The Persecution Of Innocenece Essays - Anabaptism, Anabaptists

The Persecution Of Innocenece The Persecution of Innocence This essay will examine in detail the wrong doings of society upon the Hutterite people. It will also show how the Hutterian Brethren's agricultural expertise has been beneficial to the world. It will explain many accounts of torture and hardship endured by these people. The Hutterian brotherhood has been wrongly persecuted because of their religion and their way of life, for many years. The first written account of the Anabaptist movement dates as far back as January 21, 1525. On this evening several young men attempted to baptize one another. They did this upon confession of the faith. These young men had all planned to study classics at University but they quickly turned to the Bible. The young men mentioned as founders of Anabaptism were Conrad Grebel, Felix Manz, and Jorg Blaurock. All of these men were well-respected scholars.1 The newfound Anabaptist movement seemed to spread rapidly throughout Switzerland, southern Germany, Tirol, and Moravia. A German chronicler described the rapid growth in these words, ?Anabaptism spread so quickly that their teachings soon covered, as it were, the land. They soon gained a large following and baptized many thousands, drawing to themselves many sincere souls who had a zeal for god.? Because of this astounding increase in the number of Anabaptists church and state officials resolved to extirpate the Anabaptists. This is where all the death and torture began for these innocent people.2 Only eight days after the first Anabaptist baptismal service, there was a continual flow of mandates issued against them. There were over two hundred edicts proclaimed against the Anabaptists in the sixteenth century, one hundred of which were issued in the first twenty years. Such officials as territorial rulers, bishops and the emperor issued the mandates. The mandates were not only directed against the Anabaptists themselves but against anyone who helped or aided them in any way.3 These mandates were a serious matter, penalties outlined in the mandates ranged from expulsion to death. Some of the punishments described include burning holes in cheeks, branding foreheads with the sign of the devil, cutting off the fingers or the tongue, and stretching on the rack. The years to follow brought about a period of brutality and suffering for the Anabaptists.4 In order to catch the Anabaptists or other parties guilty of aiding them, there were house to house searches. People were questioned about being an Anabaptist, and also about possible interactions with Anabaptists. The cruelest measures taken to seek out the Anabaptists occurred in southern Germany. German soldiers were sent out after the Anabaptists in large numbers, reaching up to one thousand. The soldiers were given orders to exterminate the Anabaptists by any one of several means including fire, water, sword, or hanging. The soldiers were to act immediately and without giving a trial. More brutal actions were taken against the Anabaptist leaders in an attempt to deter them from recruiting more people. For example a great preacher, Hans Hut was made to endure ?alle Qualen der Holle? (all the agonies of hell).5 There are many accounts of extreme brutality these people faced for many years. This particular account is very brief and simplistic but it does get the point across. Some were tortured terribly on the rack that they were torn apart and died. Some were burned to ashes and powder as heretics. Some were roasted on beams, some torn with red hot irons. Some were penned up in houses and all burned together. Some were hung on trees, others executed with the sword, and chopped up in pieces. Many had gags put in their mouths and their tongues tied so they could not speak and testify to their faith, and were thus led to the stake. What they had confessed with the mouth they testified with their blood. One group of women were cast into the water and then taken out again and asked if they would recant. Seeing that they were steadfast, their executioners cast them again into the water and drowned them. So terribly Satan raged through his children. Many were promised great gifts and riches should they recant. Others were entreated to utter just a single swear word, even a slight profanity, and they would

Superfeet Insoles Ergonomic Product Review

Superfeet Insoles Ergonomic Product Review The Superfeet are premium footbed replacements, or insoles, for your shoes. Most shoes, even the really good ones, do not have a good, ergonomic footbed. It is usually just a shaped piece of padding that covers the construction of the sole. Superfeet changes that. The Superfeet Insoles are designed to replace the insole that comes with your shoe, and at the same time improve it. It provides positive support for your feet. And your feet then pass the benefit up the body easing the strain on the legs, h0ips, and back. Why is it Different? Superfeet is different from most insoles because they are firm, not soft and cushy. And that makes a world of difference. A pillow is nice to lay on when you are relaxing. It is not that nice to walk on. So why would you put a pillow inside your shoe? Instead, the Superfeet provide firm arch support and a deep heel cup. The arch support helps keep the stress on the foot even over the entire foot and transition that force up through the body. The heel cup (and other support formations on the insole) help correct your heel strike when you walk. A good heel strike improves your balance and eases the stress on your legs, hips, and back. Does it Deliver? Looking at them you might not think the Superfeet are anything special, but they deliver in spades. The support they provide makes everything feel better, whether you are hiking on rocks or standing on concrete all day. It took me a few weeks to get used to them. In fact, my feet hurt worse for a while. Particularly the insides of the joint for my big toes. The insoles corrected my stride, part of which was how I pushed off with the balls of my feet. I was unaccustomed to pushing off like that and it hurt for a little while. But at the same time, the pain in my lower back and calves went away. Issues like that are bound to happen while adjusting to a new foot strike. That is one of the reasons why Superfeet comes with a 60-day return policy. They helped me so much that I got some for my dad who has similar problems to me. They stopped him from shuffling and his stride is a good eight inches longer with the Superfeet insoles. Beneficiaries If you wear shoes you can benefit from the Superfeet. If you have foot, leg, hip or back problems you can probably benefit from the Superfeet Insoles. Superfeet offers a number of styles customized to various activities to increase the benefit they provide. Some groups that will benefit from these tools are: Walkers/HikersStation/Assembly WorkersCyclistsSkatersBipedal Mammals Summary Superfeet insoles are one of the best insoles on the market. If you wear shoes then these are must have ergonomic accessories. Try them for 60 days and you will not walk without them.

Speech, Language and the Developing Child Essay Example | Topics and Well Written Essays - 500 words

Speech, Language and the Developing Child - Essay Example Motherese is something that parents do with their children, perhaps not even realizing that they are doing it. They repeat their child, often substituting other words to the sentence, use a higher pitch to their voice, use simple sentences that the child can understand, and use grammatically correct language that their child then embraces and adds to their own vocabulary. This, working in concert with simple words and sentences, creates early conversational skills that the child can then expand upon in order to acquire more knowledge of how to communicate. Using a stage approach may not sit well with some people, for it limits what a child should know at a certain time. Children are pigeon-holed into a stage depending solely on their age, and not necessarily on their ability. If you believe that children should be free to learn at their own pace, then a staged approach isn’t for you. On the other hand, stages are clear markers of where a child should be, making it very obvious when a child would need extra help in order to catch up to his peers.

Air pollution Essay Example | Topics and Well Written Essays - 2500 words

Air pollution - Essay Example From this research it is clear that air pollution has become a major environmental health problem affecting both developed and developing countries throughout the world. The consequence has been that air pollution is causing human health problems as well as damage to vegetation, crops, wildlife, materials, buildings and even the climate. In the U.S., the largest sources of air pollution, in order of importance, are: 1) transportation, mainly automobiles and trucks; 2) electric power plants that bum coal or oil; and 3) industry, for which the major sources include steel mills, metal smelters, oil refineries, and paper mills. The most common air pollution problem resulting from these emission sources is ground-level ozone (O3), According to the United States Environmental Protection Agency (EPA), non-attainment of EPA requirements for O3 is the most common air pollution problem facing large cities in the U.S. It is estimated that, 160 million people in the U.S. lived in areas that are in non-attainment of healthful O3 levels (Organization for Economic Co-operation and Development [OECD]. In the past, efforts to reduce air pollution have consisted primarily of "command and control" programs that involve enforcement of government regulations designed to reduce toxic emissions. Such programs have proven highly effective in reducing industrial, point source pollution and causing auto manufacturers to produce cleaner burning automobiles.... The stratospheric level of the earth's atmosphere lies directly above the troposphere, which extends from sea level to approximately 8-9 miles above the earth's surface. It is in the troposphere that nearly all forms of life on earth reside. Within the stratosphere lies a highly concentrated level of ozone, commonly referred to as the ozone layer. The highest concentrations of O3 within the stratosphere occur between 11-15 miles above the earth's surface. This stratospheric ozone layer is essential to the maintenance of life on earth, protecting the earth's inhabitants from the sun's harmful ultraviolet (UV) radiation (Buchholz 1). Thus, free of human interference, the stratospheric ozone layer is continually maintaining a dynamic equilibrium between ozone production and ozone destruction that maintains the earth's protective ozone layer. While O3 also occurs naturally in very small amounts at ground level in the troposphere, in urban areas throughout the U.S., tropospheric O3 levels are rising to unhealthful levels (Buchholz 1). In affected urban areas, O3 air pollution reaches its highest level between the months of May and September when temperatures are high and sunlight abundant. O3 forms at ground level when volatile organic compounds (VOC's) combine with nitrogen dioxides (NOx) in the presence of heat and light (Buchholz 1). NOx is formed via the burning of fossil fuels at high temperatures, and is the primary precursor to O3, NOx and VOC's, are emitted into the air by motor vehicles, electrical power plants and other industrial plants. Because the O3 molecule is highly reactive, it acts as a powerful oxidant. Consequently, ground-level ozone negatively affects human

Breastfeeding Annotated Bibliography Example | Topics and Well Written Essays - 250 words

Breastfeeding - Annotated Bibliography Example The researchers noted the presence of a divide in understanding the breastfeeding approaches that Amanda was taught while in hospital and putting these approaches into practice. Importantly, this disconnect exists despite Amanda indicating her ability to understand concepts. Conversely, the second case presents Connie’s frustration to breastfeed her infant twins despite her motivation. It is instructive to point out that Connie, who is a registered nurse, received support from nurses who taught her the approaches to breastfeed. Nonetheless, she faced many obstacles despite the instructions she received, which effectively frustrated her although unrelenting practice eventually achieved success. The authors’ work is crucial in a clinical setting since it underlines the importance of nurses to develop interventions tailored to the needs of an individual mother. In addition, the researchers’ work highlights the importance of considering the motivation and cognitive appraisal in establishing a breastfeeding

Walt Disneys Silly Symphonies Analysis Film Studies Essay

Walt Disneys Silly Symphonies Analysis Film Studies Essay Walt Disney, arguably one of the twentieth centurys greatest story tellers, found his voice in the 1930s. Following from the success of the Mickey Mouse shorts, the Disney Studio began the production of the Silly Symphonies, a series that reworked fairy tales and nursery wisdom; reviving the classics in the hope of producing an animated feature. Mickey Mouse was Disneys superstar and occasional alter-ego. Steamboat Willie (1928) had made the studio a cut above his rivals but Disneys new project would take the spectator far beyond Mickey and into a new universe more daring and original that would make the studio not only influential but border line serious art. Taking from various sources such as paintings, magazine illustrations, films and posters, the Silly Symphonies fed the swelling stream of sentimental modernism at the Disney Studio, blending the fantastic and the real, the irrational and sentimental, magic and empiricism, highbrow and lowbrow culture (Watts, 2002: 111). The Silly Symphonies allowed the spectator to enter a fantastic world of nature, fairy-tales and metamorphoses, providing escapism full of colour and movement, free from history and repression. Russian filmmaker Sergei Eisenstein was a great admirer of Disneys early Silly Symphonies and the features up until Bambi (david hand, 1941). In his unfinished papers he discussed the work of the Walt Disney Studio between 1928 and 1941. Eisensteins fascination with Disney animation is based on the fantastical, alogical order in which it is possible to: achieve a mastery and supremacy in the realm of freedom from the shackles of logic, from the shackles in general (Disney) gives us prescriptions from folkloric, mythological, prelogical thought but always rejecting, pushing aside logic, brushing aside logistic, formal logic, the logical case (cited in O.Moore, 2002:125). The Silly Symphonies allowed the animators to try out new techniques and ideas with the two most important being the ability to squash and stretch giving the animators freedom to exaggerate their characters actions and expressions but also to create believability in such a way that the audiences accepted the distortions in a characters shape. Eisenstein was attracted to the elasticity of the animated cartoon and fascinated by the ever changing contours defining it as plasmaticness, a rejection of once and forever allotted form, freedom from ossification, the ability to dynamically assume any form (Leyda, 1988:21) Disney was not the first to experiment with form. French animator and auteur, Emile Cohl had produced Fantasmagorie in 1908. Lasting two minutes, the hand of an artist draws a clown which shape shifts into a myriad of images, for fantastic or comic effect, invoking an optical amusement for both young and old. The hand of the artist illustrates the advantage of working in ani mation, with the characters obeying to the transformation at the nudge of the animator. Eisenstein writes that it is the sight of omnipotence that makes the image so appealing as it holds the ability to become whatever you wishà ¢Ã¢â€š ¬Ã‚ ¦ turning stable forms into forms of mobility. (Leyda, 1988: 21) Eisenstein frequently focused on the Silly Symphony, Merbabies (1938) in which the metamorphoses and juxtapositions of the characters are central to the short. He exclaims: A striped fish in a cage is transformed into a tiger and roars with the voice of a lion or panther. Octopuses turn into elephants. A fish into a donkey. A departure from ones self from once and forever prescribed norms of nomenclature, form and behaviour. Here, its overt. In the open. And of course, in comic form. (Griffin 56) Eisenstein delighted in watching inanimate objects and animals metamorphose in shape and substance and then used for purposes other than intended. Whereas Emile Cohl transformed one object into another, Disney demonstrated the humanisation of inanimate objects. Whilst still maintaining their properties, the animals were able to think and behave like humans. What was once a tall building is now a building swooping down to avoid an oncoming plane, a trees branch becoming a long bony arm. Not only had Eisenstein recognised the greatness of the Silly Symphonies but so had America. From 1930, Silly Symphonies won an Academy Award every year for their cartoon shorts laying the stepping stones for his feature length films. The shorts looked toward experimenting with sound, music and image, focusing less on gags but evoking mood and emotion. An analysis in Stage magazine described the Silly Symphonies as, a rare kind of art wherein musical and pictorial elements came together as a seamless whole. With the music in a Bach chorale or a Mozart symphonyà ¢Ã¢â€š ¬Ã‚ ¦from the smoothness and precision of the lucid thing you hear, you are not aware of the formidable equipment of harmonics, counterpoint, and pure mathematics that its composer had to possess. So with les oeuvres Disney (Watts, 2002:123). With another critic observing, not until a couple of years ago were you ever permitted to see and hear a six-legged spider pounding out Schuberts Liebestraum or a baby grand piano or a pelican rattling off the Anvil chorus from Il Travatore on the bony skeleton of a giraffeà ¢Ã¢â€š ¬Ã‚ ¦or Mickey playing a xylophone solo on a set of false teethà ¢Ã¢â€š ¬Ã‚ ¦ (Watts, 2002:74) The Silly Symphonies expressed music without specific or recurring characters, with the action of inanimate objects or anthropormorphic animals moving in synchronisation with the music. Many of the shorts were built around a community of non-human creatures, joyful and celebratory, glorifying rural life in opposition to the oppressions of the big city. Russell Merritt notes that Disney himself was simply adapting the formulas of American marionette theatre, which in turn had been influenced by turn-of-the-century fairyland operettas and stage musicalsà ¢Ã¢â€š ¬Ã‚ ¦.Nor can the drawing, based on the style of American illustrators like Harrison Cady, W.W. Denslowà ¢Ã¢â€š ¬Ã‚ ¦be considered original art. But in the world of commercial American cartoons, no one had seen anything like it (Kaufman, 2006:6). Working on board with Disney was the extremely talented animator, Ubbe Iwerks and composer and music director, Carl Stalling. It was Stalling who came up with the original idea for th eir first Silly titled, The Skeleton Dance (1929). Entirely animated by Iwerks in black and white, and inspired by Edgar Allen Poe and gothic illustrators, The Skeleton Dance invites the spectator to an abandoned graveyard. The haunting visuals alert the spectator; the widening eyes of a terrified owl, a full moon, wind blowing whilst the owl shivers and hoots, expanding and shrinking. A branch from a tree swoops down, looking like a long, thin witchs arm. Bats fly from the belfry into the camera, a spider appears and crawls away, a dog howls, two cats bicker; spitting and sparring until out of the grave comes a skeleton. Atmospherics and mood is created with the visuals being accented by the music. Symbolic of a Halloween night (and later used as the inspiration for Disney Worlds Haunted Mansion) the images fright as well as amuse and approach horror and death in a comical way. Styled like a comic vaudeville routine, the skeleton bubbles with charisma. Metamorphosing in a comedic manner and dancing the Charleston, the skeletons dance in perfect synchronisation with Stallings score. What distinguished Stallings scores were their playful, often brilliant comic non-sequiturs: a radically disjunctive mingling of serious music with cakewalks, ragtime, and soft shoesà ¢Ã¢â€š ¬Ã‚ ¦.the symphonies revelled in a musical openness ahead of its time, a non-hierarchical approach, in which all genres of music were considered equal- all joyfully embraced, nothing sacred. (Kaufman, 2006:8) As early as 1930, Paul Rotha wrote, To many writers at the moment, the Disney cartoons are the most witty and satisfying productions of modern cinema. Their chief merit lies in their immediate appeal to any type of audience, simply because they are based on rhythm. They have been compared with the early one reelers of Chaplin, and the way in which they appeared unheralded, gradually to achieve an international acceptance is not unlike that of the great comedians early work. (Kaufman, 2006:8) In contrast to The Skeleton Dance and with the new frontier of Technicolor (the new three-colour process for film), Flowers and Trees (1932) presented a moralistic story about good triumphing over evil (a common theme within the Disney films). As morning breaks, nature awakes from its slumber. The trees stretch their branches and yawn, the flowers awake; some brush their teeth, others perform their daily exercises. The mushrooms pop out from beneath the ground. The female tree has leaves like feather bowers and uses white flowers to powder her nose. The old tree stump is dark and grey with crows nesting in his broken branches. As he yawns, bats fly from his mouth. The male tree pulls at some reeds to play the harp, another tree conducts as the birds sing along. Flowers and Trees pays homage to traditional culture. The magical story is accompanied by the music of Schubert, Rossini and Mendelssohn. These films work to the classical narrative of a heterosexual romance with a celebration of the community or courtship. There is a conflict, a kidnapping of some sort with the climax of the male protagonist duelling and saving the day with harmony being restored. Rather than the bleakness of the crowded city street, animation allows an attractiveness, a transformed world, free from restrictions, restrain and control, inviting a new freedom. Eisenstein comments that Disneys works themselves strike me as the same kind of drop of comfort, an instant of relief, a fleeting touch of lips in the hell of social burdens, injustices and torments, in which the circle of his American viewers is forever trapped. (Leyda, 1988:7) This was not only for children but for anyone of any age proving that cartoons can appeal to both intellect and imagination. The Silly Symphonies were more original and more progressive and caused a revolution in the animated cartoon industry. Out of the 210 (find ref) Silly Symphonies, only some are remembered if at all, with only a few remaining famous. Shorts such as The Three Little Pigs, The Old Mill, Flowers and Trees and The Skeleton Dance are the most recognised with only the Big Bad Wolf and Donald Duck remaining well-known Symphony characters. Disneys films were then a lyrical, limitlessly imaginative revolt against the disciplinary regimes of the capital, against the big grey wolf who in America is behind every corner, behind every counter, on the heels of every person especially those of the working class. (James, 2005:271) As time passed by and the Disney Company expanded, Disney finally betrayed Eisensteins notions of utopian promise in the medium (James, 2005:271). The Silly Symphonies enabled the studio to extend their aesthetic experimentation, taking it in new directions and laying the foundation for the narrative formulas that made Disney so popular. He had mobilised the highest quality skills and developed new technical innovations such as introducing synchronised sound, colour, special effects and the multi-plane camera. Eisenstein criticised the use of colour in the Disney films describing it as an amorphous, extraneous element that plays no part in [Disneys] amazing synchronous dance of lines and shapes, melody and rhythm. (find ref) Disney had finally abandoned the plasmatic that was apparent in the early Silly Symphonies and began leaning more toward the verisimilitude of graphic representation. Animals now possessed human characteristics both emotional and psychological and his style aband oned its utopian potential, establishing realism as the norm in animation. 85:Animal bestiary; ss were effectively experimental films progressing the form itself. 86: Disney was moving closer to the revelation of the animal and progressing the form toward a hyperrealoism, which though diminishing some aspects of the freedoms of the animation language, began to ironically facilitate a way in which truly cinematic effects might be achieved Need to add in: The Silly Symphonies were intended for the mass market and thus colour was used not only to present the real and express narrative development but also to provide transformations were it is as expressive and fluid as music. ever, Kristean Moen argues that colour can be seen as a site of instability and fluidity. introducing high art to animation. The name itself suggests a blend of both high and low culture and demonstrates the studios attitudes to high art. Exhibition book , 89-The Disney animators also applied the principles of follow-through and overlapping action. Never done, most things were like a cut out, moving in one piece. No one thought of the characters clothing following through, sweeping out and dropping a few frames later, which it does naturally. Thats why d anuimation looked so different. The animators applied principles used in the theatre- secondary action, anticipation, staging and timing to create believable perfomanc. 3 little pigs was a rbeakthough: for the first time, characters who look alike demonstrated differing personalities through their movements. It now wasnt just how it looked by gow he moved and determined his personality. 90-As the work of the animators became more polished, the performances grew more subtle AND NUANCED Until they rivalled the acting of live performers. à ¢Ã¢â€š ¬Ã‚ ¦ the characters cease to exist as drawings but become live individuals. Although not directing many of the Silly Symphonies, they benefited from Disneys intervention and he was making animation a sophisticated art form. Paul Wells argues however that by taking into account the contribution of Iwerks, it is possible to challenge the view that Disney can be wholly understood as a figure around whom the key enunciative techniques and meanings of a film accrue and find implied cohesion. (Wells: ) Watts; 108 The Skeleton Dance dramatically enlarged the boundaries of enchantment and the uncanny for mainstream cartoon industry. From its earliest days metamorphosis had always been the mainspring of cartoon magic. Cartoon characters were made of parts that could change, bend out of shape, detach, grow or diminish. Landscapes were forever changing themselves. But the ss moved awar from such surreal (not abandoning them altogether) and expanded upon atmospherics Merit pg, 8 (rephrase)

A Comparison of Things Fall Apart and Julius Caesar Essays -- comparis

Comparing Things Fall Apart and Julius Caesar      Ã‚  Ã‚   "Things Fall Apart" by Chinua Achebe and "Julius Caesar" by William Shakespeare are two very different books that are interrelated through their similar themes and characters. There are characters from both stories that can connect to one another through their common motives and characteristics. Many of the main themes and elements of the stories are similar including a tragic ending and themes of betrayal, honor, and conflict. However, there are differences between the characters and themes from the two books as well.    In Things fall apart, Okonkwo would resemble Caesar most because they were both men of high titles with success in war and battle. Okonkwo was a well accomplished soldier known for the many heads that he had severed off enemies during tribal conflicts. Casesar was one of the greatest generals of all time bringing Rome to its peak height of power. Both men did not fear death but meet death abruptly. Even though they were very similar, Caesar was killed by an assassination, while Okonkwo commits suicide.    Mr. Kiaga, the translator and negotiator for the Christian missionary can be matched most easily to Antony. Both men had great oratory skills which they put to good use. Kiaga used his skills to convert and had won many converts to the new faith. Antony used his oratory skills to convince the crowd at Caesar's funeral that Brutus and the conspirators had killed Caesar unjustly. Both men had very loyal qualities. Antony was loyal to Caesar and wanted to avenge Caesar's death. Mr Kiaga was loyal to the church and Mr Brown, the priest and head of the missionary. Even though they are similar in many ways, they have differe... ...ad done nothing at all and Brutus killed him because he believed that the general would change into a tyrannical ruler. Caesar's ambition could have destroyed Rome if it wasn't for the noble actions of Brutus.    Even though these two books may seem very different, they also share many similarities. Though they are not related through their plots, they definitely share some very important themes and resemblance of characters. Through these similarities, two different stories in completely different time frames and locations can be brought together in many instances.    Works Cited:    Achebe, Chinua. Things Fall Apart. 1958. The Norton Anthology of World Masterpieces, Expanded Edition, Vol. 1. Ed. Maynard Mack. London: Norton, 1995. Shakespeare, William. Julius Caesar. Ed. Alan Durband. London: Hutchinson & Co. Publishers Ltd., 1984.