Intellectual Freedom - It Isnt Free :: Politics Political

Intellectual Freedom - It Isn't Free We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown. T.S. Eliot, The Love Song of J. Alfred Prufrock Very few of us are unfamiliar with the Genesis account of creation, where it is written that "God said, 'Let there be light,' and there was light." [1] The obvious point is that God creates the world; but later writings have chosen to focus on the idea that the divine being both creates and destroys by the power of His word alone. God spoke, and "it came to be." [2] By the time of the Gospel of John was put to paper, we are informed that the word is not merely an expression of God: it is, in fact, no less than God himself. [3] The word is divine. Especially after Augustine, who articulated Christian doctrine as the road to God passing directly within self, the inner word has been seen not only as the source of innermost self, but of conscience as well. [4] In terms of Augustinian inwardness, "God is to be found in the intimacy of self-presence." [5] The inner triangulation of self involves what the Athanasian Creed referred to as the "reasonable soul and the flesh" as two elements, with God the third in between. [6] In fact, it is clear that the original construction of the First Amendment was devoted to protecting precisely this Augustinian notion of inner light, this inner word and presence of God. [7] This is what Tom Paine, chaplain to the American Revolutionary soldiers (and author of Common Sense) referred to when he wrote his well-known dictum that "my own mind is my church." [8] As early as the 1740s, for example, it was the New Light Congregationalists (ironically similar in theological outlook to the ill-fated Anne Hutchinson [9] ), who posed what became the central axiom of the American revolution: the idea that "liberty of conscience" is the "inalienable right of every rational creature." [10] Note how similar Paine's notion of his own mind being his inner sanctum is to the Quaker notion of the "inner light," which Staughton Lynd described as "the preamble to the political faith of the Dissenter, as of the subsequent Declaration of Independence.

History of Garde Manager

The History of Garde Mange Aaron avers The garde manger profession began with peoples need to preserve food. The practice of food preservation is very much older than the term garde manger. In medieval times, castles and large homes were equipped with underground larders, or cold food storage rooms. The food storage areas in these castles and manor houses were usually located in the lower levels, since the cool basement-like environment was ideal for storing food. These cold storage areas developed over time into the modern cold kitchen. In France, the larder was called the garde manger.So one meaning of the culinary term garde manger can be a person in charge of cold foods preparation and preservation. Today, in the industry, I have been taught that the garde manger is now referred to as the â€Å"pantry chef. † Garde manger is also known as the place in which cold foods are prepared and stored, and the person or chef of cold foods preparation. Garerde Manger was being used l ong before it was a commonly used term. Perishable foods like meat and fish were dried in the sun or packed with salt to preserve them. The first dependable method of preserving foods was actually drying. Also you can read about  History of the Culinary Arts.Smoking foods was derived from placing the meat on poles over a smoky fire to prevent insects and other animals from feeding while it was curing. Farming families began using spices along with the salt, and discovered that tough meats can be tenderized. In the Middle Ages and in the early renaissance, foods that were prepared for the upper classes were overly complicated and heavily spiced. La Varenne, a French chef with Italian influences, went against medieval tradition,    and stressed the importance of natural flavors and lighter sauce.Salads and vinaigrettes took the place of heavier cooked foods and became the standard side to roasted meats. It was at this point that the role of garde manger expanded from food preserva tion to the actual preparation of all cold foods consumption, moving them out of the basement and into the kitchen. By the end of the twentieth century the prepackaging of our industry has allowed some great advances in garde manger. Garde manger, â€Å"keeper of the food†, or pantry supervisor, refers to the task of preparing and presenting cold foods.These typically include such food items as salads, hors d'? uvres, cold soups, aspics, and charcuterie. Larger restaurants and hotels may have the need for the garde manger to perform additional duties, such as creating elements for buffet presentation like edible centerpieces made from materials such as ice, cheese, butter, salt dough or tallow. In most modern kitchens the garde manger is synonymous with pantry chef, having duties focusing on salads, soups, cold food items, and dessert plating’s. It is usually the entry level line cook position within a restaurant.The term â€Å"garde manger† originated in pre-Re volutionary France. At that time, maintaining a full supply of food was a symbol of power, wealth and prestige. Noble families had a household steward who would manage their cold store room. The steward was referred to as the â€Å"officer de bouche†, a title that was eventually replaced with â€Å"garde manger†. This position was extremely important, because most of the food was butchered, pickled, salted, cured, or smoked during the fall season and stored for months, all the way into the spring months.It is because of this duty of supervising the preserving of food and managing its use that many interpret the term â€Å"garde manger† as â€Å"keeping to eat†. The position of â€Å"butcher† first developed as a specialty within the garde manger kitchen. As both the cost of and demand for animals for food increased, more space was required for the fabricating and portioning the raw proteins. This need for space was due not only to an upswing in the number of protein sales, but also to the need for separating raw proteins from processed foods to avoid cross-contamination and the resulting possibility of food borne illness.Special â€Å"butcher shops† were created where portion sizes, product deployment, and temperature could be highly controlled. Today butcher shops exist both as standalone establishments and alongside kitchens in large hotels, country clubs and high volume restaurants. Modern garde manger can refer to different things in the professional kitchen. In many restaurants it is a station which is generally an entry level cooking position within the restaurant, as it involves preparing salads or other smaller plates which can be cooked and plated without significant experience.In other high-profile classically influenced restaurants and hotels, the position pertains to the classical preparations. Today Garde Manger is referred to as â€Å"The Art of the Cold Kitchen†. Some may even say it is the arts a nd crafts of the culinary industry. Today's Garde Mangers must behold more than simple food preservation skills. They must have the knowledge and skills to create everything as small as a batch of mayonnaise to something as large and elaborate as ice carving. Some food establishments use the word pantry instead of Garde Manager.Some may even refer to it as the salad station†¦ the list goes on and on. In the restaurant scene the Garde Manger's job is typically plating salads and preparing cold appetizers. In some situations it may even be their job to plate desserts. Some find the experience of working in the Garde Manger extremely challenging and stimulating that they often decide to make it their life long career. The skills needed for the Garde Manger are so extreme that it is often the walkway that leads some to the path of being a great chef, possibly even a famous chef.

Socio-political Essay Online For Free - Free Essay Example

Sample details Pages: 8 Words: 2513 Downloads: 2 Date added: 2017/06/26 Category Literature Essay Type Essay any type Tags: Political Essay Did you like this example? Bertolt Brecht (1898-1956) was a German poet, playwright and theatre director. This project will look at the development of Brechts playwriting over time in response to the socio-political changes in Berlin, by evaluating Brechts work in the three periods of different political environments that Brecht was exposed to in Berlin. These should reveal how historical context and political stance shaped his work. Some reference will be made to the plays mentioned, due to their content and the different times in which they were written. Academic and contemporary responses mentioned in this project were mostly acquired at the Brecht Haus archive in Berlin on 14th February 2008. During the First World War, Brecht doubted in a school essay whether it was honourable to die for your nation and this feeling was heightened when he had to serve in the war as a medical orderly in 1918 (Rosenhaft, 1994). His first plays were written as the war ended; the working tit le of one of his first was Spartakus (later published as Drums of the Night), after the organisation of the German revolutionaries Luxemburg and Liebknecht. Brechts radical side is clear in his early plays; he talks about the decay and corruption of the bourgeois society that he felt a part of (Meech, 1994). Yet arguably at this point in time, Brecht was â€Å"a bohemian rather than a Marxist† (Schoeps, 1992). The polarisation of the Weimar Republic and the rise of fascism that resulted in stronger political beliefs and works in the late 1920s (Fetscher, 1980). Saint Joan of the Stockyards, an allegory on the workings of the stock exchange, is an example of this (McCullough, 1994). The Weimar Republic saw the increasing commercialisation of leisure activity with the rise of popular entertainment (cinema, sports, dance, jazz, etc) (Rosenhaft, 1994). The educated, bourgeois audience was being replaced by a broader audience. This cultural democratisation affected the role of the writer (Silberman, 1993). Some traditionalists sought new ways of asserting their elitism whilst others like Brecht began to develop a habit of production that submerged the authors subjectivity within a collective (Meech, 1994) as seen with the adaptations of Marlowes Life of Edward the Second (1924) and Man Equals Man (1926). The notion of aesthetic activity as production rather than creation, theorised by Brecht in his essay The Threepenny Lawsuit (1932) indicates this shift. Social changes have therefore directly impacted Brechts style of writing and theoretical concepts of theatre. Brecht was taught Marxism in the late 1920s twenties by Korsch and Benjamin, both anti-Stalinists (Esslin, 1959). Brecht supported the KPD, a mass party that to him seemed the only force capable of confronting Hitler, unlike the main Trotskyist organisation in Berlin with only 50 members (Windisch Brandon, 2006). He would not have had much opportunity to influence events othe rwise. Brechts turn to Marxism changed his approach to theatre. He rejected the naturalistic style that presented the audience with a perfect illusion of reality. For productions of Drums of the Night, he suggested hanging a banner above the stage saying â€Å"Dont Stare So Romantically!† Ironically, the need for a new form of theatre became obvious to him after his biggest financial success. The Threepenny Opera (1928) illustrated begging as an organised trade, with criminals working hand in glove with the police. But rather than shocking bourgeois audiences, the play was a huge success (Schmidt, 1992). Audiences loved music, while Brechts critique of capitalism did not attract much attention. Brecht was involved in the conflicts at the end of the Weimar Republic. One month after the premiere of The Mother (1932), police ordered that the play could be recited but not played. The production of another play was stopped because Nazis were assaulting the actors (Windisc h Brandon, 2006). Brechts vision of a more humane society changed with the rise of fascism (Silberman, 1993). He usually failed to represent convincingly the alternative order that could confront fascism, as seen in Fear and Misery of the Third Reich (1938), The Business Affairs of Mr. Julius Caesar (1938-39), and the Book of Changes (1935-42). As a Marxist, when the Nazis gained power, Brecht went into exile, staying close to the German border in Denmark and Finland to support the anti-fascist struggle until the war forced him to leave for the USA (1941). Until the end of WWII, Brechts plays rarely reached the stage. Yet the plays written in exile are his most famous today. Brecht expressed opposition to National Socialist and Fascist movements in Galileo, Mother Courage and Her Children, The Good Person of Szechwan, The Resistible Rise of Arturo Ui, and The Caucasian Chalk Circle. Mother Courage, for example, is torn between protecting her children from the war and ma king a profit out of the Thirty Years War (Leach, 1994). Key themes in the play include war as business, virtue in wartime and morality. None of those plays put simple answers to the moral questions they raise, and none of them are simple propaganda pieces. Rather, they show how the possibilities of the individual characters are limited by social conditions, and they force the viewer to think about the limits of â€Å"common sense† moral judgements (Windisch Brandon, 2006). Brecht focused on new representation. On the one hand, the formal reductionism of the parable plays from this period seems to function as a kind of protective shield against the impossible contradictions of reality, but on the other, the shift in subject and technique to more deliberate forms of distancing de-centres the text-audience relation by transferring the utopian imagination into the spectators themselves (Silberman, 1993). The prologue to The Caucasian Chalk Circle (1944) suggests the political and poetic utopia Brecht envisioned in his mature plays. Brechts invitation to return to the GDR, enticed by offer of own theatre and company, shows that although Brecht was not a member of the Communist Party, his allegiances were sincere (Esslin, 1959). The impressive Berliner Ensemble, visited on 15th February 2008, solely for the use of Brechts work and directing, and his work still dominates the theatre today (fieldtrip, 2008). He spent his last years defining and reworking his ideas. Although towards the end of his life Brecht wrote few plays, some famous poems have emerged from after the Second World War (Rundell, 1980). The Solution was Brechts commentary on uprising (1953) the GDR; he supported government measures taken to crush the uprising, including the use of Soviet military force, despite his concern for the protesting people as well. His allegiance to the communist regime is portrayed in The Days of the Commune, which is based on the proletariat revolution of the Paris Commune in 1871, which attempted to bring about a revolution through the working class. Brecht is often criticised for returning to the GDR (Fetscher, 1980). In fact, exile gave Brecht first-hand experience of the ‘freedom of the West. He was blacklisted out of 40 scripts he wrote, one was accepted for filming, and this was cut severely by Hollywood that Brecht withdrew it. Brechts commitments were leftist enough to provoke HUACs investigation in 1947 and the refusal of visas for travel to West Germany under US control (Kruger, 2004). Brecht also came into conflict with the Stalinist cultural bureaucracy. They forced him to make changes in several productions and even stopped two of them (Esslin, 1959). Brecht received support for his theatre in East Germany but he expressed private reservations about SED policy, especially after the workers uprising on 17 June 1953 challenged the partys claim to lead a â€Å"workers and peasants state† (Kruger, 2004). Brechts relation to the GDR regime remained contradictory. On the one hand, he said it would be better to have a bad socialism than to have none, he also disliked the dictatorship. When the Berlin workers uprising (1953) was repressed, he wrote a letter to the general secretary of the Communist Party in which he called for dialogue (Esslin, 1959). Only his last sentence backing the government was published. Hi call for dialogue, I believe, had two aims. Firstly, to reinstate peace amongst the campaigning people, as it seems unlikely Brecht would have spoken publicly against the GDR regime, despite his dissatisfaction with the scenario. Secondly, because of his pro-GDR regime status and his status as a GDR icon, his words would be more trusted by both parties. There is much argument over Brechts true thoughts regarding the 1953 uprising. In private, Brecht was more outspoken. In his unpublished poem The Solution, he ironically asks, â€Å"If the people had forfeited the confidence of the government, would it not be easier to dissolve the people and elect another?† Brecht intended his theatre to be a critique of society, believing that theatres function was to educate, and to achieve this he created his epic theatre theory. â€Å"A play should not cause the spectator to emotionally identify with the action before him or her, but should instead provoke rational self-reflection and a critical view of the actions on the stage†. Brecht wanted audiences to use critical perspective to identify social ills and therefore effect change, having described his plays as a collective political meeting in which the audience is to participate actively (Brooker, 1994). For this purpose, Brecht employed the use of techniques that remind spectators the play is a representation of reality and not reality itself called the alienation effect (Esslin, 1959). To achieve this, he ripped up the traditional five act structure of stat ic drama. Inspired by Russian revolutionary theatre, he looked for ways to interrupt the main plot (Windisch Brandon, 2006). For example, he used comments on the action directed to the audience, songs in between and projections of text with extra information. To undermine the natural curiosity of the audience, he used an announcer to summarise the scene before it was shown. This allowed him to show that the course of events is not simply given, and therefore demands choices and active intervention. The political side of his plays became harder to ignore. A good example is The Mother, which is set during the Russian 1905 revolution, showing a mother who wants to free her Bolshevik son from jail and how by doing so she gradually becomes convinced of Communism herself (Windisch Brandon, 2006). Brecht chose historical settings as another means of creating a distance between the viewer and the play. In Galileo Galilei, the struggle between the scientist and the Catholic Ch urch served as the scene for a debate on the tensions between individual beliefs and the way our rulers try to control our thoughts (Weber, 1980). Brechts has attracted immense controversy since his early theatrical successes in the 1920s, having been compared to Shakespeare (Laughton); Brecht is considered one of the great playwrights and directors of the 20th century. Over 50 years after his death, his plays along with those of Chekhov are the most frequently performed works (Fuegi, 1995). As Brook has emphasised: â€Å"Brecht is the key figure of our time, and all theatre work today at some point starts or returns to his statements and achievement†. But much praise for his ability and work is usually held up because of his Marxist views. This political allegiance has annoyed some critics like Willet, who has chosen to look upon it as something unfortunate but incidental to his achievements. Bentley also expresses his disappointment: Brecht â€Å"would be a be tter writer if he gave up Marxism†. Others oppose his work on the grounds that it is propagandistic and lacks the subjective sentiments accessible only through a more personal theatre of individual experience. Inevitably, commentators are forced to approach Brecht by addressing not only his plays but also his writings on theatre as well as the way he directed productions. Mostly they decide to deal with his technical expertise in isolation from his politics (Fuegi, 1995). Brecht is seen as a modern dramatist and poet worthy of careful study, and of no more particular interest except that he also happened to be political (Breuer 1992, Weber 1992). This purposeful attempt to neglect the political Brecht is frustrating because of its success in obscuring the relevance of his achievements, despite his surviving attempts by fascism to destroy its revolutionary content and undermine its significance. Most commentators have failed to understand the rationale of the method involved. But Brecht was quite clear about what he wanted and how he proposed to get it. When he referred to Marx as â€Å"the only audience for my plays that I had come across†, Brecht was describing a primary focus that is lost on his many critics. He did not mean that only Marxists could understand his plays. Rather it was Marxists alone who could understand what he was trying to do. Brecht comprehended how controlling cultural production had become under capitalism. His response was to do something about it by creating a theatre that sought to redefine the relationship between audience and performance (Trommler, 1980). Yet the historical illusions of modernism have become a problem of positioning oneself subjectively in a post-modern age when evaluating the subject of this study. Brecht was a communist without a party card. He could write only on commission from the party, their precarious status did not hinder him from criticising the policies of the party as we ll as praising its goals (Volker, 1987). His critiques were never simply blunt attacks, but were handled lightly with wit and satire. However, the party officials did not appreciate his critical irony, but preferred instead the sympathetic tracts of bourgeois authors. Brechts communist allegiances have also led to numerous attempts by the mainstream art world to degrade his legacy either by claiming that his plays are worthless Stalinist propaganda, or by claiming that they are worthwhile despite the politics (Windisch Brandon, 2006). Yet Brechts popularity has depended on misreading since 1928, when The Ballad of Mack the Knife song performed as part of The Threepenny Opera in Berlin became one of the most-recorded standards in the history of pop music. Brecht (and his composer Weill) might have wanted an art that hastens the overthrow of capitalism; instead they got covers from Darin and Sinatra (Tonkin, 2006). Depoliticising Brecht, however, is a difficult job he wrote plays with titles such as The Seven Deadly Sins of the Petty Bourgeoisie and Days of the Commune, and poems like The Song of the Class Enemy (Windisch Brandon, 2006). Brechts period in exile was a fight against material want, persecution, betrayal, and political disappointment (Volker, 1987). The last years of his life were spent in the German Democratic Republic (GDR), because he wanted another Germany based on the principles of peace and socialism. There, he was able to preserve his independence and artistic integrity. He welcomed the politicisation of art while vigorously defending his work against any state ideology (Volker, 1987). His theatre, the Berliner Ensemble, was opposed to the official GDR doctrine on art (Socialist Realism) and to the German Stanislavski tradition (naturalism) (Etkind, 1980). On principle, he rejected the use of art and theatre to conform to state requirements of taste. Brechts main contribution, then, is to be found in the innovativ e ways he devised for examining history and making the processes of history visible as changeable ones (Trommler, 1980). Brechts impact is not to be found in any recipes he may have provided but rather in the possibility of his writings to enable our own creativity in thinking about historical truths and processes (Silberman, 1993). Don’t waste time! Our writers will create an original "Socio-political Essay Online For Free" essay for you Create order