The Eisenstein And Architectural Montage Film Studies Essay

The Eisenstein And Architectural Montage Film Studies Essay From a lump of clay a vessel is made, what makes it useful is space within the vessel, for a room, we make doors and a window, but what makes a room habitable is the empty space, so while theres advantages in the tangible, it is in the intangible that theres use.  [1]   Lao Tzu, Tao Te Ching, c.550 BC Tzu describes a space which is not empty but which is a gap, a gap which is waiting to be transformed by experience. These spatial gaps are inherent in fragmentation. In his book Actions of Architecture, Jonathan Hill focusses on these spatial gaps and discusses the Chora L. Works by Jacques Derrida and Peter Eisenman. The book is split into three sections. It doesnt start at the beginning nor does it end at the end. The first and last sections are penetrated by nine holes whilst the middle section has only conceptual holes. Hill states the intention of this was to convey that the absence of a section doesnt mean the absence of meaning. In the book, Eisenmann and Derrida declare that solid and voids are architectural representations of presence and absence. Voids have as much of a presence as solids in the book, as users can fill in missing words with their own meaning. Montage: In Actions of Architecture, Jonathan Hill discusses the use of montage in architecture. He uses Alvar Aaltos Sanatorium and Le Corbusiers 1931 rooftop apartments for Charles de Beistegui as examples of buildings where montage was used as a strategy for architectural composition. In Aaltos Sanatorium, montage is used as a strategy to join two dissimilar aspects of the building which have no connection expect for being adjacent to each other. Aalto achieved this by utilizing two distinct fragments.  [2]   In Le Corbusiers rooftop apartments, the architect departs from his traditionally rational design approach. Various surfaces of the apartment are juxtaposed with elements of the surrounding city. Important fragments of the city are isolated from the rest of the urban context below with the use of high walls surrounding the perimeter of the terrace. By doing this, Le Corbusier twinned the fireplace with the Arc de Triomphe in the far distance. The architect revealed selected views of the city with sliding walls. A periscope in the centre was the only means by which the entire city could be seen as a spectacle.  [3]   Space Between: Hill explains montage as a spatial exercise where fragments are brought from other sites to a new location while maintaining to some extent the essence of the older location. He uses film to explain this. In film, we perceive fragments through the arrangement of components. In Baldessaris artwork, the artist claims the process is as important as the final result. He juxtaposes unrelated components as he opposes the predictability and linearity of film.  [4]   Jose Quetglas suggests that Mies is concerned with the creation of visual perspective that acts as a guide to movement.  [5]  A Miesian plan is primarily concerned with compositional aspects of perspective painting than that of the anti-perspective intentions of the De Stijl. Jonathan Jones, a researcher at the Applied Visual Research Unity in Derby University found that according to his research, it is impossible to comprehend a painting in its entirety at once. A single glance is not sufficient to take in everything. Visual perception is fragmentary in nature. Our visual field is quite small so to focus on objects results in the background becoming blurred. Similarly in a film by a montage director, the world is viewed through a series of glances.  [6]   While designing the Barcelona Pavilion, Mies drew an axial line over and over from which he measured asymmetries against.  [7]  Mies orientated the Pavilion along an East West axis. Through termination of axis and spaces, movement was diverted. Mies used this technique to formulate movement sequences. Zimmerman states movement flows on the outer of planes in contrast to the delimiting floor and ceiling planes.  [8]  Mies contrasts symmetry and asymmetry and slices space with elements of the building which is characteristic of postmodernism.  [9]   In his book Neoclassicism Architecture Rowe analyses the work of Mies. He states the centre is diminished by the international style and emphasis is placed on dispersion along the axis in which Mies creates a composition of balanced symmetry.  [10]  The Pavilion is an example of decomposition of a volume which is deconstructed into individual planes. Through Mies Pavilion we see a focus on multiple viewing positions as opposed to a single perspective of the classic. The positions of internal walls are determined by the use of triangulated lines. Mies aligns corners and end points of planes using this technique.  [11]  His attention was divided between the fragmentation of the space and the integration of visual perception through this method. The image was fragmented by The Cubist Art Movement which created multiple points of view. As discussed, in Mies Pavilion we see a shift from centrality, abstractions of geometries and facades with frontal relations.  [12]  Buildings such as this cannot be experienced or understood from a static position. Cinema Montage is composition and the assembly of movement images. This comprises an image of time.  [13]  These parts succeed each other creating a parallel alternate montage. Eisenstein criticises Griffith for what he see as the juxtaposition of parts and not a unity of production. A cell, which makes its own part by division and differentiation. Eisenstein agrees with Griffiths idea of an organic composition as an assembly of movement images to the transformed situation through the transcendence of opposition.  [14]   Deleuze investigates cinema in terms of movement, the philosophical and the technical. Movement informs our understanding of the formation of worlds in terms of the types of information it selects and generates as new forms. Deleuze discusses cinema in terms of framing the movement image. In a relatively closed system; framing, type of shot and cut are the vital aspects for the films quality creating what he calls a set of values.  [15]  The speed and rhythm of the shots affects the image. Cinema Montage: Dleuze looks at four schools of montage. American, French, German and Soviet. Deleuze situates montage in the relation the movement of time. In the Deleuzian system, montage is the determination of the whole of the image, achieved through the techniques of cutting and creating continuities. Montaged images creates sets of images. Montage creates movement which in turn produces specific modes of time that are not fixed but events that are contextually reproduced over the passage of chronometric time. He regards montage as the coming together of images to create a whole whose final form is in movement. He refers to the work of Bob Dylan as an example of the long preparation for creating work. To him things are made after an encounter with other things, people but also with after encounters with movement, other ideas, events, entities. Cinema is comprised of a number of different kinds of images, Deleuze calls this image- assemblage montage. Through connections as of yet un-thought, un-named, but intuited through things already manifested in forms and the performance of those intuited spaces. Montage makes possibilities take new forms. Eisenstein: Architectural Montage. For Eisenstein, a relentless vertigo is determined from the architectural forms interacting with each other. Eisenstein intention was for architectural representations of space to explode into successive stages of montage from decomposition to recomposition as though it were an array of shots. From this, Eisenstein claimed the principles of montage are embodied by architecture. In Montage and Architecture by Eisenstein, he sets out this theory. Two paths of spatial perspectives are contrasted, where the viewer follows an imaginary line created among a series of objects. Varying positions moving in front of a spectator and the architectural, where, the viewer moves through an array of carefully positioned elements which he has viewed in order with a visual sense. Eisenstein claims that the perspective path of the Acropolis constructed by Auguste Choisy depicts composition of the site.  [16]  He asks the reader to view it with the eye of a film maker. Eisenstein claims there are carefully sequenced perspectives here. He suggests that there is a relationship between the viewers pace of movement and the rhythm of the buildings. To him, Choisy has set up a combination of a film shot effect, producing new impressions from each new emerging shot. This creates according to Eisenstein a montage effect, where effect is gained from sequential juxtaposition of these shots. In the movie street Eisenstein shows his interest of cause and effect as a notion of movement. Shots are decomposed and recomposed. Architectural composition is compared to cinematic montage by Eisenstein in an essay on two Piranesi engravings for the early and late states of the Carceri series. The flux of form which contains the potential to explode into a series of successive states Eisensteins theory of space constructions depicted new ideas of architecture as frozen music. Eisenstein compared the basis of architectural composition, massing and the establishment of rhythmic elements to that of music, painting and cinematic montages. Montage: As Frozen Music In The Culture of Fragments Gianmarco Vergani puts forward a proposition for the unification of interdisciplinary arts to create an original art form. This is an area which offers a depth of experimentation. According to the author, the merging of architecture and music can be achieved through two principles, synchronic and diachronic expression.  [17]  He terms music as a diachronic art form as it is derived from change and continuous transformations in time. Architecture on the other hand, is synchronic, it a fixed medium consisting of structure and volumetric elements. This leads to two methodologies by which to create architecture through music. First, music must be reduced to its architectonic dimensions outside of time. Music is then seen as a synchronic structure in which it can be applied to architecture. In the diachronic approach, architecture unfolds through time. Space is read sequentially in time increments and is experienced through the observers movement.  [18]  This is a reversal of positions as the observer is required to move in order to experience the architectural composition unlike the listening of music where the observer remains static whilst enveloped in music. Relationships are formed between the two elements. The author proposes that in music; tone timbre, pitch, dynamics and duration can be extracted while in architecture; texture, material, light, colour, scale. These can be transposed into architectural spaces. In music the pitch is transposed into colour, tones and timbres are transposed into textures and materials. The dynamics of a piece of music can be read as contradiction and increasing scale.  [19]   However, he does claim some limitations in this methodology. He states the art form is not truly fluid or dynamic as it can only become such through the participation of the observer. Architecture is static; representing time in this medium cannot be fully executed. The author proposes that a truly diachronic visualization of music is needed. Folding In Folding in Architecture Greg Lynn declares the importance of defining compositional complexity in architecture. Gregg seeks a progression from the collage aesthetics of Robert Venturis Complexity Contradiction in Architecture and the spatial collage of Deconstructivist Architecture. Greg terms Intricacy as a fusion of components into a continuity creating a whole in which the various elements form a larger composition.  [20]   According to the author, this intricacy is unlike compartmentalisation or hierarchy. Instead it is the variation of components. He aims for the term to move from an understanding of detail in architecture as an isolated component. What is proposed is an architectural system where there are no details in the traditional sense. Instead the detail is everywhere continuously variegated throughout the whole. As mentioned in previous chapters, the loss of structure to Greg was in favour of an infinitesimal component and displacement of a fragmentary collage.  [21]   The infinitesimal is a fragmentary approach to form. It is based on the slipping between single frames and interconnections. From a distance the form possess similarity and in a coherence of detail between varying elements that compromise the structure. According to the author, the composition of the intricate is organic, in that every component interacts and communicates simultaneously. Every instance is affected by every other instance. The outside is not a fixed limit but a moving matter animated by peristaltic movements, folds and foldings that together make up an inside: they are not something other than the outside, but precisely the inside of the outside. Deleuze Foucault p.96-97 Le Pli, the concept of the fold, is Deleuzes architectural philosophy. In which, the fold is seen as continuous multiplicity of differentiation Thus a continuous labyrinth is not a line dissolving into independent points, as flowing sand might dissolve into grains, but resembles a sheet of paper divided into infinite folds or separated into bending movements, each one determined by the consistent or conspiring surroundingà ¢Ã¢â€š ¬Ã‚ ¦ A fold is always folded within a fold, like a cavern in a cavern. The unit of matter, the smallest element of the labyrinth, is the fold, not the point which is never a part, but a simple extremity of the line.  [22]   The fold is the integration of elements that are unrelated into a continuous form. Deleuzes philosophy of the fold offers continuity and variation in the development of a form. To him the form is the conclusion and the process. The Inflection as Delezue describes is the point at which a curve begin to form as either convex or concave. Inflection is the ideal genetic element of the variable curve or fold. The essence of a fold is the temporal nature in which it develops from the inflection to its subsequent position. A memory is maintained of its previous position.  [23]   to unfold is to increase, to grow; whereas to fold is to diminish, to reduce, to withdraw into the recesses of a world.  [24]   An example of this can be viewed in Origami. The folds of which shift from enfolding, unfolding to enveloping. After the first fold, the context begins to reduce in size. The form is unpredictable, after each fold the shapes from the previous fold cease to exist. According to the author, in this instance memory can be enacted through unfolding. A variation of this is Kirigami. The continuity of the folds becomes obstructed by cuts in the fold. This demonstrates conflict and contradiction instead of smoothness and continuity. The folds in origami act as bounding agents between other folds, in Kirigami when a conflict arises, the folds deviate from their continuity and exhibit but not resolve the occurring confliction. In this way, Origami is like folding architecture seeking to realize conflict and contradiction whereas Kirigami is similar to Deconstructivist architecture, it exhibits them. According to Deleuze, multiple is not many parts. It is something that has been folded in many ways. This becomes a unity that envelopes a multiplicity.  [25]   As a by-product of the fold, form and context become surfaces with no distinct interiority or exteriority. The continuous nature of the fold implies a dialogue between time and environment. Case Studies: Montage Strategies Rem Koolhaas who had involvement in cinema as a scriptwriter conveys cinematographic image in some of his plans. In his proposal for the City Hall in The Hague, we see a transfer of the Manhattan skyline to the European City. The famous skyline which is seen so many times in film is utilized here as a movie set made into architecture. Koolhaas breaks down the overall volume into various slabs and uses a series of prisms of differing heights. From a distance, the effect appears like a series of skyscrapers compressed on a flattened image, as would be the view from the opposite side of the river in Manhattan. Since the latter decades of the 20thCentury, fragmentation has been a central issue in architecture. The many different guises of architecture today from postmodern, Deconstructivist and to all subsequent trends are based on fragmentation. A transcript of Rem Koolhaas and Sarah Whilings conversation is quite revealing in this aspect. as an entire object from the exterior of a building. That is what seems to unite the biggest project competitions from 1989 (Zeebrugge, ZKM and Bibliotheque). In some of the projects, the architectural language is quite unstable. The facades and the angles of Porto Case de Musica and Seattle are odd structures which no longer possess a unified identity. For the most parts these projects appear more decon now than they did as part of the 1988 Deconstructivist Exhibition.  [26]   For Koolhaas, the characteristic of Deconstructivism was not in the strange forms, but in the fragmentation. According to Koolhaas, each new building insisted on assembly and integration, the construction of a new whole, which may be unstable but which remains a single entity.  [27]  An example of this are the Seattle and Porto projects which have forms that cannot be recognized as regular geometric shapes but they have in their volume a unity of materials on the outside. In terms of metropolitan scale, Koolhaas has said, A city can obtain a coherence in its planned composition through a system of fragments.  [28]   This is evident in his large scale urban projects where he strives to achieve coherence. According to Koolhaas when a building gets beyond a certain size, it becomes a big building. The volume can no longer be articulated by one architectural gesture nor a combination of gestures. It is this which initiates the autonomy of its elements. This is not fragmentation as the elements remain committed to the overall building. To establish links between independent elements, Koolhaas relies on the programmatic hybridizations, frictions, overlaps, proximities and the superimpositions that are possible in a building of large scale. Montage itself was founded to organize relationships between independent elements. As Maholy-Nagy stated in 1929. The technique of montage is present as efficient in many fields of design. It can be found in methodology, in text, writings and in painting through collage.  [29]   In Soviet avant-garde cinema, Lev Kuleshovs idea of montage can be viewed as an analysis, a dissecting into parts, with the aim of reintegration or as he stated, Montage is a two way operation Montage is the basis of cinema. It enables us to fragment and to reconstruct and finally to remake the material.  [30]   Dualities: Koolhaas utilizes these methods of montage in the urban planning and architectural projects his office undertake. A dualism is present in his use of montage. A decomposition and a reintegration. For example, in Lille Congrexpo, there are three independent sections. The zenith, the conference and the expo which are all juxtaposed without any articulation as though the three sections had been cut from one complete form. The CCTV HQ project in Beijing can be viewed as a single skyscraper which has been divided up into six parts which contain functionally different divisions. In these examples the concept was to concentrate all the activity and program into a single system. The Hyper Building in Bangkok is an assemblage of a series of pieces that maintain their independence in the final building. This is both sculptural and architectural. The building was designed by Koolhaas as a veritable city that groups a vast array of programs together giving the essence of a hybrid building on an urban scale. According to Koolhaas, several buildings fuse together into a larger singular whole which brings together the coexistence of real space and cyberspace, of electronics and real facilities. To him the montage consists of material bodies and immaterial flows. Montage as a collision: Urban Complexity Koolhaas compares the work of an architect with the cinematic montage. Im certain the work of a screenwriter and the processes of an architect are methods based on editing, in creating programmatic, cinematographic or spatial sequence  [31]   The complexity of urban life such as infrastructural congestion is the central themes to many of Koolhaas projects. He highlights these elements through the collision of contrasting elements. As with Eisenstein  [32]  , this collision sometimes occurs at several scales in Koolhaas projects, from the urban scale down to the encounter between materials. The Kunsthal in Rotterdam is an example of this issue. The concept was a square with two routes crossing it. The collision between these routes gives rise to the project. These two infrastructures also cross over other collisions, crossing between ramps and staggered planes, and between these and the horizontal planes. A similar instance can be found in The Euraille project. A tower was placed over the TGV station, this solution was the symbol of infrastructural and programmatic congestion that characterized the architectural operation. Similarly with Eisensteins films, through collisions, the visual and mental conflict involved in this montage is what expresses the concept. In The Hague, a service tunnel comprising of a subway with a station at either end and two car parks with pedestrian entrances, was not designed by Koolhaas to resemble a tree like system. Instead it is a hybrid project, building and infrastructure. The different program elements interpenetrate spatially and form an assemblage in which the flow and the visuals are participants an altering but not segregated perception. The strategy utilized here is that of the montage in which collisions between constituent environments and elements give rise to a richer and clearer spatial experience. The Villa Savoye marked a high point in Le Corbusiers promenade architecturale As a critic explains The movement, in one sense, is more virtual than real, to progress through the building you must engage your imagination  [33]  and if entertainment is associated with the displacement of the viewer, then the house becomes the source of that entertainment. It does this by choreography; there is no fixed image but a series of overlapping images. This architectural effect is clearly associated with cinema  [34]   Sequences There are three relations in an architectural sequence. The first deals with the working method. Secondly, external relations where spaces are juxtaposed and thirdly the program. The mode by which architects traditionally draw implies a transformational sequence. Layers of transparent paper are placed on top of each other. Each has a variation around a theme. An open system of sequencing sees transformation through the addition of new elements which are juxtaposed according to criteria such as narrative or programmatic. However, not all architectural sequences are linear and comprised of spatial additions. Fragmented montages produce structure where meaning is found through order of experience rather than the order of the composition. Mies Pavilion as discussed in previous chapters is an example of this fragmentation of space. Its sequence is organised around a thematic structure and variations.

Japan - Breif History from WWII :: Japanese Japan History

Japan - Breif History from WWII INTRODUTION: Without a good history, no nation can ever be considered developed. It is the history that makes or breaks a country. Japans history is very unique. During and after WWII their country was in ruins - literally. All their previous allies had deserted them, they were alone and destroyed by the Americans, an unlikely ally. I will focus on the impacts that America had on Japan, and then how Japan got themselves to the title of "The Second Most Developed Country". WWII: In 1941 Japan station troops in Indo-China (Vietnam) after forming an alliance with Germany and Italy. The Americans did not approve of this, and cut off exports to Japan. Japan was not happy about this and attacked Pearl Harbor. Meanwhile Japan were also attacking Southern Asia, and expanded their land to the Great East Asia Co-Prosperity Sphere. The US declared war on Japan and were burning for revenge. In the coming years Japan was bombed heavily and were pushed back into their origonal land. Japans cities were being torn down. Then came the final blow, two atomic bombs were dropped on Japan, one in Hiroshima, the other in Nagasaki. Both of them combined killed an estimated 105,000 people. Japan finally surrendered. AFTERMATH: The Americans called "The Occupation" invaded Japan and made them give back all the land not owned by them before the war. Then, led by General Douglas MacArthur, they helped Japan do many things; write a new constitution that was fairer to everyone, Create a better trade union. Reform the educational system so it was no longer bias to nationalism. Finally they helped to rebuild industry and commerce. This was the most helpful to Japan because the US government gave the Japanese government thousands of millions of dollars. America rebuilt factories and industries with the latest levels of technology, better than their own pre-war factories. They gave them advice and encouragement. Between 1945 and 1950 MacArthur and the Occupation did what they could to rebuild the Japanese economy. It was as if the Americans felt sorry for the Japanese. Then in June 1950, as if on cue, the Korean war broke out and the UN needed goods and services from Japan.

Oedipul Complex In Sons And Lovers

Sigmund Freud introduced two theories, one is Oedipus complex and other is Electra complex. Sigmund Freud's theory, the Oedipus complex takes its name from the Greek play Oedipus Rex. In the play Oedipus is prophesied to murder his father, marry his mother and have sex with her and he does this unwittingly. The strong attraction of a child to the parent of the opposite sex and envy or jealous feelings toward the parent of the same sex that may be a source of adult personality disorder when unresolved. This attraction in a boy for mother is called Oedipus complex and The female version is called the Electra complex.D. H Lawrence was well aware of Freud's theory. In Sons and Lovers, D. H Lawrence uses the Oedipus complex as its base for exploring Paul's relationship with his mother. Paul is too much attracted to his mother and their love often borders on romantic desire. D. H Lawrence writes many times in the novel about their relation and they go beyond the bounds of conventional moth er son love. Paul hates his father and often fantasizes about his death and loves her mother and in this way he completes the Oedipus equation in the novel. D. H.Lawrence’s Sons and Lovers is the most reliable and remarkable example of Freud’s Oedipus complex in modern literature. Hu Junjie, a Freudian psychologist writes that Lawrence is one of the most original, realist and controversial English writers of the modern literature and twentieth century. The main theme of his writing was relationship between man and woman. His work Lady Chatterley’s Lover was rejected by his contemporary English society and it was based on theme if pornographic nature. However, in D. H Lawrence’s Sons and Lovers Oedipus complex is the dominant theme.The complex here chiefly moves around protagonist Paul and his mother’s dealings or relation. The Oedipus complex begins to appear in William and Paul is examplified in the relationship between their parents. The boys wit ness an unsuccessful & abusive marriage in which Walter Morel often comes home drunk after wasting the family’s income on gambling. He does not like meals in the presence of family. He abuses his Mrs. Boys notice all this and they begin to hate their father and be sympathetic and protective towards their mother. The children see their mother good and pure.She keeps her sons all to herself and sheltered from their father. In this way Gertrude Morel is unconsciously molding her sons into her desires, so with the passage of time they can take the place of her husband. No doubt their marriage was their own choice but now she is clearly unhappy in her marriage and now she tries to live vicariously through her sons. This is the basic motivation that allows the oedipal attachment to form in the two boys. William is the oldest and the mother’s favorite son. He does everything for her mother’s pleasure. He buys two egg cups from the fair for his mother.Sibling rivalry ex ists in the two brothers, William and Paul, as they compete for their mother’s love. Mrs. Morel does not like his female companions and becomes jealous and he finally moves to London. William’s this action of moving to London was his unconscious way of trying to break free from the oedipal attachment to his mother. In London, Mr. William meets a beautiful girl named Lily. They become closer friends but Mr. William is not happy and he has a misogynistic attitude towards her. It is very clear that Lily does not have the good qualities he sees in his mother and it angers and frustrates him.William shows classic symptoms of dissatisfaction. When Mr. William voices his dissatisfaction with Lily and his mother asks him to reconsider marrying her. He replies, †Oh well, I’ve gone too far to break it off now†. All these conflicted moments and feelings that William is experiencing are a sign of his apparent struggle to get rid himself of the oedipal complex th en William eventually gets sick and dies. After William’s death, Paul takes his place and becomes mother’s favorite. This action compels to think a person that she may thought of him as a suitor.This is proved when she accepts a bottle of perfume from him. She said â€Å"Pretty! † in an odd tone or in a curios way, Lawrence says, â€Å"Of a woman accepting a love-token†. When Paul reaches at the age of sixteen to twenty (adulthood), it is clear the Oedipus complex has taken him over (chapter 3). His relationship with his father is deformed and he becomes jealous of him. He hates his father too much and He even asks his mother not to sleep with the father anymore. Young Paul meets Miriam Leivers, he likes her and he is repeating the same misogynistic behavior like his brother William did with Lily.He thinks that he would be betraying his mother by loving her. But the idea that Paul is interested in someone other than his mother shows an attempt to break th e oedipal complex he has. But the mother foils this attempt by making him feel guilty for wanting to be with miss Miriam. She says, â€Å"I cannot bear it, I could let another woman, but not her. She’d leave me no room, not a bit of room. And I’ve never you know Paul, I’ve never had a husband, not really. † The mother exhibited the same behavior with William by being jealous of his female companions and is now being imposed on Paul.Gertrude Morel reinforces the Oedipus complex within Paul by suffocating him and in a elusive way asking him to replace her husband. Paul and Mariam’s relation now reduced to friendship. Paul has to repress his romantic feelings that he might have for her, so she will not replace his mother’s place. Later in the novel we come across that Paul does become physically intimate with Miriam but it is short-lived because Paul will not marry her. It also shows that Paul suffers from a fear of closeness and affair as he c ontinues to remain emotionally detached from Miriam.Paul, once again gives in to the oedipal attachment for his mother. Paul does have an affair with a married but separated woman named of Clara Dawes. In relation to Clara Paul allows himself to have this relationship because he is well aware that realistically this relationship can never go anywhere. Clara would never be divorced her husband. That’s why Clara is not a threat to Paul’s oedipal complex to his mother. There is no threat of her taking his mother’s place. Gertrude morel now becomes ill, she feels pain and Paul gives her morphine.But in the end he intentionally overdoses of morphine to her, which leads to her death and reduced her sufferings. This is a case of euthanasia, this action of killing his mother was a conscious way to reduce her sufferings but unconsciously he releases himself Oedipus complex once and for all. Paul, after her mother’s death, is devastated and alone. Much time has pas sed and Miriam still wants to be with Paul but he refuses. It means that even after his mother’s death he is still not free from his attachment to her mother because he chooses to be alone. Theunpleasant relationship with his mother is still present in Paul’s life. Conclusion: No doubt in the history of psychology a large number of thinkers are influenced by Freud’s view of sexuality. to some extend Some of his followers seem to create their work behind the establishment of Freudian sex theories. But these theories have been losing their appeal along with modernization of psychology. Joseph Jastrow a follower of Freud says that Freud’s Oedipus complex is an indecent and inadequate concept. It’s impossible to find any origin or root of this claim.After constant study we are able merely to know that it is nothing but a consequence of Freud’s imaginative psychoanalysis based on his personal supposition that lacks evidence. But we cannot put it aside that it is a biographical novel. D. H Lawrence loves her mother but not his father. If we come to the conclusion of Paul’s case, we find that his Oedipus complex and its causes are already clear to us. Paul grows in a bitter environment and he has not become a normal adult by getting over some problems. That is not only because of his mother’s abnormal maternity.There are many other reason; some problems with the parents, some with himself, some with his brothers, even some from the society and the mechanical civilization, all these lead to the family tragedy and distortion of personality and devastate people’s healthy development on spirits. Now we can realize and recognize that Paul’ relation with mother is the outcome of many unusual and abnormal causes which are partial, exceptional and individual rather than universal. We can say that it is not usual or natural for the people living in a healthy family and environment to have such anomalous and complex emotional problems.

Johannes Brahms Essays - 1760 Words

Johannes Brahms was a German Composer, Pianist and conductor of the 19th century or the Romantic period. He was one of the 3 B?s or the Big three: Bach, Beethoven and Brahms. Johannes was a very self-critic man he burned many of his pieces before he could get anyone?s opinion on them and he burned all of his compositions that he wrote before the age of 19. Johannes Brahms was born on Tuesday 7th may 1833, in the city of Hamburg the birthplace also of Mendelssohn. Johann Brahms was himself a musician, and played the double bass for a time at the Karl Schultze Theatre, and later in the Stadttheater orchestra. In 1847 Johannes attended a good Burgerschule (citizens? school), and in 1848 a better, that of one Hoffmann. When he was eight†¦show more content†¦When Johannes was in his tenth year he had made such remarkable progress that Cossel thought it best to secure a more advanced instructor. He was thus put under the care of Eduard Marxsen (Cossel?s own teacher), the royal music director at Altona, who took him unwillingly at first, but with whom he remained for a number of years. When he was eleven years of age Johannes made his first appearance as a pianist [at a private subscription concert in which his father also took part, given with the idea of collecting funds for his future education. He played the piano parts in a Mozart Quartet and in Beethoven?s Quintet for wind instruments and piano, with such success that a speculative impresario wished to engage him for a concert tour that was to take him as far as America. About the age of twelve he came entirely under the tuition of Marxsen, who, finding him incorrigible in his desire to improve compositions at the piano, soon began to teach him theory. But in order to be able to continue these lessons, it was imperative that he should earn at least part of his keep at home, where funds were always distressingly low, thus before he was fourteen he was obliged, for want of a more congenial occupation, to play the piano at sailor?s taverns and dancing saloons, often very late at night and always in a far from healthy atmosphere. On his return to Hamburg he ventured, on 21st September 1848, to give a concert on his own account for the firstShow MoreRelatedEssay on Johannes Brahms1739 Words   |  7 Pages Johannes Brahms was a German Composer, Pianist and conductor of the 19th century or the Romantic period. He was one of the 3 Bs or the Big three: Bach, Beethoven and Brahms. Johannes was a very self-critic man he burned many of his pieces before he could get anyones opinion on them and he burned all of his compositions that he wrote before the age of 19. Johannes Brahms was born on Tuesday 7th may 1833, in the city of Hamburg the birthplace also of Mendelssohn. Johann Brahms was himself a musicianRead MoreJohannes Brahms : Music Theory, Harmony, And Counterpoint851 Words   |  4 PagesChapter ONE - Johannes Brahms Biography Johannes Brahms was born in Hamburg, Germany. His birthdate is May7, 1833. He died on April 3, 1897. He died in Vienna, Austria. He studied piano at the age of seven under F.W. Cossel. He then became a student to Eduard Marxsen. At his teenage years he helped his family earn money by playing in inns. Every once in awhile he would give recitals. Johannes Brahms played many instruments. The instruments he played were the piano and bass. Brahms also played theRead MoreThe Music of Johannes Brahms and Frederic Chopin611 Words   |  3 Pagesï » ¿The Music of Johannes Brahms and Frederic Chopin Johannes Brahms and Frederic Chopin were two of the most significant and influential musicians of the Romantic era, which extended from approximately 1820 until 1900. Romantic music built on the ideas that were developed in the preceding era, the Classical era, and had even greater ranges of tone color, dynamics and pitch, as well as greater emphasis on dramatic, unstable chords (Kamien 1998, p. 210). Chopin, who only lived thirty-nine years,Read MoreAntonin Dvorak was a Pariotic, Classical Music Composer803 Words   |  3 PagesAnna Cermakova in the November of 1873, and was happily married for the rest of his life to her (Encyclopedia Britannica). Performing all over Prague, eventually Dvorak’s incredible work was discovered by the famed composer Johannes Brahms, who recommended Dvorak to Brahms’ publisher Simrock. Simrock took to liking Dvorak’s works so much, that he agreed to publish works like the Moravian Duets in 1876, and the Slavonic Dances in 1878. These works were key in making Dvorak’s popularity spread worldwideRead MoreThe Most Important Composers Of The Nineteenth Century883 Words   |  4 Pages Johannes Brahms was one of the most important composers of the nineteenth century. Although he is forever enshrined in music history as one of the three B’s (Along with Beethoven, and Bach), Brahms’ contribution to the musical world is far greater than just the letter B. (â€Å"Self Confidence† par. 9) From his works in orchestral music (such as his four symphonies, and concertos) to his piano, chamber, and choral music, all of these have had a meaningful impact the world of music, both in the nineteenthRead MoreBrahms Intermezzo No.3, Op.119 in C Major Analysis8658 Words   |  35 Pages9/29/12 MTO 13.3: Ricci, The Progress of a Motive in Brahms s Intermezzo op. 119, no. 3 Volume 13, Number 3, September 2007 Copyright  © 2007 Society for Music Theory Adam Ricci* The Progress of a Motive in Brahms’s Intermezzo op. 119, no. 3* ABSTRACT: Brahms’s Intermezzo op. 119, no. 3 is structured around a motive with two components—one melodic, one harmonic—that operate sometimes separately and sometimes together. The global harmonic trajectory of the piece is embodied in the combinationRead MoreRomantic Music Period621 Words   |  2 Pagesmusic, one will see how things changed from the previous Classical period. Many of the great, famed musicians now known today lived during the Romantic period. Some of the better known names included Rossini, Mendelssohn, Tchaikovsky, Chopin, and Brahms. Gioachino Rossini, known for his piece, The Barber of Seville, excelled in operas. His overtures grew to be extremely popular pieces as well and are still played to this day. Felix Mendelssohn started his career early in life and grew famous offRead MoreThe Performance Of Classical Music1749 Words   |  7 Pagesmusicians seemed like they were equal to us. There were three different pieces composed by three different composers at the concert I attended. They were The Fantasy Pieces, Opus 73 by Robert Schumann, Capriccio in C-Sharp Minor Op.76 No. 5 by Johannes Brahms and Sonata in A Minor Op. 36 by Edvard Grieg. These three composers were alive all around the same time and they wrote their music in the romantic period. Many might think during the nineteenth century concerts would only have one composer’s musicRead MoreBrahms First Symphony, An Angelic Alliance Of Flutes Essay1053 Words   |  5 PagesIn Johannes Brahms’ first symphony, an angelic alliance of flutes hypnotizes the audience with delicate notes that form a scenic melody. In the distance, I am blowing until my face turns blue into a large goofy instrument that hardly anyone notices. When I picked up the tuba during my junior year of high school, I quickly became accustomed to less glamorous musical parts, long notes of loosely buzzing lips, and pages of par amount silence. Worst of all, playing the tuba never quite made me a â€Å"ladies’Read MoreFemale Composers And Performers Were Not Very Common899 Words   |  4 PagesRobert died, Clara found comfort in her good friend Johannes Brahms. Johannes was one of Clara’s friends that had visited Robert in the hospital when he was sick. Johannes had feelings for Clara, but Clara did not have feeling for him. They never became anything more than friends, despite all the rumors that had been spread about the two. Johannes was a very big help to Clara after Robert passed away. He made touring possible again for Clara. Johannes helped with chores around the house, and taking care

marx and carnegie - 1126 Words

My Ma English 1A Prof. James Click 2-19-2014 The Problem of Rich and Poor For centuries, many philosophers have discussed the issue of class struggle. Karl Marx and Andrew Carnegie both developed theories of the unequal distribution of wealth a long time ago; however the only Carnegie’s ideology could apply to American society today. In â€Å"The Communist Manifesto†, Marx first introduces the two main social classes: bourgeois (the upper class) and proletarians (the lower class or working class). He points out the revolution of industrialism has made changes of Capitalism to Communism. He suggests that the rich should redistribute property evenly because the proletarians have put a lot effort contributing in the†¦show more content†¦He illustrates, â€Å"Of every thousand dollars spent in so-called charity to-day, it is probable that $950 is unwisely spent; so spent, indeed, as to produce the very evils which it proposes to mitigate or cure† (494). In the Communism and Individualism, Marx and Carnegie passionately contrast against each other’s ideologies. In Marx’s perspective, the wealthy doesn’t seem to consider the effort of laborers so there is an inequality gap between two social classes. However, Carnegie strongly refuses Communism because he believes Communism only work on theory but not in reality. He asserts that through Communism, people expect to be treated the same, so it maybe lead them to do nothing better for their lives and society. On the other hand, Carnegie explains the concept of Individualism can promote independence and enhance good communication between two separate social groups. He adds, â€Å"Not evil, but good, has come to the race from the accumulation of wealth by those who have the ability and energy that produce it† (488). It means people work hard individually can achieve good education and as well to have a better chance to develop their standard lives. Nevertheless, Marx is also against Carnegie’s perspective. Marx proved that Communism promoted equality among individuals, creating a mutual agreement in regards to moral standards.Show MoreRelatedKarl Marx, Adam Smith, And Andrew Carnegie1350 Words   |  6 PagesWeber Section #62 20th Cent. World History Fall 2015 Karl Marx, Adam Smith, and Andrew Carnegie The writings of Karl Marx, Adam Smith, and Andrew Carnegie all made significant impacts in society not only in their time, but continuing to this day. Marx shared is opinions on capitalism and his views of the progression of human society in his writing, The Communist Manifesto which he wrote with Friedrich Engles and published in 1848. Marx believed in the idea of a society with no capitalism and theRead MoreKarl Marx and Andrew Carnegie Compare and Contrast1025 Words   |  5 PagesExpository Essay #2 Compare and Contrast Essay: During the nineteenth century, Karl Marx and Andrew Carnegie had definite opinions about the affects of industrialization on society. A greater understanding of their views on history and humanity can be gained by comparing and contrasting two written artifacts: The Communist Manifesto and â€Å"Wealth.† In 1848, Marx, a German philosopher, wrote a supposedly scientific account of his perspective on history entitled The Communist Manifesto. As a materialistRead MoreThe Writings Of Karl Marx, Adam Smith, And Andrew Carnegie1331 Words   |  6 PagesThe writings of Karl Marx, Adam Smith, and Andrew Carnegie all made significant impacts in society not only in their time, but continuing to this day. Marx shared is opinions on capitalism and his views of the progression of human society in his writing, The Communist Manifesto which he wrote with Friedrich Engles and published in 1848. Marx believed in the idea of a society with no capitalism and the abolition of the bourgeoisie. Adam Smith wrote a book called The Wealth of Nations which was publishedRead MoreWealth By Andrew Carnegie And The Communist Manifesto By Karl Marx Essay1636 Words   |  7 PagesAndrew Carnegie and â€Å"The Communist Manifesto† by Karl Marx, both Carnegie and Marx expose their thoughts behind inequalit y and its traits. They both focus and touch upon the poor (proletarians) and the rich (bourgeoisie). They bring up the pros and cons about inequality, capitalism, and communism. Inequality was in Carnegie s view. In his opinion progress required the processes of competition. Making capitalism an engine of progress. Carnegie believed that there is good to inequality while Marx begsRead MoreEvaluating Wealth and Poverty: Marxs Communist Manifesto and Carnegies The Gospel of Wealth1391 Words   |  6 PagesEvaluating Wealth and Poverty: Marx and Carnegie Criticism of the economy can differ dramatically. Many might have very polar opposite ideas as to what needs to be done in order to better provide for a societys economic well-being. This is definitely the case between Karl Marx and Andrew Carnegie. Despite some basic similarities regarding the need for economic change, Marxs Communist Manifesto and Carnegies The Gospel of Wealth prove incredibly different in how they claim to provide realRead MoreComparison Of Karl Marx And Marx On Capitalism And Economic Inequality1458 Words   |  6 Pages Compare And Contrast What Carnegie And Marx Have To Say About Capitalism And Economic Inequality Marx and Carnegie Ideas on Capitalism and Economic Inequality. Capitalism is a social and economic system which works on the principle of individual rights whereby the mode of production and means of distribution is chiefly owned and maintained by a small number of people for profit therefore having the free market. Politically, capitalism refers to the system of democracy and freedom. On the other handRead MoreThe Distribution of Wealth892 Words   |  4 Pagesnot escape it and fall further into a life of poverty. The beliefs discussed above come from three different writers. Those writers include Andrew Carnegie, Karl Marx, and Robert B. Reich. These writers all have different opinions on how wealth should be distributed properly. Andrew Carnegie does not believe wealth is distributed properly (Carnegie 485). In fact, he has a few different ideas of how to distribute wealth. In Carnegie’s essay, â€Å"The Gospel of Wealth,† he states, â€Å"There are but threeRead MoreThe Gospel Of Wealth By Andrew Carnegie1180 Words   |  5 PagesWealth can be defined as a surplus. This surplus is distributed among a society. The distribution creates associations among the people of the society with respect to wealth. The Gospel of Wealth, written by Andrew Carnegie, describes two classes and the association of wealth between them. Adam Smith’s passage, Of the Natural Progress of Opulence, similarly, includes a reciprocal relationship of production between the town and country. Unlike the other essays, Marx’s, Communist Manifesto, debunksRead MoreEssay on Wealth and Poverty: Karl Marx1711 Words   |  7 PagesStates. The Gilded Age was the period of 1870-1910, where there was great economic g rowth in the United States. People like Andrew Carnegie and John D. Rockefeller were entrepreneurs who made their fortunes in this age of industrialization. Although this period brought technological advances and economic growth, it also was a period of disparity and poverty. Karl Marx, a German philosopher, saw this inequality growing between what he called the bourgeoisie and the proletariat classes. TheRead MoreWealth and Poverty: A Study on Communism and the Communist Manifesto1647 Words   |  7 Pagesits foundation is built on shifting soil. In The Communist Manifesto, Karl Marx addresses each of the popular objections people have, or had, towards communism. This essay seeks to explain whether he deals fairly with them all, and whether his arguments are, in the end, persuasive to a reader from an opposing position. Also, it shall attempt to give reasons why communism fails in accomplishing its purpose. Though Marx addresses many of the objections against communism in his The Communist Manifesto

Advantages and Disadvantages of Employee and Union...

Managers are paid to manage and they should be free to do that without interference. Critically evaluate in regards to one aspect of the Employment Relationship. Managers are paid to represent the owner with responsibilities to operate the business efficiently and to manage the employees effectively, in order to achieve the best profit and productive of the business. Since they are the agent of the owner and entitled with exclusive power – managerial prerogatives, they are playing an important role in managing all workplace assets. With appropriate uses of control and employees (Loudoun, McPhail Wilkinson 2009) can be beneficial to facilitate the business operation as well as to achieve the best outcome for the business. Although†¦show more content†¦Unions represent employees to voice up their concerns and negotiate with management for their better benefits and rights. Also, unions also help managers to communicate with employees and provide them a wide range of information services through networking and consultancy advice (McGuire, McGuire Sanderson 2013). On the other hand, many managers are inadequately trained and supp orted to manage and discharge the human resources duties (McGuire, McGuire Sanderson 2013), lead to the lack of channels and strategies to solve the employees’ difficulties and concerns. Therefore consulting with human resources specialist is in needed for managers, which can enhance and help with implement more human resources approach in the workplace. In contrast, some managers think excessive employee participation will leads to ever growing needs of employee and strict managerial prerogative (Loudoun, McPhail, Wilkinson, 2009) without negotiation is needed. Also, as well as achieving the best objectives and profit for the business, they are even sometimes maintain in a strong control of the workplace and pressure on the employees ensuring the efficient operation due to economic crisis or business loss. Managerial prerogative is derived from the manager/employer’s power onto the labour contract and the ways of operation, in order to achieve the employer’s fulfillment and reduce the business risk (PapadimitriouShow MoreRelatedEmployment Relations1389 Words   |  6 PagesHow would you characterise employee representation in the UK workplace? To what extent do you agree with the argument that the UK is ‘lightly regulated’ in this regard? Introduction This paper seeks to analyse the characteristics of employee representation in the UK and concerns about is the UK ‘lightly regulated’ in regard of the employee representation. Employee representation can be known as the right of workers to seek a union or an individual to represent them to negotiate with their organizationsRead MoreEmployee Voice And Its Links With Organizational Performance1637 Words   |  7 PagesIn today’s dynamic and constantly evolving business world, employee voice is becoming increasingly important. Nita Clarke, the director of the Involvement and Participation Association (IPA), stated at the launch of the report ‘Releasing Voice for Sustainable Business Success’ in 2012, that unleashing and releasing employee voice is essential in developing economic growth. What exactly is employee voice? Employee voice does not have a formal definition and has been explained in different ways byRead MoreThe Aspects Of Conflict Within The Workplace870 Words   |  4 Pagesfaced by management in pursuing various employment relations strategies†. The framework consists of three approaches the employees can face: Avoidance, Accommodation and cooperation. All three approaches can advantage and disadvantage the organisation in different aspects. Human resources managers must strategically analysis the most suitable approach for their organisation. The cooperation approach is when employees can â€Å"pursue strategies that promote high levels of cooperation with unions throughRead MoreDefinition Of Employee s Voice Lies Through The Exit Voice Loyalty Framework Created By Hirschman1210 Words   |  5 Pageswithdraw their participation in the task and exit organization, others, with more loyalty, would raise their voice to keep companion with organization and fight for what they believe is the true and ethical which contribute to the success of an organization. This model has been use as the basis for the research of Freeman and Medoff (1984) which explain the rise of unionism in the UK in the 1980s. The authority, in those days, promoted the creation of unions as a mean to build collective employee voice inRead MoreThe Success of Participative Management Essay1031 Words   |  5 PagesParticipative management is a management practice where employees are involved in making decisions that directly affect how they perform their jobs. It is a management practice that originated from Western countries but it is now globally accepted and practiced. Participative management is more like industrial democracy because workers are incorporated in the decision making process in the organization (Business Dictionary, 2014). According to Aswathappa, (2005) a number of successful companies haveRead MoreWhy Job Design Is An Effective Mechanism For Providing Employees Voice1713 Words   |  7 Pagesorganizations. Besides affecting employee behavior and s atisfaction, the way a job is designed also impacts performance and thus overall well-being of the organization. Being an essential link between employees and organization, job design could possibly be an effective mechanism to provide employees voice. Employee voice is â€Å"the participation of employees in influencing organizational decision-making† (Davis, E.M, Lansbury, R.D, 1996). Employee participation consists of employee engagement and empowermentRead MoreThe Role of Labor Unions1361 Words   |  5 Pagesï » ¿Role of Unions Based upon your research into the field do you believe the role of unions in the U.S. should increase? What role should HRM personnel play in employee relations within Organizations? What role should government play?   Contents Introduction 3 The Advantages of Labor Unions 3 The Disadvantages of Labor Unions 4 The Role of HR 5 The Role of Government 5 Conclusion 7 References 8 Introduction Labor unions were a necessary result of the Civil War as a resultRead MoreEmployment Relations Assignment : The Work Of Trade Unions1481 Words   |  6 Pagesjoin a union when they get their first real job. Critically evaluate†. The work of trade unions is aimed at educating and protecting the rights of employees and their working conditions. However, decline in union membership is a growing international problem, with the reasonable assumption that workers will be more successful in their fight for decent conditions if the have a collective organisation behind them (Furaker and Bengtsson, 2013). It’s supported that when management showsRead MoreTrade Union1470 Words   |  6 Pagesyear 11s WHAT IS A TRADE UNION? Trade unions are organizations that represent people at work. They consist of workers and union leaders, united to promote and protect their interests. Trade unions exist because an individual worker has very little power to influence decisions that are made about his or her job. By joining together with other workers, there is more chance of having a voice and influence. THE DIFFERENT TYPES OF TRADE UNIONS. * CRAFT UNION: A union representing workers whoRead MoreSouthern Engineering, Inspection And Insurance Company1423 Words   |  6 Pagestanks in industries. It is among the oldest insurance companies in America that deals with inspection of equipment and insurance for manufacturing and transport sectors. Current Environment It is found that SEIIC’s operations are in the European Union and Asian countries. SEIIC has experienced some Human resource problems such as having difficulty hiring skilled people to work for them and keeping up to date with their skills. â€Å"The organization has even tried to recruit the locals but to no success

Charles - Okay, Dale, now just... free essay sample

Charles Okay, Dale, now just where have you been?Dale I was out there in all that traffic! Those folks dont know how to drive out there! [BELCHES]Charles Well, what happened?Dale Well, I almost died about 48 times, thanks to some stupid drivers out there who dont know what theyre doing!Mark Well, it looks like you finally know what its like to be around people who cant drive.Dale Are you saying I cant drive?Mark Especially since youve had a beer.Dale I aint had no beers! Ive been sober! [BELCHES]Mark Then what explains the belch?Dale That was the spaghetti and lasagna I ate last night. Well, those losers, they dont know what theyre doing? They were driving down the road at who knows how many miles an hour! [BIG BELCH]Charles Well, I hope youve learned your lesson. We will write a custom essay sample on Charles Okay, Dale, now just or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Dale I aint learned no lesson! [BELCHES] If theres any lesson Ive learned, its that you can speed. You can treat any highway like the Talladega Superspeedway and get away with it!Mark No, you cant! The cops will pull you over! Dale I aint never been pulled over by no cops!Charles You didnt?Dale No! Them stupid cops are just [BELCHES] all stupid over there in the doughnut shop eating doughnuts and drinking coffee! I guess thats why theyre all obese! Theyre busy shoving down doughnuts, drinking coffee, and letting out huge belches, while all the motorists are out there driving stupidly and destroying property! Well, Im going to go to the kitchen and get me a beer.Charles We dont have any beers here!Dale What do you mean we dont have no beers here?Charles We just dont.Dale Okay, then, Im just gonna go into the kitchen and do something. Those people out there are reckless drivers! Dont nobody need to be driving like that! Theyre just stupid! S T O O P I D.Charl es Thats not how you spell stupid. Dale What? All this time, I thought that was how you spelled stupid.Charles No! Stupid has a u!Dale What? I aint stupid!Charles Well, you spelled the word wrong. One u, no os.Dale Shut up! You dont even know whom youre talking to! You aint my grammar teacher! I can spell words anyway I wish! If I want to use double negatives in front of you, Im gonna use double negatives in front of you! Understand?Charles Why dont you just go to the kitchen?Dale Thats where I was going! [BELCHES LOUDLY]Charles And stop that belching!Dale Im afraid I cant help that! I ate spaghetti and lasagna last night, and those dishes make me belch! Well, changing the subject now. I dont ever want to drive out there with those stupid losers ever again! Those clowns just run off the road and try to kill everybody! Theyre like suicide drivers out there, going off the road and killing everybody and themselves! And another thing! [BELCHES] I dont ever want to go down a certain road. I dont ever want to go down Gray Avenue at night time! The traffic lights on that road stay on red forever, and those drivers cut through parking lots and other places, trying to see how many people and cars they can hit and kill while theyre doing so! Thats illegal! Well, can one of you give me a cerveza?Mark Whats that?Dale You idiot! Its Spanish for beer! [BELCHES]Charles So you know some Spanish?Dale Just a little bit. I also know the German word for beer. Charles Then what is it?Dale Im afraid thats confidential. I aint supposed to tell you. Well, it seems those reckless drivers out there had themselves some beers. Theyre over there driving stupidly. One person was driving 85 in a 65.Charles Well, Dale: [BELCHES] And another thing! That beach I was going to this weekend, that aint gonna happen! Its 5:00 somewhere, but I dont think its 5:00 six feet under! [BELCHES] I can wait! Now, if you dont mind, Im going to go to the truck and listen to Its Five Oclock Somewhere. Wheres that CD?Charles What?Dale You know, the CD? Its starting to get warm outside, so Im listening to songs that are perfect for warm weather. You know its always on five in Margaritaville.Charles Get out of here! Im not going to Margaritaville!Dale And thats your problem! You have no wish to go to Margaritaville and drink your worries away! [BELCHES] Now, I have to catch the next boat to Margaritaville! Its better than hanging around with you losers! Im going to be a beach bum! Im out of here! And Im watching out for those careless drivers who aint got no sense in their heads! Well, [belches] Im gone!