New position of women Essay Example | Topics and Well Written Essays - 1000 words

New position of women - Essay Example It was quite a pity on the women owing to this take. As researches indicate, the women can now sigh in relief because of reversed opinions that are cropping up. In fact, many who formerly had a dissimilar opinion about women and jobs that they undertake somehow embrace them. Their conception about men as Hanna Rosin observed was depicting them as individuals who are prompt and with strength to manage inadequate resources with a sole reason of boosting the economy. On the contrary, women were seen as those that are programmed to care for their families or simply to say, they were bound to domesticity. The former is in the process to be put at bay and be done away with for even those who believed that male dominance existed believe yet again that their supremacy is by now gone. A new look which is fast rising since 1970 is all about the new position of women in the society at large in this contemporary society. The changing human history is at a very high speed as research indicates. T he speed at which the shift is taking place is rather shocking with a clear view on the strengths of the rising woman so to speak. The effect is not only experienced in a single part of the world but also in entirely all parts of the globe. As Hanna Rosin, the author has identified through her thorough research, in Korea, for instance male preference no longer exists. Moreover, the same is manifested in China and India that are regarded as countries that are rapidly industrializing. Now looking upon men, women and education with an intention of comparing and contrasting their levels of advancement, women will still take a great lead, something that defines their new position in society. The author’s research has identified the truth behind this, and how female students dominate professional schools as well as colleges, where they compete with the male students thereby outweighing them in terms of degrees that they hold after their studies. As a matter of fact, she has made it plain that the ratio of male to female who receive their Bachelor of Arts (BA) in their places of study is two to three. To this I second and agree with. Therefore, it is now evident that male individuals are lagging behind the female ones in school. In addition, their positions in class work also show how bright they are over the male students. As the recent research indicates, there are many faculties that men and women pursue of which women dominate most of them with an exception of those involved with engineering and computer science. Even for that, women are still at the fore front as men lag behind at a considerable distance. Another issue that exposes men as individuals who drag behind the success of women is work. In the recent past as earlier indicated, women were not considered as those who could stand to be bosses in any company. Today, it is not uncommon to see them manage companies entitled big positions in well paying jobs. I concur with Hanna Rosin upon the mention o f fifteen job categories that are available to date with the women taking the lead in them all apart from just two. The two she mentions as those related to engineering and computer science as had been revealed earlier. The rest are primarily occupied by the female

Importing & Exporting Essay Example | Topics and Well Written Essays - 3000 words

Importing & Exporting - Essay Example ge rates.1The problem arises when future payments or remunerations payable in a foreign currency depreciate in value before the foreign currency payment is received and is exchanged into the local currency of the firm. This problem can make or break an exporter’s profit base. It is not that an unexpected increase or decrease in the foreign currency may not be profitable and will always cause a loss. But this entire uncertainty hampers businesses and overall economic growth. There are two kinds of markets within the foreign exchange market: One is the Spot market which involves forex payments for exports delivered with in two or three days as the rates are quoted in line with the exchange rate prevalent at the time of the transaction.2The other kind of market is the forward or future market which concerns the delivery of exchange rate payments for exports to be delivered with in 3 days or more. Here the banks will use the forex rate on which they are willing to buy or sell the currency with in a month or more after the transaction.3 It can be seen that due to the volatile and unpredictable nature of the forex markets during times of political or economic crisis both the export markets carry a considerable risk for the multinational firms.There are of course a number of export marketing channels which can become good strategies to combat the foreign exchange risks and transaction exposure for an export firm. Firstly a firm can opt for Transferring exposure.This will involves the transfer of the transaction exposure to another company through the technique asking them to pay for a product in your currency so that they have to bear the transaction exposure resulting from forex uncertainty on their own. Another technique would be to price the export in the local currency of the other firm and demand payment immediately in which case the current spot rate will determine the value in your own currency of the export.4The other way of using an export payment

Free

Free Will vs. Determinism Essay PHI/105 August 2010 Week 1 – Checkpoint 1 Arguments and Logic Free Will VS Determinism Free Will and Determinism are two separate beliefs, contradicting one another. Determinism is the idea that all matter in this known universe is created for a specific purpose; a specific action. Therefore, the behavior of all atoms are governed by their physical law; their purpose. Free Will is simply defined as humans having free will. Humans have the ability to choose their next action, thereby choosing their path to their future. In the excerpt given these two beliefs are in contradiction with one another and therefore cannot exist. One must believe in a single belief, not both. The arguments given for Determinism is that whatever an atom does, it must do in a given circumstance. By laws of nature and physics, it must behave in a specific manner. Following this argument, an atom must behave in manner â€Å"A† when in circumstance â€Å"Z†; therefore, if present in circumstance â€Å"Z,† the atom must behave in manner â€Å"A† in accordance with its physical laws. A behavior as a result of free will; however, is an event that did not have to happen, thereby contradicting the argument for Determinism. Free Will is an event that is the direct result of my actions because of my choices. Therefore, if an event were to occur as a result of Free Will, this event did not have to happen. For example, let us imagine that I am walking along a path and I choose, of my own free will, to pick up a rock and throw it. I could easily have chosen not to throw the rock; therefore, when I threw the rock, the atoms in my arm did not have to move even if this situation. Given this example, we will assume that Free Will is the correct belief, thus illustrating that it is not true that an atom must have done what it did, given the situation. If Determinism is true, then my arm would have moved and the rock been thrown, regardless of my choices and actions. The arguments for these beliefs seem logical in the fact that Determinism is relating to science and physics to illustrate the structure and behavior of atoms; the core component to all known matter. This argument provides a solid base for the Determinism belief, explaining that everything is preordained by its physical properties, and the Free Will is an illusion. Free Will, on the other hand, is given no scientific argument and is more common sense based in its belief. Free Wills argument is not to illustrate that it is true, but to show that Determinism is not true. While the arguments for both beliefs seem valid, I found there to be more weaknesss is the Determinisms logic. To say that all matter has a given physical law is correct and that is must behave in its intended manner. Atoms that compose the chemical makeup of fire will in fact burn you if too close; this is what fire does. The weakness in the Determinisms argument is saying that because you were burned, the atoms in that fire were designed to burn you. Nature has a set of principles in place. Gravity causes object to fall towards its pull, and the movement of two objects against one another creates heat the form of friction. These events are localized in their behavior, but not preordained. A rock that is thrown will glide through the air and descend towards earth again. My arm can throw a rock, or remain at my side. The atoms of the rock, make it a rock, but do not make it fly. The atoms in my arm are what bind muscles, bone, and skin, and make it my arm, but they do not make my arm throw the rock. Determinism is true to an extent, as is Free Will. Each of them play a part in our world. If I wish to throw a rock at a window, and not break the glass, my will alone is not enough to make it so. Determinism will then take over and act accordingly to the density of the glass, and the velocity of the rock. Both beliefs exist together, working together.

Arte Povera Movements in Modern Art

Arte Povera Movements in Modern Art The movement Arte Povera began in late 1960s the key artists were; Giovanni Anselmo, Jannis Kounellis, Alighiero Boetti, Luciano Fabro, Mario Merz, Marisa Merz, Pier Paolo Calzolari, Giulio Paolini, Giuseppe Penone, Pino Pascali and Michelangelo Pistoletto. Arte Povera translated, means poor art but this does not refer to the quality or types of materials used alone. The artists involved produced sculpture, photography installation and performance. There were also other types of art practice that had an affinity to Arte Povera; Land art, antiform, postminimalism and conceptual art. The artists within this movement were concerned with that point at which art and life, nature and culture, intersect (Christov-Bakargie 1999: 17). Arte Povera found significance within physical forces present in every day life, such as gravity and electricity. Art that merely represented life and acted as a go between art and life was not considered by Arte Povera, experiencing a real life situation was the focus. Along with involving physical forces Arte Povera engaged with aspects of human nature. The objects and materials that the artists used to evoke aspects of human nature stirred the senses allowing the viewer to experience the work. For example Jannis Kounellis wanted the viewer to use their sense of smell he did this by using coffee within his work. The use of texture is applied within Arte Povera, suggesting that the viewer touch the work. The use of text was also popular with Arte Povera, the words were largely handwritten so would come across more personal. In terms of location the artists tend to work indoors however have worked in site-specific places. They have created installations, sculpture, film, and performa nce the artists also worked with ideas of the permanent and temporary. The scale is often determined by the dimensions of the human body, its physical presence and behaviour (Christov-Bakargie 1999: 19) this is demonstrated in Fabros piece in-cubo which consisted of a cloth cube that was big enough for just one person. Kounellis also stated that I cant exceed the height of a man (Bellini 2007: 114). Arte Povera was an outlet for artists at the time to rebel against what they considered an oppressive society both economically and culturally. They believed both these things were trapped within traditions and focused heavily upon consumerism devised to control rather than liberate (Christov-Bakargie 1999: 20). Many other things came under attack at this time such as education, sexuality and religion. The Arte Povera artists questioned all traditional materials, scale, form and concept. A key concept for the artists was to reduce the intellectual control and make the experience more important. Jean-Chrisophe Ammann gave a definition of Arte Povera: Arte Povera designates a kind of art which, in contrast to the technologized world around it, seeks to achieve a poetic statement with the simplest of means. This return to simple materials, revealing laws and processes deriving from the power of the imagination, is an examination of the artists own conduct in an industrialized society [] A way of dropping out which is by no means a denial of society, but which instead asserts a moral claim: the subjectified in its objectified authenticity reflects a natural recollection of environmental phenomena, both universal and individual (Christov-Bakargie 1999: 20). The text Art Povera Notes for a Guerrilla War written by Germano Celant begins by describing a type of art that follows the system First came man, then the system. That is the way it used to be. Now society produces, and man consumes (Celant 1967: 119). This system demands that the art produced by an artist has to follow a certain route; they must conform to the art they have made in the past. The artist makes objects that suit the system, they cannot create an object just for it to be an object they must justify the art and then make it fit for distribution: Turning himself as an artist into a substitute for an assembly line. No longer a stimulator, technician, or specialist of discovery, he becomes a cog in a mechanism. His behaviour is conditioned into never offering more than a correction to the world, perfecting its social structures but never modifying or revolutionizing them (Celant 1967: 119). Marcel Duchamp is mentioned as an opposing example to this type of art, he was never interested in pleasing the system and instead made art that did not follow a linear path. Celant describes that art has two directions one being using existing structures and the other the choice is to make a free art which allows for progression within the work. Celant believes the first choice of using the existing structure is a complex art and the second choice, a free art is a poor art due to it involving unforeseen events and working within the present. Over there a complex art, over here a poor art. Committed to contingency, to events, to the non-historical, to the present (Celant 1967: 119). Arte Povera artists rejected societies system, the artist wanted to be free to grow from the ability to move in any direction with their art to produce art that is unpredictable The artist, who was exploited before, now becomes a guerrilla warrior (Celant, 1967: 119). In a world where the system is well and truly cemented within society Arte Povera exists by not committing itself to any one system. This art is controlled by the practical objective to liberate art. Not to add ideas or art objects in to the world, which could fall in to the system: Hence it does away with categorical positions to focus on gestures that do not add anything to our well-educated perception, that do not oppose themselves to life as art or lead to the creation of separate levels for the ego and the world, but exist as social gestures in and of themselves, as formative and compositive liberations which aim at the identification between man and the world ( Celant, 1967: 119). Celant later wrote another text on Arte Povera in 1969, within this text he reiterates that the artist is renewing events that happen in nature. He compares the artist to an alchemist, having the ability like nature does to create magical things. The artist does not intend to represent these natural processes Like a simple-structured organism, the artist mingles with the environment, he camouflages himself with it (Celant quoted in Christov-Bakargie 1999: 198). Consequently the artist does not aim to change the world or influence it anyway, instead wishes to appreciate natural processes that occur and then experience them through making art. Celant identifies that Arte Povera involves the abolishment of following trends within your work and what you are expected to create as an artist and instead allow the work to organically progress. He abolishes his role as artist, intellectual, painter and sculptor. He learns again to perceive, to feel, to breathe, to walk, to understand, to use himself as a man. Naturally, learning to move or rediscovering ones own existence does not mean playing a new role or making movements, but using oneself as a continuously mouldable material (Celant quoted in Christov-Bakargie1999: 198). In 1968 Marisa Volpi wrote American Art and Italian Art: New directions, within this text she explores what is primary or minimal art. She defines this type of art as devoid of complicated form and absent from traditional aestheticism ( Volpi quoted in Christov-Bakargie 1999: 196). She also writes that these types of artists tend to be sculptors, as they believe that painting is limited in its two dimensionality, which restricts its capabilities of illusionism. Their focus is on involving the viewers in their presence and prompting isolated and particularized sensations, rather than on making them reflect, think and exercise judgement ( Volpi quoted in Christov-Bakargie 1999: 196). Volpi states that the distinctive feature at the time the text was written between European artists and others differed by their intellectual understatements within their art. Volpi describes what the Arte Povera artists produced They work on that perceptual fabric which comes before our logical-historical relations with the world (Volpi quoted in Christov-Bakargie 1999: 196). This quote is expressing similar ideas written by Celant, that Arte Povera is a rejection of producing work that follows a pattern and instead works with human nature as content. She describes many different themes within Arte Povera one being the use of ordinary processes such as filling up, covering up, opening, rolling up, lighting etc (Volpi quoted in Christov-Bakargie 1999: 196). Volpi ends her essay by writing that the Arte Povera artists intended to change the way that art was traditionally perceived. Chapter 2 part 2 This section of the chapter will explore several artists work who were involve within the Arte Povera Movement. Looking back at the question, what is Relational Aesthetics relationship to Arte Povera? Does Arte Povera include social interactions as part of the practice in the same way as Relational Aesthetics? Considering artist practices and how they use interaction and participation within their art. The artist Michelangelo Pistoletto (2001) said about his work: I am interested in the passage between objects more than in the objects themselves. I am interested in the perceptive faculty, in the sensitisation of the individual. Objects, the state of things, human movements accepted in their conventional appearance, do not contribute in any way to the profound stimulus of man, the full use of his cerebral capacities (Pistoletto quoted in 2001: 7). He is saying here that the object is not the most important part of the object but the channels between objects. He is interested in the interaction of the individual with the work and the awareness the viewer has of the work by way of their senses. Looking at objects in their normal capacity will not motivate people to use their full intellectual abilities. Pistoletto was recognized as a key artist of Arte Povera, his most famous pieces are Mirror Paintings and his series Minus Objects. Mirror Paintings consisted of human scaled images applied to reflective steel. The use of steel and the reflections from the viewers of the work meant the paintings were breaking with traditions of figurative painting. The involvement of the viewer within the art evoked a link between art and life. Minus objects was a series of sculptures that offered psychological and physical experiences (Tate 2001:..). One sculpture Lunch Painting 1965 is a cross between a picnic table and chairs, a painting and a sculpture thus questioning traditions of painting and not creating objects as commodities. In an interview with Paola Noe Can Art still Save Our Souls? 2008 Pistoletto identifies the beginnings of his Mirror Paintings: The figure of a man seemed to come forward, as if alive, in the space of the gallery: but the true protagonist was the relationship of instantaneousness that was created between the spectator, his own reflection and the painted figure, in an ever-present movement that concentrated the past and the figure in itself to such an extent as to cause one to call their very existence into doubt: it was the dimension of time itself (Noe 2008: 64). Pistoletto distinguishes that the central theme of the work is the interactivity between the artwork and the spectator. He explains there are two different types of present the one of the reflections and the time the image was captured, the image captured is also in the past as a memory. Past, present and future are all involved in the piece in different combinations, the future being the continuation of visitors to the gallery. Noe considers Pistolettos Minus Objects foretold Bourriauds theory Relational Aesthetics. Pistoletto responded in agreement suggesting the theory was born from Minus Objects with which I moved from the diversity of objects to the diversity of people (Noe 2008: 67). He states by taking his work outside the gallery it opened up art to a wider audience and to the unconventional. However Bourriaud states that relational art is not a re-interpretation or revival of any art movement. Relational artists do not use social interaction because it is the trend at the time or as an accompaniment to their practice. The social interaction is the subject matter of their work, and also the outcome. Bourriaud contends that previous use of participation in art specifically in the 60s was concerned with the definition of art as its focus and not social interactivity. Bourriaud also comments that art in this period was creating utopian ideas of society unlike Relational Aesthetics that created existing spaces. Giovanni Anselmo is another artist from Arte Povera who worked with nature and phenomena, one example is his use of the physical force, gravity. These things play the part of content as well as material within his work. At the centre of his art which integrates nature, perception and philosophy stands the human being (Werd and Watkins 2005: 106). The human being is an integral part of Anselmos work, as the gallery goer is transformed into a participant. For example his work Invisible 1971 involved a projected light, if anyone came into contact with the light it would then project on to his or her body making the light visible. Anselmos work of the 1960s and 1970s is an exploration of the obvious connection between art and the difficulty of understanding the world around us. In relation to the important aspects of Arte Povera mentioned earlier in this chapter Anselmo tries to break traditions for example having his materials created by someone else removing the workmanship and the traditional idea of processes like stone carving. He makes the experience of the work more important rather than the intellect in the work. Anselmo is re-inventing things within nature and phenomenon whilst keeping the work simple and bridging the gap between art and life however not representing it. Anselmo states he tries to be real, noting how he finds it incredible to be on earth, walking about and lookingit is magic just to be here. And often one forgets that (Anselmo quoted in Werd and Watkins 2005: 112). Anselmo (1969) writes that he does not fix situations but keeps them open, as situations in real life are not fixed; they are in a constant state of change. Because energy exists in all guises and in all situations, to work with energy requires total freedom in choosing and using materials (Anselmo quoted in Christov-Bakargie 1999: 233). Jannis Kounellis was also an artist that was associated with Arte Povera, Kounellis questioned conventions and traditions within art and also made art that cannot be sold. He did this by using live animals within his work, such as parrots, horses and goldfish. When asked what it was that defined Arte Povera Kounellis responded by saying that there was little planning or rigidity involved, Not having any dogmatic paranoia, not starting from a manifesto, the acceptance of contradictions (Bellini 2007: 114). In his work Opposite (1967) Kounellis placed a variety of objects that contrasted within the gallery space, by doing this he created a theatrical environment in which visitors became more than viewers and instead were transformed into actors. Kounellis also created an installation Untitled (12 horses) the use of twelve horses was not just to contest consumer society, but also referenced historical painting and were seen to represent power and energy. The human senses were also impor tant to the Arte Povera artists in Kounelliss case he used smell. Nature as a theme is also included within his work, he often places fire within the work from quite aggressive jets of fire to a more intimate use of fire in candles. In an interview with Marisa Volpi (1968) and Kounellis discuss whether chance is a determinate factor with his work. Kounellis states that When you have a plan, there is the fixed idea of development. When you plan, you eliminate openness. (Kounellis quoted in Christov-Bakargie 1999: 248). Kounellis (1968 a) also reiterates an important aspect within Arte Povera and that is the intention to unite art and life. He demonstrates this unity through the transformation of the gallery into a theatre where real life and fiction merge (Tate). Kounellis (1968 b) explains that art should strive towards authenticity and by using this term he means an art that does not categorize itself within a product or tradition that it doesnt want to shed. He states the work should be defiant towards conventionality the artist then becomes a permanent disturbance (Kounellis quoted in Christov-Bakargie 1999: 248). It is also important however that the viewer also sees the work in this way they must react t o them as signs of otherness and as indications of unconventionality (Kounellis quoted in Christov-Bakargie 1999: 248). In an interview with Andrea Bellini, Kounellis speaks about several topics the first one explored is drama. Drama is a fundamental part in his work and this is because drama is the basis of his culture. Kounellis is asked to explain what drama is and replies, In Italy, wherever there is drama, there is a new perspective; everything new is dramatically new, the rest is not actually new (Bellini 2007: 112). Language is also referred to Kounellis feels the most important gesture he has ever made was when he broke away from the canvas and started to work outside of it, this allowed him realize more this gesture opened a world for me (Bellini 2007: 113). The approaches made by Kounellis and others within the Arte Povera movement have lead to the rethinking of the gallery space or as Kounellis (2007) states by considering intervention within the gallery has changed the rules of the game. For example the piece where he placed a mass of carbon in the corner of a room as a gesture showed a d ifferent way to use the gallery. He strongly believes that the gallery is not a place to purchase artwork. The artist must make work that is socially relevant and make a declaration at the same time.

Tsunami :: physics tsunami

Tsunamis, commonly called tidal waves by the general public, are large sea waves or surges. These waves can carry a lot of energy from one side of the globe to the other, reeking havoc where ever they make landfall, and as shown by the December 26, 2004 SE Asian event, tsunami's can claim thousands of lives and cause millions of dollars worth of damage to property. * Many people picture large, breaking waves when they hear the word tsunami. This is usually not the case, however. * Most tsunamis make landfall as little more than a gigantic surge, as if the tide just moved in way too far way too fast. * This surging nature of tsunamis is mostly due to the extremely long wavelength, generally on the order of 100-200km. * A tsunami can turn into a locally, large and breaking wave if the wave energy is concentrated, shortening the wavelength and increasing the amplitude. * This often happens if the wave enters a bay, fjord or similar feature. * Tsunamis can be regional, like the recent tsunami in SE Asia, or localized, like the megatsunami in Lituya Bay, Alaska in 1958. * Regional scale tsunamis are general caused by crustal rebound after a large earthquake, usually associated with a subduction zone * Localized tsunamis are also generally associated with earthquakes, but the physical cause of the wave is usually due to a landslide or pyroclastic flow. There are several geologic events that can trigger the propagation of a tsunami * Earthquakes: generally tectonic rebound at or near a subduction zone, when there is a vertical component to crustal movement that displaces a large volume of the overlying water * Landslides: often earthquake or volcanically triggered, can be purely submarine or the slide could begin on land and slide into the water (i.e. a collapsing volcano) * Volcanic activity: usually subaerial, could be pyroclastic flows, lahars, nuees ardants, or collapse of the mountain side * Impact of a large meteor or asteroid * A tsunami behaves as a shallow water wave. * Tsunami's travel in much the same way as your garden variety, wind-propagated water waves: with some combination of transverse and longitudinal movement.

The Relation of Rights to the Real :: Ontology Bentham Papers

The Relation of Rights to the Real This paper approaches Bentham's ontology of rights from a viewpoint influenced by American philosophical pragmatism. I examine how rights are conceived and discussed in relation to the real. Jeremy Bentham maintained that all rights are "fictitious entities." But, in privileging "political" over moral and natural rights, Bentham implies that legal rights stand in a privileged position over natural rights with regard to the relation of mind to the actual. By reason of its enforceability through sanctions, a legal right for Bentham has a privileged connection to the real. I argue that nonlegal rights can be conceived as bearing a roughly parallel relation to the real in guiding human conduct by suasion rather than sanctions. Their relationship to "something real and observable" is their relation to voluntary conduct through belief. Bentham's ontology dictates a distinct legal and political system. Practically, it leaves the real existence of rights entirely in the hands of government o fficials, and the only choice of humans interested in securing rights lies in their enactment and enforcement in and through a legal regime. In this paper I will approach Bentham's ontology of rights from a viewpoint influenced by American philosophical pragmatism. In order to do so, some introductory remarks are necessary. There is more than one version of "American pragmatism," but I think it safe to say that there are only two that are relevent here; I will call them A and B. Pragmatism A finds its main sources in Peirce, James, Dewey, and Holmes, and tends toward what might roughly be identified as ontological realism. (1) Pragmatism B draws from a somewhat different reading of Dewey and Holmes, not so much from Peirce and James, and has been profoundly influenced by Wittgenstein and the so-called linguistic turn in philosophy; its principal exponent has been Richard Rorty. It tends toward both "antirealism" and, some might say, a contemporary nominalism. For those interested I will provide explanatory references (2) and proceed to pragmatism A, which is the preferred version for me and the approach I find so helpful. Why? Because I find the literature of law and rights filled with distinct and often conflicting ontological assumptions. In a moment I will give an example. But to summarize the paper, we must start with the fact that there are conflicting theories of law and its leading categories, from the most general (e.g. rights) to the more specific (like contract).

“No One’s a Mystery”

Jessica Ulrich Essay 2 Intro to Literature The story I am completing and analyzing is â€Å"No One's a Mystery† by Elizabeth Tallent. â€Å"No One's a Mystery† is a brief, sharply detailed distillation of a doomed relationship between two people of contrasting personalities. The question I ask is who the characters are, and what parts of the story lead me to deem and back up my feelings about that certain character. To start off I feel that Jack is a hard one to analyze while reading it in a critical way.This is what I picked up on him Jack being a very cynical man who drinks heavily, doesn't clean his truck, and has no obvious respect for women (Mexomorph). Jack and his young lover not only come to terms with their relationship but also illuminate aspects of their own characters of which they themselves are not fully aware. The story is more of a character sketch than a traditional tale containing a beginning, middle, and an end. The sequence of events is less importan t than the specific detail and the dialogue between the couple. Esch, 2009) He is currently cheating on his wife with a barely-legal girl he has been having an affair with since she was sixteen. I think he is a man who doesn’t know what he wants. In the story when she is talking about marrying him and having his children down the road, he doesn’t seem to be much for it at least not as much as her. I think he really feels bad for what he is doing but he is caught up in the moment of the relationship and how easy it is, but doesn’t think through the consequences.I think he drinks so much to forget about what he is doing to his wife and he knows it is wrong, so drinking helps him cope with the last 2 years of having an affair, and soon to be a divorce that he states at the end of the story. He also seems to very demeaning towards women and it seems as if again he is not happy with his life he has lead on. Another thing is when he talks about his wife feeling safer when the lights are on when he's not home makes me think he still cares for her and is fine talking about her with his secret relationship in which she has no problem with him talking about.So again Jack is a hard one to understand but I think I got the gist of it. Aside from these generalities, he makes no judgments and demands no commitment, even mocking the narrator's version of their future together. His remark that the sky is empty carries a double meaning: In the context of the dialogue, Jack is referring to the absence of aircraft monitoring the speed of traffic, but in the light of his own character, it is a statement of unbelief, of detachment from social, emotional, and moral values.The young narrator, by contrast, has already acquired a set of values that make her a more sympathetic character. Her sharp eye for detail, her specific observations, lend her a solidity, a steadiness of purpose that is missing in Jack's life With all of this information I have gathered on the next character I would like to analyze would be the eighteen year old girl who is dating Jack. This eighteen year old girl seems to be very in love with Jack. She is planning their lives together with marriage and children.I feel that her character is an unsure about herself, or she hasn’t felt real love before and that’s why dating a married man and have it feel ok for her. Even though it doesn’t state much about their feelings on the relationships in the story I think it comes out the words they use within their conversation. The narrator counters to the contrary she will always love Jack. This exchange has some hidden meanings. The author is trying to show the reader that Jack knows they will not be together a year from then.The author is also trying to show the innocence and naivete of the girl in comparison to the knowledge of Jack. This diary encounter again brings out an emotional response in the reader by its imagery. When Jack mentions about how his wif e leaves the light on in the house because it helps her feel safer, it seems as if it doesn’t bother her talking about his wife, or having her duck in the truck when his wife passes alongside the road just so they don’t get caught. You think that would bug her with having to consistently hide from her especially since she is wanting and fantasizing about marrying him at age eighteen.I think she is deprived from having a relationship that can go to movies, dinner, hold hands in public, and been seen and known as a couple, and I think she feels some hurt due to the fact she knows it will never happen because when she talks about a year from now writing in her diary † I wonder what I really saw in Jack†, † I wonder why I spend so many day just riding in his truck†, or writing â€Å"I wonder what that old guys name was†. She states that she writes that but she will write â€Å"I love Jack and this diary is my birthday present from him. †Å"I can't imagine anybody loving anybody more than I love Jack. † So she goes back and forth of what she is feeling and what can happen in the future. She talks about not knowing Jack in a year but then also talks about having his kid and waiting for him to come home to make love to him. It was a very confusing ending with her and her feelings, very hard to read and interpret. I did get thought that both of them are caught up in the moment. That is what I felt the characters where, and what parts of the story lead me to deem and back up my feelings about that certain character.The visual and verbal images of this work are the key elements. The characters are not round characters but rather flat and stereotypical as the title No One's A Mystery suggests (Esch, 2009). But the way the characters are used, the straightforwardness of language and setting are meant to bring the reader to an emotional edge. The filthiness of the truck, the youth of the narrator and the exchange betwe en Jack and the girl over the diary help to reinforce the negative emotional response that the author was looking for.I wish this story was a little bit longer so it could help explain things that I thought had double meaning, but I like making up my own real end to the story and how I want to think of how those two ended up in a year. Works Cited Esch, J. (2009, Dec 4). Notearama. Retrieved from Notearama: http://notearama. blogspot. com/2009/12/on-no-ones-mystery-by-elizabeth-tallent. html Mexomorph. (n. d. ). Write Work. Retrieved from Write Work: http://www. writework. com/essay/no-one-s-mystery-elizabeth-tallent-english-1302-literature