The Application of the Principle of Utilitarianism in Explaining the Death Penalty

Introduction Death penalty is a way of punishing people found guilty of committing capital offences. There are few countries that apply this form of punishment. The methods used to punish offenders are controversial in several jurisdictions depending on the nation’s cultural and political ideologies. There are people who support this form of punishment. On the contrary, other people strongly oppose capital punishment.Advertising We will write a custom essay sample on The Application of the Principle of Utilitarianism in Explaining the Death Penalty specifically for you for only $16.05 $11/page Learn More This paper discusses death penalty from the point of view of utilitarian principles. These principles suggest that the form of punishment has the ability to deter similar crimes. It also suggests that capital punishment is suitable for wrong doings that involve taking away the life of others. The opponents of death penalty believe that the punishm ent is too harsh and infringes upon human rights. They also believe that it lacks the ability to deter future crimes. Utilitarianism is a moral theory, which posits that â€Å"the moral worth of an action is solely determined by its contribution to overall utility† (Dreeben-Irimia 292). The theory supports consequences of actions without scrutinizing methods for implementing the actions. The theory was widely promoted by John Stuart Mill who suggested that initiatives were evaluated based on their consequences. The theory considers the pursuit of contentment and ensuring that people are happy with decisions. The theory promotes three claims including the consequentiality, happiness, and objectivity claim. The theory suggests that punishing people is equal to treating them badly and is a sign of mischief. From the outlook, it would appear that utilitarian’s may contest capital punishment because it creates unhappiness. However, the theory supports a form of punishment w hen the level of suffering is so high that it is beneficial to society. The theory posits that a punishment that makes the society can only emanate from intense suffering. Evidently, a form of punishment that generates more happiness in society is justifiable under the utilitarian theory. The theory supports capital punishment on the basis of deterrence. When punishment is instilled in potential wrongdoers, they cannot commit crimes because they understand the type of punishment they will go through. The theory also supports incapacitation where people who have committed capital crimes can never have the opportunity to repeat such wrongdoings.Advertising Looking for essay on ethics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Therefore, capital punishment takes away wrongdoers from the streets and eliminates the danger to the public. The form of punishment also provides people and families of victims with the proof that justice will be se rved. The relatives of people killed by criminals gain comfort and fulfillment because they know the offender has received equal punishment. As opposed to this, the opponents of the application of utilitarianism theory in retribution argue that this form of punishment has minimal effect on containing related crimes. The opponents have noted that states where people receive capital punishment continue to record high numbers of capital offences. Furthermore, the form of punishment is final and takes away life and this makes it inappropriate in cases where suspected wrongdoers are wrongfully convicted. Conclusion In summary, utilitarianism supports the retribution only on the grounds that there will be increased safety within a society. The theory believes that. The principle promotes the objective of happiness even when the consequences of actions leading to that entail making other people suffer. The supporters of the theory and its application are convinced that deterrence and incap acitation make people happy. On the other hand, opponents of utilitarianism argue that proponents have failed to provide proof that the form of punishment minimizes future offences. Works Cited Dreeben-Irimia, Olga.  Patient Education in Rehabilitation. Sudbury, Mass: Jones and Bartlett Publishers, 2010. Print. This essay on The Application of the Principle of Utilitarianism in Explaining the Death Penalty was written and submitted by user Nia P. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Egyptian vs. Greek Mythology essays

Egyptian vs. Greek Mythology essays To some extent, mythology is only the most ancient history and biography. So far from being false or fabulous in the common sense, it contains only enduring and essential truth, the I and you, the here and there, the now and then, being omitted. Either time or rare wisdom writes it. Every culture has evolved its own mythology, defining its character and offering a way to understand the world. Myths of every culture reveal the power of love, with it, its accompanying jealousy and anxiety; the conflict between generations, the old and new, the mischief of the trouble makers and the underlying diversity and stability of human nature. Although their gods sprang forth from diverse and distinctive cultures, the Greek and Egyptian Pantheons share many similarities and differences between one another. The oldest Greek myths can be traced to three main sources: Homer, Hesiod and The Homeric Hymns, these works date back circa 800 B.C., implying that by the time they were recorded, these works had already endured 400 years of embellishments, subtractions and alterations, to become what we now call authentic. The Greek myths are our portal into the distant past, a view of the world that existed not only in the mind of Greek poets, but in the hearts of the unassuming and tolerant inhabitants of ancient Greece. The ancient Egyptians as well had a complex belief containing many deities and personified aspects of nature. Ancient Egypt has always held a certain fascination and has ignited the imaginations of archaeologists as well as ordinary people. Their civilization lasted almost without change for more than 3,000 years. Their greatness began around 4,500 B.C. From early in their history, both the Greek and the Egyptians believed in the concept of life after death. Both Egyptian mythology and Greek mythology have a father-creator god, a trickster god, and a ...

A Note on the Arts and Crafts Schools of Germany

A Note on the Arts and Crafts Schools of Germany Essay Tive and therefore charming small canvas by D. W. Try on, â€Å"Evening—Septem ber†; J. Francis Murphy shows a small work delightfully interpretative entitled â€Å"Showery Day†; J. Alden Weir is seen at his best in Autumn,† and William Lathrop in â€Å"A Stretch of Salt Marsh land.† Emil Carlsen’s â€Å"Wood Interior† has decorative quality aside from pro nounced beauty both of theme and treat ment; Charles H. Davis’s â€Å"Summer in the Hills† combines classical spirit with modern spontaneity. Among the painters of winter, the interpreters of sunlit frosty air—Schofield, Redfield and Gard ner Symons—are as usual to the fore. Daniel Garber’s prize winning picture shows, not only admirable transcription of the subtleties of light and air, but feeling for design and a fine sense of color. Leonard Ochtman, Willard Met calf, Ben Foster, Bolton Jones and Hobart Nichols send notable canvases. That subject is of less importance than treatment is manifested by two paint ings, one of a â€Å"Sow and Pigs† in a barn yard by Horatio Walker, the other of â€Å"Porpoise† leaping through a wave, by Clifford W. Ashley—each individual in treatment but equally engaging in effect. Excellent examples of still life paint ing are shown. Chase sends another brilliant painting of fish, which almost straightway upon the opening of the ex hibition found a purchaser; H. R. Riten berg, Alice Worthington Ball, Hugh Breckenridge, Carl Schmitt and Aline Solomons each contributes a study which helps to uplift the average of merit. Following the custom of past seasons the Corcoran Gallery has made purchases from this exhibition for its permanent collection acquiring the following seven works before the doors were open to the public: â€Å"My Daughter† by F. W. Ben son, â€Å"Incoming Tide† by R. N.Brooke, â€Å"Woods in Winter† by John F. Carlson, â€Å"Late Autumn Moonrise† by Ben Foster, â€Å"Cape Porpoise† by Chauncey F. Ryder and Autumn† by J. Alden Weir. NOTE ON THE ARTS AND CRAFTS SCHOOLS OF GERMANY Casual American who wanders JL into a room labeled â€Å"Kunst-Gewerbe Schule† in one of the many German in dustrial exhibitions, looks with idle if ad miring eye at the cases of jewelry, etch ings and embroidery, vainly tries to puzzle out the signs on the wall refer ring to â€Å"Metal Arbeit,† â€Å"Druckerei† and Sticherei,† and passes on ignorant of the fact that he has seen the results of one of the most remarkable elements of the complex German school system. The details of this system differ in each of the several cities of Germany, but in the main the plan is the same. It is one which endeavors to select by searching examination young, ambitious and talented artisans, and to train them under instructors of the highest grades of artistic knowledge and technical skill. The time given to this training varies, though it is rarely less than four years, and in some cases is prolonged for six or seven. The candidates come from a variety of sources, many of them from the Craft or Gewcrbe schools, estab lished to train the lads that have al ready had some artistic foundation in schools for â€Å"Lchrling† as apprentices. The Lchrling† schools give a little drawing with the elements of a general education to the apprentice who has left the â€Å"Folk† school at fourteen. The Gewerbc† or Craft school gives much more in the way of artistic workman- ship and practical skill, but it is re served for the â€Å"Kunst-Gcwcrbc† school to take the pick of the young people, those with the keenest artistic sense and ability, and train t hem to produce work of the highest technical order and excel lence. Numbers do not count in these schools—one rarely finds an attendance of more than two hundred or so in the day school and perhaps as many more in special and evening classes, while the faculties are large, often twenty-five to thirty professors and assistants giving lessons at different times throughout the week. READ: 16th Century Northern Europe I: Germany and FrancePractically every good sized German city has one of these Arts and Crafts schools. Many, naturally, are in build- ings which date back a number of years, but the ambition of every director is to have a new building, and those who have realized this aim see their respective schools housed in beautiful structures, complete with modern conveniences. But though many of the older schools are in buildings lacking some of the things their heads desire, it must not be understood that they arc ill-equipped. On the con trary, the studios and work-shops often represent an investment of many thou sands of dollars, which the state aims to draw interest on, through an increasing demand for the work of German design ers, reproduced in a multitude of busy German factories. A composite picture, one which shall aim to show at a glance just what a â€Å"Kunst-Gewerbe† school is like, is of necessity difficult to draw. Like all composites it will not be true of any one school, though generally faithful to the type. What follows, however, is an at tempt in this direction. See then a big building with central covered court filled with cases of stu dents’ work, a permanent exhibition of the art product of the school. Ranged round will be the studios—great rooms, with huge studio windows and studio chairs, model stands, and racks for drawing boards. The rooms for cast drawing and for modeling will have the walls hung deep with plaster casts, while in the adjacent halls will be scores more of all sizes from a small bust to a great group of some Greek master. There will be a library with some hundreds of books on art, and some thousands of plates, together with the current art magazines, German, English, French and Italian; then will come a dozen or so studios with equip ments of drawing tables of various kinds adapted to the needs of the students of life drawing, mechanical drawing, still life painting, design, architectural draw ing and so on. Each of the class studios will have adjoining it the Professors studio—a good size room, with fine light and all the properties† accumulated by a teacher, active in the pursuit of his spe cial subject out of class hours. Another range of studios has yet to be visited—the â€Å"work-rooms,† a half dozen in all, of good size and proportion, each elaborately equipped for some special branch of work, metal, ceramic, textile, decorative painting, sculpture, lithogra- phy, book-binding, and the like. (Each school differs in regard to these special practical courses.) Again we will find case after case filled with models and again the professor’s studio. If we are invited into the latter we shall sec beau tiful examples of the handicraft of this accomplished teacher. And the students? Naturally the greater number arc found in the studios where arc taught the fundamentals. In the earlier years of the course the rooms will be full of men and women, drawing from cast or life, painting still life or working out ingenious problems in light and shade, or beautiful pattern. The work is always more or less individual, and at times half a dozen different tech niques will be employed by as many separate students. This is a striking characteristic of these classes. The pro fessor must know many techniques, and in turn is expected to have his stu dents learn to work from the model in many different ways and with different media: charcoal, crayon, pencil, watcr color, oils, gouache, pen and ink, tem pera. Few things are more impressive to the visitor than to see an advanced class in drawing or design, making charming illustrations in a great variety of different forms and handlings. All go on together, though, as one of the teachers remarked, The students cannot all do all—but they learn from one an other. In the work-shops things are as busy, but not nearly so crowded. There one finds half a dozen or a dozen students, advanced pupils thoroughly grounded in line, form and pattern, working quietly at individual problems. If it is a metal working room one will be developing the elements of a jeweled brooch, another preparing an enameled box, a third drawing up a silver beaker which is to be embossed,—a piece of work requiring infinite skill and patience. The master will now say a word to one, now to an other, here a bit of help will be given, now a hint with a smart sting of criti cism. READ: Nazi Germany EssayThe work must be right†Ã¢â‚¬â€ nothing hurried or shabby will pass for an instant. If these things need a week, take a week†Ã¢â‚¬â€what is a week in four years’ training for mastership! So also we shall find affairs in other shop-studios. In the textile room we may see beautiful pieces of embroidery or perhaps a table-cover of charming color and design; in the pottery room, vases of fine shape and line, jars of quaint conceit of form and color—of course made and fired in the school kiln. The professor of the printing arts will show us etchings, dry prints, mezzotints, and lithographs made by his little group of experts, and the professor of sculp ture will exhibit a half dozen projects all in development, or may, as in Vien na, take us out into the public garden back of the school and show the decora tions in â€Å"Calk-Stone made by his pupils. Perchance, we may come to one room where only a couple of students are at work and w onder whether a course so scantily patronized is considered a suc cess. There we should make the easy error of estimating success in numbers, rather than in fine craftsmanship. A word to the director will set us right. Ah, this course, yes. We have few students with the right talent, but as long as we have one we must have the course. That one may mean much for our art in the years to come. Here is the seed idea of the German Arts-Crafts school. It is a school for the cultivation of the highest taste and skill in the highest type of worker, that worker and state may enjoy the fruits of this deter mined scheme to raise the artistic value of the products of German industry â€Å"yes—that one may mean much for our art in the years to come.† THE COLLEGE ART ASSOCIATION The infant among college societies is the College Art Association, which drew its first breath in Cincinnati last May, developed forthwith a good consti tution and was ready for active work December 27th and 28th, in Pittsburgh. The object of the Association is to pro mote art interests in all divisions of American colleges and universities.† This makes the organization militant rather than reflective, concerned perhaps more with teaching than with research. It is inclined to take for granted its own in terest in things artistic, and to bend its endeavor to arousing a similar interest in others. This is fairly apparent from the na ture of the program presented at Pitts.

Discuss the relationship between the design of religious architecture Essay

Discuss the relationship between the design of religious architecture and the interests and requirements of the religious tradit - Essay Example This paper will provide more insight into this analogy through discussing four historical religious architectures: the Altar of Zeus, Egyptian pyramids, Suleymaniye Mosque and St. Peter’s Basilica. The Altar of Zeus was created by ancient Greeks, Egyptian pyramids were erected by ancient Egyptians, Suleymaniye Mosque was developed by Muslims and St. Peter’s Basilica was designed by Romans. The Altar of Zeus provides a good Hellenistic Greek sculpture example, which was built between 166 and 156 BCE. The altar is crafted with art and sculpture, which depicts narrations. The Gigantochamy frieze, which adorns the base of the altar, has at least 100 distinct panels that show combats between gods and giants. Here, one connects with the Greek legend where Zaas decided to abandon Gaia’s after the new gods (led by Zeus and in support by Zaas) defeated the old gods (led by Cronus). The East Frieze sculpture, on the other hand, constitutes significant Olympic gods such as Hecate, Artemis, Zeus, Athena and Ares. In the same way, the north, south and west frieze sculptures continue with sculptural and relief narrations of various Greek gods.1 The altar, also known as the Altar of Pergamon, stands at 115 feet in width and 110 feet in depth. The altar was accessible through a stairway, from the west, which led up to a roofed hall extending to the front and sides of the altar. This altar is very important to the people, who regard it highly and it’s highly respected. It has been in existence for quite a long time and many people have high regard for the altar. Due to this fact, the altar of Pergamon is well preserved and taken care of. Ancient Egyptian pyramids held similar themes in architectural designs. The pyramids were erected on the west bank of the River Nile. This was in accordance with Egypt’s religious doctrine which stated that the dead should rest where the sun sets.2 In addition, most pyramids were covered with limestone, which was meant to give them a shiny appearance from a distance. Despite the fact that the pyramids were designed as tombstones for prominent persons such as kings and queens, they were embalmed with religious material. Outstandingly, the pyramids were meant to purify bodies in wait for the afterlife. Within the pyramids were sculptures, paintings and carvings, which portrayed spirituality. In addition, there were illustrations upon the tomb walls, also known as the Book of the Dead, which were meant to guide the deceased in their atonement of sins in preparation for the afterlife. The pyramids also consisted of airways and tunnels, which served to prevent decomposition. The Suleymaniye Mosque was named after Sultan Suleyman who requested it to be built after the Sehzade Mosque was not deemed as satisfactory. Sinan had built the Sehzade Mosque to commemorate the death of Prince Mehmed who had died of smallpox. The Suleymaniye Mosque was completed in 1557 and was of remarkable interior spa ce, height and intricate detail.3 The mosque consisted of four lengthy and thin minarets and a dome, which had a height of over 50 meters. Surrounding the mosque was a kulliye comprising of public baths, schools for teaching Quran, Hadith and primary school children, library, soup kitchen and a hospital. The public baths were situated near the entrance of the mosque since Muslims would take off their shoes before

North Country Movie Review Essay Example | Topics and Well Written Essays - 500 words

North Country Movie Review - Essay Example It is evident from the study that the film North Country strives in every manner to be compelling at providing evidence on how injustice toward the working class of women has suppressed the rights of the latter to abide by a normal and decent mode of living worthy of general respect. Here is a situation that calls in desperation to acquire a saving act of grace in a society wickedly governed and dominated by male counterparts. Clearly, it is an issue no one in the right sound mind could afford being quiet about as it gravely insults dignity which every woman deserves to keep and be esteemed with. Women, for the most part, have played a very significant role of rearing family at providing an atmosphere, moral support, and needs in aspects other than physical which are very crucial for the modest living of every family member. A woman who is grieved by inhumane treatment would obviously be deprived of this capacity in reality so that as a consequence, she gets filled with anxiety and b ecomes unable to carry out functions intended to serve her community well. If this goes on, we may highly expect a worse impact upon the people within the woman’s direct influence especially the children once she is overcome by fear and mismanagement of tasks thereafter unless this woman expresses courage at reversing her fate so that, just like how Josey attempted to battle her way out of suppression in the iron mines, by the strength of character and profound level of confidence oppression by men may come to subsidence.

Economics 247 Assignment 2 Version A Essay Example for Free

Economics 247 Assignment 2 Version A Essay Economics 247 Assignment 2 Version A This assignment has a maximum total of 100 marks and is worth 10% of your total grade for this course. You should complete it after completing your course work for Units 6 through 10. Answer each question clearly and concisely. 1. In perfect competition, one result of the model was that there were no economic profits in the long run. In a monopoly, the firm typically earns a positive economic profit. Why is there this difference? The lack of barriers to entry will allow competitors to enter the market unil economic profit is zero. These firms are price takers, and they cannot affect prices because their demand curve is horizontal.(4 marks) 2. Assume that a single firm in a pure competitive industry has a fixed cost of $6500 and variable costs as indicated in the table below. a. Calculate the TC, AFC, AVC, ATC, and MC columns for this firm. (5 marks) Total Output TVC TC AFC AVC ATC MC 00 0 600 70,000 1000 76000 1400 81000 1800 87000 2200 90000 2600 93000 2800 96000 3000 100000 3100 110000 b. Explain the concepts of economies and diseconomies of scale, and describe the underlying reasons why both occur. (4 marks) 3. At its current level of production, a profit-maximizing firm in a competitive market receives $12.50 for each unit it produces, and it faces an average total cost of $10. At the market price of $12.50 per unit, the firms marginal cost curve crosses the marginal revenue curve at an output level of 1000 units. What is the firms current profit? What is likely to occur in this market and why?(4 marks) P=12.5 TR=P*Q = 12.5 * 1000 = 12500 TC=ATC*Q = 10 * 1000 = 10000 Profit=TR-TC = 12500 10000 = +2500 Profit is positive, but for perfectly competitive markets there will be no profits at all in the long-run, so in this markets new firms will enter  market attracted by profits thus increasing market supply and reducing equilibrium price till it reaches close to P=$10, consequently leading to zero economic profits in long-run. For lower price this firm will be pressed to reduce output a bit for new P=MR=MC equilibrium. 4. a.Why would a firm in a perfectly competitive market always choose to set its price equal to the current market price? If a firm set its price below the current market price, what effect would this have on the market? (4 marks) The assumptions of perfect competition that matter here are that in perfect competition 1 every firm is so small compared to the market so as to have no effect on market price 2 everyone is aware of everybodys price. Now if you set a price lower than the market, you are only cutting your nose to spite your face since you would sell as much as a higher price. (Remember, how much you produce is determined by your MC and the output level you produce at is the minimum MC). Cutting the price to sell more also costs more to produce; you are worse off. If you set a price higher than market, noone will buy from you. Explain how a firm in a competitive market identifies the profit-maximizing level of production. When should the firm raise production, and when should the firm lower production? In a perfectly competitive market, all firms are assumed to be very small compared to the market. Now the price is set at the market level, and as a small firm you take it as given; you couldnt sell at a higher price since nobody would buy from you. Now in the long run, you should be at the minimum point of your cost curve, ensuring you make just normal profits. The price is your MR and at the minimum point of your AC curve your MC cuts it: MC=MR and AC=AR. If the market price is higher than this, new entrants will sniff the opportunity created by super normal profits and the market supply curve shifts right/up, reducing price until there are no more super ormal profits  to be earned. If market price is lower, then firms are making losses, some exit and supply curve shifts left driving price up. In equilibrium, each firm is producing at the minmum point of the AC, where MC=MR=P. Hence the firm temporarily raises production when Pmin AC and makes supernormal profits until new entrants drive price back down; or lowers production temporarily when P

Macbeth Character Flaw :: essays research papers

Brian Bozarth  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Bozarth 1 Mrs. Thurmond English IV – 6 February 22, 2001 Macbeth’s Tragic Flaw   Ã‚  Ã‚  Ã‚  Ã‚  Every one has a character flaw. Some are more serious than others. For instance, some people pick their nose, while others drink milk directly from the carton. After a while a person’s character flaws will come back to haunt them. Shakespeare is a master at pointing out one’s character flaws and showing how those flaw bring down that person or society in general. In Shakespeare’s Macbeth he does just that. Macbeth is a tragic hero whose character flaws are ambition and avarice.   Ã‚  Ã‚  Ã‚  Ã‚  The play opens with Macbeth, a popular noble who quells a military coup against the King of Scotland by a Scottish nobleman, Macdonwald. This is looked at by other nobles as and honorable deed. The King then gives Macbeth the late Macdonwald’s former title. In this instance ambition is a good thing: but alls to week for brave Macbeth – well he deserves that name (I ii 16). The king even said â€Å"O valiant cousin! Worthy gentleman†(I ii 24). His ambition was use to do a good thing, but if you stop to think; would any of this happened had he not killed Macdonwald.   Ã‚  Ã‚  Ã‚  Ã‚  In the next scene we see the witches doing things that witches like to do. Then enters Macbeth with Banquo. They spot the witches and Banquo insults them. The witches turn to Macbeth and tell him he will be king: All hail, Macbeth, that shalt be king hereafter (I iii 50). That single line is what sparks Maspeth’s evil ambition. This is the also the point when Macbeth start to turn evil. The witches also tell Macbeth he will become Thane of Cawdor. Macbeth replies to all this: to be king stands not within the prospect of belief (I iii 75). At this point Macbeth is skeptical, but then Ross tells him he is thane of Cawdor. Macbeth starts to believe he can become king. He is now successor to the throne of Scotland.   Ã‚  Ã‚  Ã‚  Ã‚  Since Macbeth is heir to the throne of Scotland, all he has to do is get rid of King Duncan. In scene IV Duncan names his son the Prince of Cumberland. Macbeth is outraged:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  The Prince of Cumberland! That is a step   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  On which I must fall down, or else o’erlap,   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  For in my way it lies. Stars, hide your fires;   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Let not light se my black and deep desires:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  The eye wink at the hand; yet let that be