Vietnam War -Students Vs Politics Essay - 1053 Words

I have seen war. I have seen war on land and sea. I have seen blood running from the wounded... I have seen the dead in the mud. I have seen cities destroyed... I have seen children starving. I have seen the agony of mothers and wives. I hate war. - Dwight D Eisenhower Over the years history is marked with death and destruction in many forms. The 1960’s marked an era of change and social revolution for many in the U.S... It was during this time that the Civil Rights Movement was in full force, American Scientist were able to put the first man on the moon, and our world was still grieving over the brutal assassinations of both Dr. Martin Luther King Jr. and President John F. Kennedy. It was also during this time that our†¦show more content†¦... And at that time I warned that if I included that if increased enemy activity in any of these areas endangered the lives of Americans remaining in Vietnam, I would not hesitate to take strong and effective measures to deal with that situation. Despite that warning, North Vietnam has increased its military aggression in all these areas, and particularly in Cambodia.... ... Cambodia, as a result of this, has sent out a call to the United States, to a number of other nations, for assistance. Because if this enemy effort succeeds, Cambodia would become a vast enemy staging area and a springboard for attacks on South Vietnam along 600 miles of frontier: a refuge where enemy troops could return from combat without fear of retaliation.... ... Tonight, American and South Vietnamese units will attack the headquarters for the entire Communist military operation in South Vietnam. The key control centre has been occupied by the North Vietnamese and Vietcong for five years in blatant violation of Cambodias neutrality.... ... I realize in this war there are honest deep differences in this country about whether we should have become involved, that there are differences to how the war should have been conducted. But the decision I announce tonight transcends those differences, for the lives of American men are involved. The opportunity for 150,000 Americans to come home in the next 12 months is involved. The future of 18 million peopleShow MoreRelatedSocial Changes During The 1960 S1254 Words   |  6 PagesRights Movement, and a rebellious counterculture. The political changes of this time period were embodied by the continuation and extension of the Vietnam War, new laws pertaining to civil rights, and the emergence of a the New Left. Economic changes during the 1960’s included a rise of inflation, the government spending exorbitant amounts of money on the war effort, and tax cuts. In the 1960’s, the social environment of the United States was changing more than in the last half century. One of theRead MoreThe 1950s and the 1960s900 Words   |  4 Pagesinclude: the politics, the economy, the society, and the culture of both decades. 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Q the Rise of Nationalism Was the Most Important Factor...

Q: The rise of nationalism was the most important factor leading to World War I. How far do you agree with this statement? Explain your answer. I agree that the rise of nationalism was the most important factor leading to World War I as it increased tensions among Serbia and Austria-Hungary resulting in the direct cause of World War I. The Balkan crisis’s in 1908 and 1912-13 involving the annexing of Bosnia and Herzegovina by Austria-Hungary. Serbia wanted to expand into the Adriatic Sea as a result of the second Balkan crisis but was denied by Austria-Hungary. Serbia was supported by Russia who however was forced to back down by Germany. Also, as a result of the annexing and rising political tensions between both countries, a Serbian†¦show more content†¦This shows that the alliances formed between countries led to them coming to the aid of each other, resulting in the whole of Europe being entangled in World War I as the result of the disagreement between Austria-Hungary and Serbia. Therefore I disagree with the statement as I feel that alliances in action is an important factor which led to World War I. I agree with the statement to a greater extent as nationalism is the root cause of World War I therefore a more important factor than imperialism or alliances in action. With nationalism, came the assassination of the Archduke Franz Ferdinand and his wife, and even though not all the European countries were obligated to come to anyone’s aid, the war would most probably have engulfed other countries around regardless of whether they were willing or not. Therefore I agree with the statement to a greater extent and feel that nationalism is the most important factor leading to World WarShow MoreRelatedOne Significant Change That Has Occurred in the World Between 1900 and 2005. Explain the Impact This Change Has Made on Our Lives and Why It Is an Important Change.163893 Words   |  656 PagesCritical Perspectives on the Past, edited by Susan Porter Benson, Stephen Brier, and Roy Rosenzweig Also in this series: Paula Hamilton and Linda Shopes, eds., Oral History and Public Memories Tiffany Ruby Patterson, Zora Neale Hurston and a History of Southern Life Lisa M. Fine, The Story of Reo Joe: Work, Kin, and Community in Autotown, U.S.A. Van Gosse and Richard Moser, eds., The World the Sixties Made: Politics and Culture in Recent America Joanne Meyerowitz, ed., History and September 11th Read MoreRastafarian79520 Words   |  319 PagesRastafari This page intentionally left blank Rastafari From Outcasts to Culture Bearers Ennis Barrington Edmonds 2003 198 Madison Avenue, New York, New York 10016 Oxford University Press is a department of the University of Oxford It furthers the Universitys objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata KualaRead MoreContemporary Issues in Management Accounting211377 Words   |  846 PagesContemporary Issues in Management Accounting This page intentionally left blank Contemporary Issues in Management Accounting Edited by ALNOOR BHIMANI 1 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico

How Technology Changed Society Free Essays

Through the years, we’ve watched technology grow like a child budding into adulthood: It starts out mostly crying and pooping, then crawling, gradually learning to walk, and finally able to run at a speed we all wish we could keep up with. We’ve seen technology fail, and we’ve seen it succeed. We’ve poked fun at it when it doesn’t make sense, and we’ve praised it when it’s absolutely brilliant. We will write a custom essay sample on How Technology Changed Society or any similar topic only for you Order Now We’ve yelled at it when it runs out of power, and we’ve fixed or replaced it when it gets run down. We treat technology as a family member—even if that is a little co-dependent. You can’t blame us, though; it’s certainly made aspects of our lives easier: We’re no longer forced to send letters through the postal service, book vacations through travel agents, shop in stores, visit the library for research material, or wait for our photos to be developed. Thanks to technology, all of these activities can be performed either digitally or online. At the same time, though, technology can make life more convoluted—especially when something doesn’t work right or doesn’t do what it’s supposed to: Say, for instance, a GPS device tells you to turn the wrong way on a one-way street (yikes! ), or a computer erases all of your important data (ouch! ). Unfortunately, it’s not always easy to understand how a product or service works, not to mention whether or not to hold off on adopting it until a better, shinier thing comes along. A perfect example is the ever-evolving video format. We’ve gone from Betamax to VHS to DVD to HD DVD/Blu-ray to just Blu-ray (and everything in-between, of course). It can take years before a technology catches on, and even more time before we see a significant price drop. For the most part, however, technology does us more good than harm: It’s reconnected us with old college roommates, helped us learn a foreign language, and encouraged us to exercise. Follow us as we look back at how technology has changed our lives—for the better and for the worse—in terms of communication, computing, dining, entertainment, and travel. How to cite How Technology Changed Society, Essays

German Romanticism Essay Example For Students

German Romanticism Essay The following six articles dealing with aspects of romanticism in England, France, Germany, Italy, and Spain were presented in 1937 and in 1938 before a Group of the Modern Language Association of America, General Topics Il: Critical Study of Romanticism. The Group has no responsibility for their publication.‘ Each discussion represents an individual method of approach to this broad and difï ¬ cult subject. If there is a consequent loss of such unity as might come from a series of articles written by a single author, there may be something gained in variety and comprehensiveness, No one article is written primarily for the specialist in its ï ¬ eld. Such a reader will no doubt ï ¬ nd the treatment of his own subject elementary and all too brief. It is hoped, however, that the same reader will find material to interest him in the discussions of other literatures, and that the elements of comparison and contrast between manifestations of romanticism in the different countries will contribute to broader understanding of the movement as a whole—G. H. THE DOMINANT CHARACTERISTICS OF GERMAN ROMANTICISM German romanticism extends over a relatively long period, since in part it goes back to the ideas of Herder and the Storm and Stress movement in the seventies of the eighteenth century. Within narrower limits, one may assign to it the period from the seventeen nineties to about 1830, when it was challenged by the Young German Movement. Obviously, however, this does not mark the end of its inï ¬â€šuence. To give a brief account of so complex and varied a movement, and to attempt to generalize in the face of marked individual differences is an undertaking beset with pitfalls. In dealing with German romanticism many scholars are reluctant to attempt sharp deï ¬ nition like that of romanticism given by Legouis and Cazamian in their history of English literature.‘ Instead, historians of German literature for some time endeavored to contrast classicism and romanticism for the purpose of bringing out in bold relief the essential characteristics of the latter. Subsequently, various critics became more strongly imbued with the thought that the two movements have much in common. For historically German romanticism proceeded from classicism. The older romanticists, the Schlegels and Novalis, did not think of themselves as being in opposition to classicism, but rather as intent upon supplementing and amplifying it. Consequently, romanticism did not begin in contradiction of classicism, but rather in the course of time became farther and farther removed from it. Thus Walther Linden asserts: The older romanticists renewed the irrationalism of the Storm and Stress movement, and they, too, strove for depth, for profound emotion and for totality freed from all limitations. But they by no means ignored the great intellectual achievements of classicism. In endeavoring to unite the two in a higher synthesis of irrational and rational forces, romanticism cultivated consciousness, reflection and the intellectual element almost more than did classicism itself; hence, in its origins romanticism is more inclined to be philosophically critical than poetimlly creative. On the other hand, romanticism penetrated more sensitively and much more deeply into the psychic, into dreams, and longings, the unconscious, the mysterious, into those regions in which we sense intuitively rather than know by dint of reasoning faculties and processes.‘ Fritz Strich, in his book Klassik und Romantik, attempted to distinguish between romanticism and the classicism of Goethe and Schiller by placing certain salient traits in opposition. According to him, German classicism is marked by unperturbed calmness, unity divided into the manifold, plastic compactness, insistence on the present, living form, deï ¬ niteness, perfection or completeness. By way of contrast he enumer   ated the characteristics of romanticism as restless movement, unity without division but in constant ï ¬â€šux, picturesque boundlessness in inexhaustible transformation, longing without goal, limit, or aim; arabesque, music that has become visible; vagueness, and the inï ¬ nite.‘ Whereas Strich tried to establish sharp lines of demarcation, Julius Petersen maintained that such categories are but relative, and furnish no absolute characterization. Moreover, he asserted that it is impossible to reduce the spirit of romanticism to a pure formula, because that does violence to one of its principal characteristics (namely, eternal becoming).‘ In the Atlwmium (1798—1800), the organ of the early German romanticists, Friedrich Schlegel set forth his conception of romantic literature in part as follows: Romantic poetry (Poesie) is progressive universal poetry. Its aim is not merely to re-unite all separated literary forms and to bring poetry in touch with philosophy and rhetoric; but poetry and prose, creative genius and criticism, subtly reï ¬ ned poetry (Kunstpoesie) and folk »poetry (\iolkspoesie) are to be mingled and blended . . . Romantic poetry is still in the process of development; indeed, its very essence is eternal becoming and not complete realization (Vollendung), . . . It can be fathomed (erschoplt) by no theory, and only divinatory criticism could presume to characterize its ideal. It alone is inï ¬ nite, because it alone is free, and recognizes as its ï ¬ rst law that the caprice (Willkà ¼r) of the poet tolerates no law.‘ By virtue of this deï ¬ nition, border lines vanish between the arts as well as between literary forms—the drama, lyric, and narrative. All arts are brought into touch with each other and merge; for tones, colors, and words were regarded merely as different forms of the one language of the soul which should be able to react to any mood and to any mode of thought. And thus poetry is characterized as music for the inner ear, and painting for the inner eye; but it is soft music, and painting devoid of sharpness of outline (verschwebende Malerei). ° Moreover, transitions from one art to another are to be sought. Then statues may become paintings, paintings become poems, poems become music, and solemn sacred music may become a towering temple.l Romanticists were fond of such expressions as hearing colors and seeing music. There are golden tones, colors speak, and love thinks in sweet musical sounds. This eï ¬ acing of border lines, this dissolution and fusion, is directly connected with other views of the romanticists. For they regarded life as one and inseparable, as a unit. For them religion, philosophy, art, and life are one. Life is poetry, and the world a living entity in which poetry is the essential expression of mankind and of human activity. Thus, early German romanticism stresses the intimate union of imaginative literature, criticism, philosophy, and religion. Poetry becomes a symbol of the inï ¬ nite. And according to Friedrich Schlegel, romantic poetry becomes transcendental poetry, which has for its aim the relation of the ideal and the real, as exempliï ¬ ed among the modems by Goethe. Friedrich Schlegel asserted that poetry and philosophy are an in- separable whole; they share the whole range of great, exalted human nature. They meet, supplement each other, and are blended into a unit.’ Poetry is nearer to the earth, philosophy is holier and more closely related to the deity.† Only the union of the two can lend permanence and abiding value.â€Å" Poetry and philosophy are, depending on the point of View, diï ¬ erent spheres, diï ¬â€šerent forms or factors of religion. Their union can be nothing other than religion Architecture: Ancient and Modern EssayIn the poetic treatment of nature the romanticists manifested fondness for picturesque change and for inï ¬ nite distance which stimulates longing and calls up memories. Theirs was a predilection for the mysterious forest, solitude, stillness, for night which stimulates the imagination, for moonlight which ï ¬ lls man with longing, for clouds which journey afar like dreams, and for twilight which eï ¬ aces sharp outlines and gives rise to vagueness of mood. A signiï ¬ cant aspect of German romanticism is romantic irony. Ludwig Tieck is fond of treating his fantastic creations with a playful, mocking romantic irony. This he deï ¬ nes as the ï ¬ nal perfection of a work of art, as that ethereal, transcending spirit that hovers over poetry. The romanticist wishes to demonstrate that he can not merely fashion but also dispel an emotion or an image. He does not lose himself in his work, but remains a free spirit, having the ability to rise above his creation, and to treat it with playful ridicule. Friedrich Schlegel said: †We must be able to rise above our own love; in our thoughts we must be able to destroy what we worship; otherwise, no matter what other capacities we have, we lack a sense of the inï ¬ nite and of the world.† †A truly free and cultured (gebildet) being should be able to attune himself at will, and become philosophical or philological, critical or poetical, historical or rhetorical, ancient or modern; he should be able to do this quite arbitrarily at any time and to any degree as one tunes an instrument.â€Å" Fundamentally, romantic irony i mplies urbanity and complete freedom, mastery, and a sense of sovereign detachment. Philosophically, it is rooted in Fichte’s idea of the sovereignty of Free Spirit. In practice, romantic irony often produced the impression of insincerity; in some of Heines lyrics it made for dissonance. In the ï ¬ eld of literary criticism Novalis stated that one way of proving that he had understood an author was to be able to act in his spirit.‘The province of criticism, said August Schlegel, is to grasp completely, clearly, and with sharp precision the profound meaning which a creative genius has laid in his work, to interpret it, and thereby to bring less in— dependent but receptive observers to a higher, correct point of view.â€Å" Similarly Wackenroder says: â€Å"Every work of art can be comprehended and grasped inwardly only out of the same emotion which gave rise to it; and emotion can be grasped only by emotion.†Ã¢â‚¬Ëœ7 Friedrich Schlegel states that criticism is to teach man to comprehend every form of poetry in its classic vigor and fullness, and thus to fructify the imagination.â€Å" Thus romantic criticism or characterization desires to give the already initiated a deeper insight into the inexhaustible spirit of an original poem. It need hardly be said that theory and practice were not always in accord, and that the interpreter at times became a judge. And yet this very eï ¬ ort at recreating an experience, the ability to enter into the spirit of a work of art, enabled August Wilhelm Schlegel to reproduce the spirit of Shakespeare in German translation as no one had done before him. The novel is a genre which a number of romanticists cultivated, because it allowed them the greatest freedom in structure, form, and technique. Friedrich Schlegel regarded it as an admixture of narrative, song, and other forms?0 the best element in the best novels seemed to him to be a more or less veiled self—confession of the author, the fruit of his experience, the quintessence of his lndividuality.‘l Hence he considered Rousseau’s Confession: a most excellent novel.â€Å" On the whole, the German romantic novel is marked by looseness of structure, lack of unity, a wealth of episodes, and discursiveness; it abounds in adventures encountered in rather aimless wanderings. There is a variety of moods which frequently ï ¬ nd expression in lyrical interpolations. The Novella, as an account of striking happenings, conditions, or individuals was cultivated to a high degree of excellence. Friedrich Schlegel considered the Novella admirably suited to the indirect and symbolical portrayal of subjective mood and viewpoint in a most profound and individualistic manner. The drama was ill suited to the romanticist’s dislike of formal restraint; hence, obvious weaknesses are superï ¬ cial, unconvincing motivation; inadequacy of character portrayal; lack of unity; and general looseness of structure. The fate tragedy and the fairy drama are in evidence; in the latter, the dream world is looked upon as the world of actuality, and the world becomes a. dream. One of the ï ¬ nest ï ¬â€šowers of creative romanticism was the fairy tale. The fairy tale appealed to the romanticists because it entered the realm of the fanciful, the imaginative, and the supernatural—which to them was the realm of genuine truth. It represented the fulï ¬ llment of romantic longing; here the romantic spirit was quite untrammeled and magically creative, since in this realm the laws of experience, of time, place, and causality have no validity. The Grimm brothers collected and published folk fairy tales which hitherto had been transmitted orally from one generation to another. Art fairy tales received a stimulus from the popular tale. The rich collection of folksongs published by Arnim and Brentano (18064808) under the title Dc: Knabcn Wundcrham exerted a profound inï ¬â€šuence upon German lyric poetry. It occupies a place in the history of German poetry somewhat comparable to that of Percy’s Reliques of Ancient English Poetry (1765) in England. In the days of the Storm and Stress movement Herder’s collections and translations of folksongs had stressed the cosmopolitan, international aspects of poetry. But Arnim and Brentano in their collection emphasized the German element, and regarded these songs as expressive of the spirit of the German people. Numerous German lyric poets were inspired to write in the manner of the folksong. As a result, much of the lyric poetry of the period is marked by simplicity, unity, directness, genuineness, and spontaneity. This is of particular importance, because lyric poetry is undoubtedly the most significant creative contribution of German romanticism. Under the stimulus of the wars of liberation, later romanticism became patriotic and nationalistic. The earlier cosmopolitan, individualistic attitude gave way to the desire to subordinate self to the state and the nation. Nationalistic feeling welled up in powerful patriotic lyrics. Men like Fichte, in his detn an die deutschz Nalion, and Kleist, in drama and journalism, were profoundly conscious of the obligation of the individual to the state. The interest in Germany’s past manifested itself in the emphasis upon older German literature and philology, folk lore, folksong, folk fairy tale, and chap—books. The idea of totality and of organic development held by early romanticists was now applied in a new and more realistic manner to the state, society, and history. Nevertheless, the interest in the subconscious, hallucinations, hypnotic suggestion, the occult, dreams, morbidity, the gruesome, the fantastic, the  emotional element, irrationalism, and phantasmagoria persisted. Between early and later romanticism there was a difference of emphasis rather than fundamental opposition of tendencies.