Modern Cryptographc Protocol in Fixed and Mobile Communication Research Paper

Modern Cryptographc Protocol in Fixed and Mobile Communication - Research Paper Example Introduction Cryptography represents the practice as well as the study of effective procedures and techniques enduring secure communication amid various technological instruments. It reveals about constructing as well as analyzing the protocols that mainly overwhelms the effect of adversaries. It is to be stated that cryptography is the synonym of encryption which signifies translation of information that is readable to a particular state that cannot be decoded. With this concern, this particular study entails the application of modern cryptography over fixed as well as mobile communication. It can be apparently observed that network security incorporates wide application of cryptographic protocols as well as algorithms in order to ensure secured and safe communication within different technological aspect. It is worth mentioning in this similar concern that cryptography tends to secure communication with respect to several significant areas such as internet, e -commerce as well as m obile communication by a greater level (Lundh, & Cortier, 2002). ... With this growing nature, there remains an increased demand for information protection. Furthermore, it has been revealed that communication being involved within modern business scenario entail both fixed as well as mobile communication. Moreover, it has also been observed that in order to keep pace with the competitive market, volume of information is also being accelerated. As a matter of fact, it can be apparently observed that traditional cryptography has been mainly designed as well as verified by applying or implementing informal as well as intuitive techniques. Furthermore, it can be viewed that absence of proper verification mainly lead towards occurring flaws as well as security errors. These errors further remain undetected and creates problem with respect to communication. Formal verification views at providing a rigid as well as a thorough medium for evaluating the effectiveness of cryptographic protocols (Chaabouni, Lipmaa, & Shelat, 2009). In order to determine the imp act of cryptographic protocols especially in fixed communications, it can be affirmed that protocol authentication is usually accomplished by deductive reasoning on the basis of application. It has been revealed that protocol goals must be fixed accurately at the presence of flaws within protocol assumption. It can be viewed that if the protocol goals are not accurate, then validation concerning fixed communications cannot be succeeded. In this similar concern, certain advanced strategies need to be adopted as well as executed for improving as well as developing numerous equipments that simplifies the verification procedure by a considerable level. As a matter of fact, simplification of protocol procedure incorporates certain major

The issues included in uncovering the historical Patrick Essay Example for Free

The issues included in uncovering the historical Patrick Essay When explaining the issues involved in uncovering the historical background, it is a most difficult task. This is for a number of reasons, but the main reason would be the lack of historical information in Patricks writings. Patrick felt dates were unimportant, and so didnt include many of them in his writings. This means that his writings are a lot more useful for getting an insight into his thoughts and feelings, for hearing Patricks spiritual journey in his own words, and hearing about the difficulties he faced in his mission, and how he responded to them. However, whenever it comes down to historical background, key dates, or geographical information, Patricks writings arent as useful as would be hoped, and therefore a lot of scholars draw their own conclusions, which we must take into account when trying to make our own. Kenney says that when we search for historical facts within Patricks writings, we are faced with an exasperating incoherence, which leaves the meaning constantly in doubt and suggests that Patrick may actually be a much more obscure character than we would like to admit. Sà ¯Ã‚ ¿Ã‚ ½an MacAirt refers to the fifth century as the lost century, because of the absence of any historical information. We are still in the era of pre-history, which the exception of Patricks writings, and Prospers reference to the arrival of Palladius. Within these two documents, which are of the utmost importance, there are only two place names given to us, and no dates, so it is very hard to gather historical fact. ORahilly rightly says of humble Patrick the last thing that the saint could have imagined, would be that hundreds of years later, the document would be scrutinised again and again with a view to gleaning biographical details of the writers life. The big problem is that there is a two-hundred year gap between the time Patrick actually lived, and when he was first written about, so this leaves plenty of room for false information or inaccuracy. In Patricks Confessio, Patrick tells us of his birth place, Bannaven Taburniae, but he does not tell us where it is actually located. There have been many unsuccessful attempts to agree on the location of the birth of Patrick; however there has been an agreement on three basic points that must be taken into account when trying to determine the location. The first of these is that it would have to be in the West of Britain. This is to facilitate easy access to the Irish raiders. At a young age, Patrick was taken captive, and taken to Ireland, so it Is important to consider how realistic suggestions such as Gaul where, in that were the Irish raiders really going to travel all the way to Gaul and back, without being caught? Charles Thomas adds to this point, by suggesting that it would be opposite the place of Patricks captivity in Ireland. The next important criterion is Patricks sense of Roman Identity. Patrick has a very strong sense of Roman Identity, so it is fair to say that his birth place would need to be a strongly Romanised part of Britain. Baring this in mind, Bannavem Taburniae would have to be south of Hadrians Wall. And the last of the three criteria, is that Patrick must have been living near a town with a civil administration centre. This is because Patricks father Calpurnius was a collector of taxes. Bearing these in mind, there have been different suggestions put forward to the location of Bannavem Taburniae. In the seventh century, Muirchà ¯Ã‚ ¿Ã‚ ½ tells us that Bannavem Taburniae was identified as ventre. Although that does not directly help us with our identification, Bieler did find it useful when reconstructing the name as Bannaventa Taburniae. If this is correct, there was a small roman settlement in Northamptonshire. The name of this settlement was then taken and given to a place outside Daventry. However, this suggestion fails to meet one of the most important of the criteria- this area would not be very accessible to Irish raiders, as it is in the midlands. Charles Thomas believes that the only place to fulfil all three criteria would be the North West of Britain. He concludes that the most likely location is Carlisle, which entirely outweighs that of Daventry, Dumbarton or elsewhere. It is also far enough North to explain Patricks poor use of Latin. Dark warns us that any attempt to locate Bannavem Taburniae is based on assumptions, and cannot be taken as facts; however he believes the only place we can safely say for definite suffered from frequent raids by the Irish during the fifth and sixth century were the areas of Cotswolds and Dorset. There has also been a great deal of debate in regards to the location of Silva Foclutti (the wood of Foclut). It arises in Patricks narration of the call, when he says As I read the beginning of the letter, I seem to hear the voice of those who were by the wood of Foclut which is near the western sea, and they cried as with one voice, Holy Boy, we are asking you to come and walk among us again. Bury ORahilly and Hanson assume that this is referring to the place of Patricks captivity, and Mohrmann agrees, saying interpreting Patricks words seems to suggest that they are from the mouth of people from a part of the country that Patrick seems to have known from his captivity.Some scholars suggest that Patrick is speaking metaphorically here in that even at the furthermost point of Ireland; the people were calling to him. Bieler on the other hand believes that it could perhaps be a place that Patrick had heard of, but never been to, as he believed that Patricks call was from the Irish in general, and not from a specific area. There has been a great deal of difficulty in reconciling the two suggested locations of Slemish and Mayo, which are both traditionally held as the place of Patricks captivity. Tà ¯Ã‚ ¿Ã‚ ½rechà ¯Ã‚ ¿Ã‚ ½n himself was from that area. Others however believe that as it is the earliest identification we have, we should accept it as genuine. Patrick does give us a clue in his Confessio to the location, when he says it was near the western sea. Hanson believes that Patrick does give us further clues throughout his writings, such as when he tells us that he had to travel to a ship that was perhaps two hundred miles away. If we are to accept that, he was returning to Britain, perhaps he had to make a journey from the North coast of Mayo, to the coast of Wicklow or Wexford, diagonally across Ireland. There is also a long known tradition of Patrick tending the flocks as a boy on Mount Slemish. Hanson argues however that this does not fit the evidence of the escape story, as an escape from here would have involved only a thirty mile walk, rather than the two hundred Patrick mentions. Hanson argues that we must accept the plain evidence of his own words, and place his captivity in County Mayo, near the border with County Sligo. Bury ORahilly and Hanson all reject the location as being Slemish, however, Slemish is a mountainous area, while the area suggested around Killala is plain. Philbin and Concannon both suggest a compromise in that both localities can be accepted because Patrick changed master. We cannot be certain of the place of his captivity, and although we shouldnt accept something purely based on the fact its tradition, we also cannot dismiss a longstanding tradition In his writings, Patrick also mentions Gaul, and a strong desire to study there. This has led to some historians assuming he spent a significant portion of his life there, most likely undergoing clerical training. Patrick says he wishes to visit Gaul to see the Brethen, which may have been a desire to visit friends he made during his training. However, Binchy believes that this was merely a desire to visit the Holy men of God. Muirchà ¯Ã‚ ¿Ã‚ ½ wrote in the seventh century, that Patrick stayed in Gaul for some thirty years, but ORahilly argued against this, saying that he got this account confused with Palladius training and ordination. The unresolved debate regarding Patrick and Gaul has led many to believe that some of the details of the life of the historical Patrick can never be resolved, and are forever lost to the historian. Others argue that the most important part of Patrick, such as his personality shall be preserved for eternity, in his own writings. There is so little historical information about Patrick that there is even conflict regarding the dating of Patrick, even his death. Charles Thomas believes that Patrick wrote his letter to Coroticus at some time between 465-475, and that the Confessio was written sometime after 480. He says that the annalistic dates from his death cluster around the early 490s may reflect with some reality, the tradition that he dies before the end of the century. In 1942, Thomas ORahilly suggested a later dating for Patricks mission, still within the fifth century. He took the evidence from the fifth and sixth century annals into account, and concluded that Patrick arrived in Ireland in 461, and died in 492/3. In conclusion, although it is very difficult to determine historical fact in regard to Patrick, if we focus on hints within his letters, scholarly opinion, and what he says himself, we can come up with some possible dates and locations for Patricks birth, mission, and death, and this will hopefully in time become more conclusive.

Differences between Child and Adult

Differences between Child and Adult In recent days, using of Internet has totally changed the environment in which where we live, learn and work. Simultaneously, children are frequently using the Internet and all are always accessing the online. Notably, children have limited knowledge for browsing the information what they want and more difficult to search and retrieve the results than the adults. So, young children are being forced to manage the designs that require complex typing, accurate spelling, advanced reading skills, and understanding of abstract concepts or content knowledge that lies beyond their still-developing abilities (Moore and George, 1991; Solomon, 1993; Walter et al., 1996). Based on Jakob Nielsen et al. (2010), the differences between children and adult in applying the design are the children use Internet for entertainment although the adult is used for communication with people and their communities, children usually use 12, 14 point and adult use 10 point (up to 14 for seniors) for font size, ch ildren have slowly typing and poor mouse control than the adult who can do like as expert, children like animation and sound effects for their design but adult mostly disliked and age-targeted design is importance between child groups but not necessary for adult. 1.2 Investigating preferences of children According to Dina Demner et al. (2001), children use computers and Internet for different purposes and functions which are depend on their like, dislikes, ages, interest, behavior, characteristics and habits. The group of children can be classified into four groups: 3-5 years old pre-readers (only memorize the data that they learned before a day), 5-8 years old beginning readers (start to play cooperatively with other people), 8-12 years old children (become more concentrate on connection between people) and teenagers (willing to analyze the new things but usage of Internet is less than the adult person). Currently, developers who designed for children do not consider the childrens skills and preferences. As a result, the applications may not be easily learned and used by children who have rare knowledge (Hutchinson, Bederson, 2005). Besides that, majority of the tools available are for the expert users which are not suitable for novice users like as children particularly for children who have very limited knowledge in computer. The interactions of children with the technologies depend on their age levels. Based on (Acuff and Reiher, 1997), the children between 8 and 12 change their interests from fantasy to reality. They start to understand more abstract terms, longer terms and more complex terms. Researcher (Inkpen, 2001) studied that the children who ages from 9 to 13 like point and click rather than drag and drop. Moreover, (Read, J.C., MacFarlane, S.J., Casey, C, 2001) discussed the various kinds of text input techniques for children. This research is restricted and compared to t he corresponding research for adults. In addition, colour preference is also one of the key issues to investigate the preference of children. Colour has a great impact on our live from early childhood onwards. Colour alters, evokes emotions, and affects our perception. Besides, preferable colour can increase the cognitive processes (Boyatzis, C.J., Varghese, R. 1993). An experiment (Chung, H. Y., et al. 2009) implemented the colour preferences among children revealed that boys preferred vivid colours for yellow, red, and blue, and bright light tones for yellow, green, and purple. On the other hand girls preferred light tones for yellow, green, and purple and pale tones for red and blue. Design should be based on its targeted users rather than emphasize on discussion with users and the children are not interested in the User Interface design guidelines (Shneiderman, 1998). Therefore, designers should be focused on searching the useful designs which will provide for childrens preferences such as development, health, socia l activities. 2.1 Why sport important for children Exercise can reduce stress that the children who has stress, depression, anxiety as adult have. However, sport, not exercise, encourages growth and contributes to improve physical and emotional health. Sport psychologist: (Dr. Glyn Roberts of the University of Illinois) emphasizes that sport is an important thing to learn the environment for children. Besides, sport provides various kinds of functions and can attain valuable things that can apply in their life. They learn to work hard for winning, study how to cope with life if face with problems, how to continue after failing, learn to listen, to stay concentrated, to obey rules and regulations and many things that can help them to grow into mentally healthier persons. Another benefit is emotional development which contains how to cope with winning and losing, how to try again if it is fail. In addition, team sport also provides the friendship skills that mean if the children want to win, he or she must help other members to finish their part of work and that can help to success in their daily life and also future life. Sport provide healthy, physically and socially growth of children as well as emotionally and social skills. Moreover, the attitudes and behaviour taught to children in sports carry over to adult life. Participation in sports can get many benefits from being physically active for children. It can improve health, develop quality of strong bones and muscles and reduce obesity to maintain a healthy weight, reduce obesity to maintain a healthy weight, improve cardiovascular fitness, provide friendship among people, reduce stress and help relaxation, improve self-esteem. 2.2 Sport sites for children Sport sites in Internet are very useful for children because every child can contribute from its contents. Besides, it does not need to have materials that support for sport and can play just only have computer and broadband internet connection and developing mobile services. There are many available sport sites for children in Web. In our paper, we address some useful sport sites for children called http://www.nflrush.com and http://bettersoccermorefun.com. These websites are official sites and made especially for children. It contains about the positions for football, how to play them, information about fun facts, getting advices and tips. Figure1: Main Form of nflrush website Figure 2: Main Form of Bettersoccermorefun website 3. Design a sports site for children 3.1 Usage of internet by children With the ubiquitous internet access, children have more opportunities been exposed in the light of internet and carried out various online activities. According to Livingstone and Helpsper (2007), the amount of children accessing the internet has continuously increased and internet has become an indispensable tool for them to acquire information and communicate. Comparing with traditional resources, web source is more preferred and used by children (Bilal, 1998). Some data about childrens web use has been analyzed, for instance, one survey (Johnson, 2010) investigated among children whose average age is 10.7 revealed that most children prefer playing online games and visiting websites in a community place like peers house. 3.2 Sports sites for children The fun and learning opportunities that provided by the Web sites is the big concern of children between 6 and 14 years old according to Baumgarten (2003). Besides, a good site should also consider expanding somewhat extent of complexity to meet childrens self-recognition and different developmental levels (Demner, 2001). Therefore, a high quality sports site can go far beyond providing sports related knowledge and skills, actually, it has much to offer to children, for instance, fun, relaxation, chances of communicate and collaborate with peers and develop their interests. This perspective may give a guideline to the designers and help them understand better about the users tasks and adjust design to meet their goals. Therefore, understanding our users, testing and maximizing the degree of usability of the site is critical. After analyzing the particular aspects of children and their unique features, all these should been given high consideration when designing the sports sites. Based on the data (Livingstone Helpsper, 2007) collected among Britain children between 9-19 years old, it has been found that generally boys and young-age teenagers use the internet more often and spend more time on it when comparing with girls and older teens. Another widely accepted fact is that boys spend more time in football games ( ), thus as the main users of the site, the site design should cater for their favours, while at the same time not ignoring their female counterparts. Thus the features of boys should be the focus of designers. 3.3 Usability of web sites As the definition of usability (ISO 9241), it presents the effectiveness, efficiency, and satisfaction with which specified users achieve specified goals in particular environments. Brinck et al. (2001) has proposed some features that a successful web design should include, it should support independent exploration and communication, encourage the users accomplishing their objectives in a fast, efficient and easy way. All these features can also be considered when trying to design a sports site for children. Many existing studies have adopted participatory deign with children, which means the children actively and directly involved in the design process and act as design testers and partners, have found productive results (Read, 2002). The usability engineers in Microsoft (Hanna, L. et.al, 1999) have researched in usability testing by working with groups of children, and have concluded several design guidelines of computer products in the criteria of activity, instruction and screen design. For instance, the activities provided should be interesting and constitute some reward scheme to encourage children to interact with, and supportive instructions should be easy to comprehend. All these can be adopted for planning a sports site for children. Considering the inhibited reading skills and comprehension ability of children, web contents transferred through intuitive formats like animation and audio is necessary. An experiment (Kà ¤hkà ¶nen Oyaska, 2006) implemented among children has revealed that children are more likely to learn from animation instructions, as they expect to explore the functionality and have fun from the site. However, according to their research achievement, a combination with simple textual instructions is also important, as children may confused and feel lose something if only animation can be shown. 3.4 Interaction and collaborative learning of web sites In a survey (Jonson, 2010), researchers have found that, respectively 60.7% and 62.9% of investigated children prefer to visit web sites and play online games in peers houses. Allen (2003) also pointed that the social motivation, sense of attachment, winning friends and recognition, for instance, is a vital factor for sports involvement of children in teenage. In addition, football is a team sports, most children may seek online role play games together. Therefore, entertainment feature of collaborative learning and interaction of the site is another essential matter before beginning the design step. Based on the research approach of a collaborative learning project (Ivan Michal, 2006), maintaining connection among participants, recording their characters and behavior, and then establishing efficient communication tools for them is the premise for formulating an effective collaborative online environment. Just putting this into practice, a football site for children may construct me mbership scheme to attract participation, diverse role play games which can arouse enthusiasm, intuitive interactive activities, in addition, a corner for children to communicate with each other, like discussion boards, online chat rooms are also praiseful. 4. Childrens online behaviour 4.1 childrens online seeking behaviour From the perspective of designers, identifying how children use the internet and their online behaviours is crucial as all these things will directly influence the design issues. Many studies have been done in this area, for instance, in one investigation carried out among British children between 9-19 years old, Livingstone and Helpsper (2007) have found that, the frequency and time spent of internet using by boys and young-age teenagers is much higher when comparing with girls and older teens. Another finding is that boys accessing to the internet in more places than their female counterparts. During the research process of childrens online behaviour, Bilal (2000) has found that invalid switches (e.g. frequently shifting back and forth, visiting sites), continual looping and minimal navigation are the prevalent problems encountered among childrens using of the sites. The main reason has been attributed to the abstract and complex representation of the web information. In this context, straightforward icons and childrens familiar metaphors can be used to alleviate frustration of iterate actions and support their efficient navigation in the site, as well as a good arrangement of content categories. According to the outcome released by another experiment (Kà ¤hkà ¶nen Oyaska, 2006), researchers found that due to the limit learnability of help function, most children rarely use this part in the web sites. However, considering the cognitive capacity of children and their levels of computer experience, a useful help function is necessary and it is a critical part for their acceptance of a sports site. Thus, for this special group, the help part should be provided in a directive and intuitive way, long and tedious texts, abstract concepts, ambiguous categories should be avoided. Besides, effective real time help is more helpful. 4.2. Participation of Parents Parents participation is very important for children, according to the Eccles expectancy-value model (Eccles Harold, 1991), parents influence their child choices by providing differential levels of support for activities. They also proposed that the level of support is based on expectations of the likelihood that their child will be successful in that area, and the personal beliefs about the value of success in that domain. The degree of involvement of parents in their children sport activities is also important. Most of the parents under involve and most of the parents over involve in their children activities. Under involvement means parents watch on sidelines and they do not actively participate in their children programs. Over involved parents excessively involve in the running program of their children. They emphasize on winning and motivate their children to get success in their running programs. Parents participation in their children sport make the child to get competitive a dvantage, the children can actively involve and can do happily their activities with the support of their parents. (include features for the participation of parents , teachers, interactive games, information the site provided) 5. Design Principles for Children Since designers design the system, they must know clearly Who are the users using the system? If the system is for various users who have different knowledge about it, they need to focus on from different perspective like what are the user needs and interests depending on users profiles and personas.(children) Norman (1988) defined user-centered design as a philosophy based on the needs and interests of the users, with an emphasis on making products usable and understandable. He added that easy to understand and easy to use of the products are pointing out the user to let them know what to do and the user can clearly understand what is going on. According to the Rubin (1944), user-centered design is techniques and procedures for designing usable systems with the user at the centre of the process. User-centered design principles place increased attention on developing products that are ease of use and ease of understand by focusing on the user throughout the design process (Dumas Redish, 1993; Eason, 1988; Gould Lewis, 1985; Shackel, 1991). If users are elderly, text font size should be larger than usual as they cannot see the small font size clearly, voice output should be provided more longer than as usual or instead of voice output, text output with large text font should be used as the elderly may be lost in hearing.For users with disabilities, the system designers need to use more flexible computer software in order to support special tools for them. For low vision or blind users, voice output should be provided instead of message output. For the users who have trouble in hand function, using mice and trackballs can be a problem for them. Instead of using these input devices, speech recognition device like voice input can solve the problems for disabled children. There are many important interaction design principles and there are many way to apply those principles. As our paper focuses on children, we will describe some of the principles and point out what designers should take into account when designing the interface design for children. According to the (Heim, 2007), two main categories can be used to present the principles in a systematic and structured way: namely effectiveness principles and efficiency principles. He defined efficiency as a design that enable users to accomplish their tasks in the easiest and quickest way as much as possible without having to do overly complex or extraneous procedures. Efficiency and effectiveness are the principles that support usability. According to the (Usability), the term usability means The level of ease with which people can employ a particular device in order to attain and increase usability. There are many design principle that are applied in human computer interaction. There are three main d esign principles which support usability such as learnability, flexibility and robustness. Under each of these categories, there are many sub principles that affect them (usability). Among these principles, the principles that are required for children will be discussed. Learn ability is the primary goal of the user interface design and it is the very important design principles for children. It they do not know clearly how to use the system and if it is very difficult for them to use, they can get confusion and they will not use this system anymore. For example, if too many clicks are required to complete a task, children cannot memorize at once and it can get them confused. Next time they visit back, they will not be sure how to go through to complete their tasks. Responsiveness is also one of the design principles in which the response time of the system should not take long as users are children. If system response time is slow, they may think that the system cannot provide what they want and it cannot work properly. Children cannot memorize many things at one time like the adult. They can memorize well only one thing at a time. For example, when installing the software, many steps are required to finish. Users need to click on Next button to move forward and need to choose location to place the installed softwares icon. After all the steps have been done, users need to click Finish button. Software installation process should not be different. It should be consistent. If installation process for different software is not the same, it can be problems for users to memorize what should they do for this software to install and what should they perform for other software. If the installation process is similar for different software, users can predict how should they move on by calling memory on past interaction history. As the focus users are children, the designers should know the characteristics of children and should design the site to allow them ease of use and should provide required functionality. From the examples of Heim (2007), the design for a drawing program should enumerate all of the tools required to create digital drawings, another example is that in a website, all the information must be provided that are required by the visitor in order to accomplish his or her goals. For the children who are less than five year cannot read the instructions in the form of message. Designers need to consider this factor. Instead of displaying instruction in the form of message, audio, video, animation should be used to let them know what should they do to complete their tasks. For younger children rather than older children, Sears Jacko (2008) stated that To eliminate the need for mouse clicking, the cursor is transformed into a big yellow star with room for five small stars inside it. As the mouse is held over a target, the small stars appear once at a time. When the fifth star appears, it counts as clicking on that target. If the child does click, the process simply moves faster. For the adult, double-clicking is not a problem for them. For the kids, they do not know the action of double-clicking. Single click action should be provided instead of double clicking. Conclusion The following are design issues for children that should be considered when designing the system for children. Multiple navigations should be avoided because it can be a problem for children and they can get confusion on it. In sport sites, if text font size of guideline instructions such as rules and regulations for each sport is 12, they cannot focus on it. So, text font size should be larger than as usual. Youngest kids do not know how to scroll up and scroll down. This is the big problem for them. Instead of using scrolling, multiple pages should be used. Radio buttons and checkboxes should not be used as they do not have ability which option to choose. Search box should not be provided. They do not know how to search and they are slow in typing. Instead of search box, the required functions should be put together on the screen.

Realism And Grotesque In Gullivers Travels English Literature Essay

Realism And Grotesque In Gullivers Travels English Literature Essay Gullivers Travels is a pivotal work in the history of the novel as it exhibits the ways the novel inherits and develops Menippean satire and grotesque aesthetics. Gullivers Travels has rarely been regarded as a proper early novel like Robinson Crusoe or Pamela largely due to two conventional understandings of genre and aesthetics. The first common understanding is that the novel and Menippean satire are mutually exclusive genres. Critics have turned to Menippean satire as if to argue that the genre of Gullivers Travels is kind of a prose fiction that is not the novel. Northrop Frye, for instance, begins his discussion of Gullivers Travels by mentioning that most people would call Gullivers Travels fiction but not a novel. It must then be another form of fiction, i.e. Menippean satire (308). In turn, critics who claim Gullivers Travels as a novel tend to ignore the Menippean tradition of the work; Maximillian Novak asserts that once we consider Gullivers Travels as a work of fiction, we cannot shunt it off into a meaningless category such as anatomy or Menippean satire, in his reading of the work as a picaresque novel(35). The second conventional idea is that the grotesque and realism are also two disparate aesthetic realms, and that grotesque aesthetics in Gullivers Travels- from its use of the fantastic, metamorphosis, or the mad man theme to its excremental vision-does not fit into the realistic aesthetic of the novel. The seeming generic instability of Gullivers Travels mostly derives from our preconceived notion of the novel as a genre of probable realism with verisimilar characters and plausible plots. In fact, even the most acute critics of Swift are not entirely free from this prevalent given notion of what the novel should be. Brean Hammond, who appropriates Bakhtins conception of novelization to explain the cultural shifts of the long eighteenth century toward a hybridization that breaks down traditionally observed generic boundaries, surprisingly turn s to a conventional notion of the novel when he argues that Gullivers Travels is not a novel like Robinson Crusoe partly because Gulliver is not a character like Crusoe, a character who is a credible approximation of a human being,-i.e. a verisimilar character-but a device that can be exploited for satiric purposes(250, 270). Hammond is right that [Gullivers Travels] is ideologically opposed to the set of attitudes and beliefs that was fuelling the development of the novel as a genre; part of the intention of the work lies in the parody of Robinson Crusoe or the stuff of 1720s romanceby Haywood, as he remarks(270). That does not mean, however, that Gullivers Travels is not a novel. Swift might have intended his Menippean work partly as a Scriblerian satire that attacks modern hack writings. Paradoxically, or according to the process of novelization, however, Gullivers Travels turned out to be a significant addition to the novelistic tradition; the novelistic energies that Swift desp ised and denigrated boomeranged and informed his satire, and transformed it into a novel. Gullivers Travels is not exhaustively explained by our conventional notion of the novel, but it does not mean that it is not a novel. Rather, Swifts work characteristically challenges our common notion of the novel, and reveals the rich tradition of Menippean satire that is absorbed in the novel. In a similar vein, the grotesque aesthetics of Gullivers Travels belies our confined notion of realism, or realistic aesthetics. It manifests that (novelistic) realism is not limited to probable realism, a mixture of empirical episteme and the modern transformation of classical mimetic aesthetics, but also involves low realism-crudely put, an antonym of idealism or classicism. At a superficial level, the grotesque and realism could look like two separate or almost opposite notions. Geoffrey Harpham and Mikhail Bakhtin, however, illustrate that the grotesque and realism are compatible notions at a fundamental level, and that the history of the grotesque is also the history of the recognition of that compatibility. Harpham provides a useful account of the shift of the notion of the relation between the grotesque and realism. According to him, while the Renaissance regarded grottesche as pure fantasy, in the eighteenth and nineteenth centuries we find [the grotesque] associated with car icature in.. .Rowlandson, Hogarth, Goya, most of whom we would not associate with fantastic art, and by the beginning of the twentieth century.. .Thomas Mann commented.. .that the grotesque was properly something more than the truth, something real in the extreme.' According to this narrative, the history of the grotesque is a gradual recognition of the fundamentally realistic characteristic of the Grotesque, which is distinct from the mimetic realism of the Classical (xviii-xix). Bakhtin offers another powerful narrative on the history of the grotesque, or the intricate relation of the grotesque and realism. The grotesque and realism are almost synonymous for Bakhtin, as is epitomized in his core term of grotesque realism. Grotesque realism, which lower[s] all that is high, spiritual, ideal, abstract and is opposed to severance from the material and bodily roots of the world, is culminated in the literature of the Renaissance after the medieval culture of folk humor(19-20, 32). As starkly opposed to classical aesthetics, grotesque realism is closely linked to some other central concepts of Bakhtin, like the carnival spirit, the material bodily principle, folk humor, or the ambivalent and regenerating laughter of the people. Bakhtin also historicizes the concept of the grotesque, confining grotesque realism to the Renaissance grotesque, although he underscores the living tradition of Renaissance grotesque realism in world literature. He explains that the Renaissance grotesque is reduced and transformed in later periods, and thus the Romantic grotesque (and the modernist grotesque) is more like an individual carnival, marked by a vivid sense of isolation, losing laughters regenerating power.(37). One notable element in Bakhtins historicization of the grotesque is, however, that the eighteenth-century grotesque is almost invisible between the Renaissance grotesque and the Romantic grotesque. One reason would be, as Bakhtin implies, that the eighteenth century directly inherited the Renaissance grotesque but also embedded the elements of classicism or cold rationalism: a time that the positive bodily hyperbole of Rabelais and the bourgeois disciplined body were uncomfortably commingled and intensely struggled with each other. Thus the eighteenth-century grotesque was the space in which the Renaissance struggle between the Grotesque and the Classical was continued in a displaced form of the struggle between the lingering force of the Renaissance grotesque and now ascending bourgeois rationalism, classical bourgeois reason. The Augustan formal verse satire of Dryden, Pope, or Swift played out the unprecedentedly intense contention between the classical-rational and the grotesque through an odd mixture of refined, sophisticated forms and disorderly, brimming-over contents. Swift also embodies the bitter conflict of the classical-rational and the grotesque through (the relation of) the Houyhnhnms and the Yahoos in Gullivers Travels, a Menippean satire and a novel, which remarkably displays the peculiar characteristic of the eighteenth-century grotesque. Although critics have increasingly acknowledged that Gullivers Travels is a Menippean satire, there are few detailed readings of the work in the Menippean tradition, particularly in relation to Bakhtins concept of the genre as an authentic precursor of the novel. While scrutinizing the relation of the Houyhnhnms and the Yahoos as a privileged locus of the Swiftian grotesque, the political dimension of the grotesque will be revealed, which is embedded in the Yahoos as an allegory of the Irish, or colonial subjects, and then briefly examine the political dimension of (low) realism. The Menippean fantastic usually generates three effects, which are fully used in Gullivers Travels. First, the fantastic adventure provides a new, non-human perspective that defamiliarizes our accustomed world, or debunks our habitual, human-centered way of thinking. As Bakhtin describes, it provoke[es] and test[s] a truth by using the observation from some unusual point of view, from on high, for example, which results in a radical change in the scale of the observed phenomena of life(116). Secondly, the Menippean fantastic engages popular imagination or a comic, carnivalesque spirit; the popularity of Gullivers Travels, particularly as a classic childrens book, is considerably indebted to this folkloric imagination embedded in the fantastic. Thirdly, the fantastic offers an occasion to critique the authors (and the assumed readers) contemporary reality, usually by imagining an upside-down world or a Utopian society. In the imagined spaces of Lilliput, Brobdingnag, Laputa, or Houyhn hnmland (or Yahooland), Swift cuttingly criticizes the domestic policies of England as well as the overall imperialism of Europe. Gullivers first meal at the Brobdingnagian farmers house illustrates how the three levels of the fantastic-ultimate questions, popular laughter, and a critique of contemporary reality-are simultaneously generated in Gullivers Travels. When the farmers wife gave him something to eat and drink, Gulliver says he: made her a low bow, took out my knife and fork, and fell to eat, which gave them exceeding delight .1 took up the vessel with much difficulty in both hands, and in a most respectful manner drank to her ladyships health, expressing the words as loud as I could in English, which made the company laugh so heartily, that I was almost deafened with the noise. (85). To imagine Gulliver taking out his fork and knife from his magic pockets, in which he seems to have everything necessary wherever he is stranded, is certainly hilarious. Apart from that, why is this scene full of humor, and why does the reader participate in the Brobdingnagians delight and laughter at Gullivers actions? To use knife and fork in eating is a common custom in eighteenth-century Europe, and to drink to her ladyships health in a most respectful manner is also a well-mannered behavior. Yet from the perspective of the Brobdingnagians, to whom Gulliver is like a small dangerous animal or a strange animal at first (83, 90), his socially tailored and overly polite behaviors could look affected or ridiculous mostly because of the incongruity between a strange animal and his pretense to be a perfectly civilized man. Their giant perspective makes us see Gullivers pride in his being a gentleman who acts according to the social code, and by extension, the pride of all humankind in his or her exclusive claim to high civilization. Moreover, a non-human view renders the European manner of using knife and fork or making a gallant compliment on the hostess not so much absolute social etiquette but one cultural custom among many cultural possibilities. To Brobdingnagians, it makes little difference whether a small animal like Gulliver uses knife and fork (as in Europe) or his fingers (as in some other cultures), although using fingers for food is an unequivocal sign of barbarism from a European perspective. Likewise, a humble showing of gratitude for food would be as good as a showy display of a toast for the hostess in a Brobdingnagians view. The Olympian perspective of the Brobdingnagians, which almost innocently exposes the limited view of human beings, also serves as a device of a severe attack on human folly or pride. When Gulliver finished his talking of[his] own beloved country, the Brobdingnagin king could not forbear taking [Gulliver] up in his right hand, and stroking [him] gently with the other, after an hearty fit of laughing, asked [him] whether [he was] a Whig or a Tory. Then turning to his first ministerà ¢Ã¢â€š ¬Ã‚ ¦ he observed how contemptible a thing was human grandeur, which could be mimicked by such diminutive insects as I (100). What makes the kings rhetorical question incisive does not derive from any political considerations but from the sheer size difference between the king and Gulliver; the kings gesture of stroking [Gulliver] gently with his left hand nullifies a pressing problem in eighteenth-century England into a trivial or meaningless one. The exorbitant pride and atrociousness of humans, w hich the king points out repeatedly, looks more preposterous in the frame where giants are human and Gulliver is a diminutive insect. We humans become the most pernicious race of little odious vermin or an impotent and groveling an insect (123, 125) from a Brobdingnagianss view. Laughter is reduced to the level of bitterness here. The fantastic convention of Menippean satire is entangled with another main convention of the genre: metamorphosis. Gullivers travels into fantastic lands are coextensive with his experiences of metamorphosis into a strange, monstrous, unnatural or grotesque being. Metamorphosis, like the fantastic, holds a formal generic significance as opposed to the classical aesthetics of high genres. It destroy[s] the epic and tragic wholeness of a person and his fate: the possibility of another person and another life are revealed in himà ¢Ã¢â€š ¬Ã‚ ¦ he ceases to coincide with himself, as Bakhtin notes. To compare Gullivers fantastic travels and Odysseuss epic journey around their encounter with a monster and its effect on their identities is illuminating. When Odysseus confronts a savage monster, Polyphemus, it is his fate and his character to defeat the Cyclops by using his wiles, as is evidenced in Polyphemus later recall of the prophecy. Throughout his long journey, Odysseuss identity nev er changes, despite his varied disguises, with any encounters with monsters, like Charibdis, Scylla, or Circe. The boundary between a hero and a monster, or the self and the other, cannot be blurred in Odysseus. In contrast, Gullivers encounters with giant Brobdingnagians, which he understandably regarded as monsters at first (seven monsters like himself came toward him 82), shakes his identity to the core. While the Brobdignagians regard themselves as humans, it is Gulliver who becomes a monster, or an unnatural anomaly among those humans. The scholars of Brobdingnag unanimously conclude that Gulliver is Lusus Naturae, or a freak of nature (98). Metamophorsis assumes a permeating line between a hero and a monster, and Gullivers experience of being transformed into a monster among the pigmy Lilliputians or the giant Brobdingnagians (as far as to see himself as a freak) manifests a different concept of self and the other in Menippean satire from that in high genres like The Odyssey. While Odysseus unfailingly defeats various monsters in his way home to reestablish his (social) identity, Gulliver suffers being transformed into grotesque figures in his fantastic adventures only to be mad when he is back home. Gullivers experience as a grotesque being is not only significant in the frame of the fantastic but also holds a strong social resonance-to people in the margin or periphery, a metaphoric transformation into a grotesque being is neither rare nor bizarre, anyway. Gullivers odd trials in Brobdingnag or Lilliput not only involve becoming a symbolic monster, like a diminutive insect or Man-Mountain, but also signify being thrown into a socially abject, precarious position, like a slave or a highly vulnerable courtier. In Brobdingnag, Gulliver has to go through the ignominy of being carried about for a monster, till [he is] half dead with weariness and vexation since now he is [his] masters slave (92, 93, 95). Likewise, despite the high title of Nardac in Lilliput, Gulliver is notified of his friends generous proposal to get him blind and eventually starved to death as an alternative to capital punishment, on which Gulliver says having never been designed for a courtier either by my birth or educationà ¢Ã¢â€š ¬Ã‚ ¦ 1 could not discover the lenity and favor of this sentence (69). Gullivers denial of his own identity, or the denial of his monstrosity among the normal inhabitants of Brobdignag, certainly anticipates his total conversion in Houyhnhnmland, his ardent wish to be like the Houyhnhnms and the insistent denial of his Yahooness. And as much as the fantastic lands are overlapped with the real world, Gullivers denial of his abject, grotesque identity so as to be like his dominant masters comes to signify the split identity of a colonial subject. In fact, Gullivers shifting and conflicting subject positions (as a colonized and a colonizer) throughout the whole narrative prepares him for his ultimate madness, a total split identity between his Yahooness and his desire to be a Houyhnhnm. The eventual madness of Gulliver, who always keep[s his] nose well stopped with rue, lavender, or tobacco leaves to avoid the [offensive] smell of a Yahoo (271), or converse[s] with [his horses] at least four hours every day to improve his virtue (266), reflects not so much Swifts stark misanthropy but a common Menippean experiment with a split self. As is typical of Menippean satire, Gullivers madness contains a comic element. Even the most serious reader would smile at the moments like as soon as I entered the house, my wife took me in her arms, and kissed me, at which having not been used to the touch of that odious animal for so many years, I fell in a swoon for almost an hour (265), or I feel my spirits revived by the smell [the groom] contracts in the stable (266). Scattered throughout Bakhtins works, we can find references to Swift as a central author in the eighteenth century, who inherited and developed the Renaissance grotesque and Menippean imagination: the contents of the carnival-grotesque elementà ¢Ã¢â€š ¬Ã‚ ¦ were preservedà ¢Ã¢â€š ¬Ã‚ ¦ in the work of Swift; this line of experimental fantasicality continuesà ¢Ã¢â€š ¬Ã‚ ¦ in Rabelais, Swift, Voltaire and others. Yet there seem to be some notable differences between the Renaissance or Rabelaisian grotesque (that Bakhtin stresses) and the Swiftian grotesque. A conspicuous example of this difference is the peculiar image of the body in Swift, his excremental vision, or the hallmark of his scatological imagery. Bakhtin explains that in Rabelaiss grotesque realism, the bodily element is deeply positive it is opposed to severance from the material and bodily roots of the world (19). As any reader would remark, however, the body image in Gullivers Travels is hard to be described as deeply positive. Swifts body is rather full of filthy, despicable, ugly, burdensome, obscene, or scatological images. Gullivers description of the monstrous breast of a nurse in Brobdingnag ( the hue both of [the nipple] and the dug so varified with spots, pimples and freckles, that nothing could appear more nauseous 87), or of a woman beggar in the country with a cancer in her breast, swelled to a monstrous size, full of holes (105), is only a couple of memorable examples that display negative images of the body in Gullivers Travels. Swifts body also does not involve the image of brimming-over, ambivalence, or regeneration, which Bakhtin asserts are the core principles of the material bodily lower stratum in the Renaissance grotesque. In Gullivers Travels the exaggerated bodily image becomes deplorable repletion, from which all diseases arise (233), or the ultimate culprit of bodily diseases. Human beings are sick because we eat when we were not hungry, and drank without the provocation o f thirst (233), as Gulliver mentions to his master Houhynhnm. Gullivers Travels embodies the intimate relation of the grotesque-allegorical and realism in its own peculiar manner. Gullivers Travels is a crucial work in the discussion of realism in the novel partly because it illustrates how grotesque aesthetics, a crucial part of low realism, positively invokes the authors bad contemporary reality. If realism still matters, one reason lies in that it evokes the embroiled relation between text and world, the real world in which all kinds of oppression, constraints, or injustice-i. e. the objects of Swifts satire-are still happening. It is not surprising that the definition of realism is so various as to seem nearly meaningless, for the definition of reality is so much different as that of realism, depending on each individual or each period; terms like psychological realism, fantastic realism, or historical realism, already imply what the user of the term thinks is the fundamental reality-psychology, fantasy, or history. The political dimension of realism constitutes an integral part of it since realism involves an inevitable question of whose reality is at sta ke. Houyhnhnmland is also Yahooland, according to whose reality is dominant. The Houyhnhnms have had debates for ages about the extermination of the Yahoos, but the Yahoos in turn seem to be ready to have rebellion or mutiny, given a provocation, like the inhabitants of Lindalino. Swift gives a most horrible form to the Yahoos, and even does not give a voice to them: they only howl. However, he makes the reader see that Houyhnhnmland is also Yahooland, not explicitly nevertheless, but still powerfully and disturbingly.

William Staffords Traveling Through the Dark Essay -- Stafford Travel

Profound Meaning in William Stafford's Traveling Through the Dark The power of the poet is not only to convey an everyday scene into a literary portrait of words, but also to interweave this scene into an underlying theme. The only tool the poet has to wield is the word. Through a careful placement and selection of words, the poet can hopefully make his point clear, but not blatantly obvious. Common themes of poems are life, death, or the conflicting forces thereto. This theme could never possibly be overused because of the endless and limitless ways of portraying life or death through the use of different words. In William Stafford's "Traveling Through the Dark", there are conflicting themes between birth and death, man and nature, and ultimately creation and destruction. It would take several years for a fully grown doe to develop, but it would only take a few seconds for that doe to be killed. Using the tools of the poet, Stafford vividly illustrates a scene in which man has completely destroyed and felt no remorse for a product of nature. This disrespect would only lead the driver to travel through the moral darkness of insensitivity and desecration towards nature. There it lay. A dead doe in middle of the road. The previous driver obviously had not thought twice after hitting the deer and had no sincerity towards nature nor the decency to at least move the carcass off the narrow road. The deer lay in the road, unburied, uncared for, unmourned, and untended. Ironically, if the carcass had remained on the road, it might have meant the taking of the life of another driver as Stafford stated in line 4: "that road is narrow; to swerve might make more dead". The tone of this poem is one of sadness, but also blata... ...le impact of a car, lasting no longer than a few seconds. With few moral decisions made, the only road that lies as a result, is the road to death and ultimate degradation of society and nature both. In Stafford's poem, it was only the duty of the narrator to roll the carcass off the road and into the river, this duty fulfilled was only provoked by the lack of duty of another. Through the use of several poetic techniques, Stafford describes in a few words what would take somebody hundreds of words to describe. The brutal and harsh theme of his poem is supported by vivid images and symbols, which spotlight the situation at hand. By applying a common situation like an incidence of road-kill to all of human-kind's view towards nature, Stafford finished with a simple situation with a profound meaning. Work Cited Stafford, William. "Traveling through the Dark"

William Shakespeares Sonnet 18 Essay examples -- Shakespeare Sonnet

Keeping love alive is not easy. One knows that life eventually comes to an end, but does love? Time passes and days must end. It is in "Sonnet 18", by Shakespeare, that we see a challenge to the idea that love is finite. Shakespeare shows us how some love is eternal and will live on forever in comparison to a beautiful summer's day. Shakespeare has a way of keeping love alive in "Sonnet 18", and he uses a variety of techniques to demonstrate how love is more brilliant and everlasting than a summer's day. The first technique Shakespeare uses to demonstrate everlasting love is to ask the question "Shall I compare thee to a summer's day?" (1) This leads the reader to consider other questions. Is love as bright and beautiful as a summer's day? Is the person the speaker is admiring as lovely and as kind as a summer's day? These questions are answered in the second line with "Thou art more lovely and more temperate." This shows that the person the speaker is admiring is more beautiful, calm and understanding than a summer's day. The summer is inferior to the person being admired, and the speaker's love for this person is everlasting. If anyone has every experienced a beautiful summer's day he or she will see that the trees will shake from the wind. Leaves do eventually fall from the once lively buds of spring. Shakespeare also uses the technique of imagery to develop his idea of love in line three: "Rough winds do shake the darling buds of May." With this Shakespeare is telling us that though the winds of a summer shake the trees beauty, it will not shake the internal feelings of love from the speaker. Summer days are limited; they are short and soon will come to an end. Every year summer ends. Yes, it may begin again next year bu... ...agree with the sonnet and its final couplet. This structure, along with the iambic pentameters stressed and unstressed syllables engage the reader on the argument Shakespeare reaches for everlasting love. he structure of a Shakespearian sonnet aids in the emphasis of everlasting love. This also provides the reader to correctly read the sonnet as Shakespeare intended. Shakespeare has chosen the sonnet forms to develop his idea of everlasting love with questions, imagery, metaphors, rhyme schemes, and structure. Without these techniques we would not be able to gain the correct perspective that the beauty of love prevails over the beauty of nature; also how nature is not permanent and the sonnet will be everlasting. Works Cited Shakespeare, William. "Sonnet 18." Introduction to literature. Ed. Isobel M Findlay et al. 5th ed. Canada: Thomson Nelson, 2004. 133-134.

Accounting :: essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  When most people go to college they think of what major would be the most interesting, and most exciting. However there are a few brave souls who want to be bored out of their mind but learn the language of business. For those few the major of accounting calls to them. Those men and women who choose accounting as their major will spend many semesters trying to figure out what the hell the professors are talking about when they go into managing and valuing inventories for companies. This one area of accounting is one of the most important parts to understand, because of the vast amounts of money companies have raped up in inventories. So sit back and get ready to be bored because we are entering the world of accounting.   Ã‚  Ã‚  Ã‚  Ã‚  Inventories are asset items held for sale in the ordinary course of business or good that will be used or consumed in the production of goods to be sold. That sounds very interesting doesn’t it? Well let’s think about that for a second. Companies like Wal-Mart have billions of dollars put into inventories and they need to make sure that it is properly accounted for so they do not become the next ENRON of the world. Wal-Mart gets their inventory in a ready to sell state. That means no extra cost goes into getting it ready to put on the shelf. So when a Wal-Mart accountant takes in invoices of merchandise purchased the price Wal-Mart paid was the amount that goes into their inventory account. However for companies that are manufacturing business, like Boeing, they will have three inventory accounts called, raw materials, work in process, and finished goods. Assigning cost into the inventory account is a little different for manufacturing companies. The cost assigned to good and materials on hand but not yet placed into production is reported as raw materials inventory. Raw materials include things like plastics for sex toys or steel for skyscrapers, did I say sex in an accounting paper?