Success Quotes

Success Quotes “You have to learn the rules of the game. And then you have to play better than anyone else.” Albert EinsteinSuccess is a state of mind. If you want success, start thinking of yourself as a success. Dr. Brothers“Excellence is not a singular act, but a habit. You are what you repeatedly do.” Shaquille Oneal “The greatest barrier to success is the fear of failure.” Sven Goran Eriksson“Success is simple. Do whats right, the right way, at the right time.” Arnold H. Glasgow“Success is focusing the full power of all you are on what you have a burning desire to achieve.” Wilfred Peterson“Limitations live only in our minds. But if we use our imaginations, our possibilities become limitless.” Jamie Paolinetti“People have to really suffer before they can risk doing what they love.” Chuck Palahniuk“Success means having the courage, the determination, and the will to become the person you believe you were meant to be.” George Sheehan“Success is not the key to h appiness. Happiness is the key to success. If you love what you are doing, you will be successful.” Herman Cain“To succeed in life, you need two things: ignorance and confidence.” Mark Twain“Striving for success without hard work is like trying to harvest where you havent planted.” David Bly“To succeed you need to find something to hold on to, something to motivate you, something to inspire you.” Tony Dorsett“Every success is built on the ability to do better than good enough.”“There are no secrets to success. It is the result of preparation, hard work, and learning from failure.” Colin Powell“Lifes real failure is when you do not realize how close you were to success when you gave up.”“Success is largely a matter of holding on after others have let go.”“Some people dream of success while others wake up and work hard at it.”“The best way to succeed in this world is to act on the advice you give to others.”Do you know a good success quote? Pleas e add a comment!

Coming to Terms with the Past The Narrative Methods That Convey the Workings of Memory in Austerlitz and Extinction - Literature Essay Samples

Since 1945, German literature has met the challenge of evoking mental processing of past events by exploring by what means we access the past. As literature depends far more on individual production and reception than film and television, which are more communal, it has been relied upon as a corrective to official memory.[1] The literature of this period’s attitude towards memory’s fallibility and subjectivity is inextricably linked to the narrative methods authors use to evoke memory and reflection in their works. A well-known example is W. G. Sebald’s Austerlitz, a novel which narrates the struggle of a man with a Jewish background who unconsciously represses the memories of his former life, and yet finds no healing in his quest to rediscover his identity. Interwoven with photographs, which Sebald uses as his protagonist’s prompt for reflection on memory, the narrative is punctuated by a visual-verbal dialectic[2] which contributes to the reader’s perception of the text’s authenticity. Similarly, the protagonist Franz Josef Murau of Thomas Bernhard’s final novel Auslà ¶schung (Extinction) uses family photographs and the technique of perspectivism to evoke his own reflections to enable to him to complete his Erinnerungsarbeit or memoir, a writing intended to efface his familial connection with the Austrian home he associates with ignorance, Nazism and cruelty. As neither texts are autobiographical, both can be said to additionally narratively deal with the question of ‘perpetrator literature’ and how best to represent the Nazi past and the horrors of the Holocaust in German literature, now faced with the extinction of living memory and the inadequacy of cultural memory. The workings of memory are explored in both texts through the importance of visual perception, most notably in the form of photographs, film and general media. A ‘hybrid of fiction and documentary’[3], Sebald’s decision to incorporate a series of black and white, somewhat blurry photographs into the narrative of Austerlitz at first glance serves to underpin the authenticity of the protagonist Austerlitz’s story. By illustrating the facts Austerlitz discovers about his unremembered past, the photographs add a sense of authenticity for readers of the novel, caused by our faith as readers in the legitimacy of visual evidence. However, the unreliability of photographs and their positioning in the narrative of Austerlitz as media which the protagonist interprets is used by Sebald to explore the workings of memory, with photographs conversely becoming a paradoxical obstacle on Austerlitz’s quest to uncover the truth of his past. The structural similarity b etween photograph and memory is outlined by Austerlitz; both are fleeting and deceptive: ‘genau wie Erinnerungen†¦die ja auch inmitten der Nacht in uns auftauchen und die sich dem, der sie festhalten will, so schnell wieder verdunkeln, nicht anders, als photographischer Abzug, den man zu lang im Entwicklungsbad liegen là ¤sst.’[4] [‘just like memories†¦which also spring up within us in the middle of the night and which darken again if we try to hold onto them, just like photographic prints left too long in the developing bath.’ (my translation)] As the principal interpreter of the photographs, Austerlitz’s theoretical reflection on them in the text demonstrates the psychological implications the photographs have for the protagonist. When confronted, for example, by a photograph of his five-year-old self, Austerlitz describes himself to have been ‘sprach- und begriffslos’[5] [‘speechless and notionless’ (my translation)] – though it sparks no memory in him, the photograph does sparks two temporal structures in the narrative: Austerlitz is struck by the transience, the separation of this photograph from the present day, and by its capturing of the moment preceding a catastrophe: that is, the forced disintegration and murder of his family. In this way, the photograph of Austerlitz as a child succeeds in recording an event in the technical media, but excludes it from individual memory and consciousness.[6] This lack of connection with individual memory shows Austerlitz’s quest for t he truth about his past to be more psychologically traumatic than healing, since compensatory memories cannot change the interim period of forty years which Austerlitz has spent feeling disconnected from the world, leading to a hysterical breakdown through which, interestingly enough, memory is lost and recovered by means of photographs. In a similar manner, Austerlitz’s obsession with finding a glimpse of his mother in the short film Der Fà ¼hrer schenkt den Juden eine Stadt [Theresienstadt: The Fà ¼hrer gifts the Jews a city] in order to find a visual prompt for his forgotten memories of her allows Sebald to showcase film, like photographs, as incapable of providing access to experiences traumatically excluded from memory, but instead capable of acting as a shield which distances us from what they reveal.[7] Though Austerlitz’s former nanny rejects the notion that the stillframe he becomes convinced by is his mother, the protagonist projects his inherently unreliab le idea of how his mother looked, entangled with the verbal narrations he has received from others, onto the stillframe. Here, the process of memory is complicated still further by the use of the film within the novel, both fictional works as Austerlitz is a narrative invented by Sebald, and the film from Theresienstadt concentration camp was a film staged by the Nazis. Additionally, the photographs in the text can be said to ‘guide’ the verbal narrative of Austerlitz by referring to it in a retrospective or anticipatory manner: when the narrator describes the photos laid out on the table in Austerlitz’s home, it becomes clear that some have been inserted without commentary in the novel’s narrative, while others depict events which have not yet been narrated, such as his future visit to Theresienstadt. In Thomas Bernhard’s Auslà ¶schung however, Franz Murau’s quest is not to discover his own past by means of memory, but instead to obliterate it. Again, memory through visual representation plays a major role in the protagonist’s psychological reaction to this task. When the telegram arrives to notify him of his relatives’ death at the start of the novel’s first section, Murau’s initial reaction is to take out the three photographs of his family he has retained and use them to evoke memory. We then see Murau, in this work the first-person narrator determined to outline and separate himself from his family’s Zerfall or decay, contemplate the ability of photographs to function as an ersatz reality and misrepresent what really was: ‘Die Fotografie ist tatsà ¤chlich die Teufelskunde unserer Zeit, sagte ich mir, sie là ¤ÃƒÅ¸t uns jahrelang und jahrzehntelang und lebenslà ¤nglich spà ¶ttische Gesichter sehen, wo es nur ein einzige s Mal solche spà ¶ttische Gesichter gegeben hat [†¦]’[8] [‘Photography truly is the devil’s work of our age, I said to myself: it permits us to see mocking faces over years and decades and lifetimes where in fact the mocking faces were only there on that one occasion [†¦] (my translation)]. Bernhard’s employment of photographs in the narrative, which in contrast to in Austerlitz do not appear printed for the reader, is to much more manipulative ends than Sebald’s: Murau, the narrator, admits that these particular three photographs are ones he took deliberately when the subjects didn’t wish to be captured. The act of photographing, then, and the capture of a moment becomes an agonistic enterprise whose ultimate goal is Murau’s self-assertion as an individual who is different from his family.[9] Instead of Murau reading the images as documentation of all that is important to family life, such as unity and togetherness, Bernhar d manipulates these photographs as the starting point for Murau’s narrative process of Auslà ¶schung or extinction; that is as symptomizing all that the family represses, and alongside the death of his relatives, becoming the motivation for him finally being able to break the silence. While the narrator of Austerlitz is able to connect the private story of Austerlitz with public history, which in the form of nineteenth-century architecture becomes an ‘ersatzweises, kompensatorisches Gedà ¤chtnis’[10] [‘substitute, compensatory memory’ (my translation)] for the protagonist as a way of avoiding confrontation with his own history and memory, Bernhard presents Murau as psychologically bound up in what he views as the downfall of his family into both cultural ignorance and Nazism: ‘Es là ¤ÃƒÅ¸t mich seit Jahrzehnten keine Ruhe. Tatsà ¤chlich verfolgt es mir Tag und Nacht.’[11] [‘For decades, it has preyed on my mind. In fact, it pursues me day and night.’ (my translation)] The narrative structure of Auslà ¶schung then becomes a telling of the family story by a naturally biased Murau, relying upon his childhood and youthful memories to depict all he views as wrong with the family at Wolfsegg. As a result, Wolfsegg becomes not only the setting for remembrance of a traumatic past, but also the scene of the burial of this past along with his relatives.[12] Due to the limited viewpoint we receive as readers through Murau’s depiction of a life in Wolfsegg, dominated by his mother’s cruelty and the realization that his parents had harboured Nazi perpetrators in their Kindervilla during his childhood, it is important to consider that the world depicted in Auslà ¶schung is one ‘contingent on recursive observations’[13] – meaning that the world of Auslà ¶schung is the one remembered by the narrator and therefore portrays what Wolfsegg to him meant to him both then and now. Wolfsegg then, as presented in the novel, is a memory itself. In this sense, it could even be said that the narrative methods used by Bernhard in Auslà ¶schung to convey reminiscing consequently associate Wolfsegg, Murau’s familial home, with the memory of fascism in twentieth-century Aust ria and the problems of guilt the Nazi occupation left in its wake. It is worth mentioning too that in Austerlitz, memory also appear in the form of an architectural location, with Liverpool Street Station itself spontaneously merging into a physical representation of the labyrinth of Austerlitz’s lost memories – again supporting the view that the resurfacing of memories is spontaneous, and can be prompted by visual encounters with source loci (in these two novels, architecture, photographs, and film). As an ‘anti-autobiography’ however, the operation of self-erasure that Murau is intent on creating with his narrative is problematic: by going through the process of remembering and reflecting and creating a narrative from this process, though Murau’s family line may become extinct, the narrator simultaneously creates a text which in itself lends permanence to that which is transient – and therefore to his memories by remaining behind after Murau’s death, shown by the edit made by what we must presume to be a second narrator in the final paragraph. The Auslà ¶schung becomes complete in this sense in the death of Murau, marking the extinction of his family line immediately after his extinction of his memories through writing about them, and the extinction of Wolfsegg as a contemporary place, as opposed to the Wolfsegg of his memory, in his donation of the property and lands to a Jewish foundation. By describing the process of reliving past memories as an effacement of them, the narrator of Auslà ¶schung appears to view the narrative progress of the novel as a form of therapy, similar to Austerlitz’s act of telling his story to a separate narrator, who also appears displaced and troubled by unresolved memories. While Bernhard’s narrator devotes specific time to the evocation of his memories, such as by observing the three family photographs or eagerly reading the newspaper articles published on his relatives’ deaths, the encounters between Austerlitz and Sebald’s narrator appear random and unpredictable, echoing the disjunctive rhythm with which traumatic memories come to the fore.[14] As a case in point, the sheer unreliability of memory is well-depicted by Bernhard’s technique of perspectivisation in that both verbal and written reports of the accident that killed three members of Murau’s family show considerable perspectival differences[15], leading Murau to conclude that ‘Jed er berichtet von dem Unglà ¼ck so, wie er es durch seine Empfindungen sieht und es handelt sich immer zwar um ein und dasselbe Unglà ¼ck, aber immer doch um ein anderes [†¦]’.[16] [‘Everyone tells of the accident in the way they perceive it, and it is always the very same accident, but still always a different one [†¦]’ (my translation)] As such, the narrative of Auslà ¶schung explores the fallibility of memory, with Bernhard’s typically long sentence structure emphasizing the confusion this causes. The decision of Sebald to employ a first-person narrator who both physically encounters and then relays the reflections and stories of Austerlitz can be seen as an attempt to reestablish the grounds of narrative legitimacy in literature of this period.[17] As someone who did not personally suffer the Holocaust or its aftermath, Sebald as an author was required to discover a manner of writing to remember these events without appearing presumptuous of this suffering, and the avoidance of Austerlitz, the sufferer, narrating in the first-person in the novel is evidence of this. In a similar manner, the blurring of fiction and documentary of the photographs serve to increase the novel’s authenticity for the reader: if not in the sense of their aid in helping Austerlitz come to terms with his past, then their promotion of narrative legitimacy when writing about the Holocaust. However, the exploration of the workings of memory within the text does not depend on a restoration of authe nticity, but instead on the conditions of the story’s transmission likewise, the narrative of Auslà ¶schung emphasizes the protagonist’s move away from his ignorant family by means of exploring his own memories, though they are proven to be fallible. Both Sebald and Bernhard seek to expose the prefabricated images of history that the age of visual media has allowed to colonize our memories[18] as fallible and subject to change in their employment of narrative methods to explore the workings of memory. The protagonists of Austerlitz and Auslà ¶schung reflect on their memories using visual media, though this is proven to be more hindrance than help on their respective psychological paths of remembrance as a critique of the modern visual age. The narrator of Austerlitz is needed to establish a sense of order to the jumbled observations and reflections of the protagonist, and since it is implied that Austerlitz’s death is relatively imminent, will and has decided on his legacy in the form of the novel, preserving these memories. Quite differently then, Sebald’s protagonist indicates his desire to prevent just this by writing to obliterate his memories, but then produces the opposite effect through the act of writing an d, unavoidably, remembering. [1] On Their Own Terms: The Legacy of National Socialism in Post-1990 German Fiction, Helmut Schmitz, 2004, University of Birmingham [2] Architecture and Cinema: The Representation of Memory in W. G. Sebald’s ‘Austerlitz’, Russell J. A. Kilbourn, in W. G. Sebald: A Critical Companion, ed. J. J. Long and Anne Whitehead, Edinburgh 2004, Edinburgh University Press [3] ‘†¦only signs everywhere of the annihilation’ – W. G. Sebald’s ‘Austerlitz’, Helmut Schmitz in On Their Own Terms: The Legacy of National Socialism in Post 1990 German Fiction, Birmingham 2002, University of Birmingham [4] Austerlitz, W. G. Sebald, Frankfurt am Main 2003, Fischer Taschenbuch Verlag [5] Austerlitz, W. G. Sebald, Frankfurt am Main 2003, Fischer Taschenbuch Verlag [6] Traumatic Photographs: Remembrance and the Technical Media in W. G. Sebald’s ‘Austerlitz’, Carolin Duttlinger, in W. G. Sebald: A Critical Companion, ed. J. J. Long and Anne Whitehead, Edinburgh 2004, Edinburgh University Press [7] Traumatic Photographs: Remembrance and the Technical Media in W. G. Sebald’s ‘Austerlitz’, Carolin Duttlinger, in W. G. Sebald: A Critical Companion, ed. J. J. Long and Anne Whitehead, Edinburgh 2004, Edinburgh University Press [8] Auslà ¶schung: Ein Zerfall, Thomas Bernhard, 1988, Suhrkamp Taschenbuch Verlag [9] ‘Die Teufelskunde unserer Zeit’? Photographic Negotiations in Thomas Bernhard’s ‘Auslà ¶schung’, Modern Austrian Literature, Vol. 35, No. 3/4 (2002), J. J. Long [10] Austerlitz, W. G. Sebald, Frankfurt am Main 2003, Fischer Taschenbuch Verlag [11] Auslà ¶schung: Ein Zerfall, Thomas Bernhard, 1988, Suhrkamp Taschenbuch Verlag [12] The Art of Erasing Art. Thomas Bernhard, Bianca Theisen, MLN, Vol. 121, No. 3, April 2006, The John Hopkins University Press [13] The Art of Erasing Art. Thomas Bernhard, Bianca Theisen, MLN, Vol. 121, No. 3, April 2006, T he John Hopkins University Press [14] The Task of the Narrator: Moments of Symbolic Investiture in W. G. Sebald’s ‘Austerlitz’, Katja Garloff in W. G. Sebald: History – Memory – Trauma, ed. Scott Denham and Mark McCulloh, Berlin 2006, Walter de Gruyter GmbH Co [15] The Art of Erasing Art. Thomas Bernhard, Bianca Theisen, MLN, Vol. 121, No. 3, April 2006, The John Hopkins University Press [16] Auslà ¶schung: Ein Zerfall, Thomas Bernhard, 1988, Suhrkamp Taschenbuch Verlag [17] The Task of the Narrator: Moments of Symbolic Investiture in W. G. Sebald’s ‘Austerlitz’, Katja Garloff in W. G. Sebald: History – Memory – Trauma, ed. Scott Denham and Mark McCulloh, Berlin 2006, Walter de Gruyter GmbH Co [18] The Task of the Narrator: Moments of Symbolic Investiture in W. G. Sebald’s ‘Austerlitz’, Katja Garloff in W. G. Sebald: History – Memory – Trauma, ed. Scott Denham and Mark McCulloh, Berlin 2006, Walter de Gruyter GmbH Co

Waiting by Ha Jin Lin Kongs Endless Wait Free Essay Example, 1500 words

In Waiting , the protagonist s affections are quickly transferred to a young and intelligent nurse at his medical facility from a wife, who he married only to fulfill his parent s wishes. He is mostly away from his wife to serve in a government medical facility and often becomes the prime subject of censure for a platonic relationship with his nurse; which is not only sexual prudery but also strips the masses of their right to act on their own will. Ha Jin describes: They (Manna and Lin) were not allowed to walk together outside the hospital grounds. By now, after so many years of restriction, they had grown accustomed to it (1999, p. 13). The suppression of their emotions has numbed that even after the protagonist ends up marrying his one true love, he feels that somehow he has run out of feelings for her as well. A society that always emphasizes on the importance of filial piety is also designed on to strip a person off his individuality and his right to love and marry whoever h e or she deems worthy. Lin s wife Shuyu was a metaphor for a sense of duty and responsibility, though he has a cordial relationship with her but he feels nothing beyond. We will write a custom essay sample on Waiting by Ha Jin: Lin Kongs Endless Wait or any topic specifically for you Only $17.96 $11.86/page Lin is more thrilled by his fantasy world than his reality, which is the biggest hurdle in not only his life but a major block in the Chinese mindset. However, it can also be seen that Lin s real disappointment stems not only from his inability to love, but it is the also triggered by the realization that the social codes that he had submitted to all these years; which also caused him great pain for eighteen years.

The American Dream By Thomas Jefferson - 1329 Words

â€Å"We hold these truths to be sacred and undeniable; that all men are created equal and independent, that from that equal creation they derive rights inherent and inalienable, among which are the preservation of life, and liberty, and the pursuit of happiness† (Thomas Jefferson). When America was granted their freedom no one thought that it would become the country it is today. However without the smart thinking of our forefathers we would never be the nation we are today. As a newly formed nation Thomas Jefferson advertised relocation to America via the declaration which stated America promised three important things, life, liberty, and the pursuit of happiness. Those three promises have always remained true as America progressed and the†¦show more content†¦Many Americans were determined to recreate themselves in the new land and faith boosted their confidence. After the move west the U.S. population rapidly increased and their was an influx of jobs. In Horatio A lger’s Ragged Dick anything was a job the main character, Dick would even, â€Å"...devote half his day to blacking boots† (Alger). Dick’s hard work and confidence made him really start the dream, however he was rewarded by his good intentions as a result of his good faith. From the era in the novel and present day the dream has altered to capitalizing off opportunities. Which President Obama believes is the greatest thing about the U.S. he states, â€Å"We believe in a generous America, in a compassionate America, in a tolerant America†¦Ã¢â‚¬  (Obama 2012). Winslow Homer was born in 1836, and grew up in a rural area of Cambridge Massachusetts and naturally fell in love with the great American outdoors. Homer’s early life was in an era of American history where literature and art were not as important because the main focus was an impending on a civil war. At the beginning of the war aged twenty five Homer accompanied general George B. McClellan with the union army and his paintings became more notable since he visualized his war experiences in paintings to show the American people (Pittsburgh Tribune-Review). However post civil war especially later during the industrial revolution their was more leisure time and moreShow MoreRelatedEquality And The American Dream1068 Words   |  5 PagesEquality and the American Dream History has a way of repeating itself. The problem of inequality has lasted as long as man has throughout the course of time. People are thought to be brave when they stick up against inequality. On July 4, 1776 Thomas Jefferson wrote the most important document in the history of our nation. The Declaration of Independence was the official document that claimed that their new name the United States of America and they would succeed from unfair British control. 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Admirer in French Verb Conjugations and the Noun

The French verb  admirer  means to admire. It is a regular verb and its resemblance to the English translation makes it an easy verb to work with. Yet, this is not the only  admirer  that you may want to know in French. What is the French noun for admirer? When speaking of an admirer, you will use the word le amirateur. For instance, my secret admirer is mon admirateur secret. Conjugations for the French Verb  Admirer In your French studies, you will come to admire the ease of conjugating admirer. This is a  regular -ER verb, so it follows a simple pattern in the new endings. Once you learn the conjugates for  admirer, try  another like adorer and notice how it uses the same formula. This chart shows you the various conjugations of  admirer. Simply pair the subject pronoun -- the  j, tu, nous, etc. -- with the correct tense for your needs. For instance, I admire is jadmire and the formal or plural you will admire is  vous admirerez. Subject Present Future Imperfect j admire admirerai admirais tu admires admireras admirais il admire admirera admirait nous admirons admirerons admirions vous admirez admirerez admiriez ils admirent admireront admiraient Admirers Present Participle The  present participle  of admirer  is admirant. Not only can this be a verb, but you might find it useful as an adjective, gerund, or noun at times. The Passà © Composà © and Past Participle of  Admirer To form the  passà © composà ©Ã‚  of  admirer, you will need the auxilliary verb and the past participle. In this case, the  auxiliary verb  is  avoir  and it needs to be conjugated. The  past participle  is  admirà © and it can be used for any subject. Lets put that together. In order to say I admired, you will use the French jai admirà © and for they did admire, change it to ils ont admirà ©. More  Admirer  Conjugations to Study You may need to use other conjugations for  admirer  from time to time. While its important to concentrate on the present, future, and passà © composà ©, you might find these helpful as well. The subjunctive is used when the act of admiring is questionable or uncertain. Likewise, the conditional verb mood is used when its dependent on something. You should only need the passà © simple and imperfect subjunctive when writing formally in French. Subject Subjunctive Conditional Pass Simple Imperfect Subjunctive j admire admirerais admirai admirasse tu admires admirerais admiras admirasses il admire admirerait admira admirt nous admirions admirerions admirmes admirassions vous admiriez admireriez admirtes admirassiez ils admirent admireraient admirrent admirassent You can also use the imperative for  admirer. This form is useful in small and direct requests or demands -- essentially, short exclamations. When using the imperative, theres no need to use the pronoun --  tu admire  -- since  admire  alone implies the  tu. Imperative (tu) admire (nous) admirons (vous) admirez

##jane Satrapis Persepolis And Letter From Birmingham...

In times of hardship, it is often easy to be selfish. It is simpler to abandon a moral stance, to cast aside what is right, and to run; protecting only yourself and those you hold dearly. However, to do what appears right, to help others, to advocate for equality, and to remain true to a code of values is a far more honorable task. Recognizing the humanity in all, the humanity within your oppressors or opponents, and helping protect those at a disadvantage even if it endangers yourself is the most admirable thing to do. This argument is demonstrated in both Marjane Satrapi’s Persepolis and in Martin Luther King Jr.’s â€Å"Letter From Birmingham Jail†. King and Satrapi both honored their people by fighting for the oppressed, and working towards†¦show more content†¦This is demonstrated not only in separate but equal policies, but in their denial of rights to protest and rights to vote. These policies, just like in Iran were enforces and communicated to t he masses through fear, imprisonment, and bias against the minority. Many white people who truly believed what was happening was wrong stood by silently because they were afraid of the danger and social implications protesting would ensue. In Persepolis, many Iranians who were not originally strict Muslims or extreme supporters of the new regime pretended to be that way rather than face the shame of being their true selves. In â€Å"A Letter From Birmingham Jail†, Martin Luther King Jr. is fighting for civil rights and equality for African Americans. During the mid 1900s civil rights movement, the rights of African Americans were subjugated and oppressed due to long standing racism and fear of change. King addresses these inequalities and advocates for change. His stance in the civil rights movement often corresponds with the non-violent protests Gandhi led. Both MLK and Gandhi courageously stood up for the unspoken minority and encouraged integration and equality. Martin Luther King Jr. states, â€Å"An unjust law is a code inflicted upon a minority which that minority had no part in enacting or creating because it did not have the unhampered right to vote† (Paragraph 3). African Americans,

The Growing Dependence On Computers Free Essays

Computers have been very helpful to society over the last few decades. Nowadays laptop and desktop computers are used in almost any place, at home, at work, at school, in a car and even in the kitchen. Computers help us in our everyday tasks; they let us socialize with friends from around the world, work from home and even allow us to relax watching a movie or playing a game. We will write a custom essay sample on The Growing Dependence On Computers or any similar topic only for you Order Now However the reliance on them has grown greatly in the last couple of years, as statistics show that the percentage of households with internet and desktops or laptops has increased almost 80% over the last twelve years, which begs the question: is dependence on computers a good habit or should we be more serious about its consequences? Computers make our lives easier and give us the possibility to connect to the Internet and learn new things. They make it possible for us to keep in touch with our friends, shop online or even receive classes online. Machines nowadays make it simpler than ever to organize digital media with only one click, instead of organizing physical discs, which is more time consuming and frequently get damaged. This gives us more time to do more creative or productive things in our life. Additionally, the modern communication system is fully based on computers; we cannot imagine any of this electronic communication without them, for example cell phone networks. This is essential to most of us, since we are always online in chat rooms interacting with our friends or downloading music on the go. So, as computers get better and better, communication and download speeds will increase to enhance our lives. In addition, science and medical research is fully dependent on computers, which help process mathematical calculations quicker and more precisely, for instance cures for HIV and cancer are now being calculated by hundreds of computer so one day there exists a successful treatment for these diseases. Moreover, science experiments like the building of spaceships will be improved because computers will be able, in the future, to compute better ways of building space rockets, which can go farther and quicker to planet like mars which therefore can be tested by astronauts to see if life can continue on that planet. Science and medical research will be more developed as computers become more intelligent and faster. However, on the other hand, there are several arguments against computers. For example, when someone has become addicted or obsessed with a computer. If a person spends too much time in the cyber-world they can become lazy, develop anti-social tendencies and sometimes experience a negative change in behavior, and in severe cases the person will no longer be able to function properly without it. It is common to see the side effects of someone who has spent a long time in front of a screen; they might develop weight gain, strained eyes and headaches, along with other unpleasant effects. Although, it can be argued that it is the fault of the person, rather than of the computer. Nevertheless, most importantly is the safety issue. Social communities like Facebook that allow people to post personal information and photos to the internet can be really dangerous, since anyone with a basic knowledge of computers can see your photos and information. However, probably the most important issue is that our comfort level with computers grows, so everyday we do more things like buying online with a credit card, which again can be accessed by a smart hacker and then use all your money. Yet, these are just a few common examples of issues with computers, which are not harmful or threatening to our own life. In a few decades, however, cars will be driven by themselves, obviously controlled by computers, and what if something goes wrong inside the chip of our car at a high speed? This would be a deadly mistake caused by a computer. Thus, why do we rely so much on computers, which still after many years in the market have still got errors in programming, bugs and threats to new viruses? In my opinion, computers do indeed make our lives easier more often than making it harder, but as we depend more on them it puts ourselves at risk because of the evilness of others. Nowadays, we should only rely on computers when our life is not in danger, since both computers and malicious people can be a threat for any human being, now and probably in the future as well. How to cite The Growing Dependence On Computers, Papers