what they are and people are whatever they choose to be. People exist as beings who must choose their own character. He agreed with the existentialists philosophy that people are completely free. Sarte said, People are afraid to recognize this freedom and to accept full responsibility for their behavior. Throughout his philosophical and literary works, he examined and analyzed the varied and subtle forms of self-deception. In Sartes chief philosophical work, Being and Nothingness, he investigated the nature and forms of existence or being. In his essay, Existentialism and Humanism, he defined existentialism as the doctrine that, for humankind, existence precedes essence. In the Critique of Dialectical Reason, Sarte presented his political and sociological theories. .u90228410aafaf2edaa1dae95f305fdb8 , .u90228410aafaf2edaa1dae95f305fdb8 .postImageUrl , .u90228410aafaf2edaa1dae95f305fdb8 .centered-text-area { min-height: 80px; position: relative; } .u90228410aafaf2edaa1dae95f305fdb8 , .u90228410aafaf2edaa1dae95f305fdb8:hover , .u90228410aafaf2edaa1dae95f305fdb8:visited , .u90228410aafaf2edaa1dae95f305fdb8:active { border:0!important; } .u90228410aafaf2edaa1dae95f305fdb8 .clearfix:after { content: ""; display: table; clear: both; } .u90228410aafaf2edaa1dae95f305fdb8 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u90228410aafaf2edaa1dae95f305fdb8:active , .u90228410aafaf2edaa1dae95f305fdb8:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u90228410aafaf2edaa1dae95f305fdb8 .centered-text-area { width: 100%; position: relative ; } .u90228410aafaf2edaa1dae95f305fdb8 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u90228410aafaf2edaa1dae95f305fdb8 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u90228410aafaf2edaa1dae95f305fdb8 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u90228410aafaf2edaa1dae95f305fdb8:hover .ctaButton { background-color: #34495E!important; } .u90228410aafaf2edaa1dae95f305fdb8 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u90228410aafaf2edaa1dae95f305fdb8 .u90228410aafaf2edaa1dae95f305fdb8-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u90228410aafaf2edaa1dae95f305fdb8:after { content: ""; display: block; clear: both; } READ: Colin Powell EssayTHEATER OF THE ABSURD MOVEMENTThe theater of the absurd refers to tendencies in dramatic literature that emerged in Paris during the late 1940ss and early 1950s. Its roots can be found in the allegorical morality plays of the middle ages and the allegorical religious dramas. The term theater of the absurd derives from the philosophical use of the word absurd by such existentialists thinkers as Albert Camus and Jean-Paul Sarte. A fully satisfying rational explanation of the universe was beyond its reach and the world must be seen as absurd. The images of the