Difficult Decisions
Dear President Bush and Congress:
I have written you to discuss our national budget and the inherent problems in our fiscal policy. Although I am not the best informed on this subject I think my opinions and ideas are relevant. I have several ideas for both raising more capital and lowering government expenditure. I believe action must be taken on both fronts to curb our national debt before it adversely affects our economy.
I will first share my ideas on lowering government spending. First and foremost I believe we must lower defense spending and downsize our military. We have the most powerful military in the world and can afford some budget cuts without risking national security or global standing. We must also cut spending on the home front. I believe we should lower welfare payments and encourage people to find jobs instead of relying on the government. We should also give tax incentive to wealthy citizens to give up their U.S Bonds therefore lowering the Federal Debt. Also the wealthy should be eliminated from the Social Security System.
The second part needed for responsible Fiscal Policy is the generation of income. Our Governments main source of income is taxes and therefore some taxes must be raises to curb the deficit. Taxes on gasoline and cigarettes should be raised which would generate more Income and lower our nations dependence on them both. Also I believe that Marijuana should be legalized for personal use and taxed and regulated by the Government. The possible income from this method is large and also eliminates the criminal element, cutting cost in Law Enforcement and Imprisonment.
Tim O’Brien’s ultimate purpose is to detract the fine line between fiction and reality. In order to fully grasp what a true war story consists of, the definition of true must be deciphered. O’Brien seems to believe that it does not need to be pure facts. Instead, it is mostly found in the imagination of the individual. Readers need to receive a story based on the truth in its overall purpose and meaning. It just needs to feel true. The author implies that it is not important whether the event actually occurred or not, because if the reader wants to believe it that badly, the feeling of truth will always be present.
The three incredible works of literature by Owen, OBrien, and Sassoon give a true sense of what fighting for ones country was really like. The battles, soldiers, and wars that most of the public see is glorified tremendously through movies and books mainly. These writers wanted a change and they went about this by giving the true and honest facts of what happened. War should be thought of as a tough obstacle that no one should ever have to go through, a sad occurrence, or a horrible burden, but not as a glorious victory. In order to reach that victory, the road is anything but sweet.
But in truth a true war story will stir great feelings, but may not contain a moral at all. In fact, a true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing th...
Born on May 7, 1833, Johannes Brahms is regarded as the foremost romantic composer of instrumental music in classical forms. He composed virtually every variety of music except opera. Although his music was the object of attacks by followers of Richard Wagner, and Franz Liszt, his popularity grew over time as a great composer of unique individuality (Weinstock 456). His life, influences on him and his music, and his outstanding musical works all take a part in the history of this famous composer.
The 18th century is well known for its complex artistic movements such as Romantism and Neo-classical. The leading style Rococo thrived from 1700-1775 and was originated from the French words rocaille and coquille which meant “rock” and “shell”; used to decorate the Baroque gardens1. Identified as the age of “Enlightenment”, philosophers would ignite their ideas into political movements1. Associated with this movement is England’s John Locke who advanced the concept of “empiricism”. This denotes that accepting knowledge of matters of fact descends from experience and personal involvement1. Locke’s concept assisted the improvements of microscopes and telescopes allowing art students in the French academy to observe real life1. Science and experience influenced painting more so in Neo-Classicalism. Locke fought for people’s rights and the power or “contract” between the ruler and the ruled. Reasoning that “the Light in Enlightenment referred to the primacy of reason and intellect…and a belief in progress and in the human ability to control nature”1. Hence, the commence of experimental paintings such as Joseph Wright’s (1734-1797) oil on canvas painting: Fig.1 An Experiment on a Bird in the Air Pump. This image was developed through science by placing a bird in glass container and pumping air to see the effects it would have on the bird (White cockatoo)1. Throughout the late 18th and early 19th century in Western Europe, Neo-Classical art became the “true Style” and was accepted by the French Revolution under Louis XIV. Neo-Classical art was a reaction to Rococo’s light hearted, humour and emotion filled pieces.
Earnest Hemmingway once said "Never think that war, no matter how necessary, nor how justified, is not a crime." (Ernest Hemingway: A Literary Reference) War is a gruesome and tragic thing and affects people differently. Both Vonnegut and Hemmingway discus this idea in their novels A Farewell to Arms and Slaughterhouse Five. Both of the novels deal not only with war stories but other genres, be it a science fiction story in Vonnegut’s case or a love story in Hemingway’s. Despite all the similarities there are also very big differences in the depiction of war and the way the two characters cope with their shocking and different experiences. It is the way someone deals with these tragedies that is the true story. This essay will evaluate how the main characters in both novels deal with their experiences in different ways.
The narration of real events blended with fictional additions, and vice versa, is inconsequential compared to how the moral of each story resonates with the reader. Plots and ideas get made up in order to “get at the real truth” (O’Brien 81). The ““story-truth” has little to do with the reality of war. Instead, the onus is on the reader to determine the value of the work in her own life, to make sense of the connections arising from intense conflict” (Smith 116). The stories become true depending on the varying emotional response of the reader, coming alive under the canopy of personal experience and individual reaction. It is dependent on the reader to tease out the moral of each vignette, “like the thread that makes the cloth, […] unraveling the deeper meaning” (O’Brien 74). A true war story, like those within The Things They Carried, cannot be taken at face value. They are far more profound than just being about war. “It’s about love and memory. It’s about sorrow” (O’Brien 81). A true war story is not true at all, unless, the reader is able to identify the different personal, emotional truths within them; the truth is fictionalized so that it can be accessible to vaster audience of readers, so that it could mean
...urred in the past. They provide relevant information at the same time that explain the points of view of feminist groups and how it have changed the history. In addition, the authors agree that the suffragette movements developed a radical way of feminism so women had to go through a series of acts of humiliation and self-sacrifice to achieve their purposes. On the other hand, they disagree with the creation of some women groups and the techniques that they used and in the way that they fought to have an equal pay. However, the authors use the same methods to show the problems in Britain during that time, in all the articles they talk about biographies and experiences of women to describe the historical and political identity in British feminism after the First World War. This identity could be improved thanks to the attempts of women to be considered like citizens.
O’Brien, Tim. “How To Tell a True War Story.” The Compact Bedford Introduction to Literature. Ed. Michael Meyer. Boston: Bedford St. Martins, 2003. p. 420-429.
World War 1 had a massive effect on women in society. Their lives drastically changed in a short amount of time. In fact with this change came plenty of responsibility, and a great deal of both physically and psychologically demanding work. This responsibility is what made women more confident and self-satisfied, which later on led them to fight harder for their rights.
A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain ...
The structure of a longboard has changed a lot through the years. Longboards are a longer form of a skateboard. Longboards are used for slalom and downhill racing. Unlike a longboard, a skateboard is used for doing tricks. However, longboards go farther with one push. Longboards are harder to break than skateboards because they are not used for doing tricks and so are less likely to crash.People figured out that clay wheels are safer than rollerblade wheels because they are wider and more smoothe (longboardskateboa...
The French Revolution, indeed, changed the structure of economics and social sphere of the old regime, and also the ideology of that time. In the years that followed the Revolution, the always increasing senses of both freedom and individuality were evident, not only in French society, but also in art. As stated by Dowd, “leaders of the French Revolution consciously employed all forms of art to mobilize public sentiment in favor of the New France and French nationalism.” In between all the artistic areas, the art of painting had a special emphasis. After the Revolution, the French art academies and also schools were now less hierarchical and there was, now, more freedom of engaging into new themes, not being the apprentices so tied up to their masters footsteps, not being so forced to follow them.
Then, in 1758, Haydn got his first regular musical job as musical director to Count Ferdinand Maximillian von Morzin in Lukavec, Bohemia, where he wrote his first orchestral compositions. The Morzin orchestra performed Haydn's first symphony, which he conducted from the harpsichord.
As an adult Mozart his career was not as successful as when he was younger. But he kept on composing anyway hoping one people would appreciate his work. He lived in poverty for the great majority of his life. In 1769 he became a concertmaster to the archbishop of Salzburg, which was another one of his jobs that afforded him little financial security. In 1777, he left on another concert tour. But, the courts of Europe ignored Mozart ‘s search for a more beneficial assignment. In 1782 he earned a living by selling compositions, giving public performances, and giving music lessons, which once again was a low paying job. The composer never did find a well paying job. The bizarre thing was is that even that he had ton of trouble finding jobs, he was still considered one of the leading composers of the late 1700s.