Red Badge of Courage :: essays research papers

REVIEW 1.  Ã‚  Ã‚  Ã‚  Ã‚  Discuss the novel as a psychological journey. Discuss how Henry Changes throughout the novel. What causes him to change? Henry Fleming is a young solider fighting for the union army during the civil war. Throughout the war Henry ventures on a long psychological journey to discover himself. Often referred to as â€Å"the youth† Henry comes into battle with the naà ¯ve fantasies of being a war hero with out ever having faced a single battle, making him extremely self centered and vein. His desires to be heroic are far from noble but are based solely on the desire to be accepted and admired by men. He is motivated only by the idea of being immortalized among men and really holds no sense of right and wrong. Many times he justifies his coward ness by saying that the other men are not â€Å"wise enough to save themselves from the flurry of death.† And somehow restores his own self pride. He convinces himself every time that his lies are truth. But mid way through the novel Henry finally faces battle and the turning point of the novel occurs, because Henry fights, he no longer cares about himself but is part of the bigger picture he is a vital part of the â€Å"fighting machine†. As Henry forgets about the immature fantasies of a reputation he begins to earn one and quite a good one. Many of the officers are even offering their compliments and praise. Henry’s character comes full circle when he let go of his earlier mistakes and abandons the hope of a great heroism and trades it all for the more gratifying understanding of what it is to be a man. 2.  Ã‚  Ã‚  Ã‚  Ã‚  Discuss the religious imagery in the novel. How does Crane’s background influence his opinon What point is he making? The is tons of religious imagery. The most obvious is Jim being portrayed as Jesus Christ his initials are even JC and in his death he even depicts him with the â€Å"piercing† on his side and his blood covered hands. Crane was probably most influenced by his father who was a Methodist minister. 3.  Ã‚  Ã‚  Ã‚  Ã‚  How is the novel an example of Realism? Give specific ezamples that show the novel as a realistic novel. What descriptions of battle make the novel realistic? By definition realism is, â€Å"understanding of nature of real life: a practical understanding and acceptance of the actual nature of the world, rather than an idealized or romantic view of it†.

An Overview of Euripides’ Electra :: Euripides Electra Essays

An Overview of Electra Euripides' play Electra, produced in 415 b.c.e., starts with a peasant recounting past events: Clytemnestra and her lover Aegisthus murdered Agamemnon and took the throne of Mycenae. Agamemnon's son Orestes escaped and has been raised in Phocis. Daughter Electra, when marriageable, was forced to wed this peasant instead of any noble, whereby Aegisthus' rule might be endangered. The marriage has not been consummated. "If any man thinks me a fool, for harbouring / A young girl in my house and never touching her, / He measures what's right by the wretched standard of / His own mind" (107). Electra doesn't mind toiling so long as she can grouse about her mother. Orestes and his friend Pylades arrive. Orestes has been sent by Apollo's oracle to avenge his father's murder. He and Electra, who doesn't recognize him, exchange stories, Electra revealing that Aegisthus "when he's drunk, so people say, / Jumps on the grave, or flings stones at my father's name / Inscribed there" (116) and acts paranoid about Orestes. With the help of an old one-time servant to Agamemnon and a convenient scar, Orestes identity is revealed to Electra. The siblings conspire. Orestes pretends to join Aegisthus in an animal sacrifice but murders the usurper and wins over the king's guards to his side. He parades the severed head to Electra, who is elated but not sated. Orestes balks at the idea of killing Clytemnestra, their mother. Electra sends word that she has given birth. Clytemnestra visits and does a rather convincing job of explaining her side to all the famous events, particularly her wrath at Agamemnon for tricking their daughter Iphigenia to her sacrificial death before the Trojan War. She was also less than pleased that Agamemnon brought back Cassandra as his new slave toy. The Chorus is characteristically idiotic: "Your words are just; yet in your 'justice' there remains / Something repellent. A wife ought in all things to accept / Her husband's judgement, if she is wise. Those who will not / Admit this, fall outside my scope of argument" (141). Electra aligns Clytemnestra with her sister Helen. She accuses her mother of primping before the mi rror long before Agamemnon's crimes, obviously for someone else. And Electra claims Clytemnestra's rationalizations do not address the persecution of Orestes and herself. Clytemnestra accepts that Electra favors her father, but as to this business of the new baby?

GM crops Essay

For thousands of years farmers have used a process of selection and cross breeding to improve the quality of our crops. The problem with GM crops is that there is little known about what effect they will have in 20 years’ time. The genetic structure of any living organism is complex and GM crop tests focus on short-term effects. Not all the effects of introducing a foreign gene into the intricate genetic structure of an organism are tested. Will the pests that a crop was created to resist eventually become resistant to this crop? GM crops may also pose a health risk to native animals that eat them. The animals may be poisoned by the built-in pesticides. Tests in the U. S. showed that 44% of caterpillars of the monarch butterfly died when fed large amounts of pollen from GM corn. Very little scientific information exists about the risk of GM food on human health. One major report by Dr. Arpad Pusztai, explains how GM foods could trigger new allergies and contain toxins that may be harmful. Another concern is disease. Since some crops are modified using the DNA from viruses and bacteria, will we see new diseases emerge? What about the GM crops that have antibiotic-resistant marker genes? Marker genes are used by scientists to determine whether their genetic modification of a plant was successful. Will these antibiotic-resistant genes be transferred to microorganisms that cause disease? We already have a problem with ineffective antibiotics. How can we develop new drugs to fight these new bugs? Then there is always the possibility that we may not be able to destroy GM crops once they spread into the environment. Proponents of GM crops claim that advantages may be many, such as: Improved storage and nutritional quality Pest and disease resistance Selective herbicide tolerance Tolerance of water, temperature and saline extremes Improved animal welfare Higher yields and quality Cross-pollination is a concern for both GM crops and conventional breeding, especially with the more serious weeds that are closely related to the crops. With careful management this may be avoided. They are an ever-increasing problem and genetic engineering promises to stop it. But will genes from GM plants spread to other plants, creating superweeds and superbugs we won’t be able to control? When looking at the environmental impacts of grass- and grain-fed beef, â€Å"there is a 500% increase in greenhouse gas emissions for each pound of beef produced from grass-fed compared to grain-fed cattle. Uncontrolled nitrogen and phosphate release to the environment, 35% more water use, and 30% more land use for grass-fed cattle compared to grain-fed increases the environmental impact of strictly grass feeding. † Cholesterol content does not differ between grass- or grain-fed beef. Today, there is an estimated two-thirds of all our products in supermarkets contain genetically engineered ingredients, including; tortilla chips, drink mixes, taco shells, veggie burgers, muffin mix, and baby formulas. But only one-third of Americans are aware that their food contain genetically engineered ingredients, despite the findings of surveys that 85 to 90% of consumers want clear labeling of all genetically engineered foods. Because labeling is not yet required by government regulations, nor practiced by biotech companies, there is absolutely no way for consumers to know what it is that they are eating. The public has not been educated of the inadequacy of genetically modified ingredients in their diets and the possible risks that these foods may entail. The credibility of these geneticists is also questionable because almost all established molecular geneticists have some industrial ties limiting what they can research on, particularly with regard to safety. There is no way of knowing the overall, long-term effects of genetically engineered foods on human health. This unpredictability appears to be causing the most controversy over genetically modified foods, as there is insufficient evidence and need for further research. The effect of the insertion on the biochemistry of the host organism is unknown. The effect of the genetically engineered organism on the environment is unknown. The effect of eating genetically engineered foods is unknown. There is no basis for meaningful risk assessment. There is no recovery plan in case of disaster. It is not even clear, who, if anyone will be legally liable for the negative consequences. There are no consequences among scientists on the safety or on the risks associated with genetic engineering in agriculture. The international community is deeply divided on the issue. In addition to these, genetically engineered foods may cause the removal of important food elements. For example, genetic engineers may intentionally remove or inactivate a substance they consider undesirable in a food, which may have unknown but crucial qualities, such as cancer-inhibiting abilities. Examples such as this are perhaps especially frightening because of the potential to find cures to some of the illnesses and diseases that have already laid claim to many lives. Failure to do further research in this case would be a shame, as it could lead to an elimination of possible breakthroughs in medicine and health. The current state of biotechnology must be fixed because every living organism is affected by it because everything is composed of genes. If the food being consumed contains products of genetic modification, the public is at risk to the unpredictable effects on their own physiology and biochemistry-effects that may not be reversible. Not only could this cause problems in their own lives presently, but it could also affect future generations, in ways that are unforeseen yet preventable. Moreover there is not enough understanding of the principles of genetic engineering to categorize those genetic modifications that may pose a risk and those that may not because genes appear to react in diverse ways when spliced with other genes. Genes are a part of an extremely complex and interconnected network and are constantly reacting to their environment. Further research must be enacted, and biotech companies and the government must do their moral/ethical duty to inform the public, because ultimately, they are the ones making the decisions.

Emo Culture

In today’s society there are many different subculture tendencies amongst young people, they are various and interpenetrating, but to the bigger part of them is leading the element music and above all such kind of music, that is with a history of many years, transformed in classic for many generations. But recently one very different from the entire subcultures tendencies phenomenon, called emo style, especially strongly caused a sensation. It is different not only at the way of clothing, at the type of music preferences, at the type of behavior, but it is different at the way, it understands the world and itself. It is one â€Å"sad† subculture to a great degree namely because of the way, it perceives the ambient reality. The emo subculture is a combination from the punk rock and the hardcore tendencies. From etymological point of view the name emocore comes from emotional hardcore and its roots are in Washington in the middle of 80s. For founders of the emocore tendency could be shown Rites of Spring, Embrace and Rain. Gradually with the notion emocore they start to define themselves hardcore punk bands, which start to add melodic elements to their songs. The sadness, the love, the sense of guilt is the basic topic in the lyrics of the emocore. The emo style could be qualified as „rock music with emotional-lyric elements†. But this couldn’t be a final definition, because the debates about the definition of the emo subculture still continue. The emo culture continues to develop and in 90s till today it continues to be popular for the young people. A whole teenage generation succeeds the name emo and the young people start to call themselves emos. The melodramatic behavior and clothes introduce a new taste to the music. This subculture is maybe one of the most popular and the most obsessing the mind of young people today. At first considered as a music genre, the emocore today is a subculture phenomenon that unifies music, behavior, fashion, style and way of life. The values, expressed through the music, consist in emotional topics, often associated with the despair, the nostalgia, the broken heart, the hope and the self hatred. Emo-tional fashion†¦ Interesting and contradictory is the fashion of the emo representatives. Staggering hair styles, combined with sport clothing, with many accessories and a strong make-up – these are the most distinctive characteristics of the emo fashion that has its varieties and modifications. One of the most important signs, characterizing the emo subculture is the way of forming of the hair. The emo hair styles are unisex – they are suitable as for girls, as for boys. Usually the emo hair cut is short, colored in black or at the worst in dark red. Every day to the emo maniac are necessary tons of gel, to make his hair cut in the possible most cult way. A typical particularity of the emo hair style is the bang. It is maybe the longest element of the emo hair that is put closely over the one eye, as in this way it covers almost the half of the face. Usually it is straighten with the help of a press and it is fixed with gel or wax. The hair at the back is disheveled, again fixed with different styling products. In the virtual space every one emo candidate could find precise advises in his search how to be emo. It exist many movies that explain by visual methods how to be made the hair style at home, what kind of hairstyling products to be used etc. To make a real emo hair cut it is not necessary the intervention of a hair stylist – it is necessary a little bit imagination and the help of one good friend. Other, also very interesting for examination element from the image of the emo representative is the clothing. Tight jeans and t-shirts, with printed name of the favorite emocore band, skate sneakers, many-colored stockings, a great variety of accessories, badges, bracelets – these and many others interesting attributes characterize the image of the emo-tional young person. As a whole the emos don’t give a great amount of money for clothes, they tend even to make the clothes, that they will wear, by hand – one more sign of their irregularity. The emos aren’t slaves of some brand, those sneakers they have to possess at any price. Bracelets, belts with caps, hats – all these accessories are various and multicolored and they contradict to the tortured and lacerated soul of the emo representative. Also very significant accessory is the ring, piercing the lower lip of the young subculture person. The emo-tional nature of the subculture youth†¦ At their nature the emo representatives are extremely sensitive characters. The psychologists define them as introverts, who don’t want to communicate with the ambient world. Because of that they find a field of manifestation in the poetry. The poems that they write are dark, dispiriting, depressive and they inspire sadness and nostalgia. In this respect they to a great degree resemble to the Goths. The life and the pain are basic topics in the poetry of the young creators. The specialists advise the parents to pay more attention to their subculture person at home, because namely this way of living of the young people leads to things, for those I’ll speak down below in the text and that are incorrigible In fact this type young people, as all the rest, need love and seek it all the time. Just in the process of this search they fall into the dark bottom of their souls and they suffer desperately. They suffer, they cry and they listen to their favorite emocore bands – the only ones that understand them. For all these emotions, characteristic for the emos, it is especially important the moment with the age. Usually the emo maniacs are between 12- and 18-years-old, when they are especially emotionally and psychically unstable and namely this tendency is the vent for the most young emo adherents. When we add to this the factor „family problems† the receipt is perfectly made and the real emocore representative is ready. Many stereotypes exist for the emo subculture like for the other subcultures. For example could serve the suicides, the vampire character of the preaching by them ideas and many others. Of course, there are young people, who take destructive for them decisions, but we can’t say, that all of them take the same decisions. On the contrary – this is one very interesting, to some degree new and unexplored subculture tendency that we don’t have to ignore, but to try to understand. Except the music and the poetry it exist one more place, where the emo representatives feel good. This is MySpace – in this community they can really find followers in the ramblings of their minds. The dangerous emo subculture†¦ The emo subculture got very popular in the last years with some negative events that had shaken the parents and the society. It is found to be that the values and the beliefs that he emo culture preaches are extremely dangerous the most for the health and for the life of the young people. But here it is not about alcohol and cigarett?s, but for something more dangerous and frightening, called suicide. The emo communities decide their problems as they commit suicide by rituals. Even in Bulgaria these tragic events are a fact, to which we become witnesses „thanks† to the media. Before some months two 14-year-old girls horrified the society, cutting ritually their veins. The motto that they believed in was „The kitchen, the knife, the veins, end of the problems! † And this is not the only case. In the virtual space the information for such tragic events flows. The emos believed, that after their death they will be regenerated and they will go to a better world. Many sites and bloggs for the emo culture use quite scaring backgrounds that couldn’t be passed so easily by psychologists and other specialists in this area. Animated sites flow where for background are used children with gun points at their temples, broken hearts and blood. This is one more sign, that is evidence about the dangerous philosophy of the emocore representatives – and namely the suicide. In the media are often found articles with alarming headings and shocking photo material, that have for purpose to wake the sleeping social and parent conscience and to tell how suffer their children and how much they need the parent’s love. However namely because of the creation of negative aura around the topic emo subculture it start to be published materials, examining the emo subculture like every one normal youth subculture with its moment character and sensibility, with its transience and colorfulness, with its poetics and many-siding. The emo subculture – dangerous or saving life†¦ After all this, now in front of us is standing the question to what degree to scare from this tendency, to what degree the children have to be protected and how to be transformed the negativism in this tendency in positivism. The emo culture is extremely excite, many-facing and various. But there exist deep-seated negative directions of thinking, that the young person have to bear in mind and not to be amenable to them. Every one teenager has the right to be such as he wants to be, independently to what subcuture tendency he is an adherent. The important is to be happy of what he is, of the life he lives and of what he believes in. The young person should believe in good, in beautiful and in positive. The emo subculture is also such kind of subculture. Let young people achieve to get only its good things†¦

Every child is special Essay

Every child is special. Every child has its own personality. Every child tries to endeavor and focus best in its life. Primarily, every child has its own dreams. But the main factor to ponder is, for us to understand his/her dreams. And the truth is, we lack stability, patience and understanding as far as the child is concern. The movie, Every Child Is Special, was about a certain child named Ishaan Awasthi. Ishaan was a talented child; he can think outside the box and paint with such passion and creativity. But he was not understood by his teachers, he was only thought of as a mischievous and a very naughty boy. He was often called an â€Å"idiot, duffer, lazy and crazy†, even his parents didn’t understand him. They only thought that the boy was misbehaving because he did not want to go to school. It is perhaps the structure and restrictions of the normal expectations of the school system that rub him the wrong way, because one day, after having been punished by being sent by the teacher to stand in the hallway, he goes AWOL and wanders the streets, savoring the exciting sights of tourist-film India. He appears to be somewhat hyperactive. If his parents attempted to have him tested, it may be that he never sat still long enough to get a diagnosis. After finding out that Ishaan will be kicked out of school after the school year, his parents decided to send him to a boarding school where Ishaan suffered more from his strict teachers. These incidents crushed Ishaan’s confidence in him and he became depressed, very depressed. He did not speak to anyone, not even to his mother or his brother. No one would even try to help him because they did not try to understand him. Luckily he met Ram Shankar Nikumbh, the temporary art teacher, saw himself in Ishaan, he stayed persistent to help Ishaan in his studies and his life. Through his unconventional teaching methods and graceful presence, Ishaan’s attention was caught up. Ram did everything to understand Ishaan’s problem in reading and writing, he consulted Ishaan’s parents and told them that Ishaan has dyslexia, wherein he finds it hard to recognize letters and numbers. I love where he tells Ishaan’s father that in the Solomon Islands, villagers don’t chop down a tree when they want to clear land, but curse and hurl abuses at it, and the tree withers and dies soon after. Ram helped Ishaan in every way, first he gave Ishaan a confidence boost so that he will not be afraid to express  himself, and then, he also gave Ishaan lessons in writing, reading and in math. Ram taught Ishaan using different methods, he made learning fun by applying games to his lessons. Gradually, Ishaan begun to improve in his studies, he has now little trouble in reading, he can right properly and can solve math problems. Teaching should not only be done in one way, we should use different ways to teach our students because each and every one of us has a unique and special talent. It is also good to understand the needs of our students, let them be free – free to imagine, free to learn in their own special way. Listen to your students opinions and learn from it. Somehow the movie touched in an exceptional way and it broke my heart seeing that the dear people that child thought would understand him were the very ones who judged him and failed to understand his problem. But I cannot really judge the parents though, all they wanted was the best for their child that is why they tried so hard to push him and discipline him at the same time. It tug the heartstrings and at the same time gives hope that having dyslexia is not a desperate and in hopeless situation. To help the students, family support, teacher’s patience and love is needed, so with the interesting and enjoyable teaching and learning strategies should be employed. The theory of multiple intelligences in education plays an important role here and that can be a vessel in informing the teachers and most importantly the parents for them to assist their children. With time, patience and care, he ultimately helps Ishaan find himself and the harsh father realized his child’s wo rth and needs.

I Believe in Happiness Essay

We’re often told that happiness is an illusion, and some of us believe it, despite the experience of our own life. Happiness is obviously not an illusion, because we’ve all felt it, not once but many times. Without a doubt, every person has ever experienced some kind of unhappiness. This is a very sad feeling. We always feel unhappy when we get sad news, or experience sad situations. I believe that if there was only happiness in this world, then all our worries and tears would be washed away. There would be no miseries, no suicides and no getting involved with drugs. I always try my best to be happy on all occasions, no matter which pain I experience. Whether the pain is emotional or physical, I believe was that happiness is the key and answer. There are many ways in which an individual could gain happiness. Personally, I find happiness in helping other people or trying to resolve any problem if is my possibility. Strange as it may seem, this is the truth. I came to know this when I was 14 years old. I believe in happiness, when you make others happy, when you help them to do things happen, your soul will become happy. I believe in happiness when you see others laugh, you feel satisfaction with yourself, you felt good. There is no cause for anyone to be sad all the time; everyone should have something to turn to in their time of need. Happiness is what I believe makes the hard obstacles seem a little softer at the time of impact. Most commonly, we realize after some period of time, a few minutes, or a day, that we have been happy in the time just past. We haven’t thought about it one way or another, but now that we do, we realize we’ve been happy. That’s why I believe in happiness, That happiness occurs when we’re not paying attention to is as part of why happiness seems so mysterious. We know a lot about what doesn’t make you happy. As a rule, nothing you lack now will make you happy when you get it. Similarly, buying things doesn’t make anyone happy, I believe that money doesn’t make you happy enough than no material things. The endless disappointment of shoppers, thronging to the stores to acquire the new clothes of the season, the new car of the year model, is repeated again and again. We make our purchase, and feel happy for a while. But soon the happiness fades. I believe that money does not always buy happiness, but it is not indicated that money cannot brings satisfaction. It is of great importance to deal with money more carefully and appropriately. I believe in happiness, the feeling that we can create everyday and without money, if you help other, if you make a difference you will continue patters for a better life and for a better future.

Anthropology of Tattoos

He repeated this several times as a ceremonial pot was filled with gathering soot from the burning fire. After the artist finished his tedious design, he rubbed soot from the pot bottom deep into the slits, planting the bacteria that would infect the skin, raising the scars into their meaningful design. She felt accomplished that she withstood the agonizing pain while other members of her clan could not. Her newly inherited body art signified the birth of her first son, and left her with a renewed sense of beauty. This is the way of life common to people indigenous to the motherland of Africa. Scarification, however, is not the only form of body art that is used. Body painting, tattooing, and branding are all similar forms of body art, which can be found in Africa and other cultures throughout the world. The word â€Å"tattoo† comes from the Tahitian word â€Å"tattau†, which means â€Å"to mark†. Tattoos have evolved from being symbols of punishment that were given to identify criminals and slaves in the early ninth-century Chinese culture, into a pop-culture trend of using he skin as â€Å"a way of describing the exotic uncivilized other† within ourselves (Schildkrout 2004:324). For centuries, the body has been used as a â€Å"visible way of defining individual identity and cultural difference† (Schildkrout 2004:319). This cultural difference becomes apparent when studying the evolution of body art over time, especially when focusing on the differences between the Western and Non-Western cultures. People have been adorning their body with tattoos and piercing for centuries, but until recently, the thought of tattoos in ancient Egypt had been pushed aside. It has now been discovered that, without a doubt, tattoos did exist in that time period. Although miniscule, a group of enormously important tattooed mummies serve to help prove this point (Bianchi 1988:21). The first mummy to be discovered was one f a woman named Amunet, whose mummy was found in an excellent state of preservation, â€Å"most likely due to the fact that she served as a priestess of the goddess Harthor at Thebes during Dynasty XI†(Bianchi 1988:22). The tattoos on her body were comprised of a pattern of dots and dashes in an elliptical shape on her lower abdomen. The thighs and arms adorned the identical parallel lines of the aforementioned pattern. Two more women mummies, who were discovered and believed to be from the same time period, also had similar tattoos on their lower abdomen (Bianchi 1988:22). This group of woman represents an exclusive group of Egyptians who received tattoos in that time period, because there is no other evidence that shows tattoos to be a part of the Egyptian culture until the time of the Middle Kingdom. These abstract patterns associated with ritualistic tattooing survived into the New Kingdom. The Egyptians, more then likely, borrowed a form of tattooing from the Nubian civilization. Unlike the Nubians, whose purpose for tattooing is unknown, â€Å"the Egyptians appear to have regarded the tattoo as one of several vehicles by which the procreative powers of the deceased could be revived† (Bianchi 1988:27). Substantiation proposes that only women were associated with the decorating of their bodies and the ritualistic activities that went along with it. The art of tattooing began with the grouping of bluish or black dots and/or dashes forming abstract geometric patterns; that system of body art lasted for over two thousand years in ancient Egypt. Just like other ideas and goods, the idea of tattooing began to travel to several different societies, and has evolved into extremely different forms of art all over the world. In northeastern Zambia, the Tabwa â€Å"once covered themselves from head to foot with scarification† (Roberts 1988:41). The women of the Tabwa began receiving elaborate marks on their face, chest, and backs when they were young girls; it sometimes was continued at other points in a woman’s life (Roberts 1988:43) such as courting rituals and for woman wishing to bear a child. Male sculptors would trace designs and make incisions on the lesser intimate parts of the body; they left the rest for the women to do. ‘Tabwa women used razors to slit skin [that had been] plucked up with a fishhook or arrowhead. These incisions were then rubbed with soot from a pot bottom, an irritant that produced the desired raised cicatrices† (Roberts 1988:44). There were several reasons that this tradition was done, different to every age and gender in the tribe. Young women went through this process in order to achieve a state of perfection, which was required for those wanting to marry and have children (Roberts 1988:45). Scarification is a form of body art that was used in several tribes because according to their customs â€Å"beauty is not physically innate, but rather a function of the girl’s inscriptions† (Roberts 1988:45). Not only the Tabwa, scarification was used in such tribes as the Ga’anda and the Tiv; all the tribes have distinctly different purposes for doing this, but the process and effect of the body are the same. Another form of body art is body painting, which the people of the Southeast Nuba begin at a young age; but the meanings, and time frame from when they begin decorating the body are very different between males and females. The males paint themselves from the ages of 12 to 27 (Faris 1988:31). Typically, they only paint during the down time after the harvest season and before the next years planting begins. This is the time that the males are less involved in mandatory and productive activities; they spend their supplementary time with festive activities such as dance and sport participation. The restrictions placed on the men by their age, most importantly deal with the color that they use on their body—for example â€Å" only the older age groups are eligible to use the greatest elaboration in color, including the deep black and yellow [colors, that are] prohibited to younger grades†(Faris 1988:32). The change in elaboration allowed on the body does not coincide with any physiological changes, rather, it corresponds with changes â€Å"in productive status or sport† (Faris 1988:32). As they move up in grades from young laborers that answer to the elders, to mature men that own their own property, farm and family, their elaborate painting ability increases. The elders though, do not decorate their bodies; rather, they delegate and lead rituals for the younger men and enforce the rules of allowed color use. Therefore, the male body painting shows their progression thru ones life stages. The women of Southeast Nuba, â€Å"from the age of six years, until consummation of marriage, oil and ochre [their bodies] daily, in colors [that are] appropriate to their patri-clan section† (Faris 1988:34). After childbirth, they may continue to wear some oil and ochre on their shoulders. The personal body art of women is strictly related to the physiological changes that occur as a women goes through life, and are fixed around body scarification as a way of showing her changes. A woman’s scarification is so important, that â€Å"if a husband refuses to pay for a scarring specialist, a woman may seek a lover who will do so, and her first marriage will end† (Faris 1988:35). Unlike the males elaborate body art, a woman’s body art is simple, but it accumulates over her life-span and is very standardized, while a male’s body art is constantly changing. Body painting, tattooing and scarification thus far had been tools used by individuals to beautify their body and elevate their status within their tribe; this is not the case with all societies. In several other cultures, tattoos have been used in a form of branding, which is quite the opposite. Though tattooing and branding are â€Å"similar in that both involve the insertion of pigments under the skin to create permanent marks†, branding is implemented in order to lower an individuals status, to punish for crimes committed, to identify slaves, but most importantly, to eliminate personal identity (Schildkrout 2004:323). â€Å"The immutable alteration of human skin by branding needs to be considered in relation to, but ought not be confused with, tattooing† (Bianchi 1988:27). Two recent studies originating in South Africa elaborate on this subject, reporting on the political influence of tattooing â€Å"as a means of social control† (Schildkrout 2004:330). They site examples from Zambia in which a medical practitioner travels around to villages â€Å"in which witch craft accusations have been common†¦to inoculate people against people against witch craft† (Schildkrout 2004:331). The villagers would â€Å"submit to bodily inspections†, they were then treated â€Å"by getting numbers tattooed on their arms† (Schildkrout 2004:331). This is disturbingly reminiscent of Nazi concentration camps when an unfathomable number of Jewish people lost their personal identities and became known as only a number in the system to be disposed of. This â€Å"symbolic denial of personhood† served as a system â€Å"of control and surveillance† (Schildkrout 2004:323). This system of control was also imposed by â€Å"authoritarian regimes† in Southeast Asia (Schildkrout 2004:323). The Zhou and Ming Dynasties branded criminals as a form of punishment with â€Å"extensive, often full-body tattoos, with elaborate pictorial imagery as well as written inscriptions† (Schildkrout 2004:324) portraying their crime. This form of tattooing is definitely contrary to traditional methods. Similarly in Brazil, branding was used to mark convicts by the penal authorities. Penal tattoos derived their power from subjugation of the marked convicts. The humiliation of being visibly branded was a significant component of the convict’s punishment. In an act of resistance, those that had been branded â€Å"were known to reclaim their bodies by writing over the inscriptions or by displaying them in new social situations† (Schildkrout 2004:324). The branded, therefore, became the empowered, restoring the function of the tattoo to being personally-motivated. This personal motivation is perhaps most notable in Western cultures, specifically North America. In America, the Native Americans used body painting in many ways, usually connected with ethnic identity, social roles or marital status (Rubin 1988:179). The Natives also used the body as a canvas in ritualistic ceremonies, on warriors going into battle and for the beautification of their women. When the Europeans discovered America, they brought with them slaves from Africa and they introduced branding of the slaves into the American culture. After the civil war, when the slaves had been freed, branding was still embedded in American culture through groups of people including gang members and convicts. Though â€Å"branding is often associated with involuntary marking and the denial of personhood†, it has also â€Å"been adopted in contemporary Western body culture as an assertion of group identity, for example in college fraternities† (Schildkrout 2004:323). Tattoos were also prevalent in other parts of America, including Alaska. Among the Eskimos â€Å"[t]he function of these art forms [was] – essentially manifesting one’s place or role within the hierarchy of hunting life† (Gritton 1988:190). With the introduction and adaptation of the western civilization in Alaskan culture, â€Å"the marks of a hunter or hunter’s wife served no purpose in their new lives and were understandably abandoned† (Gritton 1988:190). The function of body art and tattooing has been Americanized, evolving from its native origins to incorporate self expression. This self expression has mushroomed from a manor of identifying oneself to a way of gaining attention through shock value. Though ever-changing, all forms of body art mentioned play enormous roles in the lives of people. Certain non-Western cultures are based around the ability to use skin as a visible way of defining status or bettering their self-image, in order to attract companions. So the artists who are allowed to perform the act of adorning bodies with different designs are regarded as having a very important place in the society. They are â€Å"scarring specialist† (Faris 1988:35), â€Å"body artists† (Drewal 1988:84), but most importantly, they are known as â€Å"[the] one-who-creates- art† (Drewal 1988:84). In the non-Native American culture, however, the general attitude towards tattoo artist in present-day American culture is less than appreciative. Extreme critics even characterize tattooist as opportunist, exclusively seeking monetary gain (Sanders 1988:229). â€Å"The tattooist interest in artistry and control is often in conflict with his profit orientation†, revealing the major flaw within the American society (Sanders 1988:229). This is the major difference in western and non-western cultures. Body tattoos in western society are an object to be purchased. Americans obtain tattoos in the same manner that they acquire a new Louis Vuitton handbag. They purchase them as accessories, which is in stark contrast to the non-western cultures, who acquire tattoos as an essential ritual in their society. With this is mind, the process in which American’s purchases body art seems slightly ridiculous. Tattoo artists often complain of the unwillingness of customers to spend the quoted amount of money for â€Å"a tattoo [they] are going to wear for the rest of [their] life† (Sanders 1988:229). It is more acceptable in American culture to invest in short term materialistic purchases, therefore the legitimate tattoo artists are constantly being monitored and regimented under strict laws imposed by the government. Despite the absurdity of the purchasing process, the reasoning that propels the American society to obtain tattoos is just as flawed. Some reasons people give to explain permanently marking their skin include, â€Å"they were drunk, it’s a macho thing, to fit in with a crowd or even worse, for no reason at all† (DeMello 1995:42). Western society seems to have a complete disregard for the spiritual origins of body art. Tattoo artist are even witness to clients’ apathy, avoiding â€Å"working on people who are obviously under the influence of alcohol† (Sanders 1988:225). Where once there was a ceremonious celebration deeply rooted in spiritualism, in American society the only ritualistic ceremony is the receiving of a piece of paper on how to care for the recently acquired body art. This apathetic attitude of Americans is perhaps derived from the renouncing majority of the population. This bias stems from â€Å"very early ‘regulations’ [including] Moses’ remarks in Leviticus 19:28 forbidding any cuttings in the flesh or the printing of any marks† (Armstrong 2005:39). Since tattoos â€Å"were not sanctioned by the church† the profile for the tattooed archetype became unconventional (Schildkrout 2004:325). Christian belief has been adapted to the masses, forcing those who are tattooed into rebellion. The majority of people adopting body art include â€Å"bikers, convicts, and other ‘low lives’† (DeMello 1995:40). In Western society â€Å"the idea that the unmarked body as a sign of God’s work was linked to the Protestant reformation† and â€Å"the idea that body markings were a sign of savagery goes back even earlier† ( Schildkrout 2004:324). This is ironic considering tattoos in earlier cultures signified positions of high status. Perhaps the only entity that ties these drastic cultures together is the desire to increase their inherited beauty. â€Å"If the body is – metaphorically – a site of inscription to various degrees for various theorist, then cosmetic surgery can be seen, at one level, as an example of the literal and explicit enactment of this process of inscription† ( Schildkrout 2004:320), which is also seen in the aforementioned tribes with the rituals of scarification. DeMello also agrees that along with tattooing and piericing, that cosmetic surgery is seen as a form of â€Å"body modification† (DeMello 1995:37). â€Å"Not only does the tattooed skin negotiate between the individual and society and between different social groups, but also mediates relations between persons and spirits, the human and the divine† (Schildkrout 2004:321). Body art is a tradition that extends throughout the barriers of the world and although the forms in which they are found may be different, the idea of using your body as a canvas is universal. Although recently, several anthropologists agreed and have begun to examine body art more closely, looking at it â€Å"as a microcosm of society† (Schildkrout 2004:328), Roberts still believes that â€Å"there can be no ultimate explanation of symbolism† (Roberts 1988:51). He claims that â€Å"the blazes on trees in the Ndembu forest will remain many years after their purpose and meaning are forgotten. So it is with other inscriptions† (Roberts 1988:51). This is exemplified in the woman who endured the agonizing pain of her scarification to instigate a new chapter in her life. Nevertheless, soon after her body is placed into the ground, her skin will no longer be a visible indication of who she once was. She will become a memory and her body will no longer be used as a canvas. Anthropology of Tattoos He repeated this several times as a ceremonial pot was filled with gathering soot from the burning fire. After the artist finished his tedious design, he rubbed soot from the pot bottom deep into the slits, planting the bacteria that would infect the skin, raising the scars into their meaningful design. She felt accomplished that she withstood the agonizing pain while other members of her clan could not. Her newly inherited body art signified the birth of her first son, and left her with a renewed sense of beauty. This is the way of life common to people indigenous to the motherland of Africa. Scarification, however, is not the only form of body art that is used. Body painting, tattooing, and branding are all similar forms of body art, which can be found in Africa and other cultures throughout the world. The word â€Å"tattoo† comes from the Tahitian word â€Å"tattau†, which means â€Å"to mark†. Tattoos have evolved from being symbols of punishment that were given to identify criminals and slaves in the early ninth-century Chinese culture, into a pop-culture trend of using he skin as â€Å"a way of describing the exotic uncivilized other† within ourselves (Schildkrout 2004:324). For centuries, the body has been used as a â€Å"visible way of defining individual identity and cultural difference† (Schildkrout 2004:319). This cultural difference becomes apparent when studying the evolution of body art over time, especially when focusing on the differences between the Western and Non-Western cultures. People have been adorning their body with tattoos and piercing for centuries, but until recently, the thought of tattoos in ancient Egypt had been pushed aside. It has now been discovered that, without a doubt, tattoos did exist in that time period. Although miniscule, a group of enormously important tattooed mummies serve to help prove this point (Bianchi 1988:21). The first mummy to be discovered was one f a woman named Amunet, whose mummy was found in an excellent state of preservation, â€Å"most likely due to the fact that she served as a priestess of the goddess Harthor at Thebes during Dynasty XI†(Bianchi 1988:22). The tattoos on her body were comprised of a pattern of dots and dashes in an elliptical shape on her lower abdomen. The thighs and arms adorned the identical parallel lines of the aforementioned pattern. Two more women mummies, who were discovered and believed to be from the same time period, also had similar tattoos on their lower abdomen (Bianchi 1988:22). This group of woman represents an exclusive group of Egyptians who received tattoos in that time period, because there is no other evidence that shows tattoos to be a part of the Egyptian culture until the time of the Middle Kingdom. These abstract patterns associated with ritualistic tattooing survived into the New Kingdom. The Egyptians, more then likely, borrowed a form of tattooing from the Nubian civilization. Unlike the Nubians, whose purpose for tattooing is unknown, â€Å"the Egyptians appear to have regarded the tattoo as one of several vehicles by which the procreative powers of the deceased could be revived† (Bianchi 1988:27). Substantiation proposes that only women were associated with the decorating of their bodies and the ritualistic activities that went along with it. The art of tattooing began with the grouping of bluish or black dots and/or dashes forming abstract geometric patterns; that system of body art lasted for over two thousand years in ancient Egypt. Just like other ideas and goods, the idea of tattooing began to travel to several different societies, and has evolved into extremely different forms of art all over the world. In northeastern Zambia, the Tabwa â€Å"once covered themselves from head to foot with scarification† (Roberts 1988:41). The women of the Tabwa began receiving elaborate marks on their face, chest, and backs when they were young girls; it sometimes was continued at other points in a woman’s life (Roberts 1988:43) such as courting rituals and for woman wishing to bear a child. Male sculptors would trace designs and make incisions on the lesser intimate parts of the body; they left the rest for the women to do. ‘Tabwa women used razors to slit skin [that had been] plucked up with a fishhook or arrowhead. These incisions were then rubbed with soot from a pot bottom, an irritant that produced the desired raised cicatrices† (Roberts 1988:44). There were several reasons that this tradition was done, different to every age and gender in the tribe. Young women went through this process in order to achieve a state of perfection, which was required for those wanting to marry and have children (Roberts 1988:45). Scarification is a form of body art that was used in several tribes because according to their customs â€Å"beauty is not physically innate, but rather a function of the girl’s inscriptions† (Roberts 1988:45). Not only the Tabwa, scarification was used in such tribes as the Ga’anda and the Tiv; all the tribes have distinctly different purposes for doing this, but the process and effect of the body are the same. Another form of body art is body painting, which the people of the Southeast Nuba begin at a young age; but the meanings, and time frame from when they begin decorating the body are very different between males and females. The males paint themselves from the ages of 12 to 27 (Faris 1988:31). Typically, they only paint during the down time after the harvest season and before the next years planting begins. This is the time that the males are less involved in mandatory and productive activities; they spend their supplementary time with festive activities such as dance and sport participation. The restrictions placed on the men by their age, most importantly deal with the color that they use on their body—for example â€Å" only the older age groups are eligible to use the greatest elaboration in color, including the deep black and yellow [colors, that are] prohibited to younger grades†(Faris 1988:32). The change in elaboration allowed on the body does not coincide with any physiological changes, rather, it corresponds with changes â€Å"in productive status or sport† (Faris 1988:32). As they move up in grades from young laborers that answer to the elders, to mature men that own their own property, farm and family, their elaborate painting ability increases. The elders though, do not decorate their bodies; rather, they delegate and lead rituals for the younger men and enforce the rules of allowed color use. Therefore, the male body painting shows their progression thru ones life stages. The women of Southeast Nuba, â€Å"from the age of six years, until consummation of marriage, oil and ochre [their bodies] daily, in colors [that are] appropriate to their patri-clan section† (Faris 1988:34). After childbirth, they may continue to wear some oil and ochre on their shoulders. The personal body art of women is strictly related to the physiological changes that occur as a women goes through life, and are fixed around body scarification as a way of showing her changes. A woman’s scarification is so important, that â€Å"if a husband refuses to pay for a scarring specialist, a woman may seek a lover who will do so, and her first marriage will end† (Faris 1988:35). Unlike the males elaborate body art, a woman’s body art is simple, but it accumulates over her life-span and is very standardized, while a male’s body art is constantly changing. Body painting, tattooing and scarification thus far had been tools used by individuals to beautify their body and elevate their status within their tribe; this is not the case with all societies. In several other cultures, tattoos have been used in a form of branding, which is quite the opposite. Though tattooing and branding are â€Å"similar in that both involve the insertion of pigments under the skin to create permanent marks†, branding is implemented in order to lower an individuals status, to punish for crimes committed, to identify slaves, but most importantly, to eliminate personal identity (Schildkrout 2004:323). â€Å"The immutable alteration of human skin by branding needs to be considered in relation to, but ought not be confused with, tattooing† (Bianchi 1988:27). Two recent studies originating in South Africa elaborate on this subject, reporting on the political influence of tattooing â€Å"as a means of social control† (Schildkrout 2004:330). They site examples from Zambia in which a medical practitioner travels around to villages â€Å"in which witch craft accusations have been common†¦to inoculate people against people against witch craft† (Schildkrout 2004:331). The villagers would â€Å"submit to bodily inspections†, they were then treated â€Å"by getting numbers tattooed on their arms† (Schildkrout 2004:331). This is disturbingly reminiscent of Nazi concentration camps when an unfathomable number of Jewish people lost their personal identities and became known as only a number in the system to be disposed of. This â€Å"symbolic denial of personhood† served as a system â€Å"of control and surveillance† (Schildkrout 2004:323). This system of control was also imposed by â€Å"authoritarian regimes† in Southeast Asia (Schildkrout 2004:323). The Zhou and Ming Dynasties branded criminals as a form of punishment with â€Å"extensive, often full-body tattoos, with elaborate pictorial imagery as well as written inscriptions† (Schildkrout 2004:324) portraying their crime. This form of tattooing is definitely contrary to traditional methods. Similarly in Brazil, branding was used to mark convicts by the penal authorities. Penal tattoos derived their power from subjugation of the marked convicts. The humiliation of being visibly branded was a significant component of the convict’s punishment. In an act of resistance, those that had been branded â€Å"were known to reclaim their bodies by writing over the inscriptions or by displaying them in new social situations† (Schildkrout 2004:324). The branded, therefore, became the empowered, restoring the function of the tattoo to being personally-motivated. This personal motivation is perhaps most notable in Western cultures, specifically North America. In America, the Native Americans used body painting in many ways, usually connected with ethnic identity, social roles or marital status (Rubin 1988:179). The Natives also used the body as a canvas in ritualistic ceremonies, on warriors going into battle and for the beautification of their women. When the Europeans discovered America, they brought with them slaves from Africa and they introduced branding of the slaves into the American culture. After the civil war, when the slaves had been freed, branding was still embedded in American culture through groups of people including gang members and convicts. Though â€Å"branding is often associated with involuntary marking and the denial of personhood†, it has also â€Å"been adopted in contemporary Western body culture as an assertion of group identity, for example in college fraternities† (Schildkrout 2004:323). Tattoos were also prevalent in other parts of America, including Alaska. Among the Eskimos â€Å"[t]he function of these art forms [was] – essentially manifesting one’s place or role within the hierarchy of hunting life† (Gritton 1988:190). With the introduction and adaptation of the western civilization in Alaskan culture, â€Å"the marks of a hunter or hunter’s wife served no purpose in their new lives and were understandably abandoned† (Gritton 1988:190). The function of body art and tattooing has been Americanized, evolving from its native origins to incorporate self expression. This self expression has mushroomed from a manor of identifying oneself to a way of gaining attention through shock value. Though ever-changing, all forms of body art mentioned play enormous roles in the lives of people. Certain non-Western cultures are based around the ability to use skin as a visible way of defining status or bettering their self-image, in order to attract companions. So the artists who are allowed to perform the act of adorning bodies with different designs are regarded as having a very important place in the society. They are â€Å"scarring specialist† (Faris 1988:35), â€Å"body artists† (Drewal 1988:84), but most importantly, they are known as â€Å"[the] one-who-creates- art† (Drewal 1988:84). In the non-Native American culture, however, the general attitude towards tattoo artist in present-day American culture is less than appreciative. Extreme critics even characterize tattooist as opportunist, exclusively seeking monetary gain (Sanders 1988:229). â€Å"The tattooist interest in artistry and control is often in conflict with his profit orientation†, revealing the major flaw within the American society (Sanders 1988:229). This is the major difference in western and non-western cultures. Body tattoos in western society are an object to be purchased. Americans obtain tattoos in the same manner that they acquire a new Louis Vuitton handbag. They purchase them as accessories, which is in stark contrast to the non-western cultures, who acquire tattoos as an essential ritual in their society. With this is mind, the process in which American’s purchases body art seems slightly ridiculous. Tattoo artists often complain of the unwillingness of customers to spend the quoted amount of money for â€Å"a tattoo [they] are going to wear for the rest of [their] life† (Sanders 1988:229). It is more acceptable in American culture to invest in short term materialistic purchases, therefore the legitimate tattoo artists are constantly being monitored and regimented under strict laws imposed by the government. Despite the absurdity of the purchasing process, the reasoning that propels the American society to obtain tattoos is just as flawed. Some reasons people give to explain permanently marking their skin include, â€Å"they were drunk, it’s a macho thing, to fit in with a crowd or even worse, for no reason at all† (DeMello 1995:42). Western society seems to have a complete disregard for the spiritual origins of body art. Tattoo artist are even witness to clients’ apathy, avoiding â€Å"working on people who are obviously under the influence of alcohol† (Sanders 1988:225). Where once there was a ceremonious celebration deeply rooted in spiritualism, in American society the only ritualistic ceremony is the receiving of a piece of paper on how to care for the recently acquired body art. This apathetic attitude of Americans is perhaps derived from the renouncing majority of the population. This bias stems from â€Å"very early ‘regulations’ [including] Moses’ remarks in Leviticus 19:28 forbidding any cuttings in the flesh or the printing of any marks† (Armstrong 2005:39). Since tattoos â€Å"were not sanctioned by the church† the profile for the tattooed archetype became unconventional (Schildkrout 2004:325). Christian belief has been adapted to the masses, forcing those who are tattooed into rebellion. The majority of people adopting body art include â€Å"bikers, convicts, and other ‘low lives’† (DeMello 1995:40). In Western society â€Å"the idea that the unmarked body as a sign of God’s work was linked to the Protestant reformation† and â€Å"the idea that body markings were a sign of savagery goes back even earlier† ( Schildkrout 2004:324). This is ironic considering tattoos in earlier cultures signified positions of high status. Perhaps the only entity that ties these drastic cultures together is the desire to increase their inherited beauty. â€Å"If the body is – metaphorically – a site of inscription to various degrees for various theorist, then cosmetic surgery can be seen, at one level, as an example of the literal and explicit enactment of this process of inscription† ( Schildkrout 2004:320), which is also seen in the aforementioned tribes with the rituals of scarification. DeMello also agrees that along with tattooing and piericing, that cosmetic surgery is seen as a form of â€Å"body modification† (DeMello 1995:37). â€Å"Not only does the tattooed skin negotiate between the individual and society and between different social groups, but also mediates relations between persons and spirits, the human and the divine† (Schildkrout 2004:321). Body art is a tradition that extends throughout the barriers of the world and although the forms in which they are found may be different, the idea of using your body as a canvas is universal. Although recently, several anthropologists agreed and have begun to examine body art more closely, looking at it â€Å"as a microcosm of society† (Schildkrout 2004:328), Roberts still believes that â€Å"there can be no ultimate explanation of symbolism† (Roberts 1988:51). He claims that â€Å"the blazes on trees in the Ndembu forest will remain many years after their purpose and meaning are forgotten. So it is with other inscriptions† (Roberts 1988:51). This is exemplified in the woman who endured the agonizing pain of her scarification to instigate a new chapter in her life. Nevertheless, soon after her body is placed into the ground, her skin will no longer be a visible indication of who she once was. She will become a memory and her body will no longer be used as a canvas.