The Horror of Nuclear Weapons Essay -- Nuclear Weapons Essays

The world trembled when America dropped the atom bombs on Hiroshima and Nagasaki. The world trembled once again years later, but this time to the heavy steps of Godzilla. Along with him came his highly radioactive body leaving trails of radioactive residue. His main abilities were his plasma breath ray, immunity to normal weapons, and great strength. He was created for a horror movie that showed the effect of what worried the Japanese at the time- Nuclear weapons. In the movie, he represents pure evil, destroying everything in his path. He is, however, only a product of mankind, and cannot help that fact. What drew the great beast from the ocean depths? Godzilla was created by H-Bomb testing at Bikini Atoll, 1954. The director of the film was inspired after the radioactive fallout from the test scorched a Japanese fishing vessel, The Lucky Dragon, with deadly effects. They were supposedly in a "safe" zone. Many of its crew were seriously burned and despite intensive medical care, one man on the Lucky Dragon died from radiation sickness. In the Godzilla movie, originally named Gojira, the director ended the movie with a lesson that the American producer cut out. After the failure of conventional arms, a horrible but non-atomic weapon puts an end to Godzilla's wrath, and unlike the Americans and their H-bombs, the Japanese destroy the secret of their super-weapon, saving future generations. Why did they cut that out? Could it have anything to do with the biological weapons testing on Bikini Atoll? At the end of World War II, the United States was granted control over 29 Atolls and five islands that compose the Marshall Islands. At that time, Harry S. Truman decided that the testing of nuclear weapons would be necessary "to de... ...? A man named Kitamura sees Godzilla's message over the years as being very simple: "I think when you look back over time at the bad things that people do to each other, that countries do to each other, and that races do to each other you will see that they are pretty much unchanging. Although Godzilla gets his message across in a very strange way, by destroying everything in sight, basically what he is saying is don't hurt other people, don't do bad things. "I think that people are basically very small beings, and it is because we are small beings that we fight amongst each other. I think, although Godzilla is something we created, in many ways he is much bigger than us. And by looking perhaps at us through his eyes he shows us that we are very small and the things that we are doing are very small." Godzilla is an excellent example of the horror of nuclear bombs.

The Story of an Hour

The Story of an Hour: Discuss three examples AND kinds irony used in â€Å"The Story of an Hour. † Make sure to have one example of verbal irony, one of situational irony, and one of dramatic irony. One example of verbal irony in â€Å"A Story of an Hour† is the last sentence in the story which says â€Å"When the doctors came they said she had died of heart disease—of joy that kills† (DiYanni 41) This is verbal irony because it is written that she died of too much happiness to see her husband, whom she thought was dead, alive. However, it was because she was incredibly distressed to see him. One instance of situational irony in â€Å"The Story of an Hour† is when Mrs. Mallard learns of the death of her husband. At first, she reacts as any person would at the news of losing someone close to them by crying and isolating herself. However her real feelings about her husband’s death are shown later when she thought to herself, â€Å"There would be no one to live for during those coming years; she would live for herself† (40) However this feeling of freedom did not last long. Towards the end of the story her husband appears at the door unharmed. She then realized that she was not free from her unhappy marriage at all. Dramatic irony is also used in â€Å"The Story of an Hour† through Mrs. Mallard's realization that she is free from her husband and with her death. While Mrs. Mallard was alone in her room she realized that she would no longer be bound to her husband but rather free to do whatever she should choose. However, no one else in the story knew this; they all believed that she was very sad and depressed. Josephine, a woman in the house, even thought Mrs. Mallard was making herself sick. She said, â€Å"I beg; open the door—you will make yourself ill† (40) However, Mrs. Mallard was doing quite the opposite by â€Å"drinking in a very elixir of life through that open window† (40). The Story of an Hour The possibilities of freedom for women were unlikely for women living in the late nineteenth century. Women were confined and overpowered by men. Kate Chopin, a women of the late nineteenth century herself, was a writer living within such a society. In â€Å"The Story of an Hour† (1894), Kate Chopin uses elements of settings–windows and door–in order to highlight the possibilities of freedom and the threat of confinement for women in late nineteenth century American society. Chopin uses figurative language of symbols and imagery to conflate the possibility of freedom with the physical setting outside the window. Chopin uses the â€Å"open† window as a symbol to suggest freedom: She juxtaposes the comfortable, roomy armchair with the window to demonstrate Mrs. Mallard's feelings of freedom and comfortability within her own home now that her husband is dead. Mrs. Mallard looks out of her window into the endless opportunities she is now able to dream of:†There stood, facing the open window, a comfortable, roomy armchair†(Chopin  147). She uses the â€Å"tops of the trees† as symbolic imagery to describe how Mrs. Mallard is now feeling free. The spatial relation between Mrs. Mallard and the trees outside is used to suggest that freedom has become more tangible than before: â€Å"She could see in the open square before her house the tops of trees that were all aquiver with the new spring life† (Chopin 147). Chopin uses taste imagery to suggest that Mrs. Mallard has become more aware of her own senses and perception of freedom:†The delicious breath of rain was in the air†(147). Chopin conflates the patches of blue sky–a symbol of hope–to emphasize the unbounded prospects Mrs. Mallard now has facing her. Color imagery is used to suggest positive emotion: â€Å"There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window† (Chopin 148). Chopin uses onomatopoeia–twittering sparrows–to evoke new life. The spatial relation between Mrs. Mallard and the eaves suggests she is closer to freedom and the outside world. â€Å"Countless sparrows were twittering in the eaves† (Chopin 148). The conflation of symbols and imagery with the possibility of freedom suggests Mrs. Mallard is beginning to feel independent as a women in the late nineteenth century. The possibilities of freedom are becoming more of a reality for Mrs. Mallard. Chopin conflates the spatial relation between Mrs. Mallard and the outside world with sensory imagery to make the possibilities of freedom concrete. Chopin conflates the spatial imagery –â€Å"something coming at her†Ã¢â‚¬â€œ between Mrs. Mallard and the  unknown to suggest that freedom is something new to her: â€Å"There was something coming to her and she was waiting for it, fearfully†(148). Chopin uses animal imagery–â€Å"creeping†Ã¢â‚¬â€œ to suggest that freedom, once distant, has now become concrete and close. Sense imagery is used to portray new life: â€Å"She felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air† (Chopin 148). Chopin uses the color of Mrs. Mallards white hands as imagery to conflate and compare with heaven; the unknown. â€Å"She was striving to beat it back with her will–as powerless as her two white slender hands would have been†(148). The reality that Mrs. Mallard is beginning to feel freedom is something she would have never of dreamed for herself as a women living in her time. Chopin begins to manipulate the temporal setting by conflating the past and the present. Chopin is able to manipulate the temporal setting, symbolically, by foreshadowing the future. She conflates the present, new life and freedom, with the future, death: â€Å"She knew that she would weep again when she saw the, kind tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead†(Chopin 148). Again, Chopin manipulates the temporal setting by conflating the present, a bitter moment, with Mrs. Mallard’s future freedom: â€Å"But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely†(148). Chopin juxtaposes the â€Å"open window† with magical medicine, an â€Å"elixir† to portray the remedial feeling of freedom Mrs. Mallard is  experiencing:†She was drinking in a very elixir of life through that open window† (Chopin 149). Chopin manipulates the temporal setting of the present to suggest a positive future for Mrs. Mallard: â€Å"Spring days, and summer days, and all sorts of days that would be her own† (Chopin 149). Chopin conflates Mrs. Mallard’s past feelings of infinite confinement, with her present feelings of everlasting freedom suggesting there may be a long lived future for Mrs. Mallard. â€Å"She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long†(148). The manipulation of time allows Chopin to takes us into the future where endless possibilities await. Chopin conflates the physical setting–doors–with the possibility of freedom and confinement. Chopin uses the locked door as a metaphor to show that Mrs. Mallard is now in control, something that hasn’t happened before: â€Å"Josephine was kneeling before the closed door with her lips to the key-hold; imploring admission†(149). Chopin juxtaposes the idea that Mrs. Mallard was confined and ill before she was in control of her own confinement with the idea she is getting better at last with newfound freedom: â€Å"Louise, open the door! I beg; open the door–you will make yourself ill†(149). Chopin conflates Mrs. Mallard standing up with the action of opening her own door to demonstrate how the possibility of freedom has given her a newfound confidence: â€Å"She arose at length and opened the door to her sister’s importunities†(149). As the door is opened by a man, Chopin uses the  latchkey as a symbol of confinement to suggest that there is still an inequality between men and women:â€Å"Some one was opening the front door with a latchkey. It was Brently Mallard who had entered†(149). Chopin has brought the reality of confinement and inequality back to life as Mrs. Mallard dies as a women in the late nineteenth century locked in her house. In â€Å"The Story of an Hour† (1894), Kate Chopin uses elements of settings–windows and door–in order to highlight the possibilities of freedom and the threat of confinement for women in late nineteenth century American society. The possibilities of freedom for women were unlikely for women living in the late nineteenth century as women were confined and overpowered by men. The Story of an Hour The Story of an Hour: Discuss three examples AND kinds irony used in â€Å"The Story of an Hour. † Make sure to have one example of verbal irony, one of situational irony, and one of dramatic irony. One example of verbal irony in â€Å"A Story of an Hour† is the last sentence in the story which says â€Å"When the doctors came they said she had died of heart disease—of joy that kills† (DiYanni 41) This is verbal irony because it is written that she died of too much happiness to see her husband, whom she thought was dead, alive. However, it was because she was incredibly distressed to see him. One instance of situational irony in â€Å"The Story of an Hour† is when Mrs. Mallard learns of the death of her husband. At first, she reacts as any person would at the news of losing someone close to them by crying and isolating herself. However her real feelings about her husband’s death are shown later when she thought to herself, â€Å"There would be no one to live for during those coming years; she would live for herself† (40) However this feeling of freedom did not last long. Towards the end of the story her husband appears at the door unharmed. She then realized that she was not free from her unhappy marriage at all. Dramatic irony is also used in â€Å"The Story of an Hour† through Mrs. Mallard's realization that she is free from her husband and with her death. While Mrs. Mallard was alone in her room she realized that she would no longer be bound to her husband but rather free to do whatever she should choose. However, no one else in the story knew this; they all believed that she was very sad and depressed. Josephine, a woman in the house, even thought Mrs. Mallard was making herself sick. She said, â€Å"I beg; open the door—you will make yourself ill† (40) However, Mrs. Mallard was doing quite the opposite by â€Å"drinking in a very elixir of life through that open window† (40).

Case Study Example

There are many product categories that could use the Scion marketing approach to apply to their businesses. Music industries market certain bands and artists to appeal more towards a younger age group, computer businesses market upcoming technology to younger audiences, as do phone company ices, websites, and home dcord. Choosing a target market is imperative for businesses in order to focus their advertising to whom they believe they would sell more product to.On the other hand, the tourism industry is marketing more towards people who are in the retirement age, and cars like vans and Subs focus more on middle age people who probably have children. Different products should be marketed towards who would be most interested, and in a lot of cases, this means businesses must gear their different products towards varying age groups. L]Decoupage buyers might view companies that their parents and grandparents are interested in as â€Å"not cool† or too mainstream for their own liki ng.Companies can overcome this, however, by changing their consisting in order to appeal to a newer generation. By creating new advertising campaigns and changing what kind of message they want their image to convey, companies have the ability to change the views of younger people. Myself, for example, always thought Subs were for married people with children, but Scion and other comma nines like Toyota have geared commercials to appeal to people my age. Toyota had myself fooled for a long time when they were marketing the Scion, and also thought it was a new brand.People from the newer generation look for products that are going to allow them to show their personality, and not just be another face among the crowd. Scion was smart to use the whole customization aspect of the Scion, especially because people my age and younger are always changing their cars to be what they want them to be, and not be what comes off the lot. If Scion doesn't find a way to still stay new, I do believe that the allure of having a Scion will eventually wear off.Businesses should always be ware that their target audiences are always changing, and must be on top of what it happening in the world in order to keep their businesses alive and growing. By promoting customer communications and knowing what the younger generations want in a product, Scion could possibly still keep their appeal. It is going to be hard, though. Every time I see a Scion I already think that their idea is kind of old.