Government Ban of Cyberporn on the Internet Essay - 1

Government Ban of Cyberporn on the Internet - Essay Example The Cyber porn Industry has over the years grown very fast posing a great threat to the social and moral values of various communities in countries all over the world.This menace has spread so wild to the extent that ,it has has become almost uncontrollable and is also destroying many. This is due to some factors which have given the needed attention to be able to stop this problem as quickly as possible. One of such problem is the how people are easily influenced to engage in or use pornographic materials either by their friends or deceitful adverts they might seen on the internet. Pornography in general is very addictive and even experts have been able to proof that overcoming pornographic addiction is more difficult than overcoming the addiction of drugs. One other factor is the way cyber porn is easy to access these days due to wide spread of Internet facilities in our society. This therefore makes it very easy for people to get access to it as often as they want making it very difficult for them to resist since it is very influential especially amongst the teens who are naturally very adventurous age group. This problem of cyber porn, have had a very devastating effect on our society no matter the age group in question. Lets take the effects it has on non-adults for instance, these children or non-adults are filled when a lot of lustful pleasures when they watch these pornographic pictures on the internet. They then begin to have very evil desires as a result because these things infuse nothing but evil motives into them. This in a long run as result of them, not been able to control themselves, end up practicing the very things they see on the internet in the wrong time of their lives and with the wrong person. This affects their moral life hence reducing the moral standards of our societies, which is very bad.

Current issues regarding immigrants in the U.S Essay

Current issues regarding immigrants in the U.S - Essay Example These immigrants largely affect the country in terms of its economy, legislation, national security, population growth and other national and legal issues. Likewise, the current immigration system in the United States of America is a very important topic because it concerns the security, social, political, and economic aspect of the country. On the other end, it also concerns the welfare of millions of people who migrated from other countries all over the world to America. In line with this, it is realized that a considerable time must be devoted in discussing the current immigration in the United States of America. Moreover, a reform must be done to further improve the immigration system of the country to maximize the benefits that can be derived both for the immigrants and for the country. On this memorandum, it presents the three most pressing issues regarding immigrants in the U.S. as these issues have current situations that are considered most problematic. It then offers and di scusses a possible solution for each issue regarding immigrants in the country. Lastly, the implications of the proposed solutions are related to different interest groups. 1.2 IMMIGRATION IN THE UNITED STATES For many years, immigration contributed a large percentage on the population growth of America. The United States of America has been the number one destination for immigrants seeking a place to realize their desired lives, thus gives birth to the â€Å"American Dream†. In 2006, the United Nations reported that the total immigrant population in the world amounts to approximately 186,579,300 and 20.56% of which is in the United States of America (â€Å"International Migration†). The America has almost four times that of Russia’s 6.47% which has the second most number of immigrants in the world. In another account, the 2009 American Community Survey of the United States Census Bureau shows that there are 38,517,234 immigrants in the United States (â€Å"Mig ration Policy Institute†). That is about 12.5% of the U.S. population which is significant enough to affect many aspects of the United States as a country. The number of immigrants in the U.S. continues to increase by 700,000 each year (â€Å"Real Problem with Immigration†). Problems to regulate the number of immigrants in the U.S. initiate legislative reform on the immigration system of the country. 1.3 PREVIOUS IMMIGRATION REFORM BILLS It is recognized that there were previous efforts to reform the immigration system of the United States through immigration reform acts. In the past three decades, there were three notable bills that were passed in the House of Representatives and in the Senate. These are the Immigration Reform and Control Act of 1986, Border Protection, Anti-terrorism, and Illegal Immigration Control Act of 2005, and Comprehensive Immigration Reform Act of 2006 (Segal, Elliott and Mayadas 32). For the Immigration Reform and Control Act of 1986, its maj or provisions are legalization for undocumented aliens who entered the country since 1982 and certain agricultural workers, sanctions for employers who hire illegal immigrants and increased enforcement at U.S. borders (â€Å"Immigration Reform†). The Border Protection, Anti-terrorism, and Illegal Immigration Control Act of 2005 aims to implement increased security at the U.S. border to prevent illegal immigrants

Psychosynthesis Approach: Object Relations Theory Overview

Psychosynthesis Approach: Object Relations Theory Overview The therapeutic model of psychosynthesis grew out of the psychodynamic movement and is based on work done by Robert Assagioli (1888-1974). Psychosynthesis takes an optimistic view of the human condition, theorising that a person progresses naturally towards a state of synthesis. For Assagioli, synthesis refers to the idea that people become interdependent and create higher levels of organisation within themselves and others (Assagioli, 1975). This essay examines how psychosynthesis helps people to re-establish their own centre and reach a new level of authenticity within themselves through the use of object relations theory. The model of human consciousness within which psychosynthesis operates can be seen as comprising of a number of layers (Hardy Whitmore, 1999). The layer at which we most normally operate is referred to as the field of consciousness. Most people live their whole lives at this level and do not experience different levels. In psychosynthesis, however, there are considered to be a number of levels at which human beings operate: different, lower levels of consciousness as well the higher, collective consciousness. It is the lower levels of consciousness which are of most practical interest to therapists. These contain traumas that have been covered up, childhood experiences and defensive strategies. While trauma can lie hidden, so can our greatest assets, skills and happiness. Psychosynthesis aims to establish contact with both the traumatic, damaged parts of the self as well as the beautiful parts (Hardy Whitmore, 1999). This process is often called self-realisation and is the result of three stages in psychosynthesis. In infancy, the primary task is ego formation, the creation of a vehicle for the self (Simanowitz, 2003). The second stage is the emergence of the I which normally occurs in adolescence. The third stage is referred to as self-realisation and this is the growing consciousness of the essential self. The psychosynthesis counsellor acts as a kind of external unifying centre who can facilitate the growth of self-esteem through helping the client make the I-Self connection (Whitmore, 2000). One of the main ways in which the therapist helps the client is through mirroring these are confirming responses from the therapist which attempt to calm and soothe (Simanowitz, 2 003). How is it possible, then, to reach this ultimate goal of self-realisation and high self-esteem? Psychosynthesis uses an analysis based on object relations to examine early relationships in life. Object relations theory has at its core the idea that not only do we need relationships, but that the type of relationships that we have determine how our self develops (Crossley Gopfert, 1999). Object relations is, therefore, interested in the way the self develops through the initial relationships with the primary caregivers and how the child begins to split themselves off. Where does the boundary come? How can I tell who is you (the object) and who is me (the self, the I)? In psychosynthesis, these problems are approached using the tool of object relations. Object relations concentrates on two main types of objects: the external objects of other people and the internal objects which are the way in which external objects are represented internally. There are also part objects which are those that are not recognised as full whole people: one example of a part object is that of a breast to a baby. Minsky (1995) describes how Melanie Klein often considered a transitional figure between classical psychoanalysis and object relations theorists focussed on how a baby struggles to relate to people. Central to the way the baby relates is the phantasies it creates these are essentially the babys interpretations of its internal and external representations: what are now considered its object relations. For Klein, these phantasies are based on the childs instincts. The development of these early relations, in Kleins theory, sets the tone for a persons life. Klein saw two possible positions for the baby to take up (Minsky, 1995). The first is the paranoid-schizoid position this is based on the fear of attack. Because the baby is vulnerable and completely dependent on the mother, it fears what the mother might do to it. For Klein this was a developmental stage to be overcome in order to reach the understanding that it is possible to integrate hating and loving feelings. The second is called the depressive position and here the baby must learn to internalise an external world which contains the possibility of integrating good and bad objects. Bad feelings towards the mother and the self are, thereby, integrated and accepted. It is the depressive position that provides most of us with the greatest challenge in our lives. Klein identified four unconscious processes that are important in early object relations (Minsky, 1995). The first of these is termed splitting and refers to how the baby unconsciously splits objects into good and bad (Klein, 1946/1975). This occurs to defend the baby against annihilation anxiety and is directed against threats. An example of this is how the baby idealises the breast early in life. But, over time, through the struggle between the life and death instinct, a bad and good image is created of the breast. With splitting, in Kleins theory, comes the early production of the superego in which both the good and bad aspects of the breast and the mother are incorporated. The second unconscious process is projection which refers to the baby taking its inner good and bad feelings and projecting them onto the world. The inner bad objects, split off, can be projected onto the mother. The third unconscious process is introjection this is where the baby internalises both the good and the bad things around it. In order to build an autonomous self, the baby should internalise more good than bad (Minsky, 1995). Finally projective identification occurs where, after identifying with the object initially, the baby re-internalises it. This will often lead to heavy dependence on the love object as it has effectively included part of the self (Minsky, 1995). The problem with relationships built on projective identification is that they are often characterised by a need to control as well as fear of being controlled. Central to counselling in psychosynthesis is the idea of subpersonalities. These are identities that exist within the person, each with their own behaviour pattern, beliefs and even body posture (Whitmore, 2000). Depending on the situation in which a person is placed, a different subpersonality comes to the surface, which is appropriate in a healthy person. The subpersonalities are essentially unconscious, beyond the individuals control and are normally in place to meet some kind of basic need. The danger is that a person becomes trapped by one particular subpersonality and this starts to control their life. In order to work with subpersonalities it is necessary, according to Whitmore (2000), to recognise those that seem most important. And beyond the surface behaviour of a personality, lies their quality which they want to express. One example of recognising the quality of a subpersonality might be where an ex-addict has developed a tough-guy image the quality of perseverance and c ourage can be recognised in this (Whitmore, 2000). The idea of subpersonalities is built on, and informed by, Winnicotts (1960) distinction between the true and false self. The development of each of these is strongly affected by the mothers attitude towards her child. Winnicott (1960) describes the good-enough mother and the not good-enough mother. The former acknowledges the childs displays of omnipotence in order to encourage the development of the ego. The not good-enough mother, however, tends to, for example, substitute her own signs and signals for the babys and as such the baby only develops an illusion of omnipotence. This can lead to the impaired understanding of external objects, as they are not understood in their true sense. As a result of parenting practices such as these, it is possible for a false self to develop. A false self has been described by Rubin (1998) as a predictable or inauthentic mode of being, whereas the true self is spontaneous and authentic. A clinical vignette is provided by Winnicott (1960) of a middle-aged woman who had developed a caretaker self who looked after the day-to-day functions of her real life. She felt, though, that she had not been in contact with her real self and she had not begun to exist. Winnicott treated her by allowing the caretaker self to slowly pass over its functions to the analyst until a crisis point was reached. This crisis allowed the patient to see and understand the caretaker self as well as the real self. One of the most important therapeutic dynamics in psychosynthesis, as in other forms of psychotherapy, is transference. Transference describes how clients often re-enact with the therapist those early relationships that were important to them (Hardy Whitmore, 1999). This works as the client specifically projects the traits that were, for example, seen in the parents, onto the therapist and uses the same emotional responses and behaviours. By carrying out this projection, the client is attempting to repeat their early relationships, such that the therapist can become the target for a wide range of emotions (Whitmore, 2000). Counter-transference is an important related phenomenon to transference. This acknowledges that there are two people involved in the therapeutic relationship and it is possible that the therapist will start to play out early relationships as well. In psychosynthesis, it is vital that counter-transference is acknowledged by the therapist and that the client continu es to be viewed as containing immense potential. There are a number of ways in which transference can operate; two examples are idealisation and devaluation. Idealisation occurs when the client sees the therapist as a perfect person and incapable of making mistakes. What happens in this scenario is the client effectively creates in the therapist a surrogate parent who they wished they had had this provides them with external security. On the other hand, devaluation can cause the client to see the therapist as flawed or powerless because of the way in which transference has occurred and been identified (Ashbach, 1994). Transference, for Assagioli (1967), is seen as something to be reframed in a positive manner. In this sense, transference is an attempt by the client to find unity within themselves. The separation and splitting referred to earlier, at its most basic between mother and child, requires healing. To achieve this healing, the therapist mirrors unconditional love to the client, and attempts to dissolve transference as it arises. Through this process it is hoped that the client will be able to begin reintegrating the split-off parts, allowing the I to see all of them and hold them together. Ultimately, the aim of therapy is, as Masterson (1988) expresses it, to reach a concept of constancy and wholeness that acknowledges life is a series of shades of gray rather than black and white contrasts. In conclusion, ego development and self-esteem are addressed in object relations theory by examining the clients earliest relationships. Within these early relationships are found the dynamics which can reverberate through the rest of a persons life. Psychosynthesis uses object relations to analyse these relationship, paying particular attention to unconscious processes such as splitting, projection, introjection and projective identification. The process of therapy within this model pays particular attention to the operation of subpersonalities, as based on Winnicotts distinction between the true and false self, as well as how transference and counter-transference affect the therapeutic dynamic. Finally, psychosynthesis views the journey of therapy as being towards a reintegration and acceptance of the split-off parts of the self such that the client can reach a new authentic understanding and reconstruction of the personality around the true self. References Ashbach, C. (1994) Object Relations, the Self and the Group. Oxford: Routledge. Assagioli, R. (1967) Jung and Psychosynthesis. New York: Psychosynthesis Research Foundation. Assagioli, R. (1975) Psychosynthesis: A Collection of Basic Writings. Wellingborough: Northants Turnstone Press. Crossley, D., Gopfert, M. (1999) Cognitive analytic counselling and psychotherapy. In: S. Palmer (Ed.), Introduction to Counselling and Psychotherapy: The Essential Guide. London: Sage Publications. Hardy, J., Whitmore, D. (1999) Psychosynthesis. In: S. Palmer (Ed.), Introduction to Counselling and Psychotherapy: The Essential Guide. London: Sage Publications. Klein, M. (1946/1975) Notes on some schizoid mechanisms. In: R. Money-Kyrle (Ed.), The writings of Melanie Klein (Vol III, 176-235). New York: The Free Press (Macmillan) Masterson, J. F. (1988) The Search for the Real Self: Unmasking the Personality Disorders of Our Age. London: The Free Press. Minsky, R. (1995) Psychoanalysis and Gender: An Introductory Reader. Oxford: Routledge. Rubin, J. B. (1998) A Psychoanalysis for Our Time. New York: New York University Press. Simanowitz, V. (2003) Personality Development. Maidenhead: Open University Press. Whitmore, D. (2000) Psychosynthesis Counselling in Action. London: Sage Publications. Winnicott, D. W. (1965) The Maturational Processes and the Facilitating Environment. London: Hogarth Press.

Teenage Years Are Depressing :: essays research papers

Teenage years are depressing because they are going through some of the biggest changes in their life. Teens start high school and have to deal with being little in a school again. They go through major hormonal changes. Their bodies develop and grow. They have to decide whether or not they are going to college or not. If they choose college, then what college will meet their needs the best? Will they even be accepted to the college they want to go to? These are major decisions and changes they have never experienced before. Then there is the daily life. They wake up in the morning dreading school, they know they have to go. They just don't want to go. Then they get ready and go to school. They are depressed about school. They go to all their classes. The end of the day is nearing and they may be depressed about having to go home. Their family life might be bad. They go home and what do you do? Sit down, watch television, play a video game, lock themselves in their room, or just going around being mad at everyone and their life. This really is the pits. They need to change their life whether it be changing their after school activity or changing their attitude. Depression is defined as a psychoneurotic or psychotic disorder marked especially by sadness, inactivity, difficulty in thinking and concentration, a significant increase or decrease in appetite and time spent sleeping, feelings of dejection and hopelessness, and sometimes suicidal tendencies. No two people feel or experience depression the same way. The symptoms and causes of depression are very different for everyone. Lawrence Clayton, Ph.D. and Sharon Carter write, "The National Institute of Mental Health (NIMH) [reported that] for 4 to 10 percent of the American public at any given time the ["downer"] mood doesn't lift." They also reported that one quarter of the population would experience a major depressive period during their lifetime (8). One out of four people will have a problem with depression in the United States. NIMH also reported that "approximately 4 out of a 100 teenagers get seriously depressed each year. Clinical Depression is a serious illness that can affect anybody, INCLUDING TEENAGERS" ("Let's Talk" 1). Gerald D. Oster, Ph.D., Sarah S. Montgomery, MSW, write, "Clinical depression refers to a condition marked by the changes in one's mood and by associated behaviors that range from a mild degree of sadness to intensely experienced feelings of hopelessness and suicidal thought's" (43).

Fantasy V Reality †Streetcar Named Desire Essay

Fantasy v reality Remember: AO1 communicate clearly the knowledge, understanding and insight appropriate to literary study, using appropriate terminology and accurate and coherent written expression. DuBois World * â€Å"old south† mindset * Aging Southern belle who lives in a state of perpetual panic about her fading beauty * Beginning she was half sane, then contributing people drive her to insanity. * Loss of reality, represents fantasy * â€Å"The state of your life is nothing more than a reflection of your mindset.† * â€Å"It wouldn’t be make believe if you believed in me† – Scene 7 * Story of a changing South containing characters struggling with the loss of aristocracy to the new American immigrant, the fallout of chivalry to a new mind-set of sex and desire, and a woman grasping desperately at the last bit of fantasy she can muster. DuBois World * â€Å"old south† mindset * Aging Southern belle who lives in a state of perpetual panic about her fading beauty * Beginning she was half sane, then contributing people drive her to insanity. * Loss of reality, represents fantasy * â€Å"The state of your life is nothing more than a reflection of your mindset.† * â€Å"It wouldn’t be make believe if you believed in me† – Scene 7 * Story of a changing South containing characters struggling with the loss of aristocracy to the new American immigrant, the fallout of chivalry to a new mind-set of sex and desire, and a woman grasping desperately at the last bit of fantasy she can muster. The structure of A Streetcar Named Desire is best seen through a series of confrontations between Blanche DuBois and Stanley Kowalski. In the first scene the confrontation is not so severe, but it increases in severity until one of the two must be destroyed. To understand fully the scenes of confrontations, the reader should have a good understanding of what is at stake in each encounter. That is, he should understand some of the differences between the DuBois world and the Kowalski world. Kowalski World * â€Å"new south† mindset * Beastly, Stanley possesses an animalistic physical vigor that is evident in his love of work, of fighting, and of sex * Represents reality * â€Å"He acts like an animal, has an animal’s habits! Eats like one, moves like one, talks like one! There’s even something sub-human — something not quite to the stage of humanity yet! Yes, something — ape-like about him, like one of those pictures I’ve seen in — anthropological studies.With his Polish ancestry, he represents the new, heterogeneous America† – Scene 4 (Blanche) * Destroys Blanche’s fantasy Kowalski World * â€Å"new south† mindset * Beastly, Stanley possesses an animalistic physical vigor that is evident in his love of work, of fighting, and of sex * Represents reality * â€Å"He acts like an animal, has an animal’s habits! Eats like one, moves like one, talks like one! There’s even something sub-human — something not quite to the stage of humanity yet! Yes, something — ape-like about him, like one of those pictures I’ve seen in — anthropological studies.With his Polish ancestry, he represents the new, heterogeneous America† – Scene 4 (Blanche) * Destroys Blanche’s fantasy Exploration of boundary between exterior and interior sets. Two room Kowalski apartment reflects surrounding streets. Scene 10: grotesque menacing shapes, jungle noises and distorted music are employed to reflect Blanche’s terror. Scenes 10 and 11: The use of distorted shapes and jungle cries as symbols of human cruelty. Scene 9: We hear the vendor’s cry of the Mexican Woman, â€Å"Flores, flores para los muertos† (flowers, flowers for the dead). It follows the moment when Mitch denounces Blanche as a liar and thereupon refuses to marry her. Blanche and Stella have huge dependence on male companions as it is their only way to achieve happiness (their sustenance and self image are reflected through men) Scene 4 Blanche recognises that Stella could be happier without the abusive husband for support, but this is hypocritical as she calls Shep Huntleigh for financial support. Stella chooses Stanley for love – Williams does not criticize but makes it clear that there is a FUTURE with him. A Streetcar Named Desire Plot Analysis Most good stories start with a fundamental list of ingredients: the initial situation, conflict, complication, climax, suspense, denouement, and conclusion. Great writers sometimes shake up the recipe and add some spice. Initial Situation â€Å"Meat!† Yes, that’s right – the early interactions between Stella and her husband constitute the initial situation of A Streetcar Named Desire. It’s important for us as the reader/audience to see the status quo of the Kowalski’s relationship before Blanche shows up and alters it for the duration of the play. Conflict Blanche arrives; something is up The immediate physical incongruity of Blanche and her surroundings lets us know that she isn’t going to fit in well here in New Orleans. Her first conversation with Stella hints at secrets she’s trying to hide. And her first encounter with Stanley is wrought with tension, sexual and otherwise. All the news of the loss of Belle Reve doesn’t help, either. Complication Blanche’s relationship with Stanley grows more and more antagonistic, especially as Stanley learns more about Blanche’s past in Laurel. Blanche and Stanley’s relationship grows more and more difficult, with Blanche constantly insulting him, and Stanley becoming more angry and aggressive. Stanley also learns about Blanche’s secret past, which he informs Stella and Mitch of. These multiple, small complications are what modern writer and essayist John Barth calls â€Å"incremental perturbations† – the water gets muddier bit by bit as the play progresses, and every new complication adds a layer of intensity and emotional weight to the story. Climax Scene Ten – the rape Did you notice that Stanley says to Blanche, â€Å"We’ve had this date with each other from the beginning!†? We know that 1) Stanley doesn’t like Blanche, 2) he takes out his anger physically, and 3) he’s practically defined by his sexual aggression. This scene seems the inevitable result of their increasingly antagonistic relationship. Suspense Already happened In this play, the suspense stage can be found in Scene Ten with the Climax. The suspense builds as we watch Blanche interact with Stanley, make a frantic phone call, declare repeatedly that she’s â€Å"caught in a trap,† and try to run away. Once the rape is over, we enter Scene Eleven without further suspense. Denouement Scene Eleven With the rape and the birth of Stella and Stanley’s child over and done with, the play’s final scene has â€Å"falling action† written all over it. Blanche’s descent into madness is complete, and we’re now looking at the aftermath to the destruction that took place at the earlier climax. Conclusion Stanley and Stella on the porch together Stella’s reaction to Blanche’s condition and story regarding her husband, and her decision to carry on her marriage in spite of it, constitute the play’s conclusion. This is summed up nicely in the image of her sitting on the porch with her baby in her arms, accepting comfort from her husband after her sister’s just been carted off to an institution. Dialogue Scene 9: â€Å"when I die, I’m going to die on the Sea.† – showing how after everything Blanche is accused of and put through, her fantasy is to be by the sea, washed clean and tranquil. Scene 9: â€Å"die..hand in hand of some nice- looking ship’s doctor, a very young one..† – Again, Blanche has always fantasized over young men, there are many references to Blanche and young men throughout the play. Scene 9: â€Å"I don’t want realism, I want magic. Magic.† – Throughout the play Blanche is the symbol of Fantasy. She dislikes the way things are in reality, and so let’s herself live in her own dream world. Scene 4: â€Å"He acts like an animal, has an animal’s habits! Eats like one, moves like one, talks like one!† – Blanche likes to think of people in a more outworldy way. She tries to justify the way Stanley is by saying he’s just not human. Stage directions Scene 7: Contrapuntal staging – irony with Blanches singing and Stanley’s gossiping. â€Å"it wouldn’t be make believe, unless you believe in me† – Blanches fairy like songs , bringing her back to her dream world, wanting to escape from reality. The music of the ‘Blue Piano’. – every now and then Blanche breaks through her fantasy world and into reality again, this is shown when the ‘blue piano’ plays. It is a memory of her dead husband, and the way that he died. From Blanche’s reaction towards the music playing, we can tell it is a memory she wishes to forget: ‘she sways and covers her face’, ‘the polka tune fades out. Her breath is drawn and released in long, grateful sobs.’ Bibliography: http://www.sparknotes.com/lit/streetcar/themes.html Blue piano, magic AO3 perspectives and viewpoints: * Marxist viewpoint: Looking at the play ‘A Streetcar Named Desire’, it can be analysed through a Marxist perspective, reading into how the class struggle throughout the play is prominent in establishing Blanche’s role. Blanche and Stella are from a well off background, a plantation called â€Å"belle reve†. Stella has lived in New Orleans and has adapted well to the unfair male structure of the world she lives in, however the arrival of Blanche attempts to undo this with her intellect. However, even Blanche herself unable to break free from the convention of being second class citizen due to her status as a female, despite being intellectually superior to the males. The class struggle between Blanche and Stanley is a key focus point throughout the play, with Blanche looking down on Stanley, constantly referring to him as a â€Å"polack†, a derogatory term she uses to set her superiority amongst him. This however backfire massively as it causes huge tensions between Stanley and Blanche, ending once the rape of Blanche has been successfully attempted. This can show in William’s point of view how despite room for change, the American 1940s is not ready for equality and change, with the class perspective overruling equality. Ironically in the Marxist viewpoint, equality should be achieved by all in a socialist society; A Streetcar Named Desire elaborates on how the ideas of class equality is nothing more than a pipedream which cannot be attempted nor achieved in the dense capitalist America the play is set in. It can be further extrapolated to assume that Williams’ play is one to show the bitter struggle between fantasy and reality, with Marxism being the fantasy which cannot be achieved. * Queer theory viewpoint: Links can be established with William’s own gay perspective of his personal life, uses the play a streetcar named desire to show the oppression he himself faces through being a gay man in the American 1940s; it was considered an illegal immoral activity, and so he could not openly state his personal life. Through using blanche he portrays his own fractured psyche, linking his oppression as a homosexual to the oppression she faces in the misogynistic structure of America at that time. Whilst a time of change many things were still suppressed, with homosexuals and females being considered to be lower class than men, even males with a lower class background than the females. This can link well with how Blanche is treated during the play, despite coming from a higher class than the men of the play, she herself is supressed in her activities, and is considered mentally incapable and weak by the male characters as the play progresses. It can be inferred that Williams uses the female characters of the play to convey his own sense of inferiority during the American 1940s. Williams’ ideas of fantasy versus reality feature prominently though the ‘queer’ perspective; he clearly shows Blanche’s own broken mind, elaborating by the end how she sees â€Å"lurid reflections appear on the walls in odd, sinuous shapes†. This can be seen as Blanche’s own struggle with fantasy versus reality, unable to distinguish the two. AO4 Other work: The themes of Streetcar are typical of Williams work. The idea of feeling trapped in a fantasy world, much like in ‘The Glass Menagerie’. The contrast in gender, woman feeling much more insecure about the reality of the outside work than the men of the plays was a common idea for many of Williams’ plays. The themes of fantasy in ‘A Streetcar Named Desire’ are also similar to those of ‘Summer and Smoke.’ The sexual and spiritual characteristics of Blanche are much like that of the character Alma in ‘Summer and Smoke’ Williams’ personal life: Williams sister was diagnosed with Schizophrenia and he remained close with her throughout his life. It can be inferred that this greatly influenced the ideas of mental illness’s being basis for fantastical elements within his plays. In the late 1930s Williams accepted he was homosexual, this was a crime during his period in which he lived in. this mean that Williams arguably included the idea of homosexuality in many of his plays as a way of escaping the troubles of his personal life. For example it is suggested that Blanche’s young lover who ended his life in ‘A Streetcar Named Desire’ was homosexual. Historical background: ‘The American Dream’ was a key idea in the US during the 1940’s as it was soon after ‘The Great Depression’ This dream is often mentioned throughout the play, the name of Blache and Stellas old house being ‘Belle Reve’ translating to ‘beautiful dream’

Definition of Nuclear Fission

In nuclear physics and nuclear chemistry, nuclear fission refers to either a nuclear reaction or a radioactive decay process in which the nucleus of an atom splits into smaller parts (lighter nuclei), often producing free neutrons and photons (in the form of gamma rays), and releasing a very large amount of energy, even by the energetic standards of radioactive decay. The two nuclei produced are most often of comparable but slightly different sizes, typically with a mass ratio of products of about 3 to 2, for common fissile isotopes. 1][2] Most fissions are binary fissions, but occasionally (2 to 4 times per 1000 events), three positively charged fragments are produced in a ternary fission. The smallest of these ranges in size from a proton to an argon nucleus. Fission as encountered in the modern world is usually a deliberately-produced manmade nuclear reaction induced by a neutron. It is less commonly encountered as a natural form of spontaneous radioactive decay (not requiring a n eutron), occuring especially in very high-mass-number isotopes. The unpredictable composition of the products (which vary in a broad probabilistic and somewhat chaotic manner) distinguishes fission from purely quantum-tunnelling processes such as proton emission, alpha decay and cluster decay, which give the same products every time. Fission of heavy elements is an exothermic reaction which can release large amounts of energy both as electromagnetic radiation and as kinetic energy of the fragments (heating the bulk material where fission takes place). In order for fission to produce energy, the total binding energy of the resulting elements must be greater than that of the starting element. Fission is a form of nuclear transmutation because the resulting fragments are not the same element as the original atom. Nuclear fission produces energy for nuclear power and to drive the explosion of nuclear weapons. Both uses are possible because certain substances called nuclear fuels undergo fission when struck by fission neutrons, and in turn emit neutrons when they break apart. This makes possible a self-sustaining chain reaction that releases energy at a controlled rate in a nuclear reactor or at a very rapid uncontrolled rate in a nuclear weapon. The amount of free energy contained in nuclear fuel is millions of times the amount of free energy contained in a similar mass of chemical fuel such as gasoline, making nuclear fission a very dense source of energy. The products of nuclear fission, however, are on average far more radioactive than the heavy elements which are normally fissioned as fuel, and remain so for significant amounts of time, giving rise to a nuclear waste problem. Concerns over nuclear waste accumulation and over the destructive potential of nuclear weapons may counterbalance the desirable qualities of fission as an energy source, and give rise to ongoing political debate over nuclear power.