Short stories Essays -- essays research papers

Essay   Ã‚  Ã‚  Ã‚  Ã‚  The short stories â€Å"The Snows of Kilimanjaro† and â€Å"The Short Happy Life of Francis Mocomber† were both written by world renowned author Ernest Hemingway. The two stories are written completely unrelated to each other; however, both stories have vast similarities in the time and place in which they take place. Hemingway is a writer that is very methodical in his word choices. When reading these two stories a second time the reader finds considerable differences in the writing style the author uses in each story. To demonstrate, three sentences from each story will be compared and contrasted to show the differences in word usage, word connotation, and to find which story is written better. The initial pair of these sentences to be looked at are, â€Å"A fourth planed down, to run quick-legged and then waddle slowly toward the others,† from the short story â€Å"The Snows of Kilimanjaro,† and â€Å"On the far bank of the stream M acomber could see, above the trees, vultures circling and plummeting down,† from the story â€Å"The Short Happy Life of Francis Macomber.† The subsequent couple of sentences are â€Å"’You Bitch,’ he said,† from the â€Å"Snows of Kilimanjaro† and â€Å"’Why not let up on the bitchery just a little, Margot,’ Macomber said, cutting the eland steak and putting some mashed potato, gravy and carrot on the down-turned fork that tined through the piece of meat.† Finally, the third set of sentences are â€Å"She shot very well this good, rich bitch, this kindly destroyer of his talent,† from the story â€Å"Snows of Kilimanjaro† and â€Å"’That was a good shot,’ Wilson said,† from the story, â€Å"A Short Happy Life.†   Ã‚  Ã‚  Ã‚  Ã‚  The first sentence to be analyzed is, â€Å"A fourth planed down, to run quick-legged and then waddle slowly toward the others,† from the short story â€Å"The Snows of Kilimanjaro.† In this sentence Hemingway is describing the actions of a vulture landing. When compared with its corresponding sentence from the short story â€Å"The Short Happy Life of Francis Macomber,† â€Å"On the far bank of the stream Macomber could see, above the trees, vultures circling and plummeting down,† the reader can see similarities in the two sentences. Both sentences have to do with vultures flying and landing. However, there is a significant difference in the author’s word usage in each. In the first sentence, the word â€Å"planed† describes the vultures dec... ...† is an adjective, describing the noun â€Å"shot.† Notice that the word â€Å"shot† is used in different manners. In the first sentence, â€Å"shot† is an action, a verb, where in the second sentence â€Å"shot† is a noun. The second sentence is the better than the first. The first sentence is cluttered with descriptive words leaving each word with less value. In the second sentence the word â€Å"good† is the focus of the sentence making it a better defined and more coherent sentence. When compared these two sentences are alike only in their differences, for example the meaning of the word â€Å"shot† in the first sentence and the word â€Å"shot† in the second sentence are the same words with different perspectives. In conclusion the short story, â€Å"The Short Happy Life of Francis Mocomber† is the better written of the two short stories by Ernest Hemingway. The author’s word usage, and connotation in this story, however similar to those in â€Å"The Snows of Kilimanjaro,† makes the reader clearly visualize the images he is trying to illustrate. The three sentences from â€Å"The Short Happy Life of Francis Mocomber† are all around better written, use better words, and better help the reader imagine the author’s intentions.

Scouts Maturation through the Evil in the World Essay -- English Liter

Scouts Maturation through the Evil in the World Harper Lees, To Kill a Mockingbird is a very complex novel that has many plots and many evils. Lee tells of an innocent black man accused of rape by a detestable family. She also tells of a man locked up in his house and isolated from the rest of the world. The narrator, Scout, learns about this turpitude, and this ultimately leads to her maturation throughout the story. The three main heinous acts are the way Tom Robinson is treated, the way Boo Radley is isolated from the rest of the world, and the way Bob Ewell commits the unspeakable. One of the main evils in the story is the way Tom Robinson is accused and convicted of rape. At the start of the book Scout calls those who are black, ''niggers''. This demonstrates that at the start of the book Scout did not consider black people to be as good as white people. Instead, she listened to everything that the town said about black people. This quote shows that Scout was still rather immature and had a lot of growing to do. When the jury walks in from Tom"s trial, Scout says to herself, 'I saw something only a lawyer"s child could be expected to see, could be expected to watch for, and it was like watching Atticus walk into the street, raise a shoulder, and pull the trigger but watching all the time knowing the gun was empty'"' (pg. 211). Scout is finally beginning to feel some compassion for Tom Robinson, a black person, after learning of the evil that has been done to him. She is able to realize that Tom Robinson is going to found guilty and feels horrible about it inside.''Naw, Jem, I think there"s just one kind of folks. Folks (pg. 227).' Towards the very end of the book, Scout has finally matured enough ... ...used for his death. Bob he is the one who ruined Tom"s life and ultimately killed him. Tom was just an innocent person, a mockingbird, who was accused and convicted, of a crime that he most certainly did not commit. This quote of Scout"s was so profound, and it was so amazing that she would understand the concept of a '"'mockingbird'"' at such a young age. Therefore, it is clear that Scout has developed quite a bit since the beginning of the story. Towards the beginning of To Kill a Mockingbird, it was clear that Scout still had a lot of maturing to do, but throughout the story, she matured quite a bit. The main factor that led to her growing up was learning of all of the corruption in Maycomb. Even though this evil was obviously not good for people such as Tom Robinson and Boo Radley, Scout would not have grown nearly as much in three years without it.

School Bells

The elementary years of my life were the most stress free and enjoyable time of my life. I remember back when I was in elementary school, after school I would go to my backyard to catch frogs in the lake backyard. My best friend, Steven, and I would also go to the park and play in the playground. Life was too good during the earlier years. No conflicts, just scrapped knees. This was the time I also first learned how to ride my back. It was the most rewarding day I can remember. At first, I believed I could never learn to ride a bike. But with the assistance of my dad it was all possible. I remember the moment so clearly, my dad letting go of me. I pedaled feeling as if I was flying. The only problem was that I did not learn how to stop yet. What happened later is not as lovely. Ms. Fazio the best fifth grade teacher anyone can ask for. I also remember going to Islands of Adventure towards the end of my fifth grade year. Mrs. Fazio and I rode in the front of a roller coaster, I believe the ride was called Dueling Dragon. I just remember Ms.  Fazio screaming through the whole ride. The day overall was amazing. But sadly bygones are just bygones. Now I have to worry about college, homework, work, and my future. I miss having to worry about scraped knees and getting my agenda signed. Life was good during the elementary days. Come home watch television, eat cookies, and go out feeling as though nothing can go wrong. Running around during recess and playing tag. Times sadly have sadly changed. Now I am just left with these nostalgic feelings.

Professional Ethics and Toxic Waste Essay

1.Discuss why Rachel has an ethical responsibility to take some action about her suspicion of the illegal dumping of toxic wastes. Rachel has an ethical responsibility to take some action about her suspicion of the illegal dumping of toxic wastes because it is illegal to begin with and even though it might only be a suspicion, if it turns out to be true, under the eyes of the law if she knew about it and did nothing, she is just as guilty as the responsible parties. She might be working for a very prominent firm but if her suspicions turn out to be true, the minute those news go public the firm’s reputation will definitely suffer as will the firms employees. No employee wants to have to suffer the consequences of a wrong doing by the upper management of any firm and even more if the actions taken by the upper management are strictly illegal and they are knowingly performing such actions. Having found such incriminating note directed to the plants general manager and doing nothing about it is like saying you are ok with the illegal activities that you think might be taking place. Rachel is the director of financial reporting, this will be a person of interest in case an investigation takes place and if the investigation finds that she knew what was going on and did nothing, it will put her in a very bad position regarding the law and future employment. Rachel definitely has an ethical responsibility to take actions in regards to her findings. 2.For each of the three alternative courses of action, explain whether the action is appropriate. †¢Seek the advice of her boss, the vice president of finance for Alberta: This would be an appropriate action to take. Even though she might not know if her boss is directly involved in the situation, going to him with the concern is proof enough that she cares about her company and doing the right thing. If her boss is not involved she might even be somehow recognized as an example employee for going forward with such information and doing the right thing. †¢Anonymously release the information to the local newspaper: Releasing the information to the news anonymously is always an option even though for her specific case I would not recommend it. She has no proof that her suspicions are in fact taking place and it would be very irresponsible on her part to say her company is doing something as illegal as improperly dumping toxic waste on purpose just to save some money. †¢Give the information to an outside member of Alberta’s board of directors, whom she knew because he lived in her neighborhood: Again, releasing such information to an outsider without knowing if it’s true or not, might be irresponsible on her part because from that point on it would only be one step for a company outsider to make the information public without knowing the facts. Since in this case the outsider is a member of the board of directors, she could contact that person if she feels comfortable with him in order to discuss her findings privately. That way she is also showing her commitment to doing the right thing for her company and shows her concern to do right by her as an employee. 3.Assume that Rachel sought the advice of the vice president of finance and discovered that he both knew about and approved of the dumping of toxic wastes. What steps should she take to resolve the conflict in this situation? If Rachel sought the advice of the vice president of finance and discovered that he both knew about and approved of the dumping of toxic wastes I’m sure she will have a conversation with her regarding what she just found. Rachel will have to see what he has to say about the toxic waste dumping and then make a decision regarding the confirmation of her findings. That decision might range from leaving the company and not reporting the incident, to staying as an employee and going directly to the appropriate agencies and reporting her findings. Whatever Rachel decides to do, she still has an ethical obligation to report her company’s illegal activities be it to her superiors or to an agency like for example the United States Environmental Protection Agency (USEPA).

Curleys Wife Character †of Men and Mice Essay

Of Men and Mice is not kind in its portrayal of women. In fact, women are treated with contempt throughout the course of the book. Steinbeck generally depicts women as troublemakers who bring ruin to men and drive them mad. Curley’s wife, who walks the ranch as a temptress seems to be a prime example of the destructive tendency. Despite the author’s rendering, Curley’s wife emerges as a relatively complex and interesting character. Although her purpose is rather simple in the book’s opening pages, she is the â€Å"tramp†, â€Å"tart† and â€Å"bitch† that threatens to destroy male happiness and longevity. The social setting of the novel is also important, as it could later explain characters attitudes towards other people. It is set in the U.S. in the 1930s; this is the time of the Great Depression. This was a result of the First World War. It affected the rich and poor alike, factory workers and farmers, bankers and stockbrokers. In s hort, it affected everyone; no one was left untouched. But of all the people hurt, farmers were the worst off. Curley’s wife is first introduced in person to us in a symbolic way; this is shown when George is talking to Lennie about the dream and when Curley’s wife first meets both men. â€Å"Both men glanced up, for a rectangle of sunshine in the doorway was cut off.† The symbolic meaning of the word sunshine is hope, freedom, happiness and dreams. This foreshadows that she may cause trouble or come in the way and could ruin it all for Lennie and George. She is also described as a â€Å"girl†, which tells us that she is very playful, childish and vulnerable. Her appearance later in the novel becomes more complex. But even before this we are forewarned about her, Candy tells George and Lennie about her, making her out at the wrong type to begin with, â€Å"Married to weeks and got the eye? Maybe that is why Curley’s pants is full of ants,† giving us the impression she was a person not to socialis e with. Also tells us that the men on the ranch know that Curley knows that is wife looks at the rest of them, hoping for one of them to try and get close to her, so he can then create a situation for a fight. As Candy relaxes he also goes on to get them to have the same opinion as him about her by saying, ‘well, you look her over, mister. You see if she ain’t a tart†, and the reply from George, ‘Purty?’ making sure that we see her as ‘jail bait†. Then when we first get to see her she is dressed as if she is going out to a party, and Steinbeck also enforces the concept that she is trouble and a tart, by describing her appearance, â€Å"she had full rouged lips†, â€Å"red mules, on the insteps of which were little bouquets of red ostrich feathers†, using the colour red as a foreshadow that she is dangerous. This is the first time also that we see that she is attractive and that she knows it, also that she wants the men to look at her, â€Å"she put her hands behind her back and leaned against the door frame so that her body was thrown forward†, forcing the men to look at her curves. This first sign of nativity shows that she doesn’t understand her affect on men, showing her age as a teenager and her understanding of her sexual attractiveness. We also get an insight to her life with her husband and why she is always coming around the rest of the men. When Candy tells George and Lennie about Curley having his glove full of â€Å"Vaseline† and that he was keeping â€Å"that hand soft for his wife†, tells us that she was also being beaten up, and that nobody could see the bruises because Curley had softened his hand, or he hit her in places where we couldn’t see the bruises. This is the first time we see her as a victim needing help. We also see that see can be cruel, and willing to misuse power. When she confronts Lennie, Candy, and Crooks in the stable, she admits to feeling a kind of shameless dissatisfaction with her life. Her vulnerability at this moment and later when she admits to Lennie her dream of becoming a movie star makes her utterly human and much more interesting than the stereotypical vixen in fancy clothes. She seeks out even greater weakness in others, preying upon Lennie’s mental handicap â€Å"they left all the weak ones here†, Candy’s debilitating age, â€Å"tell an’ be damned. Nobody’d would listen to you, and you know it† and the colour of Crook’s skin â€Å"you know what I can do to you if you open your trap?† in order to steel herself against harm. Dreams are a major reoccurring theme, when Lennie tells Curley’s wife of his and George’s dream she just says â€Å"baloney†, but she has a dream of her own and she proceeds to talk Lennie about it. She has dreamt of being a movie star, which nearly came true when she encountered an actor. ‘He says I could go with that show†, but like most young girl s was forbade from her mother, ‘my ol’ lady wouldn’ let me†. So having her dream pulled out from underneath her she rebelled, and married Curley. However she always wanted to achieve something of herself and loved attention. â€Å"Curley’s wife lay with a half-covering of yellow hay. And the meanness and the planning and the discontent and the ache for attention were all gone from her face. She was very pretty and simple, and her face was sweet and young. Now her rouged cheeks and her reddened lips made her seem alive and sleeping very lightly. The curls, tiny little sausages, were spread on the hay behind her head, and her lips were parted†, this is the first time we are shown her true self – she was a young, innocent, lonely young girl. When you take away all the walls she had erected you come back to a young girl wanting to be loved, who saw Lennie as a way out from Curley’s abusive relationship. As Lennie could hurt Curley, but not realising the danger she was ultimately putting herself into. So in conclusion Curley’s wife is the most depressed and lonely characters in the novel. She has no friends, no future, no respect; she doesn’t even deserve a name. All she wants is someone to talk to but in her mind the only way she can do this is by flaunting herself to the men to get noticed. This leads her to be perceived as a â€Å"tart† by the men. She represents absolute loneliness and desperation to achieve something better in life. Even though she is very lonely, she comes across as a very beautiful woman. She flaunts herself by dressing and acting in a â€Å"tart† like manner, but really she is just making use of her body to gain the attention of the workers to soothe her. If anyone would give her a break, treat her like a person, she would idolise them. Her craving for contact is immense but she, with her background is incapable of conceiving any contact without some sexual context, she is not particularly oversexed, but has been forced to recognise that her sexuality is the only weapon she has, and the only thing that gets her noticed. Consequently she is a little starved. She knows nothing about sex, except the mass information girls tell each other. All through the novel the men make out that Curley’s wife is trouble. But yet there was never any proof that Curley’s wife has ever caused any of the trouble or conflicts. The only trouble she caused was when she died.

Coloplast Organizational Structure Essay

Coloplast went from a production structured organization to a functional structured organization. In the production structure the focus was on the products wish were divided into 3 product divisions. In the functional structure the company focus on specialization of tasks. Before: the production organization The production organization structure also called Division Structure is divided into 3 production division; skin, wound care and continence care, and ostomy care. Each division beyond having its department for research, development, sales and marketing, contains all the necessary resources and functions. By applying the production organization, a company gains the followings benefits: A structure where it’s easy to define the objectives and word work assignments can simply be coordinated, within each division. Another Benefit Coloplast can gain on this structure is the flexibility among workers. Workers from one department can be put on assignments in another department within the same division, if needed. This’s made possible by the fact that most of the workers are not specialist in any specific field. Should any problem occur in the division structure the causes are quickly detected and solved. This type of structure allows local leaders to make small locale adjustments to meet the challenges in there division. But this system holds its own weaknesses. It can harm communication flow between different divisions. This may result in loosing the overall focus on the objective of the organization. It may happen that each local division create its own culture witch may not necessarily be compatible with the company’s culture as a whole. The limited communication between divisions makes it hard for them to exchange experience and expertize. This system by nature is heavy and costly. In order for the company to have all the necessary resources and functions within each division, they can’t afford the best expertize on every field. After: the functional organization The new organizational structure focuses more on functions. Unlike the previews structure that focused on the product. This new structure pulls functions out of the different divisions and put them in centralized units, each specialized in respectively Globale Maketing, R and D and Global Operations. As a consequence, the former divisions are reduced to production units and subsidiaries; that receives instructions from the top. To assure communication between top and bottom, Coloplast place Commercial Excellence above the whole new structure. With the three functional divisions, Coloplast makes sure that there a clear purpose that goes all the way through the whole company, when it comes to their global marketing, innovation and how new products should be developed. As a result Coloplast becomes a unified company with no duplications of tasks. The greatest advantages of this functional centralized structure is its lightness and affectivity. It gives the opportunity to hire highly specialized staff. As Coloplast CEO puts it; â€Å"The subsidiaries have a huge, but simple, responsibility: they ? ll have to sell like the dickens† meaning that Coloplast now can headhunt exact talents for each function. The workforce those talents brings is not only promoting a single product but the company as a whole. Employees have the opportunity to learn from their superiors. They also have the opportunity to work alongside colleagues who relate to their professional interests and abilities, thus making for a more productive and enjoyable environment. By moving the production responsibility from all division to the Global Operation in cheap-labor countries, it’s possible for Coloplast to reach the point of an Economical of scale. Like any other organization structure, the functional organization has weaknesses. Because of the decision-making within the functional works from top to bottom, it’s a constant challenge to make sure that the organizations objectives are integrated at the bottom. Another disadvantage is that units may have limited flexibility in problem solving, making changes or responding quickly to customer demands and needs, since the final decision-making authority rest with the top level of management. So how does Coloplast solve these challenges? Commercial Excellence/Business Excellence For solving the challenge of implementation of the organizations objectives and assurance of a two-way communication, Coloplast places â€Å"Commercial Excellence† above the entire new structure, which acts like the strong arm, that’ll prepare budgets and make sure that objective are achieved. Commercial Excellence or Business Excellence is the systematic use of quality management principles and tools in business management with the goal of identifying improvement opportunities, area of strength and ideas for future organizational development. It’s a support function that’ll help ensure â€Å"best practice† so that the organization can avoid those complications. Conclusion This new organizational structure is a natural step for the entire group, not only does it outsource to cheaper-labor countries but it has also given Coloplast improved profitability and an organic growth of 7%. The sustained competitiveness Coloplast has gained is due to the change of organization structure where they went from a production organization to a functional organization. With the transformation came the opportunity of standardization of tasks, this leads to efficiency and expertise in the related fields. This was something they lacked in the production organization. By implementing the Business Excellence, Coloplast shows that it’s aware of the weaknesses of the new organization design and intent to avoid them. Lars Rasmussen, Coloplast CEO, emphasizes how important it’s that this supporting system doesn’t end up like a police maneuver, keeping subsidiaries in an iron grip. â€Å"Instead it shall ensure â€Å"best practice† and set such high standards, that where that is difficulty, it’ll become natural to draw on headquarters†. It’s all about motivation, contributing to people and relying on each other. This serves as a great factor for self-actualization for the individual employee witch is not only contributing to the fulfillment of personal potential but also to the work-environment. The new organization has great potential; they have cut production time by half, they went from 13 factories to 10, constantly stimulating innovation by supporting Coloplast Incubator. Coloplast current strategy placed a great deal of responsibility on the shoulders of their employees, as well as implementation of some standard guidelines and the right motivation. There are no doubt about the new structure is more complex than the previews one. Annex

Anthropology of Tattoos

He repeated this several times as a ceremonial pot was filled with gathering soot from the burning fire. After the artist finished his tedious design, he rubbed soot from the pot bottom deep into the slits, planting the bacteria that would infect the skin, raising the scars into their meaningful design. She felt accomplished that she withstood the agonizing pain while other members of her clan could not. Her newly inherited body art signified the birth of her first son, and left her with a renewed sense of beauty. This is the way of life common to people indigenous to the motherland of Africa. Scarification, however, is not the only form of body art that is used. Body painting, tattooing, and branding are all similar forms of body art, which can be found in Africa and other cultures throughout the world. The word â€Å"tattoo† comes from the Tahitian word â€Å"tattau†, which means â€Å"to mark†. Tattoos have evolved from being symbols of punishment that were given to identify criminals and slaves in the early ninth-century Chinese culture, into a pop-culture trend of using he skin as â€Å"a way of describing the exotic uncivilized other† within ourselves (Schildkrout 2004:324). For centuries, the body has been used as a â€Å"visible way of defining individual identity and cultural difference† (Schildkrout 2004:319). This cultural difference becomes apparent when studying the evolution of body art over time, especially when focusing on the differences between the Western and Non-Western cultures. People have been adorning their body with tattoos and piercing for centuries, but until recently, the thought of tattoos in ancient Egypt had been pushed aside. It has now been discovered that, without a doubt, tattoos did exist in that time period. Although miniscule, a group of enormously important tattooed mummies serve to help prove this point (Bianchi 1988:21). The first mummy to be discovered was one f a woman named Amunet, whose mummy was found in an excellent state of preservation, â€Å"most likely due to the fact that she served as a priestess of the goddess Harthor at Thebes during Dynasty XI†(Bianchi 1988:22). The tattoos on her body were comprised of a pattern of dots and dashes in an elliptical shape on her lower abdomen. The thighs and arms adorned the identical parallel lines of the aforementioned pattern. Two more women mummies, who were discovered and believed to be from the same time period, also had similar tattoos on their lower abdomen (Bianchi 1988:22). This group of woman represents an exclusive group of Egyptians who received tattoos in that time period, because there is no other evidence that shows tattoos to be a part of the Egyptian culture until the time of the Middle Kingdom. These abstract patterns associated with ritualistic tattooing survived into the New Kingdom. The Egyptians, more then likely, borrowed a form of tattooing from the Nubian civilization. Unlike the Nubians, whose purpose for tattooing is unknown, â€Å"the Egyptians appear to have regarded the tattoo as one of several vehicles by which the procreative powers of the deceased could be revived† (Bianchi 1988:27). Substantiation proposes that only women were associated with the decorating of their bodies and the ritualistic activities that went along with it. The art of tattooing began with the grouping of bluish or black dots and/or dashes forming abstract geometric patterns; that system of body art lasted for over two thousand years in ancient Egypt. Just like other ideas and goods, the idea of tattooing began to travel to several different societies, and has evolved into extremely different forms of art all over the world. In northeastern Zambia, the Tabwa â€Å"once covered themselves from head to foot with scarification† (Roberts 1988:41). The women of the Tabwa began receiving elaborate marks on their face, chest, and backs when they were young girls; it sometimes was continued at other points in a woman’s life (Roberts 1988:43) such as courting rituals and for woman wishing to bear a child. Male sculptors would trace designs and make incisions on the lesser intimate parts of the body; they left the rest for the women to do. ‘Tabwa women used razors to slit skin [that had been] plucked up with a fishhook or arrowhead. These incisions were then rubbed with soot from a pot bottom, an irritant that produced the desired raised cicatrices† (Roberts 1988:44). There were several reasons that this tradition was done, different to every age and gender in the tribe. Young women went through this process in order to achieve a state of perfection, which was required for those wanting to marry and have children (Roberts 1988:45). Scarification is a form of body art that was used in several tribes because according to their customs â€Å"beauty is not physically innate, but rather a function of the girl’s inscriptions† (Roberts 1988:45). Not only the Tabwa, scarification was used in such tribes as the Ga’anda and the Tiv; all the tribes have distinctly different purposes for doing this, but the process and effect of the body are the same. Another form of body art is body painting, which the people of the Southeast Nuba begin at a young age; but the meanings, and time frame from when they begin decorating the body are very different between males and females. The males paint themselves from the ages of 12 to 27 (Faris 1988:31). Typically, they only paint during the down time after the harvest season and before the next years planting begins. This is the time that the males are less involved in mandatory and productive activities; they spend their supplementary time with festive activities such as dance and sport participation. The restrictions placed on the men by their age, most importantly deal with the color that they use on their body—for example â€Å" only the older age groups are eligible to use the greatest elaboration in color, including the deep black and yellow [colors, that are] prohibited to younger grades†(Faris 1988:32). The change in elaboration allowed on the body does not coincide with any physiological changes, rather, it corresponds with changes â€Å"in productive status or sport† (Faris 1988:32). As they move up in grades from young laborers that answer to the elders, to mature men that own their own property, farm and family, their elaborate painting ability increases. The elders though, do not decorate their bodies; rather, they delegate and lead rituals for the younger men and enforce the rules of allowed color use. Therefore, the male body painting shows their progression thru ones life stages. The women of Southeast Nuba, â€Å"from the age of six years, until consummation of marriage, oil and ochre [their bodies] daily, in colors [that are] appropriate to their patri-clan section† (Faris 1988:34). After childbirth, they may continue to wear some oil and ochre on their shoulders. The personal body art of women is strictly related to the physiological changes that occur as a women goes through life, and are fixed around body scarification as a way of showing her changes. A woman’s scarification is so important, that â€Å"if a husband refuses to pay for a scarring specialist, a woman may seek a lover who will do so, and her first marriage will end† (Faris 1988:35). Unlike the males elaborate body art, a woman’s body art is simple, but it accumulates over her life-span and is very standardized, while a male’s body art is constantly changing. Body painting, tattooing and scarification thus far had been tools used by individuals to beautify their body and elevate their status within their tribe; this is not the case with all societies. In several other cultures, tattoos have been used in a form of branding, which is quite the opposite. Though tattooing and branding are â€Å"similar in that both involve the insertion of pigments under the skin to create permanent marks†, branding is implemented in order to lower an individuals status, to punish for crimes committed, to identify slaves, but most importantly, to eliminate personal identity (Schildkrout 2004:323). â€Å"The immutable alteration of human skin by branding needs to be considered in relation to, but ought not be confused with, tattooing† (Bianchi 1988:27). Two recent studies originating in South Africa elaborate on this subject, reporting on the political influence of tattooing â€Å"as a means of social control† (Schildkrout 2004:330). They site examples from Zambia in which a medical practitioner travels around to villages â€Å"in which witch craft accusations have been common†¦to inoculate people against people against witch craft† (Schildkrout 2004:331). The villagers would â€Å"submit to bodily inspections†, they were then treated â€Å"by getting numbers tattooed on their arms† (Schildkrout 2004:331). This is disturbingly reminiscent of Nazi concentration camps when an unfathomable number of Jewish people lost their personal identities and became known as only a number in the system to be disposed of. This â€Å"symbolic denial of personhood† served as a system â€Å"of control and surveillance† (Schildkrout 2004:323). This system of control was also imposed by â€Å"authoritarian regimes† in Southeast Asia (Schildkrout 2004:323). The Zhou and Ming Dynasties branded criminals as a form of punishment with â€Å"extensive, often full-body tattoos, with elaborate pictorial imagery as well as written inscriptions† (Schildkrout 2004:324) portraying their crime. This form of tattooing is definitely contrary to traditional methods. Similarly in Brazil, branding was used to mark convicts by the penal authorities. Penal tattoos derived their power from subjugation of the marked convicts. The humiliation of being visibly branded was a significant component of the convict’s punishment. In an act of resistance, those that had been branded â€Å"were known to reclaim their bodies by writing over the inscriptions or by displaying them in new social situations† (Schildkrout 2004:324). The branded, therefore, became the empowered, restoring the function of the tattoo to being personally-motivated. This personal motivation is perhaps most notable in Western cultures, specifically North America. In America, the Native Americans used body painting in many ways, usually connected with ethnic identity, social roles or marital status (Rubin 1988:179). The Natives also used the body as a canvas in ritualistic ceremonies, on warriors going into battle and for the beautification of their women. When the Europeans discovered America, they brought with them slaves from Africa and they introduced branding of the slaves into the American culture. After the civil war, when the slaves had been freed, branding was still embedded in American culture through groups of people including gang members and convicts. Though â€Å"branding is often associated with involuntary marking and the denial of personhood†, it has also â€Å"been adopted in contemporary Western body culture as an assertion of group identity, for example in college fraternities† (Schildkrout 2004:323). Tattoos were also prevalent in other parts of America, including Alaska. Among the Eskimos â€Å"[t]he function of these art forms [was] – essentially manifesting one’s place or role within the hierarchy of hunting life† (Gritton 1988:190). With the introduction and adaptation of the western civilization in Alaskan culture, â€Å"the marks of a hunter or hunter’s wife served no purpose in their new lives and were understandably abandoned† (Gritton 1988:190). The function of body art and tattooing has been Americanized, evolving from its native origins to incorporate self expression. This self expression has mushroomed from a manor of identifying oneself to a way of gaining attention through shock value. Though ever-changing, all forms of body art mentioned play enormous roles in the lives of people. Certain non-Western cultures are based around the ability to use skin as a visible way of defining status or bettering their self-image, in order to attract companions. So the artists who are allowed to perform the act of adorning bodies with different designs are regarded as having a very important place in the society. They are â€Å"scarring specialist† (Faris 1988:35), â€Å"body artists† (Drewal 1988:84), but most importantly, they are known as â€Å"[the] one-who-creates- art† (Drewal 1988:84). In the non-Native American culture, however, the general attitude towards tattoo artist in present-day American culture is less than appreciative. Extreme critics even characterize tattooist as opportunist, exclusively seeking monetary gain (Sanders 1988:229). â€Å"The tattooist interest in artistry and control is often in conflict with his profit orientation†, revealing the major flaw within the American society (Sanders 1988:229). This is the major difference in western and non-western cultures. Body tattoos in western society are an object to be purchased. Americans obtain tattoos in the same manner that they acquire a new Louis Vuitton handbag. They purchase them as accessories, which is in stark contrast to the non-western cultures, who acquire tattoos as an essential ritual in their society. With this is mind, the process in which American’s purchases body art seems slightly ridiculous. Tattoo artists often complain of the unwillingness of customers to spend the quoted amount of money for â€Å"a tattoo [they] are going to wear for the rest of [their] life† (Sanders 1988:229). It is more acceptable in American culture to invest in short term materialistic purchases, therefore the legitimate tattoo artists are constantly being monitored and regimented under strict laws imposed by the government. Despite the absurdity of the purchasing process, the reasoning that propels the American society to obtain tattoos is just as flawed. Some reasons people give to explain permanently marking their skin include, â€Å"they were drunk, it’s a macho thing, to fit in with a crowd or even worse, for no reason at all† (DeMello 1995:42). Western society seems to have a complete disregard for the spiritual origins of body art. Tattoo artist are even witness to clients’ apathy, avoiding â€Å"working on people who are obviously under the influence of alcohol† (Sanders 1988:225). Where once there was a ceremonious celebration deeply rooted in spiritualism, in American society the only ritualistic ceremony is the receiving of a piece of paper on how to care for the recently acquired body art. This apathetic attitude of Americans is perhaps derived from the renouncing majority of the population. This bias stems from â€Å"very early ‘regulations’ [including] Moses’ remarks in Leviticus 19:28 forbidding any cuttings in the flesh or the printing of any marks† (Armstrong 2005:39). Since tattoos â€Å"were not sanctioned by the church† the profile for the tattooed archetype became unconventional (Schildkrout 2004:325). Christian belief has been adapted to the masses, forcing those who are tattooed into rebellion. The majority of people adopting body art include â€Å"bikers, convicts, and other ‘low lives’† (DeMello 1995:40). In Western society â€Å"the idea that the unmarked body as a sign of God’s work was linked to the Protestant reformation† and â€Å"the idea that body markings were a sign of savagery goes back even earlier† ( Schildkrout 2004:324). This is ironic considering tattoos in earlier cultures signified positions of high status. Perhaps the only entity that ties these drastic cultures together is the desire to increase their inherited beauty. â€Å"If the body is – metaphorically – a site of inscription to various degrees for various theorist, then cosmetic surgery can be seen, at one level, as an example of the literal and explicit enactment of this process of inscription† ( Schildkrout 2004:320), which is also seen in the aforementioned tribes with the rituals of scarification. DeMello also agrees that along with tattooing and piericing, that cosmetic surgery is seen as a form of â€Å"body modification† (DeMello 1995:37). â€Å"Not only does the tattooed skin negotiate between the individual and society and between different social groups, but also mediates relations between persons and spirits, the human and the divine† (Schildkrout 2004:321). Body art is a tradition that extends throughout the barriers of the world and although the forms in which they are found may be different, the idea of using your body as a canvas is universal. Although recently, several anthropologists agreed and have begun to examine body art more closely, looking at it â€Å"as a microcosm of society† (Schildkrout 2004:328), Roberts still believes that â€Å"there can be no ultimate explanation of symbolism† (Roberts 1988:51). He claims that â€Å"the blazes on trees in the Ndembu forest will remain many years after their purpose and meaning are forgotten. So it is with other inscriptions† (Roberts 1988:51). This is exemplified in the woman who endured the agonizing pain of her scarification to instigate a new chapter in her life. Nevertheless, soon after her body is placed into the ground, her skin will no longer be a visible indication of who she once was. She will become a memory and her body will no longer be used as a canvas. Anthropology of Tattoos He repeated this several times as a ceremonial pot was filled with gathering soot from the burning fire. After the artist finished his tedious design, he rubbed soot from the pot bottom deep into the slits, planting the bacteria that would infect the skin, raising the scars into their meaningful design. She felt accomplished that she withstood the agonizing pain while other members of her clan could not. Her newly inherited body art signified the birth of her first son, and left her with a renewed sense of beauty. This is the way of life common to people indigenous to the motherland of Africa. Scarification, however, is not the only form of body art that is used. Body painting, tattooing, and branding are all similar forms of body art, which can be found in Africa and other cultures throughout the world. The word â€Å"tattoo† comes from the Tahitian word â€Å"tattau†, which means â€Å"to mark†. Tattoos have evolved from being symbols of punishment that were given to identify criminals and slaves in the early ninth-century Chinese culture, into a pop-culture trend of using he skin as â€Å"a way of describing the exotic uncivilized other† within ourselves (Schildkrout 2004:324). For centuries, the body has been used as a â€Å"visible way of defining individual identity and cultural difference† (Schildkrout 2004:319). This cultural difference becomes apparent when studying the evolution of body art over time, especially when focusing on the differences between the Western and Non-Western cultures. People have been adorning their body with tattoos and piercing for centuries, but until recently, the thought of tattoos in ancient Egypt had been pushed aside. It has now been discovered that, without a doubt, tattoos did exist in that time period. Although miniscule, a group of enormously important tattooed mummies serve to help prove this point (Bianchi 1988:21). The first mummy to be discovered was one f a woman named Amunet, whose mummy was found in an excellent state of preservation, â€Å"most likely due to the fact that she served as a priestess of the goddess Harthor at Thebes during Dynasty XI†(Bianchi 1988:22). The tattoos on her body were comprised of a pattern of dots and dashes in an elliptical shape on her lower abdomen. The thighs and arms adorned the identical parallel lines of the aforementioned pattern. Two more women mummies, who were discovered and believed to be from the same time period, also had similar tattoos on their lower abdomen (Bianchi 1988:22). This group of woman represents an exclusive group of Egyptians who received tattoos in that time period, because there is no other evidence that shows tattoos to be a part of the Egyptian culture until the time of the Middle Kingdom. These abstract patterns associated with ritualistic tattooing survived into the New Kingdom. The Egyptians, more then likely, borrowed a form of tattooing from the Nubian civilization. Unlike the Nubians, whose purpose for tattooing is unknown, â€Å"the Egyptians appear to have regarded the tattoo as one of several vehicles by which the procreative powers of the deceased could be revived† (Bianchi 1988:27). Substantiation proposes that only women were associated with the decorating of their bodies and the ritualistic activities that went along with it. The art of tattooing began with the grouping of bluish or black dots and/or dashes forming abstract geometric patterns; that system of body art lasted for over two thousand years in ancient Egypt. Just like other ideas and goods, the idea of tattooing began to travel to several different societies, and has evolved into extremely different forms of art all over the world. In northeastern Zambia, the Tabwa â€Å"once covered themselves from head to foot with scarification† (Roberts 1988:41). The women of the Tabwa began receiving elaborate marks on their face, chest, and backs when they were young girls; it sometimes was continued at other points in a woman’s life (Roberts 1988:43) such as courting rituals and for woman wishing to bear a child. Male sculptors would trace designs and make incisions on the lesser intimate parts of the body; they left the rest for the women to do. ‘Tabwa women used razors to slit skin [that had been] plucked up with a fishhook or arrowhead. These incisions were then rubbed with soot from a pot bottom, an irritant that produced the desired raised cicatrices† (Roberts 1988:44). There were several reasons that this tradition was done, different to every age and gender in the tribe. Young women went through this process in order to achieve a state of perfection, which was required for those wanting to marry and have children (Roberts 1988:45). Scarification is a form of body art that was used in several tribes because according to their customs â€Å"beauty is not physically innate, but rather a function of the girl’s inscriptions† (Roberts 1988:45). Not only the Tabwa, scarification was used in such tribes as the Ga’anda and the Tiv; all the tribes have distinctly different purposes for doing this, but the process and effect of the body are the same. Another form of body art is body painting, which the people of the Southeast Nuba begin at a young age; but the meanings, and time frame from when they begin decorating the body are very different between males and females. The males paint themselves from the ages of 12 to 27 (Faris 1988:31). Typically, they only paint during the down time after the harvest season and before the next years planting begins. This is the time that the males are less involved in mandatory and productive activities; they spend their supplementary time with festive activities such as dance and sport participation. The restrictions placed on the men by their age, most importantly deal with the color that they use on their body—for example â€Å" only the older age groups are eligible to use the greatest elaboration in color, including the deep black and yellow [colors, that are] prohibited to younger grades†(Faris 1988:32). The change in elaboration allowed on the body does not coincide with any physiological changes, rather, it corresponds with changes â€Å"in productive status or sport† (Faris 1988:32). As they move up in grades from young laborers that answer to the elders, to mature men that own their own property, farm and family, their elaborate painting ability increases. The elders though, do not decorate their bodies; rather, they delegate and lead rituals for the younger men and enforce the rules of allowed color use. Therefore, the male body painting shows their progression thru ones life stages. The women of Southeast Nuba, â€Å"from the age of six years, until consummation of marriage, oil and ochre [their bodies] daily, in colors [that are] appropriate to their patri-clan section† (Faris 1988:34). After childbirth, they may continue to wear some oil and ochre on their shoulders. The personal body art of women is strictly related to the physiological changes that occur as a women goes through life, and are fixed around body scarification as a way of showing her changes. A woman’s scarification is so important, that â€Å"if a husband refuses to pay for a scarring specialist, a woman may seek a lover who will do so, and her first marriage will end† (Faris 1988:35). Unlike the males elaborate body art, a woman’s body art is simple, but it accumulates over her life-span and is very standardized, while a male’s body art is constantly changing. Body painting, tattooing and scarification thus far had been tools used by individuals to beautify their body and elevate their status within their tribe; this is not the case with all societies. In several other cultures, tattoos have been used in a form of branding, which is quite the opposite. Though tattooing and branding are â€Å"similar in that both involve the insertion of pigments under the skin to create permanent marks†, branding is implemented in order to lower an individuals status, to punish for crimes committed, to identify slaves, but most importantly, to eliminate personal identity (Schildkrout 2004:323). â€Å"The immutable alteration of human skin by branding needs to be considered in relation to, but ought not be confused with, tattooing† (Bianchi 1988:27). Two recent studies originating in South Africa elaborate on this subject, reporting on the political influence of tattooing â€Å"as a means of social control† (Schildkrout 2004:330). They site examples from Zambia in which a medical practitioner travels around to villages â€Å"in which witch craft accusations have been common†¦to inoculate people against people against witch craft† (Schildkrout 2004:331). The villagers would â€Å"submit to bodily inspections†, they were then treated â€Å"by getting numbers tattooed on their arms† (Schildkrout 2004:331). This is disturbingly reminiscent of Nazi concentration camps when an unfathomable number of Jewish people lost their personal identities and became known as only a number in the system to be disposed of. This â€Å"symbolic denial of personhood† served as a system â€Å"of control and surveillance† (Schildkrout 2004:323). This system of control was also imposed by â€Å"authoritarian regimes† in Southeast Asia (Schildkrout 2004:323). The Zhou and Ming Dynasties branded criminals as a form of punishment with â€Å"extensive, often full-body tattoos, with elaborate pictorial imagery as well as written inscriptions† (Schildkrout 2004:324) portraying their crime. This form of tattooing is definitely contrary to traditional methods. Similarly in Brazil, branding was used to mark convicts by the penal authorities. Penal tattoos derived their power from subjugation of the marked convicts. The humiliation of being visibly branded was a significant component of the convict’s punishment. In an act of resistance, those that had been branded â€Å"were known to reclaim their bodies by writing over the inscriptions or by displaying them in new social situations† (Schildkrout 2004:324). The branded, therefore, became the empowered, restoring the function of the tattoo to being personally-motivated. This personal motivation is perhaps most notable in Western cultures, specifically North America. In America, the Native Americans used body painting in many ways, usually connected with ethnic identity, social roles or marital status (Rubin 1988:179). The Natives also used the body as a canvas in ritualistic ceremonies, on warriors going into battle and for the beautification of their women. When the Europeans discovered America, they brought with them slaves from Africa and they introduced branding of the slaves into the American culture. After the civil war, when the slaves had been freed, branding was still embedded in American culture through groups of people including gang members and convicts. Though â€Å"branding is often associated with involuntary marking and the denial of personhood†, it has also â€Å"been adopted in contemporary Western body culture as an assertion of group identity, for example in college fraternities† (Schildkrout 2004:323). Tattoos were also prevalent in other parts of America, including Alaska. Among the Eskimos â€Å"[t]he function of these art forms [was] – essentially manifesting one’s place or role within the hierarchy of hunting life† (Gritton 1988:190). With the introduction and adaptation of the western civilization in Alaskan culture, â€Å"the marks of a hunter or hunter’s wife served no purpose in their new lives and were understandably abandoned† (Gritton 1988:190). The function of body art and tattooing has been Americanized, evolving from its native origins to incorporate self expression. This self expression has mushroomed from a manor of identifying oneself to a way of gaining attention through shock value. Though ever-changing, all forms of body art mentioned play enormous roles in the lives of people. Certain non-Western cultures are based around the ability to use skin as a visible way of defining status or bettering their self-image, in order to attract companions. So the artists who are allowed to perform the act of adorning bodies with different designs are regarded as having a very important place in the society. They are â€Å"scarring specialist† (Faris 1988:35), â€Å"body artists† (Drewal 1988:84), but most importantly, they are known as â€Å"[the] one-who-creates- art† (Drewal 1988:84). In the non-Native American culture, however, the general attitude towards tattoo artist in present-day American culture is less than appreciative. Extreme critics even characterize tattooist as opportunist, exclusively seeking monetary gain (Sanders 1988:229). â€Å"The tattooist interest in artistry and control is often in conflict with his profit orientation†, revealing the major flaw within the American society (Sanders 1988:229). This is the major difference in western and non-western cultures. Body tattoos in western society are an object to be purchased. Americans obtain tattoos in the same manner that they acquire a new Louis Vuitton handbag. They purchase them as accessories, which is in stark contrast to the non-western cultures, who acquire tattoos as an essential ritual in their society. With this is mind, the process in which American’s purchases body art seems slightly ridiculous. Tattoo artists often complain of the unwillingness of customers to spend the quoted amount of money for â€Å"a tattoo [they] are going to wear for the rest of [their] life† (Sanders 1988:229). It is more acceptable in American culture to invest in short term materialistic purchases, therefore the legitimate tattoo artists are constantly being monitored and regimented under strict laws imposed by the government. Despite the absurdity of the purchasing process, the reasoning that propels the American society to obtain tattoos is just as flawed. Some reasons people give to explain permanently marking their skin include, â€Å"they were drunk, it’s a macho thing, to fit in with a crowd or even worse, for no reason at all† (DeMello 1995:42). Western society seems to have a complete disregard for the spiritual origins of body art. Tattoo artist are even witness to clients’ apathy, avoiding â€Å"working on people who are obviously under the influence of alcohol† (Sanders 1988:225). Where once there was a ceremonious celebration deeply rooted in spiritualism, in American society the only ritualistic ceremony is the receiving of a piece of paper on how to care for the recently acquired body art. This apathetic attitude of Americans is perhaps derived from the renouncing majority of the population. This bias stems from â€Å"very early ‘regulations’ [including] Moses’ remarks in Leviticus 19:28 forbidding any cuttings in the flesh or the printing of any marks† (Armstrong 2005:39). Since tattoos â€Å"were not sanctioned by the church† the profile for the tattooed archetype became unconventional (Schildkrout 2004:325). Christian belief has been adapted to the masses, forcing those who are tattooed into rebellion. The majority of people adopting body art include â€Å"bikers, convicts, and other ‘low lives’† (DeMello 1995:40). In Western society â€Å"the idea that the unmarked body as a sign of God’s work was linked to the Protestant reformation† and â€Å"the idea that body markings were a sign of savagery goes back even earlier† ( Schildkrout 2004:324). This is ironic considering tattoos in earlier cultures signified positions of high status. Perhaps the only entity that ties these drastic cultures together is the desire to increase their inherited beauty. â€Å"If the body is – metaphorically – a site of inscription to various degrees for various theorist, then cosmetic surgery can be seen, at one level, as an example of the literal and explicit enactment of this process of inscription† ( Schildkrout 2004:320), which is also seen in the aforementioned tribes with the rituals of scarification. DeMello also agrees that along with tattooing and piericing, that cosmetic surgery is seen as a form of â€Å"body modification† (DeMello 1995:37). â€Å"Not only does the tattooed skin negotiate between the individual and society and between different social groups, but also mediates relations between persons and spirits, the human and the divine† (Schildkrout 2004:321). Body art is a tradition that extends throughout the barriers of the world and although the forms in which they are found may be different, the idea of using your body as a canvas is universal. Although recently, several anthropologists agreed and have begun to examine body art more closely, looking at it â€Å"as a microcosm of society† (Schildkrout 2004:328), Roberts still believes that â€Å"there can be no ultimate explanation of symbolism† (Roberts 1988:51). He claims that â€Å"the blazes on trees in the Ndembu forest will remain many years after their purpose and meaning are forgotten. So it is with other inscriptions† (Roberts 1988:51). This is exemplified in the woman who endured the agonizing pain of her scarification to instigate a new chapter in her life. Nevertheless, soon after her body is placed into the ground, her skin will no longer be a visible indication of who she once was. She will become a memory and her body will no longer be used as a canvas.