Arab - Isreal Conflict Essays - ArabIsraeli Conflict, Western Asia

Arab - Isreal Conflict Check out essays at EssayFinder.com Arab-Israeli Conflicts Since the United Nations partition of PALESTINE in 1947 and the establishment of the modern state of ISRAEL in 1948, there have been four major Arab-Israeli wars (1947-49, 1956, 1967, and 1973) and numerous intermittent battles. Although Egypt and Israel signed a peace treaty in 1979, hostility between Israel and the rest of its Arab neighbors, complicated by the demands of Palestinian Arabs, continued into the 1980s. THE FIRST PALESTINE WAR (1947-49) The first war began as a civil conflict between Palestinian Jews and Arabs following the United Nations recommendation of Nov. 29, 1947, to partition Palestine, then still under British mandate, into an Arab state and a Jewish state. Fighting quickly spread as Arab guerrillas attacked Jewish settlements and communication links to prevent implementation of the UN plan. Jewish forces prevented seizure of most settlements, but Arab guerrillas, supported by the Transjordanian Arab Legion under the command of British officers, besieged Jerusalem. By April, Haganah, the principal Jewish military group, seized the offensive, scoring victories against the Arab Liberation Army in northern Palestine, Jaffa, and Jerusalem. British military forces withdrew to Haifa; although officially neutral, some commanders assisted one side or the other. After the British had departed and the state of Israel had been established on May 15, 1948, under the premiership of David BEN-GURION, the Palestine Arab forces and foreign volunteers were joined by regular armies of Transjordan (now the kingdom of JORDAN), IRAQ, LEBANON, and SYRIA, with token support from SAUDI ARABIA. Efforts by the UN to halt the fighting were unsuccessful until June 11, when a 4-week truce was declared. When the Arab states refused to renew the truce, ten more days of fighting erupted. In that time Israel greatly extended the area under its control and broke the siege of Jerusalem. Fighting on a smaller scale continued during the second UN truce beginning in mid-July, and Israel acquired more territory, especially in Galilee and the Negev. By January 1949, when the last battles ended, Israel had extended its frontiers by about 5,000 sq km (1,930 sq mi) beyond the 15,500 sq km (4,983 sq mi) allocated to the Jewish state in the UN partition resolution. It had also secured its independence. During 1949, armistice agreements were signed under UN auspices between Israel and Egypt, Jordan, Syria, and Lebanon. The armistice frontiers were unofficial boundaries until 1967. SUEZ-SINAI WAR (1956) Border conflicts between Israel and the Arabs continued despite provisions in the 1949 armistice agreements for peace negotiations. Hundreds of thousands of Palestinian Arabs who had left Israeli-held territory during the first war concentrated in refugee camps along Israel's frontiers and became a major source of friction when they infiltrated back to their homes or attacked Israeli border settlements. A major tension point was the Egyptian-controlled GAZA STRIP, which was used by Arab guerrillas for raids into southern Israel. Egypt's blockade of Israeli shipping in the Suez Canal and Gulf of Aqaba intensified the hostilities. These escalating tensions converged with the SUEZ CRISIS caused by the nationalization of the Suez Canal by Egyptian president Gamal NASSER. Great Britain and France strenuously objected to Nasser's policies, and a joint military campaign was planned against Egypt with the understanding that Israel would take the initiative by seizing the Sinai Peninsula. The war began on Oct. 29, 1956, after an announcement that the armies of Egypt, Syria, and Jordan were to be integrated under the Egyptian commander in chief. Israel's Operation Kadesh, commanded by Moshe DAYAN, lasted less than a week; its forces reached the eastern bank of the Suez Canal in about 100 hours, seizing the Gaza Strip and nearly all the Sinai Peninsula. The Sinai operations were supplemented by an Anglo-French invasion of Egypt on November 5, giving the allies control of the northern sector of the Suez Canal. The war was halted by a UN General Assembly resolution calling for an immediate ceasefire and withdrawal of all occupying forces from Egyptian territory. The General Assembly also established a United Nations Emergency Force (UNEF) to replace the allied troops on the Egyptian side of the borders in Suez, Sinai, and Gaza. By December 22 the last British and French troops had left Egypt. Israel, however, delayed withdrawal, insisting that it receive security guarantees against further Egyptian attack. After several additional UN resolutions calling for withdrawal and after pressure from the United States, Israel's forces left in March 1957. SIX-DAY WAR (1967) Relations between Israel and Egypt remained fairly stable in the following decade. The Suez Canal remained closed to Israeli shipping, the Arab boycott of Israel was maintained, and periodic border clashes occurred between Israel, Syria, and Jordan. However, UNEF prevented direct military encounters between Egypt

The Modern Essay by Virginia Woolf

The Modern Essay by Virginia Woolf Widely considered one of the finest essayists of the 20th century, Virginia Woolf composed this essay as a review of Ernest Rhyss five-volume anthology of Modern English Essays: 1870-1920 (J.M. Dent, 1922). The review originally appeared in The Times Literary Supplement, November 30, 1922, and Woolf included a slightly revised version in her first collection of essays, The Common Reader (1925). In her brief preface to the collection, Woolf distinguished the common reader (a phrase borrowed from Samuel Johnson) from the critic and scholar: He is worse educated, and nature has not gifted him so generously. He reads for his own pleasure rather than to impart knowledge or correct the opinions of others. Above all, he is guided by an instinct to create for himself, out of whatever odds and ends he can come by, some kind of wholea portrait of a man, a sketch of an age, a theory of the art of writing. Here, assuming the guise of the common reader, she offers a few . . . ideas and opinions about the nature of the English essay. Compare Woolfs thoughts on essay writing with those expressed by Maurice Hewlett in The Maypole and the Column and by Charles S. Brooks in The Writing of Essays. The Modern Essay by Virginia Woolf As Mr. Rhys truly says, it is unnecessary to go profoundly into the history and origin of the essaywhether it derives from Socrates or Siranney the Persiansince, like all living things, its present is more important than its past. Moreover, the family is widely spread; and while some of its representatives have risen in the world and wear their coronets with the best, others pick up a precarious living in the gutter near Fleet Street. The form, too, admits variety. The essay can be short or long, serious or trifling, about God and Spinoza, or about turtles and Cheapside. But as we turn over the pages of these five little volumes, containing essays written between 1870 and 1920, certain principles appear to control the chaos, and we detect in the short period under review something like the progress of history. Of all forms of literature, however, the essay is the one which least calls for the use of long words. The principle which controls it is simply that it should give pleasure; the desire which impels us when we take it from the shelf is simply to receive pleasure. Everything in an essay must be subdued to that end. It should lay us under a spell with its first word, and we should only wake, refreshed, with its last. In the interval we may pass through the most various experiences of amusement, surprise, interest, indignation; we may soar to the heights of fantasy with Lamb or plunge to the depths of wisdom with Bacon, but we must never be roused. The essay must lap us about and draw its curtain across the world. So great a feat is seldom accomplished, though the fault may well be as much on the readers side as on the writers. Habit and lethargy have dulled his palate. A novel has a story, a poem rhyme; but what art can the essayist use in these short lengths of prose to sting us wide awake and fix us in a trance which is not sleep but rather an intensification of lifea basking, with every faculty alert, in the sun of pleasure? He must knowthat is the first essentialhow to write. His learning may be as profound as Mark Pattisons, but in an essay, it must be so fused by the magic of writing that not a fact juts out, not a dogma tears the surface of the texture. Macaulay in one way, Froude in another, did this superbly over and over again. They have blown more knowledge into us in the course of one essay than the innumerable chapters of a hundred textbooks. But when Mark Pattison has to tell us, in the space of thirty-five little pages, about Montaigne, we feel that he had not previously assimi lated M. Grà ¼n. M. Grà ¼n was a gentleman who once wrote a bad book. M. Grà ¼n and his book should have been embalmed for our perpetual delight in amber. But the process is fatiguing; it requires more time and perhaps more temper than Pattison had at his command. He served M. Grà ¼n up raw, and he remains a crude berry among the cooked meats, upon which our teeth must grate forever. Something of the sort applies to Matthew Arnold and a certain translator of Spinoza. Literal truth-telling and finding fault with a culprit for his good are out of place in an essay, where everything should be for our good and rather for eternity than for the March number of the Fortnightly Review. But if the voice of the scold should never be heard in this narrow plot, there is another voice which is as a plague of locuststhe voice of a man stumbling drowsily among loose words, clutching aimlessly at vague ideas, the voice, for example, of Mr. Hutton in the following passage: Add to this that his married life was brief, only seven years and a half, being unexpectedly cut short, and that his passionate reverence for his wifes memory and geniusin his own words, a religionwas one which, as he must have been perfectly sensible, he could not make to appear otherwise than extravagant, not to say an hallucination, in the eyes of the rest of mankind, and yet that he was possessed by an irresistible yearning to attempt to embody it in all the tender and enthusiastic hyperbole of which it is so pathetic to find a man who gained his fame by his dry-light a master, and it is impossible not to feel that the human incidents in Mr. Mills career are very sad. A book could take that blow, but it sinks an essay. A biography in two volumes is indeed the proper depository, for there, where the licence is so much wider, and hints and glimpses of outside things make part of the feast (we refer to the old type of Victorian volume), these yawns and stretches hardly matter, and have indeed some positive value of their own. But that value, which is contributed by the reader, perhaps illicitly, in his desire to get as much into the book from all possible sources as he can, must be ruled out here. There is no room for the impurities of literature in an essay. Somehow or other, by dint of labor or bounty of nature, or both combined, the essay must be purepure like water or pure like wine, but pure from dullness, deadness, and deposits of extraneous matter. Of all writers in the first volume, Walter Pater best achieves this arduous task, because before setting out to write his essay (Notes on Leonardo da Vinci) he has somehow contrived to get his material fused. He is a learned man, but it is not knowledge of Leonardo that remains with us, but a vision, such as we get in a good novel where everything contributes to bring the writers conception as a whole before us. Only here, in the essay, where the bounds are so strict and facts have to be used in their nakedness, the true writer like Walter Pater makes these limitations yield their own quality. Truth will give it authority; from its narrow limits he will get shape and intensity; and then there is no more fitting place for some of those ornaments which the old writers loved and we, by calling them ornaments, presumably despise. Nowadays nobody would have the courage to embark on the once famous description of Leonardos lady who has learned the secrets of the grave; and has been a diver in deep seas and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants; and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary . . . The passage is too thumb-marked to slip naturally into the context. But when we come unexpectedly upon the smiling of women and the motion of great waters, or upon full of the refinement of the dead, in sad, earth-coloured raiment, set with pale stones, we suddenly remember that we have ears and we have eyes and that the English language fills a long array of stout volumes with innumerable words, many of which are of more than one syllable. The only living Englishman who ever looks into these volumes is, of course, a gentleman of Polish extraction. But doubtless our abstention saves us much gush, much rhetoric, much high-stepping and cloud-prancing, and for the sake of the prevailing sobriety and hard-headedness, we should be willing to barter the splendor of  Sir Thomas Browne  and the vigor of  Swift. Yet, if the essay admits more properly than biography or fiction of sudden boldness and metaphor, and can be polished till every atom of its surface shines, there are dangers in that too. We are soon in sight of ornament. Soon the current, which is the life-blood of literature, runs slow; and instead of sparkling and flashing or moving with a quieter impulse which has a deeper excitement, words coagulate together in frozen sprays which, like the grapes on a Christmas-tree, glitter for a single night, but are dusty and garnish the day after. The temptation to decorate is great where the theme may be of the slightest. What is there to interest another in the fact that one has enjoyed a walking tour, or has amused oneself by rambling down Cheapside and looking at the turtles in Mr. Sweetings shop window?  Stevenson  and  Samuel Butler  chose very different methods of exciting our interest in these domestic themes. Stevenson, of course, trimmed and polished and set out his matter in the traditional eighteenth-century form. It is admirably done, but we cannot help feeling anxious, as the essay proceeds, lest the material may give out under the craftsmans fingers. The ingot is so small, the manipulation so incessant. And perhaps that is why the  peroration To sit still and contemplateto remember the faces of women without desire, to be pleased by the great deeds of men without envy, to be everything and everywhere in sympathy and yet content to remain where and what you are has the sort of insubstantiality which suggests that by the time he got to the end he had left himself nothing solid to work with. Butler adopted the very opposite method. Think your own thoughts, he seems to say, and speak them as plainly as you can. These turtles in the shop window which appear to leak out of their shells through heads and feet suggest a fatal faithfulness to a fixed idea. And so, striding unconcernedly from one idea to the next, we traverse a large stretch of ground; observe that a wound in the solicitor is a very serious thing; that Mary Queen of Scots wears surgical boots and is subject to fits near the Horse Shoe in Tottenham Court Road; take it for granted that no one really cares about Aeschylus; and so, with many amusing anecdotes and some profound reflections, reach the peroration, which is that, as he had been told not to see more in Cheapside than he could get into twelve pages of the  Universal Review, he had better stop. And yet obviously Butler is at least as careful of our pleasure as Stevenson, and to write like oneself and call it not writing is a much harder exercise in style than to write like Addison and call it writing well. But, however much they differ individually, the Victorian essayists yet had something in common. They wrote at greater length than is now usual, and they wrote for a public which had not only time to sit down to its magazine seriously, but a high, if peculiarly Victorian, standard of culture by which to judge it. It was worth while to speak out upon serious matters in an essay; and there was nothing absurd in writing as well as one possibly could when, in a month or two, the same public which had welcomed the essay in a magazine would carefully read it once more in a book. But a change came from a small audience of cultivated people to a larger audience of people who were not quite so cultivated. The change was not altogether for the worse. In volume iii. we find Mr. Birrell and  Mr. Beerbohm. It might even be said that there was a reversion to the classic  type and that the essay by losing its size and something of its sonority was approaching more nearly the essay of Addison and Lamb. At any rate, there is a great gulf between Mr. Birrell on  Carlyle  and the essay which one may suppose that Carlyle would have written upon Mr. Birrell. There is little similarity between  A Cloud of Pinafores, by Max Beerbohm, and  A Cynics Apology, by Leslie Stephen. But the essay is alive; there is no reason to despair. As the conditions change so the  essayist, most sensitive of all plants to public opinion, adapts himself, and if he is good makes the best of the change, and if he is bad the worst. Mr. Birrell is certainly good; and so we find that, though he has dropped a considerable amount of weight, his attack is much more direct and his movement more supple. But what did Mr. Beerbohm give to the essay and what did he take from it? That is a much more complicated question, for here we have an essayist who has concentrated on the work and  is, without doubt, the prince of his profession. What Mr. Beerbohm gave was, of course, himself. This presence, which has haunted the essay fitfully from the time of Montaigne, had been in exile since the death of  Charles Lamb. Matthew Arnold was never to his readers Matt, nor Walter Pater affectionately abbreviated in a thousand homes to Wat. They gave us much, but that they did not give. Thus,  sometime  in the nineties, it must have surprised readers accustomed to exhortation, information, and denunciation to find themselves familiarly addressed by a voice which seemed to belong to a man no larger than themselves. He was affected by private joys and  sorrows and had no gospel to preach and no learning to impart. He was himself, simply and directly, and himself he has remained. Once again we have an essayist capable of using the essayists most proper but most dangerous and delicate tool. He has brought personality into literature, not unconsciously and impurely, but so consciously and purely that we do not know whether t here is any relation between Max the essayist and Mr. Beerbohm the man. We only know that the spirit of personality permeates every word that he writes. The triumph is the triumph of  style. For it is only by knowing how to write that you can make use in literature of  yourself; that self which, while it is essential to literature, is also its most dangerous antagonist. Never to be yourself and yet alwaysthat is the problem. Some of the essayists in Mr. Rhys collection, to be frank, have not altogether succeeded in solving it. We are nauseated by the sight of trivial personalities decomposing in the eternity of print. As talk, no doubt, it was charming, and  certainly, the writer is a good fellow to meet over a bottle of beer. But literature is stern; it is no use being charming,  virtuous or even learned and brilliant into the bargain, unless, she seems to reiterate, you  fulfill  her first conditionto know how to write. This art is possessed to perfection by Mr. Beerbohm. But he has not searched the dictionary for polysyllables. He has not  molded  firm periods or seduced our ears with intricate cadences and strange melodies. Some of his companionsHenley and Stevenson, for exampleare momentarily more impressive. But  A Cloud of Pinafores  has in it that indescribable inequality, stir, and final expressiveness which belong to life and to life alone. You have not finished with it because you have read it, any more than friendship is ended because it is time to part. Life wells up and alters and adds. Even things in a book-case change if they are alive; we find ourselves wanting to meet them again; we find them altered. So we look back upon essay after essay by Mr. Beerbohm, knowing that, come September or May, we shall sit down with them and talk. Yet it is true that the essayist is the most sensitive of all writers to public opinion. The drawing-room is the place where a great deal of reading is done nowadays, and the essays of Mr. Beerbohm lie, with an exquisite appreciation of all that the position exacts, upon the drawing-room table. There is no  gin  about; no strong tobacco; no puns, drunkenness, or insanity. Ladies and gentlemen talk together, and some things, of course, are not said. But if it would be foolish to attempt to confine Mr. Beerbohm to one room, it would be still more foolish, unhappily, to make him, the artist, the man who gives us only his best, the representative of our age. There are no essays by Mr. Beerbohm in the fourth or fifth volumes of the present collection. His age seems already a little distant, and the drawing-room table, as it recedes, begins to look rather like an altar where, once upon a time, people deposited offeringsfruit from their own orchards, gifts carved with their own hands. Now once more the conditions have changed. The public needs essays as much as ever, and perhaps even more. The demand for the light middle not exceeding fifteen hundred words, or in special cases seventeen hundred and fifty, much exceeds the supply. Where Lamb wrote one essay and Max perhaps writes two,  Mr. Belloc  at a rough computation produces three hundred and sixty-five. They are very short, it is true. Yet with what dexterity the practised ess ayist will utilise his spacebeginning as close to the top of the sheet as possible, judging precisely how far to go, when to turn, and how, without sacrificing a  hairs breadth  of paper, to wheel about and alight accurately upon the last word his editor allows! As a feat of  skill, it is well worth watching. But the personality upon which Mr. Belloc, like Mr. Beerbohm, depends suffers in the process. It comes to  us, not with the natural richness of the speaking voice, but strained and thin and full of mannerisms and affectations, like the voice of a man shouting through a megaphone to a crowd on a windy day. Little friends, my readers, he says in the essay called An Unknown Country, and he goes on to tell us how There was a shepherd the other day at Findon Fair who had come from the east by Lewes with sheep, and who had in his eyes that reminiscence of horizons which makes the eyes of shepherds and of mountaineers different from the eyes of other men. . . . I went with him to hear what he had to say, for shepherds talk quite differently from other men. Happily, this shepherd had little to say, even under the stimulus of the inevitable mug of beer, about the Unknown Country, for the only remark that he did make proves him either a minor poet, unfit for the care of  sheep or Mr. Belloc himself masquerading with a fountain pen. That is the penalty which the habitual essayist must now be prepared to face. He must masquerade. He cannot afford the time either to be himself or to be other people. He must skim the surface of thought and dilute the strength of personality. He must give us a worn weekly halfpenny instead of a solid sovereign once a year. But it is not Mr. Belloc only who has suffered from the prevailing conditions. The essays which bring the collection to the year 1920 may not be the best of their authors work, but, if we except writers like Mr. Conrad and Mr. Hudson, who have strayed into essay writing accidentally, and concentrate upon those who write essays habitually, we shall find them a good deal affected by the change in their circumstances. To write weekly, to write daily, to write shortly, to write for busy people catching trains in the morning or for tired people coming home in the evening, is a  heartbreaking  task for men who know good writing from bad. They do it, but instinctively draw out of harms way anything precious that might be damaged by contact with the public, or anything sharp that might irritate its skin. And so, if one reads Mr. Lucas, Mr. Lynd, or Mr. Squire in the bulk, one feels that a common  grayness  silvers everything. They are as far removed from the extravagant beauty of Wal ter Pater as they are from the intemperate  candor  of Leslie Stephen. Beauty and courage are dangerous spirits to bottle in a column and a half; and thought, like a brown paper parcel in a waistcoat pocket, has a way of spoiling the symmetry of an article. It is a kind, tired, apathetic world for which they write, and the marvel is that they never cease to attempt, at least, to write well. But there is no need to pity Mr. Clutton Brock for this change in the essayists conditions. He has clearly made the best of his circumstances and not the worst. One hesitates even to say that he has had to make any conscious effort in the matter, so  naturally, has he effected the transition from the private essayist to the public, from the drawing-room to the Albert Hall. Paradoxically enough, the shrinkage in size has brought about a corresponding expansion of individuality. We have no longer the I of Max and of Lamb, but the we of public bodies and other sublime personages. It is we who go to hear the Magic Flute; we who ought to profit by it; we, in some mysterious way, who, in our corporate capacity, once upon a time actually wrote it. For music and literature and art must submit to the same  generalization  or they will not carry to the farthest recesses of the Albert Hall. That the voice of Mr. Clutton Brock, so sincere and so disinterested, carries such a distance and r eaches so many without pandering to the weakness of the mass or its passions must be a matter of legitimate satisfaction to us all. But while we are gratified, I, that unruly partner in the human fellowship, is reduced to despair. I must always think things for himself, and feel things for himself. To share them in a diluted form with the majority of well-educated and well-intentioned men and women is  for him sheer agony; and while the rest of us listen intently and profit profoundly, I slips off to the woods and the fields and rejoices in a single blade of grass or a solitary potato. In the fifth volume of modern essays, it seems, we have got some way from pleasure and the art of writing. But in justice to the essayists of  1920  we must be sure that we are not praising the famous because they have been praised already and the dead because we shall never meet them wearing spats in Piccadilly. We must know what we mean when we say that they can write and give us pleasure. We must compare them; we must bring out the quality. We must point to this and say it is good because it is exact, truthful, and imaginative: Nay, retire men cannot when they would; neither will they, when it were Reason; but are impatient of Privateness, even in age and sickness, which require the shadow: like old Townsmen: that will still be sitting at their street door, though therby they offer Age to Scorn . . . and to this, and say it is bad because it is loose, plausible, and commonplace: With courteous and precise cynicism on his lips, he thought of quiet virginal chambers, of waters singing under the moon, of terraces where taintless music sobbed into the open night, of pure maternal mistresses with protecting arms and vigilant eyes, of fields slumbering in the sunlight, of leagues of ocean heaving under warm tremulous heavens, of hot ports, gorgeous and perfumed. . . . It goes on, but already we are bemused with sound and neither feel nor hear. The comparison makes us suspect that the art of writing has for backbone some fierce attachment to an idea. It is on the back of an idea, something believed in with conviction or seen with precision and thus compelling words to its shape, that the diverse company which includes Lamb and  Bacon, and Mr. Beerbohm and Hudson, and Vernon Lee and Mr. Conrad, and Leslie Stephen and Butler and Walter Pater reaches the farther shore. Very various talents have helped or hindered the passage of the idea into words. Some scrape through painfully; others fly with every wind  favouring. But Mr. Belloc and  Mr. Lucas  and Mr. Squire are not fiercely attached to anything in itself. They share the contemporary dilemmathat lack of an obstinate conviction which lifts ephemeral sounds through the misty sphere of anybodys language to the land where there is a perpetual marriage, a perpetual union. Vague as all definitio ns are, a good essay must have this permanent quality about it; it must draw its curtain round us, but it must be a curtain that shuts us in, not out. Originally published in 1925 by Harcourt Brace Jovanovich,  The Common Reader  is currently available from Mariner Books (2002) in the U.S. and from Vintage (2003) in the U.K.

Catholics opposing views on abortion over History Research Paper

Catholics opposing views on abortion over History - Research Paper Example The early Christians were opposed to abortion because it exposed the unborn babies thus making them die. Abortion was condemned with disregarding to what stage of the pregnancy it was carried out in the first three centuries of Christianity. This can be captured in Tertullian writings in 197AD that† it does not matter whether you take away life that is born or destroy one that is coming to birth. In both instances, destruction is murder.† The council of Ancyra (314) is said to have referred to an ancient law that excommunicated women that aborted their children deliberately. (life.org.nz, 2011) The second mention of abortion is in a theological tract known as the Epistle of the pseudo-Barnabas which was written in about 138 and highly regarded by the theologians of Alexandria. The author of this publication treats abortion as corollary to the law of fraternal charity which was in existence. This can be captured in the written statements that, â€Å"You shall love your ne ighbor more than your own life. You shall not slay the child by abortion.† (catholicculture.org, 2011) Athenagoras who was an Athenian philosopher states in a letter he writes to Marcus Aurelius (177) that â€Å"All those who use abortifacients are homicides and they will have to account to God for their abortions as well as the killing of men†. ... arly church councils established strong precedents in history in relation to matters of abortion which were later ratified and strengthened by the council of Chalcendon in 415 and Consillium Quinisextum in 692. During the early period of foundation of Christianity, there were many writers who condemned abortion as a gravel evil. These include Christians writer like Hippolytus (235), Cyprian (258), St Ambrose, Bishop of Milan (375), St Jerome (d. 420), St Augustine(d. 430), Caesarius, the Bishop of Arles(d. 543), and St Martin of Braga(580). The first collection of church laws that were promulgated with the authority of pope for the universal church was The Decretals of Pope Gregory IX in 1324. These laws list one canon that describes a murderer as one who procures an abortion. The decrials emphasized the idea of formed and unformed so as to determine the kind of penalties that applied for this type of crime. From the 13 century and the other succeeding centuries, the council of churc hes in existence continued to condemn abortion. (catholicculture.org, 2011) In 1588, the first papal legislation that was meant to bring into play penal sanction against abortion came into existence and was referred to EFFRAENATAM of Pope Sixtus V who reigned in the period 1585-1590. In 1591, Pope Gregory XIV altered slightly the constitution of Sixtus V so as to apply harsher punishments among those that caused abortion of animated fetus (a fetus whose movement could be felt). In spite of the changes to the constitution, the seriousness of abortion offences were emphasized (Haney, 2008, p 24). Not until in the 18th century when Martin Luther king led a reformation from the Catholic Church, most Catholics were united and accepted the Magisterium authority and condemnation of abortion. In

The Millennium Development Goals of Nepal Assignment

The Millennium Development Goals of Nepal - Assignment Example The UN Millennium campaign has created partnerships with the Resident Coordinators office in various targeted countries in order to inspire and support the people all over the world for taking adequate actions, supporting the MDGs. In this regard, Nepal is deemed to be one of the most targeted and highly prioritised countries of the world. In Nepal, the Millennium campaign has a powerful interlink with the â€Å"Civil Society Organisations†, UN system and the local bodies, which tends to enhance its campaigning efforts and policy advocacy works (1United Nations Development Programme, 2014). This goal has been established in order to support the economically under-developed countries of the world wherein the people are not even able to afford the basic necessities of life such as food, which results in causing malnutrition. Therefore, in context to Nepal, the goal mainly focuses on improving the standards of living of the people as well as minimising the distance persisting between rich and poor. The target of the goal is to reduce the fraction of people in Nepal by 50 percent whose daily earnings is less than $1.25 and suffering from famine. The target is proposed to be accomplished in between 1990 and 2015 (1United Nations, 2015). In order to confirm that the above targets get accomplished within a set timeframe, the country will mainly analyse two indicators. The first indicator represents the prevailing rate of under-weighted children those who are below the age of five years and the second indicator denotes the proportion of populaces in the country who do not rece ive minimum level of diet (Shakya, 2013). This goal was designed to ensure that all the children of a country receive primary education and possess the right to enrol themselves in primary schools and complete their education. However, in relation to Nepal, the goal mainly focused on increasing the number of literacy rates in the country by providing the opportunity of primary education. As per the

China mitigating the impact of carbon dioxide Essay

China mitigating the impact of carbon dioxide - Essay Example Contrary to numerous states that have alleged both China and US are ignorant of numerous policies that global agencies have instituted to shun climate degradation, it has however tried to implement varied national policies. For instance, China this year revealed its intentions of reducing the CO2 emission levels stated in 2005 by approximately 60-65%. This coupled with other numerous advancements devised and proposed by Chinese government; experts have contended the country seems now to be on the right track towards curbing its excessive CO2 release. However, despite these advancements and proposals by Chinese government, the extent of CO2 emissions from the numerous sprouting industries by the day is still high, which makes the country appear as if is it is not doing enough. One of the policies implemented and currently, in place includes the vehicle exercise taxation. This policy normally compels those owning automobiles with big engines to be parting with a significant amount of t axation that commensurate with the extent of CO2 release. Hence, discouraging people from opting to own vehicles like SUV whose impact through pollution is quite high compared to small engine cars. These laws are extremely stringent compared to those in US but the challenge emerges with double release not only from the automobiles but also from industries. Hence, prompting other global states claim Chinese government does not exhibit the necessary willingness towards curbing this menace, which has ensued to political issues.

An Analysis Of Water Pollution In China Environmental Sciences Essay

An Analysis Of Water Pollution In China Environmental Sciences Essay The challenge of escalating water pollution in China has posed a formidable threat to the existing water bodies that are immensely beneficial to the natives, industries and the government. This water pollution has been as a consequence of effluents from the heavily industrialized areas, which drain chemicals to rivers and other related streams. The escalating quandary of water pollution in China requires swift and practical measures geared towards safeguarding the few water bodies that have not been polluted, and halting further pollution of those already polluted. These efforts will aid in protecting the aquatic life, and improving on environmental conservation. To effectively limit the levels of water pollution, the Chinese Government ought to implement reasonable and valid systems that will guarantee the reduction in release of toxic effluents into the aquatic ecosystem. The appalling state of affairs resulting from the Chinese industrial effluents from the densely populated manufacturing states have reached to points where they threaten to literally extinguish the aquatic life, and thereby rendering once valuable rivers and streams useless. Indeed, these rivers, streams and other water bodies are affected to a point that they can be seen to be contaminated from visual observation. Additionally, strong and awful smells can be felt emanating from the flowing bodies of water; these polluted masses of moving water are usually black in color (Economy 2010). The Chinese authorities ideally want to intervene and implement effective measures to regulate the culpable industries on their commercial release into these rivers and streams. Many industrialists however argue against such a move, instead positing that by implementing a number of restrictive measures, the authorities will be deterring the growth and development of upcoming industries. Such arguments fall flat in face of logic and only help to champion the further degradation of the environment. The industrialists also posit that these measures will reduce production of some companies, which they argue, are particularly critical in global industrial production and the emergence of China as a superpower. Implementation of restrictive laws should not be compromised by vested interests from industrialists. Restrictive and regulatory environmental laws are designed help in guarding environment for the future generations in China. Environmental standards in China are deteriorating at a particularly unsettling pace when compared to other countries. Natives of Chinese towns are pessimistic about future environmental outlooks. They have witnessed once clean rivers turned into sewerage drainage channels because of extremely uncontrolled dumping of industrial refuse. In an environmental conservation article, Rivers Run Black in Shanxi Province in CHINA.ORG.CN website, a farmer called Li Yonggang recalls a few years back when a nearby riverShushui Riverwas remarkably uncontaminated and bustling with marine life. He notes with vivid contract of how the landscape of back then is so different to that of today. At thirty years, everything has changed and very different to what he used to see in th e 1980s. Li compares how he dug a mere 60 meters in the past to get clean drinking water, but nowà ¢Ã¢â€š ¬Ã‚ ¦well is 180 meters deep (Rivers Run Black in Shanxi Province). Water pollution is normally graded on a scale of I, II, III, IV and V-where I is the purest with least pollutants and V is the most polluted. Shushui River is currently on grade V. Shanxi province is categorized as leading in having worst river waters in the country because of the big industries in the region (China Knowledge Press Pte Ltd Xiahou, 2005). Environmentalists and natives are equally conscious of the heightening status of the quandary, and most wonder if the deteriorating status will be halted in time since all the ten most polluted cities are in Shanxi (Rivers Run Black in Shanxi Province). According to Jian Xies book Addressing Chinas water scarcity: recommendations for selected water resource management issues, which was written in collaboration with the World Bank, the Peoples Republic of China possesses no adequate and proper sewerage management system and as a result, both the public and domestic waste is channeled into nearby water bodies. Some rivers have turned red as a result, clearly depicting the extent of pollution. (See illustration below). Also about 500 million citizens do not have any kind of access to hygienically treated drinking water and majority resort to taking filthy water from rivers (Xie World Bank, 2009). Current studies depict excessive discharge of mans refuse and other pollutants from agricultural area. The discharging of waste in the sea is rampant because the majority of the rural populations do not have abundant water conditioning facilities. This puts them on the verge of getting infected with industrial and human waste related diseases. The Xie/ World Bank book highlights the concerns of many people lacking domestic water, and indicates that such predicaments have pushed people to use flowing water from streams and rivers. Here, they can wash clothes and get water for cooking and drinking. The most culpable industries in the list of agents of pollution are plants that manufacture drugs, chemicals and tannery mills. The picture below shows how factories located near water bodies in China easily dump heaps of wastes. Wastes can be seen spilling in the river depository. Yangtze effluence Evident as it is, water contamination is primarily caused by industrial processes. From the observation of the visual evidence above, not only is water being affected, but the air is equally polluted. These emissions of toxic substances into the environment cost the Chinese government almost $69 billion annually, a figure that is spent on dismal efforts closely related to environmental conservation but which barely have any effect. Marquita Hill reports in Understanding Environmental pollution that China disposes about 11.7 million pounds of organic waste annually. This is mindboggling when you consider that industrialized nations such as the United States emits about 5.5, Japan emits around 3.4, Germany 2.3, India 3.2 and South Africa a paltry 0.6 (Hill, 2009). When you do the mathematics, Chinas emission is almost equal to all these five countries. This is intense pollution according to the statistics the rate is increasing endangering the human existence. There has been evidence of algae blooms in rivers and lakes caused by surface run-off during rainy seasons where industrial and farming chemicals are deposited in the rivers. Hill elaborates on how these run-offs result in the depletion of oxygen in the water leading to death of aquatic life. Chinese residents did try to curb this by pumping oxygen mechanically in water but the ultimate responsibility rests on the government to regulate the use of toxic industrial chemicals in these sectors. China aimed at cutting down on water effluence by ten percent from 2008 to 2010. It also attempted to clean Huai basin in Anhui Province in the 80s and 90s but those efforts foundered; $8 million dollars was spent on the project. It is clear currently that China must invest in river protection. China says water pollution double official figure, (Reuters 2010). According to this report China had grossly underestimated the levels of corruption posted in 2007. Apparently, the government estimation did not factor in the waste from agricultural activities, A study by Chinas Environmental Protection Agency in February 2010 said that water pollution levels were double what the government predicted them to be mainly because agricultural waste was ignored (Reuters, 2010). This unmasked the truth of the matter in China; the extent of Chinas environmental predicaments could be much worse! This also questioned whether the Chinese government is cognizant of its predicament and what measures it must take to reduce negative effects. Earlier in 2007, government reported it had reduced COD by 30 percent to 13.3metric tons. The article reports of extremely alarming statistics of water pollution which need quick action before things get out of manageable brackets. Coupled with both industrial and domestic emissions, the COD rose by 5 percent around the original one in 2007 (Reuter, 2010). China faces dual predicament of water pollution and scarcity. Its vast population is faced with severe water problem which is extreme in heavily populated cities. There are also cases of inadequately treated municipal waters which is unhygienic for human drinking. China therefore is forced to harvest or extract impure water especially in Yantai, Qingdao and Behai. China must supplement its water resources; straighten out any sluggishness in municipal facilities, equip sewerage firms with resources to treat toxic waste and properly channel the drainage system and enact laws to combat irresponsible industrial behaviors. In the country, most of the rivers have grade IV and grade V of pollution; these rivers are toxic and extremely unhealthy for human and living things use. It is the governments responsibility to clean the rivers and avert possible ecological disasters.

How does Miller show his ability to build up tension in this extract? E

How does Miller show his ability to build up tension in this extract? (page 50 "How about some grape juice" - page 52 "the court did not know him Annie!) Throughout the play "all my sons" Miller thoroughly expresses his ability to change and strengthen our emotions and develop tension between characters. I found this effect of tension particularly evident in this extract, a discussion between George, Chris and Annie. Due to past history, we already know that feelings between Chris and George are going to be "on edge". It appears that tension is already apparent in the first few lines although the overall atmosphere appears fairly mellow and laid back: "How about some grape juice? Mother made it especially for you" -Chris George replies with forced appreciation, perhaps indicating that he doesn't really want to be there. The argument between Chris and George doesn't actually begin until George states: "When you make suckers out of people once, you shouldn't try to do it twice." I believe this hurtful remark against Chris is in view of his father. By ...