Saturday, November 30, 2019

The Quadrant Model of the Dimensions of Leadership an Example of the Topic Psychology Essays by

The Quadrant Model of the Dimensions of Leadership Introduction Leadership is a serious task that usually people in the business industries risk to take. How is this true? First, to become a business owner, one has to become a leader in his own way. This characteristic of courage and determination in helping others succeed through the existence of a helping organization is only a part of the big scope of leadership. Certainly, a closer look on the situation would help readers understand the main idea that the author of this paper would like to portray. Need essay sample on "The Quadrant Model of the Dimensions of Leadership" topic? We will write a custom essay sample specifically for you Proceed Most likely, the essence of leadership gets successful along with the capability of an individual to govern. Being a leader consequently means being able to govern a certain group of people in doing something worthwhile and practically applicable for the situation of the society. Hence, it could be noted that leaders are never born. Instead, they are made. The skills and the attitudes towards work that the present leaders of the current human society have is what make this people prominent enough to be known by other through their leadership capabilities. Naturally, a leader then is expected to address to the outmost important needs of the people that he governs upon. Political as it may seem, as a leader is someone people would look up to, he has to have the capability of understanding and providing what other people need. Yes, through the picture of leadership outlined herein, it could be concluded that becoming a real leader requires effort and enough determination not only to succeed as an individual but also to succeed as a part of a growing and developing society. A Focus on Yunus' Views on Leadership A) Quadrant 1: Learning Mohammed Yunus is an Economics instructor who worked within the territories of Bangladesh during the mid 70'a. The need for reformation on the part of the economic situation of the said country during those times was indeed dreadful. Yunus' observation of the situation even made him conclude that the teaching of economic progress to such a society would not mean anything at all since the situation of the said society is undeniably unrelated to any economic progress yet. Many, among those that he taught were merely sent by some illiterate parents to school. Getting even at least the basic education is a hard aim for many parents out there; however, they try their best to at least get any education available with hopes of actually progressing better in the future. On the contrary, simply educating the young ones could not do all the needed changes. It is according to Yunus, deeper efforts of changing the society are needed. A closer look on the economic system of the country would inde ed help and a careful plan of the monetary distribution among the poor should then be created. Yunus have made the said move of making a change in the poor society of Bangladesh. He took the lead in making it possible for people in the said country to at least have a taste of what progress really is. As a primary step toward progress, Yunus saw the possibility of using credit and loans given to the poor from the Grameen bank a stepping-stone for the planned economic change in Bangladesh. It is through the credit system that the poor ones would be able to create their own micro-entrepreneurial organizations that could help them progress in their lives as well. Although most of the poor sectors of the Bangladesh society are illiterate, they have skills that would help them get through their daily activities in taking care of small businesses. Hence, though some people doubted the success of this plan, at the end, most of those who took advantage of the situation and the offered help form the bank were soon rewarded from their hard works and patience. The next step was to produce literate generation that follows the old generation of the said country. Doing so would be much like investing on the future generation of the country. The offering of scholarship loans to students, especia lly to those who have promising talents and skills in the field of industry became one of the main victories of the said plan. Producing more literate generation for the future of Bangladesh would indeed ensure the country of continuous progress in terms of economy and social systems as well. Last but not he least in importance was the helping of the beggars. There were to many beggars in Bangladesh as Yunus reported in his claims. To be able to reduce the number of beggars in the streets, the introduction of retailing and 'buy and sell' systems have been proposed and applied later on. The system evolved in a way that beggars are supported by the group of Yunus to ask several grocery stores to lend them a two thousand worth of products, which they would sell to others. Upon being able to sell the products, the beggars would pay the debt back to the grocery owners. If in case the beggars would not be able to come up with the amount that is needed to pay the products, the group of Yunus would then shoulder the debt. This was obviously attractive to grocery owners. B) Quadrant 2: Mastery From the plans and the applications of the programmed processes of progress in Bangladesh, the economy of the said country improved gradually. Today, Bangladesh is among the countries having large companies on mobile industry. Yes, through the present situation of the country, it could be observed that indeed, the hardships of Yunus and his group in helping the country grow in an economic stability paid off in the end. This experience of Yunus reminds people to realize that nothing would ever be accomplished unless someone tries to take the lead in making the change. Normally, the changes that a true leader should want to apply in the society would be those that would benefit the majority of the people within the target society. Yes, it is according to Yunus that the aim of doing what is good for others and the act of creating possibilities of progress in the lives of the majority of the society's population is the main idea that makes up a real leader. This indeed is a challenge for everyone wanting to become successful business and social leaders of the present generation. Certainly, since the businesses today are mostly focused on the monetary gains, creating non-profit organizations that would rather cater to the needs of the society than that of the needs and wants of the greedy individuals who does business for the sake of monetary gains is a great challenge that needs to be faced. C) Quadrant 3: Practice As the present human society advances to being economically global, the need for governance especially on commercial business organizations is heightened. Hence, there are necessary points of consideration when good governance is being talked about. As mentioned in Yunus' article on helping the poor cope with economic progress, governance is a way by which a person would be able to apply his idealisms about the poor and thus do something about their situation. A person's ability to change things for the better is the true evidence of good governance. As for Yunus' experience, right motivation have made it possible for him to become a fine leader that lead to him to making possible changes to the poor society of Bangladesh. At first, leadership has been opened to him through the doors of politics. However, he further progressed on his own field, which is banking. As a leader, Yunus made it a point that he is able to provide for those who are in dire need of his help through the programs that he created along with the bank that he has established for the sake of the poor ones. At this point, Grameen bank has carried a reputation of being the Bank for the Poor. The opportunities of business that the bank offers to the poor sector of the Bangladesh society is indeed a great break for those people who have high hopes in creating their own entrepreneurial organization yet having less the financial support needed for establishing one. As it could be observed through the history of the economical standing of Bangladesh, the Grameen bank has so much to do with whatever progress the Bangladesh community has made with regards their economy so far. D) Quadrant 4: Sustainability Ethics, according to the New Mindsets, is a way by which one puts himself upon the shoe of others as the role of stakeholders and thus see the situation through the eyes of those who are directly affected by the occurrences in the society 3. this is the main aspect that has moved Yunus in creating a way by which the situation of the poor would be dealt with carefully through his own capability of doing so. Conclusion Leadership is something that is greatly needed by the human society today. With all the critical situations that the humans are confronted with, especially poverty, the need for a strong willed leader is essential for the progress of the entire society. Behind all the progress that commerce and technology has been incurring during the past centuries in the human history could not cover up the fact that as the society becomes more industrialized, the larger population of the society remains within the verge of poverty. Yes, as seen from this experiential analysis of the leadership achievement of the banker-economist Mohammed Yunus, it could be noted that progress away from poverty is not impossible to attain. With the application of effort and cooperation from the main stakeholders of the progress plan then the success of such social movement for the poor would be much expected. Bibliography PUBLICATIONS: Why Big Cities are Breaking Down. (1991). Awake! Brooklyn New York. Bradshaw, P. and P. Jackson (2001). "Loyal Opposition". CA Magazine, September, pp. 35-36. Bradshaw, P. (2002). "Reframing Board-Staff Relations: Exploring the Governance Function Using a Storytelling Metaphor". Nonprofit Management and Leadership, San Francisco; Vol. 12, Issue 4, June, pg. 471. Books: Kuhn, J. S. & V. Marsick (2005). "Action Learning for Strategic Innovation in Mature Organizations: Key Cognitive, Design and Contextual Considerations". Action Learning: Research and Practice, Vol. 2 (1), pp. 27-48. Zimmerman, B., Lindberg and Plsek (2001). "A Complexity Science Primer". Edgeware: Insights from Complexity Science for Health Care Leaders, 2nd edition, pp. 3-20. Kelly, S. and M. A. Allison (1999). The Complexity Advantage. McGraw-Hill. pp.xvii-xviii and 3-20.

Tuesday, November 26, 2019

periodic table essays

mendeleev/periodic table essays Dimitri Mendeleev Derived by Dimitri Mendeleev, the periodic table may be one of the most informational tables contained in chemistry. By leaving gaps in the columns and rows, Mendeleev was allowing for the discovery of undiscovered elements of that time. From the properties of the elements surrounding these gaps, Mendeleev was able to predict the properties of these undiscovered elements. Finally, when other scientists discovered the tools of the periodic table, Mendeleev's achievements were recognized. Mendeleev was a versatile genius who was interested in many various fields of study, including pure and applied science. Dimitri Ivanovich Mendeleev. 1834-1907, was a Russian chemist, known for his development of the periodic table of elements. This is a table created to arrange the elements by their atomic number. Mendeleev was born in Tobolsk, Siberia. He studied chemistry at the University of Saint Petersburg. Until 1859, when he was sent to learn at the University of Heidelberg, he became aquatinted with the Italian chemist Stanislao Cannizzaro, whose views on atomic weight changed his thinking. Mendeleev came back to Saint Petersburg and became a professor of chemistry at the Technological Institute in 1863. He became professor of general chemistry at the University of Saint Petersburg in 1866. Mendeleev was a renowned teacher, and, because no good textbook in chemistry was available, he wrote the two-volume "Principles of Chemistry" which became a classic. During the writing of his book, Mendeleev tried to organize the elements according to their chemical properties and atomic mass. In 1869 h e published his first of what became known as the periodic table, a table created to arrange the elements by their atomic number. In 1871 he published a better version of the periodic table, in which he left empty spaces for elements that were undiscovered. Mendeleevs chart and theories gained acceptance ...

Friday, November 22, 2019

How to Write an English Term Paper

How to Write an English Term Paper How to Write an English Term Paper If you want to know how to write your English term paper well, you should study at least a couple of guides, including the one offered by your university. It is also helpful to review a sample term paper to have a practical example of how the suggestions and advice in the guides apply. Start your English paper by writing an outline. As you begin writing the outline of your term paper, think of the things that you would want to explore in it or what you are expected to explore in the paper. The outline will provide you with an algorithm of how to arrange information in your term paper. It also includes some major points that you would have to explore deeper before writing the term paper. The first section of your term paper outline should concentrate on writing the general introduction of your term paper. It is at this section where you are to write explanatory remarks on what the term paper is to explore, the purpose of writing that term paper and the kind of resources that you shall use to explore the arguments of your essay while providing evidence for the solutions that you will be providing in your paper. As you examine the topic of your English term paper, you will definitely come up with the main idea which you would want to use to support the thesis statement of your paper. Once you know the main arguments that you shall be using in the term paper, organize the outline such that each of the main ideas are in separate paragraphs. You should also organize the main ideas so that their flow will bring out the main points of your paper in the best way possible. The purpose of such an outline is to provide visual clues that will help you in writing the actual paper. Preparation is a very important stage in writing any kind f paper, especially the long ones. When organizing the ideas in your term paper, remember that they should be placed in a logical order. You should try to put your ideas and the evidence that supports your ideas in an order where one section of the term paper will provide the background information of the topic while other sections will explain the significance of the issues that the term paper is discussing. The other sections of the English term paper will then explain the point which you want to make. While writing your term paper, ensure that you embrace clarity so that all points that you write are presented in clear and very easy to understand way.

Wednesday, November 20, 2019

Personal Statement Example | Topics and Well Written Essays - 750 words - 26

Personal Statement Example It was about abortion. I have to say that my friend was not married, and her boyfriend, quickly packed up and did not forget to turn off the phone, when he heard the glad tidings. However, my friend was worrying about him in last term. Much more struck to her was mother’s answer. By the way, her mother, though being rich women, is extremely overbearing and often rigid; she is also a fanatical opponent of relationships before marriage. Accordingly, my friend, relying for the support and understanding, alienated upon the stumbled recommendation of an abortion. She was not able to make this decision alone, so she asked to help her. I tried to ignore the personalities and analyse the situation regardless of the identity. The first thing I thought about was the financial side of the issue - not in term of operation, but in term of maintenance of the child. It could be a bit difficult, but possible. By myself I know that people rarely can not give up anything in their life, when it comes to higher-priority things. For example, my friend will have to forget for a while about a career and reduce her considerable demands, what in my opinion is not the most terrible tragedy. By the way, her mother, likely, was shocked by such a confession too, but, as the further story would show, it was not her final decision. In addition, if the issue of abortion is discussed, it emphasizes that my friend ranges between what she wants minutely (to solve all problems at one moment), and the voice of the woman’s instincts and heart. So, if she make the correct choice, the child would not be unnecessary. Here I should say that I am almost a principled opponent of abortion, but rarely prevent people from breaking their own lives, believing that everyone has to go through their own mistakes. Especially, if a particular person is sacred sure that his opinion is the only true one. I should say that both of

Tuesday, November 19, 2019

Hacking Essay Example | Topics and Well Written Essays - 3000 words

Hacking - Essay Example e first technology for hacks was determined; a single whistle from the box ‘Cap n’ Crunch’ was being used for making long distance phone calls free of any charge (Himma, 2007). In 1981, Ian Murphy hacked data of AT&T and changed the clocks so that people could avail late night discounts and he was the first hacker to be convicted of felony charges. At the same time, Kevin Mitnick was the leading hacker who hacked into IBM, DEC and Pacific Bell. In the late 1990s, the biggest hacking cases were reported such as Gary Mackinnon who was convicted of military crimes in US, Albert Gonzalez got the biggest jail sentence for stealing about two hundred million debit and credit numbers that cost losses of about  £200 million (Ward, 2011). According to Sengupta, Mazumdar and Barik (2005), the hackers can be classified into four various generations. The first one was defined as technology-oriented and smart programmers, computer scientists and students from MIT as they hacked for professional and academic curiosities. The second comprised of hackers who were the technological radicals that developed the blue boxes for giving long distance calls on phone without any charges. The third generation constituted of people who were young and loved computer and personal computer games. The latest generation comprised of hackers who were involved in criminal activities that were triggered by power, revenge, greed or other cruel intentions. Hacking is defined as a way of gaining unauthorized access to the data that is stored in a computer. Hacking activities creates many problems for the users and users have a risk when dealing with IT systems for conducting money transaction. Risks are also present with the information of the user. In addition to getting access to valuable data and information, hacking includes invasion or attack on the people’s confidential information; majority of the people doing online transactions especially E-commerce are concerned about the

Saturday, November 16, 2019

Cultural competence and its promotion in the education system Essay Example for Free

Cultural competence and its promotion in the education system Essay The demise of racial segregation in the 1960s saw the emergence of cultural diversity with colored and non colored students now being taught under the same roof. From then on, schools have seen an increasingly diverse mix of students, matters having been complicated further by globalization, which has resulted in more diverse cultures making the United States their country of choice. Diversity is good and must be appreciated; the only problem is that if not handled well it may have the potential of creating apathy between the different cultures making up the cultural mix so that instead of a system becoming a cultural melting pot, it becomes the crystallization chamber. The aim of this paper is to examine the role of culture in molding competent students. Cultural competence More often than not, competence is construed in its narrowest definition, which is mostly in reference to acquisition of the necessary skills for the performance of a job. For this paper however, competence will be in reference to both culture and knowledge. Ahlawat and Ahlawat (2006) found the influence of globalization to be so enormous to the extent that multicultural diversity is now amongst the key ingredients for students aspiring for a global career. An equally important finding is by Thomas (2006), who emphasized the importance of cultural intelligence in the business environment. The role of culture within the organizations is captured by Berrell and Gloet (1999), who did a study on influence of culture in organizational culture and found it significant. The study implies that for one to blend seamlessly in to an organization there must be a level of cultural competence because there seems to be a thin line between the culture within and without the organization. For instance, according to the study, an organization within Malaysia will most likely have a culture similar to that of Malaysian people. If one has problems adapting to the Malaysian culture then the person’s work output may be greatly limited. The role of the education system in such a scenario will be to create a culturally competent global citizen. It cannot of course be expected that students will be trained to adapt to certain cultures only, instead, skills to adapt to diverse cultures will be imparted. Such a skill is given by Arizaga, Waldo and Castellanos (2005), who found that teachers who participated in multicultural enhancement program showed increase cultural competence in the form of listening and expressive skills. Evidently, these are adaptive skills that once acquired may be applied in any cultural setting. Educator’s role in promoting cultural competence The design of the education system should ensure that it produces tolerant people capable of adapting to any cultures. One of the ways given by Arizaga et al (2005) is by having multicultural enhancement programs to promote listening and expressive skills. Pope and Mueller (2005) also emphasize the need to integrate diversity issues in designing education programs. This can perhaps be described as the cornerstone of achieving cultural competence because if its importance can be taken in to account in the training of educators then eventually the educators that will end up in the field preparing the students will know what it entails to be culturally competent, and will thereafter pass on the skill. Pope, Mueller and Reynolds (2009) appear to agree with the importance of having culturally competent educators when it pays tribute to student affairs professionals for the increased number of multicultural scholarships in the last three decades. The emphasis should therefore be on getting culturally competent educators on board the educational system if substantial results are to be expected. . Further to that, the authors are also urging the educators not to simply embrace diversity; they should actually seek it proactively. In addition to promoting cultural competence in as far as interacting with people from other ethnic, racial and national cultures, the education system should promote tolerance to homosexuals. This is according to Liang and Alimo (2005), who suggested that the education system could promote a more positive attitude of heterosexual students towards homosexual students by encouraging interaction between the two groups, something the study found to increase tolerance between the two groups. An equally important aspect of attitude development in the education system is the acquisition of positive views of self worth and meaningfulness Coll and Zalaquet (2007). Its importance in promoting cultural competence may not be obvious, but it is not hard to imagine how a person with a feeling of high self worth and meaning will find it rational to respect other people’s rights. A challenge to achieving cultural diversity is presented by Salazar (2005) who cites challenges faced by counsellors of color. Counselors of color according to the research are faced with prejudices in their interactions with white middle class students. Sadly, this may be an in built mentality, which may take some time to get rid of but fortunately, cultural competence presents one of the remedies to this inappropriate attitude. Implications of the findings Most people spend over two decades in school, meaning that the education system plays a big role in shaping the national psyche. Among other functions, Gay (2009) says that education plays an important role bringing up constructive students. The element of constructiveness goes beyond cultural competence and ropes in other areas such as raw knowledge and social skills. In fact, according to the article the education system may play role in promoting democracy. The upshot of all this is that an educator must realize that the challenges and objectives of the education system are dynamic and for one to remain relevant, it is important to continuously adapt to the changes. For instance, a few years ago it would have been unthinkable that the education system would want to promote tolerance towards homosexuals; these were outcasts for whom there was little concern. However, the reality of the output focused employment present today has ensured increased tolerance to such people and thus the need for a change in approach. An educator will be differentiated from any other knowledgeable person from their ability to produce all rounded graduates. Some of the important traits to be considered include cultural competence and tolerance. For example, if the task is to teach students mathematics without considerations to the other aspects then that can even be done by anybody with the basic knowledge needed to teach the particular subject. The professional educator must be easy to differentiate from other people possessing the same level of knowledge, and one of the hallmarks of this is the ability to produce culturally competent students among other things. Conclusion From the study, cultural competence has proven to be a very important subject area for one’s development. Most people spend over two decades in school, meaning that they will acquire some of their lifelong traits there. Global occupational mobility is on the rise and one of the key ingredients to it is cultural competence. People with less of it will have a very hard time adapting to the different work environments that will be made available by the increased mobility. One’s work output is not a function of skills competence only; it must also include the person’s ability to work with people, which means adopting the narrow minded definition of education will produce half baked students. References Ahlawat, S. , Ahlawat, S. (2006, ). Competing in the Global Knowledge Economy: Implications for Business Education.. Journal of American Academy of Business, 8(1), 101-105. Arizaga, M. B. , Waldo, M. , Castellanos, L. (2005). Multicultural Sensitivity and Interpersonal Skills Training for Preservice Teachers. Journal of Humanistic Counseling, Education and Development, 44(2), 198-202. Berrell, M. , Gloet, M. (1999). Reflections on the cultural dimensions of educational administration. EAF Journal, 13(2), 10. Coll, J. , Zalaquet, C. (2007). The Relationship of Worldviewsof Advisors and Students and satisfaction with advising: A Case of Homogenous. Journal of College Student Retention, 9(3), 273-281. Gay, G. (2009). Similar Concerns, Different Perspectives of Social Studies and Multicultural Education. Social Studies Review, 48(1), 25-27. Liang, C. , Alimo, C. (2005). The Impact of White Heterosexual Students’ Interactions on Attitudes Toward Lesbian, Gay and Bisexual People: A Longitudinal Study. Journal of College Student Development, 46(3), 237-250. Pope, R. , Mueller, J. (2005). Faculty and Curriculum: Examing Multicultural Competence and Inclusion. Journal of College Student Development, 46(6), 679-688. Pope, R. , Mueller, J. , Reynolds, A. (2009). Looking Back and Moving Forward: Future Directions for Diversity Research in Student Affairs. Journal of College Student Development, 50(6), 640-659 Salazar, C. (2005). Outsiders in a White, Middle-Class System: Counselor Educators of Color on Academe. Jounral of Humanistic Counseling, Education and Development, 44(2), 240-252. Thomas, D. (2006). Domain and Development of Cultural Intelligence: The Importance of Mindfulness. Group Organization Management, 31(1), 78-99.

Thursday, November 14, 2019

Characters, Setting, Themes, and Symbols of Heart of Darkness Essay

Characters, Setting, Themes, and Symbols of Heart of Darkness      Ã‚   Deep within the chest of every man, woman, and child beats the heart of darkness. On the surface, mankind has achieved a sophisticated level of civilization. Joseph Conrad forces the reader to peel away the pristine layer of sweetness and see the unaltered truth. Heart of Darkness reveals the true nature that lurks behind every smile, handshake, and conversation. Conrad's portrayal of the characters, setting, symbols, and ironies allow the reader to reflect on the true nature of man.    Each of the main characters in Heart of Darkness plays a significant role in the overall theme of the novel. The central character is a thirty two year old sailor, Charlie Marlow. He is a dynamic character who essentially controls the development of the theme. Through Marlow's experiences and revelations, the author illustrates how forces of light and darkness serve to weave the human soul together; thus, essentially how good and evil are reflected in an individual. Marlow's journey leads him in an urgent search for Kurtz, the one man who can... ...art lies the raw evil of untamed lifestyle" (Heart of Darkness: A systematic evaluation).    Works Cited "The Congo" Created December 07, 1997 (Accessed 12 February 2002). Conrad, Joseph. Heart of Darkness. New York: Penguin Books, 1983. "The Fear" Created December 07, 1997 (Accessed 12 February 2002). "Heart of Darkness: A systematic evaluation of the darkness inherent in men's souls" "The Perfect Native" Created December 07, 1997 (Accessed 12 February 2002). "The Setting" Created December 07, 1997 (Accessed 12 February 2002). Characters, Setting, Themes, and Symbols of Heart of Darkness Essay Characters, Setting, Themes, and Symbols of Heart of Darkness      Ã‚   Deep within the chest of every man, woman, and child beats the heart of darkness. On the surface, mankind has achieved a sophisticated level of civilization. Joseph Conrad forces the reader to peel away the pristine layer of sweetness and see the unaltered truth. Heart of Darkness reveals the true nature that lurks behind every smile, handshake, and conversation. Conrad's portrayal of the characters, setting, symbols, and ironies allow the reader to reflect on the true nature of man.    Each of the main characters in Heart of Darkness plays a significant role in the overall theme of the novel. The central character is a thirty two year old sailor, Charlie Marlow. He is a dynamic character who essentially controls the development of the theme. Through Marlow's experiences and revelations, the author illustrates how forces of light and darkness serve to weave the human soul together; thus, essentially how good and evil are reflected in an individual. Marlow's journey leads him in an urgent search for Kurtz, the one man who can... ...art lies the raw evil of untamed lifestyle" (Heart of Darkness: A systematic evaluation).    Works Cited "The Congo" Created December 07, 1997 (Accessed 12 February 2002). Conrad, Joseph. Heart of Darkness. New York: Penguin Books, 1983. "The Fear" Created December 07, 1997 (Accessed 12 February 2002). "Heart of Darkness: A systematic evaluation of the darkness inherent in men's souls" "The Perfect Native" Created December 07, 1997 (Accessed 12 February 2002). "The Setting" Created December 07, 1997 (Accessed 12 February 2002).

Monday, November 11, 2019

Superflat

Bijutsu Fine art Kindai Bijutsu Modern art Manga Manga are comics and print cartoons, in Japanese and conforming to the style developed in Japan in the late 20th century. Otaku Known as a mass media product presenting Japanese Culture, anime, has gained an increasing exposure and acceptance overseas during the 1990s.The term otaku, which was coined in 1982 and came into popular usage by 1989, is usually translated as ‘geek’ or ‘aficionado,’ and refers to a group of people who ‘take refuge in a world of fantasy, drinking in the images supplied by the modern media – usually from television, magazines and comic books, but also computer images or video games’ (Baral 1999: 22). The etymology of â€Å"otaku† was drawn upon the work of Volker Grassmuck in his seminal otaku-studies article: I'm alone, but not lonely†: Japanese Otaku-Kids colonize the Realm of Information and Media, A Tale of Sex and Crime from a faraway Place. Superf lat art â€Å"The world of the future might be like Japan is today – Superflat. Society, customs, art, culture: all are extremely two-dimensional. It is particularly apparent in the arts that this sensibility has been flowing steadily beneath the surface of Japanese history †¦ [Superflat] is an original concept that links the past with the present and the future. † (Murakami, 2000: 9)Superflat is a concept and theory of art created by the contemporary Japanese artist, Takashi Murakami. The Superflat (2000) exhibition in Tokyo marked the launch of this new aesthetic which took contemporary Japanese art and identity into a globalised milieu of critical thought. The exhibition, which was curated by Murakami and subsequently travelled to the United States, featured the work of a range of established and emerging artists drawn from art and commercial genres in Japan. As an essential part of Murakami’s political strategy, Superflat was always designed to travel g lobally.An elaborate, bilingual catalogue Super Flat (Murakami, 2000), which included Murakami’s manifesto, A Theory of Super Flat Japanese Art, accompanied the exhibition. In this manifesto Murakami affirmed that the Superflat exhibitions were created to provide a cultural-historical context for the new form of art that he was proposing, and which was specifically exported for Western audiences. Superflat art, as a cultural text, is intricately enmeshed in the tensions between the location and representation of local/global cultural identities.These identities, while proffering resistance through the assertion of difference, are also formed as part of the processes of globalization rather than in strict opposition to it (Robertson, 1995). In producing Superflat for Western art markets and Japanese art worlds, Murakami addresses existing discursive knowledge of Japanese art, history and popular culture, while simultaneously presenting a new variant of those identities. In thi s way, Superflat is part of the politics of commodification and expression of cultural difference generated in global consumption.Murakami’s Superflat concept identifies a new aesthetic emerging from the creative expressions produced in Japanese contemporary art, anime (Japanese animation), manga (graphic novels), video games, fashion and graphic design. Superflat is presented as a challenge to the institutions and practices of bijutsu (fine art), which Murakami argues are an incomplete import of Western concepts. Murakami is specifically referring to the modern institutions of kindai bijutsu (modern art) that were adopted during the Meiji period (1868–1912) as part of Japan’s process of modernization and Westernization.To Murakami, the innovation and originality of post-1945 forms of commercial culture represent a continuation of the innovations of the Edo (1600–1867) visual culture. Murakami problematically argues that Edo culture represents a more â₠¬Ëœoriginal’ cultural tradition, because it was a time of restricted foreign contact. At the same time, Murakami self-consciously uses Western art markets and the popular appeal of Japanese consumer culture to propose the Superflat alternative. That is, Murakami utilizes the Western popular imaginings of Japanese culture as a hyper-consumeristic, postmodern layhouse (Morley & Robins, 1995: 147–173) in constructing Superflat. SUPERFLATNESS: GLOBALIZING STRATEGIES IN ART MARKET As the interaction between social groups has become increasingly globalized, the meaning-making and expressivities associated with ‘art’ have also become progressively more engaged through national and transnational gradients (Papastergiadis & Artspace, 2003). In particular, the formation of identity and expressive modes in a national genealogy becomes problematic within a globalizing cultural sphere.Many artists struggle to find the binary position of balancing East and West cultures , while Takashi Murakami, contemporary Japanese artist, with his theory of Superflat art, worked out his way in this dilemma. He provides a useful case study of the strategies artists can employ to negotiate cultural and artistic identities ‘in between’ this binary. This paper investigates the Superflat concept and analyses Murakami’s art works to expose the tensions and dialogues regarding cultural identity and commodification that are produced by their global circulation.The first section maps Murakami’s strategy in constructing Superflat and contextualizes this in relation to discourses of Japanese national-cultural identity. The second section applies this theorization by analyzing the visual codes of Murakami’s figure sculpture My Lonesome Cowboy. This figure sculpture is part of a series in which Murakami combined the aesthetic codes and markers of otaku culture, particularly the prominence of anime and manga characters, with various art histo rical references.This piece demonstrates the multifarious local/global codes and cultures that Superflat art engages. Global Flows and the Soy Sauce Strategy Globalization creates spaces in which mobile elements interact with both positive and negative effects. Three key issues emerge in contemporary theorizations of globalization that are relevant to this discussion: firstly, the problem of how to retain the concept of local/national cultural particularity and to concurrently recognize the onvergences and overlaps between cultures in a global context (Robertson, 1995); secondly, how to recognize the value in cultural difference as a tool of critical (oppositional) agency (Fisher, 2003) and acknowledge that difference can also become a commodity in the global market place (Hall, 1991); and thirdly, to acknowledge the dominance of Western cultural, political and economic imperatives in globalization (Hardt & Negri, 2000), but also to recognize that it cannot be reduced to this condit ion (Held et al. , 1999).Consequently, concerns and celebrations are generated by the increasing fragmentation of national and cultural identities (Morley&Robins, 1995). In response to this process of deterritorializing identity, impulses arise to reclaim local and national identities in a form of resistance (Hall, 1995). This resistance is complicated because it is formed in relation to the transnational imaginings of the Self and the Other, stimulated by the constant circulation of people and mediated images through globalizations (Appadurai, 1996).These are irresolvable struggles and they demonstrate how globalization contributes to rather than eliminates incommensurability (Ang, 2003). Thus, while cultural identities can become territorialized and demarcated, for instance as ‘Japanese’, they are also challenged by the processes of deterritorialization activated through interaction and exchange. The meaning of ‘Japanese’ is therefore open to re-articulat ion by both global and local forces allowing new strategic identities to emerge.These processes are evident in Murakami’s â€Å"soy sauce strategy†. Murakami demarcates the identity of Superflat as Japanese by proposing it as an affirmation of a Pop Art aesthetic that is â€Å"born from Japan† and distinct from Western art: a type of post-Pop (Murakami, 2005: 152–153). Murakami asserts Superflat as an example of the current influence of Japanese culture globally and as a model for a future aesthetic, thereby identifying the ‘Otherness’ of Superflat in a positive way.Even though Murakami acknowledges that this sensibility emerges from the transformations arising from the influences of Western culture, he simultaneously reaffirms the originality of Superflat as a Japanese sensibility. This is what he refers to as his â€Å"soy sauce† strategy. Japanese contemporary art has a long history of trying to hide the soy sauce. Perhaps they will strengthen the flavor to please the foreign palette, or perhaps they’ll simply throw the soy sauce out the window and unconditionally embrace the tastes of French or Italian cuisine, becoming the Westerners whose model of contemporary art they follow †¦I see the need to create a universal taste – a common tongue – without cheating myself and my Japanese core †¦ I continue to blend seasonings †¦ I may have mixed in the universal forms and presentations of French, Italian, Chinese, or other ethnic cuisines – and I am vigilant in my search for their best points – but the central axis of my creation is stable †¦ at its core, my standard of ‘beauty’ is one cultivated by the Japan that has been my home since my birth in 1962. (Kaikaikiki Co.Ltd & Museum of Contemporary Art Tokyo, 2001: 130) This essential Japanese identity of Superflat is reinforced by the ways in which Murakami connects (visually and ideologically) the kawaii (cute) forms of anime and manga with the playful aesthetic of Edo period artists and the two-dimensional formal properties of Japanese screen painting. This foundation is then used to propose Superflat as an alternate lineage of Japanese visual culture, one that breaks away from the canon of kindai bijutsu and Western art history.Edo functions in Superflat as the determinant of its cultural authenticity – that is, as the DNA of Superflat (Murakami, 2000: 25). Edo is presented as the site of Japan’s cultural tradition and subsequently as a symbol of its Japaneseness. This is a convention from modern Japanese discourses in which Edo becomes the repository of nostalgic yearnings for a pre-modern, traditional Japan (Ivy, 1995).In the late 1980s and early 1990s this was extended to become part of the debates on Japan’s (post)modernity; postmodern cultural expressions in Japan were considered to be a revival of Edo concepts and practices and thus particularly à ¢â‚¬Ëœindigenous’ to Japan (Karatani, 1997). However, as Gluck (1998) points out, the definition of authentic and traditional Japanese expression in relation to a fixed point of origin in Edo culture has been heavily challenged. Therefore, Murakami’s use of Edo to mark the culturally authentic transmission of the Superflat aesthetic should be treated with caution.At the same time, Murakami has emphasized that he is not presenting Superflat as the definitive interpretation of Japanese art nor does he claim a unified identity for Japan: Unfortunately, I can never give ‘Japan’ a fixed shape. I cannot meet my real ‘self’. Nor can I discern what ‘art’ really is †¦ I thought I could solve the problem by lining up a series of images in a powerful procession that words could not clarify. (Murakami, 2000: 9) Even this position can be critiqued.Murakami self-consciously demonstrates his awareness of the historical interaction between J apan and the West and stresses the hybrid history of Superflat. However, he also tends to celebrate Japan’s skill in assimilating and domesticating foreign influences, echoing other discourses on Japan’s hybridity as a national-cultural trait (Tobin, 1992), which paradoxically reconstructs Japan’s hybridity as an essential identity. Murakami’s intention to create an epistemological context for Superflat is explicitly part of his aim to sell work in international art markets: First, gain recognition on site (New York). Furthermore, adjust the flavoring to meet the needs of the venue. 2 With this recognition as my parachute, I will make my landing back in Japan. Slightly adjust the flavorings until they are Japanese. Or perhaps entirely modify the works to meet Japanese tastes. 3 Back overseas, into the fray. This time, I will make a presentation that doesn’t shy away from my true soy sauce nature, but is understandable to my audience. (Kaikaikiki Co . Ltd & Museum of Contemporary Art Tokyo, 2001:131)The impulse in Superflat towards the affirmation of a national-cultural aesthetic can be considered as a form of self-Orientalism: an identity formation that is constructed in relation to the Western Oriental gaze (Said, 1995). While self-Orientalism has been considered (although not specifically in relation to Superflat) as an empowered strategy, because it appropriates the West’s gaze of Japan and re-packages it for the same audience (Mitchell, 2000), others have considered it collusive to Orientalism and a continuation of the Japan/West binary construction (Iwabuchi, 1994).This self-Oriental identity is complicated by a number of factors. First, Superflat does echo conventional discursive constructions of a Japan/West binary, which obscures the connections and power relations in this structure. In particular, Superflat can also be interpreted as being part of the discourses on Japanese identity, particularly the emergence of nihonjinron and postmodernism post-1970s in relation to Japan’s economic and technological influences (Befu, 2001). There was a tendency in both these strains of discourse to emphasize Japan’s national identity as unique and different from the West and the East.Secondly, while Murakami acknowledges the Western influences on the Superflat aesthetic, his simultaneous transposing of this hybrid identity into a reinforcement of a Japanese identity, characterized by cultural assimilation and hybridization, reinforces a unified national-cultural identity. This identity is supported by the references between Superflat and already existing discursive constructions of Japanese culture as post-modern and the interpretation of the two-dimensional properties of Japanese art, which will be discussed later in the paper.Thirdly, Superflat is also part of ongoing trade relations and cross-fertilizations of visual culture forms between Japan and the West particularly since the late nineteenth century. These include the adoption of bijutsu in the Meiji period, the popular consumption of Japanese visual culture in the West (in late nineteenth century Japonisme and since the 1990s with the consumption of anime and manga), and the post-1945 influx of commercial culture from the United States and its subsequent impact on the development of the anime and manga industries (Kinsella, 2000).In some ways, the self-Orientalism of Superflat can be interpreted as a post-colonial defensive reaction. Superflat is presented by Murakami as a localized expression of cultural uniqueness resisting the global hegemony of Western art and transcending the imported colonialist history of bijutsu by presenting â€Å"icons of excessive otherness† (Matsui, 2001: 48). This resistance, in turn, strategically uses identity as a commodity in Western art markets.By explicitly emphasizing the differences of Superflat, and Superflat as Japanese, Murakami becomes open to criticism that h e is merely providing a futuristic Orientalist spectacle for Western audiences (Shimada, 2002: 188–189). Furthermore, the ever-present danger with this position is that the centrality of the United States and Europe is re-asserted rather than challenged. Murakami explicitly reinforces this centrality through his statements regarding the importance of his profile in New York, London and Paris (Kelmachter, 2002: 76).Murakami’s strategy of merging artistic expression and the commercial imperatives of Orientalism also echoes the export art of the late nineteenth century in which new works were created for foreign markets, according to the dictates of those markets (Conant, 1991: 82–84). Export objects were deliberately constructed to appeal to the taste for Japonisme that was fashionable in Europe and the United States at the time. Murakami’s affirmation of Superflat as a Japanese-made model for the future also reiterates the recent rhetoric on Japan’s global cultural power in relation to the export of anime and manga (McGray, 2002).These discourses emphasize the symbolic (and subsequent economic) capital of the Japaneseness of anime and manga texts and they deliberately emphasize the commodity potentials of self- Orientalism. Murakami draws attention to these politics in the Superflat exhibition Coloriage (Coloring) at the Foundation Cartier by referring to it as â€Å"post-Japonisme† (Kelmachter, 2002: 103–104), thereby both connecting with the past market in Japanese art and suggesting a new contemporary context for the consumption of Superflat art.However, to reduce Superflat to a collusive Orientalism, or to see it as just a commodification of identity in a pejorative sense, misinterprets the dynamics in play. Murakami is both proffering resistance as well as marketing his work strategically. Firstly, Murakami articulates his identity through the exhibition structures of the West as well as through conventional signifiers of Japanese aesthetics in order to establish his profile and to sell his work.Yet he also acknowledges the ambivalences of his own position and the playfulness of this global soy sauce flavoring: In the worldview that holds delicate flavoring as the only concept of ‘beauty’ with any value, heavy flavouring is taboo, and too much stimulation is definitely problematic†¦ In order to create something that is understandable both to the West and Japan, what is needed is an ambivalent flavor and presentation †¦ . (Kaikaikiki Co. Ltd & Museum of Contemporary Art Tokyo, 2001: 131)Furthermore, dominant scholarly arguments on the popular consumption of anime and manga outside Japan hold that these forms express plural cultural identities and, as Allison (2000) shows, are detached from specific representations of space and place. This suggests that the consumption of Superflat, like that of anime and manga, is not simply based on a desire for reflected images of Japaneseness as a cultural Other; rather, it offers audiences a flexibility of alternate identities, free from specific geo-cultural connections.It can also be argued that a critical factor in the reception of Murakami’s works in the United States and Europe has been the familiarity of the Superflat aesthetic to anime and manga as part of a common rather than Orientalised visual vocabulary. Superflat echoes the paradox of affirming the non-nationality of texts, while also presenting them as expressions of national-cultural identity. However, there is another way to explain this contradiction of Superflat between the affirmation of non-national and specific cultural identities.The critical theorist Yoda Tomiko (2000) presents contemporary anime forms as a useful example of a coterminous fluidity between local codes that are interchangeable and coexistent with non-local elements. Elements in the text can be swapped around and adapted for different audiences, and these elemen ts are simultaneously collated with non-specific elements drawn from a wide variety of sources; therefore, the overall form remains transportable as well as expressing cultural proximity.While this process of adaptation is not new, what Yoda indicates is that it is increasingly becoming a normative process within the logic of postmodern consumer society. The local identity expressed in Superflat utilizes the connections with Edo and anime and manga culture to articulate its cultural specificity and yet it also expresses a postmodern fluidity and self-reflexivity that enables it to be globally circulated. The following section demonstrates the multifarious local/global codes and cultures in Murakami’s figure sculpture My Lonesome Cowboy. Superflat IdentityTakashi Murakami may have been the happiest at Sotheby’s Auction on May 14th. My Lonesome Cowboy, his larger-than-life sculpture of a boy waving an ejaculate lasso, brought in $15. 2 million — quintupling the ar tist's previous record at auction. Just like what Alexandra Munro has written, â€Å"Murakami does not merely appropriate the manga and anime based worlds of otaku subculture; he operates within them. His lushly bright, mutant characters, all of which have names, act coveted by convenience store consumers as much as they are sought after by international art community. Murakami’s works always act in the multiple spaces in and between Japan and the West, referencing there intertwined relations. My Lonesome Cowboy can be linked to a number of familiar aesthetic forms from both Western and Japanese art history, thus it is a field of knowledge operating both within and between the social, cultural and aesthetic conditions of East and West. My Lonesome Cowboy is characterized by a large lasso of ejaculate reminiscent of Jackson Pollock’s splash paintings in the late 1940s.The confident masturbatory pose of the figure can be interpreted as a parodic and sexualized reference to the phallo-centric ideology of Western Modernism, in which the autonomy and expressive subjectivity (as well as the masculinity) of artists such as Pollock was celebrated. The title itself, My Lonesome Cowboy, also references the heroism and romanticism of the iconic image of the cowboy, which was celebrated in relation to the New York Abstract Expressionist painters, and was parodied in the homo-erotica of Andy Warhol’s film Lonesome Cowboys (1969).The stream of ejaculation fluid is both an exaggerated and grotesque parody of otaku (hard-core anime and manga fans) imaginings and masturbatory activities and a parody of the ‘unique’ stroke of the brush of the artist. The overt and ironic decorativeness of the fiberglass splash subverts the modernist ideology of the unique mark of the artist’s hand as an expression of interior subjectivity in a manner that is reminiscent of Roy Lichtenstein’s series of screen-prints, Brushstrokes, created in the m id to late 1960s.These references are then combined with recognizable Japanese aesthetic markers. For example, the Dragon Ball Z character Goku is the model for the head of the cowboy; the splash of ejaculate is also reminiscent of the static dynamism of Hokusai’s ukiyo-e print View of Mount Fuji through High Waves off Kanagawa (ca. 1829–1833). The standing pose of the figure with the power and energy concentrated in the hips thrust forward, accentuated by the expulsion of liquid from the penis, is something that has also been specifically linked to the style of character pose developed in anime (Kaikaikiki Co.Ltd & Museum of Contemporary Art Tokyo, 2001: 96). This is contrasted to the Western comic hero pose in which the concentration of power and muscular strength is emphasized in the pectoral muscles (96). The sense of dynamism between stasis and movement in My Lonesome Cowboy can also be linked to various forms of compositional structures in Japanese screen-paintin gs and anime. One of the key features of early Japanese television animation is an aesthetic based on the frozen pose, in which a figure can leap in the air and freeze the pose, unfixed from gravity.Part of the rationality behind the frozen moment in animation was a response to budget constraints and efficient production processes; by freezing the frame and allowing the dialogue to continue fewer frames of animated movement were needed for the narrative (Lamarre, 2002: 335). As a stylistic tendency, the technique of freezing the action in animation relies on selecting the most dramatic or aesthetic moment to freeze, creating a dramatic pause before the action (2002: 335–336).Therefore, what is evident is that Murakami simultaneously articulates Japanese and Western aesthetic markers in My Lonesome Cowboy. While these references can be individually demarcated and identified, there is also an interchangeable flexibility that is addressed. More specifically, what this means is t hat the splash of semen can simultaneously reference Pollock, Lichtenstein, Hokusai and Kanada. Thus, it becomes a fluid and slippery signifier. This can be explained as one of the reasons for the global prominence and popularity of Superflat and Murakami.Furthermore, the art historical and popular cultural references would be considered relatively conventional markers for audiences conversant with these texts. Many of the Japanese works in the Superflat catalogue are held in Western collections, including Hokusai’s Great Wave. Murakami’s works are therefore characterized by a particular inter-determinacy, which enables him to manipulate the Japanese identity of the works while also utilizing the familiarity of the visual references for Western audiences. This trategy is further complicated by the overlapping historical aesthetic relationship between Japan and the West. First, the concept of Superflatness, as an aesthetic of two-dimensionality, reinforces the Western i mage of Japan as a culture of surface. The development of the flat surface, which has been interpreted by Clement Greenberg as the underpinning aesthetic realization of Western modern painting, was influenced by Japanese art, particularly ukiyo-e prints, in the nineteenth century (Evett, 1982: ix–x).In particular, an aesthetic of two-dimensionality was identified as a distinctive feature of Japanese art in late nineteenth century Europe (1982: 30). 13 In contrast to the Western discursive construct of Japanese art as inherently two-dimensional, Western practices of linear perspective by this time had already influenced Japanese art. 14 Secondly, because anime and manga are increasingly familiar to consumers outside of Japan, particularly since their export in the 1990s, they have become part of the database of visual aesthetics of artists and fans outside of Japan (Craig, 2000: 7).The complex visual cultural relationships between Japan, United States and European art are more politically intertwined than these explicit and obvious references imply because they are influenced by ideologies and constructions of national identity. The image of Japan as a culture of surface continued into the twentieth century and was translated from the mid-1980s into the confirmation of Japan’s post modernity: Japan as a culture of surface was now celebrated (Barthes, 1982; Field, 1997) and it was constructed (arguably) as the epitome of post-modernity (Miyoshi and Harootunian). 5 This was contrasted to Western modernist discourse of the surface as a manifestation of interior subjectivity. Postmodernism presented a challenge to this concept of originality and interior/exterior distinctions through theories of simulacrum, pastiche and the collapsing of surface/depth models as developed by Baudrillard (1983), Jameson (1991), and Virilio (1991). Even the discourses that emphasized Japan’s creative skill in domesticating foreign imports (Tobin, 1992) as a contra st to the earlier pejorative concept of mimicry reinforced the image of Japan as an appropriator of different styles or surfaces.While the distinction between surface and depth is not absent in Japan, the duality between surface and depth in Western modern epistemology (and even in subsequent discourses that challenge it) is not necessarily expressed using those dichotomous terms in Japanese culture; rather, the surface is considered to be meaningful and creative. For example, the art historian Tsuji Nobuo (2002: 18) identifies the decorative surface as providing a link between the ordinary and everyday sphere and the extraordinary metaphysical realm.In this way, the decorative surface does not ‘lack’ meaning but is active as an intermediary expression and aesthetic. Hendry (1993) also identifies the importance of ‘wrapping’ in Japanese culture, in which the external layers, whether they be clothing, architecture or gifts, form the critical meaning structur e. Wrapping operates as a method of accumulating ‘layers of meaning’ that are not normally present in the unwrapped object (1993: 17). This process inverts the Western philosophical privileging of the core (the object inside the wrapping) as the primary site of meaning and the external wrapping as obscuring the object.In fact Hendry argues that the meaning of the enclosed object and the layers of wrapping are conceptually embedded in each other and cannot be separated (1993: 17). While flatness and the emphasis on surface quality and decoration in Superflat art can thus be considered an exploitation of the Western construct of Japan as a culture of surface aesthetics, it can also be interpreted as an assertion of the creative value of the surface in Japanese culture. In this latter interpretation Superflatness becomes a unique aesthetic form that articulates multiple and active spaces, not the erasure or reduction of meaning.The concept of active flatness and continual transformation is a useful approach to understanding the Superflat aesthetic. It is difficult to differentiate a singular point of origin or a stable and unified subject in the multiple cultural identities embedded in My Lonesome Cowboy. Such is the shared history and cross-fertilization of aesthetic forms that these multiple layers of references and aesthetic histories of Japan and the United States/Europe present a significant complexity to the explicit identification of these references as Japanese or Western.Furthermore, to presume that they will even be decoded as signifying geo-cultural aesthetic territories is equally problematic. It is evident that Murakami’s explicitly playful references act as heterogeneous and malleable signifiers of identity, and thus can be readily interpreted as a postmodern expression of multiplicity. Furthermore, the inter-textual references to Japanese art history, Western art history, and imagined constructions of Japanese identity, play to the knowingness of audiences. The Westernization of Superflat and its Japaneseness articulate two forms that can be accessed by Murakami from his database of codes.

Saturday, November 9, 2019

Greek and Roman Heroes

Brianne Keil HUM2210 October 15th, 2012 Interpretation Paper 2: The Warrior Hero We all envision certain types of qualities when considering what defines a hero: strength, agility, rock hard abs, and often, Brad Pitt. But throughout the Greek and Roman literature, we see different types of qualifications in the composition of their heroes. Obviously, both the Greeks and the Romans think that they define a true hero in their versions of Heroic Epics, but which one of these cultures actually proves that they have what makes the ultimate hero?With some further research into these societies and their literature, we see that their heroes really aren’t that different after all. In the Iliad, Homer targets the audience of Greek upper class men in order to spread some cultural propaganda to the nation. Homer captures audiences by using the hero of Achilles to show men what they should aim to be, and to show women what they should be looking for in a man. After the Dark Ages, Homer aim s to bring some positive light to the Greeks with his â€Å"Epic Heroes†, which leads to inspire more than just the Greek men of this time frame.Homer uses his words to encourage strength, creating what is known as the Greek Heroic Age, dating from 1200 to 750 BC. The Iliad becomes known as the warrior code of personal honor and glory, demonstrating the culture and the qualities Greek men should strive to achieve. Achilles, the epic’s hero, is an elegant gentleman who knows his destiny in life is to battle. Achilles makes it a strong point that the aim of every hero is to achieve honor, even if this honor is only reached in death. Achilles knows that he has two fates: to either live a long life with no fame attributed to him, or to die as a well-known warrior across his land.Achilles demonstrates to the male audience that honor can only sometimes be reached in battling to the death, an honor that is well worth sacrificing your life. In the Iliad, Achilles states, †Å"Man, supposing you and I, escaping this battle would be able to live on forever, ageless, immortal, so neither would I myself go on fighting in the foremost nor would I urge you into the fighting where men win glory. But now, seeing that the spirits of death stand close about us in their thousands, no man can turn aside nor escape them, let us go on and win glory or ourselves or yield it to others. † This statement proves Achilles deep desire within to reach glory for him, no matter what the cost. Even though Homer’s hero can only bestow honor alone, with his own actions, both Achilles and his enemy, Hector, strive to win the approval of the society as well. In a scene of the Iliad, Hector’s wife is urging, nearly begging, for him to sustain from battling. Hector replies with, â€Å"†¦ yet I would feel deep shame before the Trojans, and the Trojan women with trailing garments, if like a coward I were to shrink aside from the fighting. Hector’s resp onse demonstrates that not only does he have a duty to fulfill to the Trojans, but also to himself. By denying the fight with Achilles, Hector would be shameful to his society, but more importantly, to his own honor and glory. Homer displays a Greek hero as one with courage, honor, and personal glory that earns fame through the fights they conquer in their life. This description of a hero motivates many Greek men to step up to the plate and battle when the time comes, no matter what their risking along the way.A Greek Hero must be brave and fearless in the eyes of Homer, which leads to the perception of a hero to Greek citizens as a whole. The Roman’s, on the other hand, have a differing view of a hero, thanks to Virgil’s writing of the Aeneid. The Aeneid is an Epic History of Rome’s first ancestor, Aeneas. The original audience of this piece of literature is the broken and battered Trojans, who at the time (19 AD), were looking for some source of inspiration an d identity after being defeated by the Greek. The Aeneid demonstrates Pro-Rome propaganda, giving Romans something to believe in and aspire to be.It is said that Aeneas is the Hero that leads the Trojans after their defeat to Greece to a new land of prosperity. In the end, Aeneas slays Turnus due to his mission to provide the Roman’s with a new land to call â€Å"home. † Due to his strong will to complete his mission of reaching security, Aeneas is said to be the military Hero for Rome. Aeneas was â€Å"devoted to his mission†, and â€Å"chose the course heaven gave him†, leading to his title as an Epic Hero. Due to the cultural baggage the Trojans have after their humiliating defeat, the Aeneid is a much more emotional piece of literature, with â€Å"emotion in his heart†, when referring to Aeneas.Aeneas doesn’t just set an example for the Roman’s, he is inspirational to the entire population when things seemed to reach rock bottom. â€Å"Roman, remember by your strength to rule Earth’s peoples-†¦to pacify, to impose the rule of law, to spare the conquered, battle down the proud. †, Aeneas states in the Aeneid. By the end of the epic, the entire Roman audience feels that they themselves are the glorious conclusion of the story, not just Aeneas. He is idolized as the leader of a new found powerful legacy, in which includes each and every audience member. So now†¦the moment we’ve all been waiting for.Who takes the crown as the REAL epic hero? Well, it’s not that simple of a decision to make, even hundreds of years later. In some ways, the two heroes are very similar. But they also have contrasting qualities that make them unique to their culture. In Greece, the idea of personal honor and glory is highly emphasized, while the Roman Hero Aeneid is all about citizens coming together to reach power and prestige. The differing idealistic characteristics make sense from an outsider ’s view- the Greek had conquered the Trojans together, but only because of each individual warrior’s courage and bravery.In contrast, the Roman’s had just faced an embarrassing defeat, one which left the culture torn apart and most likely, depressed. Aeneid needed to create a positive morale among his people, which could only be restored by bringing everyone together to victory as one. The cultural baggage of each society lead to the way their heroes were presented. Even though the idealistic hero from a Greek society has more selfish attributes, Greek citizens would still appreciate Aeneid’s heroic acts, in my opinion.Whether Aeneid was fighting for his own glory, or for the glory of his people, he still slayed the enemy in order to reach his goal. The Greek audience would still hold Aeneid with high regards because in the end, he did battle for his destiny, and brought the Roman’s respect through his actions. Both cultures can appreciate the fact that both Achilles and Aeneid followed their destinies, battled for victory, and in the end, won fame because of their courage and dedication. While these motivations may have been pulled from different sources, both men were still able to bring glory upon themselves and the ones they fought for.Each of them held the true qualities of a warrior hero such as strength, endurance, and daring charisma, keeping them alive today, hundreds of years later. So, I hate to leave you hanging, but I guess the TRUE Epic Hero remains a mystery. After seeing what Achilles and Aeneid went through during battle, how can I choose which one is best? It’s so unfair! I think it’s safe to say that the Greeks will side with the self-determination of Achilles, while the Roman’s appreciate the inspiration Aeneid had to offer to them all.Either way, both of these men are considered warrior heroes to us all. Works Citied Dunkle, Roger. â€Å"The Classical Origins of Western Culture- ILIA D. † Brooklyn College Core Curriculum Series. Brookyln College, 1986. Web. 14 Oct. 2012. . SparkNotes Editors. â€Å"SparkNote on The Aeneid. † SparkNotes. com. SparkNotes LLC. 2002. Web. 2 Oct. 2012.

Thursday, November 7, 2019

the development of the atomic theory essays

the development of the atomic theory essays The Greek concept of atomos: the atom Around 440 BC leucippus of Miletus originated the atom concept. He and his pupil, Democritus of abdera refined it for future use. Their atomic idea has five major points. All original writings of leucippus and Democritus are lost. The only sources we have for there atomistic ideas are inquotations from other writers. Democritus was known as the "laughing philosopher" because he enjoyed life so much. At this time Greek philosophy was about 150 years old, emerging in the sixth century bc, centered in the city of miletus on the ionian coast in Asia minor, which is now turkey. The work of leucippus and Democritus was further developed by epicures (341-270 BC) of Samos. He made ideas more generally known. Aristotle also quotes both of them in arguing against their ideas. Most of what we know about leucippus and Democritus was found in a poem entitled "de rerum natura" (on the nature of things) written by Lucretius (95-55 BC). This poem was lost for over a thousand years and was discovere d in 1417. These are the basic points of their theory. #1 - all matter is composed of atoms, which are bits of matter to small to be seen. These cannot be split any smaller. " The atomists hold that splitting stops when it reaches indivisible particles and goes on no more" Which means there is a limit to division of matter that we cannot go. Atoms are very hard so they cannot be divided. In Greek "a" means not and "tomos" means cut. So our word comes from atomos, meaning uncuttable. He reasoned that if matter could be infinitely divided, it could also completely disintegrate and cannot be put back together, however matter can regenerate. Even though matter can be destroyed by splitting, new things can be made by joining other matter together. This process is reversible. The idea of reversibility means there must be a limit to splitting. If it could be split forever, there is nothing to stop it from destroying ...

Tuesday, November 5, 2019

Chalice Chapter 9

He was introduced to her with a tremendous flourish, although no reason was given for his presence; which, with the air and the flourish, was explanation enough, and her heart plummeted. By the time the Grand Seneschal informed her, stiffly, that this was the Overlord’s choice for the next Master’s Heir, she didn’t need to be told, and in her anger and frustration she said, â€Å"That is hasty,† before she remembered to whom she spoke, and she bit her lip, waiting for the rebuke. But none came. She was so surprised she looked into his face. He scowled at her at once, the familiar contemptuous, disapproving scowl, but when she ducked her head and then glanced back again a moment later, his face had relaxed into what looked a lot like sadness. The new man’s name was Horuld. She paid little attention to his breeding, that several of his forebears’ lines ran directly from Willowlands, and several more had crossed in the ensuing generations, and which Deager was very eager to tell out, over and over and over, even to such unworthies as the demesne’s shabby and erratic new Chalice, who was herself one of the indications (Deager didn’t say this but he didn’t have to) that the demesne was still in trouble, over a year after she had taken her place in the Circle. So far as she knew no Chalice had ever been deposed. But she had never seen any record of a Chalice chosen when there was no Master to hold the land steady while the Circle did its work either. It had very occasionally happened that an apprentice died with or before her Chalice; but then too there had always been an experienced Master. And there were stories of Chalices who had not been able to bear the work they were called on to do – even those who had had their proper apprenticeships – and broken under it. There were only a few of these stories, but one was too many, and there was more than one. She believed that one such Chalice was the Chalice she herself followed. She was surprised – even more surprised than she had been at the Grand Seneschal missing a chance to reprimand her – when Horuld seemed disposed to talk to her. There were other, more prepossessing and conversationally skilful members of the Circle he could address himself to; demesne hierarchy declared that Chalice was Second of the Circle, but that had to be remembered only when there was work to be done. Her Circle recollected it only when they had to, as did the Overlord’s agent – or they always had done previously. She was, as Chalice, compelled to be present for the agent’s visit, and – as Chalice – she would serve whatever Master fate set over Willowlands. That was enough. Perhaps the training she hadn’t had would have included how to hold superfluous discourse with people she would rather avoid. When she was standing Chalice or performing a ritual she did not have to chat; but Horuld’s first visit was informal. In other circumstances this would have seemed friendly and considerate; as it was it seemed ominous and coercive. Deager, having proved to his own satisfaction, if not all of his audience’s, that Horuld’s bloodlines were an excellent choice, wished to make it clear – he said – that the Overlord was merely anxious that an unambiguous Heir should be in place, after the recent disaster. If such an accident should happen again, the demesne might fall apart entirely. It had been without a Master for seven months; it could not survive this a second time. She tried to tell herself that a declared Heir was a sensible precaution; their present Master was the end of his family. The previous Master should have declared an Heir when he sent his only brother to Fire. She wondered why the Overlord had not obliged him to do so; she had only been a small woodskeeper then, and small woodskeepers heard little about Overlords’ decisions. The demesne gossip said merely that the Master was a young man, and hale, and he would produce Heirs – had probably produced a few already, the uneasy joke went. But they would be bastards, and prohibited. By the time the ordinary folk of the demesne had begun to realise that their young Master seemed to have no intention of marrying and producing a proper Heir, especially in combination with his increasingly alarming general behaviour, the fear of what this meant also meant that no one wanted to talk about it. And then the worst had happened. Perhaps she should try to believe that the Overlord was merely doing the responsible thing – the responsible thing he had failed to do before – but again she wondered. It was too soon to tie an Heir to the present Circle; Willowlands was still too precarious. However necessary an Heir was, forcing him upon them now would unbalance it further. Would the next thing be that she was obliged to take an apprentice? She had no energy for the binding that would entail. Leaving aside that she had nothing to teach one. Perhaps it was only her dislike of both Deager and Horuld that made her feel the agent was making it clear that Horuld was being introduced to Willowlands as the Heir only after he had made something else even more clear, if not in so many words: that the Overlord would like to see Horuld taking up this inheritance soon. She was too quick to feel she needed to defend the Master, she told herself. But what she had taken from the agent’s description of Horuld’s bloodlines was that if he was the best that could be done for her poor demesne, the Overlord should be straining every muscle to support the present Master. Did the Overlord want to break Willowlands entirely? Surely not. The disruption would damage the Overlord’s grip too†¦no. He would be counting on riding it out; might he, more, be betting on the huge increase of his own power the successful changeover would produce? She knew almost nothing of the politics among Overlords. Demesne folk did not travel to the crown city nor visit the court of the king; and as practising Chalice she was furthermore indissolubly tied to her land. But whatever else she knew or thought of the Grand Seneschal, he would not have kept such a piece of news as a visit from the Heir from the rest of the Circle; and Deager glossed, or slithered, over the question of why Willowlands had not known who was coming with him, which made it plain that there had been no message that had gone awry. She had mixed the cup she would offer to the company before she came. She had mixed it for the visit from the Overlord’s agent, and that was all. That was how it was done; that was why it was important that a Chalice know in advance who would drink from her cup, and for what reasons. Last-minute changes were destabilising, which was why battlefield cups, which were perforce rare, were also notoriously volatile. It should not have been a good omen, that a Master’s Heir should be left out of the first cup he received from the Chalice. Perhaps the Overlord, or some other of his plotters, had decided that being left out was better than a Chalice throwing her weight against him, which a loyal Chalice might be suspected of doing upon the presentation of any outblood Heir. Chalices were parochial by definition; of all the Circle, only the Chalice could not set foot across her demesne’s boundaries. Some of the oldest records called the Chalice the Landtied – and because of this literal overidentification, the Chalice’s response to outbloodedness in any member of the Circle was considered crucial. This perhaps explained why Horuld was interested – indeed eager – to talk to her. Perhaps she could be disposed to include him kindly in her mixture for his next visit, after he had been careful to make a good first impression. She would not need to be disloyal. An y Master’s Heir was an important part in the demesne structure; most accepted Heirs attended at least some Circle gatherings; and under the present circumstances the only possible Heir was an outblood. A Chalice must at least punctiliously include her Master’s Heir in any cup he was present for; of course it would be better if she felt at least benign toward him, or even generous. But she did not feel benign or generous. She listened, smooth-faced, when the agent pronounced some blather about how the surprise of presenting Horuld unannounced would create â€Å"clarity† in an awkward situation; that he would be more able to see where he would best fit into difficult circumstances if no one was trying to soften the truth. She knew that a properly schooled Chalice would have some matching blather to offer in return, but she was not a properly schooled Chalice, and it gave her a little meagre pleasure that her silence discomfited the agent, and by his discomfiture he exposed that he knew his action had been dishonourable. Did she loathe Horuld because Deager was a toad? No. Sunbrightener was a toad, and his antics merely made her feel tired and sad. Or because the Chalice was repelled by outbloodedness? She looked at Horuld and every particle of her recoiled. No. She bore the Chalice, she was not engulfed by it. Mirasol had arrived a little late at the House for the meeting with Deager. Just as she was leaving her cottage a young mother had burst into the meadow carrying a wildly weeping child. Mirasol knew them, Kenti and her daughter Tis; they were neighbours. Tis had pulled a kettle of boiling water over. Fortunately it had only been half full, but the child still had a badly burned arm; and the local herbswoman, Catu, was gone to a lying-in, Kenti did not know where. Mirasol hadn’t spoken to Kenti or her husband Danel properly since she had become Chalice, in spite of the fact that Danel and she had grown up together; she had been jealous when he had been apprenticed to a ploughman, for the horses. Kenti said breathlessly, â€Å"Can you do anything? Can you help?† Her eyes went to the back of Mirasol’s right hand, which was holding the edges of her cloak together over the cup of congruence in her left hand, and then hastily rose to Mirasol’s face. But she couldn’t meet the Chalice’s eyes the way she had many times met Mirasol’s, and they dropped away again. Poor Tis was weeping in a miserable, exhausted way that was painful to hear. Mirasol brought them into the cottage and took down a small pot of the honey especially good for burns and smeared it carefully over Tis’ arm. The little girl cried out at the first touch but by the time Mirasol had finished she had fallen silent, and leant back against her mother’s body staring at Mirasol with huge still-wet eyes. Even as Mirasol looked back at her the eyelids drooped, and Tis was asleep. And then Kenti burst into tears. Mirasol led her to the big soft chair by the fireplace where Mirasol did much of her reading and let her collapse. â€Å"It was my own carelessness – I know what she’s like – I let myself be distracted – it was only a moment – and then I heard her scream – and I knew Catu was away – I didn’t know what to do – it was awful† and then she couldn’t say anything for a while. Mirasol made a tisane – a spoonful of her soothing honey with a spoonful of the calming herbs she’d had from Catu herself; in the early months of her Chalicehood she’d drunk it by the bucketful. When she brought a cup to Kenti, Kenti laid Tis tenderly down beside her on the chair, sticky arm uppermost, and took it. She breathed in the steam and gave a little half laugh: she recognised Catu’s mixture. â€Å"I’ve used honey for littler wounds – your mother taught me that when I wasn’t much older than Tis – but this one was so dreadful. And then I remembered – I remembered your hand. I thought, if your – if the Chalice’s honey can cure what a Fire-priest can do, then perhaps it can cure Tis’ arm.† Mirasol said gently, â€Å"The Master cured my hand.† â€Å"He – ?† said Kenti unbelievingly, and Mirasol saw the fear in her face, the same fear she saw in the Housemen’s faces before they bent nearer their Master to slide the chair under him as he sat down; the fear she saw in the faces of most of the others of the Circle when their part in a rite brought them too close to him – the fear of him that made the Master leave the burnt grove before any of his people saw him there. â€Å"Yes. He.† She wanted to say, Tell Danel. Tell your mother. Tell all your friends. But she watched Kenti’s face and knew that she would tell the story – if she believed it. Kenti’s face said that she wanted to believe it – she wanted that hope, not only for herself, but for her demesne. Kenti sat looking at her daughter for a long moment and then said wonderingly, â€Å"Look – the mark is already fading. Your mother’s honey could not have done so much so quickly. It is the Chalice in you, I know, but perhaps – perhaps – perhaps it is also that we have a Fire-priest for Master†¦.† Her voice had sunk to a whisper. Mirasol was still thinking about the hope in Kenti’s face when she walked up to the House. She knew she was late, but it was only Deager, the agent, coming for a – snoop, she thought uncharitably. Overlords’ agents were supposed to visit their Overlords’ demesnes, but she didn’t like the way Deager’s nose twitched, the way his eyes darted around, as if he were hoping to smell something rotten, to see someone doing something illicit or disgraceful. And then she arrived, and there was a surprising number of people churning around in the big hall behind the front doors, and a youngish, weaselly-faced man she had never seen before standing a little too close to Deager’s elbow. The situation was uncomfortable enough to begin with, when it was only Deager and Horuld, herself and the Grand Seneschal and the Seneschal’s apprentice Bringad, and four of the minor Circle (the others were hastily sent for when Horuld was revealed as the Heir) plus the attendants the visitors brought and their own Housefolk. As the word spread about Horuld, more and more people streamed in, and both the noise and the tension level, it seemed to Mirasol, rose, and the ever-worried Bringad looked more worried than she had ever seen him. But when the Master arrived†¦she did not know how to understand it, explain it, even to herself. It was as if the level ground tipped a little in one direction and the high curving sky changed its arc just a little in some other direction. A Master was not expected to greet a mere agent on his arrival; the Grand Seneschal did that. But as the representative of his Overlord, a Master would be churlish as well as foolish not to see him at some point during his visit. She assumed the Grand Seneschal had despatched a message to the Master about Deager’s unexpected companion; it was impossible to read any trace of surprise or disquiet on the Master’s shadowy black and strangely mutable face when he made his entrance. Mirasol heard with what was beginning to be a familiar sinking of the heart the conversation falter and then stop as he was noticed, before the head Houseman announced him. Perhaps all Masters are greeted with a respectful hush, but she doubted that most demesne folk drew together as if for protection when their Master appeared. When Deager (his voice positively quavering as he addressed the Master) described Horuld as the Overlord’s candidate for Heir, the Master merely bowed his head. There was a disagreeable pause, and then the agent rushed to begin telling Horuld’s bloodlines over again, speaking too loudly and too quickly, and at first forgetting his flourishes. But when a Master has no son nor other suitable close relative, the meeting between the Master and the Master’s newly declared Heir was as laboriously and ponderously formal as centuries of tradition could make it, including, in this case, the tradition that an unexpected situation should be treated even more formally than the same situation when everyone knew what was happening. The Grand Seneschal managed to insert an orotund phrase or two (rather like a pole through the spokes of a wheel, Mirasol thought) into the agent’s barrage of genealogy, which had a steadying effect. When Deager finally fell silent, his concl uding bow was as elaborate as if he were being presented to the king. But Mirasol found herself thinking that the Master had bowed his head so very ceremoniously indeed that perhaps he had somehow known of Horuld’s coming before the message from the Grand Seneschal. Most of the initial gestures among any group that required the presence of the Chalice were stylised, just as her offering of the cup was, but during Horuld’s first visit to Willowlands they all seemed to move as if they were puppets in a puppet show, their limbs made of wood, the pulling of their strings performed by a puppeteer. If there had been an audience Mirasol felt they would not have found the performance convincing. Although Deager had insisted in a manner that was obviously meant to be magnificent but came over as merely presumptuous, that this first informal meeting with the Heir should proceed as it would have if Horuld had not been there, this was not possible, as Deager would have known it was not possible. Furthermore any meeting involving the Circle to which the Chalice stood should be precise about the number of people present, the number of people who would be offered the Chalice’s cup – which Deager would also know. And the Willowlands folk were doubtless awkward with surprise. They had known an Heir would be chosen, and Mirasol had held Chalice during the gathering when the Master had acceded to the Overlord’s wish, as presented by Deager, that the Overlord do the choosing. But that had only been a few weeks ago, and they had heard nothing of the progress of the search. She had begun reading about the meeting of a Master with an unknown Heir, so she knew that if it had been a proper meeting she should offer her cup first to the Master and second to the Heir. After a moment’s invisible dithering behind the face she tried hard to keep in an expressionless Chalice mask she did so anyway: let Deager assume this was a manifestation of magnanimity and support; she considered it buying time. The contrast between the Master and an ordinary human had never been so marked, she thought, as between the Master and his Heir when she took the cup from one and offered it to the other. She had directed them to stand on either side of her – which would also have been the correct form for a planned first meeting between the two of them: she could see Deager smiling with satisfaction, but she ignored him. The Master seemed to tower over her, and his natural heat, as she stood close enough to him to hold a cup to his lips, wrapped itself around her as if claiming her – and briefly and disconcertingly she remembered riding home with him after the fire in the Onora Grove. Horuld, who was no more than average size, seemed puny and frail in comparison; and the fact that he was obviously struggling not to flinch away from the Master added to this impression of weakness. She might have helped him, as she often helped the Circle members who were still reluctant to approach the Master, by stepping toward him, by allowing him to maintain a greater distance; but she did not. She offered the cup to the Master with a bent arm, and then turned and offered the cup to Horuld, again with a bent arm, and waited, forcing him to step close, not only to her, but to the Master. He did not try to take the cup from her, but he did raise a hand to grasp it, and she could feel him trembling. There were beads of sweat on his upper lip which she doubted were only from the heat. Before she took the cup on to Deager and the rest of the Circle, she bowed, to the Master, and then to Horuld. The Master must receive the deeper bow, of course, but the Heir might have had one nearly as deep; her bow to the Heir was only enough more than perfunctory not to be offensive. She let her gaze pass as if carelessly over Deager, and saw that he had stopped smiling. She could feel, before she had got halfway round the Circle, that it was not a good binding. When she made her final bow it was almost difficult to stand upright again, and she was exhausted. She had to make a great effort to meet the eyes of Horuld and Deager; the Grand Seneschal’s eyes looked glassy and unfocused, and the Master’s were as unfathomable as they had been the first day, when his hand had slipped and burnt her, and his face was only blurred shadows. She tried to remember the sudden surprising joy of his healing of her hand, of talking to him about what he saw, about her bees being tiny golden sparks in his strange vision – of the night that she had helped him put out the fire in Onora Grove, and the ride home after. But she remembered these things as she might remember something out of a book, a story told of someone else. Even if, by some extraordinary accident, the Chalice had not known beforehand all those who would drink, a well-mixed cup should have had a more positive effect than this. Perhaps she had mixed it injudiciously; that was likeliest. Even without his bringing an unannounced Heir, her dislike of Deager made it onerous for her to mix a cup that she would have to offer to him. But even if a more experienced Chalice might have done better, it was still true that introducing an Heir without proper advance warning was like throwing a boulder on one side of a delicate scales and expecting them still to balance. But perhaps the lack of binding and balance in this gathering was because Horuld was wrong†¦wrong for the demesne, wrong as Heir, wrong even to be here. It had been known in the past that an outblood Heir was rejected by the demesne, however carefully the humans had tried to make the best choice. Perhaps the Overlord had overplayed his game by giving the Master and his Chalice no forewarning that the Overlord’s choice was coming to be introduced to his hoped-for inheritance. By the end of the day, when she could leave the House and make her way back to her cottage, she was shaking and sick. She pulled her hood over her head and held it bunched round her throat with her hands, feeling that what she really wanted to do was disappear: if she wrapped the ends of her cloak around her tightly enough and then tighter still, eventually there would be no one left inside†¦. Usually the gentle thumping of the empty Chalice cup against her hip was comforting: another ritual got through. Today it was not; she felt that she – they – Willowlands had indeed not got through the ritual of the introduction of the Heir. She concentrated on the thought of sitting in the last of the daylight in the clearing by the cottage, listening to her bees. She was still ten minutes’ walk from the cottage when some of her bees came to meet her. She stretched out her arms to them and they landed on her hands and forearms, stroking her skin as if the tiny hairs were sepals they expected to secrete nectar for them. She shook her hood back, and several landed on her face and neck; out of the corners of her eyes she could see more landing on her shoulders. As she walked the last few minutes to the cottage she found herself thinking that her head felt strangely heavy, and that the hum of the bees was unusually loud; and then when she came out of the tree-shadowed path into the sunny clearing around the cottage she saw a great cloud of bees lifting away from her and dispersing, and she realised that she had been wearing a hood and cloak of bees. She watched them scatter about their proper bee business, and wondered. Horuld came twice more in the next few weeks with Deager, and then a third time he came alone. When he came with Deager their visits were announced in advance; but now as the acknowledged Heir, he might come as he pleased – and stay as he pleased. She was in the House library when he came that third time, and the first warning she had was a shadow falling across the open door; she was deep into her research and would not have noticed, except that a half-familiar voice said, â€Å"Chalice,† and her body had recoiled before her mind had recognised who it was. She turned the recoil, she hoped, into a mere startle, and stood up at once to make a ceremonial sign of greeting, saying, â€Å"Forgive me, my mind was lost in what I was doing.† He said smoothly, â€Å"And I have interrupted you; forgive me.† She bowed her head and waited, hoping his appearance was a formal signal only and that he had no business with her. The demesne’s folk were growing used to their new Chalice, and they were now coming to her more and more; this was a relief in some ways, and she knew she must be grateful for the good this was doing Willowlands, but she often had to put aside what other work she had planned on doing. She had fled to the House library today and was hastily reading up on the behaviour toward and reception of outblood Heirs. Part of her problem, she thought, as she had thought many times since the Chalice had come to her, was that she was not by nature a formal sort of person; she found that side of the duties of the Chalice so difficult as sometimes to feel incompatible with her private self. She wondered if this was anything like trying to live in the human world when you were a priest of Fire. Chalice Chapter 9 He was introduced to her with a tremendous flourish, although no reason was given for his presence; which, with the air and the flourish, was explanation enough, and her heart plummeted. By the time the Grand Seneschal informed her, stiffly, that this was the Overlord’s choice for the next Master’s Heir, she didn’t need to be told, and in her anger and frustration she said, â€Å"That is hasty,† before she remembered to whom she spoke, and she bit her lip, waiting for the rebuke. But none came. She was so surprised she looked into his face. He scowled at her at once, the familiar contemptuous, disapproving scowl, but when she ducked her head and then glanced back again a moment later, his face had relaxed into what looked a lot like sadness. The new man’s name was Horuld. She paid little attention to his breeding, that several of his forebears’ lines ran directly from Willowlands, and several more had crossed in the ensuing generations, and which Deager was very eager to tell out, over and over and over, even to such unworthies as the demesne’s shabby and erratic new Chalice, who was herself one of the indications (Deager didn’t say this but he didn’t have to) that the demesne was still in trouble, over a year after she had taken her place in the Circle. So far as she knew no Chalice had ever been deposed. But she had never seen any record of a Chalice chosen when there was no Master to hold the land steady while the Circle did its work either. It had very occasionally happened that an apprentice died with or before her Chalice; but then too there had always been an experienced Master. And there were stories of Chalices who had not been able to bear the work they were called on to do – even those who had had their proper apprenticeships – and broken under it. There were only a few of these stories, but one was too many, and there was more than one. She believed that one such Chalice was the Chalice she herself followed. She was surprised – even more surprised than she had been at the Grand Seneschal missing a chance to reprimand her – when Horuld seemed disposed to talk to her. There were other, more prepossessing and conversationally skilful members of the Circle he could address himself to; demesne hierarchy declared that Chalice was Second of the Circle, but that had to be remembered only when there was work to be done. Her Circle recollected it only when they had to, as did the Overlord’s agent – or they always had done previously. She was, as Chalice, compelled to be present for the agent’s visit, and – as Chalice – she would serve whatever Master fate set over Willowlands. That was enough. Perhaps the training she hadn’t had would have included how to hold superfluous discourse with people she would rather avoid. When she was standing Chalice or performing a ritual she did not have to chat; but Horuld’s first visit was informal. In other circumstances this would have seemed friendly and considerate; as it was it seemed ominous and coercive. Deager, having proved to his own satisfaction, if not all of his audience’s, that Horuld’s bloodlines were an excellent choice, wished to make it clear – he said – that the Overlord was merely anxious that an unambiguous Heir should be in place, after the recent disaster. If such an accident should happen again, the demesne might fall apart entirely. It had been without a Master for seven months; it could not survive this a second time. She tried to tell herself that a declared Heir was a sensible precaution; their present Master was the end of his family. The previous Master should have declared an Heir when he sent his only brother to Fire. She wondered why the Overlord had not obliged him to do so; she had only been a small woodskeeper then, and small woodskeepers heard little about Overlords’ decisions. The demesne gossip said merely that the Master was a young man, and hale, and he would produce Heirs – had probably produced a few already, the uneasy joke went. But they would be bastards, and prohibited. By the time the ordinary folk of the demesne had begun to realise that their young Master seemed to have no intention of marrying and producing a proper Heir, especially in combination with his increasingly alarming general behaviour, the fear of what this meant also meant that no one wanted to talk about it. And then the worst had happened. Perhaps she should try to believe that the Overlord was merely doing the responsible thing – the responsible thing he had failed to do before – but again she wondered. It was too soon to tie an Heir to the present Circle; Willowlands was still too precarious. However necessary an Heir was, forcing him upon them now would unbalance it further. Would the next thing be that she was obliged to take an apprentice? She had no energy for the binding that would entail. Leaving aside that she had nothing to teach one. Perhaps it was only her dislike of both Deager and Horuld that made her feel the agent was making it clear that Horuld was being introduced to Willowlands as the Heir only after he had made something else even more clear, if not in so many words: that the Overlord would like to see Horuld taking up this inheritance soon. She was too quick to feel she needed to defend the Master, she told herself. But what she had taken from the agent’s description of Horuld’s bloodlines was that if he was the best that could be done for her poor demesne, the Overlord should be straining every muscle to support the present Master. Did the Overlord want to break Willowlands entirely? Surely not. The disruption would damage the Overlord’s grip too†¦no. He would be counting on riding it out; might he, more, be betting on the huge increase of his own power the successful changeover would produce? She knew almost nothing of the politics among Overlords. Demesne folk did not travel to the crown city nor visit the court of the king; and as practising Chalice she was furthermore indissolubly tied to her land. But whatever else she knew or thought of the Grand Seneschal, he would not have kept such a piece of news as a visit from the Heir from the rest of the Circle; and Deager glossed, or slithered, over the question of why Willowlands had not known who was coming with him, which made it plain that there had been no message that had gone awry. She had mixed the cup she would offer to the company before she came. She had mixed it for the visit from the Overlord’s agent, and that was all. That was how it was done; that was why it was important that a Chalice know in advance who would drink from her cup, and for what reasons. Last-minute changes were destabilising, which was why battlefield cups, which were perforce rare, were also notoriously volatile. It should not have been a good omen, that a Master’s Heir should be left out of the first cup he received from the Chalice. Perhaps the Overlord, or some other of his plotters, had decided that being left out was better than a Chalice throwing her weight against him, which a loyal Chalice might be suspected of doing upon the presentation of any outblood Heir. Chalices were parochial by definition; of all the Circle, only the Chalice could not set foot across her demesne’s boundaries. Some of the oldest records called the Chalice the Landtied – and because of this literal overidentification, the Chalice’s response to outbloodedness in any member of the Circle was considered crucial. This perhaps explained why Horuld was interested – indeed eager – to talk to her. Perhaps she could be disposed to include him kindly in her mixture for his next visit, after he had been careful to make a good first impression. She would not need to be disloyal. An y Master’s Heir was an important part in the demesne structure; most accepted Heirs attended at least some Circle gatherings; and under the present circumstances the only possible Heir was an outblood. A Chalice must at least punctiliously include her Master’s Heir in any cup he was present for; of course it would be better if she felt at least benign toward him, or even generous. But she did not feel benign or generous. She listened, smooth-faced, when the agent pronounced some blather about how the surprise of presenting Horuld unannounced would create â€Å"clarity† in an awkward situation; that he would be more able to see where he would best fit into difficult circumstances if no one was trying to soften the truth. She knew that a properly schooled Chalice would have some matching blather to offer in return, but she was not a properly schooled Chalice, and it gave her a little meagre pleasure that her silence discomfited the agent, and by his discomfiture he exposed that he knew his action had been dishonourable. Did she loathe Horuld because Deager was a toad? No. Sunbrightener was a toad, and his antics merely made her feel tired and sad. Or because the Chalice was repelled by outbloodedness? She looked at Horuld and every particle of her recoiled. No. She bore the Chalice, she was not engulfed by it. Mirasol had arrived a little late at the House for the meeting with Deager. Just as she was leaving her cottage a young mother had burst into the meadow carrying a wildly weeping child. Mirasol knew them, Kenti and her daughter Tis; they were neighbours. Tis had pulled a kettle of boiling water over. Fortunately it had only been half full, but the child still had a badly burned arm; and the local herbswoman, Catu, was gone to a lying-in, Kenti did not know where. Mirasol hadn’t spoken to Kenti or her husband Danel properly since she had become Chalice, in spite of the fact that Danel and she had grown up together; she had been jealous when he had been apprenticed to a ploughman, for the horses. Kenti said breathlessly, â€Å"Can you do anything? Can you help?† Her eyes went to the back of Mirasol’s right hand, which was holding the edges of her cloak together over the cup of congruence in her left hand, and then hastily rose to Mirasol’s face. But she couldn’t meet the Chalice’s eyes the way she had many times met Mirasol’s, and they dropped away again. Poor Tis was weeping in a miserable, exhausted way that was painful to hear. Mirasol brought them into the cottage and took down a small pot of the honey especially good for burns and smeared it carefully over Tis’ arm. The little girl cried out at the first touch but by the time Mirasol had finished she had fallen silent, and leant back against her mother’s body staring at Mirasol with huge still-wet eyes. Even as Mirasol looked back at her the eyelids drooped, and Tis was asleep. And then Kenti burst into tears. Mirasol led her to the big soft chair by the fireplace where Mirasol did much of her reading and let her collapse. â€Å"It was my own carelessness – I know what she’s like – I let myself be distracted – it was only a moment – and then I heard her scream – and I knew Catu was away – I didn’t know what to do – it was awful† and then she couldn’t say anything for a while. Mirasol made a tisane – a spoonful of her soothing honey with a spoonful of the calming herbs she’d had from Catu herself; in the early months of her Chalicehood she’d drunk it by the bucketful. When she brought a cup to Kenti, Kenti laid Tis tenderly down beside her on the chair, sticky arm uppermost, and took it. She breathed in the steam and gave a little half laugh: she recognised Catu’s mixture. â€Å"I’ve used honey for littler wounds – your mother taught me that when I wasn’t much older than Tis – but this one was so dreadful. And then I remembered – I remembered your hand. I thought, if your – if the Chalice’s honey can cure what a Fire-priest can do, then perhaps it can cure Tis’ arm.† Mirasol said gently, â€Å"The Master cured my hand.† â€Å"He – ?† said Kenti unbelievingly, and Mirasol saw the fear in her face, the same fear she saw in the Housemen’s faces before they bent nearer their Master to slide the chair under him as he sat down; the fear she saw in the faces of most of the others of the Circle when their part in a rite brought them too close to him – the fear of him that made the Master leave the burnt grove before any of his people saw him there. â€Å"Yes. He.† She wanted to say, Tell Danel. Tell your mother. Tell all your friends. But she watched Kenti’s face and knew that she would tell the story – if she believed it. Kenti’s face said that she wanted to believe it – she wanted that hope, not only for herself, but for her demesne. Kenti sat looking at her daughter for a long moment and then said wonderingly, â€Å"Look – the mark is already fading. Your mother’s honey could not have done so much so quickly. It is the Chalice in you, I know, but perhaps – perhaps – perhaps it is also that we have a Fire-priest for Master†¦.† Her voice had sunk to a whisper. Mirasol was still thinking about the hope in Kenti’s face when she walked up to the House. She knew she was late, but it was only Deager, the agent, coming for a – snoop, she thought uncharitably. Overlords’ agents were supposed to visit their Overlords’ demesnes, but she didn’t like the way Deager’s nose twitched, the way his eyes darted around, as if he were hoping to smell something rotten, to see someone doing something illicit or disgraceful. And then she arrived, and there was a surprising number of people churning around in the big hall behind the front doors, and a youngish, weaselly-faced man she had never seen before standing a little too close to Deager’s elbow. The situation was uncomfortable enough to begin with, when it was only Deager and Horuld, herself and the Grand Seneschal and the Seneschal’s apprentice Bringad, and four of the minor Circle (the others were hastily sent for when Horuld was revealed as the Heir) plus the attendants the visitors brought and their own Housefolk. As the word spread about Horuld, more and more people streamed in, and both the noise and the tension level, it seemed to Mirasol, rose, and the ever-worried Bringad looked more worried than she had ever seen him. But when the Master arrived†¦she did not know how to understand it, explain it, even to herself. It was as if the level ground tipped a little in one direction and the high curving sky changed its arc just a little in some other direction. A Master was not expected to greet a mere agent on his arrival; the Grand Seneschal did that. But as the representative of his Overlord, a Master would be churlish as well as foolish not to see him at some point during his visit. She assumed the Grand Seneschal had despatched a message to the Master about Deager’s unexpected companion; it was impossible to read any trace of surprise or disquiet on the Master’s shadowy black and strangely mutable face when he made his entrance. Mirasol heard with what was beginning to be a familiar sinking of the heart the conversation falter and then stop as he was noticed, before the head Houseman announced him. Perhaps all Masters are greeted with a respectful hush, but she doubted that most demesne folk drew together as if for protection when their Master appeared. When Deager (his voice positively quavering as he addressed the Master) described Horuld as the Overlord’s candidate for Heir, the Master merely bowed his head. There was a disagreeable pause, and then the agent rushed to begin telling Horuld’s bloodlines over again, speaking too loudly and too quickly, and at first forgetting his flourishes. But when a Master has no son nor other suitable close relative, the meeting between the Master and the Master’s newly declared Heir was as laboriously and ponderously formal as centuries of tradition could make it, including, in this case, the tradition that an unexpected situation should be treated even more formally than the same situation when everyone knew what was happening. The Grand Seneschal managed to insert an orotund phrase or two (rather like a pole through the spokes of a wheel, Mirasol thought) into the agent’s barrage of genealogy, which had a steadying effect. When Deager finally fell silent, his concl uding bow was as elaborate as if he were being presented to the king. But Mirasol found herself thinking that the Master had bowed his head so very ceremoniously indeed that perhaps he had somehow known of Horuld’s coming before the message from the Grand Seneschal. Most of the initial gestures among any group that required the presence of the Chalice were stylised, just as her offering of the cup was, but during Horuld’s first visit to Willowlands they all seemed to move as if they were puppets in a puppet show, their limbs made of wood, the pulling of their strings performed by a puppeteer. If there had been an audience Mirasol felt they would not have found the performance convincing. Although Deager had insisted in a manner that was obviously meant to be magnificent but came over as merely presumptuous, that this first informal meeting with the Heir should proceed as it would have if Horuld had not been there, this was not possible, as Deager would have known it was not possible. Furthermore any meeting involving the Circle to which the Chalice stood should be precise about the number of people present, the number of people who would be offered the Chalice’s cup – which Deager would also know. And the Willowlands folk were doubtless awkward with surprise. They had known an Heir would be chosen, and Mirasol had held Chalice during the gathering when the Master had acceded to the Overlord’s wish, as presented by Deager, that the Overlord do the choosing. But that had only been a few weeks ago, and they had heard nothing of the progress of the search. She had begun reading about the meeting of a Master with an unknown Heir, so she knew that if it had been a proper meeting she should offer her cup first to the Master and second to the Heir. After a moment’s invisible dithering behind the face she tried hard to keep in an expressionless Chalice mask she did so anyway: let Deager assume this was a manifestation of magnanimity and support; she considered it buying time. The contrast between the Master and an ordinary human had never been so marked, she thought, as between the Master and his Heir when she took the cup from one and offered it to the other. She had directed them to stand on either side of her – which would also have been the correct form for a planned first meeting between the two of them: she could see Deager smiling with satisfaction, but she ignored him. The Master seemed to tower over her, and his natural heat, as she stood close enough to him to hold a cup to his lips, wrapped itself around her as if claiming her – and briefly and disconcertingly she remembered riding home with him after the fire in the Onora Grove. Horuld, who was no more than average size, seemed puny and frail in comparison; and the fact that he was obviously struggling not to flinch away from the Master added to this impression of weakness. She might have helped him, as she often helped the Circle members who were still reluctant to approach the Master, by stepping toward him, by allowing him to maintain a greater distance; but she did not. She offered the cup to the Master with a bent arm, and then turned and offered the cup to Horuld, again with a bent arm, and waited, forcing him to step close, not only to her, but to the Master. He did not try to take the cup from her, but he did raise a hand to grasp it, and she could feel him trembling. There were beads of sweat on his upper lip which she doubted were only from the heat. Before she took the cup on to Deager and the rest of the Circle, she bowed, to the Master, and then to Horuld. The Master must receive the deeper bow, of course, but the Heir might have had one nearly as deep; her bow to the Heir was only enough more than perfunctory not to be offensive. She let her gaze pass as if carelessly over Deager, and saw that he had stopped smiling. She could feel, before she had got halfway round the Circle, that it was not a good binding. When she made her final bow it was almost difficult to stand upright again, and she was exhausted. She had to make a great effort to meet the eyes of Horuld and Deager; the Grand Seneschal’s eyes looked glassy and unfocused, and the Master’s were as unfathomable as they had been the first day, when his hand had slipped and burnt her, and his face was only blurred shadows. She tried to remember the sudden surprising joy of his healing of her hand, of talking to him about what he saw, about her bees being tiny golden sparks in his strange vision – of the night that she had helped him put out the fire in Onora Grove, and the ride home after. But she remembered these things as she might remember something out of a book, a story told of someone else. Even if, by some extraordinary accident, the Chalice had not known beforehand all those who would drink, a well-mixed cup should have had a more positive effect than this. Perhaps she had mixed it injudiciously; that was likeliest. Even without his bringing an unannounced Heir, her dislike of Deager made it onerous for her to mix a cup that she would have to offer to him. But even if a more experienced Chalice might have done better, it was still true that introducing an Heir without proper advance warning was like throwing a boulder on one side of a delicate scales and expecting them still to balance. But perhaps the lack of binding and balance in this gathering was because Horuld was wrong†¦wrong for the demesne, wrong as Heir, wrong even to be here. It had been known in the past that an outblood Heir was rejected by the demesne, however carefully the humans had tried to make the best choice. Perhaps the Overlord had overplayed his game by giving the Master and his Chalice no forewarning that the Overlord’s choice was coming to be introduced to his hoped-for inheritance. By the end of the day, when she could leave the House and make her way back to her cottage, she was shaking and sick. She pulled her hood over her head and held it bunched round her throat with her hands, feeling that what she really wanted to do was disappear: if she wrapped the ends of her cloak around her tightly enough and then tighter still, eventually there would be no one left inside†¦. Usually the gentle thumping of the empty Chalice cup against her hip was comforting: another ritual got through. Today it was not; she felt that she – they – Willowlands had indeed not got through the ritual of the introduction of the Heir. She concentrated on the thought of sitting in the last of the daylight in the clearing by the cottage, listening to her bees. She was still ten minutes’ walk from the cottage when some of her bees came to meet her. She stretched out her arms to them and they landed on her hands and forearms, stroking her skin as if the tiny hairs were sepals they expected to secrete nectar for them. She shook her hood back, and several landed on her face and neck; out of the corners of her eyes she could see more landing on her shoulders. As she walked the last few minutes to the cottage she found herself thinking that her head felt strangely heavy, and that the hum of the bees was unusually loud; and then when she came out of the tree-shadowed path into the sunny clearing around the cottage she saw a great cloud of bees lifting away from her and dispersing, and she realised that she had been wearing a hood and cloak of bees. She watched them scatter about their proper bee business, and wondered. Horuld came twice more in the next few weeks with Deager, and then a third time he came alone. When he came with Deager their visits were announced in advance; but now as the acknowledged Heir, he might come as he pleased – and stay as he pleased. She was in the House library when he came that third time, and the first warning she had was a shadow falling across the open door; she was deep into her research and would not have noticed, except that a half-familiar voice said, â€Å"Chalice,† and her body had recoiled before her mind had recognised who it was. She turned the recoil, she hoped, into a mere startle, and stood up at once to make a ceremonial sign of greeting, saying, â€Å"Forgive me, my mind was lost in what I was doing.† He said smoothly, â€Å"And I have interrupted you; forgive me.† She bowed her head and waited, hoping his appearance was a formal signal only and that he had no business with her. The demesne’s folk were growing used to their new Chalice, and they were now coming to her more and more; this was a relief in some ways, and she knew she must be grateful for the good this was doing Willowlands, but she often had to put aside what other work she had planned on doing. She had fled to the House library today and was hastily reading up on the behaviour toward and reception of outblood Heirs. Part of her problem, she thought, as she had thought many times since the Chalice had come to her, was that she was not by nature a formal sort of person; she found that side of the duties of the Chalice so difficult as sometimes to feel incompatible with her private self. She wondered if this was anything like trying to live in the human world when you were a priest of Fire.