Cloning Essay Research Paper Cloning 1999 Cloning free essay sample

Cloning Essay, Research Paper Cloning 1999 Cloning is the methodology of making a familial extra of a man. Since the February 1997 decree of the introduction of Dolly, a sheep cloned by Ian Wilmut, cloning research has expanded enormously. Cloning universes presently has become an a lot more noteworthy chance in society than it was mature ages prior. Researcher are on the outskirt of a tremendous disclosure with human cloning, and society will ask it # 8217 ; s self if this ought to be permitted or non. Numerous explanations can be made for and against human cloning. Supporters of human cloning may reason that it is only a coherent and unavoidable progress in logical order designing. It is, in any case, dangerous for human points. At the present cut, the majority of the general people is against cloning. Inside a couple of mature ages cut, the clinical conceivable outcomes of human cloning might be appealing satisfactory to adjust the masses conclusion. Reasearchers on human cloning would influence colossal dangers for the underlying ringers, in light of the fact that any investigations in human cloning would at long last hold to be tried on universes. We will compose a custom article test on Cloning Essay Research Paper Cloning 1999 Cloning or on the other hand any comparative point explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page Human cloning is deceptive due to the risks that this example includes enormously exceed the bebefits. The procedure that delivered Dolly the sheep was fruitful in simply 1 of 277 endeavors. On the off chance that this was endeavored in universes, it would risk premature births in the female parent and horrendous formative occupations in the child. The existent perils of physical injury to the cloned child can non be sure without convey oning probes human presences. This itself is exploitative on the grounds that no 1 recognizes what will go on and the child is in harm's way since noone realizes what is going to go on, the child could be brought into the world incapacitated and additionally have formative diffuculties. Starting at now human cloning doesn # 8217 ; t appear to be an incredible chance in view of the danger included and how the general people would react. Some clasp in the great beyond, potentially the progresss in clinical designing will let cloning with no conceivable peril.

Lexis Definition and Examples

Lexis Definition and Examples Lexis is a term in phonetics alluding to the jargon of a language. Lexis is a Greek expression significance word or discourse. The descriptor is lexical. The investigation of lexis and the vocabulary, or assortment of words in a language, is called lexicology. The way toward adding words and word examples to the vocabulary of a language is called lexicalization. In language structure, the qualification among linguistic structure and morphology is, by custom, lexically based. In late decades, however,â this qualification has been contested by explore inâ lexicogrammar: lexis and language structure are presently commonly seen as related. Models and Observations The term lexis, from the antiquated Greek for word, alludes to all the words in a language, the whole jargon of a language... Throughout the entire existence of current phonetics, since around the center of the twentieth century, the treatment of lexis has developed considerably by recognizing to a more noteworthy degree the significant and focal job of words and lexicalized expressions in the psychological portrayal of etymological information and in semantic preparing. (Joe Barcroft, Gretchen Sunderman, and Norvert Schmitt, Lexisâ from The Routledge Handbook of Applied Linguistics, altered by James Simpson)â Sentence structure and Lexis Lexis and morphology [are] recorded close by linguistic structure and punctuation on the grounds that these parts of language are between related...The morphemes over the s on felines and on eats-give syntactic data: the s on felines reveals to us that the thing is plural, and the s on eats could propose a plural thing, as in they had some eats. The s on eats could likewise be a type of the action word utilized as an outsider looking in he, she, or it eats. For each situation, at that point, the morphology of the word is firmly associated with punctuation or the auxiliary standards that oversee how words and expressions identify with one another. (Angela Goddard, Doing English Language: A Guide for Students)â [R]esearch, especially throughout the most recent fifteen years or thereabouts, is starting to exhibit increasingly more unmistakably that the connection among language structure and lexis is a lot nearer than [we used to think]: in making sentences we may begin with the syntax, however the last state of a sentence is controlled by the words which make up the sentence. Let us take a straightforward model. These are both likely sentences of English: I laughed.She got it. Be that as it may, coming up next are not likely sentences of English. She put it away.She put it. The action word put is deficient except if it is trailed by both an immediate item, for example, it, and furthermore a verb-modifying of spot like here or away: I put it on the shelf.She put it. Taking three distinct action words, snicker, purchase and put, as beginning stages brings about sentences which are very unique in structure...The lexis and the syntax, the words, and the sentence, continue inseparably. (Dave Willis, Rules, Patterns, and Words: Grammar and Lexis in English Language Teaching)

New International Blog About Writing Centers Richmond Writing

New International Blog About Writing Centers Richmond Writing Im really pleased to announce Connecting Writing Centers Across Borders, a new publication by Writing Lab Newsletter. It gives me great pleasure personally and professionally to collaborate with editors Muriel Harris and Alan Benson in working on the first postings for the blog. Some veteran colleagues such as Carl Glover have already posted their ideas. Our focus, at the blog and a new column in WLN, will be international collaboration. The need is there, as writing-center initiatives are cropping up globally, often taking shape in culturally appropriate ways for their home nations. My own first post focuses on how technology from a center builds ethos and influence on campus. One shoe cannot fit every foot, and as I learned in 2013 at the Conference for The European Association for the Teaching of Academic Writing, best practices vary widely and the US model of peer-tutor work is far from universal. Using the new blog and column, we directors, tutors, writing consultants, peer mentors, and those doing similar work plan to share resources, stories from our centers, and advice to help our writers and each other.

Essay on Justification of Hamlets Sanity in...

Shakespeares play Hamlet is about a complex protagonist, Hamlet, who faces adversity and is destined to murder the individual who killed his father. Hamlet is a character who although his actions and emotions may be one of an insane person, in the beginning of the book it is clear that Hamlet decides to fake madness in order for his plan to succeed in killing Claudius. Hamlet is sane because throughout the play he only acts crazy in front of certain people, to others he acts properly and displays proper prince like behavior who is able to cope with them without sounding crazy, and even after everything that has been going on in his life he is able to take revenge by killing his fathers murderer. In the play Hamlet by William†¦show more content†¦After this scene Hamlet acts insane and he often criticizes his mother for remarrying and even insults her, but gets away with his actions because at this point those around him are starting to believe there is something wrong with Hamlet. Hamlet is not crazy but if he were truly crazy then he would not internally realize that he is mad, a crazy person usually doesnt realize they are going crazy, but it is others who realize because of his or her actions. In Hamlets case, Hamlet knows he is crazy and his acting is beneficial for him because he is able to talk freely without having to hold anything back. If Hamlet were truly insane it would have caused him his own death, because usually when an individual is insane they are unaware of what they are saying and their actions are usually always made hastily, a quality that Hamlet does not seem to have. When Hamlet is in the presence of certain people he acts differently, he acts like any other normal individual, he is smart, is able to thoroughly think every plan or idea he has and he is fully aware of his surroundings. Although he tends to procrastinate he is able to follow through with his plans, instead of saying one thing and doing another. An example is when Hamlet saves his life on board with pirates by thinking quickly and mostShow MoreRelatedHamlet, By William Shakespeare1640 Words   |  7 Pages Shakespeare’s play Hamlet is one of the most important works of literature ever published, evidenced by the fact that it explores several themes still relevant almost 400 years later—namely the affect insanity can have; not only on one person, but everyone involved in that person’s life. The play takes place shortly after the death of Denmark’s former king, King Hamlet, and follows his son, Prince Hamlet, as he attempts to avenge his father’s death. Although early in the play Hamlet tells his friendsRead MoreHamlet Needs Horatio and Ophelia Essay1326 Words   |  6 Pagesfunctions in the play. Horatio is used as a foil for Hamlet, the person to whom Hamlet can discuss his course of action and act like his true self. Ophelia, however, has a major role that is not initially evident. She is the embodiment of how Hamlets opinion of women changes throughout the play. These two characters have drastically different roles, but both are vital to the success of Hamlet. In Hamlet, Shakespeare develops the character of Hamlet through numerous soliloquies and long speeches.Read MoreShakespeares Hamlet: Hamlet is Perfectly Sane Essay1947 Words   |  8 PagesHamlet is Perfectly Sane      Ã‚  Ã‚  Ã‚   I will be brief.   Your noble son is mad, states Polonius (II, ii, 91) .   Ophelia exclaims, O what a noble mind is here oerthrown! (III, i, 153).   Alas, hes mad, concludes Gertrude (III, iv, 106). Claudius even instructs Rosencrantz and Guildenstern to escort Hamlet to England because it [is not] safe with us/To let his madness range (III, iii, 1-2).   Essentially, each supporting character questions Hamlets sanity, and most conclude he is indeed madRead MoreWilliam Shakespeare s Hamlet 1732 Words   |  7 PagesOften, and justly, referred to as the greatest story to have ever been told, Shakespeare’s Hamlet never ceases to cause debate amongst two individuals. The complexity within the play’s characters allows every individual to perceive a different variation of them, instigating these endless debates. Consequently, one of the most famous debates, questioning Hamlet’s antic disposition, has split the population into those that belie ve he was not mad, merely acting, and others who believe he had gone completelyRead MoreHamlet : William Shakespeare s Hamlet991 Words   |  4 PagesLucille Cousin November 10, 2014 APLA 12 - Hamlet Character Analysis William Shakespeare’s Hamlet, regarded as one his most famous plays, is based on the story of the Hamlet, the â€Å"Dark† Prince of Denmark. The protagonist, being Hamlet, is an extremely complex man with such a multi-dimensional personality that to this day, critics struggle to understand him. Each reader is left to decide his/her own interpretation of him — whether he is evil and insane, if he’s a tragic hero, or if he is a victimRead MoreStruggle And Disillusionment In Shakespeares Hamlet1945 Words   |  8 PagesAs with the majority of Shakespeare’s works, the tragedy of Hamlet still remains an acclaimed source of inspiration for complex interpretations and in-depth criticism. Its value lies not within its plot, but rather within the constituents that gives rise to the textual integrity of the play. Hence, such thematic concerns of Struggle and Disillusionment are dramatically explored through elements of the dramatic form to impart an effect on the audience that allows the play to transcend contextual barriersRead MoreStruggle And Disillusionment In Shakespeares Hamlet1901 Words   |  8 PagesAs with the majority of Shakespeare’s works, the 1601 tragedy of Hamlet still remains as an acclaimed source of inspiration for complex interpretations and in-depth criticism. Its values lies not within its plot, but rather within the constituents that gives rise to the textual integrity of the play. Hence, such thematic concerns of Struggle and Disillusionment are dramatically explored through elements of the dramatic form to impart an effect on the audience that allows the play to transcend contextualRead More Horatio in Shakespeares Hamlet Essay2166 Words   |  9 PagesHoratio in Hamlet      Ã‚   In Shakespeare’s tragedy Hamlet, the closest friend of the hero is a fellow-student from Wittenberg (Granville-Barker 93), an intelligent and understanding young man by the name of Horatio. This essay seeks to carefully present his character.    Marchette Chute in â€Å"The Story Told in Hamlet† describes Horatio’s part in the opening scene of the play:    The story opens in the cold and dark of a winter night in Denmark, while the guard is being changed on theRead MoreHamlet, By William Shakespeare Essay1636 Words   |  7 PagesPeriod 3 Mr. Levine English 101 Research Paper Hamlet Hamlet is categorized as one of the greatest plays ever written. In the play the main character Prince Hamlet has a very complicated character. As the play goes along Hamlet displays a wide range of emotions through his actions and his words. With doing this, it creates controversy amongst the critics and readers of the play. They find it difficult to come to a conclusion of whether Hamlet s â€Å"madness† is sincere or if he is simply aRead More Complacence as a Facet of Insanity in Hamlet Essay2539 Words   |  11 PagesEffectively, Shakespeare’s Hamlet, a character of vast intellect appears to contradict the commonplace mould of human personality, whereas in typical occurrences lunacy occurs as a direct result of conscious deterioration, it is the progression of Hamlet’s mind which amplifies his already present insanity. Though, the essence, of his state of mind remains slightly unclear. Hamlet is unable to come to terms with the lack of individuality he se es amongst himself and his kin, and for Hamlet whom is able

The Epic Poem Of Troy - 1356 Words

The Ancient Greek History is famous for its many fascinating civilization and great heroic people surrounding the history. Iliad portrays the siege of a dynamic ancient Greek epic poem of Troy, which is attributed to Homer. Adventurous and braveness with god-like qualities is used to describe the ancient classic Greek heroes in this poem. Iliad is now known as one of the aged surviving ancient Greek epic poems, which directly relates to the events near the end of Trojan War. Heroic figures are considered important in Greek history due to some qualities included; having one immortal parent, born into royalty, having an unusual birth, being favored by the gods, marrying a princess, becoming a subject of a prophecy, and dying an ignoble or unpardonable death. The heroes’ in the Iliad poem can attest for many of these attributes. Emphasis on Iliad depicted how the ancient Greeks celebrate wars. Realities of the war were never ignored; their men died ferociously whiles their women became slaves or courtesan. Heroes in Iliad also chose soldierly exaltation or honor over the life of their families. Hector and Achilles who were the classic hero characters in the test valued their braveness, nobleness, fame and integrity and made a voluntarily sacrifice to be in war rather than to live with their families and those they love. The author’s detailing imagery in the Iliad gave emphasis on how â€Å"arà ªte† meaning the pursuit of excellence or moral goodnessShow MoreRelatedSimilarities Between The And The Epic Of The Iliad1570 Words   |  7 Pageshousands of years that the epic story the Iliad has survived, which is credited to the famous Greek poet, Homer. In the 2004 film Troy, directed by Wolfgang Peterson, the plot resembles and is based from the epic poem, the Iliad. When the movie Troy was released, there was criticism on how even though the movie was based off of the Iliad, there were numerous differences from the Iliad itself. Even with its differences, the movie, Troy, does have many similarities to the Iliad. Even though there areRead More12 Literary Piece1670 Words   |  7 PagesChristianity originating from Palestine and Greece 2. Koran: The Muslim bible originating from Arabia 3. The Iliad and the Odyssey: These have been the source of Myths and Legends of Greece. They were written by Homer. 4. The Mahabharata: The Longest epic of the world. It contains the history of religion in India. 5. Canterburry: it depicts the religion and customs of English in early days. This originated from England and written by Chaucer. 6. Uncle Toms Cabin: written by Harriet Beecher StoweRead MoreAchilles Vs. Hector Of The Iliad910 Words   |  4 PagesAchilles vs. Hector The Iliad is an epic poem usually attributed to Homer. The poem narrates the story of the war between the Greeks and the Trojans, known as the Trojan War. The Trojan War started when Paris of Troy took Helen, wife of Menelaus, to his homeland. Angry by the kidnapping of his wife, Menelaus (king of Sparta) asks his brother the King Agamemnon (king of the Achaeans) to march to war against the Trojans. The war is fought in the outskirts of Troy, and lasted ten years. The importanceRead MoreThe Horrors of War Exposed in Homers Iliad1379 Words   |  6 Pages The Horrors of War Exposed in Homer’s Iliad nbsp; There- Harpalion charged Menelaus - King Pylaemenes son Whod followed his father into war at Troy But he never reached his fatherland again. He closed on Atrides, spear stabbing his shield Right on the boss but the bronze could not drive through, So back he drew to his ranks, dodging death, glancing Left and right, fearing a lance would graze his flesh. But Meriones caught him in full retreat, he let fly With a bronze-tippedRead MoreThe Aeneid By Virgil Between 29 And 19 Bc1434 Words   |  6 PagesThe Aeneid is an epic poem written by Virgil between 29 and 19 BC. This works tells of the Trojan hero Aeneas and his journey from Troy to Italy to settle a new city for his people. The first half of the book entails Aeneas making his way to Italy while the second half describes the battle between the Latins and the Trojans. Both of these endeavors require the hero of the story to have a motivated disposition. These motivations come in the form of depictions of Roman history. The two significantRead MoreWomens Roles in the Odyssey1337 Words   |  6 Pagesthat forms an important part of The Odyssey, an epic written by Homer in the 7th century B.C. Within the poem there are three basic types of women: the goddess, the seductress, and the good hostess/wife. Each role helps to create a different kind of element and is essential to the completion of the story. The first female in the Odyssey to be seen in full effect is the beautiful goddess. Although she is a supernatural being in all of the epic poem she is in a position to pity the mortals, whichRead MoreEssay about Iliad and The Odyssey by Homer1702 Words   |  7 PagesAn epic poem is a long narrative poem, normally having to do with a serious subject while covering heroic deeds and events important for a culture or nation. Homer, the author of Iliad and the Odyssey, is perhaps the most famous and notable writer of epics. Inspired directly from the stories that had been passed down orally over the centuries, Homer wrote these epic poems retelling the stories of the last year of the Trojan War and Odysseus’s journey home after the Trojan War. These epics are filledRead MoreThe Odyssey : The Aeneid And The Odyssey1075 Words   |  5 PagesThe Aeneid and the Odyssey are perhaps two of the most famous epic poems to come out of the ancient world. Both stories involve acts of hero ism, divine intervention, and ultimately, victory. They both offer insights into the cultures of Rome and Greece at the time of their writings. Additionally, both works stem from the same event (the Trojan War) but follow different characters, touching on different aspects of the idealized hero in Roman and Greek culture. We must first start by discussing whoRead MoreEpic Heroism And Values Of The Iliad1030 Words   |  5 Pages DWC 101: Paper 1 November 1, 2017 Epic Heroism and Values of the Greek and Roman Culture The image of Achilles killing Hector and the image of Aeneas killing Turnus classify them as epic heroes. In the Greek epic poem the Iliad, Homer portrays Achilles as an enraged warrior fighting for revenge for a woman he loved. In the Roman epic poem the Aeneid, Virgil portrays Aeneas as fleeing the city of Troy to establish a new city. Achilles and Aeneas are epic heroes because they both show courageRead More Comparison of Odyssey, Divine Comedy, and Paradise Lost Essay1089 Words   |  5 PagesComparison of Odyssey, Divine Comedy, and Paradise Lost      Ã‚   Epics by definition are long narrative poems, that are grand in both theme and style (Webster 417).   They usually involve actions of great glory and are typically centered around historical or legendary events of universal significance.   Most epics deal with the deeds of a single individual, however, it is not uncommon to have more than one main character.   Epics embody several main features including: supernatural

The Family Album Questioning Memory. Free Essays

string(69) " put away in a box or packet to be perused at times of reminiscence\." The Family Album: Questioning Memory. â€Å"After 17 years I’m back in Shanghai and all along, my memory has been playing tricks† (Otsuka, 2006:33). Why do we take images for family albums? We take them to remember people as they were. We will write a custom essay sample on The Family Album: Questioning Memory. or any similar topic only for you Order Now Traditionally in portrait photography, it has been a point of argument whether a photograph can or cannot reveal the true sense of a person, their personality or inner self. To me the photograph is merely surface – a likeness -, it is what the photographer or archivist wants to be seen, and holds no deeper resonance. In addition, not only do we want to remember, we want to acknowledge our existence, and in the future, be ourselves remembered as an essential part of the family unit. It is not only about belonging, but about leaving a trace of ourselves that will be around long after we are gone: photographs are tokens of immortality. The family album both represents what has to be continued and perpetuates the myth of the ‘happy family’, which can be construed in multiple ways depending on the viewer and their motives. The portrayal of the ‘happy family’ is dependent on the various stages of editing – the photographer decides who is included or left out, tells the subjects where to stand or sit, and when to say â€Å"Cheese! † The collator then decides which photographs are worthy of going into the album and which will be left in a box, or thrown away. The editing and archiving follow perceived ideologies of family history, reflecting the editor’s own purpose and personal viewpoint. Claire Grey believes that history is always a personal account (Holland Spence, 1991: 108). But do these photos help us remember or do they alter or replace the real memories of what happened and who the people in the photos really were? In this essay, I will attempt to explain why I believe that the memories imbedded in the family album are constructs, falsehoods. I am going to look at images from six photographers as well as my own family albums to ascertain the accuracy of memory generated by image. In looking at a family album, do I take other people’s and family member’s recollections and apply them to my own history? Collective memory can twist the truth and often construct altered variations. As stories pass from one generation to the next, they are prone to fabrication and exaggeration. Lorie Novak states, â€Å"Our own images are often tied up in family legend with conversations about family photographs frequently accompanied by embellishment and invention. Photographs and the narratives they inspire can become substitutes for memories of actual events† (Hirsch, 1999: 26-27). She also wondered whether the information omitted from her own family album shaped her memories and studied this concept in her work (Hirsch, 1999: 15). Maybe this is the same for Ingrid Hesling, who, at the age of 16, found out that she was adopted – I wonder if this new information changed her memories or merely her perception of her memories: it would appear those that were once fond became bitter. She questioned her entire childhood leading her to create work using a combination of old family photos, text and her own contemporary images. Her work is an investigation into how memory can be altered depending on how you relate to the history behind it and the images documenting it. Analysing Numbers (Figure 1), the eye is drawn immediately to the smiling child clutching her toys, an image taken from the family album, then to the accompanying photo, and finally to its contents, the numbers – which symbolically do not reach 16 – and the text. The emptiness behind the child and the distance between her and the numbers – enhanced by the strong horizontals – metaphorically represents the separation from the truth. The child and toys have connotations of family, comfort and home, whereas, the numbers suggest conformity, lack of individuality and belonging, – being a number without identity. The subject matter is not immediately obvious until the text (both within and out of the image) is included. The initial impression of happiness is underscored and then submerged by a sense of unease, of anger and of betrayal. The original photo should evoke happiness but the viewer becomes disturbed when the opposite occurs. Is this family image therefore a fabrication, just because the way we see the memory has changed? Were things left out of the Hesling family album images in order to conceal the truth from her? In my own work, I use the family album aesthetic frequently. I seek out, analyse old family photographs, and try to apply them to my work. It fascinates me when I find images of myself as a child that I have never encountered before. I automatically try to locate any memories associated with the image, despite the fact that they do not exist for me, as I was too young, and attempt to remember stories I may have been told about the photograph. But this is not a true memory – it is assimilated from my family’s collective memory. Jo Spence said that searching for memories within family photographs, was impossible (Holland Spence, 1991:203). Trish Morrissey is a photographer who looks at ‘the family album as fiction’, carefully constructing the conventions and cliches of the domestic snap shot; thus, courting reality by the act of staging. In this way she has created a generic family album, to which anyone can relate: her family album has become everybody’s family album and countless others now share the memories. Anne McNeill states in her essay on Morrissey’s work that the images in the ‘shoe box’ are not the ‘official’ history of the family, but â€Å"the ones that got away† (Morrissey, 2004:23). This is an interesting concept, in that the family deem some images more important than others: ‘proper’ images are displayed on top of the TV or framed for the wall, whereas the pictures that could be perceived as being more ‘real’, of everyday life, are put away in a box or packet to be perused at times of reminiscence. You read "The Family Album: Questioning Memory." in category "Essay examples" I am attracted to Morrissey’s work because of the questioning nature of her images. In September 20th, 1985 (Figure 2), with her sister in the other role, she meticulously recreates the original connection between the subjects as well as the peripheral details. However, in contrast to most family photos, the people in her images rarely smile, forcing the viewer to concentrate on the gestures and body language and use them to interpret and reveal hidden tensions between family members. Such underlying tensions tell more of the history and context than smiling faces. Staging allows the viewer to witness Morrissey in the act of constructing photographic meaning. Colour draws the eye to the teenage subject, her expression, and then to the contrasting expression of the older woman. The title includes the date – confirmed by the style and fashion – however as it is known that the images are reconstructed and were taken more recently than the title states, this inclusion generates more questions than answers. She questions the truth of the family album. Her images constructed as generic examples, using, and according to, her memories and the original photos. But how accurately can these be recreated when personal memory and current emotions are present? The reconstruction becomes a new history of her and her sister. Then we realise it is, and always has been, about her relationship with her sister, and this in turn, makes the viewer question the validity of all family album images: the allusion to unacknowledged family tension and the fallacy of the ‘happy family’. She questions the legitimacy of the entire tradition of the family album. Tim Roda is another artist who recreates personal histories using his memories. Roda uses his family to recreate definitive life-changing memories and moments from his life: his son assumes his childhood role and he becomes his father. This strikes a chord with me as my current work revolves around the ideas of role reversal – child becoming adult and vice versa. Roda’s Untitled (Figure 3) initially caused me confusion and distress, as if a still from a horror film: it is dark, shadowy, and menacing. It is obviously and unapologetically staged, but why? It makes me ask questions. What is it about? It is a narrative, but is it fact or fiction? The camera is used to record a moment in time that balances between memories and constructed commentaries, yet it is a documentation of real events for the people taking part in the image making. Although his family are the immediate subjects, the work is filled with metaphorical reverberations of family history and childhood memories. Initially the composition leads the viewer to the man. What is he doing? Then the attention is drawn to the child with sharp shears, then to the birds hanging from the ceiling. These birds give a context to the image and place it somewhere that is recognisable. The man appears to have been hunting and is subsequently preparing the animal for cooking. The scene suggests that that they are country people, perhaps poor and living off the land: the father now teaching the boy by passing on traditions and skills. But is this a true memory or a corrupt, idealised memory? How much of it has been exaggerated or changed from the reality of the past? How would we know? Miyako Ishiuchi, in contrast, photographed her late mother’s belongings. She never got on with her mother but was distraught at her death, leading her to create a series of images as a memorial and tribute: a catalogue of personal belongings, objectified in the images, but subjectified in the photographer’s mind. In this way Ishiuchi sought to create an emotional connection, a sense of personal closeness and history, she never had when her mother was alive. The image is slightly off centre: does this reflect the true relationship? Despite this, the images remain clinical and objective: the daughter becoming the photographer and archivist of her mother’s possessions, using them to create a pseudo family album. Although Figure 4, an image from the Mother’s’ Series, is skeletal and ghostly, its forensic detail alluding to death, it is very simple and beautiful, with connotations of family love and loss – in some ways a memento mori. It is aesthetically pleasing, like still life, but ‘still death’. The image is deeply personal and yet it holds universal meaning. She strives to seize a point of contact between the past and present. The meaning of this single image is not obvious when viewed on its own, however becomes clearer when viewed with the others in the series. It is a highly emotive collection of images, reminding me of my own mother’s death, my relationship with her and how I dealt with her possessions and my memories of her after she died. One of my favourite photographers of the moment is Chino Otsuka. She has approached the questioning of the family album image in a new and unique way. At first glance, 1976 and 2005, Kakamura, Japan (Figure 8) appears to be an actual family album photograph, perhaps of a mother and daughter, maybe a holiday snap. However, once you are made aware of the digital alteration, it becomes much more interesting and poses many questions about the context. Otsuka includes verses in her book, which help to explain her intentions: â€Å"One by one, I retrieve fragments of memories and paste them all together† (Otsuka, 2006:37). This has double meaning: the ‘pasting’ both psychological as well as physical. The final image is a construct both as a photograph and as a memory. At first glance, she could be taken for the child’s mother, sister, or aunt. It makes me question familial roles and place within the family. She has created time travel: â€Å"Past becomes present, the present becomes the future, back and forth, travelling in time† (Otsuka, 006:31). This makes us question, if we could go back, what would we do, say or change? In actuality Otsuka photographed herself in 2005, replicating the correct light conditions, and then digitally compositing the new image next to herself as a child. The original image was perfectly symmetrical, with the child in the centre. The addition of the adult shifts the ba lance. But what balance has changed? Is it merely the symmetry or is it rather the balance of power and control? Here because the adult and child are the same person, the family album becomes a mockery. She speaks of memory, â€Å"Until I look for it, it will hide forever [†¦] Just when I have forgotten it, it comes into sight and when I finally catch it I realise how much of it has escaped† (Otsuka, 2006:39). She is questioning her own memory and realising her memory lies to her. Even the recreation of the memory will eventually be corrupted. Here she categorically states that nothing can be received at face value. The apparent truth may in fact be corrupt, but to accentuate her belief in this dishonesty she has tainted it further. She may in fact remember the original memory but has replaced it with a falsehood. This event never happened, could never happen, it is an impossibility: a visual paradox. As my attention is drawn first to the child, then the woman, then the shadows, I seem to be searching for a reason to disprove the truth of this image. Why is the knowledge that it is fake not enough? Am I still so programmed to accept the photograph as truth, that I must find proof that the photograph is a lie? How then do these photographers’ interpretations of the family album reflect in my response to the images in my own? Through family photos, I place myself within my family’s history. If they, as I believe, mean nothing, then how does that in turn affect how I view my history and my memories? ‘Christmas’ (Figure 9) was taken at my father’s parents flat in Glasgow, in1972. It is not unusual in any way. It does not differ greatly from other family album images. In fact, the majority of families have very similar images in their collections. I, at three years old, stand between my grandparents, seemingly being presented to the camera, with my mother and father (and the dog) at the back. My father, an amateur photographer, would have proudly taken the photo using the self-timer, explaining the not-quite perfect stance of the subjects. I assume it is an individual image, and not part of a series, although through the nature of editing – as spoken about previously -, other images, taken at the same time, may have been discarded or lost. This means that I am unable to build a picture of the whole holiday: it is merely a captured moment in time. My eye is first drawn to myself, perhaps looking for recognition, then to my Grandparents and my mother – all three of whom are now dead -, then to my father. The image was taken in the tradition of family portraiture to commemorate the family being together (our family lived abroad and only visited Scotland occasionally). You would expect this to be a happy time, however, my grandfather and I – who reputedly enjoyed and sought out being photographed – are noticeably uncomfortable. On closer inspection, I can see that we are not in fact the happy family my father wished to depict. It reminds me of Trish Morrissey’s work, where the tensions between family members are apparent despite the fake smiles attempting to cover up the real feelings. However, this image was intended only for family viewing, so why the faking? All the people in this picture will have been aware of the reality. Who are they faking for? I presume it can only be the tradition of smiling for the camera and a subconscious conveyance to future generations of family and friends that we were the archetypal ‘happy family’. Certain things in the image trigger my sensory memory, such as the material of the seat, the curtains and carpet, but I have no visual memory of this time. Roland Barthes wrote about his sensory memory being triggered by an image: â€Å"[my mother] is hugging me, a child, against her; I can waken in myself the rumpled softness of her crepe de chine and the perfume of her rice powder† (Barthes, 1982: 65). I found an image of myself aged six that I had previously not seen, and although I do not remember the photograph being taken, I do recall the texture, colour and smell of my dress, and associated images of my Mother leaning over the sewing machine making it. Are all these fake memories? Even if I cross-referenced with someone else that was there, their memory would be different as it is as personal to them as my memories are to me. To me this is the truth, as it is all I have. Is it better to have some believed memory, no matter how untruthful, than no memory at all? Looking to my own, more recent, family album images I have noticed that the family album has recently begun to change in style and content, partially due to the onset of digital cameras and computers. It is no longer merely portraiture but also has a documentary style. Gone are the formal (or informal) posed portraits of individuals and family groups. People now take more pictures of their friends and family candidly, when the subject is unaware of the image being taken. These may not be intended for the ‘official’ family album, but are most family’s more personal ‘shoe box’ pictures. This raises the question of whether the memories associated with these images are related to differently by both the photographer and the subject. Are these recalled memories more ‘real’ than formal, posed images? As photography changes in our digital and computer based society, so does the way we take, edit and construct images for the family album. There are now fewer mistakes made when taking images. Only a few years ago, films were shot and printed, and all the images were kept, even the mistakes (cut off heads, fingers in shot, badly exposed, etc), whereas, now, with digital technology, the editing is done in camera. The ‘bad’ or unacceptable shots are deleted and re-shot before printing (if they are printed at all). There is now also a mass profusion of images, whereas before, due to cost of film and printing, families were more selective with their image taking, and consequently saved every image, however ‘bad’. Images now, are more likely to be kept on disc, losing the tactile quality we associate with photographs. The family album is becoming no longer a literal book of images. They are spread throughout cyberspace on social networking sites. Has this given the family album less value? Certainly the extended family can now have instant access to the family album, but are they really interested in any other images but their own? Why do we insist on sharing our most personal family moments with anyone and everyone? Again, I think it is about portraying the ‘perfect, happy family’ as well as spreading our immortality as far and wide as possible before we die. These modern methods of image dissemination negate the importance and relevance of the family album as a historical document, and we cynically become blase about images in general. In Umberto Eco’s book, The Mysterious Flame of Queen Loana, the protagonist is struck with almost complete memory loss, and in attempting to reconstruct his personal history, he comes to realise that he cannot rely on other people’s remembrances. He is shown a photograph of his parents, and states, â€Å"You tell me that these two were my parents, so now I know, but it’s a memory that you have given me. I’ll remember the photo from now on, but not them† (Eco, 2005: 24). He then retreats to his old family home and spends all his time in the attic, attempting to regain his memories, but only discovers that memory once lost cannot be regained, merely re-learnt: â€Å"Our memory is never fully ‘ours’, nor are the pictures ever unmediated representations of our past. [†¦ we both construct a fantastic past and set out on a detective trail to find other versions of a ‘real’ one† (Hirsch, 1997: 14). Similarly, Mier Joel Wigoder speaks of placing this photograph (Figure 12) of his father and grandfather on his desk, in place of an image of himself and his father that never existed. It is not his memory as he was not there, but it is a memory he wishes he had. He has invented a memory (or a fantasy? ) for himself based on a photograph taken before he was born. However, it is possible that all memories are created in this way. I have looked at other people’s family photos and used them to prompt my own memories of similar times, places and people. As Heather Cameron says, â€Å"Our memory [†¦ ] is a constant process of writing and rewriting, crossing out, overlapping images and distortion. It shifts and flows and moves without a fixed foundation† (Cameron, 2002:6). Nan Goldin believed that by taking photos of her friends and family, she would be able to retain her own memories of them and not be influenced by the memories of others (Goldin, 1986:9), but even in her candid style that seems impossible. Annette Kuhn states, â€Å"Family photographs are supposed [†¦ to evoke memories that might have little or nothing to do with what is actually in the picture. The photograph is a prop, a prompt, a pre-text [†¦ ] but if a photograph is somewhat contingent in the process of memory production, what is the status of the memories actually produced? † (Kuhn, 2002: 13). When I reca ll some memory or look at old photos of myself when I was young, I could just as easily be remembering a particular thing because my Mother had related it to me when she was alive. However, I may be seeing these memories through rose tinted glasses, editing out the bad times before I can recall them. Personal family photos are not the only ones to generate an emotional response, and photographers such as Morrissey use this to effect. September 20th, 1985 (Figure 2) elicits an emotional response in me, making me laugh by triggering my own personal memories, remembrance of my own family album images and experiences: creating a transferrable memory. Everyone has some images similar to this in their collection. It makes us reassess our own memories and question them. The family album forms the basis of a pictorially gilded game of Chinese Whispers, as family stories and histories are passed down the generations. Memory is ever changing dependent on the viewer or narrator’s state of mind and intentions, and these stories, intentionally or not, become distorted, exaggerated or even fabricated. This is not memory – it is learning, and the learning gradually replaces the real memory until, finally, it is completely lost in the past and the faked history becomes legend. Everything is not always as it seems in the family album. Smiles are often faked (even in unhappy, tense situations), and everyday tensions and power struggles between family members are hidden, the very act of taking a posed photograph is essentially faking the memory at its conception. Thus family albums can be seen as fiction, a subjective story rather than, if there is such a thing, an objective history. The photograph can merely show what was in front of it at a specific moment in time, but the mind takes this information and runs with it, creating stories around the image – â€Å"In short, to remember is to reconstruct, in part on the basis of what we have learned or said since† (Eco, 2005: 25). ———————– Figure 2: Morrissey, T. 2004. September 20th, 1985. Figure 3: RODA, T. 2004. Untitled. Figure 4: ISHIUCHI, M. 2002. (‘Mother’s’ Series). Figure 7: ISHIUCHI, M. 2002. Mother’s #24. Figure 8: OTSUKA, C. 2005. 1976 and 2005, Kakamura, Japan. Figure 9: PIPE FAMILY ALBUM. 1972. Christmas Figure 12: WIGODER FAMILY ALBUM. 1942. Louis and Geoffrey Wigoder walking down Westmoreland St, Dublin, 1942. Figure 1: HESLING, I. 2000. Numbers. Figure 11: BEST FAMILY ALBUM. 2008. Untitled. Figure 6: ISHIUCHI, M. 2002. Mother’s #33 Figure 5: ISHIUCHI, M. 2001. Mother’s #55 Figure 10: BEST FAMILY ALBUM. 2007. Untitled. ———————– 3 How to cite The Family Album: Questioning Memory., Essay examples

Management Integrity on Audit Planning and Evidence Essay Example

Management Integrity on Audit Planning and Evidence Essay Review on the Impact of Management Integrity on Audit Planning and Evidence This research is done to assess the correlation between management integrity and ARM, audit planning and misstatement detection, which leads to analysis of the impact of management integrity information on audit conduct. Motivation Some cases of failures such as Enron and Sardines-Solely have led public in general requiring auditors to be more careful in conducting their audit tasks, especially in terms of audited companies Internal controls. The basic of these internal controls Is built by Its management Integrity. By knowing the management integrity, It Is expected that auditors will be more aware In planning their audit which will affect the quality of their audit results as management Integrity may affect the credibility of the source and evidence. Prior Studies The underpinning theory suggests that there is a link between risk assessment and the way auditors planning their tasks. Previous literature which mostly based on questionnaire shows that auditors rely more on prior year error in their overall risk assessment than on a specific evaluation of management Integrity. It failed to provide good evidence regarding the correlation between risk evaluation and audit related Judgments. Hypothesis Management integrity has negative correlation to risk of material misstatement (ARM), which will affect the audit planning and source of evidence. Management integrity has negative correlation to persuasiveness, timing, and extent (PETE). There is a significant negative correlation between management integrity and the detection of material misstatements. Method From 78 random samples, only 60 clients provided management Integrity assessment. We will write a custom essay sample on Management Integrity on Audit Planning and Evidence specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Management Integrity on Audit Planning and Evidence specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Management Integrity on Audit Planning and Evidence specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The authors did the research based on audit working papers In field setting, within focus on the transactions related to revenue such as cash, account receivables, Ana sales. I en researchers uses data cooing Ana employed ten audit risk model to connect management assessment integrity to risk of material misstatement (ARM) then ARM assessment to choice and scope of audit procedure. Results Clients who were assessed as having high levels of integrity had lower preliminary assessments. However, error in previous years is a better indicator of how risk is assessed and how audits are planned. This evidence suggests that when the client trustworthiness is doubted, the auditors will seek outside information about the financial statements instead of detailed examination of client supplied evidence. Another suggestion is that auditors seek much more persuasive evidence than is indicated by revised audit risk assessments. The result of the examination of the direct link between risk management integrity and the discovery of misstatement suggests that management integrity is associated with the uncovering of misstatement in the current year. Variation in management integrity assessment appears to be related to both audit planning and audit outcomes in a systematic way. However, although, cases of low management integrity are often eliminated during the client acceptance phase, clients with a spectrum of management integrity are still taken on. Therefore, the audit process needs to be able to handle a range of levels of management trustworthiness. Practical Implications One of the positive things from this research paper is that the researchers did the examination based on field setting and audit working papers rather than questionnaire like most prior researchers did. This means the quality of the response would be better as it is based on the real evidence rather than opinions of auditors which were probably scaled or ranked by the researchers before. Scaling, ranking, or vying some choices in the questionnaire would limit the real opinions of the auditors. Furthermore, the authors also put industry and public indicators or variables into their formulas. This means the authors realist that they need to consider other factors which may affect the risk of the audited company, the management integrity, or the culture of the company. Limitations The research was done based on random data from four big accounting firms. There is no further explanation of how random the sample being chosen; whether the researches differentiate the data based on the clients industry or merely random. Moreover, it is questionable whether 54 random samples can really represent hundreds or even thousands of clients. We assume that the clients of the big accounting firms would be big companies as well regarding to the audit fee. Therefore, the results might be different if the data was taken from smaller audit/ accounting Tells or smaller audited companies. I en Iterance newer does not mean the correlation between MI and audit planning, PETE, and misstatements detection will be positive; instead, it merely means that the indicator number of the correlation might change. Moreover, the authors pointed out that the clients of Big 4 audit firms ere dominantly technology oriented, which means an industry with a higher than normal rate of fraud. Therefore, the procedures may differ from those used in other industries. Because of the nature of the data, the authors were unable to identify individual auditors and to communicate the types of Board of directors were involved or what management and ownership relationships exited in the firms being audited. However, it should be noted that despite the results are generally acceptable in the real world, yet an exception might happen when the auditor has similar interest with he management or other parts of the audited company, meaning that the independence of the auditors would be questioned.