The Backbone Of The Characters Of Jean Paul Sartre s No Exit

The backbone of the characters in Jean-Paul Sartre’s No Exit consists of the concept of bad faith and subjection. Bad faith is essentially self-deception. Sartre views existentialism as being completely free and responsible at the same time. When one realizes his freedom, he becomes scared of his power. By deceiving oneself into thinking one is not completely free, one delves into bad faith. It can range from religion to sex to morality. Subjection is apparent as well. The play depicts three characters,Garcin, Inez, and Estelle, who have all been sent to Hell because of their crimes on the Earth. They all struggle to deal with themselves and each other in Hell. These characters are all victims of bad faith and overreliance on others for self validation. In the first place, Garcin is a victim of bad faith in many circumstances. Garcin treats his wife poorly, although that is not what makes him succumb to bad faith; it is the reasons for his treatment towards his wife. He specifically explains that it was easy to abuse his wife because of her martyred look. He calls her a â€Å"victim by vocation† (Sartre 14). He gives his wife the role of a martyr and, in his eyes, that is all she is. Confining people to a role is practicing bad faith, whether it is defining others or oneself. By giving his wife a title, Garcin is turning her into an object rather than acknowledge her as a person. He is tricking himself into thinking his wife is an object, an act of self-deception. In the same

A Short Note On Blue Light Receptors The Synthesis Of...

Cryptochromes are flavoprotein blue light receptors found throughout the biological Kingdom with many important signaling roles. Recently, it has been shown that cryptochromes catalyse the synthesis of reactive oxygen species (ROS) in the course of flavin reoxidation after blue light exposure. Although ROS are themselves important cellular regulators, it has remained unclear whether biosynthesis of ROS contributes to cryptochrome signaling. Here we show by fluorescence imaging techniques that ROS accumulates in the plant nucleus within minutes after cryptochrome activation by blue light, resulting in the activation of ROS regulated genes. Mutant alleles of cryptochrome that retain the capacity to synthesize ROS are active in redox regulation even though they have lost the ability to regulate photomorphogenesis. We conclude that ROS formation by cryptochrome has a cellular signaling role that is distinct from the known mechanisms of light induced conformational change regulating growt h and development. These results suggest novel optogenetic tools to induce ROS through targeted illumination of cryptochrome. Introduction Cryptochromes are blue light sensing receptors that regulate many aspects of plant growth and development, including de-etiolation, photomorphogenesis, the initiation of flowering, stress response, and hormone signaling (ref). They play a particularly large role in nuclear transcript regulation, with almost 10% of plant genes directly or indirectly under

Indian sculpture

Question: Explain the importance of situating a society's cultural and artistic expressions within a historical context and Examine the influences of intellectual, religious, political, and socio-economic forces on social, cultural, and artistic expressions. Answer: Introduction Indian sculpture is as ancient as the origin of civilization process. Great baths of the Mohenjo-Daro is one of the finest ancient sculptures of Indus valley civilizations. The Vedic period was marked by pastoral settlements of bamboo, mud, timber and thatch in the valleys of Saraswati and Ganga. The structures of perishable timber were not available in that period, but the facts were based on the evidence left by the Buddhist sculptures of second and third century B.C. The temple of Hindu was also constructed with different sizes and shapes (Boardman, Griffin Murray, n.d.). The art and sculpture of Greek had a thoughtful effect throughout the ages. The style of the sculptures has been copied and reproduces by the modern day audiences creating finest art in the world class. The western sculpture and art was derived from the Roman art. The Alexander the great conquest in the East gave birth to the Greco-Buddhist art. The Greece used different types materials in their art and sculptur e including limestone, marble and stone and other materials such as mud and clay were used. The sculptures of Greece are very important as it tells the story about heroes, God, Greek culture, events and Mythical; creatures in general. Main context Social, cultural, and artistic contributions to historical changes The sculpture and art of ancient Indian and Greek had many difference and similarities. Even though the cultures are far away, they depict the same topics: goddesses and gods, royalty, animals, myth and sports. In sculptures, Indians had used a variety of materials and Greece used mostly stones. The paintings of sculptures are also similar, but the architecture was different (Lewellen, 2002). The architecture of Greek used golden ratio and buildings were made up of marble. Greek also used an ionic and Doric column for holding the building roof up. The buildings of India had elaborately carved design like dancing of god, goddess and people. In Greek theatre, there was a lot of theatres performed but it was not much in India. The Plays in Greece and India were based on myth. Importance of cultural and artistic expressions The arrival of the Alexander the Great on the north western border of India was called as the Greeks Yavanas. A Sanskrit grammarian, Panini was acquainted with the yavana word. The term Yavanani was explained by the Katyaanaa as the script of Yavanas. The grammar of Panini was known as the Asthadhyayi, which means eight chapters of classical Sanskrit and Panini at the end of the Vedic period. The beginnings of contacts of India with Mediterranean area were date back to the early era and in the sixth century B.C. they were found registered in the Greek sources (Barringer, 2014). The contacts were continued in the history of Greece, which helps to identify the culture values and ideals links with India. In each era, the important challenges in political situations, directedness of trade connections and broadening of geographical horizons was an important process in Greek culture that has been marked with the growing notions about India. Influences of religious, political, intellectual, and socio-economic forces on cultural, social, and the artistic expressions In the period between 600 BCE to 300 BCE, there are some the ideas that are shared by the Greece and India such as monism, unitary inner self, incorporeal being. There are several of the similarities between the Indian and Greek culture that is best explained related to their common indo-European heritage (Hitchens, 2007). There have been influences of the intellectual, political, religious and the forces of social economic on the artistic and the cultural expressions. India has the richest cultural heritage throughput the world, the art belongings to the sculpture were mostly practised throughout the subcontinent. Painting in the India is mainly concerned with the religious deities. The sculptures in the India vary from 2500 BCE to 1800 BCE during the production of the bronze and terracotta sculptures. The dancing girl belongings to the Mohenjo-Daro are the eventual masterpiece. The Greek sculptures evolved from 800 TO 300 BCE, which was mainly inspired by the art to Egypt and near eastern monumental. Historical developments in world cultures Long before the developments within the Indian and the Greece, Alexander arrived in India in the north-western borders of the India. The start related to the Hellenistic Period is mainly taken as 323 BC, and the Persian Empire was conquered by King Darius (Kaminsky Long, 2011). The term Renaissance means rebirth, and this started within the fourteenth century in Italy. All of the events were heralded with the recovery of Italian scholars related to the Greek and the classical literature of Roman. The mediaeval Europe was unified, and there was a smaller area that was divided into smaller and the culturally diversified political units that were completely dominated by the Roman empires (Nadel, 2005). Earlier Greek sculptures were mostly the bronze and the porous limestone's but there were while bronze that never seems too gone out of the fashion (Kaminsky Long, 2011). The cave paintings of the Palaeolithic I helpful in describing the early ancestors related to the production of the art. Conclusion Greek sculptures were free from the artistic conventions relating with the many of the civilizations. Many of the Greek words are consulted by well known 3D artists that aim to create virtual images. There has been historical evidence related to the influences of the Egyptian canon within the traditions that prevailed in the Greece. The conclusion can be made as the Greek civilization mainly influenced India within the period after the Alexanders campaigning in India. The Greek-influenced on the Indian sculptures, by the tradition art and the desired paintings. The study revealed the desired facts related to the sculptures that prevailed within the India and the Greek. References Barringer, J. (2014). The art and archaeology of ancient Greece. Cambridge: Cambridge University Press. Boardman, J., Griffin, J., Murray, O. The Oxford history of the classical world. Lewellen, T. (2002). The anthropology of globalization. Westport, Conn.: Bergin Garvey. Hitchens, C. (2007). The portable atheist. Philadelphia, PA: Da Capo. Kaminsky, A., Long, R. (2011). India today. Santa Barbara, Calif.: ABC-CLIO. Kaminsky, A., Long, R. (2011). India today. Nadel, L. (2005). Encyclopedia of cognitive science. Chichester, West Sussex: John Wiley.