TERRORISM: DEFINITION, TEMPLATE, AND EXAMPLES Essay -- essays researc

TERRORISM: DEFINITION, TEMPLATE, AND EXAMPLES In order to determine whether an action is a terrorist act or not, terrorism must first be defined. Terrorism is the use or threatening the use of violence as a weapon to influence a person or a group of people to change policies or influence decisions according to the terrorist’s desires. The terrorist can be a single person acting on personal wishes or a group of people with an ultimate goal. The goals of a terrorist are normally political, ideological, or religious in nature.   Ã‚  Ã‚  Ã‚  Ã‚  Once an action has been identified as a possible terrorist act, it now becomes necessary to further explore the reason(s) of the individual(s) behind the action. The elements that are consistent with every terrorist are motive, planning, and recognition. It is necessary to have at least all three of these elements in order to be considered a terrorist or terrorist organization.   Ã‚  Ã‚  Ã‚  Ã‚  Every terrorist has a motive. Even the terrorist who can be proven as clinically insane has a motive at the root of his actions. Most generally the motive of the individual or a group is political, religious, or ideological in nature. Keeping the three elements in mind, the following examples are provided.   Ã‚  Ã‚  Ã‚  Ã‚  One group that has used terrorism in order to bring about recognition to their group is the Aum Shinri Kyo (Supreme Truth). This group of Armageddonist (normally a religious group that... TERRORISM: DEFINITION, TEMPLATE, AND EXAMPLES Essay -- essays researc TERRORISM: DEFINITION, TEMPLATE, AND EXAMPLES In order to determine whether an action is a terrorist act or not, terrorism must first be defined. Terrorism is the use or threatening the use of violence as a weapon to influence a person or a group of people to change policies or influence decisions according to the terrorist’s desires. The terrorist can be a single person acting on personal wishes or a group of people with an ultimate goal. The goals of a terrorist are normally political, ideological, or religious in nature.   Ã‚  Ã‚  Ã‚  Ã‚  Once an action has been identified as a possible terrorist act, it now becomes necessary to further explore the reason(s) of the individual(s) behind the action. The elements that are consistent with every terrorist are motive, planning, and recognition. It is necessary to have at least all three of these elements in order to be considered a terrorist or terrorist organization.   Ã‚  Ã‚  Ã‚  Ã‚  Every terrorist has a motive. Even the terrorist who can be proven as clinically insane has a motive at the root of his actions. Most generally the motive of the individual or a group is political, religious, or ideological in nature. Keeping the three elements in mind, the following examples are provided.   Ã‚  Ã‚  Ã‚  Ã‚  One group that has used terrorism in order to bring about recognition to their group is the Aum Shinri Kyo (Supreme Truth). This group of Armageddonist (normally a religious group that...

Biographical References in and Hemingways Male Characters Essay

Throughout the Nick Adams and other stories featuring dominant male figures, Ernest Hemingway teases the reader by drawing biographical parallels to his own life. That is, he uses characters such as Nick Adams throughout many of his literary works in order to play off of his own strengths as well as weaknesses: Nick, like Hemingway, is perceptive and bright but also insecure. Nick Adams as well as other significant male characters, such as Frederick Henry in A Farewell to Arms and Jake Barnes in The Sun Also Rises personifies Hemingway in a sequential manner. Initially, the Hemingway character appears to be impressionable, but he evolves into an isolated individual. Hemingway, due to an unusual childhood and possible post traumatic injuries received from battle invariably caused a necessary evolution in his writing shown through his characterization. The author once said, â€Å"Don’t look at me. Look at my words† (154). Hemingway constantly draws parallels to his life with his characters and stories. One blatant connection is with the short story, â€Å"Indian Camp,† in which an Indian baby is born and its father dies. As Nick is Hemingway’s central persona, the story revolves around his journey across a lake to an Indian village. In this story, Nick is a teenager watching his father practice as a doctor in an Indian village near their summer home. In one particularly important moment, Hemingway portrays the father as cool and collected, which is a strong contrast to the Native American â€Å"squaw’s† husband, who commits suicide during his wife’s difficult caesarian pregnancy. In the story, which reveals Hemingway’s fascination with suicide, Nick asks his father, â€Å"Why did he kill himself, daddy?† Nick’s father responds â€Å"I don’t kno... ...York: Cambridge UP, 1996. 21-51 Berman, Ron. "Hemingway's Michigan Landscapes." The Hemingway Review 27.1 (2007): 39-44. Hemingway, Ernest. A Farewell to Arms. New York, Scribner: 1929 In Our Time. â€Å"Indian Camp.† New York, Scribner: 1925 Meyers, Jeffrey. Hemingway. New York: Da Capo, 1999. Reynolds, Michael. The Young Hemingway. Chicago: Norton Pub, 1937. Stewart, Matthew C. "Ernest Hemingway and World War I: Combatting Recent Psychobiographical Reassessments, Restoring the War." Papers on Language & Literature 36.2 (2000): 198-221. Tyler, Lisa. "Dangerous Families and "Intimate Harm" in Hemingways "Indian Camp"" Texas Studies in Literature and Language 48.1 (2006): 37-53. Waldhorn, Arthur. Ernest Hemingway: A Collection of Criticism (Contemporary Studies in Literature). Chicago: Syracuse University Press, 1978.

ADHD and Its Treatments Essay -- ADHD Attention Deficit Essays Disorde

The purpose of this research was to describe and understand Attention-Deficit Hyperactivity Disorder (ADHD) and the most effective treatment options that are available today. ADHD is a mental health disorder that affects 3-9% of the population in ways that, if left untreated, can wreak havoc on the mind of the sufferer. It makes concentration difficult, large tasks seem insurmountable, and causes impulsive and hyperactive tendencies. Fortunately, research and experiments have led to new and effective treatments to help those who suffer from this disorder (Dupaul 8). This research examined journal articles and internet sources on the topic to help unlock the complexities of the disorder through scientific research. It also was a way to separate the myths of the disorder from the truths, while discovering the causes, diagnosis methods, and best treatment alternatives to battle this prevalent disorder.   Ã‚  Ã‚  Ã‚  Ã‚  In 1902, a physician by the name of Sir George F. published a series of lectures to the Royal College of Physicians in England in which he described a group of impulsive children with significant behavioral problems, caused by a genetic dysfunction and not by poor child rearing?children who today would be easily recognized as having ADHD (NIMH 1). Attention-deficit hyperactivity disorder or (ADHD) is a developmental disorder characterized by distractibility, hyperactivity, impulsivity, and an inability to remain focused on tasks or activities. ADHD afflicts an estimated 3-9% of children, with symptoms usually appearing by the age of seven. Some key characteristics of the disorder include a person who: ?  Ã‚  Ã‚  Ã‚  Ã‚  Is easily distracted by events occurring around them ?  Ã‚  Ã‚  Ã‚  Ã‚  Puts off anything that requires a sustained mental effort ?  Ã‚  Ã‚  Ã‚  Ã‚  Appears not to listen when spoken to ?  Ã‚  Ã‚  Ã‚  Ã‚  Shows a repeated failure to finish tasks ?  Ã‚  Ã‚  Ã‚  Ã‚  Has a difficulty staying still ?  Ã‚  Ã‚  Ã‚  Ã‚  Shows difficulty in organizing activities   Ã‚  Ã‚  Ã‚  Ã‚  These symptoms prove to be particularly challenging to children and adolescents. Although they may be quite intelligent, their lack of focus frequently results in poor grades and difficulty in school. Children and adolescents with ADHD tend to act impulsively, without addressing the consequences of their actions until it is too late. Their attention spans are much shorter than most children?s are, thus they become bored easily and frustrated with ... ...performed by the NIMH to support the assertions that genetic disposition and neurobiology were possible causes of ADHD. Their experiment studied 152 boys and girls with ADHD, and matched with 139 age- and gender-matched controls without ADHD. The children?s brains were scanned at least twice, some as many as four times over a decade. From the documentation, this appears to be a reliable experiment because of the gender and age matched control group. 3. Is there an alternative way to interpret the evidence? In my opinion and in my observations in my life, the evidence clearly points to a strong correlation between genetics and a person?s chance of having ADHD. I have also had friends with ADHD whose parents exhibit similar symptoms. 4. What additional studies would help evaluate the alternatives? I think that if genetic and neurobiological studies are conducted, the researcher should randomize the age groups tested, and continue their research as a long-term study. 5. What conclusions are most reasonable? The conclusion drew was that more research needs to be conducted to before drawing an absolute conclusion that genetics and neurobiology determine the patterns of ADHD

Explore How Gender Is Represented in ‘Bliss’ Essay

Bliss is targeted at teenage girls. The front cover of the magazine expresses this gender stereotype. An important stage in life is being a teenager. At this point in life, you start forming your own identity and it is hard to do when teenagers are immediately stereotyped and labelled. In particular, teenage girls are portrayed as either sweet and innocent or aggressive and acting too mature for their age. Teenage girls are perceived as being heavily involved in sex from a young age. The film ‘Cruel Intentions’ enforces this idea and encourages teenage girls to grow up fast and act beyond their age – the magazine ‘Bliss’ also encourages this. All teenagers suffer from these harsh stereotypes and compared to ‘Cruel Intentions’ the film ‘My Summer of Love’ shows teenagers trying to break away from these labels. From all the negativity that is being expressed by the older members of society towards the younger, teenagers look to magazines such as ‘Bliss’ for inspiration on how they should look and act. Firstly the title of the magazine ‘Bliss’ appears at the top of the magazine in a big, bold font and in the colour red to make it more vibrant as it is the first thing you pick up on. Its font is Sans serif which is straightforward and informal so the reader will relate to it more. Also, the actual word ‘Bliss’ means a state of perfect happiness so this is implying that the reader will be happy if they read this magazine. ‘Bliss’ is also a name you expect as it reminds the reader of something glamorous or girly which attracts the female stereotype of the girly teenager. In the centre of the cover is a photograph of Taylor Swift who is considered a popular role model among teenage girls. She wears red lipstick which fits in with the colour scheme of the cover (red). The dress she is wearing is in metallic silver and this is in contrast to the red and blue colours to make her stand out more. All the text is framed around the centre image to make the focus on her. She is also using direct address by looking into the camera; this is a form of interaction as the audience may feel connected with the image on the front cover. Also, wrapped behind the centre image is a ribbon with ‘Taylor talks love’ written on it. This is to enforce the idea encouraging teenage girls to learn about love but in this instance, from Taylor Swift. The ‘o’ in the word ‘love’ is represented by a love heart (there are also love hearts surrounding this text). This appeals more too teenage girls as it is implying this magazine issue is all about love and stereotypical teenage girls idealize about love. The ribbon is shaped in order to draw attention to the eye. Underneath the ribbon it mentions a quote from Taylor Swift saying ‘With boys, you have to learn the hard way†¦Ã¢â‚¬â„¢ this is suggesting that girls haven’t learnt about relationships and boys yet, and is encouraging girls to grow up fast and act more mature. Also, the price of the magazine is cheap ( £2.99) compared to other monthly magazines and teenagers are most likely to have low disposable incomes so there is more chance they will buy it. Also, ‘Bliss’ is a monthly magazine so readers won’t have to buy it so many times, so they will save money, again this is more likely for teenagers to buy it. As the magazine is monthly, it will be more detailed and last longer than a weekly magazine so this is more reason for teenagers to read it. The language used on the cover is stereotypically used by teenagers (teenage girls in particular), for example, ‘(So. Much. Goss!)’ this will appeal more to teenage girls as they understand these sayings the magazine uses. Also, this quote is referring to Harry Styles who is part of the boy band One Direction who have a female fan base so to see some text on the cover stating they have loads of gossip about Harry Styles, is going to draw in their fan base which is primarily, teenage girls. In the bottom left corner of the cover is a list of celebrities that are popular among teenage girls. This encourages the male celebrities featured to be possible love interests and encourages the female celebrities to be possible role models. On the front cover, near the top, it states ‘horrifying real-life’ and then follows with a quote from a real life story. The fact they have chosen to feature a real life story applies to the uses and gratifications theory as teenagers can relate to it and identify with themselves. Also, along with the title at the top of page is the website address for the magazine. This shows that the magazine is technology adept and it also creates convergence on an online community. The modern day teenager spends more time on the internet now so it is likely that if they are interested in the magazine they will visit the website as well. At the bottom of the magazine are images of clothes. These images represent teenage fashion and create a desire for the products. ‘Bliss’ makes fashion an important issue and it supports this stereotypical idea that girls are obsessed with fashion and are trying to be mature which has been encouraged by the media. The front cover of any magazine is extremely important because when you are looking for which magazine you are going to buy it is the front cover that is what is going to attract you to each individual magazine. The stereotypical idea of the female gender is seen throughout the front cover of ‘Bliss’ by including features of fashion, gossip, boys and potential female role models. Also the colour scheme of red romanticises the magazine which encourages girls to grow up fast. There is a combination of presentational features used and attention to relevant content ensures the magazine will be extremely attractive to the female gender.

Concert Attendance Paper

MUS 121 Jeffrey Phelps, cello and Lee Jordan-Anders, piano 14 October, 2012 Dr. Ford Tidewater Community College CA#1 The Program Sonata in A Major, Opus 69 (1808)Ludwig van Beethoven Allegro, ma non tanto Scherzo, Allegro molto Adagio cantabile/Allegro vivace Sonata (1915) I. Prologue: Lent, sostenuto e molto risoluto II. Serenade: Moderement anime III. Final: Anime, leger et nerveuxClaude Debussy The Concert On Sunday, 14 October, Jeffrey Phelps, cello and Lee Jordan-Anders, piano, performed Ludwig van Beethoven’s Sonata in A Major, Opus 69 (1808) and Claude Debussy’s Sonata (1915) at Trinity Methodist Church in Smithfield Virginia.After the introduction of the performers we were asked to hold all applause until the end of each piece. The first Sonata by Beethoven bears the heading of Inter Lacrimas et Luctum, meaning â€Å"Amid Tears and Sorrow. † The first movement, Allegro, ma non tanto, from Beethoven’s Sonata, opened with the cello resting on one no te. The timbre of the cello as it began in a lower register was warm and rich, the tempo starting rather slow. The mood was mournful to me at the beginning and I had no idea what to expect. The texture at the beginning of the first movement was monophonic.As the piano entered the melody for both cello and piano was conjunct with symmetrical phrasing. Here the texture became polyphonic. The tone color of the piano seemed varied to me, alternating throughout the piece between vibrant and subdued. When the mood was not lively it became somber. The dynamics of both instruments changed throughout this movement, from piano to forte and then piano again. The movement of the melody was conjunct at the beginning of the piece and the contour of the melody was wavelike, especially by the piano.This movement began in a major key then abruptly moved into a minor key, where the dynamics were fortissimo. The texture was polyphonic, the counterpoint producing a call and response, as if the cello an d piano were holding a conversation. The melody had a narrow to medium range in the beginning of this movement. Repetition allowed all the themes to reappear throughout the movement, which is a trademark of the sonata. The cello and piano take turns performing small solo passages before veering off to something else. At one point early in the piece I heard a homorhythmic texture when cello and piano played the same notes together.After a descending melody from the piano the movement then becomes disjunct with a wavelike contour. It seemed to me that when the melody in the cello ascended, the melody in the piano descended. It had a lyrical mood to it and it was beautiful. The harmony, at this point, was still in a major key as the cello took over, characterized by a timbre that was dark. The mood was one of melancholy and I could feel sorrow. It was interesting to watch Phelps and Jordan-Anders subtly cue one another as the dynamics became pianissimo and the tempo adagio. In the lowe r registers both cello and piano had a timbre that was warm.In the upper registers it sounded fiery. The texture of the cello here was monophonic with no piano. I was not expecting the explosive part that followed. At about four minutes into the movement the dynamics became fortissimo and I could hear the harmony in a minor key. The contour of the melody descended and was conjunct. There was a return to a major key and the dynamics became piano for both instruments. The mood of this movement reminded me of yearning. The tone color for the piano became brighter here as the cello returned to the warm, rich sound like in the beginning.The contour of the melody was ascending and conjunct. This movement remained in duple meter throughout the piece. There was a return to counterpoint as both cello and piano played, using a polyphonic texture, the dynamics piano before returning to forte. As the tempo became allegro the cello strings were plucked creating a timbre that was bright and a moo d that was lively. There was a return to a monophonic texture for the cello and the dynamics became pianissimo. Since this movement’s form was ostinato, I heard short melodic, rhythmic, and harmonic patterns repeated.This piece was long, at twelve minutes, and at one point I stopped taking notes, in awe of what I was hearing. The entire piece felt symmetrical to me and was sing able throughout. Beethoven’s Sonata 3, Opus 69 nears a close with a texture that was heterophonic, dynamics that go from forte to piano and a bright tone color for cello and piano. The melody remained conjunct with a contour that was wavelike, by ascending and descending, especially for the piano. The tempo returned to allegro throughout this piece and ended with the dynamics returning to forte and the final cadence as the harmony resolved in consonance.The second movement of Beethoven’s Sonata in A Major, Opus 69 was Scherzo: Allegro molto and began with Jordan-Anders playing the opening notes of the melody in a narrow range with a melodic movement that was conjunct. The texture here was monophonic for only a few measures. The timbre of the piano was bright and the harmony was minor. I heard the second movement in triple meter, and by the time the cello began to play there seemed to be a return to the polyphonic texture which was common in the first movement. The movement of the melody was disjunct with a medium range, the dynamics of the piano soft (piano) and the tempo allegro.Phelps began playing in a dynamic that was piano which mirrored the opening measures of the piano part, with a very interesting rhythm I’m not sure how to describe. The rhythm was syncopated with a constant emphasis on beat three of every measure with the second beat marked by silence. The timbre of the cello felt bright, even in its lower register. There was an ostinato form in this piece and again, the cello and piano seemed to talk to each other, with a call and response pattern f amiliar in the first movement of this sonata.Movement two seemed to reach a dynamic climax halfway through which was forte, only to return to piano. The melody in the piano alternated between conjunct and disjunct and as the dynamics became louder the contour of the melody was ascending. The exchanges between the cello and piano created a lively mood throughout the movement and the texture once again became homorhythmic with a return to a polyphonic texture. I heard these textures throughout the Scherzo. The timbre of the piano and cello became quite broad with very loud dynamics. The theme was repeated and again, ostinato was at play.The movement ended with dynamics of the piano forte, the cello and piano using a texture that was heterophonic, because both instruments were playing in unison. The cello was plucked near the very end which created a dull timbre. The piano again employed a dynamic that was piano. This piece was full of manic energy that left me wanting to hear more. Th e word scherzo means â€Å"joke† but this lively little piece was anything but a joke! The third movement of Beethoven’s Sonata in A Major, Opus 69, began with a short Adagio cantabile which started with the piano.The dynamics were soft. The texture of the piano at the very beginning was monophonic until the cello joined in, and I heard a mixture of textures, but couldn’t quite tell for sure what they were. At one point, early on, I heard both piano and cello playing in unison which made the mixed texture heterophonic as well as heterorhythmic. The melody for both cello and piano was conjunct with a movement that I heard as having a narrow range for the piano and a medium range for the cello. The meter was duple. The dynamic used is piano and the tempo was adagio.Even though the harmony was major, the mood of the first part felt quite melancholy to me. Remaining in duple meter, the movement shifted from the Adagio cantabile to the final Allegro vivace, the title a clue of what was to come! The harmony remained in a major key however the tempo became lively (vivace) and the mood felt playful to me. The tone color of the cello was once again warm, as I am finding the cello to be. The timbre of the piano was bright and crisp as both instruments seemed to veer apart, trying to find a way to come back together. I felt excited when hearing this movement.The contour of the melody felt wavelike for both instruments, especially when scales were used, sometimes ascending, sometimes descending. The dynamics changed throughout this movement from soft to loud then back to soft again. I heard the movement of the piano as conjunct but wasn’t sure about the cello. Again, ostinato is at play halfway through the movement and I thought I heard dissonance, as the piano and cello seemed to battle it out. The harmony sounded like it was in a minor key at this point, like the cello and piano were trying to find resolution. The timbre of the piano was pier cing here.The tempo for both instruments became fast and the dynamics loud. Finally, the harmony reached consonance, after the cello repeats the first bar of the theme over and over again while the piano pounds out the accompaniment. The dynamics alternated between soft and loud, cello and piano ending on the final note in unison, the dynamics a startling forte. The first movement of Claude Debussy’s Sonata, Prologue: Lent, sostenuto e molto risoluto, began with Lee Jordan-Anders’ lone piano part that was homophonic in texture with a harmony that was minor. The tone color here was very dark, the mood quite somber.The program notes for this performance note this Sonata as the first of six projected sonatas for various instrumental combinations that Debussy was unable to complete due to the cancer that made his final years a misery. This sonata was the first composition. I could feel his pain and misery as I listened to this work. The phrasing of the melody was symmetric al with a movement that was conjunct. This movement began with a dynamic that was forte. The texture of the piano was homophonic. The cello entered, with an ostinato form which repeated the part just heard by the piano, giving it a tone color that I heard as a bit subdued and dull.The melody ascended, then descended, only to ascend again creating a wavelike contour with a conjunct movement. The dynamics continued to be forte. The cello then played alone, giving a monophonic texture. I felt the mood to be sad here, the movement of the melody more conjunct with a medium range. The harmony was minor. The tone color was muted. The melody of the cello began to ascend, the dynamics piano. Here, the piano joined the cello and the mood started to feel agitated. I heard the harmony to be dissonant here as the dynamics became forte.The texture was homophonic here and the timbre of the cello broad. The melody in the cello descended and was conjunct. The dynamics were piano at this point in the sonata and the tempo andante. The movement came to an end with a shift in harmony from major to minor with an obvious slowing of tempo. The dynamics remained piano. The second movement of Claude Debussy’s Sonata, Serenade: Moderement anime, began with the cello that had a tone color that was dull, almost muffled as Phelps plucked the strings with his fingers, which is pizzicato. The melody was not sing able and I heard the harmony as dissonant.I’m not sure about the meter, but I heard it as nonmetric because it felt weak to me. The dynamics at the beginning of this movement were pianissimo and the mood was one of distraction or agitation. The phrasing was not symmetrical and as the cello continued in the lower register the piano can be heard, also playing in dissonance above the cello. I had a difficult time with this piece because technically it seemed all over the place. The timbre remained dark and gloomy. The melody became conjunct with a narrow range of three not es with the dynamics moving from soft to loud.The tempo was vivace at one point, even though this movement’s tempo was rather slow. The tone color of the cello became brighter, as a lone part played in a higher register, making the texture homophonic. This movement closed with a cello part that seemed to be looking for resolution, still with a minor harmony and it seemed to repeat the first part of the piece. The third movement, Final: Anime, leger et nerveux, began in duple meter with the melody of the cello sounding sustained, then alternating between an ascending then descending movement, with a wavelike contour.The piano became very noticeable as Jordan-Anders began playing in a higher range that had a bright tone color. The melody was conjunct and wavelike, the phrasing symmetrical, for a short while. As the piano descended, the timbre of the cello once again became dull, as Phelps plucked the instrument. The mood turned dark and stormy once again as dissonance became pr evalent. I’m sure there were all kinds of technical things going on in this movement that my ear is not trained to detect.I could clearly hear the return to the earlier theme as both instruments reached a loud dynamic, the final note of the movement struck by both cello and piano. Even though this movement was played with mostly piano dynamics, I could hear a contrast between the changing moods, brought about mostly by frequently changing keys. It was a wonderful performance by Jeffrey Phelps and Lee Jordan-Anders and I am very glad I attended. I left the church remembering why I have a soft spot for classical music, something I’ve not listened to very much in recent years, until I signed up for this music appreciation class.

Pressure Groups †Amnesty International Essay

In Great Britain, the number of political parties is very small, whereas the number of pressure groups runs into thousands; as the membership of political parties has fallen, that of pressure groups has increased. The aim of all pressure groups is to influence the people who actually have the power to make decisions. A pressure group is an organised group that seeks to influence the government decisions or protect or advance a particular cause or interest. Groups may promote a specific issue and raise it up the political agenda. Pressure groups are sometimes able to gather sufficient support to force government to amend or even scrap legislation. For example, in March 1998 around 300,000 people went to London to protest about the Labour government’s rural policies – the ‘Countryside March’ – the government reacted by announcing plans for a Ministry of Rural Affairs and by publishing a white paper investigating all aspects of rural life. In return, these groups have an input into the making of decisions. My presentation is mainly focused on the one of the most influential pressure group and human rights organisation in the world, called Amnesty International. Amnesty International is a worldwide movement of people who campaign for internationally recognized human rights to be respected and protected for everyone. It undertakes research and takes action aimed at preventing and ending grave abuses of these rights, demanding that all governments and other powerful entities respect the rule of law. It campaigns globally and locally. Amnesty International members and supporters exert influence on governments, political bodies. Activists take up human rights issues by mobilizing public pressure through mass demonstrations, vigils, direct lobbying, publication and promotion of research findings, human rights education or co-operation with student groups. Amnesty International works with and for individuals the world over. For example, it takes action to : stop violence against women or abolish the death penalty. Ever since Amnesty International started campaigning in 1961, it has worked around the globe to stop the abuse of human rights. In 1961 Peter Benenson launched a worldwide campaign, ‘Appeal for Amnesty 1961’ with the publication of a prominent article, ‘The Forgotten Prisoners’. The imprisonment of two Portuguese students, who had raised their wine glasses in a toast to freedom, moved Benenson to write this article. His appeal was reprinted in other papers across the world and turned out to be the genesis  of Amnesty International. The first international meeting was held in July, with delegates from Belgium, the UK, France, Germany, Ireland, Switzerland and the US. They decided to establish â€Å"a permanent international movement in defence of freedom of opinion and religion†. On Human Rights Day, 10 December, the first Amnesty candle was lit. In January 1962 the first research trip was undertaken. This trip to Ghana, was followed by Czechoslovakia in February (on behalf of a prisoner of conscience), and then to Portugal and East Germany. Moreover, At a conference in Belgium, a decision was made to set up a permanent organization that will be known as Amnesty International. During all these years Amnesty International has undertaken many of the campaigns and actions and developed human rights. It broaden its territory and became one of the most stronger human rights protector. In January 1969, UNESCO granted Amnesty International consultative status as the organization reached another milestone – 2,000 prisoners of conscience released. In 1977 the organisation was awarded Nobel Peace Prize for its â€Å"campaign against torture†, and the United Nations Prize in the Field of Human Rights in 1978. After 30 years the organization broaden its scope to cover work on abuses by armed opposition groups, hostage taking and people imprisoned due to their sexual orientation. Thousands of Amnesty International members respond to Urgent Action appeals on behalf of individuals at immediate risk. Publicity through the news media and the internet takes its message in many languages to millions of people. It is an organisation independent of any government, political ideology, economic interest or religion, it is democratic and self-governing and financially self-sufficient. Amnesty International has more than 2.8 million members, supporters and subscribers in over 150 countries and territories, in every region of the world. It has offices in 80 countries around the world, for example in Sweden, Senegal or Bangladesh. Amnesty International research teams focusing on particular countries and themes investigate reports of human rights abuses, cross checking and corroborating information from a wide variety of sources and contacts. It receives information from many sources, including: prisoners and others suffering other human rights abuses and their representatives, lawyers and  journalists, refugees, community workers and human rights organizations and defenders All Amnesty International campaigning and research is fact based. Among the many activities it carry out, it sends experts to talk with victims, observes trials, monitors global and local media, publicizes its concerns in documents, leaflets, posters, advertisements, newsletters and websites. Amnesty International’s current six year ( 2010 -2016) strategy aims to empower rights-holders whose rights are challenged and strengthen the human rights movement.

How Does Walker’s Use of Imagery and Symbolism?

In â€Å"The Colour Purple,† Alice Walker uses symbolism, and imagery to affect the reader’s interpretation of the novel through very complex themes of religious influence, oppression and emotion developed from these literary devices. This has a profound influence on the reader’s interpretation of the novel as it suggests certain opinions and points of view to them as well as giving them deeper insight to the emotions of the protagonist In â€Å"The Colour Purple† a strong theme of religious influence and interpretation is developed through use of symbolism and imagery.The fact that the letters are initially addressed to God, an entity in whom the protagonist strongly believes, has a significant symbolic impact on the novel. When Celie’s mother asks where her child came from she says â€Å"Its God’s† when clearly, it is her father’s child. The elliptical choice of â€Å"God† as the father of the baby is symbolic, and show s that the power her Pa wields over her makes him a God-like figure to her. This is ironic the semantic field of the word â€Å"God† holds connotations of an all-powerful and infinitely benevolent entity.The irony of this is that whilst the true father of the baby, her â€Å"Pa†, holds a great deal of power over her, he is portrayed as anything but benevolent. If anything, he is more like Satan as he is seemingly the source of all the deplorable aspects of her life. This evokes a great deal of pathos from the reader and also antipathy towards her father. This clearly Illustrates for the reader who the protagonist and antagonists of the novel are Later in the novel, this symbolism is continued as the protagonist’s perception of God is explored through her dialogue with Shug Avery.Soon after discovering that her sister is still alive, she becomes frustrated and against the idea of praising God, exclaiming â€Å"What God do for me? † This is a typical reacti on of people who have suffered in life to the concept of God. This anger she feels towards God for letting her suffer so much is a manifestation of all the anger she feels towards all the people who have wronged her in life. This further manifests itself when she decides, â€Å"She don’t write God no more† as she blames him for giving her a hard life.She also decides that God is a man, something that is of extreme significance as Celie attributes all of her life’s troubles and problems to men, and their mistreatment of her. She confesses to Shug Avery that she sees God as â€Å"Big and old and tall and greybearded and white† This perception of God is a fairly common one, along with the â€Å"white robed† and â€Å"barefooted† idea. Then Shug outlines her perceptions of God, and church, ideas that are not so common. Her ideas are extremely interesting; she says she never found God in church, and any God she found she â€Å"brought in† with her.The effect this has on the reader forms very strong empathy with the protagonist, as the thoughts she is having are very relatable. It also makes the reader question their own perceptions of God, thus making this novel seem to be a very philosophical one. With Shug’s help, Celie comes to see that God isn’t a bearded white man, he is â€Å"Everything†, he is in nature, people, the sky and all that is good. This is most strongly illustrated in the final letter of the book which she addresses â€Å"Dear God. Dear stars, dear trees, dear sky, sear peoples.Dear everything. † The syntax of those sentences as a list illustrates further that she sees God in everything that is good and beautiful. This shows that she has come back to God and her perceptions have changed dramatically. This symbolises the end of a journey as Celie comes to accept God once more and it also symbolises that fact that she has moved on with her life and is finally happy. She†™s also This creates more empathy from the reader who feels joy for the protagonist as well as showing that she has overcome her hardships.Overall this idea of a journey creates a sense of this being a very biographical novel. The fact that it is in epistolary form makes the novel much more personal and relatable for the reader. When Celie leaves Mr. __ she finds her inner self and gains a lot more personality. At the beginning of the novel, she never mentions her emotions, just physical feelings. This is symbolic of the fact that in her oppression, she was just surviving rather than living. She was very much a shell, her body existed but her inner spirit was suppressed greatly.The first time emotions are brought in are when Celie discovers that her sister is still alive. Her break from oppression to become her own person is symbolised by the pants. The making of pants is theraputic for her, she claims she â€Å"aint been able to stop† after she started. This is the first t hing shes ever chosen to do herself so they are symbolic of her newfound independence. Also in that society, pants were considered to be a men’s item of clothing, so the wearing of pants by Celie and Shug is symbolic of their fight against sexism and the patriarchal society.The fact that she starts to make money from the pants furthers the idea of independence. The effect on the reader of this is it gives an idea of this being a very political novel and being about a struggle for freedom. The colour purple is a regal colour representative of affluence and the good things in life created by God for the people to enjoy. At the beginning of the beginning of the book, Celie has no sense of the colour purple, she has a terrible life in which she is just surviving rather than really living. The lack of emotion at the beginning clearly shows this.As a result, she doesn’t have the capacity to sense the colour purple, she cant appreciate the simple beauty of life and nature as her conditions are so oppressive that she cant see any good. Shug helps her to see the good in life when she shows Celie that God is in everything and telling her to â€Å"relax, go with everything that’s going and praise God by liking what you like. † This overall analysis of God and the form In which he exists prompts the reader to question their own view on God, especially the way in which society depicts him and his laws.