Noonans point of view for the Anti-abortion Essay Example for Free

Noonans point of view for the Anti-abortion Essay Noonans is an extreme anti-abortionist. He believed that once conceived, the being was recognized as human because he/she had humans potential. The criterion for humanity, thus, was simple and all embracing: if you are conceived by human parents, you are human. He believes in four pro-choice criteria for human being. The first criterion is viability. Viability is the point in time in which a fetus lived attached to its mother determines the fate. Notion of viability is that fetus is depended on its mother in order to live, and if this dependence is taken through abortion, then it is actually a right of life taken from a living human being. The second view is experience. Experience as defined through Noonan is, A being who has had experience, has lived and suffered, who posses memories, is more human than one who has not Here he points out the stage of fetus when it can be responsive to touch and can feel the environment around him/her. He compares this stage of fetus to of an adult who has aphasia has lost his or her memories- his or her experience: Noonan asks rhetorically if this means the humanity of the adult has been erased. In this argument Noonan is implying that if there is an absences of experiences during fetus stage of human life, we can not deprive the fetus of his/her right to life. The third case is sentiment. Sentiment in this case means that if the fetus dies, it wont receive the same grief as for a living child because it hasnt been named or had personality. Noonan views this while contrasting different races among human kind. He portrays his feelings that if one human being is of different skin color or of different sex, we wont say that his/her life lost is not grief able. Why isnt then a fetus is given the same human respect he/she deserved. The last of these criterias is social visibility. They argument says that the fetus hasnt been socially perceived as human: it cannot communicate like humans. Noonans views for this argument is as follows. He says that humanity does not depend on social recognition, although the failure to recognize this fact has led it to destruction of lives. These are the Noonans point of view towards the abortion.

Blind Faith and False Belief: An Examination of the Development of The

The purpose of this paper is to closely examine the effects of children with congenital profound visual impairment (CPVI) and a possible correlation to the delay in the development of theory of mind (ToM). Specifically, this paper will compare a study that investigated how visual cues affect the development of ToM to a similarly themed episode from the popular television show Xena: Warrior Princess. On the surface these two groups may appear to be an odd comparison, for children with CPVI and Xena seem like they have nothing in common. However, there is one episode in particular entitled â€Å"Blind Faith,† in which these two worlds collide in a unique and surprising way proving and interesting parallel and additional insight into how blindness may affect the development of the theory of mind. In the article entitled, â€Å"An investigation of first-order false belief understanding of children with congenital profound visual impairment,† a detailed look at the development of ToM was performed. Theory of mind (ToM) is defined â€Å"as the ability to impute mental states to others and to interpret and predict behavior in terms of those mental states† (Green 1). In order to examine ToM, the study performed a series of false belief tests. False belief can also be explained as misunderstanding which connected to false reasoning. In the case of the children in this study, the false belief would be if they can correctly identify how another person would respond to a specific task, if that person had limited information that the children were previously made privy too. These tests are important because, as they article explains; the testing false belief is the most direct way to access if a person has a fully developed theory of mind (Dennett c... ...ere is a correlation between blindness and a delay to the development ToM. Whether it’s Xena or children with congenital profound visual impairment it’s obvious that visual cues are significant when trying to interpret the actions of others. Xena, like the children in the study, was forced to rely on other senses to compensate for the lack of visual cues, which is important because without them children are at a disadvantage to understanding the greater world around them. Works Cited â€Å"Blind Faith.† Xena: Warrior Princess. Created by Rob Tapert and Sam Raimi. Perf. Lucy Lawless, Renee O’Connor. USA Network. April 17, 1997. Green, Sarah, Linda Pring, and John Swettenham. "An Investigation of First-order False Belief Understanding of Children with Congenital Profound Visual Impairment." British Journal of Developmental Psychology, 22.1 (2004): 1-17.

Marie Antoinette: History as a problem in film

When one thinks of the Coppola, one inevitably thinks of the great Francis Ford, whose striking Godfather movies have set the bar for dramatic storytelling and cinematography for generations of filmmakers to come.   However, recently, the younger Coppola, Sofia, has taken over the moviemaking role, and has sought to reinvent the historical story of Marie Antoinette, the infamous French queen beheaded at the start of the French Revolution.   However, for those expecting a serious, dour, and historically play by play rendering of the tragic (some say scandalous) life of the queen, they are in for somewhat of a surprise.Indeed, the intentionally contemporary, visually stunning twist on the well-known tale is jarring in its departures from traditional historical thought.   So, too the visual liberties do much to literally force the audience to see the young queen from a different perspective.   The problem is, however, although Coppola can assert that her attempt is an artistic o ne, it is also one of manipulation.That is because in the end, the audience is fully aware of the juxtaposition of their new, interpretation of Antoinette as delivered by the film, with the overwhelming force of historical fact (in as much as we are aware).   This departure from reality eventually leaves the audience feeling a bit cheated, as if the visual, auditory, and even literary ministrations of Coppola on the story have been nothing but a cheap trick—a meandering of whimsy intentionally downplaying the legitimate tragedy of Antoinette’s death and the serious principles behind the French Revolution.To be sure, Coppola’s Marie Antoinette is beautiful.   Released in 2006, the film is set and filmed in Versailles.   The audience meets the young queen as a new bride, delivered from her native Austria to the bosom of the French court.   From the beginning, Antoinette is presented as gentle, almost simple, and kind hearted—concerned with leaving h er family and her beloved pet dog behind to start a new life of duty and service at the behest of her family.Almost as striking as the gentleness of the queen, the visual imagery of the film is without par.   The colors are as vibrant as any 50’s Technicolor dream, and the screen is consistently resplendent with bright pinks, blues and pastel wonders beyond imagination.   This is particularly true of the costuming, which is rendered in striking richness both in color and texture—helping to evoke the extravagant luxury of the French Court and the life of the queen.In addition to the visually descriptive nature of the film, Antoinette’s relationship with her husband is portrayed as amazingly genteel, with her displaying endless patience for her husband’s quirky ways and obvious lack of sexual prowess.   Further, her important role as a mother and bearer of heirs is portrayed convincingly, with visual (only) mention of the death of one of her children in infancy.However, apart from this reflection of historical trivia, the film does little to delve deeply into any of the issues of the time, or of Antoinette’s life.   Further, even the casting of American’s Kirsten Dunst and Jason Shwartzman seems to function as a way to move the film away from historical accuracy, if only in the audience’s mind.   This is particularly true when one hears the somewhat jarring sound of Dunst’s and Shwartzman’s flat American accents against the stylized French-accented comments of the Mistress of the Court.Although one could say that Coppola’s portrayal of Antoinette in such a candy-pink, innocent and accommodating fashion (perhaps more devoid of malice due to her â€Å"straight forward† and simple American twang) could be authentic in that some of it describes the queen’s relative youth and innocence as she entered the court.  Ã‚   However, this does not progress to increased complexity, and the audience does not see her increased politicialization that by all historical accounts marks the last years of her life.Indeed, as historians point out, Marie Antoinette was political, some say a bit of an activist, determined to resist the changes brewing in the midst of the growing revolutionary fervor in the country.   In fact, the movie seems to curiously, if perhaps, intentionally stay away from any true politicalization, â€Å"ugliness,† unrest or upheaval.   Apart from one or two references to the â€Å"people† being hungry and their not being enough bread, one simply does not see the common people or their plight at all.â€Å"What revolution?,†the audience may wonder (perhaps more so amongst today’s less educated tween moviegoers).   Indeed, as the film closes, we are left with nary a glimpse in to the tragic fate of the queen.   Further, one would not imagine too horrible a fate, after all, according to Coppola’s portrayal, Antoinette would never have been so callous as to have said, â€Å"Let them eat cake!†Ã‚   Certainly she was too good for that!   After all, didn’t she give up getting new diamonds so that the people may eat?In addition to the creative storytelling that Coppola entertains throughout the film, the music, itself sets the soundtrack as a kind of point-making device to further help the audience to identify with the kind queen.   Strains of largely upbeat popular music (Bow Wow, Cindy Lauper) make everything seem more innocent, and heck, can’t the audience see they are â€Å"just like us,† not so foreign, not so historic!Yes, it could have been any wealthy American or European girl in her shoes.   One can even see Paris Hilton in Versailles.   Under this treatment, Antoinette seems less distant, complex, serious, and significant in history.   Indeed, all of the messages gleaned from her experiences and narrative seem to melt away to the tune.   Ye s, some classical music is incorporated into the film, but only after the jarring point of the modern has been thoroughly made.Although the cinematic techniques utilized by Coppola definitely lead the audience to reinterpret history, several of the references to historical fact are accurate.   After all, the French did help the young America against Great Britain, and they did deplete sizable financial stores from France (exacerbating the plight of the poor) (Brinton, 1963).   However, by the time these historical points are made in the film, the other visual, dialogue, and tonal points have been made. Historical errors and downright tragedies of perception seem insignificant, just another point of verbal backdrop rather than pivotal junction.In addition to the twisting of the audience’s perception of Antoinette as a function of tone (visual, dialogue, etc), Coppola also departs from historical fact to presumably make the movie â€Å"more interesting† to its audien ce—who are perhaps used to a â€Å"Dangerous Liaisons† kind of film.   Indeed, in departing from established historical fact and blithely embracing a supposed extramarital affair between Antoinette and the Count von Ferson, Coppila goes out of her way to add to history, simply for the entertainment value.Although one cannot defiantly prove that such an affair did not occur in reality, historical sources do not indicate that it did.   This is hardly a trivial point in that it further contemporizes Antoinette, implying that such matters were commonplace (as they are today), and carried little consequences.   The historical and religious reality of Antoinette’s times were all to different, with serious consequences for both royal and common wives who strayed from the marriage bed. Of course none of these issues are dealt with and the whole â€Å"affair† is portrayed as just one more pleasant visual interlude among many, without meaning or serious inter pretation.Given all this, if one were to accept that Coppola did in fact deliberately attempt to use cinematic devices and storytelling in order to create a new version of the story, is this problematic?   If such a film were simple entertainment the answer would be no.   However, the difficulty that comes along with dealing with a historical subject is that there is some expectation from the audience that an attempt toward accuracy be made.   Yes, costumes in the Antoinette court were probably very pretty.The queen might have been innocent, kind, sweet even.   Perhaps she never did say â€Å"let them eat cake.†Ã‚   Such an assertion would not be new (1963).   However, using technique to reframe the events of the movie, be it through music, cinematography or dialogue creates either a problem with history itself—in essence changing it for the audience if they are impressionable, or though creating frustration or even anger in those who know better—and p erhaps feel more than a bit cheated that the association of the character with the defining event of her times (the Revolution) was all but overlooked in film.Although Coppola, herself has stated that it was not her intention to deal with politics or the political reality of her subject (Dudec, 2006), she does—if by omission.   In fact, her infamous statement, â€Å"Marie Antoinette was not interested in politics, so why should I be?† (2006) is problematic on many levels.   First, in its erroneous assumption that Antoinette was not interested in politics, she indicates a real unfamiliarity with her protagonist which is troubling.   Second, by â€Å"not being interested in politics,† one has to wonder at the appropriateness of Coppola dealing with the subject matter at all.   Can one imagine, for instance, Frances Ford Coppola asserting, â€Å"I am not interested in organized crime.†?Coppola’s troubling attitude and treatment of the subject matter was so striking when the movie was screened in Cannes that the audience actually booed the film.   This may be in part due to the fact that Coppila did not take her information from respected historical sources.   Instead, she almost exclusively drew from Antonia Fraser’s contemporary biography, which itself is rife with similar flaws and omissions to the movie.In the end, the audience is never privy to the â€Å"meat† of the Antoinette story—a story that the young female audience members that Coppila obviously targets could only learn from.   For example, she never showcases her strength, intelligence, or real power.   She does not take time to fully draw the immense political opinion and pressures against her as a â€Å"foreign queen,† nor does she deal with the complex nature of her death, the differences between rumor and political reality.Of course, this is not to say that the film does not have its fans.   In fact, even among French audiences some appreciated the way in which Marie Antoinette was played outside of the norm.   Although some might argue that some French critics may be pleased that a large Hollywood producer would deal with the subject at all, one can assume that some found genuine satisfaction in the portrayal—puzzling or no.Thus, the problems with the film hinge directly on the historical material.   Given any other non-historical subject matter, the same story might be just fine.   An afternoon of entertainment and â€Å"lavish visual effects.†Ã‚   However, by choosing a historical subject—and an emotional one at that, Coppila evokes much more than she may intend.   Further, the reactions of audiences must be interpreted in the context of the subject matter, not simply on the basis of film quality, direction, art or sensibility.Audiences either like the film or hate it—and each opinion carries with it serious implications.   After all, if one likes the fil m what does that say about one’s view or knowledge of history?   Has the â€Å"magic† of film influenced that opinion, and by continuation, one’s historical view?   Conversely, should one hate the film, would that person lack the ability to appreciate the â€Å"beauty† of the visual art in the film?   Or, instead, does one’s consciousness of the subject matter as history prohibit any such appreciation?In the end, Coppola’s decision to use history as her muse may be the downfall of the film.   This because history demands a certain treatment in order to be molded into entertainment.   One cannot mould entertainment into history—it simply smacks of hollowness and superficiality—two of the most common criticisms of the film.Worse, one can see that (as in the case with this film), even in the presence of some truly spectacular cinematography and visual beauty—not to mention some pretty significant financial investm ents, it is not enough to overcome the historical liberties taken with the film.   It is as if her subject matter has become her stumbling block.   To be sure, one can assert that the film is great in part.   However, in part is not enough for true greatness.   No, Marie Antoinette will be no Lawrence of Arabia, enjoyed for generations to come—and isn’t that the true test of a film’s merit?Works CitedBrinton, Crane. A Decade of Revolution 1789-1799. Harper and Row, 1963. Dudec, A.   Cannes reality check. Milwaukee Journal Sentinel, 25, May 2006.   Retrieved on April 23, 2007, from, http://findarticles.com/?noadc=1

Supply Chain Management and Agility Logistics - 3953 Words

Organisational Analysis Prepared by: Deepa Vijayachandran- 3376278 Jahan Sahatdurdiyeva- 308096 Emanouela Kalotova- 2708279 Reshma Thomas- 3384251 Contents Summary 3 Company Profile 4 Main Activities 6 Specialized Business Units 6 Agility Awards 8 Formal Organisational Structure 9 Existing Structure and Relevance to Work Flow 12 Organisational Environment 13 Technology at Agility 14 Organisational Structure and Environment 15 Organisational Culture 16 Key Challenges 17 Conclusion 19 References 20 Word Count: 3,868 Summary The following report will analyze Agility Logistics Company†¦show more content†¦In addition to that, in Darfur, Sudan, through Medical Corps, Agility financed a primary health care center to serve 13,000 refugees, and helped transport food to feed 43,000 people in Indonesia for the World Food Program. 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