Bylli All’s Five Year Career Development Plan Essay Example for Free

Bylli All’s Five Year Career Development Plan Essay As I am currently the president and CEO of J-R Equipment, my career is where I always thought it would be. I was chosen by my mother to head this 50 year-old family business. My sole endeavor is to have it continue for another 50 years. More specifically, over the next five years my goal and base objective will be to rebuild J-R Equipment Rental into an efficient, consistently profitable organization which many families are supported with its growth. Heinz Weihrich (2007) writes, â€Å"Career plans are built on uncertainty; the future cannot be predicted with accuracy. Consequently, contingency plans based on alternative sets of assumptions should be prepared.† My personal plan will be an ongoing proactive plan with annual reassessments periodically (Wagner, 2010). My objective is to incorporate new technology and old fashioned know how to make ours the best rental company in the area. Goals and Objectives J-R Equipment will remain in our family for generations to come with proper management and development. The initial objective in any business is to be profitable. Years ago this company was run by a much larger staff, thus giving the opportunity of time to oversee things properly. This is my personal goal. When this plan is successfully put into practice, a sense of pride and accomplishment knowing that my mother made the correct choice will be satisfaction enough. I do not foresee my compensation or benefits package changing during or after this time. The following current specific goals and objectives are vital to the plan to be a success. This list cannot consider unknown or unforeseen actions. 1. Conduct a complete job analysis on each area within the company. 2. Construct a thorough job description for each job analysis. 3. Work to organize the jobs better to be done so that employees are making good use of their talents to better serve the company’s goals. 4. Review pay scales and update if warranted, this should be done annually. 5. Review benefits package, e.g. Health Insurance, IRA, Life Insurance 6. Annually update the Employee Handbook and new hire package. 7. Streamline the rental process so that customers can shorten the time they are required to spend in the office on paperwork. 8. Educate employees who will utilize the computer system’s available tools. 9. Work to make the equipment inventory more reliable in terms of contracts and status of equipment. 10. Update processes and protocols within the company. 11. Review our service call procedures and update as needed. Job Satisfaction and Attributes There is a great deal of satisfaction in a job well-done. Knowing that my efforts are useful and usable is more than adequate to me. The typical attributes of job satisfaction is motivation and productivity. When an employee is satisfied with his or her job the employee will almost naturally be excited and motivated, thus increasing productivity. I am no exception to this rule. Compensation and Benefits Currently my compensation and benefits are as high as they can be for the company. In the near future I plan to include a key individual life insurance plan to my list of benefits. This life insurance plan would pay the company as the beneficiary to offset costs pertaining to hiring and promoting individuals in the event of my death. Most organizations have at least one employee who is fundamental to the continued success of the business. It could be the owner, manager, or someone with a high level of experience, the loss or death of that person certainly would cause an upset both productively and financially to the company. This insurance benefit could be used to pay off debt, recruit new personnel, or any other useful tool needed to grow the business. Competencies For any business today and subsequently its managers to remain competitive, certain technologies must be utilized so that employees, management, and customers can communicate and conduct business in a simple yet proficient manner. Our computer system was upgraded just last year so I would believe that this system could easily carry us through this plan with regular updates. There are add-ons to the system that could be better utilized. In addition, certain competencies are required to fulfill the position of president and CEO in an effective manner. Competence defined is a gathering of functionality, involving skills, knowledge, and personal attributes, which, combined, establish successful achievement of activity (AdomaitienÄâ€", ZubrickienÄâ€", 2010). Adomaitiene and Zubrickiene also write that competencies and job experiences become a condition of personal clarity. The following competencies are required to grow as a manager/owner and thus have the company grow as well. An effective CEO must have the ability to understand, empathize, and assist in each area or department within the company to recognize its connection to other departments. I. Every employee has a role to play in the efficient function of the company, the awareness of each person and their role is a key component in success. II. A working knowledge of the company’s front office or rental software and its capabilities are vital to daily operations. III. A working knowledge of the back office systems and their functionality will prove essential for financial recommendations. Job Experiences Fortunately, my current experience level with each department is such that I feel as though I am a step ahead already in my plan. These experiences allow me the confidence to discuss any changes that may be initiated to improve the company. Continued access to the departments and their functions will help to keep my competencies up to date. Training and Education Training and education are an indispensable part of any plan’s success. The educational background I have will be sufficient to begin this process; however the complete plan will require additional education and a personal in-depth assessment of my own personal strengths, weaknesses, and a thorough knowledge of what items will need adjustment are the first necessary step. My education with University of Phoenix and continued work experience help to complete my understanding of the business process and the functionality of this knowledge. J-R Equipment’s Role J-R Equipment’s responsibility is simply to comply with the recommendations made. The department managers will prove essential in the process. Open forms of communication are crucial to the success of our plan and subsequently our company. Regular meetings will be held to mark the successful procession of the plan. Plan Timeline Year One:1.All job analyses and descriptions are complete. 2.Begin working with other managers to formulate ideas for streamlining. 3.Set schedules for employee training on the computer system. 4.Update Employee Handbook. 5.Begin inventory analysis with equipment not available for rental. Year Two:1.Reorganize employees to better suit their skills and talents. 2.Review pay scales of all employees to make certain current state legislation is upheld. 3.Begin review of benefits packages. 4.Continue gathering ideas for streamlining. 5.Revise/implement training schedules. 6.Update Employee Handbook. 7.Continue inventory analysis with spot check inventory reconciliation. Year Three:1.Complete review of benefits packages. 2.Update Employee Handbook and new hire package. 3.Continue inventory analysis. 4.Begin to put into effect ideas for streamlining the rental process. 5.Review pay scales of all employees Year Four:1.Update/review streamlining processes. 2.Update Employee Handbook and new hire package 3.Continue ongoing inventory analysis. 4.Review pay scales Year Five:1.All processes should be completed 2.Review new processes for functionality 3.Review needs for additional training. 4.Review pay scales and benefits packages 5.Update Employee handbook. 6.Formulate a Mentoring Program Mentoring A mentoring program can be formal or informal. The informal plans offer much more than the formal plans. Informal programs are more driven simply because both parties are motivated, and the relationship would be more relaxed and without boundaries (Chao, 2009). Formal programs are certainly more rigid, more structured, and more visible. Currently there is no formatted mentoring program in place even though I was mentored without even knowing it. I do however intend to formulate a program by the end of the five year period. This is largely dependent on employee and family growth within the business. There are several candidates currently that will be given the opportunity for experiential growth to a higher level of responsibility. The program itself will need to address the ever-changing working world and its part in an individual’s life (Patton, McIlveen, 2008). Conclusion A career development plan has been difficult to prepare. My career has almost always been J-R Equipment. I have been raised here and groomed for this business and am thankful for that education. I and my siblings were raised in this business, my children were raised in this business, and now my grandchildren are being raised here. I could not be more proud or motivated for our continued success. References AdomaitienÄâ€", J., ZubrickienÄâ€", I. (2010). Career Competences and Importance of Their Development in Planning of Career Perspective. Bridges / Tiltai, 53(4), 87-99. Chao, G. T. (2009). Formal mentoring: Lessons learned from past practice. Professional Psychology: Research And Practice, 40(3), 314-320. doi:10.1037/a0012658 Morgan, M. (2011). Building Personal Equity. Strategic Finance, 93(6), 16-61. Patton, W. (2009). Practice and Research in Career Counseling and Development— 2008. Career Development Quarterly, 58(2), 118. The Value of Key-Person Life Insurance. Retrieved from

Dawn of the (Evil & Symbolic) Dead Essay Example for Free

Dawn of the (Evil Symbolic) Dead Essay Over the past decade, interest in zombies in pop culture has sky rocketed. There have been over 100 games and movies featuring the living dead. George Romero’s 1978 film Dawn of the Dead, sequel to Night of the Living Dead, gives its audience insight into these evil symbolic structures known today as zombies. In this film, there are four survivors that take refuge in a huge shopping mall, sealing the doors and creating a zombie-free hideout. This movie is often referred to as one the best horror films of its time and a door way to today’s interest in zombies. Throughout the film, the four survivors deal with hundreds of zombies and at the climax are also having to deal with a biker gang. Although not all four of these characters survived, the mall was a perfect spot for the movie to take place according to a review done by the Spinning Image Company. â€Å"The mall is a brilliant location, not just for the satirical possibilities it offers Romero, but also for creating some clever, unsettling imagery,† said Daniel Auty in his review. Auty is speaking of the several times throughout the film where Romero would cut to a scene of just zombies roaming random parts of the mall. These zombies were different than what we see today however. â€Å"[The zombies] look silly, they fall over a lot, and Romero mostly shoots them in either broad daylight or the stark fluorescence of the mall† (Auty). The zombies in Dawn of the Dead appeared from the first minute without Romero giving any sort of insight on how it happened. So in order to understand the body in its monstrous state, one must know the origins of the zombie. Many scholars agree that the term zombie originated from the voodoo religion in Haiti. In â€Å"Slaves, Cannibals, and Infected Hyper-Whites: The Race and Religion of Zombies†, writer Elizabeth McCalister discusses these origins in great detail. â€Å"The word zonbi appears in writing as far back as colonial Saint- Domingue, glossed by travel writer Moreau de Saint-Mà ©ry as the slaves’ belief in a returned soul, a revenant†(3). The Haitians still heavily believe that this is a part of the spiritual world. They say that these entities separate the body and the soul and compel one to work without the other, in this case the body without the soul. Over the years, however, these origins have begun to vanish due to new forms of the zombies. In the early 20th Century, films began to show Eurocentric ideas that created African-Americans to be viewed as these zombie creatures. Films such as White Zombie (1932) and I walked with a Zombie (1943) â€Å"invariably cast black sorcerers plotting for conquest of and control over white women, and blackness is unmistakably linked with primitive menace, superstition, and the diabolical† (5). These views began to change by the time Romero’s films came out. Now this monstrous creature is as simple as â€Å"a ghoul who lumbers around trying to eat people.† Today’s society is used to seeing these ghouls in pop culture. Because of the more than 100 shows, movies and video games on the market now, people are more accepting of this idea of a â€Å"zombie apocalypse.† In many places, they have held events, such as 5K races and obstacle courses, that center around a zombie theme. In Muskegon, Michigan they held a zombie apocalypse day where civilians dressed as zombies and chased after those that were dressed as civilians. â€Å"Zombie participants got creative and tore up and stained their clothing. They also added scars and bloody makeup,† said an article in the Muskegon Chronicle. This goes to show how immune today’s society has become to the idea of these flesh-eating monsters. Not everyone is taking it lightly though as some have plans set in stone for when the apocalypse may happen. The CDC, Center of Disease Control, has its own website dedicated to a zombie outbreak. The blog includes a brief history of the creatures, a list of survival tools for a kit and their own plan for survival if it would ever happen. â€Å"If zombies did start roaming the streets, CDC would conduct an investigation much like any other disease outbreak.† The CDC tells us that it would be taken just as seriously as any other disease, and thanks pop culture and today’s society in helping to prepare for that day. Christopher Moreman takes a look past the plan in his book Zombies Are Us: Essays on the Humanity of the Walking Dead. The author looks into a world that is already ruled by the dead and sees how society would have to live to survive. He speaks for society as a whole through one line by referencing the graphic novel The Walking Dead: â€Å"In a world ruled by the dead, we are forced to finally start living† (5). The creatures in Romero’s Dawn of the Dead may not be the scariest or deadliest of monsters, but it is when they are in large numbers that they can cause havoc. It is hard to deal with hundreds of flesh eating monsters at once no matter how fast or intelligent they may be. Much of the films’ audience saw Romero’s zombie as a symbolic structure of other things that could take down America. McCalister analyzes all of Romero’s films on the living dead and the time frame that they were made. â€Å"Night of the Living Dead attacks the nuclear American family, patriarchy, and racism; Dawn of the Dead fastens its attention on the deadening effects of rampant consumerism; and Day of the Dead offers an indictment of militarism and American misuse of science and technology† (17). These things were on the minds of Americans in the time the movies were made. Now they can be related to something different such as the events going on in the Middle East. Stephen Asma takes a look into the torturing of Iraqi soldiers and how the Americans may be the ones viewed as the evil creatures. In his book On Monsters, Asma references Dr. Philip Zimbardo and his theory called The Lucifer Effect. This idea helps to explain how good people can become evil in specific ways. He focuses on the torture of Iraqi soldiers. â€Å"The fact that seemingly normal American soldiers engaged in torture and degradation techniques on Iraqi detainees offers more evidence, Zimbardo thinks, for his view t hat abuse and aggression are not the results of inner character flaws† (Asma 413). He goes on to explain how Zimbardo believes these soldiers were not just a case of just one spoiled apple, but a bad barrel that spoiled anything put into it. In the case of the zombies, one can make the case that everyone on this planet will eventually fall to the disease and it is not because of the one zombie who started it all, but because everyone is infected to begin. These kinds of ideas are what bring the monstrous view of zombies into society. Kyle Bishop writes in his book American Zombie Gothic about how the use of the zombies in Dawn of the Dead creates a connection with the audience. He says that because the zombies look very similar to just another regular human being, it can make the audience feel terrified of the creatures. However, the way that the zombies act can tell the audience obvious differences between one that is still human and one that has turned. â€Å"Romero’s monsters are primarily ‘othered’ creatures, possessing virtually no subject ive, human qualities and encouraging almost no psychological suture with the audience† (Bishop 159). The comparison of zombies to human qualities can go on forever. Asma continues to analyze the psyche of the monstrous through the Id. â€Å"Rage is a powerful force that, along with other socially deleterious impulses, lives like a frustrated virus in the dark cellars of the Id† (354). The Id is the part of the personality that can make decisions unconsciously based off of desire and instinct. In the case of the zombies, all they want and need is food and in this case, the flesh of the protagonists. The zombies in Romero’s film were often times the ones being killed, whether it is a gunshot to the head, a bat to the head, a car hood to the head or a screwdriver through the ear. However, Romero kept scenes where humans were eaten by these creatures to give the audience a clear understanding of what to expect from the movie and who would be the good guys. In David Gilmore’s Monsters, the author discusses of ways on how to approach the monster. â€Å"Mythologistsâ € ¦ have written much about the theme of the Epic Hero who goes out to fight monsters in order to rescue maidens or to save society as a whole† (12). The monster is obvious in film but no Epic Hero is there to save the day. Taken this perspective into Dawn of the Dead, the audience can tell that it is society as a whole trying to fight the monsters to save the world from the dead. There are several ways to see why Romero’s Dawn of the Dead was up for awards. Much of it was not based off the effects and acting but what thought and background was put into the project. The study behind the zombies was thorough and began giving more meaning to the story. The symbolism of these creatures and how the good human being became an evil, flesh-seeking monster were just two of the things to write about. When all is said and done, the zombies may never come, but if they do, it is because of films like this that could help with survival. Works Cited Asma, Stephen T. On Monsters: An Unnatural History of Our Worst Fears. Oxford: Oxford UP, 2009. Print. Auty, Daniel. Dawn of the Dead. Rev. of Dawn of the Dead. n.d.: n. pag. The Spinning Image. Web. Bishop, Kyle William. American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture. Jefferson, NC: McFarland , 2010. Print. Gilmore, David D. Monsters: Evil Beings, Mythical Beasts, and All Manner of Imaginary Terrors. Philadelphia: University of Pennsylvania, 2003. Print. Haiti and the Truth about Zombies. Www.umich.edu. N.p., n.d. Web. http://www.umich.edu/~uncanny/zombies.html. McCalister, Elizabeth. Slaves, Cannibals, and Infected Hyper-Whites: The Race and Religion of Zombies. Anthropological Quarterly 85.2 (n.d.): 457-86. Web. Public Health Matters Blog. Public Health Matters Blog RSS. N.p., n.d. Web. 30 Nov. 2012. http://blogs.cdc.gov/publichealthmatters/2011/05/preparedness-101-zombie-apocalypse/.

Political, Social, and Ethical Ideologies on Graphic Design

Political, Social, and Ethical Ideologies on Graphic Design Mythology vs. Modernity Political, social, and ethical ideologies on graphic design in the twentieth century Abstract The following dissertation will discuss whether mythology or modernity had the greatest impact upon the political, social, and ethical ideologies that were closely linked to or had an influence upon graphic design and artistic culture during the twentieth century. The main focus of this dissertation will be to describe the often-complex relationship between mythology and modernity in relation to political, social, and ethical ideologies with particular reference to Germany and, to a lesser extent the Soviet Union, essentially between 1914 and the early 1930s. Germany and the Soviet Union were chosen as the main case studies for this dissertation, due to them being the countries that had the most complex situations, and often they had a highly contradictory relationship between mythology and modernity in the political, social, and ethical ideologies that influenced graphic design. Germany is of particular interest due to the clash between mythology and modernity at the end of the imperial regime, throughout the short and turbulent Weimar Republic and most strikingly during the Third Reich. Imperial Germany had a government that was autocratic in nature, the Weimar Republic allowed greater cultural diversity, yet suffered from political and econ omic weaknesses that allowed Adolf Hitler to bring the Third Reich into existence. In the Third Reich, it was Hitler who determined what graphic design was acceptable and pragmatic and which forms of it were politically, socially, as well as ethically unacceptable (just as he did with everything else). As will be mentioned Adolf Hitler’s dislike of anything related to graphic design or architecture if known widely enough could be as effective at preventing things happening or closing down pre-existing organisations as any decree or government legislation. The Soviet Union also arguably interchanged mythology and modernity in the political, social and ethical ideologies that underpinned its graphic design, culture, and its architecture as well as the governing regime. The Communist regime in the Soviet Union and the Nazi regime in Germany had radical agendas that were intended to transform the politics and the society of the countries they ruled over. Both regimes had also int ended to alter the political, social, and ethical ideologies of their populations through propaganda, indoctrination, and repression when required. For both regimes graphic design was just one of many ways to achieve their political, social, and ethical objectives, a method that they wished to control and even suppress if that suited their particular objectives and prejudices. These regimes could also find people that could use graphic design techniques to carry out their objectives whilst the formally qualified graphic designers were not used due to doubts over having suitable political, social, and ethical beliefs. Introduction Germany’s defeat in the First World War and the collapse of the Imperial regime had major political, social and ethical consequences that were not just confined to the field of graphic design. Prior to the First World War, the German government had built up the mythology of the invincibility of the German army, strengthened by the modernity and dynamic growth of its economy and its advanced industrial complexes. Germany’s rising economic production and the ability to make industrial products effectively meant that Germany’s power was widely viewed as increasing, a cause for national pride, and also a cause of international concerns that poised a challenge to peace. German militaristic culture and its ambitions to be a great power contributed to the outbreak of the First World War, as did the decision to back all of Austria-Hungary’s demands against Serbia (Fulbrook, 1991, p.3). The Imperial German government used propaganda to maintain the war effort in th e wake of heavy fatalities and severe shortages at home, due to the effectiveness of the Royal Navy blockade. The failure of the German spring offensives of 1918 brought about the final collapse (Roberts, 1996, p.455). Around the issue of German surrender in 1918 myths and counter myths would abound. German nationalists claimed that Socialists, Social Democrats, the Centre parties, and the Jews had betrayed the country and its army. Such arguments were put forward by the leading German generals, most notably Ludendorff to deflect from the failures during the war. Other elements in Germany that favoured modernity were those that supported the Weimar Republic most strongly (although that support was not always returned by the Weimar authorities). The ideological conflicts between left and right would last until the Nazi Party came into power. Once the Nazis gained power they intended to radically alter the political, social, and ethical ideologies that dominated Germany through whatev er means they had to use. The social and ethical alterations would revolve around cleansing the country of political, social, and racial undesirables (Bullock, 1991, p.74). The effectiveness of German propaganda during the First World War; the political, social, and ethical ideologies and their impact upon graphic design in Germany will discussed in chapters 1 to 3 as well as in the conclusions. The influence, innovations, and the subsequent legacy that the Bauhaus school had on graphic design in Germany and beyond will be scrutinised in greater detail. In Germany the movement most closely linked to the concepts of modernity, rather than the concepts of mythology in graphic design would become known as the Bauhaus school after the graphic design school that opened in 1919. The leading members of the future Bauhaus school were frequently working as architects and artists before the outbreak of the First World War in August 1914 (some of them in countries that fought against Germany). These artists and architects were equally committed to the concept of modernity and the political ideology of socialism. Ironically enough, the modernist concepts that would form the basis of the Bauhaus school were heavily influenced by British architecture, except for the Germans had in the vast majority of cases kept their allegiance to socialist ideals (Hobsbawm, 1987 p. 225). From its inception the Bauhaus had a mission simple to drive forward its work, projects, and its teaching. That publicly stated aim was ‘The Building of the Futureâ€℠¢. The school hoped to make graphic design more accessible and pragmatic to help modernise the economy and help transform art and culture (www.bauhaus/archiv). There was a competing stronger current in German culture that stressed the cultural, ethical and in more versions the racial superiority of the German nation above all other nations. This vision of a culturally superior Germany was favoured by most right wing groups throughout Imperial Germany, the Weimar Republic and was part of the extreme ideological basis of the Nazi party that came to power in 1933. For the German right wing nationalists’ culture went further than occasional trips to the theatre or the cinema. Culture to them was part of the mythology of the greatness of the German people. Such strong and wide-ranging notions of nationalism go a long way towards explaining the highly militaristic nature of both Imperial Germany and the Third Reich. If anything, the militarism of the Third Reich was the most potent form as it was combined with the drive for racial purity, as well as plans to exterminate Communism and the Jews (Bullock, 1991 p. 76). The emergence of the Communist regime in the Soviet Union also led to a mixture of mythology and modernity influencing the political, social, and ethical ideologies on graphic design. The Communist regime that took power in October 1917 to establish Marxism-Leninism across the former Russian Empire in what eventually became known as the Soviet Union. To secure its future the Communist regime used myths about the struggle to bring revolution, combined with the modernist urges, to end the political, social, industrial, and economic backwardness of the Soviet Union (Hobsbawm, 1994 p. 63). The Soviet regime maintained its grip on power through often large-scale brutal repression, the extensive use of official propaganda and censorship, and systems of party and government patronage. Under the cruel rule of Joseph Stalin the use of all these methods reached its systematic and violent peak with his campaigns to modernise the Soviet Union and crush all opposition real or made up (James, 2003 p. 61). The role of mythology and modernity in the graphic design of the Soviet Union will be discussed in greater depth in chapter 4 and the conclusions. Chapter 1 Mythology, Modernity, and the collapse of Imperial Germany Imperial Germany had a rich culture, with mythological and militaristic ideologies seeming to dominate less popular modernist tendencies. The appeal of mythological ideology and heavily military influenced nationalism are linked with German history and the struggle to create a united Germany. Many Germans prided themselves upon their own culture. Imperial Germany for instance, had popular and successful theatres, which had expanded in actual numbers, as well as in the size of their audiences. Musically the pre-war period witnessed the peak in popularity of Richard Wagner’s operas, laden as they were with mythology and heroic references. Imperial Germany saw the foundation of the precursor of the Bauhaus school in the form of the Werkbund as early as 1907. Like the Bauhaus the Werkbund was intended to improve the efficiency of the industrial designs and machinery used by German businesses. The emphasis was upon modernity to drive forward economic growth. At this point in histor y, Germany was becoming an increasingly powerful country, with a strong economy and a powerful army. Its government was undemocratic, and there was a strong sense of nationalism. Modernity was not rejected, just harnessed to increase the country’s wealth and power (Burns, 1995 p.12). As a united country Imperial Germany owed its very existence to war, or three wars to be exact. Prussia and Austria had been rivals for the position of the leading German nation, Prussian policy aimed to achieve a united Germany but that seemed to be an unlikely dream. Under the Chancellorship of Count Otto von Bismarck the Prussians gained decisive victories over Denmark, Austria, and then France. Victory against France persuaded the more sceptical German states that it was time to form a united Germany. A single German empire was forged with the Prussian King becoming the German Kaiser (Rayner Stapley, 2006, p.92). In Imperial Germany, popular culture and mythology centred on the army that had done so much to forge a united Germany. Later, Germany would develop pride in the German navy that Tirpitz turned from a small coastal defence force into a powerful unit capable of challenging the formidable Royal Navy. The massive expansion of the German navy was a fine example of Germanyâ €™s booming economy, strong grasp of design and the development of the most up to date technology available (Fulbrook, 1991, p. 3). German military strength and the rise of her naval power were a source of national pride, yet internationally the French wanted revenge for 1870, whilst the British and the Russians were wary of German intentions (Roberts, 1996, p.). When Bismarck had been Chancellor he had been careful to keep France isolated. However, the Kaiser’s quest to increase German power and prestige meant that Russia and Britain became closer to France. The Kaiser’s poor diplomacy and lack of tact meant that Germany had to fight on two fronts. The German military planned for a quick victory in the war in the west to avoid prolonged war on two fronts, although the breaching of Belgian neutrality caused Britain to join the war. However the Germans gained a crushing victory against the Russians at Tannenberg and the Eastern Front, yet were unable to finish the war on the Western Front in 1914 (Colvin, 2004, p.244). Despite rapid advances in the war the Germans were eventually stopped by the French and British, which would mean a long war (that made German victory unlikely). The German invasion of Belgium had brought Britain into the First World War, which meant that the German army had to gain victory before the Royal Navy blockade starved Germany into submission (Kennedy, 1976 p. 246). The myth of the greatness of the German army had not been broken in 1914; after all it had almost gained victory in the war. The stunning victory at Tannenberg had produced two new heroes in the form of Hindenburg and Ludendorff who both became leading figures in the conduct of the war, as well as having a great deal of political influence. Neither side was able to break the stalemate on the Western front in 1915, although the Germans helped Turkey to stop the allied offensive in Gallipoli. From an early stage in the First World War the German government realised the importance of propaganda in maintaining both military and civilian morale. Any successes were exaggerated, set backs were either not mentioned at all or their significance was played down (Bourne, Liddle Whitehead, 2001, p.49). The German army put all its hopes of winning into the massive offensive against Verdun in 1916, Falkenhayn aimed to kill so many French soldiers that it would break French morale and force their surrender. Verdun almost fell but for the efforts of Petain, it could have broken the French army. The German government presented the Verdun offensive as a victory due to the French having sustained heavier losses. The attack on Verdun brought forward the British led offensive on the Somme. For the Germans, the Somme helped to create the myth that the German army could not be defeated. The defences of the Hindenburg line were formidable and the massive artillery barrage that lasted a week did nothing to break it. The barely touched or harmed German defenders decimated the advancing British and French soldiers. The first day of the Somme remains the worst day in the British army’s history. Allied failure to make a breakthrough in the Somme helped to keep Germany fighting and also moral e and confidence high (Bourne, Liddle Whitehead, 2001, p. 459). However, the most decisive battle of 1916 was at sea, the battle of Jutland. The Germans claimed victory as they had inflicted heavier losses upon the Royal Navy. The Germans claimed that their ships were better built, more up to date, and therefore were superior, as were the gunnery skills of the German crews. The German navy and the German government did not make public that Jutland had almost been a disaster. The Germans had planned to reduce the superior numbers of the Royal Navy by isolating units from the main British fleet by sinking them all. Instead of that, the Germans met up with the entire Grand Fleet. Only nightfall and the cautious approach of the British admirals prevented the Royal Navy destroying the High Seas Fleet. After Jutland, the Royal Navy maintained its devastating blockade against Germany. From then on the only German naval threat came from its submarine force, and the crews of the High Seas Fleet would prove more of a threat towards the German government th an the Royal Navy (Kennedy, 1976, p.247). During the First World War the German government controlled what newspapers could publish, the press did not usually publicise official casualty or fatality figures, discuss food and fuel shortages or mention anti-war protests. The German government vetted all public theatre or musical performances, whilst the country’s 7,500 cinemas could only show German made films that were considered patriotic. Hollywood films were banned as culturally unsound even before the United States entered the war. German cinemas did show newsreel footage of the war from 1917, yet that footage was restricted in the images that were shown. Germany produced less propaganda articles or posters than Britain or France. German news coverage and propaganda lacked effectiveness compared to British propaganda. The German government was hampered due to the political parties being unable to agree upon the country’s war aims, there was disagreement as to whether they were fighting a war of containment o r fighting for financial or territorial gains (Stevenson, 2004, p.277). The German government seemed merely to tell the German media what it could not print or broadcast that it missed the opportunity to ensure that propaganda and information was presented in the most effective manner. The government left the decision of how to present information about the progress of the war to the newspaper editors. The style of writing and presentation of newspapers were adapted to the tastes of the people that brought the newspapers. To a certain extent official information and propaganda was able to disguise bad news from the front yet perhaps it was only effective due to wishful thinking or naivety on the home front. German propaganda and censorship however could not hide food shortage form the German people, those that were not in the army or did not live in agricultural areas had to make do with 50% less food than in 1914. It was also difficult to cover up increasing political divisions ove r the conduct of the war. Perhaps foolishly the government had not banned public discussions about national war aims, or whether Germany should find ways to end the war through peace talks. The government could not hide the splits of the Social Democratic Party either. The most left wing of the Social Democratic splinter groups was very outspoken about Germany’s chances of winning the war and called for ending it as soon as possible. During the course of the First World War, German newspapers changed in size and in the actual print types used. Although smaller newspapers with simpler print types may have pleased readers such changes owed more to shortages of paper than altered graphic design or attempts to make propaganda more effective (Stevenson, 2004, p.279). The German government had great confidence that its submarines or U-boats could get Britain out of the war by breaking its Atlantic supply lines. At first the German navy had stuck to the rules of war, only naval ships were sunk on sight, merchant ships were inspected and all crews were usually evacuated before sinking the ships. The Royal Navy responded by arming merchant ships and using ‘Q’ ships, these were warships disguised as merchant ships to sink unsuspecting U-boats (a strategy that worked well but broke international maritime law). U-boat commanders retaliated by sinking ships if they believed them to be armed or carrying war supplies. The German government convinced the German public that its U-boats were providing heroic services and could even win the war. However, the U-boats caused controversy with the sinking of the liner Lusitania in May 1915 with the loss of over 1,000 lives, including many Americans. German propaganda that the Lusitania was carrying mu nitions was not widely accepted as much as British denials were. The Germans sink on sight policy was dropped to prevent United States entry in to the war (Rayner Stapley, 2006, p.105). The Germans returned to unrestricted submarine warfare in 1917, arguing it was a morally justified measure in response to the Royal Navy blockade of Germany. The German U-boats initially caused heavy shipping losses that threatened British food and war supplies. The U-boat campaign helped to bring the US into the war against Germany, British propaganda was very effective in persuading American public opinion to support entry into the war. The German government however, could have increased its chances of victory by improving the efficiency of German industry and agriculture. The German failure to fully mobilise their resources disproved their claims of modernity and efficiency (Hobsbawm, 1994, p.28). Despite the failure of the U-boat campaign to eliminate Britain from the First World War, the Germans still had chances to win the war. The collapse of the Tsarist regime in Russia presented the German military with opportunities to win the war before the United States could intervene decisively. The Russian Provisional Government carried on fighting against Germany, although the October Revolution that brought the Bolsheviks to power effectively ended the fighting on the Eastern front (Bullock, 1991, p.69). The Russian exit from the war allowed Hindenburg and Ludendorff to transfer army units from the Eastern to the Western Front for the Spring offensive of 1918 (which they knew was their last chance to win the war). There was the drawback that part of the German army and navy became attracted to revolutionary ideas as a means to end the war and bring fundamental political changes to Germany (Fulbrook, 1991, p.22). Hindenburg and Ludendorff knew something that the German governmentà ¢â‚¬â„¢s propaganda kept from the public; the spring offensive was the last throw of the dice. Although the spring offensive gave the German army its furthest advances in the West since August 1914, it failed to break the Allies and end the war. The failure of the spring offensive meant that Germany could only lose the war. Hindenburg and Ludendorff found civilian politicians to seek armistice to end the war. They hoped that these civilians would take the blame for the defeat, which is just what happened. The same generals that failed to win the war blamed the people left to pick up the shattered pieces of Imperial Germany for their failures. Hindenburg and Ludendorff invented the mythology of the ‘stab in the back’ that so undermined the Weimar Republic (Brendon, 2000, p.9). Germany’s defeat came as a bitter shock to the majority of the German population as the government’s strict censorship of bad news and its attempts at propaganda had convinced the majority of German people that defeat was not possible or indeed likely in the near future. Propaganda and censorship made it appear that Germany was in a stronger position than was actually the case. Government bulletins had deceived people into believing that the sacrifices and losses would be worth it once victory had been achieved. The bulletins gave an ultimately false impression that German victory was at hand. This was especially the case when the spring offensive made its initial gains. If the majority of the population had not believed wartime propaganda then the myth of the ‘stab in the back’ would not have gained so much currency in subsequent years after the war (Bourne, Liddle Whitehead, 2001, p.460). The truth was that the First World War exhausted Germany, the mode rnity of its army, navy and its weak allies, inefficient organisation, and the effects of the Royal Navy blockade nullified industry. The German army and the navy were affected by Communist and revolutionary impulses. The German army’s morale was lowered as a result of the spring offensives, soldiers found out that the Allied armies were better fed and equipped than they were (Brendon, 2000, p.8). The army was broken after August 1918 and in non-stop retreat. It had not been defeated, although the arrival of large numbers of American troops and the surrender of Austria meant that defeat was inevitable (Holmes, 1999 p.213). The ‘stab in the back’ myth had no basis in reality, yet it would endure long enough to severely undermine the viability of the Weimar Republic due to millions of Germans believing it (Fulbrook, 1991, p.23). Chapter 2 Mythology Modernity during the Weimar Republic Some of Imperial Germany’s most gifted artists, architects, and writers had fought in the First World War. Although some of them had held left wing political opinions, they had not avoided military service. Amongst the influential modernists that served in the war was the painter Paul Klee. Paul Klee went on to survive the conflict, whilst his fellow artists Franz Marc and August Macke were killed in action. Marc and Macke had both been talented modernist painters. They had been in a group with Wassily Kandinsky they had decided to call ‘Der Blaue Reiter’ or in English, The Blue Rider. This small group of artists favoured a strand of modernity referred to as abstraction (Faerna, 2000 p. 8). It has been argued that the experiences of military service had the affect of radicalising those that returned from the front. In the case of Germany, her veterans were drawn towards either the rabidly nationalist ring wing groups such as the Nazi party, or they were drawn towa rds the revolutionary left. Amidst the debris of a war shattered country the old monarchy was replaced by the Weimar Republic. As a matter of coincidence the centre of excellence for the modernists in Weimar era Germany, the Bauhaus school was also founded in Weimar during 1919 (Hobsbawm, 1994 p. 179). In many respects the founders of the Bauhaus school had similar political, social, and ethical ideologies to those that had drafted the constitution of the Weimar Republic. Like the architects of the Weimar Republic, the founders of the Bauhaus favoured modernity, cultural diversity, and they were internationalist in outlook (James, 2003 p. 85). History has certainly not been kind to the Weimar Republic, Germany’s first taste of liberal democracy that was detested by millions of Germans, as well as being beset by major political and economic weaknesses particularly after the Great Depression. The collapse of the monarchy had allowed the Weimar Republic to be created to the decidedly inauspicious background of military defeat, an enforced peace treaty and political unrest at home. The optimism of pre-war Imperial Germany had been shattered by the time the First World War had finished (James, 2003, p.73). The Weimar Republic had a very liberal constitution with left wing and centre parties supporting the new system. The Weimar Republic was not at first accepted by the Communists or right wing nationalist parties. The new German state lacked the economic dynamism of Imperial Germany, especially as the Ruhr Valley industry output was harnessed to the French economy. The Germans protested about the reparations enforced upon them by the Treaty of Versailles. The Versailles settlement was intended to strip Germany of the power to wage war again, the army was reduced to 100,000 men, and the high command was abolished. The German navy was reduced to a weak coastal defence force banned from having submarines. Germany was also banned from having an airforce. The Allies had hoped to break militarism in Germany, yet only caused resentment amongst the German people. Resentment of the Versailles settlement fuelled dislike of the Weimar Republic, although the government could not have rejected the treaty. Germany simply did not have the military, human, or economic resources to have carried on fighting which was why Ludendorff had brought civilians into the government in the first place, to use as fall guys for the army’s failure to win the war (Shirer, 1988, p.32). However fragile the political and economic situation was in the Weimar era, Germany was certainly not a cultural or artistic backwater. In fact, Germany during the Republican period gained an international renown for its cultural and artistic achievements. Some of these cultural and artistic trends had existed before the First World War; others such as the Bauhaus School most closely linked with Walter Gropius flourished in this period (Fulbrook, 1991, p.39). Much of the cultural diversity witnessed during the Weimar Republic fits into the concepts of modernity. Walter Gropius, Thomas Mann, and Arnold Schonberg were notable members of the German modernist avant-garde who got their best opportunities to fully express themselves after the First World War (Hobsbawm, 1994, p.179). German avant-garde modernism was influenced by two American imports after the First World War, cinematic films, and jazz music. The Weimar Republic had a flourishing filmmaking sector, although it could not mat ch the production levels or profits generated by Hollywood. Hollywood studios, especially Universal Studios liked to use ideas from relatively unknown German films, such as Frankenstein. Even before the Nazi’s took power and repressed the degenerate elements of modernity; German technicians and filmmakers could always find work in Hollywood. Gropius and the Bauhaus linked itself with jazz music, which they regarded as the height of modernity in musical terms. The right wing politicians and extreme nationalists disliked jazz due to its Black American origin, as much as for its musical merits (Hobsbawm, 1994, pp.184-85). The Bauhaus School membership was almost entirely made up of left wing sympathisers who preferred the new republic to the old monarchy. The Social Democrats retained their previous popularity but the new Weimar Republic actually allowed it a share of power. The greater freedoms that were allowed under the Republican regime would mean that the Bauhaus and other centres of German modernity were not only linked with Socialism or Marxism, they were also linked with Germany’s moral degeneration. Places where new culture was stronger, especially Berlin, were frequently resented for moral decadence and politically subversive views. The Bauhaus also tried to change the print types used in German newspapers and their own printed material. This was partly to make the graphic design better to look at as well as to save resources which traditional print types used more of (Fulbrook, 1991, p.41). For instance, Lyonell Feininger taught at the Bauhaus, yet had previously been a cartoonist that had gained a reputation for producing hard hitting political satire in his newspaper cartoons. Whilst working for the Bauhaus Feining er went on to become a highly skilled painter and woodcutter. His work reflected that the influence of the Cubist movement remained strong throughout his career (www.articons.co.uk). Wassily Kandinsky had been a founding member of the ‘Blaue Reiter’ before the First World War forced his return to his native Russia. Whilst at the Bauhaus, Kandinsky did some of his finest work most notably the ‘Kleine Welten’ of 1922. He broadened his artistic horizons, whilst using his skills as a graphic designer to produce stage sets and theatrical costumes (www.articons.co.uk). Laszlo Moholy-Nagy came up with some innovative photographic techniques that later became widely used in journalistic graphic design. These techniques produced photographic quality pictures without the need to use a camera which Moholy–Nagy referred to as photograms. Moholy –Nagy became a film producer, as well as further developing photograms to be incorporated into printed text (Cry stal, 1998 p. 652). Dislike of the new democratic Germany was not just confined to extreme nationalist groups, teachers, civil servants, as well as the Catholic and Protestant churches were suspicious if not downright hostile towards the Weimar Republic. The political, social and ethical decadence of the Weimar Republic came to a head in 1923. This year was when the French occupied the Ruhr Valley and also when Germany was devastated by hyperinflation. Hyperinflation brought misery to millions of ordinary Germans; it made wages, savings, and pensions worthless. Millions turned in desperation towards the Communists, but also for the first time the Nazi party. Hyperinflation was the event, which also saw Adolf Hitler brought to national attention, after the failed putsch in Munich during November 1923. Hitler skilfully used his trial to publicly express the aims of the Nazi party. Germany’s severe economic problems also prompted American recovery packages that gave the Weimar Republic the appearanc e of political and economic stability (Brendon, 2000, pp.29-30). Domestically, stability seemed to be achieved under th

Religion in August Wilsons Fences Essay -- August Wilson, Fences

In August Wilson's play, Fences, the character, Troy Maxson, is by no definition a religious man. He has created his own religion through his own philosophies, especially baseball. Sandra G. Shannon's critical analysis, "The Good Christian's Come and Gone: The Shifting Role of Christianity in August Wilson Plays," gives analogies for the way Troy deals with his own spirituality. It is agreeable that Troy, like other Wilson characters, deals with religion in his own way. Shannon asserts, "this cynical black man does not lay his burdens down at the church's altar. As is the case with each of Wilson's men, Christianity plays no role in Troy's search for comfort and direction" (382). Troy never does find comfort and direction, even in his sacred baseball. It could be that Troy finds his greatest solace in the blues. Shannon states that, through the blues, Troy feels as if he can communicate and heal his emotional wounds. Shannon explains Wilson justified the need for the blues in an interview with Bill Moyer. Wilson states, "The blues are important primarily because they contain the cultural response of blacks in America to the situation that they find themselves in. Contained in the blues is a philosophical system at work" (382). It is true that for Troy the two systems of the blues and Christianity can in no way co-exist with each other. It is also true that Troy does not openly disregard the church, but he does make it obvious in his own way that he is clearly an atheist. "While Christianity does not interest Troy, he adopts the game of baseball as a more relevant metaphor for his life" (Shannon 382). Shannon is totally right in the fact that Troy uses baseball as a religion. Shannon correctly states t... ...ation when such human substitutes are available" (Shannon 384). Shannon is correct in her thoughts about Troy and fulfilling his needs through other people. In conclusion, I believe Shannon makes her points strongly about Troy's aversion to Christianity. She sums up her assertions by stating, "When African American men like Troy did fall into the pits of depression, they did not reach for the Bible. They created their own convenient laws of behavior," (384). This is indicative of Troy in every way he deals with work, family, and death. I agree with Shannon in that Christianity knocks at Troy's door just like death, and he rearranges it to fit into his philosophies. Works Cited Shannon, Sandra G. "The Good Christian's Come and Gone: The Shifting Role of Christianity in August Wilson Plays." Contemporary Literary Criticism 118 (1999): 382-384.

Essay on Blanche DuBois as Butterfly in Tennessee Williams A Streetcar

The Portrayal of Blanche as Butterfly or Moth in A Streetcar Named Desire  Ã‚  Ã‚  Ã‚  Ã‚      In A Streetcar named Desire, Williams uses description and dialog to develop the play’s characters. In the beginning of the play, Williams describes Blanche as a "moth". A moth and a butterfly seem to be very similar; however, they have very different outward appearances and habits. A butterfly is very "showy " as it flits throughout life, whereas a moth tries hard not to bring attention to itself. Butterflies are open and very visible, but a moth is nocturnal and secretive. The American Heritage Dictionary defines a butterfly as "a person interested principally in frivolous pleasure"; a self-centered person intent on pleasure (line 2). Although Williams describes Blanch as a moth, his use of description and dialog bring out sexual undertones that portray Blanche to be a butterfly instead of a moth. In Scene I of A Streetcar Named Desire, Williams writes-- Her appearance is incongruous in this setting. She is daintily dressed in a white suit with a fluffy bodice, necklace, and earrings of pearl, white gloves and hat, looking as if she were arriving at a summer tea or cocktail party in the garden district†¦There is something about her uncertain manner, as well as her clothes, that suggests a moth. (qtd. In Bloom 51) Williams’s description leads others to perceive Blanche as an insecure, unassuming person, a typical Southern Belle-- a moth. Although the color of Blanche’s clothing suggests simplicity, the style of her clothing contrasts with the surrounding environment. Blanche is wearing this attire as she arrives at her sister’s home. Her sister lives in a run- down three-room apartment. The apartment contains th... ...erpretations of A Streetcar Named Desire: a Collection of Critical Essays.   Ed. Jordan Y. Miller.   New   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Jersey: Prentice, 1971. Monarch Notes. "Works of Tennessee Williams." Williams, Tennessee, 1 Jan. 1963 (http://www.elibrary.com/s/edu mark/search). Preston, Rohan. "Actors Rev Up a Gritty, High-Octane ‘Streetcar’" Minneapolis StarTribune. 3 March 1999, 04E. "Streetcar’s Fiftieth Anniversary" All Things Considered. NPR. WWNO, New Orleans. 1 Dec. 1997. The American Heritage Dictionary, CD-ROM. Microsoft Bookshelf 98. Microsoft Corp. 1987-97. Williams, Dakin and Shephard Mead. Tennessee Williams: An Intimate Biography. New York:   Arbor House, 1998. Williams, Tennessee. "A Streetcar Named Desire" a New Directions Book, copyright 1947. Canada: Penguin, 1980. Williams, Tennessee. Memoirs. Garden City, NY: Doubleday, 1975.   

Justice in the Book of Job Essay -- essays research papers

Does the Book of Job strengthen your faith in God’s justice? Why does God allow Satan to cause such tragedy in Job’s life, a man whom God has already acknowledged as â€Å"my servant Job, that there is none like on the earth, a blameless and upright man, who fears God and turns away from evil?†(1.8) From the beginning, it is known that Job is in no way deserving of his injustices, so a reason must be given. God gives Job an opportunity to prove that under any circumstances Job will still have faith. This simply a test for Job. The whole Book is a â€Å"double† journey for Job -- he shows God his faith and realizes the faith God has that Job will not stray from his path. Job knows deep down that God has not forsaken him. God deserves to be praised simply on the basis of who he is, apart from the b...

Deception Point Page 26

Like a hot knife through a frozen stick of butter. Norah motioned to the NASA men on the winches. â€Å"The generators can't handle this kind of strain, so I'm using manpower to lift.† â€Å"That's crap!† one of the workers interjected. â€Å"She's using manpower because she likes to see us sweat!† â€Å"Relax,† Norah fired back. â€Å"You girls have been bitching for two days that you're cold. I cured that. Now keep pulling.† The workers laughed. â€Å"What are the pylons for?† Rachel asked, pointing to several orange highway cones positioned around the tower at what appeared to be random locations. Rachel had seen similar cones dispersed around the dome. â€Å"Critical glaciology tool,† Norah said. â€Å"We call them SHABAs. That's short for ‘step here and break ankle.'† She picked up one of the pylons to reveal a circular bore hole that plunged like a bottomless well into the depths of the glacier. â€Å"Bad place to step.† She replaced the pylon. â€Å"We drilled holes all over the glacier for a structural continuity check. As in normal archeology, the number of years an object has been buried is indicated by how deep beneath the surface it's found. The farther down one finds it, the longer it's been there. So when an object is discovered under the ice, we can date that object's arrival by how much ice has accumulated on top of it. To make sure our core dating measurements are accurate, we check multiple areas of the ice sheet to confirm that the area is one solid slab and hasn't been disrupted by earthquake, fissuring, avalanche, what have you.† â€Å"So how does this glacier look?† â€Å"Flawless,† Norah said. â€Å"A perfect, solid slab. No fault lines or glacial turnover. This meteorite is what we call a ‘static fall.' It's been in the ice untouched and unaffected since it landed in 1716.† Rachel did a double take. â€Å"You know the exact year it fell?† Norah looked surprised by the question. â€Å"Hell, yes. That's why they called me in. I read ice.† She motioned to a nearby pile of cylindrical tubes of ice. Each looked like a translucent telephone pole and was marked with a bright orange tag. â€Å"Those ice cores are a frozen geologic record.† She led Rachel over to the tubes. â€Å"If you look closely you can see individual layers in the ice.† Rachel crouched down and could indeed see that the tube was made up of what appeared to be strata of ice with subtle differences in luminosity and clarity. The layers varied between paper thin to about a quarter of an inch thick. â€Å"Each winter brings a heavy snowfall to the ice shelf,† Norah said, â€Å"and each spring brings a partial thaw. So we see a new compression layer every season. We simply start at the top-the most recent winter-and count backward.† â€Å"Like counting rings on a tree.† â€Å"It's not quite that simple, Ms. Sexton. Remember, we're measuring hundreds of feet of layerings. We need to read climatological markers to benchmark our work-precipitation records, airborne pollutants, that sort of thing.† Tolland and the others joined them now. Tolland smiled at Rachel. â€Å"She knows a lot about ice, doesn't she?† Rachel felt oddly happy to see him. â€Å"Yeah, she's amazing.† â€Å"And for the record,† Tolland nodded, â€Å"Dr. Mangor's 1716 date is right on. NASA came up with the exact same year of impact well before we even got here. Dr. Mangor drilled her own cores, ran her own tests, and confirmed NASA's work.† Rachel was impressed. â€Å"And coincidentally,† Norah said, â€Å"1716 is the exact year early explorers claimed to have seen a bright fire-ball in the sky over northern Canada. The meteor became known as the Jungersol Fall, after the name of the exploration's leader.† â€Å"So,† Corky added, â€Å"the fact that the core dates and the historic record match is virtual proof that we're looking at a fragment of the same meteorite that Jungersol recorded seeing in 1716.† â€Å"Dr. Mangor!† one of the NASA workers called out â€Å"Leader hasps are starting to show!† â€Å"Tour's over, folks,† Norah said. â€Å"Moment of truth.† She grabbed a folding chair, climbed up onto it, and shouted out at the top of her lungs. â€Å"Surfacing in five minutes, everyone!† All around the dome, like Pavlovian dogs responding to a dinner bell, the scientists dropped what they were doing and hurried toward the extraction zone. Norah Mangor put her hands on her hips and surveyed her domain. â€Å"Okay, let's raise the Titanic.† 28 â€Å"Step aside!† Norah hollered, moving through the growing crowd. The workers scattered. Norah took control, making a show of checking the cable tensions and alignments. â€Å"Heave!† one of the NASA men yelled. The men tightened their winches, and the cables ascended another six inches out of the hole. As the cables continued to move upward, Rachel felt the crowd inching forward in anticipation. Corky and Tolland were nearby, looking like kids at Christmas. On the far side of the hole, the hulking frame of NASA administrator Lawrence Ekstrom arrived, taking a position to watch the extraction. â€Å"Hasps!† one of the NASA men yelled. â€Å"Leaders are showing!† The steel cables rising through the boreholes changed from silver braid to yellow leader chains. â€Å"Six more feet! Keep it steady!† The group around the scaffolding fell into a rapt silence, like onlookers at a seance awaiting the appearance of some divine specter-everyone straining for the first glimpse. Then Rachel saw it. Emerging from the thinning layer of ice, the hazy form of the meteorite began to show itself. The shadow was oblong and dark, blurry at first, but getting clearer every moment as it melted its way upward. â€Å"Tighter!† a technician yelled. The men tightened the winches, and the scaffolding creaked. â€Å"Five more feet! Keep the tension even!† Rachel could now see the ice above the stone beginning to bulge upward like a pregnant beast about to give birth. Atop the hump, surrounding the laser's point of entry, a small circle of surface ice began to give way, melting, dissolving into a widening hole. â€Å"Cervix is dilated!† someone shouted. â€Å"Nine hundred centimeters!† A tense laughter broke the silence. â€Å"Okay, kill the laser!† Someone threw a switch, and the beam disappeared. And then it happened. Like the fiery arrival of some paleolithic god, the huge rock broke the surface with a hiss of steam. Through the swirling fog, the hulking shape rose out of the ice. The men manning the winches strained harder until finally the entire stone broke free of the frozen restraints and swung, hot and dripping, over an open shaft of simmering water. Rachel felt mesmerized. Dangling there on its cables, dripping wet, the meteorite's rugged surface glistened in the fluorescent lights, charred and rippled with the appearance of an enormous petrified prune. The rock was smooth and rounded on one end, this section apparently blasted away by friction as it streaked through the atmosphere. Looking at the charred fusion crust, Rachel could almost see the meteor rocketing earthward in a furious ball of flames. Incredibly, that was centuries ago. Now, the captured beast hung there on its cables, water dripping from its body. The hunt was over. Not until this moment had the drama of this event truly struck Rachel. The object hanging before her was from another world, millions of miles away. And trapped within it was evidence-no, proof-that man was not alone in the universe. The euphoria of the moment seemed to grip everyone at the same instant, and the crowd broke into spontaneous hoots and applause. Even the administrator seemed caught up in it. He clapped his men and women on the back, congratulating them. Looking on, Rachel felt a sudden joy for NASA. They'd had some tough luck in the past. Finally things were changing. They deserved this moment.