EMMERSON

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Nature and Today

Ralf Waldo Emerson, was born in Boston, and was the son of William Emerson, a minister of the First Church (Unitarian) of Boston, an American essayist and poet, and a leader of the philosophical movement of transcendentalism. Emerson was influenced by English romanticism, Neoplatonism, and Hinduism. Emerson is noted today for his skill in presenting his thoughts and beliefs eloquently and in poetic language. Nature is regarded today as Emerson's most significant work, offering the essence of his philosophy of transcendentalism, the belief that regards the processes of reasoning as the key to the knowledge of reality. This idealist work opposed the popular Calvinist and materialist views of life at that time, while voicing a plea for freedom of the individual from artificial restraints. In many ways, Emerson's thoughts have influenced the traditions and the everyday life of today's society. The following explains the conflicts between Christianity and Emerson's beliefs, and how some of Emerson's thoughts are at the same time relevant to the conflicts in today's society.

As the leader of the philosophical transcendentalism movement, Emerson taught and influenced the aspects of self-examination in celebration of individualism, while praising the beauties of nature and humankind. Because of these well-expanded, self-centered beliefs, he concluded that everything revolves around mankind, and that we should submit to nothing, in order to come to our own conclusions. "Nature, in its ministry to man, is not only the material, but its process and the result." " All of the parts incessantly work into each other's hands for the profit of man," (Emerson 68). Emerson believed that everything, good or bad, on earth works for the good and profit of man himself. The Bible teaches that all things work out, in our lives, for the glory of God, so that He may be honored. God wants to work through us, for His glory, not ours. In contradiction to Emerson's thought that the world is centered around man, we should, because we are God's creation, submit ourselves to God, and live for His purpose instead of our own.

In part one of Nature, Emerson says, "There I feel that nothing can befall me in life'no disgrace, no calamity (leaving me my eyes), which nature cannot repair," (Emerson 66). From this one might conclude that an individual needs no one, and that there is nothing that can hinder us that "nature" cannot fix. According to Christian belief, nothing can hinder our walk with God but natural or carnal things. Nature was not created by God, to simply fix things. The Christian belief is that we are to submit ourselves to God, for he is above all. God is the "Author and Finisher of our faith," (Hebrews 1) and he is the one to turn to when we have issues in our lives, not nature. Nature was created by God, not to be worshiped, but to be marveled as God's creation.

Along with the many conflicts of Emerson's thoughts with the Bible, he also had many relevant ideas that still relate to today's society as it did in his day. For example, in Emerson's introduction to Nature, he explains that, "We have theories of races and of functions, but scarcely yet a remote approach to an idea of creation," (Emerson 65). In today's society, we refuse the idea of God creating the Earth and the Universe. Instead, we choose to believe the contradictory belief of Evolution. Emerson goes on to say, "We are now so far from the road to the truth, that religious teachers dispute and hate each other, and speculative men are esteemed unsound and frivolous," (Emerson 65). Scientists are constantly trying to prove their theories of nature and how it all started, but have never come to a true conclusion. Science, in a whole, with all of its outcomes, and conclusions, all round up to the fact that God did create the earth; we just choose to not accept it. "Whenever a true theory appears, it will be its own evidence…Its test is, that it will explain all phenomena," (Emerson 65). Once we do choose to accept what the Bible teaches, all of the unanswered questions of the universe will be explained.

In Conclusion, Emerson taught a very self and man centered message which contradicts most Christian belief based on the Bible. Though some of Emerson's ideas give some insight on issues that we face in the world today (the argument over creation, for example), but the fulfillment of all human potential can not be accomplished through an acute awareness of the beauty and truth of the surrounding natural world. But it can be accomplished through God, who molds us and creates us into who he wants us to be. In his day, Emerson attacked the formal religion and argued for self-reliance, and yet, Nature supports logical reasoning in the minds of the unbelievers of today. Transcendentalism denies the thought that there is a supreme ruler meant to rule over us, who created and knows all truth, and we choose to live by these standards instead of God's word. Transcendentalism may explain the world around us today, but does not, in any aspect, reveal the truth. Instead it attempts to justify our immoral lifestyle, which is the exact opposite of what the Bible teaches.

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Chapter Summaries 4-8 of To Kill a Mockingbird

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Chapter 4 Summary

School continues; the year goes by. Scout doubts that the new educational system is really doing her any good - she finds school boring and wishes the teacher would allow her to read and write, rather than ask the children to do silly activities geared toward Group Dynamics and Good Citizenship.

One afternoon as she runs past the Radley house she notices something in the knot-hole of one of the oak trees in the Radleys front yard. It turns out to be two pieces of chewing gum. Scout is careful but she eventually decides to chew them. Jem makes her spit it out. Later, toward the end of the school year, they find in the same place a little box with two polished Indian-head pennies inside - these are good luck tokens. They arent sure whether these have been left for them, but decide to take them anyway.

Dill comes to Maycomb for the summer again, full of stories about train rides and his father, whom he claims to have finally laid eyes upon. The three try to start a few games, but they quickly get bored. Jem pushes Scout inside an old tire, but it ends up in the Radleys yard. Terrified, Scout runs back, but Jem has to run into the yard and retrieve the tire. Dill thinks Boo Radley died and Jem says they stuffed his body up the chimney. Scout thinks maybe hes still alive. They invent a new game about Boo Radley. Jem plays Boo, Dill plays Mr. Radley, and Scout plays Mrs. Radley. They polish it up over the summer into a little dramatic reenactment of all the gossip theyve heard about Boo and his family, including a scene using Calpurnias scissors as a prop. One day Atticus catches them playing the game and asks them if it has anything to do with the Radleys. They say it doesnt, and Atticus replies, I hope it doesnt. Atticuss sternness forces them to stop playing, and Scout is relieved because shes worried for another reason she thought she heard the sound of someone laughing inside the Radley house when her tire rolled into their yard.

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Chapter 5 Summary

Jem and Dill have become closer friends, and Scout, being a girl, finds herself often excluded from her play. Dill has in childish fashion decided to get engaged to Scout, but now he and Jem play together often and Scout finds herself unwelcome. She often sits with their neighbor, the avid gardener Miss Maudie Atkinson, and watches the sun set on her front steps or partakes of Miss Maudies fine cake. Miss Maudie is honest is her speech and her ways, with a witty tongue, and Scout considers her a trusted friend. Scout asks her one day about Boo Radley, and Miss Maudie says that hes still alive, he just doesnt like to come outside. She also says that most of the rumors about him arent true. Miss Maudie explains that the Radleys are foot-washing Baptists -they believe all pleasure is a sin against God, and stay inside most of the time reading the Bible. She says that Arthur was a nice boy when she used to know him.

The next day Jem and Dill hatch a plan to go leave a note for Boo in the Radleys window, using a fishing line. The note will ask him to come out sometimes and tell them what hes doing inside, and that they wont hurt him and will buy him ice cream. Dill says he wants Boo to come out and sit with them for a while, as it might make the man feel better. Dill and Scout keep watch in case anyone comes along, and Jem tries to deliver the note with the fishing pole, but finds that its harder to maneuver than he expected. As he struggles, Atticus arrives and catches them all. He tells them to stop tormenting Boo, and lectures them about how Boo has a right to his privacy, and they shouldnt go near the house unless theyre invited. He accuses them of putting Boos life history on display for the edification of the neighborhood. Jem says that he didnt say they were doing that, and thus inadvertently admits that they were doing just that. Atticus caught him with the oldest lawyers trick on record.

Chapter 6 Summary

It is Dills last night in Maycomb for the summer. Jem and Scout get permission to go sit with him that evening. Dill wants to go for a walk, but it turns into something more Jem and Dill want to sneak over to the Radleys and peek into one of their windows. Scout doesnt want them to do it, but Jem accuses her of being girlish, an insult she cant bear, and she goes along with it. They sneak under a wire fence and go through a gate. At the window, Scout and Jem hoist Dill up to peek in the window. Dill sees nothing, only curtains and a small faraway light. The boys want to try a back window instead, despite Scouts pleas. As Jem is raising his head to look in, the shadow of a man appears and crosses over him. As soon as its gone, the three children run as fast as they can back home, but Jem loses his pants in the gate. As they run, they hear a shotgun sound somewhere behind them.

When they return, Mr. Radley is standing inside his gate, and Atticus is there with various neighbors. They found out that Mr. Radley was shooting at a white Negro in his backyard, and has another barrel waiting if he returns. Dill makes up a story about playing strip poker to explain Jems missing pants, and Jem says it was with matches rather than cards, which would be considered very bad. Dill says goodbye to them, and Jem and Scout go to bed.

Jem decides to go back and get his pants late that night. Scout tries to persuade him that it would be better to get whipped by Atticus than to get shot and killed by Mr. Radley, but Jem insists - he says hes never been whipped by Atticus and doesnt want to be. Jem is gone for a little while, but he returns with the pants, trembling.

Chapter 7 Summary

Jem is moody and silent after the pants incident. The new school year starts, and Scout finds it to be just as boring as first grade. She and Jem are walking home together one day when Jem says that he didnt tell her that when he found his pants that night, they were all folded up, and the tears had been crudely sewn up, as if someone knew that he would be coming back for them. He finds this highly eerie. Then they find a ball of twine in the hiding place in the oak tree. They arent sure if its theirs or not, so they leave it for a few days. When its still there, they take it, and decide that anything left there is okay to take.

Jem is excited about sixth grade, because they learn about ancient Egypt, and he tells Scout that school will get better for her. One day in October they find two little figures, a boy and a girl, carved artfully out of soap. Upon closer examination, they realize that they are images of themselves. They wonder who could have done it - maybe Mr. Avery, a neighbor who whittles wood. In a couple of weeks, they find a package of chewing gum, then an old medal for winning the spelling bee, then a broken pocket watch on a chain with an aluminum knife. Jem cant get it to work, but they decide to write a letter thanking whoever gives them these gifts. They write a note of thanks and leave it in the oak tree.

The next day, they are horrified to discover that someone has filled their hole up with cement. They ask Mr. Radley about it, who claims that the tree is dying and the cement will keep it alive. But Atticus, when asked, says that the tree looks very healthy.

Jem stands out on the porch for a long time, and when he comes inside, he looks like he has been crying.

Chapter 8 Summary

Winter comes to Maycomb and it is unexpectedly harsh. Mr. Avery blames the children for causing the bad weather, saying that disobedient children make the seasons change. Mrs. Radley dies, and Atticus goes to the Radleys house, but upon questioning from Scout he sternly says that he did not see Boo there.

Snow comes - the first snow Scout and Jem have ever seen. School gets canceled and Jem and Scout make a plump snowman looking like Mr. Avery using soil and snow collected from Miss Maudies yard. Atticus admires the snowman but suggests that they make it look a little less realistic. Jem gives it Miss Maudies hat and pruning shears. Miss Maudie laughs at the impersonation.

Its bitterly cold that night. Scout is awakened in the middle of the night by Atticus. Miss Maudies house is on fire. Three fire trucks are trying to help, but are hampered by the cold, and one of the hoses bursts. Atticus makes the two children wait by the Radleys house, where they shiver and hope that the flames wont come too near their own house. Miss Maudies house collapses and her tin roof helps put out the flames. Miss Maudie will live at Miss Stephanies house for a while now.

Back at home, Atticus notices that Scout has a blanket wrapped around her shoulders. Neither of the children knows where it came from. They realize that Boo Radley must have slipped it over her while they were engrossed by the fire -Mr. Radley, his brother, had been busy helping at Miss Maudies house, so it could only have been Boo.

Miss Maudie is unexpectedly cheery about the fact that her house is gone. She says that she wanted a smaller house anyway, and now shell be able to have a bigger garden. The fire probably started because she kept a fire going that night to keep her potted plants warm.

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God and School

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What does this dollar; this nickel and this penny have in common? They all have the words "In God We Trust" written on the back. My question to you tonight is why can I carry these words in my pocket but not inside my school? As a high school student, in a public school, I would like to encourage you to help put God back in school.

These four words are what our country was founded on. Our forefathers came to this land in search of freedom of religion, speech, and a democratic government. President Eisenhower put this phrase on the US currency in the 150's as a message to the Americans. He wanted to give them a sense of security. Our schools could definitely use that security today. Since prayer has been banned from schools there has been an increase in violence, teen pregnancies and drop out rates. Yet when any of these tragedies occur, fingers point quickly to God. But how can god help if he isn't allowed in the building.

The right to pray should be protected by our first amendment, not limited by it. Arguments have been raised that a prayer to one person's god might offend a bystander who believes in a different god. This is where our democratic government comes in. If an area is predominantly Orthodox Christian, then let them pray to God, if the area is mainly Muslim, let them pray to Allah, or if there is still a problem, don't specify a God.

Another important issue is whether or not to teach about Jesus Christ in school. Textbook companies have every right to print history books with references to Jesus Christ in it. If you open a standard History book and turn to the index, you will find listings for Hitler, Buddha, Muhammad, and even the KKK, but you will not find anywhere a listing for Jesus Christ. If I have to sit and take notes on the teachings of Buddha in my American High School, then why can't topics concerning my God be covered? In a standard Biology book, you will find an entire chapter devoted to evolution and the beliefs of Charles Darwin, and the Big Bang theory, but Creationism hardly gets it's own page.

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Even if not taught as a correct religion, the Bible has several things to offer as teaching material. It sets a guide of moral and ethical standards. It teaches values such as love thy neighbor as thy self, and do unto others, as you would have them do unto you.

In conclusion, I want to tell you what you can do to help.

Number one for parents teach your children to always stand up for what they believe in. Proverbs 6 states "Bring your child up in the ways he should go and he shall not depart from it."

Number two for students encourage your school's administration to have a nationally recognized program such as a "see you at the pole rally" where students voluntarily meet at the flag pole for prayer before school

And Number three for teachers and faculty, obey the rule or your job is at stake, but talk to your principal or school board about adding a club at your school for students who believe. At my school we have a club called HOPE club where we meet every Friday morning for a short devotion and time of prayer.

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Is The opening scene of Jurassic park III effective

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In Jurassic Park III the opening is effective because the tension built is enough to keep me watching. The music gives emphasis of various atmospheres and moods.

In the title scene an Amblin entertainment logo is distorted by a ripple. The sound effects give the impression of the footstep of a dinosaur. The Jurassic Park Logo emerges and by super imposed graphics three claw marks appear. There is then a transition between the title and the first scene, accompanied by a sound affect which gives the impression of a dinosaur rushing past you.

The first thing you see is the lush green island, blue sea and sky. A title fades up "ISLA SORNA 07 miles west of Costa Rica". Then a large red title flashes up onto the screen "RESTRICTED". The colour gives an impression of danger. In the centre frame there is a rock which is a tooth like shape, reminiscent of a dinosaur. There is an over head view of the speed boat, the wake from which again has a sharp, tooth like appearance.

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The colour contrast gives off impressions. The deep blue of the sea and sky against the actors red and orange clothing, which gives the idea that the characters may be in danger. The island is green against the blue sea and sky, and looks lush and full of life.

The characters during the first scene are easily understood just by the simple fact of them being in the restricted area.

Enrique is a Costa Rican who is paid money by tourists to parasail from his boat off the Costa Rican Coast. Obviously in this situation he has been offered more money to sail by the coast of a dangerous island and Enrique is aware of the dangers

"…you do not want to get eaten!" He says at one point to Eric and Ben. This shows Enrique is willing to take risks for money and put his own and other peoples lives in danger. He is willing to give them a light hearted warning as he wouldn't want put his customers off parasailing over the island.

You can relate Enrique to Dr Alan Grant who appears after the first scene, as they both get offered money to be put in dangerous situations and accept.

Ben is a man who is also willing to risk the life of himself and the child in his care by asking to be flown over the island.

"Try and get as close as you can, I'll pay extra for a good time!" he says to Enrique. Ben must be an ambitious man to be able to pursue a parasailing trip such as this one.

Eric is obviously not aware of the sort of danger he is being put in and is willing to parasail with Ben but when it all starts to go wrong he panics. Later on in the film we realise Eric is very experience with fending for himself and knows more about how to survive than the audience first thinks.

To set the action during the scene many camera shots are used. At the start of the scene the camera looks towards the sky to see a plane flying at a very high altitude this is due to restrictions. A high angle view is then used to suggest the view that a plane would have of the speed boat. Enrique is using his binoculars; he is obviously checking that they haven't been seen. As Ben and Eric Parasail Enrique and his partner realise the rocks ahead they speak in Spanish this builds tension. A cloud suddenly blocks the view that Eric and Ben have of the boat and anything below them. At this point the music changes and the pace quickens.

As the camera takes the view of the boat the music is dramatic and danger is obvious, then above the cloud with Eric and Ben the music is calm and has a light atmosphere, they are unaware of the dangers unfolding below them. Slopping noises and a choppy sea suggest munching and the pace is now becoming faster as the parachute rope starts to tug, Eric and Ben become anxious. With a sudden swoop the cloud clears leaving an empty boat with blood over the sides. Then the rocks are spotted ahead and they both panic, the cross cutting camera from the nearing rocks to Eric and Ben, and the music, builds a lot of tension and speed. The rope is cut and almost immediately the music calms as they glide towards the island leaving a mystery as to what happens next.

The conclusion therefore is that the opening scene for me is enticing enough to watch, with the mystery of the ripples at the start to the end of the scene when Eric and Ben drift toward the island. It also gives the audience enough information on the background of the island and the setting around it. The background of the three characters is also easily seen by there actions, words and behaviour. The first scene is a vital look into the island and the characters which later on in the film is reflected on.

The opening scene gives me enough action with out being too over powering and at the same time makes me want to continue watching, therefore it is effective!

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Great Depression

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Over the course of time, the great country that is Canada encountered many different setbacks. Although some were more significant than others, each of them had considerable effects on the way the country further developed itself. Whether economical, political, or social, these setbacks only strengthened Canada. One of the main impediments Canada had to deal with in the twentieth century was the Great Depression, also known as the Dirty Thirties. The Great Depression caused the economical state of the country to severely drop, the political aspect to radically change, and the social standards of the particular time to be significantly lowered. Although it had some terrible consequences, the Great Depression laid the foundation for Canada to become the economically established, politically unequaled, and socially incomparable country that it presently is.

The second decade of the twentieth century was extremely prosperous for most of Canada. The "Roaring Twenties," as they are commonly referred to, were a time of wealth, especially for Canada. Unlike the rest of the world, North America did not need to worry about any sort of war reparations from World War I; therefore it could freely concentrate on its economy. (Horn,17) Winston Churchill, the future Prime Minister of Great Britain was visiting Canada, having the following to say about it "We see Canada growing in every way education, civilization, numbers and wealth." This was September third, 1, less than two months away from the great catastrophe that was to follow. Unfortunately, the prosperity had a shorter duration than planned. On Tuesday, October th, 1, the stock market crashed in the United States, leaving just about everyone penniless. The Black Tuesday, as it became known in history, was only the beginning of huge depression that was to last for ten years. After New York, the Montreal and Toronto markets crashed as well, and soon it was all over the world. (Fethering, 17)

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Charles Jencks's continual revolutions

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Review A gifted storyteller is one who makes his subject come alive. Charles Jencks is unequivocally architectures greatest living storyteller, He has probably produced nearly as many books and articles during his prolific career as did Le Corbusier, the subject of his latest work. In Le Corbusier and the Continual Revolution in Architecture, Jencks has woven together readings of Corbs writings, paintings, architecture, and city planning with pertinent (and sometimes impertinent) biographical details. It is an epic poem in the tradition of Chaucer, and can be read as such.

Jenckss style is jocular, freewheeling, anecdotal, and provocative-- as he is in person. In this book there is much on Le Corbusier that has been said before, by Jencks himself as well as others. Le Corbusier and the Continual Revolution is, in large measure, a revision and vastly expanded version of his Le Corbusier and the Tragic View of Architecture (Harvard University Press, 17), drawing upon research and testimony that continue to emerge about a man whom Jencks believes to be not only a tragic persona, but a genius as well. He rewrites, splices, condenses, expands, speculates, and even offers his own chart of history so that we may easily visualize developments.

Jencks is true to his signature method of interpretation, which proceeds by analogy and metaphor, with limitless imagination. However, he also follows, or leads, a trend in architectural theorizing that has become widespread in the late 0th century, namely to look to other realms of intellectual inquiry for insight and guidance. The absence of a single, comprehensive, overarching theory that might serve practitioners has led would-be theorists, writers, and teachers of architecture to seek parallels within other disciplines, such as literature, linguistics, and sociology. Jenckss references range from Noam Chomsky and semiology in the 170s to the sociology of David Harvey and David Herf in the 10s, illustrating that he has kept abreast of cutting-edge theory. Most recently he has forayed into cognitive science, finding in it another means for classifying (something the author claims he dislikes) the crucial facts of Le Corbusiers biography to fit a type, namely of the typical genius, or basically protean type of creative individual.

Fortunately for readers who have not yet read Howard Gardners Creating Minds An Anatomy of Creativity Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham and Gandhi (Basic Books, 1), Jencks includes an appendix summarizing his theory. Gardner explores seven figures whom he calls Exemplary Creators, individuals who radically altered their fields, yet also shared common features in their development. To Gardners Big Seven, Jencks wants to include an eighth Le Corbusier. His previous comparisons between Corb and Don Quixote, Nietzches Zarathustra, Jesus Christ, etc., are also present in the new book. What remains unclear is the purpose of introducing a new paradigm in which to slip Corb. Is it fundamental to our understanding of Le Corbusier that he fit the pattern of a genius of the caliber of Einstein or Stravinsky? He loved the idea of standardization and the type, says Jencks, who then concludes, so he would have liked to be considered a normal genius, warts and all, with all the nasty and cruel truths revealed in the end. It is sufficient to say, as Jencks ultimately does, that Corb was a man driven by a vision and leave it at that, rather than apply a label that has become a cliche.

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Richly coded as a result of Le Corbusiers obsession with symbolism, Ronchamp is proto-postmodern, according to Jencks. In this collage, he highlights the multiple readings of its forms and imagery (above). Drawings by Hillel Schocken (facing page) also depict some of the metaphors that Ronchamp evokes.

The tone Jencks adopts throughout the book is one of revelation, as he ostensibly divulges important facts we never knew about the great architect. He is consciously rewriting 0th-century architectural history to reveal Le Corbusier as its most revolutionary and inventive designer. (Jencks claims elsewhere that Antonio Gaudi, too, deserves that honor.) Some years ago Jencks invented the elaborate Evolutionary Tree for architecture, various versions of which have appeared in his books over the years, including The Language of Postmodern Architecture (Rizzoli, 177). He is continually updating the tree, which appears now in this book, spanning the period 100to 000 and depicting 40-odd movements and 400 persons producing six types of architecture. The author points out that his revolutionary Le Corbusier-no longer evolutionary-- appears four times (more than any other figure), and that he invented four or five different languages in architecture.

Jencks has built a career on the game of signification as he calls it, which is based upon finding hidden coding and new metaphors, each more astounding than the previous ones. But one begins to suspect that the exercise of rewriting, or revising, previous books is self-serving in more ways than one. Having a vested interest in postmodernism as a concept, Jencks now offers Le Corbusier as the grandfather of the movement because his work, Ronchamp in particular, is imbedded with the multivalence[s] of meaning so cherished by the postmodernists. This makes the building, in Jenckss words, a harbinger of postmodern architecture. He likens the chapels distinctive form to a nuns cowl, a monks hood, a ships prow, praying hands. Setting off on a game of Hunt the Symbol, as he calls it, Jencks identifies with a certain surety the formal similarities behind different symbols. Le Corbusiers Ubu sculptures, fractal geometry, and anthropomorphism (ear-like forms) generated the plan and shape of Ronchamp, Jencks asserts, among other metaphorical readings.

As we know, with raconteurs much of the story is in the telling. A recurrent theme favored by Jencks in his repeat performances on Corb is the supposed relationship between the architects sex life and his architecture. The chapters Jeanneret Discovers Sex in a Pot, The Primitive and the Sexual, and Josephine [Baker]-Goddess of Dance, as well as long discussions of Le Corbusiers purported affairs with Marguerite Tjader-- Harris and Minnette De Silva take us into armchair psychology and moral speculation that can only increase the popularity of this book. Jencks has always supported the notion that female shapes in Corbs paintings could be correlated with aspects of his urban-planning projects for Rio and Algiers. The reader is offered further evidence of Corbs sexual obsessions (big hips), voyeurism (sketching women cavorting in brothels), in addition to extra-- marital affairs, but these will have little impact on our overall long-term assessment of Corbs architecture.

On the subject of Chandigarh, however, (the city in India designed by Le Corbusier) Jencks makes insightful remarks. Invited to Chandigarh in 1 to participate in a symposium commemorating the citys 50th anniversary, he had the opportunity to learn a great deal-especially from the Indians, but also from other foreigners. In opening his remarks to the assembly of survivors of modernism, and speaking as a postmodernist, Jencks asked, What would Le Corbusier do today for Chandigarh as a city? Almost lost in ethereal discussions about solar rituals and transcendentalism was a proposal that polarized opinion to re-urbanize and densify Chandigarh, beginning with the explanade of the capitol. While it is pure speculation whether or not Corb would accept this kind of growth, Jencks does well to raise the issue of this city and other planned modern cities within what he calls an ecology of succession layers of growth that permit conservation, but also accept change.

What is disturbing in Jenckss approach is his ignorance, or purposeful omission, of some of the very best Corb scholarship of the last 5 years, including work by Manfredo Tafuri, Bruno Reichlin, Jacques Lucan, Giuliano Gresleri, as well as Alan Colquhoun and Kenneth Frampton. This seems to point at the deep gulf that separates Jenckss particular genre of interpretation from that of many of his colleagues. Nonetheless he modestly admits, One is bound to be wrong, or at least too limited, in any attempt to fix his essential contribution. The interpretations that are usually made are either contradicted by Le Corbusiers supremely dialectical development, or they pale beside the creative wealth of his output. As biography, Le Corbusier and the Continual Revolution in Architecture provides highly readable, entertaining speculation about the life and nature of a normal genius.

Le Corbusier and the Continual Revolution in Architecture, by Charles Jencks (Monacelli Press)

1. Fanelli Giovanni. "El principio del Revestimiento prolegómenos a una historia de la arquitectura contemporánea" Ed. Akal. Madrid. 1.

. Rosell Quim. "Despu's de Rehacer Paisajes" . Ed. Gustavo Gili. Barcelona 001.

. Diccionario de la Lengua Española.

4. Weeks R. Jeffrey. "The Shape of Space". da. Edición. Ed. Marcel Dekker. New York 00.

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sSession - Assignments

This weeks assignments mark the beginning of the work on your two major projects. First, you will each complete an industry analysis (Project II) using Porters Five Forces. You should use extensive research in conducting this analysis. Use an accepted footnoting method and also provide a bibliography. Second, you must gather enough information to complete a SWOT analysis of the firm. Your analysis should ultimately allow you to define the firms core competences and thus the firms competitive advantage.

During this session, each student is to submit the name of the company you plan on studying. The lecture last week involved the traditional strategic model (Chapter 6-Thriving in E-Chaos). This is a very important area covered in the course. You may wish to review the lecture on Chapter 6-Thriving in E-Chaos.

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You will begin work on Project II, which is a traditional strategic analysis of a company of your own choosing. This is an individual assignment. Analyze the company using the traditional strategic model (see p. 15 in Thriving In E-Chaos). Be sure you go through Porters 5 Forces industry analysis, a SWOT Analysis, and then go through each step of the traditional model. Also, use your Essentials of Strategic Management book as an addition resource. Please see the "Overview of Traditional Strategy Assignment" document, which is link at the bottom of the syllabus for further information. This project will be due June 8th. Please E-mail your final report to me as an attachment.

We will cover Chapters 7 & 8 in Thriving in E-Chaos. There is also a threaded discussion during this session.

Project I is due at the end of this session June 1.

Group assignments will be formalized during this session.

You will also read Chapter 1, -7 in Essential of Strategic Management by Hunger & Wheelen. No written assignments are required for this assignment. The information is necessary for you to understand and do well on your Project II assignment. Pg 188 appendix 11c presents a detailed outline of how to use the traditional strategic model to analyze a company.

Please note that this sample paper on LUV is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on LUV, we are here to assist you. Your research paper on LUV will be written from scratch, so you do not have to worry about its originality.

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