Differences Between Spice And CMMI Information Technology Essay

Differences Between Spice And CMMI Information Technology Essay Software quality is increasingly becoming a necessity with growing number of firms dependent on IT infrastructure and mission critical softwares for their business processes. The capability maturity model and SPICE have been the two most comprehensive models for software process development that have resulted in a robust system for improving development process (Marshall, Mitchell 2004). A lot of applications have been developed with the use of such models. However, in spite of a lot of differences between the two models, there has been little focus on the key differences between the two models. While the capability maturity model is the best known software process improvement, the ISO/IEC 15004 is a suite of standards that are expected to affect the continuous evolvement of Software CMM (Paulk 1999). In this essay, the basic aim is thus to lay down the primary and secondary differences between the two maturity models in SPICE and CMMI. Further, through diagrammatic representations, the paper tries to list out the key differences between the models. CMMI: The capability maturity model (more popularly known as CMM) had its origins from a book published in 1989 by Watts Humphrey in his book Managing the Software Process. The basic theme behind the capability maturity model integrated (CMMI) is process improvement (Glazer et al 2008). It must be understood that CMMI is a process model and not a process standard. CMMI consists of process oriented activities that can be used collectively to attain the process area and business goals of an organization. CMMI practices are also meant to encourage organizations to use other process models based on the organizations need and practices. Primary Attributes of CMMI: The capability maturity model has certain primary attributes associated with it. It has been observed by Hoggerl M and Sehorz (2006) that process area, goals and practices are the three key concepts of CMMI. As stated earlier, the CMMi is a list of pre-defined processes that are stated under CMMI. According to the authors (Hoggerl Serhorz), the CMMI consists of 25 specific process areas within the development processes. Primary attributes of CMMI according to these researchers are thus process management, project management and engineering and support (Hoggerl Sehorz 2006). There are five basic maturity levels defined in the CMMI model. These are detailed in the table below Software CMM Maturity Model Description 1. Initial Software processes characterized at this level are ad-hoc and occasionally chaotic. At this stage, very few processes are defined and the success of the processes depends on the individual efforts and heroics 2. Repeatable The process management processes are defined at this stage. They are basic in nature and are generally derived from earlier successes 3. Defined The software process for both the management and execution are defined and are well documented during this phase 4. Managed Detailed measures for the evaluation of the software processes 5. Optimizing Continuous improvement processes are carried out using quantitative feedback from the process and from piloting of innovative ideas Table 1. CMMI Maturity Stages Secondary Attributes of CMMI: Within the primary attribute of project management, the authors Hoggerl Sehorz (2006) suggest that there are some processes which are specific in nature. These are referred to as the secondary attributes of CMMI. Some of the common secondary attributes include planning, monitoring, supplier management and team management. Within process management too, there are certain secondary attributes. Organizational focus, definition, training and innovation are some of the common secondary attributes that can be placed under the process management criterion. The engineering section of the CMMI model has a lot of scope for improvements. Thus, the secondary attributes under this section are vital to the process improvement. Some of the secondary attributes under the engineering section include requirement management, integration, verification and validation (Hoggerl Sehorz 2006). Within the support section (primary attribute of CMMI), there are some secondary attributes too. These include con figuration management, quality assurance, decision analysis and organizational environment (Hoggerl Sehorz 2006). The entire set of attributes is better presented in the composite features diagram shown below. For understanding a composite feature diagram, it must be noted that the maturity of a software process is best understood in five different levels. Although these levels vary from organization to organization, they can still be generalized as initial, repeatable, defined, managed and optimized (M, Paulk. M, Konrad. S, Garcia.1995;M, Paulk.1999). During the initial level, the processes are not ordered. During this stage the processes are chaotic and mostly depend upon the individual efforts. As per its name, the repeatable processes repeats itself; the success of earlier processes. Therefore, Paulk et al (1999) states that the defined maturity levels in the whole process go through the standards policies to fulfill the process. A proper documented plan of action is one of the most important aspects in the completion of a defined maturity model. However, the managed maturity models are tested quantitatively for the processes and product quality (M, Paulk. M, Konrad. S, Garcia.1995; M, Paulk.1999). The optimized maturity models are concentrated on innovation and continuous improvements through feedback mechanisms. A look at the advantages and disadvantages of CMMI model would be in line with the above discussions. Advantages of CMMI: CMMI has a number of benefits. According to Konrad, Shrum and Chrisis (2003), the CMMI model provides a good coverage for the average product life cycle than any other process improvement products when they are used alone. Moreover, CMMI can be integrated with any of the other software improvement models and can be implemented to provide robust functionalities. Although the main focus of CMMI was on product and service engineering, it was also built to provide enterprise-wide process improvement (Chrissis, Konrad, and Shrum 2003). Disadvantages of CMMI: Even though CMMI provides with a lot of functionalities for robust functioning, it is still not easy to implement within organizations. CMMI is not a process; it is rather the characteristics defined that should be present within an ideal process. Thus, the problem with process improvement is not that of a missing standard but to implement the standard in the perspective of the organization (M, Niazi. D, Wilson, D, Zowghi.2003). Since CMMI does not provide the actual implementation steps, it is not advisable to use in certain scenarios. Diagram 1. CFD For CMMI With such a brief description of CMMI, the concepts about the model are made clear. The next section of the paper discusses about the SPICE or the ISO/IEC 15504 process maturity model. SPICE: (ISO/IEC 15504): The SPICE model also known as the ISO/IEC 15504 is an emerging international standard on software process assessment that defines the number of software engineering processes and scales them to measure their capability (Emam, Birk 1999). The basic difference between the CMMI and SPICE is that while CMMI is a model consisting of steps that might be required in an ideal software process; SPICE is a standard for software process implementation that needs to be followed. The emerging ISO/IEC 15504 international standard is an attempt made to harmonize the existing assessment of models that are in the common use. It is an European model that is based on the quantitative score of assessment associated with the performance of the organization or the project (Emam Birk 1999). A software process assessment (SPA) provides a quantitative score that reflects the organizations or projects implementation of the best practices as defined in the assessment model. Thus, the more number of best practi ces that are adopted the more higher the quantitative score is expected to be. This score obtained from the baseline current implementation provides a perfect framework for making process improvement decisions and also serves as a means of tracking improvement efforts. Attributes of SPICE: SPICE model is based on five different processes. These processes were created in different nationalities and became accepted internationally. The five processes are customer-supplier, engineering, supporting, management and organization. Each of these processes has a capability level on which it is marked quantitatively. These levels begin from 0 to 5 ranging from incomplete process (0) to an optimized process (5). These processes are further marked using what is called as process attributes. It is the base premise of the software process assessment that the resultant quantitative scores are the predictors of the performance of the project or the organization that is assessed. In all, there are nine attributes in SPICE. As with CMMI, the nine process attributes are linked with the five processes. The nine attributes are Process Performance Performance Management Work Product Management Process Definition Process Deployment Process Measurement Process Control Process Innovation Process  Optimization. Similar to CMMI, the ISO/IEC 15004 has five process areas. These are known as levels. Each key process area is described in terms of its key practices that contribute to satisfying its goals and are allocated to produce common features. These key activities describe the specific function of the infrastructure and activities that contribute to produce the most effective implementation and institutionalization of the key process area (Paulk 1999). These five process areas are described in the table below Level Focus Key Process areas 5 Optimizing Continuous improvement Prevention of bugs, defects Technology Change Management Process Change Management 4 Managed Product process quality Quantitative process management, Software quality management 3 Defined Engineering organizational support Organization process focus, Training programs, Process definitions, Integrated software management, Peer reviews 2 Repeatable Project management processes Requirements Management, Software project planning, Project Tracking Oversight Quality Assurance, Subcontract Management, Configuration Management 1 Initial Competent people and heroics Adapted from: Paulk 1999 Diagram 2. CFD for SPICE: Differences between SPICE CMMI: SPICE CMMI Primary Attributes: SPICE model is more focused on Process Improvement. Primary Attributes: CMMI model is more generalized as it considers the organization as a whole Secondary Attributes: Acquire, supply, develop, operate, evolve, and supporting software processes. Secondary Attributes: Optimizing, managing, defining, re-using the software processes. SPICE is a European model CMMI is an American model Not much difference between the lead-assessor and the other members of the team. Every member of the team is responsible. Heavily depending on the lead assessor, CMM was the earlier version of CMMI. OO-Spice is the latest version of Spice. CMMI integrated Spice in one of its process. ISO/IEC 15504 model. SPI (Software Process Improvement) model Thus, the differences between the process maturity models have been highlighted. With these differences, it becomes easier to identify whether or not a particular model (like CMMI) or a standard (like SPICE) might be usable in a given organizations scenario. Ideal Model CFD: The attributes of both the CMMI and SPICE can be integrated to provide an ideal model for software development. This model is represented in the below diagram. Diagram 3. IDEAL CFD Conclusions Recommendations: Both SPICE and CMMI are said to improve software process development. While the CMMI is a set of standard processes that need to be carried out for the ideal software development process, SPICE is a standard that needs to be followed for effective implementation. Although there are some differences and similarities between the two models, both can be used in a combination to provide excellent software development process. The ideal CFD lists out the key processes that are a combination of both SPICE and CMMI that can be used in the software development lifecycle. Both SPICE and CMMI can be used in different circumstances and/or can be combined according to the organizations needs. After evaluation the advantages and disadvantages of both the models/standards, it can be said that both SPICE and CMMI can be used in a combination to provide the most efficient models for software development. These models can comprise of stages which are a combination of both the recommended models. Thes e combinations would depend according to the requirements of the organizations. For organizations with little time requirement, CMMI would be beneficial since it first maps timings and then plans the modules of the software development phase. On the other hand, if the organization seeks to achieving and maintaining a high standard of implementation that can bring a competitive edge, then it might want to involve more processes out of SPICE or the ISO/IEC 15004 standard. Therefore, the use of a particular model is dependent entirely on the needs and requirement analysis of the organization.

A Cinematographic Vampire’s Tale: Understanding the Symbolism Behind the Horror Icon

Cinema is the place where we as viewers engage in sharing a collective dream. Certainly, horror movies enrich us as viewers with the most dream-like of plots. This is because they open a portal into another world where we are allowed to engage with our nightmares. All over time various horror movies show us how normality is endangered by a monster, but the creature who has haunted the screen like no one is undoubtedly the Vampire. According to Ivan Phillips the figure of the Vampire has drifted and shifted through the pages of newspapers, travel journals, novels, poems, comics, and plays for 300 years, it has haunted cinema and television for almost a hundred, its shadow is creeping into the social, narrative and ludic networks of the digital’. The image of the Vampire is constantly present in the virtual and literature culture of the twenty-first century. Although this being moved from its folkloristic origins in which he appeared in works of J. Sheridan Le Fanu, John Polidor i and Bram Stoker, the vampire still remains an iconic figure in Western Culture. This personage provides paradoxical fascination as it exists ‘at the edges of what is deemed normal, acceptable and safe, the vampire embodies the foreign and the unfamiliar’. Although, the vampire is often seen as a bringer of death, there are numerous metaphorical meanings and readings of this being. Through Marxist discourse the vampire is portrayed as the monster of monopoly capitalism and the agent of foreign ownership. This idea of the ‘bloodsucking capitalist’ is perceived in a negative way the Marxist community. In a xenophobic society this idea of the vampire embodies a general fear of the unfamiliar and may also constitute a racial difference. But the vampire not only represents the non-conformity it also alludes to an illicit desire. According to Jorg Waltje, this being is the embodiment of humanity's ‘hopes and desires: beauty, strength, and immortality’. Although these elements do not express fear in the same way as the vampire's link with death but in the same manner they express an external behaviour which puts at risk society's stability. The vampire hints to a sense of ‘unsettlement’. Through his figure the viewer, in a quite troubled sense, comes face-to-face with the dramatization of humanity. As a creature, the vampire encompasses men's vulnerability and his inability to alter the laws of time. As Sarah Sceats states ‘Vampires represent what we both fear and desire; they evoke a marginal world of darkness, secrecy, vulnerability, excess, and horror. Whatever they are, it is positively Other’. This notion of ‘excess' was also tackled by Omar Calabrese in one of his chapters. According to Calabrese one could only escape from ‘a closed system’ through this notion of excess. The vampire represents this excess as he personifies ‘those aspects excluded or rejected by society, its existence in itself denotes excess’. In addition to this, Calabrese associates this vampiric excess to the exotic erotic which alludes to the scandal and breaks the boundaries of what is socially acceptable. In this sense the vampire's bite is linked with the erotic. Further to this ‘explicit erotic act’ we have an unavoidable act with death. It was Bram Stoker which explored this notion in his novel Dracula. In the scene, where Lucy dies we see an excessive use of the erotic; ‘She seemed like a nightmare of Lucy as she lay there; the pointed teeth, the bloodstained, voluptuous mouth – which it made one shudder to see – the whole carnal and unspiritual appearance, seeming like a devilish mockery of Lucy’s sweet purity’. Through this, Bram Stolker illustrates us with an example of how death is linked to the erotic. The notion of ‘excess' is repetitively used and reused by Stolker. In fact, he describes Lucy as a ‘nightmare †¦ hich it made one shudder to see’ As viewers, as film enthusiasts or as junkies of the silver screen, we have grown accustomed to think that nothing happens outside of the frame. Yet this idea seems to crumble to the ground when it comes to Dreyer's, Vampyr. The latter haunts us with ‘a distinctly innerving sense of not knowing where anyon e is, creating a feeling that anything culd be happening beyond the frame, in the ‘blind space' in which the monsoter lurks’. Visually speaking, Vampyr resembles Jean Epstein's La Chute de la Maison de Usher and Bunuel's Un Chien Andalou. Dreyer's horror movie encapsulates ‘clear moments of crossover between the two movements’. Therefore Vampyr distinguished itself from other movies of the same genre because of the various artistic influences which left their imprint. Comparison can also be drawn between more contemporary movies which are not necessarily classified under an artistic movement but which are still relevant to vampire studies. Coppola's movie is separated by decades from its predecessors and is more straight forward in the narration of events. Visual metaphors are central to its filmic structure and the American director’s interpretation is completely submerged in blood, but while this film is heavily conditioned by an erotic element, the scenes of blood in Vampyr are scarce. The ‘spots of blood’ carry psychoanalytic connotations. Barbara Creed states that the manifestation of horror is culturally and socially constructed through the ‘images of blood, vomit, pus. shit etc’. These images emphasize a split between the law of the father and the maternal influence. This division has to be viewed under a pre-Oedipal line of thought. In this stage there is a fierce attachment to the maternal figure. In Dreyer's vampire movie, blood is linked to the maternal entity because Chopin ‘punctuates the flesh and transgresses the sanctity of the body’. Another overwhelming point stated by Creed is that the female vampire does not limit herself to mutating her victims into creatures which are one with the night. Her victims are testimony of the vampire's ability to destabilize ‘traditional gender definitions’. Although lesbian connotations are often attributed to this particular flick, there is no real intimacy between Leon and Chopin. The scene in which Chopin ‘feeds' upon her young prey, does not communicate a sense of desire. The village doctor who is at the service of Chopin, does not coincide with the medical man who represents a positive force in the traditional gothic horror narrative. In Coppola's Dracula, based on Bram Stocker's novel, Van Helsing is an educated individual and an adversary to the malevolent vampire. The doctor ‘sucks' the blood from the living thanks to the transfusion equipment just as Chopin uses fangs. The victim of the doctor's bloodsucking, artificial technique is Gray. He is the character who often looks at the actions taking place by standing behind doors or windows; ‘he is an outsider peering in’. In fact, Gray is removed from the narrative action even as he witnesses the first death. David Bordwell believed that Gray ‘is a curious character’ and he is more of a mediator than a provocateur of action. However, Gray still ‘possesses an active and enunciating gaze’. This male character's progress is often hindered by other characters, by the props and also by buildings. What is so overwhelming about Vampyr is the collision between reality and the supernatural. Everything seems to take place within a dream-like state and the movie is ‘ephemeral, polysemic and shifting, provoking opinion and polarising debate’. The movie afflicts the viewer with dissonance and discomfort, especially when our gaze meet Chopin's stare as Gray is sealed in the coffin. The latter is an artefact which shares an endless tradition with the general notion of vampirism. It is the space where these beings retreat and hide away from the daylight. The coffin is the body-fitting box where Dracula and Count Orlock patiently wait their time to rise while the vessel is sailing. This tomb or repository is ‘the most vampiric of all enclosure’. Gray finds himself trapped in a coffin and at this point in the movie's chronology, ‘the spectatorial gaze is doubly trapped, within the confines of a sealed coffin and the immovable dead body’. As the coffin containing Gray's corpse is being carried away, the procession passes next to Gray's unconscious body. In Vampyr, the element of the doppelganger has a heavy resonation. Vampyr is venerated amongst lovers of the genre even though movie makers throughout those years did not have the present technological resources. Old, B&W, silent movies may seem alien in form and content to younger generations, yet what some of these past flicks embody inextinguishable artistic and human values. We've already drawn remarks on Coppola's remake of Bram Stocker's narrative work into film. Long before the release of this movie, ‘the most haunting of any attempt to dramatize Bram Stocker's novel’ was Murnau's Nosferatu. There is a strong resemblance between Murnau's vampire and the one lurking in the book. What is it that viewers find so terrifying about Nosferatu? Is it the vampire’s appearance and inhuman gestures? Does he embody the general notion that â€Å"we fear whatever we cannot explain or understand through rational thinking†? As consumers, for there is no better way to call genuine movie enthusiasts, we ought to dig deeper and deeper into the sequence of images. Most of the time denotations come with connotations and it is up to us to fish out such hidden meanings. The imagery in Murnau’s movie suggests the concept of repression and ‘the arch is a visual leit motif in the film’. Arches and similar structures try to stop the vampire from emerging. Count Orlock is therefore a repressed force who is also linked to Jonathan via these same arches. In a memorable scene in the movie, the Count emerges from under an arch and Jonathan from another as they meet for the first time. Jonathan is also linked to the menacing creature through the house which stands on the opposite side to his. Count Orlock purchases this house, thus becoming the young man’s reflection. Jonathan is a loving companion to Nina while Nosferatu becomes a ‘demonic alternative husband’. Nosferatu contains numerous references to ‘a number of traditional or cultural elements’. Myths about Persephone and Orpheus also produce an echoing effect through this vampire movie. Nosferatu was not meant to float in its own air bubble, separated from all other influences and ideas. Murnau transfuses into the motion picture ‘the product of a synthesis’. This adaptation of Dracula, which donated to all lovers of the horrific this ‘thin, repulsively bald’ being, dates back to ‘the heyday of expressionist fantasy’. What come into collision are the natural and the fantastic. These two distant realms are central to Nosferatu yet neither dominates the film. The viewer cannot but notice the obsession with filing space and the ‘obrusive sets’. Like Tabu, Nosferatu is primarily set in natural surroundings and both of Murnau’s movies deal with a menace. The latter diffuses into an ordinary world and out of a fantastic, paranormal world. Nosferatu portrays an animal-like being (a mixture between a rat and a human skeleton) who is ‘constantly associated with nature throughout the film’. Even Count Orlok’s movements does not coincide with those of a human being , in fact even his castle ‘is like a natural continuation of the rock’ thus the true protagonist in Nosferatu is Nature which is closely linked with its natural settings. In Nosferatu, Murnau used a sort of trick photography also with expressionist angle shots. As Gilberto Perez Guillermo suggests these specific techniques are used to illustrate a remote, fragmented and bizarre environment. Nosferatu is generally seen from distance and this gives us the impression that the nocturnal creature is merging itself with the surrounding nature. Murnau succeeded into creating an iconic- power image through which he shows Nosferatu as ‘seemingly immensely tall’. In particular the scene where the vampire is standing on the deck of the vessel which is no longer conducted by a human being. Murnau makes also the use of the negative image, this technique is ideal to express ‘mystery, fantasy, and unreality’. This negative image basically involves an X-ray photograph, in this film it was used when Jonathan was being carried into ‘the land of phantoms’ in Count Orlock's weird carriage. The three movies which have been discussed so far are all based on similar, if not identical, themes. In each case the relationship between the female character and the parasite represented by the vampire is at the heart of the movie's plot. Guillermo del Toro took on a different approach and directed a vampire movie which derailed from the norm set up by the previously discussed films. Narrative-wise, Cronos ignores the myth of the Count and focuses on a device that causes transformations to take place within the main character's physique. The Cronos looks like an insect which shares some sort of a mutual parasitic relationship with its victim. Apart from a different take on the blood-sucking creature's myth, Cronos proposes characters which are marked by an ‘implied absence’. Del Toro's movie might ‘represent a nostalgic look at the past’ in the sense that the long-gone years receive a corporeal dimension belonging to the present. The main character in this Mexican Gothic is a perfect illustration of this notion. Jesus Gris is the ‘purveyor of antiques and guardian of the new dawn’ the latter being Aurora. What distinguishes Jesus Gris with Dieter de la Guardia, the dying industrialist who is aware of the Cronos' true nature and powers are there past scars which must be dealt with in modern times. On the one hand the ‘scars’ of Jesus are related to family life while on the other Dieter de la Guardia is at the mercy of an ailing health. Above all else, the Cronos is a ‘fascinating hybrid of science and nature’ and the golden case is said to hold an insect which lives off human blood. In return the creature rejuvenates its bearer and prolongs his life, killing off the threat posed by ‘corruptible, material flesh’. The device is needed by de la Guardia because it surpasses the technology of modern times. Only the Cronos can achieve what technology has failed in. There also lies a fine parallelism between de la Guardia and the angel’s statue. The man’s body is full of holes just like the archangel’s interior which is infested by cockroaches and if the statue reminds us of the divine, the deteriorating human body indicates an inevitable ending. Erotism is a stranger to the film’s plot, yet del Toro’s work delves into universal dreams, such as eternal youth and the conflict between life and death. Jesus caries the device while de la Guardia holds the instructions; Jesus is the unsuspecting individual who comes across an artifact of mysterious powers and who ends owning itself to it. The Cronos dehumanizes him and his need for human blood becomes more prominent as the film unfolds. Just as the insect feeds upon the blood of the device’s holder, the latter ends up developing an appetite for human blood. Viewers have grown accustomed to having a female figure within vampire stories. Whether the woman is a prey, a victim or an object of desire, she has been instrumental to Dracula’s and Vampyr’s storyline. In Cronos, Aurora ‘plays the role of the love interest for which the monster must make his sacrifice’. Transformation and shifting of form does not limit itself to Jesus’ metamorphosis, but it also manifests itself in the relationship between the vampire and the female figure. The erotism is replaced by an ‘innocent, filial love’. Contrasting and comparing characters and plots allows us to point out what is present in one movie and absent in another. Some characters from different filmic works may share the same attributes or characteristics, while others may interpret the same role but in a totally different manner. The so-called â€Å"assistant†, the faithful follower who is at the service of his master, is present in all four films discussed so far. However Angel, the nephew of de la Guardia, is not as submissive as Renfield and the village doctor. Angel’s mode of thinking is simply capitalistic. He yearns for his uncle’s wealth and represents the ‘cynical angel’. In contemporary popular culture the power of the vampire’s bite did not vanish but in some manner it did change. We can see this notion through the creation of diverse pop culture vampires such as Angel and Spike in the series Buffy the Vampire Slayer (1997-2003). These modern vampires have been ‘desexualized and de-victimized’ because they only obtain and drink blood from butchers. Now the vampire is made more human and this highlights the fact that contemporary vampires have a more mundane appearance. In the new millennium the vampire seemed to have changed from a creature of fear to a creature of ‘sympathy and emulation’. This is made more evident in online discourse about the vampire. As argued by Mary Williamson in her book Lure of the Vampire, in the virtual world the vampire is perceived as a ‘forgivable outcast’ and thus we sympathize with him. In Facebook, a social network used by millions in the world the presence of this being is very strong. Through one particular application called Vampire application we see several imitations of the ‘folkloric tradition of the vampire’. This application is diffused from one user to another via a ‘virtual bite’. During this process a user is sent an invitation to enrol himself to such application, were the user gets to interact with other individuals who share their interest and curiosities about this subject. Users get to fight other vampires, fill their hunger or feed upon weaker vampires. Once cravings for this so called ‘virtual-violence’ are stated by many, users can also send gestures such as hugs to their nearest companions. Feeding and fighting are the highlight of this application were vampires get points and money for doing so which than they can be exchanged for weapons or to improve their senses or powers . In this application placing someone in a suit will result in losing all their fights for two consecutive days, which is quite a deal breaker. This application also embraces violence amongst friends. Some of the many options this application boasts are the way one can attack another throughout the Facebook community. This application is filled with the erotic; this notion solidifies the ‘traditional elements of the transgressive vampire’. At each and every single level the vampire's abilities achieves a new rank and this creates a new type of vampire. As noticed by Mary Williamson in the virtual world this being is not perceived as an ‘outcast’ but rather a fundamental figure through which players communicate. In the online world the vampires have become a part of a different ritual, a social ritual by which relationships and friendships are maintained and expanded’. In this application, what used to frighten about this creature is eliminated and instead it is accepted. In fact, with the loss of penetration of the bite the vampire is ‘de-sexualized and sanitized’. According to C alabrese, the vampire represents only a slight alteration beyond what is socially accepted and thus it represents; the shifting of limits. ‘When confronted by an ‘acceptable’ excess, the limit is simply moved (perhaps to a considerable distance) in order to absorb it’. When in the virtual world, elements like blood and the penetration of the bite are removed ‘the virtual vampire becomes the monster that is us’. In the twentieth century, sympathy for this being has grown bigger. In fact as stated by Williamson, this being has generated new implications and attitudes ‘towards the ‘self ’ in the twentieth century’. There is a great desire to imitate the vampire not as a rebellious figure but rather to imitate a ‘bohemian outsiderdom which locates the individual as the desirable outsider, the sympathetically alienated’. In the virtual context perception of the self becomes ‘fluid and flexible’. As it is no longer linked with the body but it is highly linked with the fulfilment of desires. In this sense identity is constructed as one desires. The virtual identity can be understood through the Lancian psychoanalytic theory. ‘In the online world the virtual identity is not reflected but is rather constructed; the subject is not created in the reflection but rather in the digital composite’. This leads us to do a parallelism between the vampire and the virtual identity. According to Shannon Winnubst, the site represents the mirror reflection in which an individual forms and constructs his ideas about the self. On the other hand the vampire ‘in lacking a mirror reflection, does not even register on the radar of identity-formation: he does not have the necessary condition for the possibility of becoming a subject’. Also Rhonda Wilcox explored this theme using the imaginative Id and the Jungian shadow. According to Wilcox the online body represents the negative aspect of one's personality. In this manner the vampire is portrayed as the doppelganger of the victim before it was biten. Stoker's Lucy and Angel in Buffy are the perfect examples, Stoker’s Lucy from chaste to ripely erotic, or perhaps the souled and soulless incarnations of Angel in Buffy – so too does the virtual body provide opportunity for the vampiric shadow to find form in cyberspace. As stated by Wilcox, the imaginative Id illustrates the unconscious which is repressed and which encourages the pre-vampiric identity to free itself. In this sense online where the personality is fluid the wishes of the Id can be fulfilled as there are no repercussions which constitute some sort of restriction in the corporeal world. When talking about horror movies there is a subtle difference between the onster and the human being. But as indicated in films by Dreyer, Murnau, Coppola and Guillermo del Toro a strong link exists between the two beings. The myth and the vampire have always been subjects of debates. Although there are number of similarities and differences between Vampyr and Nosferatu yet both films show us the vampire as being more than just a b lood sucking, nocturnal creature but it is also the representation of the darkest corners of the human psyche ‘For this is one of the functions of our monsters: to help us constrict our own humanity, to provide guidelines against which we can define ourselves’.

Ethical Lens Reflection

Ethical Lens Reflection US101 I use my reasoning skills (rationality) to determine what duties are as well as the universal rules that each person should follow (autonomy). By prioritizing the value of autonomy over equality my primary concern is prospecting individual rights. I believe this is always the best way to assure that everyone in the community is treated equally. Believing all person should follow the same set of universal rules so strongly that I resist making exceptions even when intuition suggests a more passionate result. I found this result to be very true of myself.My personal ethical lens may direct my academic behavior into the positives. If all is true as the ethical lens states then when I set my mind to a project, being the discussion questions or an assignment, I fulfill those tasks. Doing this will get everything in on time. My ethical lens influences my critical thinking knowing that I have to think things through, I ask questions when need be, and ensure all resources are verified as scholarly or peer reviewed. By following my ethics I will refrain from plagiarism making sure to cite or reference all sources as needed.Keeping my conscience clear in classes. One of my results was: Tools for analyzing problems, Reason. Using critical thinking skills is my preferred method for learning and problem-solving. It states that I tend to think through a problem carefully and dutifully research options to find the one that will allow myself to fulfill my duties. My focus on gathering and carefully analyzing all the available data so I can make fully informed decision. The classical value of Temperance shows that I value individual balance and restraint in the desire for pleasure as I seek to satisfy my duties.I also know who I am, so I can act with integrity in the exercise of all virtues. â€Å"I am responsible† is my key phrase. Because I value autonomy and rationality, I tend to assume that my own definitions of what a responsible perso n should do applies to everyone. I define an ethical person as one who fulfills their duties and does the right thing as an autonomous, fully responsible adult. For me, this is the fullest expression of fairness and justice. My gift of self-knowledge shows I am concerned with figuring out my duties, when I am at my best I know myself – I know what I am doing and why.Because of this, when I say that I will do something or care for someone, I follow through. I am also able to live in the present, to determine what I need to do at any given moment to fulfill my responsibilities. I risk being autocratic or bossy. I require everyone to do things my way in order to measure up ethically. I tend to not consider other interpretations of facts or listen to other approaches once I have made up my mind. If I am not paying attention I can be tempted to excuse myself from following the rules. I insist that I really am being true to my core values, even when I am not.I’ll convince my self that the rules were meant for other people or that the action I want to take really does meet my responsibilities, even though my responsible self tells me otherwise. My vice is that I can become overly judgmental and unrealistic. I must remember to think about the impact of a decision on the whole community. Sometimes individuals actually benefit by restraining autonomy for the good of the community. As I learn to consider other perspectives in my decision making process, I will live out the best of my ideals with compassion and care for others.Using the results from the aptitude competency exercise can help with my current career as well as in class. By focusing on customer needs and satisfaction; I can set high standards for quality and quantity; monitor and maintain quality and productivity, working in a systematic, methodical and orderly way, and consistently achieve project goals. By producing new ideas, approaches, or insights; I can create innovative products or designs , and produce a range of solutions to problems.

An Analysis of the Arguably Unified Poem, Beowulf Essay...

An Analysis of the Arguably Unified Poem, Beowulf Beowulf as a less than unified work, more important for its historical and philological content than its literary merit, and critics after him regard Beowulf as a unified work of art. For example, of the critics who discuss the poem as a whole in An Anthology of Beowulf Criticism, most agree pace Tolkien that Beowulf is a unified poem, even if they argue so on different grounds. Burton Raffels introduction to his own translation offers a particularly exuberant example of post-Tolkien Beowulf criticism: [W]e are remarkably lucky to have [Beowulf]: not only is it unique, the sole survivor of what might have been a thriving epic tradition, but it is great poetry. Approached as an†¦show more content†¦It is primarily for these reasons that critics prior to Tolkien argue against the unity of Beowulf. Though this paper agrees more with Tolkien and Raffel, it does not assume the self-evident unity of Beowulf; rather it will briefly review and assess the main issues relevant to the question of the poems unity, of which there are three: (1) Beowulfs structure, (2) the significance of its subject matter, and (3) its thematic unity. One possible caveat here is that modern ideas about artistic unity do not apply to Beowulf. H. L. Rogers makes this claim, for example. However, Aristotle presented sophisticated ideas about poetic unity long before Beowulf, and hence there is no reason to believe that Old English authors had primitive notions of artistic unity. Moreover, those who argue against the single authorship of Beowulf already apply modern standards of unity to support their case, as Rogers indeed does. Thus there should be no great objection to applying these standards in support of the opposing view. The prima facie evidence for the structural unity of the poem is strong. The narrative centers around three fight scenes that parallel one another and link together part one and part two. In each part, a monster plagues a helpless people, and Beowulf comes to the rescue. Throughout this basic narrative, there are themes of kingly wisdom and tribal loyalty, descriptions