The Function of the Shawl in Ozicks The Shawl Essay -- Cynthia Ozick

The Function of the Shawl in Ozick’s â€Å"The Shawl† Suffering becomes a way of life for Magda, Stella and Rosa, as they struggle to survive during the Holocaust. During these trying times, some cling to ideals and dreams, while others find unusual vessels of hope – like the shawl – to perdure in their austere living conditions. Although the shawl becomes a source of conflict between Magda, Stella and Rosa in this narrative, it also serves as a pivotal force and a motivational factor. In Ozick’s â€Å"The Shawl†, a small wrap allows its owners to triumph over the adversities of a concentration camp, the â€Å"magic shawl† comforts, nourishes, protects and prolongs life. For Magda, the shawl serves as a magical place, a place of transition and latent life, it acts as a figurative surrogate mother, a pacifier, nourishment and comfort. Hidden away in her warm little cocoon, Magda is not only protected but concealed from the Nazis. When she is wrapped up in the shawl on Rosa’s chest as an infant, Magda is mistaken for Rosa’s breasts, she would â€Å"have been dead already, but had been buried deep inside the magic shawl† (paragraph 6). If it wasn’t for the shawl’s protection, Magda could not have been soothed and comforted by warmth and nourishment as she was during her short life. Not only is the shawl her cocoon, it is also a pacifier for starving Magda’s screams, it nourishes her with its â€Å"good flavor, milk of linen† (paragraph 3) â€Å"for three days and three nights† (paragraph 4). Magda sucks it and wraps herself in it to be very still (paragraph 7) and she guards her shawl â€Å"like a tiger† (paragraph 7). Her instinct is to protect the one thing she knows and loves, the shawl has provided Magda with the basic necessities she need... ...tic and unimaginable of circumstances. Despite the horrifying circumstances she faces, a malnourished, selfless Rosa tries her hardest to be the best mother she can be to her innocent child. Unable to continuously keep Magda safe, nourished and comforted, Rosa counts on the shawl to keep Magda out of harms way, the shawl indirectly becomes a great source of comfort for Rosa because it allows her to know that her baby is safe and sound. Stella wants this comfort, this protection, and so she steals the shawl and murders Magda. In Ozick’s â€Å"The Shawl†, the shawl serves as a source of comfort, nourishment, protection, and life, for Magda, Stella and Rosa during the Holocaust. WORKS CITED Ozick, Cynthia. â€Å"The Shawl†. Literature: An Introduction to Reading and Writing. Ed. Edgar V. Roberts. 4th Compact Ed. Upper Saddle River: Prentice Hall, 2008. 230-233.

Carrying the Fire Individuation Toward the Mature Masculine

Carrying the Fire Individuation Toward the Mature Masculine and Telos of Cultural Myth in Cormac McCarthy’s No Country for Old Men and The Road maggie bortz So everything is necessary. Every least thing. This is the hard lesson. Nothing can be dispensed with. Nothing despised. Because the seams are hid from us, you see. The joinery. The way in which the world is made. (McCarthy, 1999b, 143) It was good that God kept the truths of life from the young as they were starting out or else they’d have no heart to start at all. (McCarthy 1999a, 284)Although many critics consider Cormac McCarthy to be the greatest living novelist in America, his dark, compelling vision did not reach a mass audience until the film adaptation of his novel No Country for Old Men (2005) was released in 2007. The film, directed by Ethan and Joel Coen (2007), won the Academy Award for Best Picture. A film adaptation of his latest novel, The Road (2006), which won the Pulitzer Prize, was released in la te 2009. McCarthy now has the public’s rapt attention. McCarthy’s visionary works can be read as dreams of our contemporary culture.Great works of art, like dreams, perform a compensatory function to the conscious attitudes of a society and may carry teleological implications. Jung viewed great art as an aperture to the collective unconscious, through which the role of the archetypes in shaping the psychological development of individuals and societies might be discerned (1930/1966, CW 15,  ¶Ã‚ ¶157, 161). McCarthy’s later novels, speaking in image and myth, the language of the unconscious, frame the collective psychic dissociation that prevents us, individually and collectively, from growing up.The final, transcendent image in No Country for Old Men, which appears in an old man’s dream, and the father-son imagery in The Road suggest that a reunion and recalibration of the inner Jung Journal: Culture & Psyche, Volume 5, Number 4, pp. 28–42, ISSN 1934-2039, e-ISSN 1934-2047.  © 2011 Virginia Allan Detloff Library, C. G. Jung Institute of San Francisco. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Rights and Permissions website at www. ucpressjournals. com/reprintinfo/asp.DOI: 10. 1525/jung. 2011. 5. 4. 28. Maggie Bortz, Telos in No Country for Old Men and The Road 29 father and son, representing a â€Å"union of sames† in the split masculine archetype, constitute the requisite path of healing and maturation. This imagery may prefigure the emergence of a new cultural myth. Jungian analyst Joseph Henderson identified specific thresholds of initiation or psychological rites of passage â€Å"which make possible the transition from childhood to adolescence, from adolescence to early maturity, and from maturity to the experience of individuation† (2005, 11).Our culture, however, remains dominated by male adolescent energy, seemingly arrested in anachronistic identification with the uninitiated hero, still living out a negative mother complex: a myth of male regeneration through escalating violence inflicted on a feminine earth and on humanity. This entrenched cultural complex manifests in and is reinforced by social constructs of what it means to be male in modern America, including the myth of the self-made man and the ethic of individualism. This complex also bears â€Å"a revolutionary unattached shadow that would smash all fetters† (Hillman 2005, 56–57).To give a clinical example, some of my clients, on parole from the Oregon Youth Authority, are very likable boys for the most part who, at 14 or 15, have already spent a year behind bars in the state’s â€Å"baby† prison system. Their yearnings for identity are shaped by a culture of outer action devoid of inner meaning. The lack of connection to an inner life also appears in adult male populations in presenting symptoms like workaholism, anger issues, substance abuse, relationship problems, and sexual obsession. In older men, the dissociative phenomenon is related to the common tragedy of suicidal depression.Women, of course, are not immune to any of these things. It is axiomatic that masculine cultural dominants affect women’s lives and impact their relationships with men. On a deeper level, masculine psychological energy is present and problematic in the female psyche as well. Jung personified the unconscious masculine energy in a woman as an interior male image, the animus. â€Å"Her unconsciousness has, so to speak, a masculine imprint† (1951/1968, CW 9ii,  ¶29). James Hillman personified â€Å"the psychological foundation of the problem of history† in the archetypal magery of the senex (old man) and puer (young man) (2005, 35). Old men and young men are ubiquitous images in McCarthy’s work. No Country for Old Men and The Road appear to validate Hillman’s theory that a split in the masculine senex-puer archetype underlies the psychic malaise of our time and that work toward a â€Å"union of sames† must begin at the senex pole of that archetype. Although the reticent McCarthy seems to write from a Jungian-informed perspective, I was unable to discover any biographical data linking him to an interest in Jungian psychology.However, he frequently associates with physicists at the interdisciplinary Santa Fe Institute, a think tank located at the former site of the Manhattan Project, a collaboration McCarthy has tersely attributed to his enduring interest â€Å"in the way things work† (Voice of America 2008). C. G. Jung collaborated with Nobel 30 jung journal: culture & psyche 5:4 / fall 2011 Prize-winning physicist Wolfgang Pauli and was struck by the cogent parallels between quantum physics and his psychological theory (Pauli and Jung 1992/2001).Beyond the shared observer effect and the subject-object bond , quantum physics and Jungian psychology both venture into depths where the distinctions between energy and matter collapse. Following the development of nuclear weapons, Jung and Pauli also shared a deep concern about the future: they feared that in the absence of a greater understanding of man’s potential for evil, humanity would â€Å"destroy itself through the might of its own technology and science† (1957/1970, CW 10,  ¶585). Although McCarthy’s canon garners critical acclaim, his work also provokes controversy.Yale literary critic Harold Bloom admits to a â€Å"fierce† passion for Blood Meridian (1985), which he considers a masterpiece of American literature. Bloom also confesses that he had a hard time finishing the book because he â€Å"flinched from the overwhelming carnage that McCarthy portrays† (2009, 1). Literary critic Morris Philipson has written: â€Å"For culture, just as for therapy, symbols are not intuitions by themselves; th ey are only brute facts that must be interpreted† (1992, 226–227). There are brute facts aplenty inMcCarthy’s canon: scalping, massacres, executions, necrophilia, cannibalism, every imaginable kind of human evil, but his artistic vision reflects the ultimate mystery of the unconscious and does not lend itself to facile reduction. Symbolic images, whether interpreted or not, affect us. They represent living psychological dynamics that we experience as feelings, emotions, ideas, and impulses toward action. McCarthy’s earlier work is often celebrated for its lyrical style and long, commafree sentences.Critic Steven Frye wrote that, â€Å"for many of us that artistry, his mastery of beauty in language, is the only compensating factor for the bleak and uncompromising world he forces us to confront† (2005, 16). But in No Country for Old Men, the prose is clipped and minimalistic. The unconscious tends to turn up the music as required to equilibrate the co nscious attitude. Compensatory dreams may become repetitious or disturbing; symptoms may become more severe.Perhaps McCarthy’s style has changed because we have missed the subtler messages of the collective unconscious, and it is getting more obviously archetypal in its self-regulatory attempts. As if mirroring a quaternity, the pattern of psychic wholeness, No Country for Old Men contains four major characters. The landscape, as character, presents the energy of the dark, chthonic feminine. Llewelyn Moss, the hunter who becomes prey, embodies the immature masculine energy of the hero, a puer spirit contaminated by a negative mother complex. Anton Chigurh, the psychopathic killer, personifies evil in its human and god-like dimensions.The psychological protagonist, Sheriff Ed Tom Bell, is a senex figure with positive and negative attributes who struggles against his own nature to assimilate his shadow and to individuate toward the mature masculine. Each represents an autonomou s complex at work inside the collective psyche. Complexes are split-off parts of the personality or culture that â€Å" behave like independent Maggie Bortz, Telos in No Country for Old Men and The Road 31 beings† ( Jung 1937/1969, CW 8,  ¶253). The ultimate meaning of the quaternity in this cultural dream remains ambiguous. Jung thought that the automatic eneration of quaternary images, â€Å"whether consciously or in dreams and fantasies, can indicate the ego’s capacity to assimilate unconscious material. But they may also be essentially apotropaic, an attempt by the psyche to prevent itself from disintegrating† (Sharp 1991, 111). Both possibilities, further evolution and collective psychosis, must be entertained in reading the work. The interpretation of a dream often begins with a careful consideration of the setting. No Country for Old Men unfolds in 1980 in the wild, scrubby borderlands of South Texas and Mexico.The landscape is a raw, barren land of spr awling desert plain, lava scree, red dirt, and creosote, sparsely inhabited by Mojave rattlesnakes, scorpions, and birds of prey. The image of the border itself suggests an unstable and volatile place between two worlds where the usual rules do not apply, a sort of psychological no-man’s-land where consciousness and unconscious meet. Borders are the domain of the archetypal Trickster, who incites psychic change through creative and destructive interventions that disturb the established psychological order.The archetypal feminine is always a silent, powerful, brooding presence in McCarthy’s work. In his novels, anima or soul is sometimes represented by animals, feral creatures who need human protection, like the pregnant wolf that Billy finds trapped at the beginning of The Crossing (1999b). Sometimes, and usually briefly, followed by tragic consequences, the anima is projected onto young women in McCarthy’s novels. But the chthonic feminine, as landscape, is alw ays present in his novels, both as a primitive force of nature and as a deeply unconscious psychological dynamic in the characters’ psyches.Anima figures fare pretty poorly in McCarthy’s work. Billy must kill the beloved wolf in The Crossing to save her from a slow, agonizing death in a dog pit, where she has become the main act in a blood sport that entertains older men. In The Road, anima as landscape has been killed off entirely: the chthonic feminine is a fading memory, a charred and ruined relic. In No Country for Old Men, anima appears as landscape in foreboding form: High bloodweeds along the road. Wiregrass and sacahuista. Beyond in the stone arroyos the tracks of dragons.The raw rock mountains shadowed in the late sun and to the east the shimmering abscissa of the desert plains under a sky where raincurtains hung dark as soot all along the quadrant. That god lives in silence who has scoured the following land with salt and ash. (McCarthy 2005, 45) The dark fem inine landscape in No Country for Old Men mirrors the alchemical process of calcinatio and its products: salt, a metaphor for bitterness or wisdom, and soot and ash, the residue of fire. â€Å"The calcinatio is performed on the primitive shadow side, which harbors hungry, instinctual desirousness and is contaminated with the unconscious.The fire for the process comes from the frustration of these instinctual desires† (Edinger 1994, 21–22). 32 jung journal: culture & psyche 5:4 / fall 2011 The characters in No Country for Old Men are ambivalent about the landscape. Uncle Ellis tells the sheriff: This country was hard on people. But they never seem to hold it to account. In a way that seems peculiar. That they didnt . . . How come people dont feel like this country has got a lot to answer for? They dont. You can say that the country is just the country, it dont actively do nothing, but that dont mean much . . This country will kill you in a heartbeat and still people lov e it. (McCarthy 2005, 271) On one hand, the landscape represents a terrible archetypal mother, the surrealistic backdrop of a burgeoning drug war, which is itself the continuation of many barbaric historical slaughters. In other respects, the characters identify positively with the landscape. She still nurtures according to her increasingly limited abilities. Moss can still find antelope in her deep interior space and a river saves him from certain death early in the book.All of the novel’s central male characters are veterans: they have gone to war and risked their lives to protect â€Å"the country. † The power of the landscape, however, is muted in No Country for Old Men as opposed to McCarthy’s earlier Western novels. Even the moon, the symbol of feminine consciousness, is disfigured. It is as though man’s relentless dominance, his continual conquests, savagery, and ever forward â€Å"progress† have effectively depotentiated the chthonic femini ne, and she has regressed more deeply into the unconscious.Behind the mask of our technological society lurks a negative mother complex, a dissociation from and opposition to the feminine principle. Complexes are not ours to eliminate. On the contrary, they commonly persist beyond the life of the individual and perpetuate themselves across generations. According to Jung, â€Å"A complex can be really overcome only if it is lived out to the full . . . If we are to develop further we have to draw to us and drink down to the very dregs what . . . we have held at a distance† (1954/1968, CW 9i,  ¶184).Unconsciously living out this collective negative mother complex is a dangerous and precarious proposition: it means consuming the natural world and each other in the process. The second major character, Llewelyn Moss, a welder and Viet Nam veteran, is hunting antelope in the desert when he stumbles across the surreal, slaughterhouse scene of a failed drug deal. Moss finds a case o f money, a load of heroin, and one dying Hispanic man pleading for water. He takes the money, but his conscience nags him and he comes back to the scene that night with a jug of water for the dying man.His belated act of compassion commences the novel’s ostensible journey: Moss runs with the money, pursued by Anton Chigurh, a rival hoard of drug dealers, and Sheriff Bell. Classical Jungian theory links both the puer and the hero to the Great Mother: the puer via regressive attachment, the hero via opposition. James Hillman argued, however, that whereas the hero is always bound up in a battle with the mother, the puer spirit is defined in relationship to the father and is not heroic in the classical sense. Maggie Bortz, Telos in No Country for Old Men and The Road 33Puer consciousness is a masculine psychological energy representing, in alchemical terms, â€Å"a new spirit born of an old spirit† (2005, 117). Hillman contended that whereas the emergent masculine ego migh t pattern itself in association with either archetype, an alchemical â€Å"union of sames† in the puer-senex archetype represents the requisite path of individuation toward the mature masculine. Moss initially seems to reflect qualities of the archetypal puer-like opportunist. Like other mythological puer figures, such as Icarus or Bellerophon,1 he does not recognize his limitations and is more vulnerable than he realizes.During his first encounter with the drug dealers, Moss injures his feet by walking barefoot in the river gravel and then traversing the country in wet boots. A gunshot wound suffered during his first encounter with Chigurh further lames him for the abbreviated duration of his life. The classic puer injury to the foot suggests a fatal weakness where this immature consciousness meets the world. Once Moss takes the money, however, his thoughts, feelings, and behaviors clearly pattern boy or uninitiated hero psychological energy.His heroic quest is about cashâ⠂¬â€his spirit is literalized in currency. Moss is skillful with weapons, which are described in elaborate detail. Literary critic Jay Ellis astutely observed the technological fetishism with which McCarthy describes Moss’ preoccupation with weapons and tools: To pre-adolescent (and increasingly, adolescent and older) male readers still uncertain about their vulnerability and power in the world . . . the minutiae surrounding objects that afford their user power in the world become all-important . . .Anything that can be added on to an already desirable object that will afford greater lethality, great speed, greater vision, or more information, fills in for what young men fear they lack. (2009, 138) Ellis noted that these powerful weapons and tools ultimately do little for Moss: he misses his opening shot at an antelope and is ultimately gunned down by drug dealers at a cheap hotel. Sheriff Bell, in contrast, is dubious of sophisticated weaponry. â€Å"Tools that comes into our hands comes into theirs too . . . Some of the old time sheriffs wouldnt even carry a firearm† (McCarthy 2005, 62–63).Moss’ interactions with women betray an oblique hostility and adolescent insecurity. He uses sarcasm to dismiss and deflect his young wife. Moss mentions â€Å"mother† specifically twice in the book, both times in relation to death, and appears to dialogue with her elsewhere. Shortly before he is murdered, Moss picks up a teenage girl who is hitchhiking. The mother complex speaking through Moss tells the girl: â€Å"Most people’ll run from their own mother to get to hug death by the neck. They can’t wait to see him† (McCarthy 2005, 234).Moss’ unconsciousness of his own limitations, of any transpersonal ideals, and of the insurmountable evil he both confronts and secretly carries within him, costs him his own life; the collateral damage includes the deaths of his wife and the young hitchhiker. 34 jung journal: culture & psyche 5:4 / fall 2011 At this point in the senescence of our culture, McCarthy seems to say, the hero is as good as dead. Although Moss’ heroic tale entices the reader into the novel, as critic Jay Ellis (2009) has noted, this part of the story collapses midway through with Moss’ death when Sheriff Bell’s process emerges to dominate.This apparent literary dismissal of the heroic neurosis may reflect its psychological status as a secondary pathology, as a symptom of failed initiation that masks a religious problem: the missing God â€Å"who offered a focus for spiritual things† (Hillman 2005, 121). The third major character, Anton Chigurh, psychopath and assassin, represents the most potent force in the collective psyche at this time. He is a complex, quasiarchetypal shadow figure, a paradoxical psychic presence who acts as the dynamist or catalyst in the larger psychological process of the novel.When the reader meets Chigurh, he is a prisoner i n a small, rural county jail. While the arresting deputy chats on the phone, Chigurh, in one fluid move, gets his manacled hands in front of his body and around the jailor’s neck. After the grisly murder, Chigurh nonchalantly uses the bathroom, binds his injured wrists with tape and paper towels, and sits at the desk â€Å"studying the dead man gaping up from the floor† (McCarthy 2005, 6). There is no emotion in the scene beyond the horror it evokes in the reader. The motif of the murdered jailor has appeared elsewhere in McCarthy’s work.Here, Chigurh represents an archetypal impulse or tendency that has been banished, repressed, â€Å"locked up,† but has now freed itself to act. Chigurh, unlike Moss, is not motivated by money. When he eventually recovers the satchel of stolen cash, he returns it. Killing people is Chigurh’s job. The world is his abattoir. He is the quintessential bounty hunter, a contemporary iteration of the scalp hunters in Bloo d Meridian. He prefers to dispatch his victims (and to open doors) with a cattlegun. Other people become objects or livestock to him, and in this way, he prefigures the cannibals in The Road.Anton Chigurh seems to embody shadow qualities properly belonging to the personal unconscious of the other characters, as though the archetypal split between the contaminated puer and ineffectual senex created a psychological void that he is obligated, through some inscrutable psychological rule, to fill. In some respects, he is like a photographic negative of Moss. He even mirrors Moss’ limp, sustaining a leg injury while inflicting one. When Chigurh is injured in a car crash late in the book, he buys a boy’s shirt to make a sling for his broken arm, mirroring Moss’ earlier purchase of a boy’s coat on the Mexican border.Chigurh certainly needs no help from anyone. Women who spend too much time around Chigurh, like those who become involved with Moss, wind up dead. An aura of the negative hero seems to radiate around him. At the same time, Chigurh seems to carry some qualities of the negative senex that seem related to Sheriff Bell. As a senex figure, Bell represents, among other things, Maggie Bortz, Telos in No Country for Old Men and The Road 35 justice, law, and the process whereby these concepts are enforced in human affairs through the sometimes arbitrary power of an established order.Within an individual psyche, these ordering and moral functions are often associated with the senex archetype, and, inevitably, a murky shadow accompanies them. â€Å"A morality based on senexconsciousness will always be dubious. No matter what strict code of ethical purity it asserts, in the execution of its lofty principles there will be a balancing loathsome horror not far away† (Hillman 2005, 260). (The first line of the book suggests as much: â€Å"I sent one boy to the gaschamber at Huntsville† [McCarthy 2005, 3]. Like a dark reflection of the senex compulsion for law, order, and measurement, Chigurh is a man of exacting principles: â€Å"principles that transcend money or drugs or anything like that† (153). As Moss’ wife begs for her life, Chigurh shakes his head. â€Å"You’re asking that I make myself vulnerable and that I can never do. I have only one way to live and it doesn’t allow for special cases† (259). Anton Chigurh serves as a vehicle of unconscious projection for the reader. His sadistic acts and complete emotional detachment inspire terror. This character, so indefinably foreign, o marginally human, does not seem like one of us, but he is an irrefutable psychological truth that belongs to our culture. He represents something we should know about ourselves that remains unconscious, like a not yet understood dream. While Chigurh’s vulnerability to physical injury suggests a human shadow figure, his disappearing acts, miraculous escapes, and his association with fat e lend him a supernatural aura that suggests the archetypal shadow. By the end of the novel, Bell comes to believe that Satan â€Å"explains a lot of things that otherwise dont have no explanation† (McCarthy 2005, 218).Chigurh himself confesses that he has found â€Å"it useful to model himself after God† (257). For our culture at this time, we might say Chigurh is God, the dark God grown more human, closer to consciousness. Chigurh resembles the God-image Jung discovered in the Book of Job. Jung found that Yahweh, egged on by Satan, possessed, in part, â€Å"an animal nature† (1952/1969, CW 11,  ¶600) and, in this way, was â€Å"less than human† ( ¶599). Like Yahweh, Chigurh is guilty of â€Å"murder, bodily injury with premeditation, and denial of a fair trial† ( ¶581).For Jung, Yahweh’s cruelty to Job is â€Å"further exacerbated by the fact that Yahweh displays no compunction, remorse, or compassion, but only ruthlessness and brut ality† ( ¶581); we find the same divine heartlessness, fed by the unconscious, in Chigurh. Chigurh shares another trait with Yahweh: â€Å"Nowhere does he come up against an insuperable obstacle that would force him to hesitate and hence make him reflect on himself † ( ¶579). In Jung’s view, the Christ symbol represents only an intermediate stage in a process of divine development in which God effectively dissociated from his own dark side.Identification with the exclusively â€Å"good,† loving aspects of the divinity â€Å"is bound 36 jung journal: culture & psyche 5:4 / fall 2011 to lead to a dangerous accumulation of evil† (1952/1969, CW 11,  ¶653). Anton Chigurh symbolizes that magnetic, irrational pull to incarnate God’s darkness, â€Å"the ultimate source of evil, its absolute home† (Stein 1995, 144). Chigurh slays the cultural hero and provokes Bell’s psychological development: he is the dynamic agent, the terrorist , and instigator of Bell’s emergent connection to the unconscious. The realization of the self as an autonomous psychic factor is often stimulated by the irruption of contents over which the ego has no control† (Sharp 1991, 120). The irruption of contents like this can destroy the ego. In his Trickster role, Chigurh is not unlike Satan in the Book of Job or the serpent in the Garden of Eden. Evil serves a psychological function. â€Å"The stirring up of conflict is a Luciferian virtue in the true sense of the word. Conflict engenders fire, the fire of affects and emotions, and like every other fire it has two aspects, that of combustion and that of creating light† ( Jung 1954/1968, CW 9i,  ¶179).The conscious attitude determines whether the conflict is ultimately illuminating or destructive: we either evolve from our mistakes or we unconsciously dig deeper into our accustomed defenses. Sheriff Bell, a country lawman approaching sixty, is the novel’s psyc hological protagonist. As a senex figure, Bell seems to represent, at least in part, the conservative function of the archetype, â€Å"the fastness of our habits† (Hillman 2005, 48), â€Å"the principle of long-lasting survival through order† (284). Psychological movement, once incited by Chigurh, depends entirely on Bell’s interior process.Paradoxically, the path of psychic evolution begins with the senex in a process of disintegration. The novel takes its title from the first line of W. B. Yeats’ most celebrated poem, â€Å"Sailing to Byzantium,† which contrasts the material world with the transcendent world of art from the viewpoint of an aged man. It urges a belated attention to one’s soul. To the extent that art is an aperture to the collective unconscious, the journey to Byzantium implies an intrapsychic movement from the ego toward the Self.Critic John Vanderheide has observed that the renunciation of the physical world expressed in à ¢â‚¬Å"Sailing to Byzantium† and No Country for Old Men is forced on the narrator by old age and approaching death, conditions he is powerless to change (2005). Consume my heart away; sick with desire And fastened to a dying animal It knows not what it is; and gather me Into the artifice of eternity (Yeats 1926/1952, 490, stanza III, ll. 21–24) This felt sense of mortality, hopelessness, and limitation is often the cue that ignites the process of individuation.The collective unconscious calls aged men; whether they will respond and how is another matter entirely, but this painful territory is no country for young men. Maggie Bortz, Telos in No Country for Old Men and The Road 37 As senex figure, Bell is the ostensible boundary keeper of the cultural psyche, but he is flooded with content that he cannot repress. Bafflement pervades his monologues. He longs for times past when the world made more sense to him, but Bell’s nostalgia is more than a regressive symptom, it implies â€Å"a separation of halves, a missing conjunction† (Hillman 2005, 182).Bell carries notable qualities of the positive senex. His most authentic self is related to others. He sees himself as a shepherd to the people assigned to his care. â€Å"I’ve thought about why it was that I wanted to be a lawman. There was always some part of me that wanted people to listen to what I had to say. But there was a part of me too that just wanted to pull everybody in the boat† (McCarthy 2005, 296). His psyche is anchored in an imago of the positive feminine in the form of his anima figure, his wife of thirtyone years, Loretta.The escalating violence, his inability to contain it, and the imperatives of his own interior process force Bell to examine the psychological orientation that has guided his life. Bell confronts his own provisional life, an adulthood founded on a lie. As a young soldier in France during World War II, he fought bravely, but in the face of overw helming odds and certain death, fled the battlefield and his dead companions. He was awarded a Bronze Star for his service, an honor he tried to refuse. His election as county sheriff followed from this heroic misidentification.Bell confesses this history to his Uncle Ellis, an elderly lawman disabled in the line of duty, late in the book. â€Å"I didn’t know you could steal your own life,† he says (McCarthy 2005, 278). Bell concludes that his history resurfaces because â€Å"sometimes people would rather have a bad answer about things than no answer at all† (282). Bell endures the part of the alchemical process associated with the death and decay of the old substance, the old way of being in the world. He experiences his growing edge of consciousness as a defeat.Bell makes a final break with the inauthentic hero and our culture’s idea of what it means to be a man: he quits in the middle of the hunt. His decision to retire reflects an understanding of his own limitations and is guided by a deeper psychic injunction. I always knew that you had to be willin to die to even do this job. That was always true. . . . If you aint they’ll know it in a heartbeat. I think it is more like what you are willin to become. And I think that a man would have to put his soul at hazard. And I wont do that. I think now that maybe I never would. (McCarthy 2005, 4)Bell begins to acquiesce to and participate in his interior process, going back through his memories, paying attention to his dreams, engaging in active imagination. He ponders the memory of an image he encountered on the battlefield in France, â€Å"a stone water trough† carved â€Å"to last ten thousand years† (307). A trough contains water, a symbol of the unconscious, perhaps the personal unconscious, but perhaps the collective one. The trough symbolizes a way of understanding content arising from the unconscious and resonates as a religious symbol. For Jung, 38 jung jou rnal: culture & psyche 5:4 / fall 2011 an had the need for a felt connection to something larger than his ego deeply embedded into the fabric of his being, but man lost his sense of larger meaning and purpose somewhere amid the horrors and upheavals of the twentieth century. Jung believed that the modern collective failure to channel this instinct, to carve another indestructible stone trough, was both symptom and root cause of our collective dissociation. Bell rejects the notion of carving a trough himself; it must be a collective enterprise, and no new myth has yet emerged to replace the dying God-image of our culture.Bell’s only child, a daughter, died as an infant thirty years before the story begins. Childlessness is associated with the negative senex. â€Å"When the senex has lost its child . . . A dying complex infects all psychic life† (Hillman 2005, 263). Late in the book, Bell confides to the reader that for many years he has dialogued with this dead infant d aughter (McCarthy 2005, 285). In Jungian theory, that imaginary child would be considered a psychic reality. The novel’s ultimate meaning resides in two dreams about his dead father.In the first dream, â€Å"he give me some money and I think I lost it† (McCarthy 2005, 309). His father imparted something of great value to him for safekeeping, but he misplaced it, perhaps irretrievably. The second dream is a powerful reiteration of the first and evokes Jung’s famous dream of carrying a small light in the fog (Jung 1961/1965, 88). The setting is a cold, snowy night in a remote mountain pass. Bell and his father ride horseback. It was like we was both back in older times and I was on horseback goin through this pass in the mountains.It was cold and there was snow on the ground and he rode past me and kept on goin. Never said nothing. He just rode on past and he had this blanket wrapped around him and his head down and when he rode past I seen he was carryin fire in a horn the way people used to do and I could see the horn from the light inside of it. About the color of the moon. And in the dream I knew that he was goin on ahead and that he was fixin to make a fire somewhere out there in all that dark and all that cold and I knew that whenever I got there he would be there. (McCarthy 2005, 309)Although the dream can be viewed as regressive, in that it invokes Bell’s childhood relationship and a longing to live out an old, honorable myth that has become irrelevant in the modern world, it clearly carries teleological implications. Bell goes forward into the dark night, into the unknown, toward death. He and his father ride horses, numinous animals in McCarthy’s work that suggest connection to anima or soul. Horses also represent an older and an arguably more connected way of moving through the world. Bell’s father carries fire, a symbol for the light of consciousness or spirit, in a horn, a Gnostic symbol of maturity. The hor n is a dual symbol: from one point of view it is penetrating in shape and therefore active and masculine in significance; and from the other it is shaped like a receptacle, which is feminine in meaning† (Cirlot 1962/1971, 151). While the image of the horn may suggest a new hieros gamos, a union of masculine and feminine energy, the dead father carries it, not the dream ego Maggie Bortz, Telos in No Country for Old Men and The Road 39 itself. Bell’s passivity in the dream seems problematic. On the other hand, it is conceivable that Bell’s lack of agency is an auspicious sign. In the absence of ego and into its emptiness an imaginal stream can flow, providing mythical solutions between the senexpuer contradictions† (Hillman 2005, 66). Bell’s own father aspects are deeply unconscious: he has no living children and, in this respect, has lost his father’s â€Å"inheritance,† a future presence in the chain of life. Paradoxically, behind Bellà ¢â‚¬â„¢s senex mask we find a son looking for the father within. As in most of McCarthy’s books, the missing psychic presence is the father: there is never a shortage of symbolically fatherless boys in his work.However, in this novel, the puer appears in the form of Bell as an old man. Bell’s unconscious frames its message in terms of a reunion and recalibration of the father and the son, as though directly addressing the split masculine archetype that appears to block the evolution of our culture. â€Å"This split gives us . . . the search of the son for his father and the longing of the father for his son, which is the search and longing for one’s own meaning† (Hillman 2005, 61). The dream image suggests a path of potential healing, a â€Å"union of sames† in this split archetype, and might represent the nascent emergence of a new myth.In the end, the dream’s telos remains hauntingly ambiguous. We are only at the beginning of a process. In the face of such pervasive and unbridled evil and unconsciousness, one man’s individuation seems like a very small thing, a very small thing that requires much effort, attention, devotion, and suffering. The last line of the book immediately follows the second dream: â€Å"Then I woke up† (McCarthy 2005, 309). â€Å"Waking up,† increasing consciousness, is the entire point. And thus the novel ends on a slender strand of hope.We must dream this dream on, in the Jungian tradition, and look toward the next dream for further clarification. McCarthy’s post-apocalyptic novel, The Road, is properly understood as a psychological progression of No Country for Old Men. In The Road, McCarthy resolves the ambiguity of the quaternity image presented in No Country for Old Men. It becomes clear that the imagery portends a collective psychosis and, at the same time, the possibility that some individuals may be ready to assimilate unconscious content. In The Road, the ch thonic feminine as landscape has een killed off entirely in an unnamed catastrophe marked only by â€Å"a long shear of light and then a series of low concussions† (McCarthy 2006, 45). Given McCarthy’s long preoccupation with man’s proclivity toward evil, the apocalypse was likely manmade: perhaps an all-out nuclear war. There are few survivors. Civilization itself is a fading memory. A nameless father and son wander the scorched landscape, â€Å"the cauterized terrain,† hoping to scavenge enough canned food to survive while evading roving bands of cannibals (12). The boy’s mother has committed suicide in despair. 40 jung journal: culture & psyche 5:4 / fall 2011McCarthy seems to suggest that the feminine will be eradicated from the picture entirely, the negative mother complex played out to its inevitable conclusion in man’s escalating shadow enactments before work on the fundamental problem can begin in what is left of humanity. As Anton C higurh says, â€Å"one’s path through the world seldom changes and even more seldom will it change abruptly† (McCarthy 2005, 259). Despite the horrors, a new symbol, the image of a divine child, an elaboration of the dream imagery of No Country for Old Men, does emerge out of the ruin and ashes of The Road.This symbol arises from the ground of catastrophic loss. The end of the via longissima is the child. But the child begins in the realm of Saturn, in lead or rock, ashes or blackness, and it is there the child is realized. It is warmed to life in a bath of cinders, for only when a problem is finally worn to nothing, wasted and dry can it reveal a wholly unexpected essence. Out of the darkest, coldest, most remote burnt out state of the complex the phoenix rises. Petra genetrix: out of the stone a child is born. (Hillman 2005, 64)In The Road, the father and son are â€Å"each other’s world entire† (McCarthy 2006, 5), representing a â€Å"union of samesâ €  in the masculine archetype and, possibly, the beginning of a new cultural myth. The nameless father in The Road struggles to â€Å"evoke the forms. Where you’ve nothing else construct ceremonies out of the air and breathe upon them† (63). He views his son as a sacred being. As he is dying, the father sees his son â€Å"standing there in the road looking back at him from some unimaginable future, glowing in that waste like a tabernacle† (230). Unlike Jesus, this son is not sacrificed back to the father. In the puer is a father drive—not to find him, reconcile with him, be loved and receive a blessing, but rather to transcend the father which act redeems the father’s limitations† (Hillman 2005, 161). The father’s job is to initiate the son before he dies: to provide a sense of meaning that makes existence tolerable. In The Road, individual meaning is symbolized in the son’s sacred responsibility to carry the light of conscio usness, the only thing of value in a post-apocalyptic world, into the overwhelming darkness that confronts him. This fragile possibility, however, resides in the individual, not within a culture or group.Critic Kenneth Lincoln saw McCarthy’s novels as â€Å"lamentational canticles of warning, not directives† (2009, 2). Part of Bell’s function is prophetic: he hints at â€Å"where we’re headed† (McCarthy 2005, 303). â€Å"I know as certain as death that there aint nothin short of the second comin of Christ that can slow this train† (159). McCarthy is first and foremost a storyteller. He is not an activist and does not make prescriptive statements, and it is a mistake to read him that way. The blind man in The Crossing explains the function of storytellers. â€Å"He said that they had no desire to entertain him nor yet even to instruct him.He said that it was their whole bent only to tell what was true and that otherwise they had no purpose a t all† (McCarthy 1999b, 284). I imagine that McCarthy shares the blind man’s views and also those of Jung, who in writing about art Maggie Bortz, Telos in No Country for Old Men and The Road 41 underscored the fundamental depth psychological tenet that â€Å"a dream never says ‘you ought’ or ‘this is the truth. ’ It presents an image in much the same way as nature allows a plant to grow, and it is up to us to draw conclusions† (1930/1966, CW 15,  ¶161).Those of us who are conscious enough to draw conclusions from this work must do so now and prepare ourselves as best we can for the dark new world to come. endnote 1. Bellerophon, son of the King of Corinth, was the hero of Greek mythology who killed the Chimera. Bellerophon, inflated by his triumph, felt entitled to join the gods on Mount Olympus and attempted to fly there on the winged horse, Pegasus. His presumption offended Zeus, who orchestrated the hero’s dismount. Belleroph on plummeted to earth, crippled in the fall. note References to The Collected Works of C. G. Jung are cited in the text as CW, volume number, and paragraph number.The Collected Works are published in English by Routledge (UK) and Princeton University Press (USA). bibliography Bloom, Harold. 2009. Bloom’s modern critical views: Cormac McCarthy. New York: Infobase Publishing. Cirlot, Juan Eduardo. 1962/1971. A dictionary of symbols. Trans. Jack Sage. New York: Philosophical Library. Edinger, Edward F. 1994. Anatomy of the psyche: Alchemical symbolism in psychotherapy. Chicago: Open Court. Ellis, Jay. 2009. Fetish and collapse in No country for old men. In Bloom’s modern critical views: Cormac McCarthy, ed. Harold Bloom, 133–170. New York: Infobase Publishing. Frye, Steven. 2005.Yeats’ â€Å"Sailing to Byzantium† and McCarthy’s No country for old men: Art and artifice in the new novel. The Cormac McCarthy Journal, 5, 1: 14–20. Henderson, Joseph. 2005. Thresholds of initiation. Wilmette, IL: Chiron Publications. Hillman, James. 2005. Senex and puer. Putnam, CT: Spring. Jung, C. G. 1930/1966. Psychology and literature. The spirit in man, art, and literature. CW 15. ———. 1937/1969. Psychological factors determining human behavior. The structure and dynamics of the psyche. CW 8. ———. 1951/1968. The syzygy: Anima and animus. Aion. CW 9ii. ———. 1952/1969. Answer to Job. Psychology and religion: West and East.CW 11. ———. 1954/1968. Psychological aspects of the mother archetype. The archetypes and the collective unconscious. CW 9i. ———. 1957/1970. The undiscovered self (present and future). Civilization in transition. CW 10. ———. 1961/1965. Memories, dreams, reflections. Recorded and ed. by Aniela Jaffe. Trans. Richard and Clara Winston. New York: Vintage Books. Lincoln, Kenneth. 2009. Cormac McCart hy: American canticles. New York: Palgrave Macmillan. McCarthy, Cormac. 1985. Blood meridian: Or the evening redness in the west. New York: Random House. 42 jung journal: culture & psyche 5:4 / fall 2011 McCarthy, Cormac. 1999a.All the pretty horses. New York: Alfred A. Knopf. ———. 1999b. The crossing. New York: Alfred A. Knopf. ———. 2005. No country for old men. New York: Alfred A. Knopf. ———. 2006. The road. New York: Alfred A. Knopf. No country for old men. 2007. Screenplay by Ethan Coen and Joel Coen. Based on the novel by Cormac McCarthy, No country for old men, New York: Alfred A. Knopf, 2005. Directed by Ethan Coen and Joel Coen. Pauli, Wolfgang, and C. G. Jung. 1992/2001. Atom and archetype: The Pauli/Jung letters, 1932– 1958. Eds. Carl Alfred Meier, Charles Paul Enz, and Markus Fierz. Trans. David Roscoe. Princeton, NJ: Princeton University Press.Philipson, Morris. 1992. Outline of Jungian aesthetics. In Jungian literary criticism, ed. Richard Sugg, 214–227. Evanston, IL: Northwestern University Press. Sharp, Daryl. 1991. C. G. Jung lexicon: A primer of terms and concepts. Toronto: Inner City Books. Stein, Murray. 1995. Jung on evil. Princeton, NJ: Princeton University Press. Vanderheide, John. 2005. Varieties of renunciation in the works of Cormac McCarthy. The Cormac McCarthy Journal, 5, 1: 30–35. Voice of America. 2008. Cormac McCarthy and Thomas McGuane write stories set in the American west. Interviewed by B. Klein and S. Ember. Radio broadcast (February 11), voanews. om (accessed October 27, 2009). Yeats, William Butler. 1926/1952. Sailing to Byzantium. In Immortal poems of the English language, ed. Oscar Williams, 490. New York: Washington Square Press. maggie bortz earned an M. A. in Counseling Psychology with an emphasis in Depth Psychology from Pacifica Graduate Institute, Carpinteria, California, and an M. J. in Journalism from the University of California, Berkeley, Graduate School of Journalism. She is a Qualified Mental Health Professional (QMHP) working toward licensure as a Licensed Marriage and Family Therapist (LMFT) at the Center for Family Development in Eugene, Oregon.She plans to open a private counseling practice in Portland in 2012. Correspondence: 5873 SW Terwilliger Blvd. , Portland, OR 97239. abstract This alchemical hermeneutical study analyzes Cormac McCarthy’s novels No Country for Old Men and The Road as cultural dreams using Jungian and post-Jungian theory. McCarthy’s work elucidates the archetypal process of individuation toward the mature masculine in our time. Following McCarthy’s imagery and James Hillman’s work, I focus on the split in the senex-puer archetype that structures the masculine psyche as the ultimate psychological site of our cultural dissociation.I also examine the teleological implications in the novel regarding the evolution of the God-image, which reflects manâ€℠¢s understanding of the objective psyche, as well as the nature and psychological function of human evil. key words alchemy, archetypal psychology, chthonic feminine, Coen brothers, cultural psychology, dream interpretation, Jungian interpretation of literature, landscape, literature as cultural dreaming, masculine archetypes, Cormac McCarthy, mechanization, No Country for Old Men, puer, The Road, senex, symbol Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Tropical Deforestation and Its Effect on Global Climate...

Tropical Deforestation and Its Effect on Global Climate Abstract Rainforests are the predominant natural vegetation throughout the wet tropics. The defining characteristics of a tropical rainforest are temperature and rainfall. Wherever temperature is high enough and rainfall heavy and regular enough, there is rainforest (Bagheera, 1996). Tropical rainforests of all kinds once covered approximately 14 percent of the Earth’s surface, more than eight million square miles (Conservation International, 1998); forming an equatorial green belt around the Earth rich in diverse plant and animal species. Humans have already destroyed half of this forest area, with most damage occurring in the last 200 years (Bagheera, 1996). In 1987 alone†¦show more content†¦In contrast to destructive practices that profit a few but destroy the forest for all, intact tropical rainforests provide long-term, widely distributed benefits. These benefits include increased biodiversity, protection of wildlife, food, fuel, medicines, building materials, and g lobal climate stabilization (Bagheera, 1996,p.2). Due to the magnitude of tropical deforestation that has occurred, its potential affect on loss of biodiversity and alteration of world climate, this is arguably the most important global conservation issue today (Kricher, 1997). Discussion Global warming and tropical deforestation have a symbiotic relationship, each being a causal factor for the breakdown of the other. For each hectare of forest that is cleared and burned, about 220 tons of carbons are released into the atmosphere (Holloway, 1993). Carbon is released primarily in the form of CO2, carbon dioxide, with the burning of fallen vegetation from cleared forest. In addition, the cleared forest is no longer there to act as a ‘sink’ for carbon dioxide—to take it up in the process of photosynthesis (Kricher, 1997). The build up of carbon dioxide causes sunlight to be trapped in the atmosphere and through the greenhouse effect the Earth’s temperature rises (Myers, 1979). Over the past century the global average temperature has already increased by about half aShow MoreRelatedGlobal Environmental Issue : Deforestation Essay1103 Words   |  5 PagesGlobal Environmental Issue: Deforestation Deforestation is a global environmental threat the planet is currently experiencing. Deforestation in tropical rainforests is especially problematic as they are home to a myriad of important plant and animal species. The rich biodiversity found in these environments are needed, as we rely heavily on the ecological services they provide for us. Forest exports, cattle ranching, and international corporations and agencies are a few factors and actors to thisRead MoreScin 135 Lab 4635 Words   |  3 PagesArea Loss in Cote dIvoire E.Kalimantan Palm Oil Plantations F.Sarawak old and new logging roads G.Finnish and Russian Forestry Question 2 of 14 10.0/ 10.0 Points Using your own words, what is the cause of deforestation, as listed on the Global Forest Change map, for your study area? Question 3 of 14 5.0/ 5.0 Points Click on Zoom to area for your chosen example location. Santa Cruz de la Sierra San Pedro de Jujuy Question 4 of 14 15.0/ 15.0 Points In yourRead MoreClimate Change And Global Warming1562 Words   |  7 Pagesdecades Climate change/ global warming has gained the attention of scientist because of the studies and experiments show how climate change can have catastrophically impacts in our planet and that we are starting to see today. Global climate change is a phenomenon caused by greenhouse gases trapped in the atmosphere which produce enormous effects on the earth’s organisms, nature and all habitats. By burning fossil fuels and by cutting forests known as deforestation humans contribute to global warmingRead MoreScin 135 Lab 4627 Words   |  3 PagesArea Loss in Cote dIvoire E.Kalimantan Palm Oil Plantations F.Sarawak old and new logging roads G.Finnish and Russian Forestry Question 2 of 14 10.0/ 10.0 Points Using your own words, what is the cause of deforestation, as listed on the Global Forest Change map, for your study area? Question 3 of 14 5.0/ 5.0 Points Click on Zoom to area for your chosen example location. 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Scientific research is proving that since the Industrial Revolution began, human activities have significantly increased the greenhouse effect. BecauseRead MoreSave The Trees: Deforestation.1648 Words   |  7 PagesDeforestation is a serious problem today, and has been for a long time. It is one of the greatest threats to nature on Earth, if not the single greatest. It is one root cause of soil erosion, the root cause of global warming, and the greatest contributor to the endangerment and extinction of so many species throughout the world. To understand deforestation though, one must know exactly what it is first. Therefore, deforestation is defined by the Enc yclopedia Britannica Online as The cutting downRead MoreInvestigation of the Issue of Deforestation Essay1240 Words   |  5 PagesInvestigation of the Issue of Deforestation Deforestation is the removal of large numbers of trees, along with the loss of the animals that habitat the area. Deforestation occurs in many ways. Most of the clearing is done for agricultural purposes-grazing cattle, planting crops. Poor farmers chop down a small area (typically a few acres) and burn the tree trunks-a process called Slash and Burn agriculture. Intensive, or modern, agriculture occurs on a much largerRead MoreDeforestation Is A Big Environmental Issue1092 Words   |  5 PagesNowadays, deforestation becomes a big environmental issue around the world since forests play critical roles in many aspects for the life of all the living things. (World Wildlife Fund) There are many factors that will result in deforestation such as â€Å"fires, clear-cutting for agriculture, ranching and development, unsustainable logging for timber, and degradation due to climate change† (World Wildlife Fund). Human activities would be the main cause of deforestation. (Ronca, 2008, p.1) World Wildlife

Darci Pierce and the Murder of Cindy Ray

Cindy Ray was eight months pregnant when she was abducted and murdered by an obsessed woman who needed a baby at whatever the cost. The Lie Darci Pierce lied to her husband and friends about being pregnant. She stuffed her clothing a little more each month so she would look pregnant. But as the months wore on, Pierce was running out of excuses for why she had not had her baby. Fearing her pregnancy was the major hold she had on her husband and the reason he married her, the 19-year-old Pierce devised a plan to get a baby. Preparation Pierce studied books about Caesarean operations. She bought the instruments she needed to perform the procedure. And finally, she found the woman who would provide the baby. The Crime On July 23, 1987, brandishing a fake gun, Pierce kidnapped eight-month pregnant Cindy Lyn Ray from the parking lot of a clinic at the Kirkland Air Force Base in Albuquerque, New Mexico. Ray was returning to her car after having had a prenatal exam inside the clinic. Pierce drove the two to her home where she was set up to perform the Caesarean operation and steal Rays baby girl, but as she approached the house, she saw that her husband was home. She then drove to a secluded area up in the Manzano Mountains. There she strangled Ray with the cord of a fetal monitor which was in Rays purse. She then dragged her behind bushes and ripped at her abdomen with a car key until she could reach the near-term baby. She bit through the umbilical cord, severing the baby from her semi-conscious mother, who she then left to bleed to death. More Lies On her way home Pierce stopped at a car lot and asked to use the phone. Covered with blood, she explained to the employees that she had just had her baby on the side of a highway between there and Santa Fe. An ambulance was called, and Pierce and the baby were taken to the hospital. The attending physicians became suspicious of Pierces story when she refused to be examined. Pressing her further, Pierce changed her story. She told them that a surrogate mother had given birth to the child with the help of a midwife in Santa Fe. The authorities were called, and Pierce was taken into custody. The Truth is Finally Told Reports surfaced that there was a missing pregnant woman from the base. Under the pressure of police interrogation, Pierce admitted to what she had done. She showed detectives where she had left Ray, but it was too late. The 23-year-old Cindy Lyn Ray was dead. Pierce was found guilty-but-mentally-ill of first-degree murder, kidnapping and child abuse and was sentenced to a minimum of 30 years in prison. 1997 - Pierce Seeks a Retrial In April 1997 Pierces new attorney tried to get a new trial on the basis that her previous attorneys failed to follow up on information which could have helped prove Pierce was insane. Had she been found insane instead of guilty-but-mentally-ill she would have been placed in an institution until a judge determined she was sane enough to be released. The bid to overturn her conviction was denied.

F. Scott Fitzgerald’s All the Sad Young Men Essay

F. Scott Fitzgerald’s All the Sad Young Men F. Scott Fitzgerald’s All the Sad Young Men was his sixth book. The work was composed of nine short stories that had been published in magazines such as the Saturday Evening Post over the course of the previous year. The work was Fitzgerald’s third short story collection and followed the Great Gatsby in publication on the 26th of February 1926. To most, this book signaled Fitzgerald’s staying power as many of his seniors had believed that his initial success as a writer was lucky. They did not take Fitzgerald seriously as an author. On the whole, critics valued the work and praised some of the stories as the best Fitzgerald had written to date. The collection of short†¦show more content†¦This work signaled Fitzgerald’s talent outside of the realm of the jazz age. Another one of the stories in the work that met with positive criticism was â€Å"Winter Dreams.† In the New York World, Henry Pringle commented, â€Å"The best story in Mr. Fitzgerald’s latest volume is, in the mind of this reviewer, â€Å"Winter Dreams.†[3] This story is about a caddy who rose to success in the magazine industry after an encounter with a little girl.[4] This work also showed readers an intimate side of Fitzgerald as Judy is likened to Zelda by critics. â€Å"Like Zelda, Judy is the golden girl and the unattainable prize. She is the one who is in control and, ultimately, has the power to hurt Dexter just like Zelda had the capacity to hurt F. Scott.†[5] This work has themes that resonate with Gatsby as Fitzgerald deals with the loss of dreams. Fitzgerald’s stories were liked because the characters were real. Fitzgerald’s characterization techniques and the characters themselves seemed to receive a lot of praise; it is especially important to note that many people who did not like Fitzgerald’s earlier works still positively reviewed the characters from this new book. â€Å"The characters, in the main, are as sordid, selfish and unattractive as theShow MoreRelatedEssay on Tender Is the Night Parallels Fitzgerald’s Life1032 Words   |  5 PagesIs the Night Parallels Fitzgerald’s Life Away! Away! for I will fly to thee, Not charioted by Bacchus and his pards, But on the viewless wings of Poesy Though the dull brain perplexes and retards: Already with thee! 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Although many have this dream today, it is a one in a million chance to attain it, regardless of whether or not a person is tremendously deserving of such success. James Gatz, later known as Jay Gatsby, is a character who experiences this minute probability of the AmericanRead MoreF. Scott Fitzgerald s The Great Gatsby2385 Words   |  10 Pagesdon t write because you want to say something, you write because you have something to say, F. Scott Fitzgerald (F. Scott Fitzgerald Quote- Brainy Quote). Not only did he write well written novels and short stories, he wrote them in such a way to inspire and entertain his generation and future generations. F. Scott Fitzgerald was a leading author in America s Jazz age- the twenties. Francis Scott Key Fitzgerald was born on September 24, 1896 in St. Paul, Minnesota. His father, Edward, was

Critical Thinking and Problem Solving

Question: Discuss about theCritical Thinking and Problem Solving. Answer: Opinion on the Topic Knox and Van Oest (2014) describes that many people have the perception that customers are too demanding if they complain. However, from my experience I can say that if complaints are handled properly, it can be beneficial for the business. I think it is not possible for the managers to identify the faulty products with proper evidence and incidents occurring in the business and hence if customers complaints are welcome, not only the organizations aware of the faulty product but it provide the opportunity forservice recovery and improvements. I also think that listening to customers complaints would improve the inter-personal relationship with the customer, which will be difficult for the competitors to get to the existing customers and hence complaints should be treated like a gold mine for the betterment of the origination. Analysis of the Topic It is depicted from the give case study that the junior colleague is facing a hard time by listening what the customers says. However, I think that the junior colleague has to be trained properly for acknowledging customers complaint and must learn not to take the complaints personally. The person has to understand the whether the raised complaints is genuine and apologize for the inconvenience occurred and resolve the difficulty by offering a couple of alternative options thus follows a inductive reasoning approach. Image 1: Framework for Complaints Management System I strongly believe that all customers complaints are gold mines and their questions have to be handled in caring and concerned manner. The executive has to be put themselves in the same situation and apologize without blaming. If the complaints are not handled according to the framework, I think they will never get back to the organization, which will result in lower profitability for the origination. Reference Lists Knox, G. and Van Oest, R., 2014. Customer complaints and recovery effectiveness: A customer base approach.Journal of Marketing,78(5), pp.42-57. Bibliography Wagner, W., 2013. Managing customer complaints in distribution.International Journal of Physical Distribution Logistics Management. Yilmaz, C., Varnali, K. and Kasnakoglu, B.T., 2016. How do firms benefit from customer complaints?.Journal of Business Research,69(2), pp.944-955.

Fsk Modulation and Demodulation free essay sample

FSK MODULATION AND DEMODULATION PROGRAM USING MATLAB LIST OF TABLES: CHAPTER 1: INTRODUCTION. 1. 1-INTRODUCTION TO WIRELESS MODEM. 1. 2-INTRODUCTION TO FREQUENCY SHIFT KEYING 1. 2. 1-FSK MODULATOR 1. 2. 2-FSK DEMODULATION CHAPTER 2: COMPONENT DESCRIPTION. 2. 1-LIST OF COMPONENTS 2. 2-DESCRIPTION OF FUNCTIONAL DIAGRAM 2. 2. 1 IC 555. 2. 2. 2 565 PLL. CHAPTER 3: CIRCUIT DIAGRAM AND WORKING. 3. 1-CIRCUIT DIAGRAM OF FSK MODULATOR USING IC555. 3. 2-CIRCUIT DIAGRAM OF FSK DEMODULATOR USING PLL 555 CHAPTER 4: OPERATION OF FSK. 4. 1-OPERATION OF FSK MODULATOR USING IC555. 4. 2-OPERATION OF FSK DEMODUALTOR USING PLL 565. CHAPTER 5: PROGRAMING USING MATLAB. 5. 1-FSK MODULATION USING MATLAB. 5. 2-FSK DEMODULATOR USING MATLAB. CHAPTER 6: OUTPUT WAVEFORMS. 6. 1-OUTPUT OF FSK MODULATOR. 6. 2-OUTPUT OF FSK DEMODULATOR . CHAPTER 7: CONCLUSION. 7. 1-CONCLUSION. 7. 2-REFERENCES. List of Figures Fig a: Pin diagram of IC 555 Fig b: Pin diagram of NE 565 Fig c: FSK Modulator using IC 555 Fig d: Fsk Demodulator using NE 565 Fig e: Fsk Output model Fig f: Output waveform of FSK Modulator. Fig g: Output waveform of FSK Demodulator. CHAPTER -1 INTRODUCTION 1. 1: INTRODUCTION TO WIRELESS MODEM: A wireless modem is a type of modem which connects to a wireless network instead of a telephone system. When a mobile Internet user connects using a wireless modem, theyre attached directly to the wireless ISP (Internet Service Provider) and can then access the Internet. Mobile phones, smartphones, and PDAs can be employed as data modems to form a wireless access point connecting a personal computer to the Internet (or some proprietary network). In this use the mobile phone is providing a gateway between the cellular service providers data network technology and Point-to-Point Protocol (PPP) spoken by PCs. Almost all current mobile phone models support the Hayes command set, a standard method of controlling modems. To the PC, the phone appears like an external modem when connected via serial cable, USB, IrDA infrared or Bluetooth wireless. Some cellular providers forbid this kind of usage, or charge an extra fee Wireless FireWire, USB and Serial modems are also used in the Wi-Fi and WiMAX standards, operating at microwave frequencies, to give a laptop, PDA or desktop computer an access point to a network. The modems may be as large as a regular cable modem to as small as a WiFi dongle/USB-stick. If combined with VoIP technology, these computing devices can achieve telephone-like capability to make and receive telephone calls. PCMCIA, ExpressCard and Compact Flash modems are also used. These card-modems can also have GPS included. Most early telephone-line modems used audio frequency-shift keying to send and receive data, up to rates of about 1200 bits per second. The common Bell 103 and Bell 202 modems used this technique. [2] Even today, North American caller ID uses 1200 baud AFSK in the form of the Bell 202 standard. Some early microcomputers used a specific form of AFSK modulation, the Kansas City standard, to store data on audio cassettes. AFSK is still widely used in amateur radio, as it allows data transmission through unmodified voiceband equipment. Radio control gear uses FSK, but calls it FM nd PPM instead. The CHU shortwave radio station in Ottawa, Canada broadcasts an exclusive digital time signal encoded using AFSK modulation. 1. 2: INTRODUCTION TO FREQUENCY SHIFT KEYING: Frequency-shift keying (FSK) is a frequency modulation scheme in which digital information is transmitted through discrete frequency changes of a carrier wave. [1] The simplest FSK is binary FSK (BFSK). BFSK uses a pair of discr ete frequencies to transmit binary (0s and 1s) information. With this scheme, the 1 is called the mark frequency and the 0 is called the space frequency. The time domain of an FSK modulated carrier is illustrated in the figures to the right. | 1. 2. 1: FSK MODULATOR The FSK (Frequency Shift Keying) modulator circuit works by shifting the carrier, a sine wave of a given frequency, to another frequency back and forth as the input signal changes. On the receiving end, the demodulator works by detecting one or both of the frequencies, often with a band-pass filter, regenerating the input signal. You can also use a signal processor to convert the carrier from time domain to frequency domain with a fourier transform, and then pick off the signal that way. The FSK method of modulating/demodulation is typically limited to low frequency signal rates, such as 300 bits per second 1. 2. 2: FSK DEMODULATION: FSK demodulation is the process of recovering the original signal by detecting the frequencies involved in the original modulation. Typically, this is done with a bandpass amplifier tuned to one of the two frequencies, followed by a amplitude demodulator. The output is the original signal. It is possible, though often unecessary, to use two bandpass ampliers, one for each frequency, but this is redundant. It is also possible to use a digital signal processing technique to perform a fourier transform on the input signal, but that can be complex and costly. This is the method used in very early modems, up to around 1200 baud. It is also possible, using FSK, to send multiple signals across one line. Simply pick suitable frequencies for each modulation state, and mix the outputs into one consolidated analog signal. On the other end, you have multiple bandpass filters running at the same time and, as long as the chosen frequencies are appropriately spaced apart, they will not interfere. CHAPTER-2 COMPONENT DESCRIPTION 2. 1: LIST OF COMPONENTS: S. NO NAME OF THE COMPONENT SPECIFICATION QUANTITY 1. IC 555 1 2. SK100 1 3. Resistor 47k ,2,2K,10K,30K,1. 2K, 2,1,4,1,2. 4. Capacitor . 01  µF,1  µF,. 047  µF, 0. 022  µF, . 22 µF. 2,2,1,3,1. 5. PLL 565 1 6. OP-AMP BC 741 1 7. Power supply 2 2. 2: DESCRIPTION OF FUNCTIONAL DIAGRAM 2. 2. 1 IC 555. The 555 timer is a highly stable device for generating accurate time delay or oscillation. Signetics corporation first introduced this device as the SE555/NE555. A single 555 timer can provide time delay ranging from micro seconds to hours where as counter timer can have a maximum timing range of days. The 555 timer can be used with supply voltage in the range of +5v to +18v and can drive load up to 200mA. It is compatible with both TTL and CMOS logic circuits. Because of the wide range of supply voltage, the 555 timer is versatile and easy to use in various application In the functional diagram for IC 555 timer three 5 kilo ohms internal resistors act as a voltage divider providing bias voltage of (2/3) Vcc to the upper comparator (UC) and these two voltages fix the necessary comparator threshold voltage, they also aid in determining the timing nterval. It is possible to vary time electronically too, by applying a modulation voltage to the control voltage input terminal ( pin 5). In application where no such modulation is intended, it is recommended by manufactures that a capacitor (0. 001 uf) be connected between control voltage terminal ( pin 5) and ground to bypass noise or ripple from the supply. In the stand by (stable) state, the output Q of the control flip-flop (FF) is hig h. This makes the output low because of power amplifier which is basically an inverter. A negative going trigger pulse is applied to pin 2 and should have its DC level greater than the threshold level of the lower comparator (ie. Vcc/3). At the negative going edge of the trigger, as the trigger passes through (Vcc/3), the output of the lower comparator goes high and sets the FF ( Q=1,Q=0). During the positive excursion, when the threshold voltage at pin 6 passes through (2/3)Vcc the output of the upper comparator goes high and resets the FF(Q=0,Q=1). The reset input(pin 4) provides a mechanism to reset the FF in a manner which overrides the effect of any instruction going to FF from lower comparator. This overriding reset is effective when the reset input is less than about 0. 4 V. when this reset is not used , it is returned to Vcc. The transistor Q2 serves as a buffer to isolate the reset input from the FF and transistor Q1. The transistor Q2 is driven by an internal reference voltage Vref obtained from supply voltage Vcc. . 2. 2. 2: 565 PLL: The phase locked loop(PLL) is an important building block of linear systems. The high cost of realizing PLL in discrete form limitied its use earlier. Now with the advanced IC technology, PLLs are available as inexpensive monolithic ICs. This technique for electronic frequency control is used today in satellite communication systems, air borne navigations systems, FM communication systems, computers etc. Characteristics of SE/NE 565 PLL * Operating frequency range: 0. 001Hz to 500 kHz. * Operating voltage range:  ± 6 to  ±12 V. * Input impendance: 10kQ typically. * Output sink current:1mA typically. * Output source current: 10mA typically. * Drift in VCO centre frequency with temperature: 300ppm/ °C typically. * Bandwidth adjustment range:  ±1 to  ± 60% CHAPTER-3 CIRCUIT DIAGRAM 3. 1: CIRCUIT DIAGRAM OF FSK MODULATOR USING IC555. . 2: CIRCUIT DIAGRAM OF FSK DEMODULATOR USING PLL 555 CHAPTER-4 OPERATION 4. 1: OPERATION OF FSK MODULATOR USING IC555. Frequency-shift keying (FSK) is a frequency modulation scheme in which digital information is transmitted through discrete frequency changes of a carrier wave. [1] The simplest FSK is binary FSK (BFSK). BFSK uses a pair of discrete frequencies to transmit binary ( 0s and 1s) information. With this scheme, the 1 is called the mark frequency and the 0 is called the space frequency. The time domain of an FSK modulated carrier is illustrated in the figures above. . 2: OPERATION OF FSK DEMODUALTOR USING PLL 565. A very useful application of the 565 PLL is as a FSK demodulator. In the 565 PLL the frequency shift is usually accomplished by driving a VCO with the binary data signal so that the two resulting frequencies correspond to the logic 0 and logic 1 states of the binary data signal. The frequencies corresponding to logic 1 and logic 0 states are commonly called the mark and space frequencies. Several standards are used to set the mark and space frequencies. An FSK signal demodulator can be built as illustrated in figure. The demodulator receives a signal at one of the two distinct carrier frequencies, 1,270 Hz or 1,070 Hz representing the RS-232 C logic levels of mark (- 5 V) or space (+ 14 V), respectively. Capacitance coupling is used at the input to remove a dc level. As the signal appears at the input of 565 PLL, the PLL locks to the input frequency and tracks it between the two possible frequencies with a corresponding dc shift at the output. Resistor R1 and capacitor C1 determine the free-running frequency of the VCO. Capacitor C2 is a loop filter capacitor that establishes the dynamic characteristics of the demodulator. Capacitor C2 is chosen smaller than usual one to eliminate overshoot on the output pulse. A three-stage RC ladder filter is employed for removing the sum frequency component from the output. The VCO frequency is adjusted with R1 so that the dc voltage level at the output (pin 7) is the same as that at pin 6. An input at frequency 1,070 Hz drives the demodulator output voltage to a more positive voltage level, driving the digital output to the high level (space or + 14 V). An input at 1,270 Hz correspondingly drives the 565 dc output less positive with the digital output, which then drops to the low level (mark or – 5 V). CHAPTER-5 MATLAB CODING 5. 1: FSK MODULATION USING MATLAB: g=[1 0 1 0 1]; f0=1; f1=2; t=0:2*pi/99:2*pi; cp=[];sp=[]; mod=[];mod1=[];bit=[]; for n=1:length(g) if g(n)==0 die=ones(1,100); c=sin(f0*t); se=zeros(1,100); else g(n)==1 die=ones(1,100); c=sin(f1*t); se=ones(1,100); end cp=[cp die]; mod=[mod c]; bit=[bit se]; end fsk=cp. *mod; subplot(2,1,1); plot(bit,LineWidth,1. 5); grid on; title(Binary Signal); axis([0 100*length(g) -2. 5 2. 5]); subplot(2,1,2); plot(fsk,LineWidth,1. 5); grid on; title(FSK modulation); axis([0 100*length(g) -2. 5 2. 5]); 5. 2: FSK DEMODULATOR USING MATLAB: ormat long; clear all; close all; N = 8; bit_stream = round(rand(1,N)); f1 = 3; f2 = 5; fs = 100; t = 0: 1/fs : 1; time = []; FSK_signal = []; Digital_signal = []; for ii = 1: 1: length(bit_stream) FSK_signal = [FSK_signal (bit_stream(ii)==0)*sin(2*pi*f1*t)+ (bit_stream(ii)==1)*sin(2*pi*f2*t)]; Digital_signal = [Digital_signal (bit_stream(ii)==0)* zeros(1,length(t)) + (bit_stream(ii)==1)*ones(1,length(t ))]; time = [time t]; t = t + 1; end subplot(2,1,1); plot(time,FSK_signal); xlabel(Time (bit period)); ylabel(Amplitude); title(FSK Signal with two Frequencies); axis([0 time(end) -1. 1. 5]); grid on; subplot(2,1,2); plot(time,Digital_signal,r,LineWidth,2); xlabel(Time (bit period)); ylabel(Amplitude); title(Original Digital Signal); axis([0 time(end) -0. 5 1. 5]); grid on; CHAPTER-6 OUTPUT VERIFICATION 6. 1: OUTPUT OF FSK MODULATOR: 6. 2: OUTPUT OF FSK DEMODULATOR CHAPTER-7 CONCLUSION AND REFERENCE 7. 1 CONCLUSION: A modem and antenna that transmits and receives over the air. Wireless modems support several technologies, including 802. 11, Bluetooth, CDPD, DataTAC, Mobitex and Ricochet. There are wireless modems for laptops, handhelds and cellphones. Except for a few analog cellphone models, you cannot plug your cellphone into your laptops land-based modem even if the cable fits. You generally need a wireless modem on a PC card and a cable designed for your type of phone. Industrial wireless transmission has arrived providing clear and significant advantages. Nevertheless, security is always an important issue and a question often asked is, Will information be secure when broadcast via Data-Linc Group wireless modems? The answer can be found in understanding the technologies employed in these products and, to that end, this paper will provide the understanding needed.