Trifles and A Jury of Her Peers Essay Example | Topics and Well Written Essays - 750 words

Trifles and A Jury of Her Peers - Essay Example This research will begin with the statement that Susan Glaspell’s play â€Å"Trifles† was written in 1916 and then reworked into a short story entitled â€Å"A Jury of her Peers† in the following year. The content is very similar to each version. Both pieces tell the story of a murder investigation. In both cases, the main suspect, Mrs. Wright, is much discussed, but she never appears. The women deduce that Mrs. Wright has been abused by her husband, and they cover up incriminating details so that the men do not find sufficient evidence to convict Mrs. Wright of the murder of her husband. The play shows how the men notice different things than the women, while the story allows an even more nuanced judgment of the various characters. The play begins with the investigation of the Wright household. The men proceed according to the letter of the law as written and enacted by men. The Sheriff, for example, dismisses the evidence of the domestic environment by looking around and saying â€Å"There’s nothing here but kitchen things.† The play’s title is an ironic reference to the domestic objects and activities which make up the majority of women’s lives in this period. The way the kitchen looks and the condition of objects within it are factors which bear witness to what happened to this woman. Only women can read and understand these signs, while men think they are unimportant and do not look closely enough at the detail. When the women look at the preparations that were underway in the kitchen they see what has happened. Mrs Peters says â€Å"she had bread set.† (p. 12) This looks, on the surface, like a simple observation. Both women understand the context of bread-making, however, and they realize that something must have interrupted Mrs Wright, because normally a housewife would not leav bread half made. The play illustrates the complicity of the three women. These subtle connections are difficult to convey in dramatic form on the stage, and this may be why one performance of the play had mixed reviews. A modern production of the play in East Village, Manhattan, performed in February 2010, received mixed reviews (Jaworowski, 2010). The director introduced elements to enhance the dramatic atmosphere: â€Å"Extended pauses have been inserted throughout, creating long silences; characters often abruptly stop for 5 or 10 seconds between lines or in the middle of dialogue.† (Jaworowski, 2010) Jaworowski finds this pretentious, and implies that the audience also were nervous and not sure how to interpret the silences. Other additions such as wordless singing and musical accompaniment, as well as lighting effects, help to convey â€Å"an eerie, affecting mood that lingers after the show ends.† (Jaworowski, 2010) The rising tension is conveyed effectively by these novel means, but the reflective side of the short story is largely lo st. The intimacy of the reader sitting alone and imagining the meaningful looks between the women is a more effective technique than any real life visual representation could manage. On stage an actor has to use body posture, timing, and facial impressions to indicate what the character is thinking. The subject matter of this play is subtle, and so it is extremely difficult to convey the solidarity of women in their thinking. The written form is simply better at showing nuances of judgement about characters.In contrast to the play the story’s title â€Å"A Jury of Her Peers† uses legal language to point out that the peers of Mrs Wright are not the sheriff, the attorney and assembled male jurors, but in fact women like herself who can understand the pressures she has suffered in her life. In a way the story is a plea for the right of women to be judged by women, and not by a sexist legal system which is subject to male prejudice, while the play is more like a debate abo ut the two perspectives. The story is more detailed and explicit than the play, providing extra information about the relationships between all three women characters. The narrative voice

Italian Neorealism And Bicycle Thieves Film Studies Essay

Italian Neorealism And Bicycle Thieves Film Studies Essay It is evident that Italian Neorealism and the life of post-war shaped DeSisas film Bicycle Thieves (1948). However, with much debate, one can argue that the sentimental nature of the film overwhelms the films potential to make a powerful political statement. With reference to important scenes from the film, Italian neorealist principles focused on; location, lighting, typage, dà ©cor, loose camera shots, eye-level angles, invincible editing and reportage, as well as and the usage of sentiment One can justifiably claim that the powerful political statement is not overwhelmed by sentiment, and in fact enhances the message the film aims to give off. The uniqueness of the Italian works, vise-a-visa other relevant cineamas, lies in their stylistic organization of elements of apparent rawness, their emotional intensity, and their focus on current political and social problems. (P. Adams Sitney, 1995) Thus, one is able to identify Italian Neorealism as the harmonizing of sentiment (emotional intensity) and awareness of political and social problems through Neorealist principles, which inevitably feeds off from an happening that affected the world, and specifically as we see in the history influence in this film; Italy. This change in society brought about characteristics and principles which became noticeable in cinema during this time period. These principles not only molded the film Bicycle Thieves, but were used to bring about a message to the audience. A message which was not overwhelmed by emotional rawness but a message of a social movement awareness reflected through cinema. Neorealism was not only what I came to see as a propaganda device, but an influential and significant movement in film history, which occurred in Italy at the ending of World War II. (John Stubbs, 2010: pg 1) Italy moved from fascism and dictatorship, whereby much was revolved around a single-party position as one can clearly see in the Holocaust, to an equal and democratic society. Here we see this so effectively reflected through Bicycle Thieves when converging neorealist principles, the idea of sentiment to enhance the political statement and the apparent rawness which adds power to the social conditions Through the overall statement to justifiably prove that sentiment was not a downfall to DeSicas focus. The filmmakers and directors clearly believed they had an ethical task to use cinema and film as a means to promote the social amendment that had just occurred post the war. Ideally, it wasnt so much about the storyline of the film and its characters, but more about making the public aware of the difficulties that working people had to face. Here we see a Marxist approach on the rebuilding of Italy whereby unlike the mythology of Classic Hollywood, no single person can change the world and the ultimate society would inevitably be a classless society, as Leo Tolstroy (1882) successfully explains; Everyone thinks of changing the world, but no one thinks of changing himself, for when everyone changes themselves, the world will change.   Neorealisms origin of strength lies in the documentary excellence which is used to portray the realism of the story as realism can only occupy in art from a dialectal position. (Andrà © Bazin, 1971) One might speculate what Bicycle Thieves would be like in colour, however the black and white aspect highlights the tone of the film being a bleak, depressing emotion contrary to the usage of colour which would highlight liveliness and energy and go against the tone of the film. Black and white not only attaches an emotion, but is a form of rebellion to genre and movements that found success in colour. Thus, clearly showing that the sentiment brings about the tone of the film which enhances the message of presenting the gloomy conditions of poverty in post-war Italy. Andre Bazin (1971: 20) describes this through referring to the term reconstituted reportage. Reconstituted reportage is seen through how the every day events are shown, and the daily happenings which would have and did happen in Italy at that period of time. This adds, as discussed above, far more truth to the film and is not the making of a documentary but rather shown and seen in a documentary-type way through with which Bazin (1971) refers to as a journalistic style. Bicycle Thieves has gives off a documentary experience to the audience which could not be removed from the script without thereby eliminating the whole social setting into which its roots are so deeply sunk (Bazin, 1971: 20). Bazin (1971) points out that realism and truth in film is a product of artifice. Truth is an important principle of neorealism, as truth brings realism; the more believable the film is to the audience, the more truthful it is thus, it is seen as realistic. We see this through DeSicas film techniques extensively set out to enhance the opportunity for the audience to live in the story. The real location shooting aids far more freedom and looseness for mise-en-scene, to such an extend that the camera-man is unsure what to look for. An example from the film can be seen when Antonio and Bruno walk away from a car in the street, meander in the streets for a bit heading in the same direction and then suddenly they both go the opposite way. As a viewer, the focus of the camera comes across somewhat as uncertain as the viewer experiences when watching a film for the first time. Here we see how such a camera technique can enhance realism and the opportunity for the audience to experience it. Another technique which is so different to Eisensteins Battleships Potempkin (1925) is that montage is avoided due to jump cutting, removing a sense of truth and realism, with noting that montage is, if anything, modifies realism. This can be seen through the truth of the characters the aesthetics of realism; lighting, location, dà ©cor, camera shots, camera angles and editing. This not only brings about authenticity but also creates a much stronger message for the audience. In Bicycle Thieves, there is a correlation between truth and sentiment, and truth and the political statement Which are justifiably both used in this film without over powering one another (balance) in order to positively enhance the films message. Inevitably, in order for a director to get an actual event (post-war) understood by his audience truth and realism is the most effective approach. Neorealism focuses on the characters and themes without much focus on the plot itself as the plot is seen to warp the truth about people if focus is too much on the execution statement and not the input which is the reasoning for the statement and the very focal point the viewers need exposure to (John Stubbs, 2010: pg 4) Thus, the film wouldve not only been monotonous if there was no sentiment (due to there not being enough material if there was no storyline about characters and a central theme), but to know and understand a situation, one must be put in a stance where one has the opportunity of learning a huge amount about the faith and frustrations of a human being. Equally, a monotonous film due to no sentiment from characters and a central theme, is inevitably a failed film. Through this, neorealists are able to portray truth to a greater extend through bringing about simplicity yet a means of understanding the real life through everyday characters and a central theme (getting t he bicycle back); a main appeal in films even today. Likewise, without sentiment, we wouldnt be exposed to a equilibrium between objective shots of each of the characters and subjective shots showing the audience the characters point-of-view in the social and political conditions they are experiencing. One can also agree that the sentiment aids the whole use of Neorealism principles. Without characters, loose shots wouldnt be blatant to the audience (also in comparison to the few novelty used close-up shots) as loose shots show freedom, which thus emphasizes truth and realism. The storyline being as simple as the search for a bicycle, doesnt take the political statement too far away from the message. Likewise, the actual characters in the film are everyday normal people. We can see this through the workman being found in the factory, the child being found wondering around the streets and the wife being found through her writing. (Andre Bazin, 1971) This is known as Typage whereby there is no star system which immediately creates a far more realistic/truth approach and feel. Similarly, the locations and dà ©cor are real and not built-up or made-up, the lighting is natural which attempts to present reality as it is, the editing is invincible which enhances truth and the camera is free which is unrestricted and brings about a far more convincing viewing. Neorealists not only conformed to such techniques for that these techniques best suited execution of maximum realism in cinema, but is a cinema movement which brought about much rebellion too. Italian Neorealism had already provided a cinematic model for rebellion, both against the conventions imposed by the political and social states ideology (Mark Mesaros, 2010) and past cinema movements such as the success seen in montage in German Expressionism. With the storyline of the characters and the truth which is by principle brought about, I fully agree that it brings sentiment to the screens. However, it puts you (the audience) in a far more heart-felt and understanding position which I believe brings about the political statement in a far more expressive way, rather than a theoretical and cold approach. And as some agree, its not even sentimental its just painful. (The Internet Movie Database, 2010: retrieved 28 April) Instead of a cold theoretical approach which would entail no sentiment, we are introduced to a family who are ordinary and by no means are glamorous heros which is commonly seen in Classical Hollywood. Quite frankly, if we werent introduced to characters and the sentiment they bring, which play a role in this film, I personally dont think much of a political statement would be made as one needs interest to grasp a statement. As we see in Classic Hollywood, the emotional character identification influences the message of the film and is a central characteristic, contrary to Italian Neorealism where characters are everyday individuals who are put in a equal light which intention, also enhances the message this movement wishes to portray. The character of Ricci is the focus of the film, however we are not interested in him but rather what will happen next in the films sequence of events. And even though characters bring about sentiment and the viewer starts becoming attached to the ro le the characters plays, in Bicycle Thieves, Bruno the son unsentimentally still criticizes and looks down on his father. Noticeably very different to what we see in Classic Hollywood. In response to the representation of the political statement made in this film, we are clearly able to see this in noticeable scenes in the film. In the first scene, the camera follows Ricci from the unemployment gathering to his wife where the housing project is in the background, which is fully exhibited to the viewer showing the bleak conditions. We see the men and woman arguing about employment and shortage of water. This emphasis on long and medium shots which appeals to the truth in the film enhances the political message due to the events getting exhibited on a whole Whereas close up would bring more sentiment. Long and medium shots show the actor loosely framed in his environment and allow the viewer opportunity to look around in that environment with the added enhancement of the shots taken at eye level. As well as minimized jumps and shifts through editing to bring more real life to the cinema audience. Thus we see here that sentiment is not overwhelming the political statement, but rather the political statement is actually taking dominance in the shots. Of course DeSica did move in for close-up shots every now and then which becomes a novelty and is in effect very strong and holds the base to string along the story of the characters and the central object, which is needed to (as mentioned earlier) keep the audience interested and not bored. The central object being the bicycle. They are everywhere and yet treasured, and the shortcoming of the Ricci familys position is enforced when Antonios bicycle is stolen. Here, the object brings sentiment to enforce the political statement, and what I find even more interesting is how the title changed from Bicycle Thief to Bicycle Thieves as ultimately it becomes a vicious cycle of survival as one has to steal their own bicycle back from the thief, therefore becoming a thief resulting in thieves. This therefore constitutes to the message of the film, for the continuous battle of the haves and have-nots. Through the character of Antonio, it is the faith that drives him and allows him follow within his quest to find his stolen bicycle. Although DeSicas bleak realism of the post-war gives purpose to the central theme of the film, it is ultimately the conflict of human-optimism which gives the film and its political statement its power and without human sentiment, one can argue that the film would not produce affective power. If we look at three scenes, we are able to see how sentiment brings power to the political statement. In one scene we see Antonio and Maria trade in their bed linen. The camera moves away from them (long shot) and we see the heaps of bed-linen behind the counter-table. This immediately becomes a somewhat gloomy reminder of the extensive nature of unemployment while recognizing its effect on the heart of families household lives. Again we see how realistic the lighting is and how the framing is loose to incorporate the environmental conditions to promote the political message. In another scene we see Ricci reporting his bicycle stolen and is directed by the policeman to the piles of alike reported cases. His account and circumstances are not singular, and we see here how it is not only this family that is going through this but also a lot of people. (Note the title: Thieves and not Thief) Thus portraying the political message that goes beyond this familys personal sentiment. Here we are also shown how humanitarianism prohibited Ricci from pressing official charges anti the thief, and the same moral fiber that became apparent after he stole the bicycle. (Paul Baxa, 2011) He did what the thief did to him. One can argue that such a film was essential in Italy as through this family we have the opportunity of being a bystander to the horrendously forceful civil war amoungst fascists and its ongoing of killing and reprisals through seeing how this effects one, and how not only effecting this family but many others. Italy in post-war was in desperate need of healing and compassion even at the cost of a perceived injustice. (Paul Baxa, 2011) Like art, theatrical drama, writing and poetry cinema had the same power to reach to the masses, into their hearts and minds, and make them aware of the political and social conditions. Healing does not come from the government and leaders of the country, but comes from within the everyday man on the streets you and me. Thus, from the Riccis, those being affected by the war and living within such conditions as well as the audience viewing this film who can in many ways relate. In another scene, arguably the most sentimental scene yet what I believe portrays the political message more powerfully than any other- we see the father and sons relationship come to a mend. It is understood with looking into the Italian family lifestyle, that the father and sons relationship is by far the strongest and most special. Little Brunos appearance when taking his fathers hand in the last scene is merely a realistic point of life and is a means of facing life with your father an important part in Italian culture. With Bruno being the witness of the tragedy and finally coming to realize his father is not a hero after all (contrary to Classic Hollywood), much like the audience being a witness too, this scene gives off a sense of aggravation, mortification, paradox and most of all acceptance to survival. These sentimental feelings therefore expresses the political statement as this ending of when the father and son take hands, expresses manhood and the hardship of survival one needs to go through with still looking for a sense of acceptance. Bazin (1971) explains this father/son scene as reaching puberty. Up to that moment the man has been like a god to his son and their relations came under the heading of admiration. By the fathers actions of becoming a thief, the father has in doing so compromised all heroism that his son had seen in him. However, this scene is seen as acceptance not only in survival, but also acceptance of ones father and supposed role model. He will love him henceforth as a human being, shame and all. (Bazin, 1971: pg 54) This scene inevitabely becomes a deceptive one, as the truth and reality of this acceptance and now found happiness through the fathers wrong doings, depends all on the central object the bicycle. Bicycle Thieves therefore inevitably portrayed the political statement through expressing the social conditions without expressing solutions. One might argue that this is a downfall, however at this moment in time solutions were not theoretical and if healing was going to occur it was going to have to come from the people. Thus, this film is inevitably awareness that needs to be found in each individual, which will create its own solution. Much like the theme and characters inevitably creating a plot on its own in Neorealism. The neorealist approach doesnt have an inbuilt political statement solution, as the most widespread attribute of neorealism is; on location shooting and the feeling of truth. (John Stubbs, 2010) Exactly what Bicycle Thieves so effectively does. One must also remember when viewing this film in the 21st century that twenty-five percent of the Italian workforce was unemployed at the time (William Heuvel, 2008) and if you were employed, getting to work was with th e use of a bicycle. The object of the bicycle thus symbolized survival. In conclusion, one can therefore justifiably argue that the sentimental nature of Bicycle Thieves does not overwhelm the political statement but essentially enhances it. If the political statement made in the film was to feed off a means of a solution, and the solution could only be found in the common individual like the Riccis family then one needs to understand the individuals situation as well as have an opportunity to walk in their shoes. Through sentiment that is not overly used in this film, one can see the hardship for survival through the story of these characters in order to become aware, as well as stay intrigued. Without focalizing power of the central character but rather the political statement through the characters, this film uses The death of one man is a tragedy, the death of millions is a statistic. (Joseph Stalin, 1953) to its advantage by effectively showing the tragedy of individuals with indication to the masses statistic through apparent rawness and emotional intensity focused on such political and social problems. (P. Adams Sitney, 1995)

The Human Breath is a Dangerous Weapon :: essays papers

"The Human Breath is a Dangerous Weapon" A Look at the Economic Conditions of Jamaica and the Lyrics of Reggae Music and Poetry The title for this paper is a quote taken from the poem, "Listen Mr. Oxford Don" Rastafarians use Reggae music and poetry to express themselves; one of their major themes for expression is economic oppression. Jamaica and the Rastafarians suffer more than their fair share of oppression, or as they would appropriately say, downpression, and poverty, yet they are still raising awareness, happiness, and hopefulness. The past and current struggles of the country give way to many powerful words either spoken or sung to the rhythm of Reggae. The General Economic Conditions of Jamaica Compared to Those of America The economic conditions of Jamaica lead to a hard life for many of its citizens. The percentage of the Jamaican population below the poverty line was 34% in 1997 ( 1999 World Development Indicators CD-Rom, World Bank). Like poor people all over the world, the poor people of Jamaica are oppressed, unhealthy, and worried. They do however; know what is going on. They know who their oppressors are, who is in control, who has money, and who has power. Economic numbers, ratios, and statistics can be hard to understand on their own; if they don’t bore you to death first, but once compared to something similar they start to make sense and become interesting. I decided to compare Jamaica’s economic and social indicators with the United States, for two reasons: 1. We are all familiar with the U.S., and the numbers will have more resonance, and 2. " Most tourists to Jamaica arrive from the U.S, which is also Jamaica’s principle supplier of imports and chief market for exports." ( 1999 ABC - CLIO, Inc. Kaleidoscope(Lexus-Nexus)) Some key economic ratios are the GDP and the GNP, these are a measure of income. The GNP(Gross National Product) measures the total domestic and foreign income claimed by a certain economy. It includes the GDP and the money spent in Jamaica by visitors, minus the payments Jamaican’s made in other countries. The GDP (Gross Domestic Product) measures the total output of goods and services; it is the sum of "gross value added by all resident and non-resident producers in the economy, plus taxes, minus subsidies not included in the value of the products. (1999 World Bank CD-Rom). The GNP for Jamaica was four billion dollars in 1997.

Facebook’s Initial Public Offering

The reasons for Facebook to go public In the beginning, Facebook, through its founder Mark Zuckerberg, was unwilling to go public and refused a number of buyout offers. However, it reached the 500 threshold after accepting private investments from firms, which eventually made Zuckerberg decide to go public. The Securities and Exchange Commission (SEC) requires that private companies reaching more than 500 ‘shareholders of record’ must abide by the same requirements of financial disclosure undertaken by public companies (Sloan, 2012). It is clear that Facebook’s decision to go public through an initial public offering (IPO) was not the same as the common reasons of firms when they undertake the same decision, which is to draw more revenues (Palmiter, 2008). However, in the long run, Facebook also aimed to access external financing as a result of IPO (Sloan, 2012). The reasons for companies to go public beyond their need for more money are enhanced financial condition, ability to cash out, improved corporate reputation, and improved opportunity for future acquisition (Peng, 2012). The dollar objective of every company in relation to the amount expected to be raised via IPO The dollar objectives of companies entering IPOs for increased revenue purposes are to develop reserves and increase external funds (Vedavalli, 2007; Sullivan, 2007), access capital (Dana, 2004; Ernst and Hacker, 2012), improve financial condition, increase shareholder value, and improve capital to sustain growth (Ernst and Hacker, 2012). In Facebook’s case, its stock price dwindled as there were concerns about its overpriced IPO and long-term business outlook and lost around $ 25 billion in value (Kuratko, 2012). The expected use of the money raised by IPO One expected use of the money raised by IPO is retiring from debt, in which, it is necessary to pay close attention to the company’s financial data and overall growth prospects. Another is enjoyment of the proceeds by the owners of the shares, especially for the sale of secondary shares. Moreover, sold primary shares (newly created shares) from an IPO increase revenue to the companies’ accounts (Khurshed, 2011). In the case of Facebook, the company raised a large amount of money, which has amounted to $ 18 billion. In actuality, there was no increase in the number of shares it sold to the public; instead, most of the new shares were from Zuckerberg, and such was considered not a good sign (Khurshed, 2011). References Dana, L. (2004) Handbook of research on international entrepreneurship. Glos, UK: Edward Elgar Publishing Ltd. Ernst, D. and Hacker, J. (2012). Applied international corporate finance. Berlin: Verlag Franz Vahlen GmbH. Khurshed, A. (2011). Initial public offerings: The mechanics and performance of IPOs. First Edition. Hampshire: Harriman House Ltd. Kuratko, D. F. (2012) Entrepreneurship: Theory, process, practice. NJ: John Wiley & Sons. Peng, M. W. (2012). Global strategy. Mason, OH: Cengage Learning. Sloan, P. (2012). Three reasons Facebook has to go public. Retrieved on December 3, 2013 from http://news.cnet.com/8301-1023_3-57368449-93/three-reasons-facebook-has-to-go-public/ Sullivan, L. R. (2007). Historical dictionary of the People’s Republic of China. Maryland: A Scarecrow Press, Inc. Vedavalli, R. (2007). Energy for development: Twenty-first century challenges of reform and liberalization in developing countries. London: Anthem Press.

Comment on the reaction of the characters Essay

How does Miller create tension in this episode? Comment on the reaction of the characters. (Pages 35-42) Eddie feels threatened by his young guest, Rodolpho the blond Italian immigrant. The reasons why Eddie feels threatened are based on the fact that Catherine seems interested in Rodolpho. Eddie being her guardian for so many years feels that Catherine is drifted away from him and blames Rodolpho for that. Eddie never showed how he really felt about Rodolpho but throughout this scene some tension between the two characters is clearly conveyed by their actions and words. The first clear sign of tensions arises when the main characters are talking about lemons on trees. Eddie makes a joke about how oranges are painted to make them look orange. Marco claims in Italy oranges are orange. Rodolpho then says that lemons are green. What Rodolpho said seems so non-provoking but Eddie uses it to sound resentful towards Rodolpho for no reason at all. Eddie openly expresses his feelings. Beatrice tried to divert attention since she senses tension arising by asking Marco personal questions. The tension does not become unnoticed. Eddie shifts the discussion they are having that girls in Italy are strict to use it against Rodolpho, once more revealing the bad feelings he has for him. Eddie point out to Rodolpho that girls in the states also are not so free and those girls without a shawl or a black dress are taken for less strict by some. Rodolpho picks up quite well what Eddie tries to say. He can see where Eddie is coming from. He is not that nai ve as we thought he was at the start of the play. Rodolpho can understand that this discussion is really about Catherine and the time he spends with her. He tries to defend himself by saying to Eddie he always has respect about Catherine. Eddie tries to explain to Marco what he is trying to say and Marco sensing himself some tension he replies to Eddie cautiously. Tension increases due to Beatrice’s intervention in the conversation. She clearly defends Rodolpho by telling to Eddie that Rodolpho didn’t dragged Catherine off. The same time Beatrice is going against her husband. Now we don’t only sense tension between Rodolpho and Eddie but also between the couple. Beatrice points out to Eddie to be an uncle to Catherine. She intervenes strictly. Beatrice plays an important role in this episode because she highlights the tension between her and Eddie and also tries to influence Catherine. She tells Catherine to explain to Eddie why she and Rodolpho were late. She is trying to get Catherine involved, to stand up for herself. Marco also gets involved since he is the big brother and â€Å"guardian† of Rodolpho. He tries to ease tension with Eddie. Marco advises Rodolpho on some things to please Eddie and calm things down. Marco also reaches the point of apologizing to Eddie. He feels uncomfortable. Eddie justifies his arguments that Rodolpho shouldn’t stay out late with Catherine because the more he is out the bigger the chances of him being caught. Beatrice once more defends Rodolpho. She says that the same chances exist in the daytime also. With the stage direction indicating Eddie is â€Å"holding back a voice full of anger† illustrates the conflict between the couple. Catherine doesn’t stay quiet with all these happening around her. The whole conversation and tension is about her and she gets her chance to react to Eddie’s awkward behavior. Catherine becomes provoking and in a way rebels against Eddie by asking Rodolpho to dance with her. From the stage direction we see Eddie’s reaction, he freezes. Rodolpho due to the tension and with respect to Eddie he denies her offer. Beatrice once more goes against Eddie by encouraging Rodolpho to dance with Catherine. Catherine takes Rodolphos hands and they dance. A provoking attitude towards Eddie. Beatrice being the distracter in the whole episode she tries to ease the conflict by changing the subject once more. Eddie becomes sarcastic on Rodolphos expense when Marco informs them that Rodolpho can cook. Eddie points out Rodoplho’s qualities several times to mock him. Eddie tries to suggest that Rodolpho is gay, a homosexual. Catherine defends Rodolpho by telling to Eddie that all the big chefs are men and get paid well.

About Presidential Pardons

About Presidential Pardons Not even President Gerald Fords pardon of Richard Nixon caused as much political and legal flak as former President Bill Clintons pardon of Marc Rich, indicted in 1983 on charges of racketeering and mail and wire fraud, arising out of his oil business. And then, before the Rich stew had reached a rolling boil, Sen. Hillary Clinton (D-NY) disclosed that her lawyer brother Hugh Rodham had accepted some $400,000 in fees to help two other felons get pardons from President Clinton. The two pardoned were Glen Braswell, who had served three years for a 1983 mail fraud conviction, and Carlos Vignali, who had served six years of a 15 year sentence for cocaine trafficking in Los Angeles. Sen. Clinton said she was very disappointed and saddened, and told her brother to give the money back and he did, but the damage had been done. Except to Braswell and Vignalie, who ended up drawing Get Out of Jail Free cards, after all. Now, President Bush has stated, Should I decide to grant pardons, I will do so in a fair way. I will have the highest of high standards. [From: Press Conference - Feb. 22, 2001] What are those high standards? Are they written down, and what gives the President of the United States the power to pardon anybody? Constitutional Authority for Presidential Pardons The power to grant pardons is given to the President of the United States by  Article II, Section 2 of the U.S. Constitution, which states in part:   The President ... shall have power to grant reprieves and pardons for offenses against the United States, except in cases of impeachment. No standards, and only one limitation no pardons for the impeached. Can Presidents Pardon Their Relatives The Constitution places few restrictions on who presidents can pardon, including their relatives or spouses. Historically, the courts have interpreted the Constitution as giving the president virtually unlimited power to issue pardons to individuals or groups. However, presidents can only grant pardons for violations of federal laws. In addition, a presidential pardon only provides immunity from federal prosecution. It does provide protection from civil lawsuits. What the Founding Fathers Said The whole subject of presidential pardons stirred little debate at the Constitutional Convention of 1787. No less estimable Founding Father than Alexander Hamilton, writing in Federalist No. 74, suggests that, ... in seasons of insurrection or rebellion, there are often critical moments, when a well-timed offer of pardon to the insurgents or rebels may restore the tranquility of the commonwealth. While a few Founders suggested involving Congress in the pardons business, Hamilton remained certain the power should rest solely with the president. It is not to be doubted, that a single man of prudence and good sense is better fitted, in delicate conjunctures, to balance the motives which may plead for and against the remission of the punishment, than any numerous body [Congress] whatever, he wrote  in Federalist 74.. So, except for impeachment, the Constitution places no restrictions whatsoever on the president in granting pardons. But what about those standards President Bush has promised to apply to any pardons he may grant? Where and what are they? Loose Legal Standards for Presidential Pardons While the Constitution places no significant limitations on them in granting pardons, we have certainly now witnessed the grief that can come to presidents or former presidents who appear to grant them haphazardly, or show favoritism in the act. Surely, presidents have some legal resources to draw upon when saying, I granted the pardon because... Operating under the guidelines of Title 28 of the U.S. Code of Federal Regulations, Sections 1.1 - 1.10, the U.S. Pardon Attorney, of the Justice Departments Office of Pardon Attorney assists the president by reviewing and investigating all requests for pardons. For each request considered, the Pardon Attorney prepares the Justice Departments recommendation to the president for the final granting or denial of the pardon. Besides pardons, the president may also grant commutations (reductions) of sentences, remissions of fines, and reprieves. For the exact wording of the guidelines used by the Pardon Attorney in reviewing requests for pardons, see: Presidential Pardons: Legal Guidelines. Keep in mind that the recommendations of the Pardon Attorney to the president are just that recommendations and nothing more. The president, bound by no higher authority than Article II, Section 2, of the Constitution, is in no way required to follow them and retains the ultimate power to grant or deny clemency. Should This Presidential Power be Limited? At the Constitutional Convention of 1787, delegates easily defeated proposals to make presidential pardons subject to the approval of the Senate, and to limit pardons to persons actually convicted of crimes. Proposals for constitutional amendments limiting the presidents pardoning power have been offered in Congress. A 1993 resolution in the House suggested that, The President shall only have the power to grant a reprieve or a pardon for an offense against the United States to an individual who has been convicted of such an offense. Basically, the same idea proposed in 1787, the resolution was never acted on by the House Judiciary Committee, where it slowly died. As recently as 2000, a Senate joint resolution proposed an amendment to the Constitution that would have allowed crime victims the right to reasonable notice of and an opportunity to submit a statement concerning any proposed pardon or commutation of a sentence. After officers of the Justice Department testified against the amendment, it was withdrawn from consideration in April of 2000. Finally, keep in mind that any limitation or change to the presidents power to grant pardons will require an amendment to the Constitution. And those, are hard to come by.

Julius Ceasar Essays (2007 words) - Julius Caesar, First Triumvirate

Julius Ceasar Essays (2007 words) - Julius Caesar, First Triumvirate Julius Ceasar Julius Ceasar Julius Caesar was said to be the greatest man in the Roman world. Some historians, and among them those of international authority, have made greater claims for him. He was the greatest of the Roman would but of antiquity. Looking through the onlg list of rulers, kings and emperors and the rest, they have failed to find an wuqual of this man who refused the style of king but those name Ceasar has become the commanding majesty and power. Great as a general, great as a politican. Born in 102 B.C., or it may have been tow or three years later, Gaius Julius Caesar, to give him his full name, was of the most ancient and aristocratic lineage. Although he himself, rationalist as he was, must have smiled sometimes at the conceit, there were some who said that he was not only of royal but divine descent, since Venus, the goddess of Love, and married a Trojan prince and so become the mother of the legendary founder of the Julian house. All the same, circumstances and perhaps personal inclinations attached him to the comparatively democratic party. His aunt had married as a youth of seventeen to the daughter of Cinna, another leader of the fraction tht was opposed to the aristocratic party under Sulla, Marius, great rival. A year or two later, when Sulla had become supreme in the state, the young man was ordered to put away his wife. He refused, and his life was saved only through the intercession of powerful friends in Rome. But though he had been reprieved, Ceasar was far from safe, and for a time he skulled in the mountains until he managed to get acrss the sea to Asia Minor, where he served in the Roman army that was campaigning against Mithridates, the king of Pontus. At the seige of Mitylene in 80 B.C. he first distinguished himself as a soldier when he saved the life of a hard-pressed cmrade. On the death of he kept himself at the bar. His politics and made a career for himself at the bar. His political learning were showwn clearly enought, however, when he ventured to act as prosecutor of one of Sullas principal lieutnants, who was charged with gross extortion and crueltu when he was governor of the Macedonian province. To improve himself in rhetoric, Casear went to Rhodes to take a course of lessons under a celebrated master of that art, and it was probably at about this time that he had his famous encouter with Mediterranean pirates. These rufians captured the ship in which he was a passenger, and put his ransom. While his messenger was away collecting the money, Caesar made himself quite at home with his captors. He told them amusing stories, joked with them, joined in their exercises, and, always in the highest good humor, told laughed and joined in the fun. But Caesar was as good as his word. As soon as his ransom had been paid some over and he regained his liberty, he went to Miletus, hired some warships, and made straight back to the pirates, and ordered them to be crucified as he had assured them that he would. He also got back the money that had benn paid as his ransom. Still on the fringe of the political arena, Caesar spent the next few years as a gay young man about town. His family wasnt rich, but there were plenty of moneylenders who were glad to accommodate him. He spent money like water, on expensive pleasures women particularly, since he was as facinating to them as they were to him and on building up a body of popular support for the time when he might need it. Then in 68 B.C. he got his first official appointment under Government, as a quaestor, which secured him a seat in the Senate, and in 63 B.C. he appointed Pontifex maximus, a position of great dignity and importance in the religion establishment of the Roman State. He was onthe way up, and his rise was furthered by successful administration of a province in Spain. So capable did he prove that in 60 B.C. he was chosen by Rome, to form with him and crassus what is called the 1st Triumvirate. To strengthen the union between himself and Pompey, Caesar gave Pompey his daughter Julia in marriage. Then after a year as Consul, Caesar applied for, and was granted, the proconculship of Gual