The Unexpected Deaths :: essays research papers

Too much time on your hands can be self-destructing. It happens everyday, a woman with seemingly little to do with herself is able to sit and ponder her future; she is able to take a step back and examine where she has been and what could possibly lie ahead. Chilling to some who can’t even remember what they had for breakfast this morning and more disturbing to those who are not happy with the direction they are headed. But does it really matter in the end whether or not your toast had butter or jam on it or whether the things you have done in your time made you rich? The play Rosencrantz & Guildenstern are Dead by Tom Stoppard examines the universal truth of the end of your days and the notion that what is in between really won’t count when it is all over.   Ã‚  Ã‚  Ã‚  Ã‚  Guildenstern, the more seemingly wiser of the duo, makes a comment in the first act to Rosencrantz, saying, â€Å"The only beginning is birth and the only end is death- if you can’t count on that, what can you count on?† (39). With this said, don’t you think that our two characters would do all they can to try and change the fate before them, to try to defy the laws of finality and probability, just as it happened in the flipping of the coins? However, it does not seem that these two men are capable of such higher thought. And, as said in class, the script has already been written, so wouldn’t any change you feel you were making already be in the script?   Ã‚  Ã‚  Ã‚  Ã‚  However, in this play, whether you want to call it a tragic comedy or a comic tragedy, two men have basically seen the fate of all man and know that the end will come. There is nothing anyone can do about it. Moving along in the play though, they seem more and more naà ¯ve to the fact that they too will come to an end. They have refused to see deeper into the play acted out before them, the story that tells of their ending.   Ã‚  Ã‚  Ã‚  Ã‚  What does bring depth to these characters is the fact that Rosencrantz and Guildenstern do try to make sense of their existence and go through the play blissfully unaware of where it will all end. Ironic as that may sound, especially since Guildenstern did make a point to say that birth and death are the two things in life you can count on, the two men seem to think that just as the coin ended up on heads for ninety times, they too will defy the odds.

Analysis Of 1984 :: essays research papers

Analysis of 1984 In 1949, an Englishman named Eric Blair published the novel 1984. Under the pseudonym, George Orwell, this author became one of the most respected and notable political writers for his time. 1984 was Orwell’s prophetic vision of the world to come. This creation of â€Å"Negative Utopia† was thoroughly convincing through Orwell’s use of setting and characterization. The theme conveyed by Orwell is that no matter how strong an individual a communist society would destroy any hope that that soul had of surviving, and that no matter the reasons told to the society, that power that the Party seeks is for no gain except for power. The story begins in April of 1984, in a grim, industrialized city called London. London was â€Å"chief city of Airstrip One, itself the third most populous of the provinces of Oceania." The dwellings that the people live in, called Victory Mansions, are depicted as â€Å"†¦rotting nineteenth-century houses, their sides shored up with balks of timber, their windows patched with cardboard and their roofs with corrugated iron†¦.† The setting creates a mood of devastation and hopelessness, fabricated by the Inner Party to suppress its followers. These people live in a society that is ruled by totalitarianism, and the aim is to give the greatest good to the smaller number. As indicated by â€Å"Cliffs Notes,† on pages 34 and 35, the main character, â€Å"Winston, like others, is expected to do his job efficiently and receive no reward but the opportunity to live austerely for the greater good and self-perpetuation of the Inner Party.† Told in third person limited, the reader is only allowed in-depth knowledge of the protagonist, Winston. Winston Smith, a thirty-nine year old man with a varicose ulcer, is a member of the Outer Party. He has â€Å"a smallish, frail figure, the meagerness of his body merely emphasized by the blue overalls which were the uniform of the Party. His hair was very fair, his face naturally sanguine, his skin roughened by course soap and blunt razor blades and the cold of the winter that had just ended.† Winston works in the Ministry of Truth, which is concerned with news, entertainment, education, and the fine arts. He is employed in the Records Department, where his tasks consist of writing and rewriting scripts to fit the present and past which unceasingly fluctuate and add to the dominion the Party had over its members, and the history they believe in.

Music Censorship Essays -- essays research papers fc

Things are heating up in America. People are protesting outside of the movie theaters, concerts, and book and record stores of this great nation everywhere. What is all the fuss about? Censorship, Government officials, and raving mad protesters alike have been trying to stop the expressive creativity in everything from rap music to Mark Twain. Censorship in music is a topic that has brought about much controversy in the past two decades. There have been many different arguments on the topic, however the question still remains as if it should be censored or it should not be censored. In Paul Blanshard’s book The Right To Read: The Battle Against Censorship, he speaks of censorship as a negative boundary on society. Blanshard argues that people have been given the right to express themselves fully and censorship is incorrect on the basis of the first constitutional right. Martha Bayles, in her article â€Å" The Perverse in the Popular,† discusses a characteristic of society that she calls ‘perverse modernism’, which refers to the public’s attraction to the evils or negatives of society. ‘Perverse modernism’ will cause censorship of controversial music to be unsuccessful. There are several concerns and issues with artistic expression through music, however censorship of the controversial music will not resolve any problems and it will only create more problems. The current state of society would not allow music censorship to be successful. ‘Perverse modernism’, which refers to the public’s attraction to the evils or negatives of society, is a characteristic that has become a standard of today’s society. This characteristic is not something that emerged recently but it has grown slowly through time. For hundreds of years, society has been exposed to negative material through literature, television, or music. People have developed an interest in material that is forbidden. There is a need for people to fulfill their curiosity with knowledge of all material, good or bad. Jeffery Goldstein explains, Violent entertainment did not suddenly arrive on the scene, and it is not likely to depart it any time soon. People become acclimated to the arousal generated by violent images, but they have a continuing need for excitement. Does this mean that we shall have to accept ever-increasing violence and terror for entertainment purposes? It would appear to be... ... Works Cited Anderson, Craig A. et al. â€Å" The Influence of Media on the Youth † Psychological Science in the Public Interest. 4.3 (1999): 81-110 Bayles, Martha. â€Å" The Perverse in the Popular.† Wilson Quarterly 25 (Summer 2001): 40-47.   Ã‚  Ã‚  Ã‚  Ã‚   Blanshard, Paul. The Right To Read: The Battle Against Censorship.   Ã‚  Ã‚  Ã‚  Ã‚  Boston: The Beacon Press, 1955   Ã‚  Ã‚  Ã‚  Ã‚   Goldstein, Jeffrey. â€Å" The Attractions of Violent Entertainment.† Media Psychology   Ã‚  Ã‚  Ã‚  Ã‚  1.3 (1999): 271. Huff, Darrell. Homepage. 2004. http://www.effectivemeetings.com/productivity/communication/statmanipulation.asp Levendosky, Charles. â€Å" President Bush: Make Those Protestors Disappear. † Humanist   Ã‚  Ã‚  Ã‚  Ã‚  64.1 (Jan/Feb2004): 4 Shemitz, Jon. Homepage. June 30, 1994 - June 1, 1997 http://www.midnightbeach.com/jon/US-Constitution.htm Smith, Valerie. Home page. April 19, 2004. http://www.fradical.com/Canadian_copycat_incidents.htm Music Censorship 201:U5 Research in the Disciplines Final Draft Word count: 3,253 F. Nika Hedges Spring 2004

Germany experienced a period of political calm Essay

The Stresemann years of 1924-29 have often been portrayed as the â€Å"golden years† of Weimar Germany; however this idea has been challenged my many historians. During this period there was an element of political calm but it was mainly typified by political inaction and a failure of coalition governments to agree on any important issues. Economic development did occur but was minimal, and the period was one of slow economic growth and â€Å"relative stagnation†. Similarly, there were several signs of social progress and cultural development, but the years were significantly characterised by cultural polarisation. Therefore the blanket statement: â€Å"Germany experienced a period of political calm, economic development and social progress in the mid 1920s† ignores the problems in Weimar Germany at this time and is therefore not entirely correct, each clause contains some validity. In politics, there was a clear reduction in extra-parliamentary attempts opposing the government and political system. This was particularly significant as the preceding 1919-23 period was characterised by such threats from the Left and Right of the political spectrum, for example the Spartacist uprising, the Kapp Putsch and the Beer Hall Putsch. However, the mid 1920s cannot be said to have been years of political stability. Despite the reduction in threats to the Weimar state, the parliamentary system failed to mature and develop – a political stagnation developed, not a political calm. Seven governments were formed and dissolved during the 1924-29 years, and only two of these claimed a working majority. This clearly illustrates the failures of the coalition system to produce a strong working government with sufficient support (something which was greatly needed in order to tackle the problems that faced the new democracy.) Instead, a â€Å"stalemate† ensued. Blame fo r this can be partly placed upon the political parties of this time, as up until 1914 they had no experience of forming governments or compromising in order form governments. Instead, parties acted more as interest groups rather than as national parties of  government. This was significant as the electoral system of proportional representation relies on the cooperation of political parties. However the German People’s Party (DVP)’s increasing association with the interests of business caused it to refuse to form a coalition with the Social Democratic Party (SPD). Between 1924 and 1928 the SPD resisted becoming involved in the formation of any viable coalition government because they believed that a coalition with the â€Å"bourgeois† parties would lead to a compromise of party ideals. As a result the influence of the SPD in the Reichstag was significantly reduced and the parties rejection of political responsibility undermined the democratic system; contradicting the key concepts of representation and accountability. Other, smaller issues undermined the political system, as Chancellors fell out over very petty things such as the use of the imperial flag. Thus it can be concluded that throughout the years 1924 to 1929 politics was inefficient and suffered from stagnation. The simple claim that the years were a period of political calm is misleading as, despite illustrating a brief reduction in attempts at extra-parliamentary action, it ignores the many problems which underpinned politics at this time. Historians commonly argue that during the mid 1920s the German economy experienced currency stability, slow growth and â€Å"relative stagnation.† There was significant economic growth but it was underpinned by significant industrial unrest and unstable foreign investment. Therefore simple claims of economic development during this period do not show the whole picture. Having said this, there was a definite increase in monetary stability which can be attributed to the introduction of new currency in 1923, the Rentenmark, and also the consequences of the Dawes Plan which brought about a significant influx of foreign capital. The monetary stability brought about by the establishment of the Rentenmark was a great improvement after the hyperinflation of 1923 and helped the classes who had suffered most during this time. However, the foreign investment which enabled the reconstruction of German industry to take place was potentially dangerous as it could be quickly and easily withd rawn if there was a downturn in the world economy. Thus although it enabled a degree of economic progress, the measure could be seen as temporary and had the potential to bring disaster  upon the German economy if it fell through. Some of the growth in available capital was also due to the Dawes Plan though which decreased the rate of repayments, though. National Income in 1928 increased by 12% from 1913 levels and industry experienced massive growth. These positives are balanced by the sobering reminder that monetary stability was based on foreign capital, and the fact that other areas suffered change and unrest. Unemployment figures also question the image of the 1920s as the â€Å"golden years† of Weimar Germany. By 1928, 3 million Germans, accounting for 15% of the workforce, were unemployed. These figures suggest that many of the economic problems which would later surface were actually rooted in these supposed years of stability, and any economic progress related to the mid 1920s is only relative, in comparison to the dire state of the German economy in the periods directly before and after it. There was considerable social progress in the mid 1920s as advancements in welfare, housing and public health improved the standard of living for many German people. After the war there was an increased need for welfare and in 1924 the system for claiming relief and assessing the needs of the claimant was codified (although many claimants continued to receive benefits at a subsidence level.) Other changes in the law signalled social progress, such as the 1927 Labour Exchanges and Unemployment Insurance Law which introduced unemployment insurance. Thus the welfare state was significantly increased, though it remained imperfect. In general terms of public health, standards improved. Better health insurance and medical provision led to a reduction in deaths from certain diseases such as tuberculosis and pneumonia. The position of women mainly remained the same as the proportion of women working outside the home increased only minimally. Although there was a growing number of women in ne w areas of employment in the civil service, teaching and social work, attitudes towards women working were generally conservative. However, arguably more significant than these minimal signs of social progress was the cultural polarisation which existed in this period. During 1919-24 a new style unique to the Weimar Republic developed and manifested itself in the media. The new movement stressed objectivity and matter-of-factness. Alienation from the Weimar Republic was a common theme of writing, theatre and cinema highlighted social issues with a new  seriousness and architecture was dominated by the Bauhaus movement. This â€Å"Weimar culture† was used to show the injustices that existed in Weimar society. However the objectivity of this new movement was in direct contrast to the nostalgic romanticism and escapism of popular literature. Similarly, the modern Bauhaus movement stood against the majority of Germans traditional taste. Some historians have claimed these supposed cultural advancements were just the movement of a â€Å"counterculture† which many opposed. It is also important that the cultural developments which did take place did nothing to help stabilise the Weimar Republic; instead they only served to further divide Germany society, this time on cultural lines. Neither culture showed particular support for Weimar Germany and its values, thus this limited form of social progress did nothing to improve the stability of the Weimar Republic. In conclusion, the statement: â€Å"Germany experienced a period of political calm, economic development and social progress in the mid 1920s† is only partly true. Germany did experience limited political calm, a somewhat greater degree of economic development, and a small degree of social progress. However the claims made in this statement are broad and ignore the complexities of German politics, society and economics in the mid 1920s. Although there were suggestions of political calm, many problems were evident within German politics at this time such as political paralysis – the above statement ignores this. There was monetary stability and cases of economic development during these years, far greater than social or political stability and improvements. However the causes of this economic progress and stability can be considered superficial, as fundamental weaknesses in the German economy ensured it remained far from stable. Lastly, there were improvements in public health and welfare services but they were limited and imperfect. Social developments were evident but what may be considered social progress by some engendered hostility in others, resulting in cultural polarisation. In contrast to the rosy image painted in the original statement, this period saw the beginning of economic pressures and social discord which were to worsen after 1929. Many historians have traced the weaknesses which contributed to the breakdown of democracy in the early 1930s back to this period.

Comparisons of war poems Essay

In exploring the portrayal of war in the poetry of Wilfred Owen and Shakespeare one can see the contrasting attitudes and realities of war. In before Agincourt set in 1415 composed by Shakespeare, he portrays the glory and honour in war, whilst Anthem for doomed youth composed by Wilford Own set in 1914 is expressing the meaningless and realistic thoughts of view. In the first stanza which Shakespeare has composed in the poem before Agincourt. He uses manipulating concepts that convey the message that war is a great adventure and that you should die for your country. Whilst Anthem for Doomed youth is doing the exact opposite and tries to convince the reader that war is a horrific ordeal. As the two poems where written in an interval of five hundred years it shows us very clearly the different point of few people had in their perspective time about war. Before Agincourt is a very patriotic and heroic poem. In the first stanza Shakespeare uses a courageous tone. He uses emotional adjectives and verbs to make the reader feel the same as he does. He also uses a lot of positive nouns to create this affect e.g. â€Å"greater share of honour’ â€Å"Gods will†. There is not much alliteration or any form of onomatopoeia in the first stanza. The second stanza uses a lot of emphasised words and longer pauses before the next line he also uses repetition of words starting with M. In the last stanza of the poem he does not use any assonance, onomatopoeia and alliteration technics to emphasize his poem. He only uses strong punctuation and pauses to create a very positive approach on war. This poem could be used as a propaganda device. Anthem for Doomed Youth composed by Wilford Owen. In the title of this poem Wilford is expressing that war is negative. â€Å"Doom† is a simile to convey inevitability of death, Doom also uses assonance with the double O’s. It has an affect of being scary and threatening. The first stanza uses repetition to add rhythm and onomatopoeias to create a more realistic approach on war. The second stanza uses a lot of repetition and emphasised words. e.g. â€Å"No mockeries†, â€Å"no prayers nor bells†. No mockeries is implying no more joy and that they can’t be mocked any more because they have perished. The â€Å"No† is also emphasised to give the poem more rhythm. No prayers nor bells. Is repetition, it also has a sad motive. The tone goes up to give the poem more negativity and sadness by elongating some words. The third stanza uses a rhetorical question to start off with. The mood is a lot softer. This is created by the poet using a softer tone to shorten the â€Å"S’s, P’s and R’s†. He uses repetition to try and enhances the reader’s sadness and visual imagery. There are also a lot of similes and metaphors used. E.g. pallor, paleness, brows, forehead. In the last stanza there is a vast amount of imagery of death. There is an ethical custom to conclude his poem. â€Å"Drawing down of blind† this is what people at home did when a close relative died. Comparing these two poems reveals that Shakespeare’s before Agincourt uses a lot less alliteration and repetition making the poem more joyful and honourable for war. In conclusion Shakespeare is totally glorifying war while Wilford more realistically looking at war as a horrifying killer concept. Style wise I prefer Shakespeare poem having a nice ring to its rhythm but the content of his poem is out dated and modern man would find it hard to agree with his idealistic point of views. Personally I can understand Wilford’s Owens point of view better then Shakespears. War is a horrifying non justifiable matter and should not be promoted.

Fairy tale Literature Essay

Literature (from Latin litterae (plural); letter) is the art of written work. The word literature literally means â€Å"things made from letters†. Literature is commonly classified as having two major forms—fiction & non-fiction—and two major techniques—poetry and prose. Literature may consist of texts based on factual information (journalistic or non-fiction), a category that may also include polemical works, biography, and reflective essays, or it may consist of texts based on imagination (such as fiction, poetry, or drama). Literature written in poetry emphasizes the aesthetic and rhythmic qualities of language—such as sound, symbolism, and metre—to evoke meanings in addition to, or in place of, ordinary meanings, while literature written in prose applies ordinary grammatical structure and the natural flow of speech. Literature can also be classified according to historical periods, genres, and political influences. While the concept of genre has broadened over the centuries, in general, a genre consists of artistic works that fall within a certain central theme; examples of genre include romance, mystery, crime, fantasy, erotica, and adventure, among others. Types of Literature Here are some of the popular categories of books and stories in literature. An autobiography is the story of a person’s life written or told by that person. Bill Peet: An Autobiography A biography is the story of a person’s life written or told by another person. Eleanor, by Barbara Cooney A fable is a story that teaches a moral or a lesson. It often has animal characters. The Tortoise and the Hare Fantasy novels are often set in worlds much different from our own and usually include magic, sorcery and mythical creature. The Harry Potter series by J. K. Rowling A folktale is a story that has been passed down, usually orally, within a culture. It may be based on superstition and feature supernatural characters. Folktales include fairy tales, tall tales, trickster tales and other stories passed down over generations. Hansel and Gretel A legend is a story that has been handed down over generations and is believed to be based on history, though it typically mixes fact and fiction. The hero of a legend is usually a human. King Arthur and the Roundtable. A myth is a traditional story that a particular culture or group once accepted as sacred and true. It may center on a god or supernatural being and explain how something came to be, such as lightning or music or the world itself. The Greek story of the Titan Prometheus bringing fire to humankind Science fiction stories examine how science and technology affect the world. The books often involve fantasy inventions that may be reality in the future. The Left Hand of Darkness, by Ursula Le Guin 1. Narrator| The person telling the story (not always the same person as the author or writer)| 2. Setting| The place and time period in which the story takes place| 3. Characters| Protagonist – the main character; the â€Å"good guy†Antagonist – the one opposing the main character; the â€Å"bad guy†| 4. Plot| Plot Development:| Exposition – The situation at the beginning of the storyRising Action – Complications that occur after some sort of conflict is introducedClimax – The turning point in the storyResolution – The situation after the conflict is resolved| | Types of Conflict:| Character vs Self (internal dilemmas, psychological issues, etc.)Character vs Character (personal enemies, villains, criminals, etc. )Character vs Society (governments, cultural traditions, etc. )Character vs Nature (weather, natural disasters, animals, etc. )Character vs Supernature (gods, ghosts, zombies, etc. )Character vs Machine (technology, artificial intelligence, etc. )Character vs Destiny (one’s fate, whether real or imagined)| 5. Theme| The main idea or lesson in the story|

Dream analaysis

Table of Contents Sigmund Freud, The father of psychology as referred to many around the world till this very day. Freud developed an interest in dreams as his patient would disclose their dreams whilst in therapy under his supervision, which today is called psycho analysis.Carl Jung another very important figure in the shaping of psychology was in fact a student of Freud, but although he Jung was indeed a student of Freud they did not necessarily come to the same conclusion when it came to their theory about the interpretation of dreams. In short according to Freud , dreams are the reflection f the unconscious whereas Jung not only expanded on that but also added a twist and went on to say that dreams not only lead to a personal sub consciousness they also contained a collective unconsciousness.Bring (1995) I will roughly present the two theories and attempt to describe the theoretical foundations of psychoanalysis and Jungian analysis and therapy, discuss the key concepts in the va rious theories, explore the implications of the key concepts on personality theory and counseling as well as summarize basic techniques and therapeutic goals and processes, on the one f the theories I will Journal one of my own dreams and attempt to interpret it.The theoretical foundations of Psychoanalysis and Jungian Analysis Now as mentioned earlier in the introduction, Freud ultimately became accustomed to hearing the dreams of his patients and rather developed a profound interest in the subject of dreams, he soon included the interpretation of dreams in psychoanalysis alongside hypnosis and free association. Bring (1995) As the end of the 19th century wound up, Freud had then researched and unveiled the mechanisms of dreams, and there after dream analysis became the indispensable LOL in the psychoanalysts therapy.Bring (1995) Then again what is the purpose of dreams or how does one achieve a good quality dream or better yet how does one interpret their own dreams or those of ot hers? Another important note is that dream are or may be influenced by notion of Fraud's three structures of personality namely the id the ego and the super ego. Corey (2009) The id is the foundation of personality that revolves mainly around instincts and pleasure, and therefore it never has any rationality in the way it goes about.The ego is where all reasoning is communicated, s its code is based on the reality principle to satisfy or control the impulses of the id. The superego is modeled on a moral code and either rewards with feelings of pride and self-love or punishes with guilt and inferiority Corey (2009) â€Å"A dream is a work of art which requires of the dreamer no particular talent, special training, or technical competence. Dreaming is a creative enterprise in which all may and most do participate. Hall (1953) But who's to say dreams aren't Just a form of an activity that keeps us from being disturbed during sleep, Just as we do activities or work in day mime to preve nt us from falling asleep or to simply keep us busy. â€Å"Dreams are things which get rid of (psychical) stimuli disturbing to sleep, by the method of hallucinatory satisfaction. † Richards (1978) As cited by Corey (2009, P. 76) Freud suggested that dreams are the â€Å"royal road to the unconscious† and â€Å"an attempted wish-fulfillment. † As cited by Hall (1953).Jung also incorporated four stages to dream interpretation but not exactly like the elements in that of the dream work notion from Freud. Jung theorized that the first phase named the exposition accounts for the setting of the dream entailing a conflict expressed in the dream. The plot is the second phase that usually administers a different angle or change, in the next phase, the culmination is where most of the critical transformation occurs in order to bring closure to the dream or dreamer.Leaving the fourth and final stage being the denouement, well this is where Jung believed that, it is what i t is, meaning the dream will always have an ending that can't be influenced to suite the dreamer, much rather t will be a truthful ending based on a real conflict or reflection of one's life. Bring (1995) Jung maintained the notion of the collective unconscious consisting of various myths, religions and many more thoughts that are spiritual or superstitions hard wired in our unconscious to help make rational or realistic decisions otherwise known as Archetypes.The persona, the anima & animus and the shadow are the key concepts of the archetypes. The Persona is in a sense the human veil we wear or the image we choose to portray to the public for our protection of our inner self. (Veered 997) As cited by Bring (1995) â€Å"The persona consists of what a person appears to be to others, in contrast to what s/he actually is. That is to say the persona is the role the individual chooses to play in life, the impression and the way s/he wishes to appear to, and makes on, the outside world. † .The animus and anima refer to concept that there are both masculine and feminine forces in both the male and female sexes respectively. The shadow can well be the most dangerous and powerful factor in the archetypes as it â€Å"represents our dark side, the thoughts, feelings, and actions that we end to disown by projecting them outward. † Corey (2009,P. 80) Jung also proposed that in order for us to become integrated we had to acknowledge and accept that in our own nature there are both constructive and destructive forces forming our dark side otherwise known as the shadow.Corey (2009) My dream My dream starts with me entering one of my most trusted barbershops; I wait for my barber to finish with another client first before he attends to me. When he finally comes around to me I am so excited I can hardly talk anymore, so with me not being able to talk and tell him what hairstyle I want he gets started. He started off by shaving the back of my head completely bold then holding up a mirror to show me what he did without me knowing.He had this continuous grin on his face as if he had accomplished the greatest thing in his life while continuing to shave my head. In that same instance I'm kicking and screaming and flashing red with anger as I want to smack this barber so dearly, but I could not get up from the chair and strangely enough there where really no strings or anything holding me down. After I left the barber shop I went into great depression, never leaving the house not even for school, which resulted in me being expelled from school.The sound of my alarm ended the dream, which I am surprised to even remember afterwards, so there e is most definitely a strong conflict I need to deal with. See appendix 1 for free association Dream interpretation I will be using Fraud's theory for the interpretation of my dream. I will incorporate the likes of the manifest and latent content, the residua notion and a piece of the topographical model will be included.The manifest content derived from this dream was merely the agonizing thought of me losing my beloved hair, which completes my arsenal image. The latent content however was quite strongly suggestive in the thought of what could happen if ever I was to lose my hair, the id mechanism is driven by instinct, and it was left severely damaged in a sense that it could not in fact not react instinctively to this conflict situation.However the ego mechanism I believe is the reason I felt like I was pinned to my seat, and although it did not present any psychical restraints, I was indeed psychologically paralyzed in that moment of anger. The ego fortunately did not satisfy the id's instinct to strike as it relies heavily on the lethality principle and rational thinking, otherwise I would be faced with the consequences of reality. Because the id did not get its way in the beginning, led to the super ego being thrown off course as it strives for perfection and towards an ideal situa tion.The thought of my hair gone is not in any anyway an ideal situation as the only way I could rectify that mistake was to wait till the hair grew back and that in itself send me into a great depression, as the changes made to my appearance where not customary to the super egos values and standards of society. Corey (2008, P. 2) How this dream came about however is in fact related to the thought of me visiting the barber for my regular haircut.Mind you, I pass by this particular barber shop on my way to school, which has me preoccupied with assignments at the moment. So the day before I had this dream I was actually standing at the entrance of this barber shop contemplating whether I had enough time to get a full hairdo or not, I decided not to in the end, and that lead to experience forming the residua of the day that caused the occurrence of the dream I would think. Bring (1995) ConclusionThis essay has in fact taught me a lot about dreams pointing mainly at the significance or message in regards too real life conflict fear or wish it may be trying to bring to the conscious mind. The help to realizes the conflict being presented in the dream is Just as good as the interpretation of the dream in particular, so one has to be careful in the conclusions they draw to because if you were to conclude and started confronting a conflict not stressed in the dream it could well lead to many more unwanted conflicts.But in fact the complete opposite happened, I went there expecting that good Sunday feeling but the barber had a different agenda, he turned my whole experience upside down, he almost was like the id in a errors much to the notion of it being impulsive and doing what it pleases, the barber Just started shaving my head bold without waiting for directions, merely because I could not talk.The possible associations I can relate that image to is that of me attending my first year of college and the time of assignment has arrived and I'm much clueless as what the lecturer expects of me so I am rather drawn to Just go in the direction of trial and error in trying to be original. After the barber starts destroying my image, I want so badly to strike him but I cannot bring myself to do it.For me the part where the barber is destroying my image points to the possibility of me failing my assignment and the part where I want to strike but can't relates to the fact that I want to voice my anger on the subject of not being guided properly to complete these assignments but can't because I know it's an academic department where one is expected to find their own way. The part of going into this deep depression and being suspended interrelates to the feeling of despair and hopelessness on the subject of school and wanting to drop out already.