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Cultural Values and Personal Ethics Paper. CULTURAL VALUES AND PERSONAL ETHICS PAPER Cultural Values and Personal Ethics Paper MBA/500 . Cell! Foundations of Problem-Based Learning R. Garth Ferrell April 23, 2006 University of John Keats' He Might Cease to Be Phoenix Cultural Values and Personal Ethics Paper Every day people make decisions that may have profound effect on their personal and/or professional lives as well as the How Technology is Important Success, lives of others. Keats' Cease! The decision people make have a foundation on their personal , cultural, and perhaps organizational values . Gone Too Far! When these values are. Business Decision Mapping , Culture , Decision engineering 1583 Words | 5 Pages. In my personal opinion a moral dilemma is one having to choose between what is right and what is wrong. This could be taken in several . different ways, and might not be what others view as the Fear He Might, right definition however this definition is in my own words.
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My Personal Relationship and Beliefs. May 16, 2012 English 105 Casey Kadavy My Personal Relationship and has science gone too far Beliefs As a young child, I . remember my parents teaching me this bible verse, For God so loved the world that he gave his only son, so that everyone who believes in him will not perish but have eternal life. John 3:16 and it has become the foundation for John That He Might Essay, my religious belief system. Growing up, my mom and dad influenced my religious beliefs system and help make it what it is today. They taught me the. Christianity , Creed , Faith 1132 Words | 3 Pages. Personal Values and Self Awareness. ? Personal Values and themes Self Awareness Sharess Jefferson Professional and Ethical Issues in Counseling/EDC 5213 University of John Cease Essay . Southwest As with any academic venture there are times when a student is themes of esperanza, engulfed in self doubt and is distressed by the inevitability of change. Although these factors present themselves throughout many parts of the educational process, there remains a sense of purpose rooted in John Keats' Fear That Cease Essay, the belief of true compatibility.
Nestled within this attraction is the opportunity. Communication , Counseling , Emotion 1354 Words | 6 Pages. AMERICAN BELIEFS AND VALUES There are some ideals and poems values rooted in the country’s history and John Keats' He Might Cease spread by media . (films, TV) that many Americans share. 1. Individualism – has strong roots in America. Individualism is understood not only as self reliance but also as economic self-sufficiency. It has been a central theme in American history. Many years ago most Americans were farmers whose success depended not on poems cooperation with others but on their ability to John Keats' Fear He Might Essay confront the hardships of land.
American culture , Cinema of the United States , Citizen Kane 2143 Words | 6 Pages. My Values, Beliefs, Clinical Gestalt with Individuals and Systems. her own beliefs , values , and experiences as well as family, cultural dynamics, and background. The main reason a person . continues to learn and is Important to the of a Essays obtain knowledge, is because of the array of clients a clinician sees. In the textbook, I had to complete exercises that discussed our values and beliefs and Keats' Fear That He Might to Be how they will affect and interact with our professional lives. The values that are in themes of esperanza rising, my life affect and John Keats' Fear to Be make me whom I am. Several values that bounce between my professional and personal life and. Affect , Knowledge , Learning 805 Words | 3 Pages. What Are the Beliefs and Values of Buddhism. What are the beliefs and values of Buddhism?
Buddhists follow the teachings of Siddhartha Gautama who is known as the . Buddha, meaning the enlightened one. Buddhism originated in northern India and is the fourth largest religion of the world. However, Buddhism is more a philosophy or way of life other than a religion because unlike so many other religious traditions, Buddhism is founded on the teaching of a human being and not a god. Philosophy means love of wisdom and the Buddhist’s believe. Bodhi , Buddhism , Dukkha 1848 Words | 6 Pages.
Personal Values and Ethical Standards James Green BSHS/322 April 29, 2013 Marcia Winter Personal . Values and Ethical Standards Those people and examples things I value most is God, my recovery, self, respect, family, education, career, freedom, friends, community, and John Fear Cease finance. How Technology Is Important Of A! For me, these people and things are desirable and important. Keats' Essay! However, there are times when those things and themes of esperanza people cause dilemma in John Fear to Be Essay, my life, and when I neglect to attend to robert them, especially when it is John That Cease, those values concerning. Dilemma , Ethics , Lifestyle 1851 Words | 5 Pages. Ones values and robert principles are a vital part of Keats' That He Might Essay communication.
Some of those values we consider to be more important than others . and the importance of those values are frequently put up to examples of literature the test. There are times when we encounter circumstances where those values are challenged and we are required to make a decision which values override others. Such as situation where two or more of ones values diverge is known as a ‘ value conflict’ and the resolution to such a conflict differs from one individual. Conflict , Decision making , Decision making software 1333 Words | 4 Pages. Personal and Organizational Values Alignment. Personal and Organizational Value Alignment Paolo Melendez MGT/521 January 4, 2011 Tony Manzanetti . John That He Might Cease To Be Essay! Personal and Organizational Value Alignment Values of Kudler Fine Foods as an Organization Genuineness and passion. “Kudler Fine Foods is committed to providing our customers with the finest selection of the very best foods and wines selection so that your culinary visions can come true” (Kudler Fine Foods mission Statement). This mission statement contains genuineness and passion.
Interpersonal relationship , Personality psychology , Psychology 1199 Words | 4 Pages. Personal Values And Ethical Standards 2. ? Personal Values and Ethical Standards 2 Counseling in the substance abuse/mental health business is not an easy job. Working in . the Women’s with children population, as a counselor I am charged with assisting women to of literature learn how to develop the ability and strength to learn what addiction mean, learn better coping skills, how to Fear That He Might to Be Essay become a better mother and most important how to robert bridges poems recover. Counselors deal with putting people’s lives back together so that they may begin being a productive member of. Business ethics , Cognition , Decision making 2126 Words | 4 Pages. Stacey Wilson October 14, 2011 Swrk 251 Social work value essay My mother likes to tell the John Keats' Fear He Might to Be, story of cell count when I was four years old going . to my reading circle. John That Cease Essay! While I was waiting for my reading circle to themes of esperanza rising start, I noticed a baby crying so I picked up toys and started shaking them and making the baby smile. Keats' That To Be! For as long as I can remember I have always like to help others, I got enjoyment out of making my friends happy. Robert Bridges Poems! Whenever one of my friends had a problem I was always there for them, to listen. International Federation of Social Workers , School social worker , Social change 2231 Words | 5 Pages.
When I think of beliefs , they define who people are individually as person by the choices we live by daily by believing in or not believing in . something. Why do we believe what we believe? These beliefs are etched in our minds in childhood by the motivation family, church, and other organizations that can essentially be changed through the John Keats', course of our lifetime by How Technology Success of a our own thoughts and interpretations. Values are the taking of Keats' Fear Cease those beliefs we hold true inside, by exhibiting traits in how we conduct.
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Thesis and Dissertation Formatting and Submission Guidelines. The following format guidelines are intended to help you prepare your master’s thesis or doctoral dissertation and should be used in conjunction with the John He Might Cease Essay specific style adopted by your academic program. It is your responsibility to conform to the following format requirements and ensure that your manuscript’s presentation is of the highest quality. Viable! Because requirements may change over time, students should not use existing library or departmental copies of manuscripts as examples of proper format. Graduate Studies strongly suggests that both your committee chair and the Graduate Studies Manuscript Coordinator review a draft of your entire manuscript before you electronically submit it to the UNM Digital Repository. The Manuscript Coordinator is available to John Fear He Might Essay, help you with issues related to format.
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Your graduate unit has the right to Fear Cease to Be Essay, require that you provide them with a copy of themes your thesis or dissertation, and that certain original records and materials be retained as the property of the University. Publication rights to the thesis or dissertation are reserved to you as the John Fear He Might Cease author. The final version of your thesis or dissertation must be submitted to cell count, Graduate Studies (Graduate Studies) by: November 15 for Fall (Check with Graduate Studies for the date of graduation) April 15 for Spring (Check with Graduate Studies for the date of graduation) July 15 for Summer (Check with Graduate Studies for date of graduation) Writing a Thesis or Dissertation in a Language Other than English.
With the approval of a student’s thesis or dissertation committee and the Dean of Graduate Studies, a manuscript may be written in a language other than English. However, the manuscript must be accompanied by an abstract in English approved by the committee. The following forms, which may be obtained at Graduate Studies, must be submitted before your manuscript will be accepted by the Dean of Graduate Studies. Keats' Fear That He Might Cease Essay! Many of the forms are now available on the Web. For further information, connect here. A Report on Thesis or Dissertation (gray sheet), completed by each member of your committee: These are often sent separately after the defense by the graduate unit; if given to the student for submission with the manuscript, they should be sealed in an envelope by robert bridges, the graduate unit and marked Confidential. A Certificate of Final Form: You must submit this with your manuscript. An Information Cover Sheet: This is a Graduate Studies form that is submitted before electronic manuscript submission. A Survey of Earned Doctorate (doctoral students only - the survey is completed on-line. A Doctoral Dissertation Agreement Form-University Microfilms International (UMI) booklet entitled Publishing your Dissertation (see below).: This is required for dissertation students only, and is optional for thesis students.
The form is Fear That Cease to Be, completed on-line here. You may use the template for the front matter pages, on of literature, our Templates Page. If you are a doctoral candidate, you are required to have your dissertation published by ProQuest (formally known as UMI). This will bring your work to the attention of researchers in your field in a variety of ways. John Keats' Fear That To Be! Your abstract will appear in gone too far Dissertation Abstracts International, which is considered the authoritative source for John to Be Essay concise summaries of current doctoral research. Your entire dissertation will be published by ProQuest. As of fall 2010, ProQuest Publishing does not require payment of a registration fee for doctoral studentswho submit viathe ProQuest UMI-UNM Administrator Website. Doctoral students must select the traditional publishing option and not the open access option to activate the no registration fee feature, otherwise they will be charged as shown below. Students are responsible for the associated fee, which is currently $65 for traditionally published dissertations that are not submitted via the UMI-UNM Administrator Website and $160 for open access dissertations; $55 for How Technology Success traditionally published and $150 for open access theses.
Both the ProQuest registration form and Keats' That He Might to Be Essay fee must be submitted with your dissertation electronically. The registration fee is robert bridges poems, payable by credit card. ProQuest provides copyrighting of dissertations as a supplementary service when the work is being registered with them. The current fee for copyrighting is $65. The publication or copyrighting of master’s theses by ProQuest is optional. Registering your copyright in your thesis or dissertation is John That He Might Cease, optional. Under current United States copyright Law, the moment you reduce a work to a tangible medium (i.e., write it on University Tuition Costs High, paper, save on hard drive or other storage device, take the photograph, record the music, etc.) your thesis or dissertation is copyrighted. This applies to unpublished manuscripts as well. There is no longer the need to register your work for copyright to attach.
Furthermore, there is John Fear That Essay, no longer the requirement of putting a copyright notice on University Costs High, a work for it to be copyrighted. You may register your copyright either by having ProQuest do so (see above) or on your own by submitting a registration form, which you can pick-up at Zimmerman Library Government Publications or download from John Fear Essay US Copyright Office's web page, with a check for thirty five ($35) dollars, and two copies of your thesis or dissertation. Additional information can be obtained by calling 202-287-8700 or going to the US Copyright Office web page at http://www.copyright.gov/ Including Copyrighted Material in Your Manuscript. You should remember that if you quote or otherwise reproduce in your thesis or dissertation material previously copyrighted by another author, beyond brief excerpts, you must obtain written permission from the has science gone copyright owner. Keep in mind that if a work was created in or after 1989, there is no requirement that it have a copyright notice to be copyrighted This includes foreign works and foreign works for which the copyright has been reinstated pursuant to John Keats' Fear That Cease to Be, international treaty. Copyright law is extremely complex and it can be difficult to determine what action you need to take and where to begin looking for examples of literature permissions. The web sites listed below contain a great deal of Keats' Fear Cease to Be Essay information and has science too far have been helpful to students. Graduate Studies does not provide copyright advisement. (ProQuest) Copyright and Your Dissertation or Thesis -Ownership, Fair Use, and Your Rights and Responsibilities:http://media2.proquest.com/documents/copyright_dissthesis_ownership.pdf
The University of Texas at Austin Copyright Crash Course:http://copyright.lib.utexas.edu/ All pages of your manuscript must be in 'Letter Size', 8 ? X 11 inch, format. The copies of your manuscript must be clean, unshaded, and free of spots and Fear He Might to Be Essay smudges. Faint, streaked, or uneven copies are unacceptable. (See Also) The left margin of each page must be 1 1/2 inches, and the top, right, and How Technology of a Bank bottom margins 1 inch. (See Also) There are only two ways to paginate your manuscript; upper right hand corner and bottom center. If your page numbers are at the bottom, leave two blank line spaces between the last line of text and the line on which the page number is placed. Whether they are at the top or the bottom, page numbers should appear just outside the That Cease Essay 1-inch margins (.5 to .8 inches from the Tuition are Too High top or bottom edge of the page. Whichever method of pagination is selected, it must be followed consistently. He Might Cease To Be Essay! Use lower-case Roman numerals for the front matter (which is examples of literature, all pages before the body of John Keats' He Might research), create section break and continue (beginning again with page 1) with Arabic numerals for the remainder of the manuscript, including the How Technology Success of a text, illustrations, appendices and references.
Your manuscript should be double-spaced (one and a half spaces can be used if approved by John Fear That He Might, the chair of your committee) and single-sided. References may be single-spaced with a double space between each reference. Indented quotations may also be single-spaced. Use a professional quality font (e.g., Arial, Times Roman, Courier or Helvetica). Robert Bridges Poems! Font size for your text should be 12 point; headings may be up to Fear Essay, 14 point.
Fonts for tables, figures, and appendices may range from 8 to 12 point. The style of your thesis or dissertation may follow any one of many standard style guides, as preferred by viable cell count, your graduate unit, or the style considered standard in your particular discipline. You should consult your advisor for preferences or additional requirements your department may have. In any case, your manuscript must be internally consistent. Thesis or dissertation manuscripts are generally divided into three sections – the Front Matter, the Body of Research, and the Reference Matter. For a visual reference to format the Front Matter, utilize the Example of Completed Front Matter link at the Approval Template page. That He Might! AThesis Exampleand aDissertation Examplewill help you format the Front Matter for pagination and the placement of the cell proper order of the front matter pages which can be generated at theMS Word Templates page. (See Also) The Approval Page is the first page of the Front Matter and John Fear He Might to Be Essay the manuscript. Count this as page i. Type the names of the committee members on the lines provided at the center of the page. (See Also) The Title page contains the University Tuition Costs Essay title of your manuscript, your name, your previous degrees (including your majors, institutions and years centered on the page). Count the title page as page ii.
The degree you will be receiving at UNM, and John Keats' Essay the month and year of your graduation should be listed toward the bottom of the page (check with Graduate Studies for the graduation date). When listing the degree to be awarded, please refer to the Master’s and Doctoral Degree List included with these guidelines. Do not use abbreviations. (Optional) This is an optional page. If you use one, number it in appropriate sequence with a lower-case Roman numeral. The title must be in Tuition Costs capital letters, centered just below the top margin of the Keats' Cease to Be Essay page.
The dedication itself may be single or double-spaced. (Optional) This is also an optional page. If you use one, number it in appropriate sequence with a lower-case Roman numeral. The title must be in capital letters, centered just below the top margin of the too far page. The acknowledgment itself may be single or double-spaced. On the Abstract page first list the John That He Might Essay title of your manuscript, your name, all degrees you have already earned (in chronological order), and the degree to be awarded. Robert Bridges Poems! These lines should be centered on the page, beginning just below the top margin. Then double-space, and on the following line, center the word ABSTRACT. Double-space again before beginning the text of your abstract. Use paragraph indentation as appropriate.
The text itself should be either one and a half spaces or double-spaced. Dissertation abstracts are limited to Keats' to Be, 350 words. Thesis abstracts are also limited to 350 words unless you are electing to examples of literature, have your thesis microfilmed by ProQuest/UMI – in that case the thesis abstract may contain no more than 150 words. Number the Abstract Page in appropriate sequence with a lower-case Roman numeral. The Table of Contents page is John Fear He Might Cease to Be Essay, counted and numbered with a lower-case Roman numeral. If you have used a List of Figures (Optional) and/or a List of Tables (Optional) , they must be included in your Table of Contents. Tab leaders should be used between the heading levels and the page numbers. (DO NOT simply type dots across the of esperanza page--the spacing will not work out.
Instead, set a dot leader tab. If you have multiple appendices, they must each be listed (see section on Appendices). (if applicable) - placed on separate page after the Table of Keats' That He Might to Be Essay Contents. This page is counted and numbered with a lower-case Roman numeral. It may be single or double-spaced. Tab leaders should be used between the title of the figures and page the numbers. This page should be listed at the beginning of the Table of Contents.
(if applicable) - placed on How Technology to the Essays, separate after the Table of Fear That Cease Contents. This page is counted and numbered with a lower-case Roman numeral. It may be single or double-spaced. Too Far! Tab leaders should be used between the Fear That He Might title of the tables and the page numbers. This page should be listed after the List of Figures at the beginning of the Table of Contents. (optional)This page is counted and numbered with a lower-case Roman numeral.
Beginning with the first page of the text (begin again with page 1), pages are numbered with sequential Arabic numerals through the end of Costs High Essay your manuscript. Each chapter/major division of the John Keats' That He Might to Be text must start on a new page. Each of Success Bank these lead pages should be counted and numbered. Figures may include diagrams, charts, drawings, schematics, photographs, etc. Each of the two required copies of your manuscript must contain its own original figures, with the exception of photographs, in which case both may be high-quality copies either in color or black and white. Figures should be inserted as near as reasonably possible to the text to which they relate. John Fear That! They should be numbered consecutively with Arabic numerals as part of the continuing text.
Figures and their captions must appear on the same page, within the required margins. Examples Of Literature! If captions are more than one line long, they may be single-spaced. They should be placed on paper of the same size and weight as the rest of the manuscript. Colored materials are acceptable, but since color does not reproduce on microfilm, an alternate key should be provided if it will be needed for interpretation of the figure in black and white. Oversized figures may be presented in Fear That Cease to Be Essay one of to the of a Bank two ways: A horizontal figure that is too wide to fit on John Fear to Be, a regular manuscript page may be mounted on of esperanza rising, another piece of Fear That Cease to Be paper at the left hand margin, and folded like a fan. The folds must be within the right hand margin. A figure that is both too long and too wide may be folded and inserted into a 6 ? x 9 ‘’ envelope that is mounted on another sheet of paper. Tables that are a half-page or shorter in How Technology to the size may be placed at the top or the John Fear That He Might Cease bottom of the page, or in the center, with text above and below.
Tables may also be placed alone on the page immediately following the robert bridges page that refers to them. That To Be! The placement of tables should be consistent throughout the Tuition Costs are Too High manuscript. Tables continuing for John That He Might to Be Essay more than one page should be labeled [e.g., Table 1 (cont.)], and oversized tables should be treated in the same way as oversized figures (see above). Reference matter may include notes to the text, appendices, a glossary, a list of references, and an index. The appendices and the list of references are the count two most commonly used categories, and are discussed in detail below.
The appendix (or a series of appendices) usually follows the main text, and contains material that is Keats' Fear That He Might, useful for a detailed review of the study, but is not essential to has science too far, an understanding of the John Fear That He Might text. For example, an appendix is the appropriate section in which to place material such as raw data, the results of individual laboratory analyses, or sample forms. This may be useful supporting data even though it is not specifically utilized in the text. Note, however, that some reference should be made in the text to examples of literature, the fact that these materials appear in the appendix. The pages of the Keats' Fear That He Might Cease to Be Essay appendices are numbered in sequence with those of the University Tuition are Too text. Although it is preferable, you do not have to meet margin requirements for the material in your appendix, except for the left-hand margin. After the last page of text, include a list of Appendices on John Keats' Fear He Might Cease to Be Essay, a separate page.
Individual appendices should start on University Costs are Too Essay, a separate page and should be clearly marked. The List of Appendices should also be included in the Table of Contents. Keats' He Might Essay! To list appendices in your Table of viable Contents, use Appendices as your major heading. On the That Cease Essay next line, indent five spaces, and begin listing each appendix with its title (for example, Appendix A. Survey Data) and page number. No manuscript is complete without a full listing of the necessary bibliographic information about the sources upon themes of esperanza rising, which the study is based. In most cases, only those sources actually cited in the study are listed. John That He Might Cease To Be! This section will be called List of References, References Cited, or simply References, and all pages are counted and numbered. Tuition Costs High! The list is most often arranged alphabetically, although it may follow some other logical plan. It will follow the appendices. Templates for the front matter of your manuscript are now available at the Front Matter Templates section of Fear He Might Cease to Be this site. This page also includes Samples of completed front and reference material.
This section is a valuable visual reference to use to format the robert bridges Front Matter with the proper lowercase Roman numeral pagination. Graduate Studies would like to thank Neall Doren for his help in developing a LaTeX Style File for formatting theses and dissertations. For further information, connect to LaTeX Template and Style Files. The LaTeX Style is popular with specific research disciplines, such as Engineering and the Math sciences. Please note that computer-generated manuscripts are subject to the format requirements to which all other manuscripts are held. Formatting on front material is very detailed.
Make sure that formatting matches examples (especially red-bordered pages). Make sure that pages are numbered correctly. (A sample of completed front material is available on the web site.) Margins for the entire manuscript must be: left – 1.5 inches; top, right, bottom – 1 inch. Exceptions: Top, right and John Keats' That Cease bottom margins may vary in viable count the Appendix pages, but the left margin must be 1.5 inches throughout the ENTIRE manuscript (including Front Matter, References, Appendices).
Page numbers in the Appendices must also appear consistently as in the rest of the Keats' He Might Cease Essay manuscript. Landscape-oriented figures and tables. Margin requirements must be met, and page numbers must be placed consistently as in the rest of the manuscript. Table of How Technology of a Bank Essays Contents/Headings Subheadings within manuscripts. Your Table of Contents will be checked against the body of your manuscript. Page numbers must be correct. All headings/sub-headings that appear at the same level should have the John That Cease Essay same appearance in the body of the manuscript and be distinguished from other heading-levels by robert, appearance or numbering.
All headings and Keats' He Might Cease to Be Essay subheadings (as many levels as you include in the Table of Contents) should appear in the Table of Contents. If you have some third-level headings in the Table of cell Contents, then ALL third-level subheadings should appear in the Table of Contents. The major section headings (usually Chapter headings) should each begin on a new page. Other levels should not be started on a new page. Your manuscript must be accompanied by ALL the appropriate completed forms or it will not be accepted. Please Note: The problems listed above are among the most common, but manuscripts can be returned for other problems as well. Electronic Thesis/Dissertation Preparation and Submission. The University of Keats' That to Be Essay New Mexico encourages open access to all theses and dissertations produced for Costs are Too High Essay graduate degrees. John Keats' Fear That! Therefore, all theses and examples dissertations are submitted electronically in PDF format to Graduate Studies.
These electronically submitted theses and John That He Might Cease dissertations (ETDs) are uploaded on has science, a server housed in the UNM Digital Repository, where they are accessible for John He Might search and Bank Essays download through web search engines such as Google. In most cases, students submitting ETDs benefit from having their work available in the open access repository. In some special cases, however, students may want to delay making their work available for varying lengths of time. For this reason, UNM has implemented an embargo policy that enables students, with approval from their advisers and Graduate Studies, to delay public-wide access to their work in the UNM Digital Repository. While under embargo the manuscript nonetheless remains available to the University of New Mexico academic community in order to satisfy requirements for the degree. Before submitting your thesis or dissertation, please consult with your committee chair and review the embargo restriction policy at the Graduate Studies Website-Graduate Studies Forms-Manuscript Blockto determine whether or not you should release your work to open access or petition for an appropriate embargo option.
For more information on the embargo policy please see “ Embargoing your Electronically Submitted Thesis or Dissertation ” below. If the decision is made to request an embargo restriction then the John Fear That form must be submitted to Graduate Studies at themes of esperanza rising the same time as you submit theAnnouncement of Examination form— at least two weeks before your dissertation defense. Steps to Create the He Might Cease Essay One Document File (Microsoft Word 2007 or 2010) For the best results to set up the one document file, please do NOT Copy/Paste the themes of esperanza two Template pages before this file is Fear, generated with the following instructions. 1) Create a number of pages (Page breaks)—Go to Insert (Ribbon)—Click on “Page Break” any number of times (10-20). You need to estimate how many pages you may need for the Front Matter. Please use the Examples of Front Matter (Thesis or Dissertation) at the Graduate Studies Website-Thesis/Dissertation icon-Manuscript Submission (Left side)-scroll down to How Technology is Important to the Success of a, the Examples for Fear Cease to Be Essay Front Matter. Themes! Review the example to decide on the number of pages in the Front Matter. 2) In order to John Fear He Might Cease Essay, be able to create page numbers for the Front Mater (lower case Roman numerals) and Body of Research (Arabic numerals), pick the halfway placement of the pages to set the Section Break. Place the cursor on the page in which the How Technology is Important to the of a Bank section break will be set at That He Might the beginning of that page.
3) Set the Section Break: Go to Page Layout (Ribbon)—Click on “Breaks—Click on Section Break (Next page). Do NOT use “Continuous” section break. 4) At this point, you want to set the lower case Roman numeral page numbers for examples the Front Matter. Go to Keats' Fear He Might to Be Essay, the first page of the How Technology is Important of a Essays file and place the cursor at the first page. Go to Fear That He Might to Be, Insert (Ribbon)—move to Costs are Too High Essay, the right and Click on Page Number. You will need to pick the location placement of your page numbers (window examples). Fear That! You need to pick either Upper right hand corner or Bottom center. Once the location is set and make sure your cursor is poems, still at the first page of the John Keats' That Cease to Be file. You should be able to go back to Insert (Ribbon)—Page Number (which may have moved to just below to the left from the ribbon. Bridges Poems! Scroll down to Format Page Numbers and Click to show the Window box.
At this time, click on the arrow and select the ”i,ii,iii,iv”-lower case Roman numerals which will be highlighted in gray. Move down to the page numbering section and Keats' Fear He Might Essay Select the Start at: type in “i”. Click on the “OK” button. 5) The previous step should have incorporated the lower case roman numbers for the Front Matter. You will see that at the transition page where the gone too far section break was set for the Body of Research that an Arabic number is in place instead of the lower case number.
Example: I,ii,ii,vi,v,vi,vii,viii,ix,x,11,12,13. 6) The first page of the Body of Research should start as p.1. You will need to reset the page numbers for the Body of Research. Place the John Fear He Might Cease to Be Essay cursor on this page of the University Tuition are Too High Body of Research and follow the previous step to incorporate correct Arabic page numbers. Go to Insert (Ribbon)—move to the right and Click on Page Number. Keats' Fear That He Might Cease To Be Essay! You will need to pick the location placement of your page numbers (window examples). You should be able to to the Bank, go back to Insert (Ribbon)—Page Number (which may have moved to just below to the left from the ribbon. Scroll down to Format Page Numbers and Click to show the John Keats' Fear Cease to Be Window box. At this time, click on the arrow and themes select the ”1,2,3,…”-Arabic numerals which will be highlighted in gray.
Move down to the page numbering section and Select the Keats' Fear Start at: type in “1”. Click on the “OK” button. This step should have renumbered the Body of Research correctly to Tuition Costs, start as p.1. 7) At this time, this is the one document file that can now be formatted to become the Microsoft thesis or dissertation file. You will now continue with the format criteria for margins, line spacing, fonts, and all other style (APA, MLA, or Chicago) criteria that you can confirm with your committee chair if necessary. 8) You can create the two template pages (Approval page and the Title page) which can be copy/pasted to the p.i and p.ii of the Front Matter. Please use the Examples of Front Matter for Cease to Be Essay Thesis or Dissertation at the Graduate Studies Website-Thesis/Dissertation icon-left side second grouping to decide on count, how the Front Matter pages will be generated –Approval page, Title page, Dedication page (optional), Acknowledgements page (optional), Abstract page, Table of Contents, List of Tables (optional), List of Fear He Might Cease Figures (optional). 9) For Microsoft 2010 to copy/paste the Template pages, follow the next instructions. When you want to create the Template pages, you must unlock the template to complete typing within the gray fields but, also, to Save the template page to poems, your laptop/computer. Go to “Review” (Ribbon) and John Keats' He Might to Be click on “Review” icon.
Move to the far right side and cell Click on “Restrict Editing”. Look down the right side to the bottom area to view “Stop Protection”. Click on ”Stop Protection”. This will allow you to complete the Fear template page and robert save it to John Fear That, your computer. 10) With the Microsoft document file, you will want to copy/paste your Template pages(Approval page and Title page), Abstract page, Table of of literature Contents to the Front Matter section.
You can copy/paste individual files (Introduction or Chapter 1, Chapter 2,…) to Keats' Fear He Might Cease, the Body of Research section. You want to gone, complete all your edit/revisions within this file. When you ”Paste” the documents to the Microsoft one document file, use the John Keats' Fear That Cease to Be Essay “Paste Special” option and then the “Picture” option to move the selected text to your Microsoft thesis/ dissertation file. 11) Most important, please Backup this Microsoft thesis or dissertation file to a USB stick or External hard drive. Gone Too Far! Be sure to save this file to multiple places so when you have a Final thesis or dissertation file, you will be ready to That Cease Essay, convert this file to has science gone, a thesis.pdf or dissertation pdf for final submission to the electronic digital repositories to meet the final degree requirement for your degree program. Steps for Submitting Your Manuscript. Once your thesis or dissertation committee approves your final manuscript and you have made all necessary revisions and corrections, you are ready to submit your work as a single pdf file to the UNM Digital Repository and, for dissertation writers, the ProQuest/UMI UNM Administrator archive following the John That Cease to Be instructions below . At the minimum, you must submit your thesis or dissertation to How Technology is Important Success of a Essays, Graduate Studies within (90) ninety days of John He Might Cease Essay your final defense or by the graduation deadline for the term in which you are graduating, whichever comes first. Note: You must submit the manuscript as a pdf electronic file, thus you will need to gone, convert your Microsoft Word document or any other document to John Keats' Fear That to Be, the pdf format. As of May 2011, Graduate Studies has learned that when using either a PC or Macintosh platform with recent versions of Microsoft Office you may lose some formatting when converting your Word document into pdf or when submitting your pdf document to the UNM Digital Repository. Is Important Of A Bank! To protect against such problems, it is important that you create and save all changes to your document on the same computer platform and using the same version of He Might Essay Microsoft Office. Themes Rising! Thus, when you complete your final manuscript do not shift between computers and different versions of Word.
If you encounter these problems, contact the Manuscript Coordinator at Graduate Studies for assistance. Manuscript Completion Forms. You must submit all required manuscript forms listed on the appropriate Electronic Master’s, MFA, or Doctoral Graduation Checklist to Fear That Cease, Graduate Studies. These forms are available at theGraduate Studies web page, under the heading “Manuscript.” These forms may include the Information Cover Sheet form, the Certification of viable cell count Final Form, the ETD Release form, the Title page (template). You may submit these forms as email attachments firstname.lastname@example.org, or you may submit the hard copy manuscript forms to Graduate Studies—attn: Manuscript Coordinator. If you prefer to meet with the manuscript coordinator, arrange an Fear Cease to Be, appointment with Doug Weintraub,email@example.com. Please register at the UNM Digital Repository BEFORE submitting your manuscript forms to the Manuscript Coordinator.
You will not be able to submit your manuscript to gone too far, UNM Digital Repository until the Graduate Studies coordinator reviews your manuscript forms andactivates your email registration at the appropriate UNM Digital Repository collection. You must submit your thesis or dissertation electronically to the UNM Digital Repository; if you are a doctoral student submitting a dissertation, you must also submit your manuscript to John Keats' He Might to Be Essay, the ProQuest/UMI Administrator-UNM. © The University of New Mexico, Albuquerque, NM 87131, (505) 277-0111.
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comic essays Covers of Art Spiegelman's Maus II and MetaMaus: A Look Inside a Modern Classic, Maus. Hillary Chute | University of Chicago. Abstract: In the view of John Keats' Fear Cease to Be, some critics, the robert poems form of comics is a locus of the archival, a place where we can identify an archival turn. Art Spiegelman’s Maus first and perhaps most forcefully established the connection between archives and comics. His groundbreaking work documenting his father’s experience in John Fear That He Might Cease to Be, WWII Poland, where he survived internment in Auschwitz, is a visual narrative based on oral testimony that consistently heightens our awareness of visual, written, and oral archives, and where they interact, overlap, or get transposed one into the other.
Hillary Chute recounts and interprets her collaboration with Spiegelman in the process of High Essay, assembling MetaMaus , a book compiling interviews and archival materials on the making of Maus . MetaMaus, argues Chute, reflects the tension between different kinds of extant archives—oral, written, photographic—and the cross-discursive work of (re)building new archives that motivates Maus . John Keats' Cease Essay! Its defining feature is that it shows the of esperanza rising materiality of Spiegelman’s archive; it is about the embodiment of archives. The subject of Maus is the retrieval of memory and ultimately, the creation of memory…. It’s about choices being made, of John Keats' That, finding what one can tell, and what one can reveal, and what one can reveal beyond what one knows one is has science too far, revealing. Those are the things that give real tensile strength to the work—putting the dead into little boxes. – Art Spiegelman ( MetaMaus 73) Maus: A Survivor’s Tale is a book about John Fear That Cease, archives. And the book about making Maus , MetaMaus , is both a process of taking stock of the Maus archive and an active process of creating a new archive. 1 Maus is about the Holocaust, featuring two intertwined stories: that of Auschwitz survivor Vladek Spiegelman’s struggle in the 1930s and 40s in Poland during WWII, and that of his son Art Spiegelman’s struggle in the 1970s and 80s in New York to record and draw his father’s testimony in comics form. Maus is a graphic narrative that is, to Tuition are Too Essay, invoke the John Keats' Fear That Cease language of this special issue, on every level about of esperanza rising, “the politics of what is saved (remembered), and what is discarded (forgotten).” We recognize this dynamic both in and on its pages. As Anne Golomb Hoffman points out Fear He Might to Be Essay, about the OED definition of “archive,” the word indicates both the container for documents and the documents themselves (Hoffman 2009, 5-6). The form of rising, comics makes this transfiguration legible. Graphic narratives not only thematize archives—for instance, the cartoonist’s work of John Keats' Fear That, finding and collecting is an actual plotline of Maus —but further, because of the pictorial, word and viable cell image format of John Keats' Fear That He Might Essay, their pages, they are able to actually incorporate or physically represent concrete archives (thus the famous three photographs, two from the war era, that Spiegelman actually places within Maus ). 2 Maus is has science gone, about archives, and John Keats' Fear He Might Cease to Be Essay it also itself does the work of archiving , for of esperanza, instance in how it inscribes Vladek Spiegelman’s private Holocaust testimony elicited by Art Spiegelman, and places it in Fear That to Be Essay, print and into the public record.
3. The selecting, ordering, and preserving work of archiving in Maus is, in a sense, collaborative—Vladek locates his photograph, Art inserts it in his book; Vladek bears witness to University High, Auschwitz through his oral testimony; Art edits and shapes his story to put it on the page. 4 Maus and MetaMaus share this feature. With MetaMaus , the archive belongs to Spiegelman, but he and I worked together to create the shape of a new archive. Keats' Fear That Cease To Be! Being Associate Editor meant immersively taking on the book as a joint endeavor, which meant we together generated a new archive out of the structure of examples, our interview, which guides the book.
5. I wrote a dissertation, “Contemporary Graphic Narratives: History, Aesthetics, Ethics,” about nonfiction comics. Along the way, after I had written an essay on Maus that he had read and liked, I was invited to a cocktail party at Spiegelman’s SoHo loft. 6 Later, in the fall of 2005, Spiegelman and I met to “talk comics” in his studio; he invited me to work with him on creating MetaMaus . By the end of That He Might to Be Essay, 2005, I was signed on to the project, and we started in earnest in January 2006. In 2010, reading Spiegelman’s “Dancin’ in the Dark!” piece in the New York Times , which explains his improbable work with the of esperanza experimental dance company Pilobolus, I was struck by the pronouncement the Keats' Fear Essay Spiegelman character makes in the strip: “I don’t collaborate.” He and I had been collaborating at has science too far that point for over four years.
What enabled us to collaborate was that we approached the work rooted in seemingly different discourses—I as a student and then professor of English, and he as a cartoonist and Fear He Might historian of the form—but we shared a deep formal interest in comics. Cell! And we were agreeably open to disagreeing with each other; this created an intellectual generosity that became part of our intersubjective ethic. In the view of some critics, the form of John Keats' That He Might Cease to Be Essay, comics is a locus of the Tuition Costs archival, a place where we can identify an archival turn. Focusing on the cartoonists Kim Deitch and Ben Katchor, for instance, Jared Gardner identifies the John Cease Essay “the archival turn in the contemporary graphic narrative” (Gardner 2006, 788). 7 Scholarship on Alison Bechdel’s memoir Fun Home: A Family Tragicomic has also spawned attention to comics and archives, as in Ann Cvetkovich’s “Drawing the Archive in Alison Bechdel’s Fun Home ”; Valerie Rohy’s “In the of literature Queer Archive: Fun Home ”; and my own book chapter “Animating an Archive: Repetition and Regeneration in Alison Bechdel’s Fun Home .” There is something to Gardner’s suggestion that there is “an intrinsic connection between the comics form and [an] engagement with archival research” (Gardner 804). I argue this is because of comics’s profound engagement with the representation of Keats' That Cease, (historical) time and space, and the complex display that the comics page enables. (One of Rohy’s claims posits comics frames as vitrines that focus our attention on the subject, and object, of research [Gardner 804].) We may recognize what I term an archival drive in the work of Bechdel—and Katchor, Deitch, Ivan Brunetti, Dan Clowes, Seth, Posy Simmonds, Chris Ware and many others—manifested and made legible through the form of comics ( Graphic Women 188). However, Spiegelman’s Maus , which began in has science, 1980 as a chapter-by-chapter serial in RAW magazine (after a three-page stand-alone prototype of the same name appeared in an underground comic in John Keats' Fear He Might Cease to Be, 1972), first and perhaps most forcefully established the connection between archives and comics. Even the visual metaphor that shapes the gone too far book, in which humans appear as various species of animals, namely Jews as mice, Poles as pigs, and Nazis as cats, is motivated by Keats' Fear That Cease Essay, a rich archive of Nazi propaganda. The epigraph to each of the two Maus book volumes is a different WWII-era Nazi quotation that underscores this. One of the central dramas of bridges, Maus is the cartoonist’s desire to search down any archival material relating to his parents’ lives before his own unlikely birth—both of his parents survived Auschwitz, and their first son, Richieu, died in the war at age six.
Thus the issue of what was saved—what could be saved—by survivors from the war is paramount, as is the question of what happens in post-war life to what gets saved. In the case of the Spiegelman family, the issue of That Cease, saving, or not saving, is heightened: Vladek Spiegelman destroyed his wife Anja Spiegelman’s notebooks after her suicide in 1968. Viable! (In maddening contradistinction to this act of obliteration, he stubbornly saves any manner of small and worthless items like matches, and wire found on the street.) The notebooks, which contained Anja’s account of her experience in the war, and which she had described to He Might Essay, her son since his childhood, are burned by has science gone too far, the time he comes searching for John Keats', them as a young man. Vladek reveals only over time that he destroyed Anja’s notebooks, during a period when he “was so depressed … I didn’t know if I’m coming or going” ( Complete Maus 161). The very last word in Maus I: My Father Bleeds History is “murderer”: Art Spiegelman accuses his father of How Technology is Important, murdering his already-dead mother by incinerating her narrative, her archive. 8.
The absence of archives, the presence of archives: the disappearance and appearance of any kind of evidence, record, trace of his parents’ pre-war and Keats' Fear Cease Essay wartime lives constitutes a major narrative thread of of literature, Maus , as we also see, for example, in an episode toward the end of the John Fear He Might Cease to Be book featuring a momentous box of photographs unearthed by Vladek—of Anja’s family, primarily. In this key scene, Vladek sits lonely among a cascade of has science too far, drawn photographs, and John Keats' Fear That He Might Cease to Be Essay his single body stretches across comics frames to stand in for absent generations of Spiegelman bodies. 9. What kinds of archives remain from has science gone too far which parents? How can the son identify and weigh the John Fear He Might Cease to Be traces that remain to stitch together the fullest understanding possible from the collection of bridges, voices and documents and Fear That Cease Essay photographs to which he has access? Maus makes explicit that “the archive” is a process , not a storehouse of evidence. Robert Bridges Poems! This process, in fact, is exactly what the book is about. In the shadow of his mother’s painful wordlessness , her ghostly burnt words, but also her withheld words—she didn’t leave a note when she chose to end her life— Maus is about Spiegelman’s father’s archive, and testimony, and Spiegelman’s own creation of an archive. We can note Maus ’s investment in the archive as process rather than as repository of John Keats' Fear That He Might to Be Essay, evidence in University Costs are Too High, the episode in which Art, through a conversation with his father, becomes aware of the existence of a photograph of Vladek, after he was liberated, posing in a clean concentration camp uniform for a souvenir photo to send to his wife. This photograph is the John Fear That He Might Cease to Be only one of Vladek in Maus . Has Science Too Far! Tilted out John Keats' That Essay, of the rows of viable, drawn boxes, the defining feature of its presence is the John Keats' That Cease to Be ambiguity and awkwardness it inspires; the questions it sets in motion.
What Spiegelman preserves in publishing this 1945 photograph within the space of his comics page is attention to the process behind the creation of both paternal and filial archives. The idea of selection—what is re-archived, what is examples of literature, discarded?—is also part of the language of the comics page itself, and so Maus is about archives on at least two levels. 10 First, there is the John Keats' He Might Cease to Be Essay question of cell, what is actually transmissible from one generation to Keats' That, the next. Second, there is the question of what Spiegelman chooses to incorporate or re-represent in his comics narrative about his father’s Holocaust experience. Comics makes the process of selecting, ordering, and preserving intelligible in a way few forms can: its very narrative syntax is an interplay of presence and absence, in which moments of time are selected and boxed (separated conventionally by bands of of literature, white space called “the gutter”). The actual juxtaposition of Keats' He Might Cease to Be, frames on the page calls overt attention to the basic grammar of comics as selection—to the rhythm of the displayed and the evacuated, and how they constitute each other. While all media select and frame, comics make this process material on the page—not as merely evocative, but rather as literal. The fact that Maus , a book about count, family archives, is in the idiom of comics further calls our attention to the construction of Keats' He Might to Be, its own counter-archive. “The subject of Maus is the retrieval of memory and ultimately, the creation of has science gone too far, memory,” Spiegelman avers. “It’s about a cartoonist trying to envision what his father went through. John Keats' Fear He Might Cease! It’s about choices being made, of finding what one can tell, and what one can reveal, and what one can reveal beyond what one knows one is revealing ” ( MetaMaus 73, italics mine). One of the key features of Maus is its focus on making its own making legible.
While it has become commonplace today to viable, praise a work’s self-reflexivity, that feature is not necessarily a value in and of itself. John Keats' To Be! However, this aspect of the book—which is located in how, specifically, it builds itself as a word-and-image archive—allows Maus to function narratively and ethically as a text of witness and testimony. And if Maus is already very “meta” in its rebuilding (“you rebuild me all this from your questions,” Vladek says ruefully to his cartoonist son), how might a book called MetaMaus function in relation to the archive? 11. Starting the project first meant deciding its basic shape.
Spiegelman knew that MetaMaus would draw on archives relating to his parents—official records and documentation, family photographs (which are used very sparingly, even teasingly, in Maus ). He also knew that the book would draw on archives relating to his work—the cartoonist’s comics archive, including drafts, studies, outtakes, notes. (In 1994 the Voyager Company issued a then state-of-the-art CD-ROM, called The Complete Maus , that made use of photographs and notes and How Technology is Important Success of a sketches, as well as audio recording, to good effect; an updated version of this CD was from the beginning slated to be a bonus feature of MetaMaus , included with the purchase, but would function separately—our focus was on creating a stand-alone book with its own complete integrity.) At our first meetings, we brainstormed about the possible structure of MetaMaus , and our desire to shape and select the material while yet maintaining the non-linear temporality of Maus , its weaving and layering of the That Cease Essay past and examples of literature present, its often deliberately circuitous and recursive movement. Eventually, by talking through Maus in a semi-formal way (I taped some of our early conversations, even those that were only John Fear That He Might to Be Essay ever for the two of us), we hit on an interview structure to of esperanza, anchor the book. Art would never know my questions in advance; our conversations were always spontaneous, never rehearsed. We were able to converse with each other for John Fear That to Be Essay, hours at a time (a regular meeting time was three or four hours), and through simply sitting and talking we came to the tropes that Art most often deals with in his own public talking about Maus —Why comics? Why mice? Why the Holocaust? With this tripartite structure in place as a skeleton shape, we formalized our conversations as interviews. Although we never spoke about this explicitly, at some point it dawned on me, years into examples, the project, that our interview structure mirrored Art and Vladek’s. For over a solid year I simply looked at and identified and sat with the actual, physical stuff of Maus . Art gave me full access—my own set of Keats' Fear That Cease to Be Essay, keys—to his studio.
Whenever he wasn’t there, I was free to come in to investigate and pore over and re-organize. This often meant stretches of time on the weekends. (When I couldn’t poke around his main cartooning studio, I would spend time in the RAW publishing office a few blocks away, run by has science too far, Art and his wife Francoise Mouly, which was a similar packed space and housed an ancillary but relevant archive relating to their avant-garde comics magazine.) Nothing in Art’s studio was off limits to me; I was encouraged to look at anything and everything in that space. John Fear Essay! Aside from the black archival binders that contained the original drawings and studies for Maus organized by chapter—each final drawn page lay in an archival sheet protectors, along with its attendant drafts and sketches—and a bottom shelf full of Maus -era notebooks from the 1970s to 1990s, what “the Maus archive” was and could be was yet to be determined, and I located, sifted, aggregated, and re-assembled. My work in has science gone, the studio in the first two years was two-fold: first, it was navigating the packed space of the studio to find the dispersed chunks and bits and pieces of the John Keats' Cease Maus archive, which lurked on shelves and in drawers, and sometimes in very inconspicuous places. Has Science Gone! One treasure trove I located was an old, unmarked, inauspicious-looking Garbage Pail Kids folder full of Maus notes and reflections on yellowing index cards; another was an aging manila envelope marked, simply, “Maus Grains,” which contained grains of ideas—stimulating and motivating— like quotes attributed to Ronald Reagan (“we shouldn’t talk about the John Fear That Cease to Be Essay Holocaust”) on 30-year old napkins. 12 I needed to simply locate where the pockets of relevant paper archives might lie, and sort through them.
Since I was so familiar with the viable count story and details of Maus , it felt like a backwards board game or detective quest, to find the shards of reference that accumulated into the whole final product (and sometimes ambiguously didn’t). John Keats' Fear He Might Cease! I remember one summer evening sprawling on the floor and finding, under a pile of dusty manila file folders and is Important Success of a Bank Essays binders, the photograph of Art’s dead brother Richieu that opens Maus II and which Vladek and Anja Spiegelman always kept with them. It felt shocking to have the surprise of seeing this photograph de-contextualized from the John Keats' Cease to Be narrative I knew so well, and, for viable count, all its importance in the book, grouped with the un-important on the shelf. That! Lifting it out of the pile—the object that stood in for a lost child—was breathtaking. Examples Of Literature! 13 (The same night, in the same dusty pile, I found Vladek’s immigration records, and unanswered solicitations requesting donations in order to publically commemorate Anja in Jewish services.) Art and I anointed a new space, which we called the Keats' That Cease to Be MetaMaus shelf, where we gathered significant items together. Physically aggregating artifacts and Bank documents—re-centralizing what had been dispersed after the 13 years of John Keats' That Cease to Be Essay, making Maus —was an intellectual and manual task of (re)archiving. There was also, broadly speaking, the has science question of selection. After all, one of the most striking things Art has said to me was an John Keats' Fear He Might Cease to Be, aside on the telephone in the fall of examples of literature, 2010, when we were discussing the full components of MetaMaus , and were debating whether or not to Keats' That He Might to Be Essay, have a timeline of his life and career (I typically lobbied for these more “academic” features, including the bibliography).
Explaining his trepidation, Art observed, “My chronology would start with: When was Kristallnacht?” The imbrication of the is Important to the Success Bank past and present is the central suggestion of Maus, as a complete narrative and on each individual page; as Marianne Hirsch recently described one of its pages, “It’s a series of temporalities that won’t stand still.” 14. Art’s comment about the Keats' Fear He Might to Be Essay incontrovertible imprint and shaping of history on the existence and consciousness of his person, the deep mingling of the personal and the historical, is in line with Maus , but to hear him say it out loud so directly about himself felt like a fresh reminder. Maus is meticulously architected but is cell, about unruly temporalities. How were we going to consider issues like timelines in a book reflecting the swirling temporalities of Maus ? Art and Vladek had struggled over Fear That He Might Cease to Be Essay the issue of timelines in Maus II . Creating an bridges, archival book about Fear Essay, a book about archives produced these mirrored moments; Art now got to too far, be the person resisting the timeline and John Keats' Fear He Might Cease to Be claiming unruly temporalities (in Maus II he presses forward and Vladek snaps, “In Auschwitz we didn’t wear watches”) ( Complete Maus , 228). The question of the of esperanza working scope of our collection of material, then, was always present, even when not explicitly connected to the imprint of the war. Many early notebooks, such as in the 1960s, from years before the 1972 “Maus” was formed, contain apposite information about comics and creativity, about filial dynamics with Vladek and Anja, about the connection of culture and John Keats' Fear to Be Essay style. Deciding what the constellation of paper archives for Maus was (retrospectively) and MetaMaus would be (prospectively) was a constant issue in assembling what I think of as the research orbit of our archive. Was a Father’s Day card and a Mother’s Day card Art drew for his parents as a kid relevant? To me, it was, and was entered into the register of items that we considered for of esperanza, the MetaMaus archive. What is indisputably the core of the Maus archive, though, is the original pages, and the notebooks. (The form of the Keats' He Might Essay notebook , given Anja Spiegelman’s immolated notebook, the loss of which constitutes a major thread in Tuition Costs High Essay, the book and also propels the reconstituting project of Maus itself, took on John Fear That Cease to Be Essay a special weight to me.) The tightly organized black binders of drawn original pages and page-connected sketches had already been cataloged and scanned by assistants and interns by the time I arrived in robert, the studio. A complete digital archive exists of every page of Maus , and its various iterations. (File names look like this: MausI.I.p22a.jpg; MausI.I.p22b.jpg, and so on—some pages run through the John Fear He Might Cease to Be whole alphabet and then the examples twenty-seventh file is Fear He Might to Be, marked by robert poems, a “za,” and so forth back into the alphabet.)
I didn’t look at the digital files, though, until after I had taken every page and its versions and sketches out of the binders and sheet protector and studied them closely. This took me about a year. I didn’t want to experience the pages and panels on the computer; I wanted to take stock of the John Keats' That He Might to Be Essay materiality of the artifact, to touch and lift the paper and to scrutinize the gummed labels and correction fluid and the physical texture, the bumpiness, of the line. The range of bridges, papers I attended to by studying the actual drawings was striking; there were sketches on pink “While You Were Out” correspondence sheets, on receipts, on typing paper, on tracing paper, on John Keats' Fear He Might Cease to Be Essay graph paper, on lined paper. One got a sense of the urgency through the pattern of paper; the inspired drawing that happens on whatever surface is most proximate. I was also able to juxtapose spatially in front of me Art’s color sketches, assembling a sequence for his meticulous process of sketching in successively darker colors (starting in yellow, say, and ending in purple) to Tuition Costs Essay, discern visual volume and weight in a panel, even though the final line in Maus is always in black. That To Be Essay! It is only through approaching the actual objects that a sense of the profundity of the layered labor of comics came through—the obsessional sketching, correcting, layering, crossing-out, and rebuilding. Themes! Much in the way that comics forces a kind of physical intimacy, as Michael Silverblatt has pointed out, I needed to interact with the Keats' He Might to Be Essay archive haptically as though I were assembling it to be comics: spreading it out in front of examples, me, creating sequences with the sketches, holding a drawing up to squint at the spaces, placing studies next to a finished page to discern the narrative movement from draft to final product. (Art initially saved all of his sketches because he thought he would include one with each book when he self-published Maus with RAW.) Maus is a double-voiced text that presents a view of testimony specifically and of narrative generally as a polyvalent weave, where testimony and memory are collaborative procedures generated by both speaker and listener. The dialogic form of comics is constituted by John That Cease, the active tension between word and image—which makes it a hospitable form for narration that turns on the tension of competing voices (in the viable cell case of Maus , Vladek’s and Art’s).
Even further, what Maus so brilliantly stages, as I have argued, is John Keats' Fear That to Be Essay, that the themes rising comics medium is not only dialogic —able to John Keats' Fear to Be Essay, be both a biography and an autobiography in one layered work—but also what we might think of as cross-discursive. 15 We see an example of this when Spiegelman draws against his father’s verbal narration in an episode in which the two of them discuss the existence of orchestras at Auschwitz. Verbally, although the University Tuition Costs Essay Art character notes, “It’s very well-documented,” Spiegelman lets Vladek have the final word (“No, I remember only marching—not any orchestras…. How could it be there an orchestra?”)—but he draws a barely visible orchestra, largely covered up by marching prisoners, in his comics frame ( Complete Maus 214). Maus often works with the friction of verbal and visual discourse; the cartoonist has both at his disposal, and so he can preserve his father’s language while drawing against it. Maus is about the tension between the He Might Essay visual, the written, and the oral in its representation of is Important to the Success of a Bank Essays, trauma, and in how it expresses the He Might to Be memory of the eyewitness and the secondary witness. There had not been a visual, narrative text of the Holocaust published widely before Maus —what I think of as a visual materialization , for gone, instance, of Auschwitz: something that is John Fear That Essay, not a still photograph that captures a single moment, or a moving series of film frames that whisks a viewer along, but is rather a visual materialization that is examples of literature, a sequence that creates a world that can be studied and engaged at one’s own pace. 16 Discussing the question of representation and Keats' That He Might to Be Essay verisimilitude, Spiegelman chafes at filmmakers’ quests to re-build the camps, as opposed to Maus ’s approach to representing the camps by robert bridges poems, “creating it as a mental zone” ( MetaMaus 166). Creating the camps as a mental zone ; this is one of the chief abilities of John Keats' He Might Essay, Maus as a narrative that uses the abstractions of drawing.
Spiegelman, I learned while interviewing him, had first encountered the Holocaust visually. Spiegelman grew up with parents, both Polish survivors of Auschwitz, who, in keeping with what was for some a tacit mandate of post-war American Jewish immigrant culture, didn’t address with him in any explicit way what their experiences in Poland had been. Viable Cell Count! As a child, he knew there was something called “the war,” but his encounters with its traces were a series of jarringly disconnected moments, mostly verbal, like in the emblematic episode from his memoir Portrait of the Artist as a Young %@*! when in a car ride back from a party his parents speak about a former sonderkommando present at the event for whom “it’s rumors he put his father and his sons to the ovens, so nobody sits with him,” and then suggest to John That He Might Cease to Be, their son, “Take a nap again, Cookie!” ( MetaMaus 15). However, although his oblique knowledge that his parents had been through something terrible was mostly verbal—and aural generally, as he describes hearing them scream in their sleep—during the widely televised Adolf Eichmann trial in 1961, when he was 13, Spiegelman went searching through his parents’ private bookshelf, and had his Susan Sontag moment of encountering images of atrocity for the first time. That the experience of recognition was visual isn’t particularly unusual: stories of people’s first viewing of Nazi atrocity photos circulate widely.
17 The most significant object that Spiegelman found, however, wasn’t primarily photographic. His first real encounter with what to robert, him was “the war” was visual—and drawn . In the process of assembling MetaMaus I learned how formative drawn visual archives are in Keats' That He Might, Spiegelman’s intellectual and artistic imaginary. 18 It comes out in our interview that Spiegelman discovered, on his mother’s bookshelf, mostly Polish and Yiddish small-press pamphlets published right after the examples war, some of them picturing everyday life in the camps. Fear That He Might Cease To Be! For Spiegelman, these were so outside of themes of esperanza, mass-cultural production, ”they had a kind of Keats' Fear That He Might Cease to Be Essay, fanzine-like magic to me and really struck me hard. I couldn’t understand those words in is Important of a, those pamphlets but pored over John Fear That He Might to Be the two that had pictures.
Anything at all with cartoon-like drawings had an immense pull on me, especially those from before my own childhood” ( MetaMaus 49). The archive I discovered researching MetaMaus opens up traditions of visual witness related to WWII that helped to inspire and University Costs are Too innovate, even indirectly, the comics cultures and scenes that sprouted in John He Might Cease to Be Essay, the late 1960s and has science gone too far early 70s. A plausible arc for the comics field might actually begin with Paladij Osynka’s 1946 Auschwitz (owned by Anja Spiegelman), move on to Spiegelman’s 1972 “Maus,” and continue on Keats' Fear Cease Essay to Maus and the legions of work it has inspired. “Most of what happened was not photographed,” Spiegelman reminds readers about is Important to the Success Bank Essays, Auschwitz in MetaMaus (50). Taking this seriously, can we posit the urgency to He Might Cease to Be, testify to life and of esperanza rising death in WWII as the genesis of what we now recognize as contemporary comics? Something introduced, say, in the generational transmission of the Keats' to Be Essay pamphlets and sparked by the taboo-shattering (itself Vietnam war-induced) ethic of the underground comics? Although Spiegelman couldn’t read the text because he didn’t know the languages, the images —and the robert poems amateur graphic design, and humble printing—constituted his first understanding of life during the John Keats' Fear He Might to Be war; his parents’ circumstance. His first full experience of recognition with the Holocaust was visual and drawn —hand-made images of witness. Some of these, as he points out, were what we would think of as quite cartoony—one was a booklet, basically, of gag cartoons by a Ukrainian inmate about Auschwitz, with jokes like “Ha ha! You didn’t get any soup!” (49).
19 One pamphlet that had small, poorly printed watercolor drawings of Ravensbruck struck Spiegelman deeply. ( MetaMaus features several images from of literature two of these pamphlets, Ravensbruck and Auschwitz , both from 1946, and which both happen to be in Ukrainian, and John Fear That He Might Cease to Be the accompanying DVD has the entire contents of robert bridges poems, several of the pamphlets under the heading “Anja’s Bookshelf.”) 20 Spiegelman’s experience with these unpretentious, cartoon-like drawings of what he calls “the oxymoron of life in a death camp” was formative for Maus , which first appeared in similarly designed and printed serial booklets in the 1980s. That his experience was visual and John Keats' That He Might Cease Essay necessarily not verbal at the level of comprehension also allowed him to encounter the examples discourse of the visual in a heightened way, even as it shared space on the page with captions. Spiegelman says, about survivor drawings and surviving art from the war: Those drawings were a return to drawing not for its possibilities of imposing the self , of finding a new role for art and drawing after the camera, but rather a return to the earlier function that drawing served before the camera—a kind of Keats' Fear That to Be, commemorating, witnessing, and recording of information—what Goya referred to when he says, “This I saw.” (italics mine) He continues, “The artists… are giving urgent information in the pictures, information that could be transmitted no other way” (49-50). Indeed, Goya’s use of handmade images as a form of reporting has been important to contemporary cartoonists as a model of visual witnessing. Nonfiction comics emerged forcefully in the postwar period, and the genre of has science gone too far, nonfiction comics developed in its contemporary specificity, I argue, out of WWII, where we can locate powerful aesthetic and political antecedents in the realm of John He Might Cease to Be Essay, urgent handmade works of has science gone too far, visual witness. Spiegelman’s Maus archive—which is now part of the public MetaMaus archive—makes this legible. I am fascinated by how, broadly speaking, the discourse of the visual—and the notion of John Keats' That He Might, visual archives —emerges out of a tension with other media discourses.
This is something we see in the formative post-war pamphlets, which combine word and image, highlighting, for Spiegelman, the status of the image, since the words were not fully accessible to him. We also see this throughout Maus , a visual narrative based on oral testimony that consistently heightens our awareness of visual, written, and oral archives, and where they interact, overlap, or get transposed one into the other. As a newly constituted (shadow) collection of sources and archives, MetaMaus preserves, and draws attention to, the tension between the oral, written, and visual—and within the realm of the visual, the difference between the drawn and the photographic—that characterizes Maus . It preserves the interstices that Maus sets in motion, even as it operates in the realm of the explanatory. Used by University Tuition Costs, Permission of the Keats' Fear Essay Wylie Agency LLC. The visual surface of MetaMaus reflects the tension between different kinds of extant archives—oral, written, photographic—and the cross-discursive work of has science, (re)building new archives (all in the realm of the Keats' Cease Essay ideographic , of the printed page) that motivates Maus . MetaMaus ’s defining feature is that it shows the materiality of Spiegelman’s archive; it is about the embodiment of examples, archives—archives as bodies, bodies as archives. John Keats' Fear That Essay! The archived body is Costs are Too, key in MetaMaus . That He Might Cease! In the image of the 1979 lithograph “Mom and Me in the Park, 1951 (Maus Revenge),” the very first and one of only very few full-page images in the 300-page book, the “revenge” seems to be the mere existence of the viable cell count son’s postwar body next to his mother’s that is being presented—archived—by the illustration (41). 21 As Spiegelman says in our interview, “Taking on my parents’ Holocaust story was a way of getting to the primal moment of my birth, because there was no way they were supposed to be alive and coupling after WWII.
It is a specific journey that has nothing to do with history and everything to do with history: one or both of Fear, these people is supposed to be dead, which means I’m not supposed to has science too far, be here” ( MetaMaus, 199). This archiving of Keats' He Might Cease, bodies that happens through their visual materialization on the page and examples of literature then public dissemination takes on extra resonance given the Keats' Fear He Might Cease to Be Essay Nazis’ famous recordkeeping, archiving and marking, of those they arrested and eliminated. 22. A small but significant detail that indicates MetaMaus ’s investment in staging the materiality of archives—or what I think of as the embodiment of archives—is evident without even turning a page. The fairly spare back cover is themes, black: it features two full-color images, along with bold text in white, grey, and red. The top image, flush right, an illustration from the early 90s, depicts Spiegelman as a mouse from Maus reading Maus in a library alongside a realistically-rendered mouse reading George Herriman’s comic strip Krazy Kat , which stars Ignatz Mouse. The text that begins directly below the image in fact overlays it; the John That to Be bold red vertical bar of the sans serif uppercase letter “I” (“In the pages of MetaMaus …”) covers the “a” that begins Spiegelman’s lowercase, bottom left corner signature. The “I,” glossy, stands out against the matte finish of the hardback cover. A smaller image, a study for the back cover of Maus II , hovers in robert bridges, the bottom left of the back cover, leaning outwards at a slight angle. The original barcode, which is continuous in the image with Vladek’s striped camp uniform, here touches MetaMaus ’s barcode, making all three contiguous.
The most striking visual detail, however, is that this back cover study from Maus II appearing on the back cover of MetaMaus is visually affixed : two small, glossy, transparent pieces of tape—not flat-edged, but textured, as if torn from a roll—paste up the image on either side. (The “I” now becomes legible, perhaps, as “red tape,” holding up the previous image; a letter becomes a visual design element, a kind of picture writing that constitutes the stuff of comics.) The back cover, then, points to the image as object : not only John Keats' Fear That Essay transparent representation —what it presents, depicts—but a medium-specific artifact with a material weight and logic that is handled, moved, touched, placed. This approach, highlighting the artifact as an object in space, is in keeping with both my research in has science, the Maus archive, in which I studied the That to Be Essay physical paper object over available bitmaps or pixmaps—and with comics as a practice in general, which is examples, a way, as Spiegelman puts it, of “turning narrative into geography” ( MetaMaus , 185). MetaMaus showcases the materiality of its archive throughout. A draft of a tier of panels, in which Vladek confronts Art about finding an early autobiographical comic strip, “Prisoner on the Hell Planet,” sits at the top of Keats' Fear That Essay, a MetaMaus page, anchored by black electrical tape on either side (many of Spiegelman’s drafts and sketches were taped into notebooks or folded in to other studies and themes notes) (35); full draft pages show excision marks and yellowing from glue stains, as in the page about a ghetto cake baked with detergent (74); some of these draft pages, whose coloration and textures display their layers of composition, are shown full-size to highlight their physical features, as in the final art for the significant “Time Flies…” page, which makes us take stock of the material weight of the words placed into the hanging balloons (163). A reproduction of a lithograph introducing the John Keats' to Be “Why Mice?” chapter has an evident blind stamp in robert, the corner (110); a page of a notebook containing a sketch for one of the very earliest iterations of Keats' Fear That He Might Cease to Be, Maus is a scan not just of the cell panels but of the entire piece of paper, a crinkled, yellowed sheet with three holes, one ripped, on its left-hand side (121). A handwritten pencil note of my own, dating a research image as April 6, 1940, remains in its top-right corner (even I was surprised it wasn’t Photoshopped out) (137).
USED BY PERMISSION OF THE WYLIE AGENCY LLC. The image that is the John Keats' Fear He Might exemplar of Spiegelman’s focus on the materiality of the apparatus of the comics page—an image I fell in love with in 2006, as soon as I saw it in a 1979 notebook—comes to readers under the rubric of “Maus studies in style,” as Spiegelman’s caption puts it (141). Mickey Mouse, making a quizzical expression, faces outward, looking at the viewer. The pen drawing appears on white lined paper; every other horizontal bar created by two lines is blank. At first glance, it looks as though the mouse is of literature, divided up, like he got erased or sliced, and Spiegelman is drawing his disconnected body parts as an exercise in Keats' He Might to Be Essay, style. But if one takes the How Technology of a Essays visual logic of the Keats' That paper’s format into consideration—taking the drawn image on as inextricably located in and not just on the material space of the page—we see that the mouse is cell count, behind the bars of the actual page and interacting with it . Keats' He Might! His little hands reach out, holding onto the blue line top edge of a bar he stands behind. Viable Cell Count! Spiegelman puns on the materiality of the page, calling our attention to its determining properties. The character is behind bars of paper, and he reaches out of these bars; he’s two-dimensional and, it suggests, three-dimensional at once, existing both inside and outside of the frame we put him in. This image asks us to take stock of the materiality of its composition, just as the weightier “Time Flies” drafts do—versions of the Fear That He Might Essay famous final page, which Spiegelman has called his “avant-garde Times Flies pages” because they show the represented object; in this case, flies—both inside and outside of the material frames of the page (see pages 160-161).
The book’s interest in showcasing archives as full artifacts in space, revealing their three-dimensionality, is particularly evident with photographs. Not all photographs in rising, MetaMaus are treated this way. Fear That He Might Cease! In some cases, they provide a visual referent for robert bridges, an illustration, as in the small photographic image presented overleaf from the full-page “Mom and Me in the Park, 1951 (Maus Revenge),” which functions, in spite of the pressure Spiegelman places on this notion, as a kind of “objective correlative” for the lithograph (220). (The book has 66 stand-alone photographs, some public, such as a famous clandestine photo smuggled out from Auschwitz, or a U.S. military aerial shot of Keats' Cease, Auschwitz, but most private family photos, in addition to a collage page of maternal Zylberberg family photos [19 in all], and a collage page of paternal Spiegelman family photos [14 in robert bridges, all].) 23. USED BY PERMISSION OF THE WYLIE AGENCY LLC. However, the photographs that do highlight their own materiality are striking, as in the photograph of Vladek Spiegelman, one of only three photographs to appear in Maus , on the pages of MetaMaus . Fear Cease Essay! The question of how the three photos in has science gone too far, Maus re-appear in MetaMaus exemplifies the book’s creation of its new archive. In an unnamed but dedicated eight-page section on photography in the chapter “Why Comics?,” in which all three Maus photographs reappear, we see the breathtaking souvenir photo of Vladek—only the photograph is different. Maus embeds a clean copy of the John Keats' to Be 1945 photograph on page 294, breaking out of the frame, revealing black space behind it.
In MetaMaus , we see a draft sketch for gone, the same tier of panels, but this time with the original battered, creased photograph of Vladek tilting out of the frame. The caption underscores this attention to John Keats' He Might to Be, the actual material object: “The original copy of Vladek’s photo” (220). The photo here highlights its own romantic, and has science filial, generational, transatlantic transmission : it looks like a photograph from 1945 that was carried with an itinerant person and mailed from Fear That Cease to Be Germany to a wife in Poland and brought to Sweden and the U.S. and passed along to a son decades later might look—it looks used, worn, traveled, gripped by many hands (the creases generate from the middle sides of the photograph, as if bent by actual touching). Further, the last conventionally narrative page of the book, before the Chronology and Index, ends with a photograph of Anja Spiegelman—and gives us, literally, a three-dimensional presentation: it shows us the is Important to the of a front of the photograph, and then the back, delivering the Fear That He Might Cease Essay complete object to readers. Spiegelman’s caption, unusually, appears at University are Too the top, so that the page’s ensuing narrative is given over to the logic of the full artifact, and the book ends with Vladek Spiegelman’s handwriting in pen on the picture’s back: “Last cruise together with my beloved wife March, 1968. That To Be! Died May 21 st 1968.” (There is no page number for this page; just Vladek’s conclusive period.) If, as discussed previously, MetaMaus also showcases and enacts Maus ’s cross-discursive battles between Art and Vladek, it nevertheless gives Vladek the last word on How Technology is Important to the Essays an incontrovertible fact. The photograph appears not only as a powerful image, but as a powerful archival object with emotional and actual weight (the front image of the picture, angled right, even creates a small soft shadow on Fear That He Might to Be Essay the handwritten back inscription). Along with the amplification of embodiment and materiality of the archive seen in to the Success of a Bank, Maus, MetaMaus ’s visual surface is also characterized by the cross-discursive dynamics Maus enacts. Although Art and I did not deliberately plan this aspect of the book—as we did not consciously plan the unrehearsed but recorded interlocutionary structure of MetaMaus as a mirroring of Maus — MetaMaus presents a tension on Keats' That He Might Cease to Be the page between the prose interview and the graphics. 24 The pages of MetaMaus reflect, then, the tension between word and has science gone image that motivates the Fear Cease to Be Essay internal movement of all comics, and that our collaborative connection could be said to reflect. In some sense, our work was about establishing the book, too, not only as containing comics within it, but further and has science gone too far more importantly establishing itself as more comics-like than it might have otherwise been.
The seemingly endless process of sifting and condensing and distilling and Keats' That He Might to Be Essay locating our words in meaningful relation to highly curated images in space was, in essence, the practice of comics. And MetaMaus also enacts all of the Costs are Too High Essay interruptions, interstices, ambivalence, counterpoints, and (de-regulated) rhythms between word and image and presence and absence that the best comics do. As a graduate student at the University of Chicago pointed out to me, for instance, on the first narrative page of the book—the opening of our interview—it looks, visually, like our interview is being pushed down by the two-page comic strip “Mein Kampf,” an earlier (1995) and much briefer meditation on memory, archives, and Maus (12-13). 25 Although the “Hillary font,” as we called it, a grey-green bold sans serif, opens the first chapter with a question in enormous letters on the title page, when one turns the page, one does not first encounter the continuation of the interview implied by the question, but rather, immediately, the comic strip, which spans over John Keats' Fear four-fifths of each of the opening pages. From the very outset, the book establishes a tension between its prose and its graphics that is itself characteristic of comics. The images can be interruptive or force the bridges eye out of continuous reading.
Sometimes the interview jumps across pages, which are built on a vertical two column grid, and when one turns the page, one is met immediately with an Keats' Fear That Cease Essay, image opening the subsequent column, over viable cell count which one’s eye must skip in John Keats' Fear That Cease, order to continue the interview, or on which one will pause before re-orienting with the interview. 26 There is no “right” way to absorb the pages; no correct order, as in viable cell count, comics, between words and images. Double-spread pages, as in John That Cease, our discussion of of esperanza, creative block in the chapter “Why Mice?,” sometimes create an diagonal quadrant effect, in which a page with the John That basic vertical sequence text-image is followed overleaf by a page with the basic vertical sequence image-text, demonstrating that there is not only one acceptable way to take in the combination of visual and examples of literature verbal elements ( MetaMaus 146-147). 27 I often felt that I had to Cease to Be Essay, optically climb over the visual/archival elements to keep the thread of the robert bridges text going (incidentally, in the previously unpublished comic strip that accompanies the discussion of creative block, Spiegelman draws an interviewer climbing over He Might Cease to Be Essay elements of the past—bodies—in order to ask him questions about Maus ). MetaMaus values the interruptions of the visual archive, setting down and How Technology is Important placing pressure on certain rhythms established between the visual archival elements and words on the page. The ethic of John That Essay, interruptiveness the pages set in motion is writ large in themes, instances where the conversation is That He Might, temporarily broken off by entire separate sequences, such as the appearance of the “Family Tree” section, which arrives not as an appendix, but rather in the middle of of literature, one of Spiegelman’s responses; it bisects page 223 vertically and continues for seven pages, after which we are returned to Art’s analysis of a specific page of Maus . Keats' He Might Cease! The breaks are thematic, but they’re not clean. On one hand, this rhythm is about a dynamic in of literature, which we have a conversation about artifacts, and then let the John Keats' He Might to Be Essay artifacts “speak” for themselves, as in the “Family Tree” section’s aggregation of family photographs. The non-linearity of MetaMaus , its edges and interruptions, reveals the book as testimony—not only a book about testimony (Spiegelman’s father’s), but rather distinct—the testimony, not testament, of a son, artist, and secondary witness, solicited through conversation. MetaMaus balances the robert poems weight of its archive with the visual emptiness of space. It shows the counterpoint of presence (the materiality of John Fear He Might Essay, paper, ink, photographs) and gone too far absence—the unfilled speech balloons that suggest, at John Keats' Fear That to Be least graphically, the absences that remain despite all the work of rebuilding. The appearance of empty balloons—something we don’t get much of in Maus , despite Spiegelman’s nod to cell count, Beckett’s statement on silence—in MetaMaus makes legible and material the question: How do you fill in Fear He Might Cease to Be Essay, the gaps? 28 (In their graphic evocation of the themes empty boxes of the post-war Spiegelman family tree, the empty balloons suggest the presence behind the absence.) They are not about emphasizing the fact of the unrepresentable or untellable—in a recent public event, Spiegelman quipped that unlike when he started Maus , today “the unspeakable gets spoken within 10 minutes”—but rather about the effort made to communicate.
29 In my examination of Spiegelman’s drafts and studies, I was always surprised at how resonant the visual of the Fear That Cease to Be Essay empty balloon felt, especially in dialogues, with physical gestures and the indication of articulation in place and the words themselves evaporated: it looked like the examples of literature representation of people trying to John That Cease Essay, talk to each other, and How Technology to the Bank it suggested, in Keats' to Be Essay, a way, at least graphically, that the site of interlocution was enough, no matter what the precise shapes of sound were. The last page of our interview features one drawing, and one photograph. In the is Important of a drawing, a color panel study from Maus with blues and reds, the text box is empty, and the speech balloon is John Keats' Fear to Be, empty (234). Vladek and Anja, reunited, embrace tightly (the words we are missing in both dialogue and narration are Vladek’s; his “voice” will later connect to and fill this blank space, when his handwritten inscription on How Technology to the Success Essays the back of John Keats' Fear That He Might, a photograph of of esperanza, Anja ends the book.) This panel sits in Keats' That He Might Cease, the center of the page; our interview flows around it, and ends right before a photograph of High, Vladek and Anja’s cemetery tombstone—the “Spiegelman” tombstone drawn in Maus that concludes that book. Our last page enacts a reversal. While the final page of He Might Cease to Be Essay, Maus (“it’s enough stories for now,” Vladek says) offers an ink headstone, under which Spiegelman’s signature sits, as if buried (or engendering his parents’ story backwards), MetaMaus ’s conclusion to talking offers a photographic headstone, above which sits Spiegelman’s typographic “signature,” in a way retracting the primacy of self that Maus ’s last marks could be seen to themes, indicate. Maus ’s signature reads, by hand, “art spiegelman 1978-1991,” the span of time he worked on Maus ; MetaMaus ’s reads “Art Spiegelman, with Hillary Chute, NYC, 2006-2010,” the span of time during which we put together MetaMaus . USED BY PERMISSION OF THE WYLIE AGENCY LLC. On one level, in its archival display mode, the page seems to cede to the indexicality of the photograph, which is unattributed—no caption or date fixes this object, so it has a certain timeless resonance.
Yet on Keats' That He Might to Be Essay another level, we have Spiegelman’s post-plot ending, a black page overleaf with three small color panel studies, also with blank white text boxes, that float, unanchored, at the bottom of the page. They show a man, walking alone under a moon, train tracks ahead of of esperanza, him (the images depict Vladek, finally, heading home to Poland from Germany). We end, on Keats' Fear That He Might Cease one hand, with the graphic emptiness of words, but also the is Important to the Success of a Bank Essays fullness of richly colored visual images. John Fear That Essay! And while both pages offer unfilled spaces of the verbal within their panels, our last interview page offers a rich flow of prose, itself counterbalanced with the strictly visual post-plot ending with no words. Presenting its historical and newly constituted archives, MetaMaus enacts the frisson between words and images throughout. The boxes of comics are archival boxes —boxes of gone, space to put things in, to frame things with, to enclose and preserve with (even if the elements inside will not stay still, spilling out into the gutter, or literally breaking the frame). Keats' Fear That He Might Cease Essay! The impulses shaping comics’ most basic grammar express an archival drive, or suggest what we might think of as comics’ archival unconscious. 30 In a 1977 meditation on comics, Spiegelman points out that comics frames—also called panels, or boxes—are like windows of a building (“Introduction” np).
They may be this, but they are also containers , literal boxes that are the building blocks of a psychic and is Important Success Bank material edifice, offering the John Keats' He Might Essay look and view implied by windows, but also the power to count, hold, include, delimit. The work that comics enacts is architectonic , as Spiegelman has often pointed out. Maus , he says, for instance, could not be accomplished without the John Fear Cease to Be “architectonic rigor” of cartoonist Winsor McCay; his own attempts to define comics as a medium are to “get at what the architectonics” of comics might be. Too Far! 31 The OED defines architectonic as of or pertaining to architecture, suited or serviceable for the construction of buildings; of or pertaining to construction. Two further definitions there pertain: one, noted to be used by Aristotle, is having the John Fear Cease function of superintendence and control, i.e. Themes Of Esperanza! having the That relation that an viable cell count, architect bears to the artificers employed on the building; directive; controlling. The next is, simply, pertaining to the systematization of knowledge. All of these apply to comics, which is a system of knowledge, in addition to a form of expression, that has everything to do with being an “artificer” in the Greek sense and one who controls the shape of time, space, and material on the page. 32 The architectonics of comics is the John Fear He Might Cease Essay process of archiving. Has Science! It makes a location for ordering information to He Might Cease, express history and memory. 33.
Spiegelman later likened comics boxes to packed suitcases, and he has figured comics boxes as boxes of memory smashing up against each other. 34 He has also likened comics panels, the form’s most essential grammar, to How Technology is Important Success Bank, coffins. He told me, to cite again an earlier quotation, that Maus is Keats' Fear That He Might Cease to Be, about “choices being made, of finding what one can tell, and what one can reveal, and what one can reveal beyond what one knows one is revealing. Those are the too far things that give real tensile strength to the work—putting the dead into little boxes” ( MetaMaus , 73). The language of putting the dead into little boxes is especially resonant given that Maus literally buries Vladek Spiegelman, ending the book with his headstone. To “archive” something can mean to materialize something in order to place and bury it, as when I asked Spiegelman about Keats' He Might Cease to Be Essay, a notebook entry, on has science too far what seemed to me the key issue of his identification with Vladek, and his response—printed in MetaMaus , was, “Well, tell me more.
You know, I put in John Keats' That He Might Cease Essay, a notebook so I’d never have to think about it again” (32). 35 Then someone comes along and digs it up, as I did, and as Art did when he searched down information in his father’s archives for Maus (only there, his father had burned Anja’s notebooks, incinerating as opposed to burying to ensure finality). But comics’ procedure of viable cell, archiving doesn’t have to be only entombing (and the dead don’t stay dead). Comics inscribes its information in boxes on John That He Might Cease to Be the page in order to of esperanza, preserve and commemorate, but also to disseminate, to circulate, to produce an interaction. Hillary Chute is the author of Graphic Women: Life Narrative and Contemporary Comics (Columbia 2010) and Associate Editor of Art Spiegelman’s MetaMaus (Pantheon 2011). She is working on a book titled “Disaster is My Muse”: Visual Witnessing, Comics, and Fear That to Be Essay Documentary Form . Robert! Chute is the Neubauer Family Assistant Professor in English at the University of Chicago and will be a Visiting Scholar at the American Academy of Arts and Sciences for 2012-2013. 2 For more on Maus and photography, see Hirsch, Family Frames , and Liss, Trespassing Through Shadows . 3 Vladek Spiegelman, posthumously, became a historical public figure. For a time, although not currently, there was a discrete Wikipedia entry for Vladek; Stanley Crouch named him in his pantheon of heroes, and Lauren Redniss’s recent book Radioactive features an Keats' That He Might to Be, entry on Vladek in a section on famous Polish citizens. 4 See Iadonisi for a take on the collaborative narrative fabric of Maus . 5 The main body of the book is an interview I conducted with Spiegelman for a period of two-plus years, which we had transcribed along the way and Costs are Too which I then edited from hundreds upon Keats' Fear Cease to Be hundreds of pages down to workable drafts that we condensed into the roughly 234 pages that appear in the printed book. 6 See Chute 2005. Indy magazine is themes, no longer operative.
7 It seems there might be an “archival turn” everywhere. He Might To Be! In a highly specific way, however, it is clear to me that my field of study, contemporary nonfiction comics, is deeply steeped in the desires and problems that the work of robert, archiving asks us to consider. 8 Spiegelman accuses both parents of being a murderer in Maus . In the comic strip “Prisoner on the Hell Planet,” a work from 1972 that is embedded within the John Keats' He Might Essay book, Spiegelman ends the strip with the Art character addressing his mother right after her suicide: “You murdered me, mommy, and you left me here to take the rap!” 9 Hoffman points out how the body has been seen as an examples, archive in at least two senses: “as a storehouse for data and as itself a source of information” (6). 10 The notion of selection also has parallels, although inversely—selection for preservation versus selection for destruction—to the selektions that were such a defining feature of the Fear That He Might Cease to Be Essay Nazi program of elimination and such a large part of Vladek’s testimony in Maus . 11 Complete Maus, 258. 12 See Marks, “Maus and is Important Success Bank Bitburg.” 13 One striking and moving photograph included within MetaMaus is of Anja and Vladek in 1946, posing with this framed photograph of Richieu, as though the John That He Might Cease to Be Essay entire family of three is having their picture taken.
Anja’s elbow—she looks distracted and sad, while Vladek holds her and looks adoringly at University Tuition are Too Essay her—touches the frame, as if establishing a bodily connection ( MetaMaus 236). 14 “Second Thoughts on the Memory Industry,” NYU/ New York Institute of the Humanities symposium. May 7, 2011. 15 See Chute, “‘The Shadow of That He Might Cease to Be Essay, a Past Time.’” 16 One other loosely sequential form visually representing Auschwitz could possibly be the space of the museum. See Landsberg. 17 See Hirsch 2004 for an analysis of visual encounters of recognition. 18 See “Drawing the has science gone Holocaust” in He Might to Be, The New York Review of Books online for an excerpt of my interview with Spiegelman that deals specifically with survivor (and non-survivor) art. 19 Another striking example of cartoon drawing of the camps is the 1942 booklet “Mickey in Gurs,” by prisoner Horst Rosenthal (he died the Tuition are Too same year in Auschwitz). John Keats' That To Be Essay! See MetaMaus 138. 20 Ravensbruck , Ukrainian, artist unknown, 1946.
Auschwitz: Album of A Political Prisoner , Ukrainian, by Paladij Osynka, 1946. Spiegelman very specifically classifies these pamphlets as part of his mother’s domain in presenting them on How Technology is Important to the Success of a Bank the DVD as “Anja’s Bookshelf.” Anja Spiegelman was formative for his artistry in many ways, including in John He Might, her role as the owner and saver of the small-press pamphlets she transported from Europe, and in her role drawing collaboratively with her young son through the “Scribble game” (see Portrait ). Vladek’s second wife (and Maus character) Mala Spiegelman translated several of the pamphlets that appeared in Polish for Spiegelman during his research for Maus . 21 There are only fifteen instances, including double-page spreads, like one of rejection letters, in robert poems, which an image occupies an entire page of MetaMaus . This lithograph is based on a photograph of Anja and Art Spiegelman in Stockholm that appears in MetaMaus on John Fear That Essay the facing page, at about two inches high (40). The lithograph shares the viable count composition of the John Keats' Fear He Might photograph, except for a cat hanging (lynched?) from a tree branch behind Anja and Art. The lithograph image does not seem to imply the adult mother in the foreground has directly physically murdered the University Tuition Costs Essay Nazi cat; rather, the mere existence of her three-year-old son holding her hand in John Fear That, a snowsuit is tantamount to murdering—enacting revenge on—the cat standing in for Nazism. 22 For a recent essay on the nature of archives and Nazi official and private recordkeeping, see Farmer; for a take on the effect of Nazi documentation as seen in Berlin’s new “Topography of Terror” Center, see Malamud. 23 By stand-alone I mean not embedded in another previously circulating work, as in themes, the two photographs that are part of the reprinted story “Mein Kampf” that opens an Keats' That He Might to Be, early section of the book.
The first four photographs to appear in the book are these of Art (1956) and his son Dash (1995), on examples of literature page 13, and Anja’s Polish passport (1946) and Vladek’s U.S. Keats' That! naturalization application (1951), on page 16, followed by the first non-circulating, non-previously contextualized photograph, Anja and Vladek kissing at Art’s bar mitzvah (1961), on page 21. 24 Art and I sometimes disagreed on gone too far the weight that should be given to the different elements; I was much more comfortable with swaths of text whereas Art pushed me to see the importance of visual anchors. This dynamic was instructive in that its tensions are actually parallel to the basic word and John That Cease Essay image tensions of the form of comics. 25 Thank you to Carmen Merport for her insights about this tension. Although sometimes the graphics crush down the prose on the page, sometimes the images seem to surge up from the bottom of the page, what I think of as a crushing upwards . This is evident in a sequence in examples of literature, which Spiegelman and I discuss Nazi propaganda—a rich archive, for sure, that has a forceful visual presence in the book—and a poster for an anti-Semitic film featuring the John Keats' He Might to Be Essay leering face of count, a swarthy, pointy-eared, kippa-wearing Jew seems to push up on a tiny top-edge illustration by John Fear Cease, Spiegelman of cockroach Gregor Samsa, squeezing out prose and allowing for only a few lines of University Costs High, type in between iterations of dehumanization (114). 26 Page 22, in which a draft from John Fear That He Might to Be Maus opens the page in the top left while a sentence jumps from page 21 to 22 below it, is one example among many. 27 Another example, involving family photographs, is 32-33. 28 The Spiegelman character says to his therapist Paul Pavel: “Like Samuel Beckett once said, ‘Every word is like an robert, unnecessary stain on Keats' Fear He Might Essay silence and nothingness’” ( Complete Maus 205). 29 Spiegelman expands on this in conversation with me in a YouTube clip posted by of a Bank Essays, the 92nd St. Y (October 6, 2011). 30 In “Archival Bodies,” Hoffman suggests of the notion of an archival unconscious : “the archival unconscious is Fear That He Might Cease to Be, not so much a place, or a preexisting set of meanings, but rather the function of an interactive process, in which something comes into being” (27).
The interactive process here would be constituted in the relation between the psychic life of imagined and remembered histories and the process of visualizing, or “materializing” them. 31 Silverblatt 33; MetaMaus 166. 32 Bechdel’s Fun Home explicitly takes on the language of the Greek “artificer” and suggests the cartoonist as artificer. 33 See Chute, “’In the Shadow of a Past Time’” (also included on the MetaMaus DVD) for one view of Maus and its ordering of information. 34 See 2008’s Portrait of the robert poems Artist as a Young… and John He Might Cease to Be MetaMaus 38 for comics panels and suitcases, and Portrait as an example of panels as boxes of memory. This notion first found expression in Spiegelman’s experimental piece “Some Boxes for the Salvation Army” (1976). 35 This exchange reminds me of Vladek’s comment to Art: “All such things from the war, I tried to put out from my mind once for all… until you rebuild me all this from your questions” ( Complete Maus 258). Bechdel, Alison.
2006. Fun Home: A Family Tragicomic . Boston: Houghton Mifflin. Chute, Hillary. 2005. “Literal Forms: Narrative Structures in Maus ,” Indy Magazine (March). Online. -------. Rising! 2006. “The Shadow of Keats' Fear That Cease Essay, a Past Time: History and examples Graphic Representation in.
Maus .” Twentieth-Century Literature 52.2 (Summer): 199-230. Cvetkovich, Ann. 2008. “Drawing the Archive in Alison Bechdel’s Fun Home .” WSQ: Women’s Studies Quarterly 36: 1 2 (Spring/Summer 2008): 111-128. Farmer, Sarah. 2010. “Going Visual: Holocaust Representation and Historical Method,” American History Review (February): 115-122. Gardner, Jared. John That He Might Cease Essay! 2006. “Archives, Collectors, and the New Media Work of Comics.” Mfs: Modern Fiction Studies . Special issue on Graphic Narrative, ed.
Hillary Chute and Marianne DeKoven. 52.4 (Winter): 787-806. Print. Hirsch, Marianne. 2004. “Collateral Damage.” Editor’s Column. PMLA 119.5 (Oct.): 1209-15. --------. 1997. Family Frames: Photography, Narrative, and Postmemory . Cambridge: Harvard UP. Hoffman, Anne Golomb. 2009. “Archival Bodies.” American Imago 66.1 (Spring): 5-40.
Iadonisi, Rick. 1994. “Bleeding History and examples of literature Owning His [Father’s] Story: Maus and Collaborative Autobiography.” CEA Critic 57.1 (Fall): 41-56. Print. Landsberg, Alison. 1997. “America, the Holocaust, and the Mass Culture of Memory.” New German Critique (Spring/Summer): 63-86. Liss, Andrea. 1998. Trespassing Through Shadows: Memory, Photography, and John Keats' That He Might to Be the Holocaust . Minneapolis: University of Minnesota Press.
Malamud, Randy. 2011. “Meticulously Evil: Nazi Efficiencies Documented in Topography of Terror.” Chronicle of Higher Education , April 22, Vol. Count! 57, Issue 33. Accessed March 14, 2012. http://chronicle.com/article/Meticulously-Evil/127100/ Marks, Clifford J. 2002. “Maus and Bitburg.” The Midwest Quarterly : 298-313.
Redniss, Lauren. 2010. Radioactive: Marie and Pierre Curie: A Story of Love and Fallout . New York: HarperCollins. Rohy, Valerie. Cease! 2010. “In The Queer Archive: Fun Home .” GLQ 16.3: 341-361. Silverblatt, Michael. 1995. “The Cultural Relief of Art Spiegelman.” Tampa Review 5: 31-36.
Spiegelman, Art. 2011. The Complete Maus (anniversary edition). New York: Pantheon. ------. 1994. The Complete Maus . CD-ROM. New York: Voyager Company. ------. 1998. From Maus to Now to Maus to Now . Palermo: La Centrale dell’Arte.
------. 1977. “Introduction.” Breakdowns . New York: Belier Press. ------. Gone! 2011. John Cease To Be! The Complete Maus : Maus I: My Father Bleeds History, Maus II: And Here My Troubles Began . New York: Pantheon. ------.
2011. MetaMaus. Assoc. Viable! Ed. Hillary Chute. New York: Pantheon. ------. 2008. Portrait of the John Keats' That Essay Artist as a Young %@*! . In Breakdowns (reissue). New York: Pantheon. ------.
1976. “Some Boxes For the Salvation Army.” Arcade #5. San Francisco: Print Mint. Spiegelman, Art, and Hillary Chute. Has Science Gone Too Far! 2011. “Drawing the Holocaust.” NYRblog: New York Review of Books online. That Cease To Be Essay! October 21. Cell Count! Accessed January 4, 2012. http://www.nybooks.com/blogs/nyrblog/2011/oct/21/drawing-holocaust/
Spiegelman, Art, and Hillary Chute at the 92nd St. John Keats' Cease Essay! Y. October 6, 2011. YouTube. http://www.youtube.com/watch?v=Vnb2D4FySro. Images are from MetaMaus by Art Spiegelman. © 2011 by Art Spiegelman, used by permission of robert, Pantheon Books, a division of Random House, Inc., and The Wylie Agency LLC. Marianne Hirsch and John Fear That He Might to Be Diana Taylor. Volume 9 | Issues 1 and 2 | Summer 2012. Olga Rodriguez Ulloa.
Marianne Hirsch and University Costs are Too Essay Leo Spitzer. Andy Bichlbaum and Marcial Godoy-Anativia. Mary Marshall Clark. A SENSORIAL ARCHIVE OF THE COLOMBIAN CONFLICT. Jimena Lara Estrada. Jennifer Flores Sternad. Milagros de la Torre. Tamara Lea Spira. Vivian Martinez Tabares. Aravind Enrique Adyanthaya.
CONCIERTO PARA 3 MACHETES BY MIGUEL RODRIGUEZ SEPULVEDA. ASCO: ELITE OF THE OBSCURE, A RETROSPECTIVE 1972-1987 AT LACMA. CLIFFORD OWENS: ANTHOLOGY AT PS1. PLEGARIA MUDA BY DORIS SALCEDO. AND SO I LEFT FROM GEORGIA WALL'S UNSEEN PERFORMANCES. FELIPE DEGREGORI'S CHUNGUI: HORROR sIN LAGRIMAS.
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Leah Elizabeth Galamba#039;s Electronic Portfolio. Putting an End to the Constant Threat of Nuclear Arms. BREAKING NEWS: Midday today a 15 kiloton nuclear weapon was dropped upon New York City by the North Koreans. Hundreds of Keats' He Might Essay, thousands perished from the initial blast and thousands more from the following radiation. Massive amounts of destruction has occurred. Bodies litter the streets. Survivors of the explosion stalk around with third degree burns covering their bodies and looking as though they were melting on the spot.
The Manhattan sky is blackened by the smoke from countless fires and the rubble and dust that fills the air. The Hudson River is University Tuition Costs Essay, believed to be contaminated by Keats' He Might Essay toxic radioactive particles and unsafe. Thousands of residents are being evacuated. The entire city , and all surrounding areas are at extreme risk for intense radiation that could result in shifts in DNA, cancers, and has science, mutations in future offspring. It is cautioned to get as far away from the area as possible. Rescue teams are still having difficulty getting anywhere near the site of John He Might Cease to Be, impact. Are Too High. There is no telling when the Keats' Fear That He Might Cease Essay, damage may be contained, or if the city of New York will ever recover. Luckily, this is of literature, only a hypothetical situation, but how long until this is a real article in a newspaper. The current threats from North Korea have forced the John Keats' That Cease to Be, issue of nuclear weapons back into the minds of citizens across the globe, and while many political leaders do not believe that the viable cell, North Koreans have the technology to pull off an attack this large, what if they did? Or someone else did? How many relatives or loved ones do you know that live in a populous city, like New York?
The above scenario is Fear He Might Cease Essay, both frightening and very realistic. With approximately 17,000 nuclear weapons in existence, and nine different countries holding them in their arsenals, the possibility of one being launched is greater than many of us would like to gone too far, believe, as well is the resulting devastation that would occur (Nissani). The only true way to John Keats' He Might to Be Essay, ensure the safety of the How Technology Success of a, world from nuclear attacks is not through defense systems or international treaties, but from the complete disarming of all nuclear weapons in existence. While the task of nuclear disarmament is John Cease to Be, as daunting as the threat of nuclear war itself, by taking an active stance on the matter and joining an organization that stands for nuclear disarmament you can make your voice heard. A voice that says no to nuclear weapons and demands to live in a society where we do not have to fear the irreversable damage a nuclear weapon causes to our cities, our environment, and our living creatures. From the very beginning scientists knew that nuclear weapons were a Pandora’s box that must never be opened.
The first successful testing of a nuclear weapon occurred in 1942 at Los Alamos, New Mexico. Due to examples of literature, fear of Nazi Germany creating a nuclear weapon the US responded by gathering the top scientist of the day including Albert Einstein, Robert Oppenheim, Enrico Fermi, and John Keats' That Cease Essay, Leo Szilard to convene and Tuition Costs are Too, together created a nuclear weapon for the Allies (“Manhattan Project”). While the successful creation of a nuclear weapon was seen as a milestone and military marvel for the United States, the scientists involved knew almost immediately that they had created the technology that could easily lead to the downfall of Keats' Fear Cease to Be Essay, mankind. At an acceptance speech for “Excellence” from the United State Navy, Oppenhiemer, one of the scientists said this: “If atomic bombs are to be added as new weapons to the arsenals of a warring world, or to the arsenals of the nations preparing for war, then the time will come when mankind will curse the names of Los Alamos and Hiroshima. The people of this world must unite or they will perish” (“Robert Oppenhiemer”)
As the united states continued to further test nuclear weapons the themes rising, same scientist that worked on the Manhattan project urged them to cease and claimed that further nuclear testing was unnecessary and environmentally dangerous. By 1958 a petition signed by 10,000 scientists was presented to the United Nations that begged, “We deem it imperative that immediate action be taken to effect an international agreement to stop testing of all nuclear weapons”(“A Brief History…”). While some of the world marveled at the immense power of the nuclear bomb those who created it, and understood what it meant, knew it had to be stop in order to save the world. After the disaster of Hiroshima average citizens from around the world began to John Fear That to Be Essay, demand a stop to these atrocious weapons. There was a huge movement from Japan to has science gone too far, completely ban nuclear weapons, for fairly obvious reasons. John Keats' That He Might. Approximately 35 million signatures were gathered from Japanese citizens in a hope to never see such destruction affect another city like it did their own Nagasaki and Hiroshima(“A Brief History…”).
In the United Kingdom movements arrived and were mostly lead by viable count the Campaign for Nuclear Disarmament, which continues to demonstrate today. In November 1961, in the United States, 50,000 women from 60 different cities came together for the Women Strike for Peace, and conducted the largest female protest of twentieth century in the name of nuclear disarmament. Part of Ronald Reagan’s platform for presidency was to free the world of nuclear weapons and managed to carry out the START treaty with the Soviets that rid of the He Might, world of 80% of the then current nuclear weapons in themes, existence. Today there are many movements reaching for Keats' Fear That He Might Essay, the goal of nuclear disarmament and many are the legacies of movements started in the midst of the Cold War, however, as time has progressed people have begun to look at nuclear arms idly. Let us not make it take another disaster like Hiroshima to Tuition Costs High, be our wake up call.
The threat of John Fear, a nuclear bomb has not decreased since the Cold War and viable count, it should not take threats from the North Koreans to make us remember that these weapons exist. John Keats' Fear To Be. By taking an active role in a nuclear disarmament organization now we may be able to stop more cities from falling and examples, more people from dying. Many people seem to John Keats' Fear Cease, feel as though this is an gone issue that our government can take care of and has under control. And while there are international treaties that exist like START, or the Strategic Arms Reduction Treaty, and Keats' Fear He Might, the Treaty on the Non-Proliferation of Nuclear Weapons do exist and need our support, in Costs are Too High, the end it needs to be a shift in society that brings about the John Essay, end of nuclear weapons. Three of themes of esperanza, nine countries that hold nuclear arms, India, Pakistan, and Israel all refuse to join in the NPT. In addition, North Korea recently left the Treaty because of its refusal to follow the John Fear Cease to Be, guidelines that it sets out. Proving that the Treaty has little meaning and in the end a nation will do what it feels best regardless of what piece of paper they signed. (armscontrol.org)
Policies created by government officials have shown that they can only go so far, and as long as the technology and resources are out there that make creating nuclear weapons a feasible idea then it is likely that nations will continue to maintain or develop an arsenal. In order to see a real change we need to of literature, band together as a society and everyone must agree that these weapons are an undesirable addition to our world. The threat that nuclear weapons is John He Might Cease, vast and can occur in the form of examples of literature, physical damage which includes death, destruction in both the long and short term, permanent environmental damage, and in the most severe, but not completely unrealistic case, complete global annihilation. John Keats' He Might Cease To Be Essay. While treaties and petitions help to create a sense of bridges, security and control over John Cease to Be Essay the situation the truth of the matter is there is really no telling when a nuclear weapon could be deployed. Between unstable political leaders like Kim Jung Un and Vladimir Putin, terroristic threats, and the shocking numbers of times accidental launches have nearly occurred, the threat of worldwide holocaust seems to be just one press of viable cell count, a button away. This may sound like a bold statement but the truth of the matter is that by Keats' Fear That He Might Cease to Be allowing these nuclear weapons to exist it puts our world in perpetual danger of gone, total destruction. Think of all the nations of the world that have standing feuds with one another. Now add a nuclear weapon into Keats' He Might to Be Essay, that mix and the results are undesirable for everyone. Viable Cell. During the John Fear That Cease to Be, Cold War the has science gone too far, US policy was that any attack from the Soviets resulted in immediate action from US bombers, and John Keats' Fear That He Might, the same is most-likely true for today. Is Important To The Of A Essays. Furthermore, even without Kim Jung Un or War, the threat of a missile being launched exists at John Keats' Fear That He Might Cease, all times. The number of accidental launches or explosions is terrifying.
On January 23, 1961, a B-52 bomber carrying two 24 megaton bombs crashed at Goldsboro , North Carolina . On one of the Tuition are Too, bombs, five of six interlocking safety devices failed, and a single switch prevented detonation. The explosion would have been 1,800 times more powerful than the bomb exploded at Hiroshima(“Risks of Fear Cease Essay, Nuclear Weapons”). In 1980, an American missile was reportedly almost launched because its maintenance crew neglected to disconnect a vital wire. Robert Bridges. One of the two officers in charge claimed that by pulling a plug at the last minute he and his fellow officer “saved the world” (Nissani). And as recent as 2009 a French and Great Britain submarine crashed and Fear That Essay, both were carrying nuclear weapons (“Risks of Nuclear Weapons”). These are only a few of the hundreds, that is right hundreds, of of literature, moments when the world almost experienced nuclear explosions. Not to mention all of the miscommunications between countries (mostly the US and Russia) about incoming missiles, that nearly resulted in uncalled for retaliation. Terrorism is another constant threat that the world faces and from prior attacks it is evident that these people do not care about the damage they cause and would not be above the John Fear That Essay, use of nuclear weapons. While there are many securities put on nuclear weapons the consequences of just one slip-up seem too vast to even take the risk.
Lastly, no one person is completely trustworthy. We like to believe that our politicians or military leaders have our best interests always in mind but the fact of the matter is a few men in How Technology is Important to the Success Bank, the world have access to an enormous amount of power and whatever their reason, they have the power to cause permanent damage to the world, and even though that chance may be slim, are all of the dangers nuclear bombs pose worth taking the Fear That He Might to Be, gamble? To help put some of the dangers in perspective consider the effects of a relatively small nuclear bomb. When the bomb is dropped it release its energy in the form of the initial blast, thermal radiation, and nuclear radiation. At the core of the themes of esperanza, reaction temperatures reach heights equal to that of the inside of the sun. The blast can travel faster than sound and John Keats' Fear That He Might Cease to Be, will demolish any buildings and certainly kill anyone within a 1.2 kilometer radius. Within 2.5 kilometers the blast is still intense enough to cause serious injury and destruction to buildings. It is important to keep in mind that these figures correspond to a 15 kiloton weapon which was the roughly the size of those dropped upon Essays, Hiroshima. The largest nuclear weapon in existence, the Tzar Bomba, developed by the Soviets, is 3000 times the size and would cause 3000 times the damage Gayle). The initial blast, while if targeted well could kill hundreds of thousands, is likely the least destructive element of the bomb.
The thermal radiation caused by the explosion causes mass fires that emit enormous amounts of smoke into the atmosphere that can block out the light of the Fear Cease to Be, sun and cause global cooling that would lead to colder temperatures and poor growing and harvest seasons. If enough weapons were detonated it is gone, hypothesized that it would result in nuclear winter(“Effects of Nuclear Weapons”). A climate change as severe as nuclear winter would result in species extinction, global hunger, scarce resources, and He Might Cease Essay, a total change in How Technology is Important to the Bank Essays, many societies. Keats' That He Might. In addition the explosion would emit infrared, visible, and ultra-violet rays that travel faster than the speed of light. For a 550 kiloton bomb everyone in a 10 kilometer radius would experience third degree burns and since there would be practical no way to examples, receive medical attention due to the explosion, it is likely all would perish. Even if you were fortunate enough to survive the blast and the effects of thermal radiation, you would endure the following long term, harmful effects of nuclear radiation. Nuclear radiation is caused by the decay of radioactive isotopes and is called nuclear fallout.
As the reaction occurs at the site of the explosion, millions of John Keats' Fear That, particles of dust, water vapor, soil, and other physical materials get thrust into the air and become radioactive themselves. Within the atmosphere they are dispersed around the High Essay, world and where the fall they contaminate that site, so the effects of just on John That to Be Essay, nuclear bomb actively affect the entire world. The radiation effects the DNA of has science, anyone exposed and can cause serious genetic diseases as well as cancers (“Effects of Nuclear Weapons”). To see the proof of this devastating radiation one must simply look at Keats' That He Might Cease to Be Essay, the survivors of Hiroshima or the inhabitants of Chernobyl. Both places are still experiencing the University Tuition Costs, effects from nuclear radiation that happened decades ago and experience horrible cancers and deformities. In Japan being a survivor or, child of a survivor, of the Keats' Fear Essay, nuclear bomb subject you to extreme societal discrimination because of the belief you would be unfit to hire because of the likelihood you would contract a disease and be unable to work, as well as being unfit to marry because of the danger you pose to your children through your genetics. At any moment life as we know it could come to an end due to the constant threat nuclear weapons pose. Robert Poems. The American government spends 40 billion dollars annually, that is John Keats' Fear That Essay, ten percent of their total military budget, in order to hold these weapons.
That is roughly the same amount it would cost to gone, provide basic education, clean water, food, and sewers to the entire world. But instead we chose to Keats' He Might to Be Essay, spend the money on technology that even the former General of the US Navy strategic nuclear forces, General Lee Butler, describes as having effects that, ” transcend time and place, poisoning the themes rising, Earth and deforming its inhabitants for generation upon generation” (Nissani). We need to stop the madness and rid our planet of this poison. Keats' Fear That. There are currently organizations that transcend across the globe that call for the banding together of humanity to demand for the complete elimination of nuclear weapons. Global Zero is an organization that targets the younger generation in order to get those who did not necessarily go through the panic of the Cold War to University Costs High, get involved with the movement for nuclear disarmament.
They are not after your money, although any contribution you make helps to fund demonstrations that help to get the word out, but what they are really after is just your name and support. John Keats' He Might Cease To Be Essay. The more people that join the side for nuclear disarmament the more powerful our stance becomes. While it may seem like the average person does not have much influence to get the most powerful nations of the world to abandon their nuclear weapons but the University High Essay, fact of the matter is we have gone from 70,000 weapons down to approximately 17,000 and there are hopes to have the world rid of them by 2030 and the more support these movements collect the faster the John Keats' Fear That to Be Essay, goals can be reached. Robert Bridges Poems. So get involved. Join the movement. Demand to live in a world free of nuclear arms. Demand Zero. “A Brief History of Nuclear Weapon States.” Asia Society . Asia Society, 2013. Web.
15 Apr. 2013. Gayle, Damien. “Want to Know the Effect of a Nuclear Bomb on Keats' He Might Cease to Be Essay, Your Home Town? There’s an App for That.” Dailymail.co.uk . Daily Mail, 16 Feb. 2012. Web. 15 Apr. 2013. “Manhattan Project.” Nuclearfiles.org . Nuclear Age Peace Foundation, 2013. Web.
15 Apr. 2013. Nissani, Moti. “3.” Lives in of esperanza, the Balance: The Cold War and American Politics, 1945-1991 . Wakefield, NH: Hollowbrook Pub., 1992. N. John Fear. pag. Print.
“Effects of Nuclear Weapons.” Nuclear Darkness . Nuclear Darkness, 2013. Web. 18 Apr. 2013. “Risks of Nuclear Weapons – Even If Not Used.” Notonuclearweapons.org . WordPress, 2013. Web. 14 Apr. 2013.
“Robert Oppenheimer.” Wikiquote . Wikipedia, 9 Mar. 2013. Web. 12 Apr. 2013. Be the first one to leave a comment. You must be logged in to post a comment. Copyright 2017 Leah Elizabeth Galamba#039;s Electronic Portfolio . All rights reserved.
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