Cruel Punishment

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Tom Reilly published an article entitled, "Youth Crime has Changed and so Must the Juvenile Justice System," which appeared in the Boston Globe. In stark contrast to Reilly's article for change, Abbe Smith and Lael E. H. Chester published an article entitled "Cruel Punishment for Juveniles." Reilly uses explosive language to persuade his audience that the Juvenile Justice System is outdated. Smith and Chester, on the other hand, plead for rehabilitation for juveniles. Reilly, Smith and Chester use different types of style and evidence to support or defend their position.

In Reilly's article, support for his argument comes from various opinionated ideas and few statistical details. However, Reilly makes for his lack of convincing examples with his use of descriptive language and strong diction. A district attorney in Massachusetts, Reilly believes that the juvenile justice system is outdated, and is unable to handle the increasing crime rate. "Until fairly recently, the juvenile justice system served our country and our children reasonably well. Beginning in the 170s, however, the reality of juvenile crime began to change. Juvenile crime grew more violent and more common, and the system was unprepared." Reilly makes good use of his word choice by appealing to the need for public protection. He believes the current system is outdated, designed only to address infractions such as truancy and petty theft. In addition, Reilly argues that, "These were serious problems a century ago, but they bear no resemblance to the "routine" infractions of the present day everything from rap[e] to crimes involving guns to cold-blooded murder." Again, Reilly uses the argument that public protection must be the number one priority. In order to reform the justice system, Reilly advocates the elimination of "trial de novo." "Under de novo, a juvenile has a right to tried before a judge. If found guilty (or delinquent), the juvenile can simply demand a new trial before a jury…" Here, Reilly uses a unknown fact to persuade readers to his side.

On the contrary, Smith and Chester oppose the cruel punishment advocated by Tom Reilly. Smith is deputy direct of the Criminal Justice Institute at Harvard Law School, and Chester is a fellow at that institute, so they know what they're talking about. Smith and Chester argue that it is cruel and unusual punishment to send young offenders to adult prisons. Smith and Chester use an anecdote, along with several statistics to provide a very convincing argument. "Frankie has spent the night in jail, an adult jail. In Massachusetts, 17 is the age of adulthood for purposes of criminal prosecution. He had been arrested for breaking into the basement of the house from which his best friend's family had just been evicted. His friend wanted to retrieve his punching bag." Smith and Chester use this anecdote to appeal to the readers' reasoning and logic. It is obvious that something such as petty theft should not be punishable by a day in prison. "Given the number of prisoners with HIV (the Journal of American Medical Association reports the rate of AIDS among incarcerated adults is six times that of the general population), sending children into adult prisons might as well be a death sentence." This additional evidence provides the reader with factual support to base their opinion on. They no longer have to make decisions blindly according to what some egotistical politician has to say.

This politician, would be Tom Reilly. His argument is backed up with opinions, opinions, opinions, but people want the facts! Reilly fails to persuade the audience due to his lack of support. Smith and Chester's article is more convincing because it has everything that Reilly's article is missing. Smith and Chester appeals to the audience's emotions, and their conscien

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Flannery O'Conner's "The Life You Save May Be Your Own"

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Flannery O'Conner's "The Life You Save May Be Your Own" is an ironic story. There are parts in the story that mock the other three literary modes; tragedy, comedy, and romance.

The heroes in a tragedy are noble, amiable and admirable. Shiftlet is the mockery of a hero in the story. He is sly, slow-witted, and selfish. "…A weary snake…" In the end of a story the hero should gain wisdom. Shiftlet was the same person throughout the whole story, not improving, but only tricking the people he was staying with.

In a comedy, two characters are in love and want to marry. These two characters in O'Connor's story were Shiftlet and Lucynell. Lucynell was retarded and Shiftlet only wanted to marry her so he could get her mother's car. They were not in love; Shiftlet "became depressed" when he looked at her after their wedding." The lovers in a comedy need to overcome obstacles such as social and parental disapproval. The only parental obstacle Shiftlet encountered was from Mrs. Crater, as she was the one that wanted him to marry her daughter.

Romantic stories consist of an idealised way of looking at a given situation. Mrs. Crater claimed that Lucynell would make a good wife because she would never "sass" or "use foul language," as she couldn't talk. This was seen by her to be an ideal marriage. Mrs. Crater also had an idealised view of what having a son-in-law would be like. She was "ravenous" for a husband for her daughter, even though she knew Shiftlet was a "tramp."

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Smoking

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Smoking is very bad for your health. It causes a lot of diseases like lung cancer, pneumonia, asthma, and bronchitis. Unfortunately, today there are a lot of teenagers who have started to smoke. I think there are three reasons why teenagers smoke.

The first reason is some teenagers smoke because they feel cool. Why do they feel cool? I think it is because they want to look grown-up and show they are old enough to handle things, so they use smoking to show they are not children.

The second reason, which I think is the most important reason, is that their friends smoke, so they ¡§have to ¡§ smoke also. However, good company has a good influence while bad company has a bad influence. Recently, I saw a TV commercial that showed a little brother always following his big brother and doing everything he did. When the big brother's friend gave the cigarette to him, he saw his little brother behind the tree looking at him and the cigarette. He knew that if he smoked it, his little brother certainly would follow him, so he gave back the cigarette.

Finally, the last reason is my reason too. I smoke because I have bad moods. I know this is an excuse to smoke, but it really lets me feel better. Even though after I smoke, I feel like I want to vomit or my body is shaking. I still want to smoke. But now I'm starting to quit.

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In conclusion, smoking is not only bad for the smoker, it is also bad for the non-smokers who are around them. Studies show that 5,000 Americans die each year because of secondhand smoke. In addition, a Japanese report concluded that nonsmoking wives of heavy smokers had an 80 percent higher risk if lung cancer than women married to nonsmokers. (Reader's Journal interview with Joseph Califano, former Secretary of Health, Education and Welfare in 186.) As a result, there are no good reasons to smoke, so why not help your health and help your family, friends ever strangers health by not smoking.

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Relationship Between the Fish and the Fisherman

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Elizabeth Bishop's poem "The Fish" is a work in which a fisherman takes a detailed observation of a fish. With a closer look at the poem, it becomes apparent that the fisherman develops a connection with the fish on three different levels. The fisherman connects with the fish physically, in age, and mentally.

The fisherman and the fish are connected by the physical similarities between the two. The fisherman talks about the fish's "coarse white flesh," like the flesh of the fisherman (7). The author talks about the small and large bones in the fish, which is similar to a human's small and large bones in his or her body. The author then goes on to compare her eyes with the eyes of the fish. The author says, "I looked into his eyes / which were far larger than mine / but shallower, and yellowed," showing the similarities and differences between the two (4-6). The author then begins to talk about the similarities between the two mouths. The author uses the word lip giving the fish human-like characteristics, putting the fish on the same level as the author. The fish and the fisherman are connected on more levels than just the physical.

Throughout the poem, the author notes the fish's experience. Bishop starts by noticing the fish's outside appearance. She writes, "… Here and there / his brown skin hung in strips / like ancient wallpaper," showing how the fish's skin has changed with its age (-11). Bishop then says that "He was speckled with barnacles," which indicates that the fish has been in the water a very long time (16). The author goes on to talk about the appearance of the fish's eyes by saying,

"the irises backed and packed

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with tarnished tinfoil

seen through the lenses

of old scratched isinglass." (7-40)

This quotation further emphasizes the fish's age. Bishop moves her focus to the fish's mouth, where she notices "… five old pieces of fish-line," (51). She describes the hooks as, "a five-haired beard of wisdom" (6). This goes on to show the fish's age and experience. The reason that the fisherman focuses so much on the age of the fish is because it causes the fisherman to meditate on her own life and experience, which allows her to connect with the fish on that level.

Lastly, the fisherman tries to connect with the fish on a mental level. The fisherman begins her quest to connect with the fish on a mental level when she looks into its eyes. Eyes are seen as a passageway into one's mind. The fish does not seem to have the same interest in the fisherman. This is shown when the author writes, "They [the fish's eyes] shifted a little, but not / to return my stare." (41-4). The fisherman is unable to connect with the fish until oil from her boat creates a rainbow in the water. A rainbow is a symbol of good after the bad. The fisherman lets the fish go, which gives the fish another chance at life. The fisherman does this because she hopes that one day her act of goodwill will come back to her in her favor when she is in a tough spot. This rainbow in the water allows the fisherman to finally connect with the fish on a mental level.

By the end of the poem, the fisherman connects with her catch on three different levels. First, she connects with the fish physically. Then, she connects with the fish in age and experience. Lastly, with the notice of the rainbow, the fisherman connects with the fish in thought. This allows the fisherman to further understand her catch and come to the decision to let it go.

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Laura's Glass Managerie

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Laura's Glass Menagerie

The Glass Menagerie in "The Glass Menagerie", by Tennessee Williams, is used to describe, or symbolize Laura's character in the play. Laura, a very frail and insecure character from the play, lives in a world of illusions. Crippled with one leg shorter than the other from a childhood illness called pluerosis, Laura lives her life through her collection of glass animals that provide her refuge from reality. A "fragile and rare" particular glass animal called the unicorn symbolizes the character's sufferings. The brilliant use of the imagery of the glass unicorn helps express the emotional anguish of Laura. Only when the unicorn loses its horn, and becomes like the other glass horses, does Laura learn to break from her fantasy world, snap into reality and realize that she is not a "freak" as she thought she had been.

Laura's obsession of her glass ornaments is first eminent in scene two where she is seated in her delicate ivory chair, washing and polishing her collection. Her obsession is also prominent in this scene where it becomes obvious that her mother has criticized her many times for her unusual fascination of the glass animals because at the sound her mother approaching, she nervously shoves away them away. And before entering the room, the mother, Amanda, peeks through the door to see what Laura is doing and "purses her lips, opens her eyes very wide, rolls them upward and shakes her head" (65). Amanda scorns Laura for deceiving her by pretending to go to business school even though she dropped out. Her reason was that "I couldn't go back there. I--threw upon the floor! " (661). Since Laura does not have the courage to live a normal sociable life, the glass collection in this scene represents her hopes and dreams of another life. This fantasy life that Laura longs for could be why she thought she could get away with deceiving her mother about going to business school.

In scene three, the glass ornaments represent Laura's shattered emotion. Amanda and Tom get into a quarrel, and Tom accidentally breaks some of Laura's treasured glass collection as he dashes out the door. Laura screams "My glass!--menagerie"(665), covering her face and turning away. The shattered glass represents Laura's shattered feeling as her family is in turmoil. She turns away from broken glass because she wants to turn away from reality. It is obvious that Laura feels at fault for the tension in the house, hence the reason why she persuades Tom to apologize to Amanda and make peace in scene four. It is in this scene where Amanda tells Tom that Laura cannot spend the rest of her life playing the Victrola and fooling with the pieces of glass. The reference to the glass in this scene used by Amanda suggests Laura's wasting life. In scene two, Amanda's fear is exposed when she ridicules Laura of how she will stay home and amuse herself with the glass menagerie and eternally play the worn-out phonograph records for the rest of her life. In scene five, Tom and his mother discuss about the gentleman caller that Tom has invited over for dinner to meet Laura. Amanda goes on about what traits men should have and not have and Tom tries to snap Amanda into reality by telling her that, she should not expect too much of her crippled daughter who lives in a world of glass ornaments. Since they love Laura so much, they do not realize what other people visualize her as--a very different girl. In this scene Tom's reference to the glass refers to Laura's different and fragile character. She is very fragile because she gets sick at the slightest uncomfortable situation, such as being in public or when she is asked to eat dinner with the gentleman caller. In scene six when Amanda desperately asks Laura to open the door for the gentleman caller, Laura is very hesitant and tells her mom she's sick. Amanda replies "she's sick too ---of your nonsense! Why can't you and your brother be normal people?" (678). Laura ends up very sick, and Amanda tries to cover up by telling the gentleman caller that she got ill from standing over the hot stove. Amanda just could not face the fact that Laura was indeed very different from other girls.

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In scene seven, Laura explains the significance of her glass menagerie to the gentleman caller, Jim O'conner. The conversation carried on by Laura and Jim coincides with Laura's self. When she described the ornament to him, she was actually describing her self as a fragile unicorn. Laura tells him, "be careful-- if you breath, it breaks!" (68). She also includes that her glass collection is thirteen years old, which is a perfect description of her. Laura is a very fragile girl who acts like a thirteen year old who is innocent, and unaware of the real world around her. Jim acknowledges that unicorns do not exist and says "poor little fellow, he must feel sort of lonesome" (60). Laura replies with, "well, if he does, he doesn't complain about it. He stays on with some horses that don't have horns and all of them seem to get along nicely together" (60). This means that Laura knows she is different from other people, but it does not affect her as much as other people would think it should. After the conversation, Jim asks Laura to dance. Laura is stiff like glass and has a hard time loosening up. Then suddenly, while they're dancing, they bump the table where the unicorn is and it falls on the floor and breaks it's horn. To Jim's surprise, Laura smiles and acts like nothing happened. She says it makes him feel less "freakish" and "he will feel more at home with the other horses, the ones that don't have horns" (61). This symbolizes Laura's transformation towards a more normal person. She has shed some of her shyness by opening up to Jim. Jim's attention has given her hope that she could be more ordinary. Laura really snaps into reality when she finds out that Jim is engaged to be married. She hands the unicorn to Jim and tells him it's a souvenir. The unicorn is a souvenir of the breaking of Laura's illusion that her disability is a permanent barrier between her and the outside world. In parting with the treasure, she seems to be saying that she does not need to fantasize anymore. The author's use of symbolism, in this case the, glass menagerie, is a way to describe the characters on a figurative level.

Williams uses a lot of symbols, such as the fire escape, blue rose and the gentleman caller to name a few, but none have more of an impact than the significance of symbolism as does the glass menagerie. The glass animals as a whole represents Laura's fantasy world, where as the unicorn itself symbolizes Laura's emotional anguish. Only when the unicorn loses its horn does Laura too become more like ordinary people, instead of living a fantasy life through ornaments.

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Confirmation

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Confirmation

NEED TO CHANGE THE WORDS AROUNUD!

In confirmation it is right to consider the sign of anointing. It signifies and imprints "a spiritual seal." Anointing is rich in meaning. Oil is a sign of abundance and joy. It cleanses, and limbers, it is a sign of healing, since it is soothing to bruises and wounds. It is radiant in beauty, health, and strength. Anointing with oil has all these meanings in the sacramental life. Anointing with the oil of catechumens signifies cleansing and strengthening. Confirmation can only happen to people who have been baptized. The post- baptismal anointing with sacred chrism in Confirmation and ordination is the sign of consecration. By Confirmation, Christians who are anointed, share more completely in the mission of Jesus Christ and the fullness of the Holy Spirit in which he is filled, so that their lives may give off the aroma of Christ. There are two signs usually associated with the sacrament of Confirmation, they are the laying on of hands and the anointing with chrism. When oil is smeared on a person, that is a physical appearance that "You are the Anointed." When the Christian is anointed with chrism, the church proclaims "You are the Christ", since Christ is the Greek word for anointed. St Augustine speaks of the anointing of the whole Christ, the body together with the Head. It is a declaration not of replacing Christ but of reigning together with him, the Head of the Church, as his body. This declaration, "You are Anointed" is the core meaning of being anointed. Confirmation is an increase of sanctifying grace, which makes the person being confirmed a "perfect Christian."

In the early church, when usually adults were only baptized, Confirmation was done right after baptism. Confirmation was usually at the age around fourteen, and is still usually around that age.

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Pichwai paintings of Nathdwara

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PICHWAI PAINTINGS OF NATHDWARA

Location

Nathdwara, a sleepy ,dusty ,small town set on a hill some 50kms(0 miles) from Udaipur,is the scene of most lush and vibrant visual art forms in India , Pichwai paintings.

History

In the 17th century ,when Aurangzeb prohibited the worship of images, Hindu devotees in Mathura , home of Lord Krishna ,became fearful that their sacred statues might be smashed & decided to take them to safer locations.

The images of Sri Nathji were loaded on a chariot and sent on its way to Mewar.At Sikar, a wheel of the chariot sank deep into the sand and it couldn't be removed despite reapeated efforts.This was interpreted as a sign that the image wanted to dwell at that place and the priests decided that it should stay.

A temple was built for the idol and the village came to be known as Nathdwara , "home of Sri Nathji" or Lord Krishna.

Pichwai paintings

Pichwai literally means that which hangs behind. They are the backdrops setting the mood and religious significance of each ritualized scene.They are basically 4 iconographic renderings of the Krishna legend traditionally portrayed in the Nathdwara Pichwais.Each image is linked with a particular festival or holy day.

For eg

Gokulashtami, will have Krishna playing the flute to the assembled gopas, gopis & cows.

Dana Ekadashi, the taking of the toll or dana from the gopis & the breaking of the pots.

The paintings not only form a devotional backdrop for the temple, but also serve the purpose of outlining the religious stories to a largely illiterate population.They delight the eyes with the richness of colour and delicacy of execution.

Style of Pichwais

Pichwais , were traditionally done in a variety of media brocaded, blockprinted, embroidered, or worked in gold. In Nathdwara, however, a rich tradition of painted Pichwais grew. They are done on handspun cloth, sized with starch & painted in pigments derived from natural vegetables and mineral colours. They are also mixed with starch ,giving the Pichwais its charactersic strong smell. They have a stylized, rather static format with frozen figures set in idyllic landscape of brilliant green trees , midnight blue skies which sun, moon, stars, forked lightning, all shine together amidst fluffy white clouds; peacocks, parrots & monkeys in flowering fields and swans & storks, fish and turtles swim in Lotus-strewn silver waters.

This is the Indian conception of paradise known as Braj, unlike the bleak, beige Rajasthani landscape. These depict Krishna, the blue boy-God; Radha & gopis play; dance & make love; a pictorial allegory of the soul's yearning for union with the divine.

Present Scenario

The Pichwai tradition is carried on and its not only devotees of Srinathji who buy the cloth scrolls painted by today's descendants of Raja RajSingh's original court painters. The Pichwai has also become a tourist souvenir. They tend to now be painted with chemical fabric paints that have taken the palce of Indigo, Cochineal, Lapiz & Orpiment. Like many other forms of craft, Pichwai paintings are also slowly changing their form, influenced by the fast pace of today's life. They are gradually travelling out from temples to adrn the walls of homes of those who consider themselves to be the patron of art and craft.

Smaller sizes are constantly being made to satisfy the demand. They are done on lengths of silk, ornaments etc and are painted in rich dark hues.

Rates

Available on silk and synthetic silk, prices range from 00/- to 0,000/-. These paintings have very strong religious traditions. And the artist who works on them considers himself to be the servant of the Lord and puts in SHRADDHA or devotion on each Pichwai that he paints, though its now done for commercial use too.

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