Windows Server Deployment Proposal

Windows Server Deployment Proposal Contoso Advertising has two locations. The main site location is in Pensacola, Florida (FL) with a smaller site in Casper, Wyoming (WY). Multiple servers will be distributed throughout these sites to support the various services required by each department. Throughout the growing enterprise, there will initially be 90 employees distributed into five departments between the two sites. Contoso has a small Executive department of 9 personnel, 15 employees in the Accounts and Sales department, 49 personnel staffing the Creative, Media, and Production department, 12 members of the Human Resources and Finance department and 5 IT employees. As FL is Contosos main site, the majority of employees will be based there with one-third of each department working out of the WY site to split company responsibilities between locations. Windows Server 2012 will be the Operating System (OS) deployed to all servers within the organization due to a few key features. Firstly, the use of PowerShell within Windows Server 2012 will be very important to the management of Contosos network. Microsoft has vastly increased the number of available PowerShell cmdlets to allow for more robust management from the command line (Otey, 2011). This will allow the IT staff to manage company assets via command line interface and script out a majority of routine network management duties. Furthermore, Microsofts Server Manager utility can remotely manage multiple servers, up to 100 at a single time (Microsoft, 2013). This will allow the IT employees to manage the entire organization remotely without physically visiting each server as well as eliminating the need for the Remote Desktop Protocol (RDP) for management tasks. These two features in particular will simplify the network management for Contosos small IT support staff throughout bo th sites. Other features such as the use of Storage Tiers will be quite impactful for users throughout the organization, particularly the employees in the Creative, Media, and Production department. These are just a few features that Contoso can take advantage of within their organization. Deployment and Server Configurations: Contosos network will be constructed with 24 total servers throughout the enterprise to handle organizational growth over the next few years while being configured to have robust failover solutions. This will be done to ensure the company can recover from any single failure while still fulfilling their organizational goals. Services for Contosos daily operations, such as Domain Controllers, Dynamic Host Control Protocol (DHCP), Domain Name Servers (DNS), file servers, web servers and print servers will be provided by these servers. In addition, both sites will be mirrored to allow each site to function if the WAN link between the sites happens to go down, but also for organizational purposes and ease of management by the small IT department. If implemented properly, Contosos enterprise network can scale to their expected growth while having incredibly high reliability. The main FL site will have two Domain Controllers FL_DC1 and FL_DC2. The primary domain controller, FL_DC1, will be configured to run Domain Name Services (DNS), Dynamic Host Control Protocol (DHCP) as well as performing the role of Domain Controller. FL_DC2 will be a copy of FL_DC1 and will act as a backup in case of corruption or server failure. Both Domain Controllers will run the Server Core version of Windows Server with the graphical user interface (GUI). The Active Directory role will need to be installed to provide Directory Services along with being able to organize and manage the organization through the use of group policy discussed later in the proposal. Additionally, FL_DC2 will be designated as a Global Catalogue to aid in any type of searching to be done throughout the other site, decreasing the burden on the primary DC.   A full chart of needed servers and their intended purpose can be seen below. Server Role Location FL_DC* Primary/Secondary Domain Controller/DNS/DHCP Server Pensacola, Florida FL_FS_HRF* Primary/Secondary HRF File Server Pensacola, Florida FL_FS_CMP* Primary/Secondary CMP File Server Pensacola, Florida FL_FS* Primary/Secondary File Server/Print Server Pensacola, Florida FL_MX* Primary/Secondary Mail Server Pensacola, Florida FL_WWW* Primary/Secondary Web Server Pensacola, Florida WY_DC* Primary/Secondary Domain Controller/DNS/DHCP Server Casper, Wyoming WY_FS_HRF* Primary/Secondary HRF File Server Casper, Wyoming WY_FS_CMP* Primary/Secondary CMP File Server Casper, Wyoming WY_FS* Primary/Secondary File Server/Print Server Casper, Wyoming WY_MX* Primary/Secondary Mail Server Casper, Wyoming WY_WWW* Primary/Secondary Web Server Casper, Wyoming As the Human Resources and Finances department will be dealing with highly sensitive financial data for the company, they will have their own exclusive file server, FL_FS_HRF1, which will be backed up to FL_FS_HRF2. Full backups will be conducted weekly with differential backups occurring every night. Shares will be hosted on this server with permissions applied to only allow members of the Human Resources and Finances department access to any resources on it. The other department to have their own dedicated file servers is the Creative, Media, and Production employees. Similar to the Finance department, there will be a primary server and a backup, FL_FS_CMP1 and FL_FS_CMP2. These servers will also follow the same backup schedule as the Finance department as well as having its share accesses locked down to only those employees within the department. Storage pools will be created to implement storage tiers on the primary file server. Multiple traditional mechanical hard disk drives (HDD) and solid state drives (SSD) will be assigned to the storage pool. The SSD tier will be configured to house the most frequently accessed data while the HDD tier will house data accessed less often. The storage tier optimization task will be scheduled to run every evening during off hours. The rest of the personnel at the FL site will use a single file server FL_FS1, which will also be backed up to FL_FS2 in a manner similar to the Finance and Creative departments. Storage on this server will be split among the other departments and quotas will be enforced using the File Server Resource Manager (FSRM). Using this method of quota management will allow the IT department to centrally control and monitor the daily storage resources and generate storage reports to analyze disk usage trends (Microsoft, 2008). Users will be set up for home folders nested under their respective department share with access being granted only to those members of the department, and each user of that department only having access to their own personal folder through application of NTFS permissions. Users will all be given the same amount of space initially and expansion requests will be scrutinized. Due to the more advanced features of FSRM as compared to NTFS quotas, administrative notification scripts can be set to run when a user nears their allocated quota limit (Microsoft, 2008). The IT department will implement a semi-automated process with administrative scripts once these quotas are met to trigger a quota increase request process. All file servers in the network will be installed with Server Core with the GUI. Having a public presence on the internet will be crucial for Contoso to gain new clients and allow their business to grow over the next few years. Company mail servers will also be needed to communicate internally and interface with their customers as well. The FL site will have their own dedicated mail and web servers, with FL_MX1 and FL_WWW1 acting as primary, and FL_MX2 and FL_WWW2 being mirrored backups for their respective roles. These servers will run the Server Core edition of Windows Server 2012 because of its stability improvements as well as it being inherently more secure than other editions of Windows Server due to far less running services than full GUI versions (Microsoft, 2017). Public facing assets, such as mail or web servers, are often the first point of cyber-attacks and Server Core will decrease the attack footprint. The WY site will have the exact same configuration as the primary FL site as seen in the network diagram below. Backup solutions and fault tolerance were built-in to this proposal to prevent downtime for the network and prevent monetary loss for the company. In the event that any one node within the network fails, Contoso can continue with their day to day operations while resolutions are developed and implemented by the IT department. This configuration was chosen to have the maximum reliability and fault tolerance which will be crucial for a growing organization. A simplified diagram of Contosos network can be seen below to illustrate how their network could be structured to accomplish the goals of this deployment proposal. NETWORK DIAGRAM Active Directory and Group Policy: Contosos network will have two domains within a single forest, one for each site. The FL site will be contoso.com and the WY site will be north.contoso.com with each new site that Contoso builds in the future following a similar structure. Domain Controllers will be placed in each site for management within their domain. Organizational Units (OU) will be used for organization with Active Directory with each department having their own OU nested under their domain. Active Directory objects will be created for each user and will be organized by job role and placed into their respective OUs. Computer objects within Active Directory will follow a similar structure. This is to ensure proper organization, application of Group Policy, and ease of network management throughout the domain. Software programs needed throughout the organization will be deployed through the use of group policy, if the number of employees that require it are high enough or it is not feasible for the IT department to physically visit every computer for installation. This can be done with the group policy management console within Windows Server. Packages can be configured that will deploy .msi files and will be installed upon next computer reboot, if the policy was configured under the computer configuration section of the GPO management editor. Programs like Adobe Reader, Photoshop, and QuickBooks could be deployed to different departments while Wireshark or Zenmap could be deployed to different servers throughout the network for traffic analysis. Software restriction policies will also be used in the domain as they will be able to control execution of software at the discretion of the network administrators (Microsoft, 2004). Using these policies, the IT department can configure the enviro nment to prevent unauthorized programs at their discretion based on a hash, certificate, path, or zone identifiers. To maintain a high level of security throughout the enterprise, a strong password policy will be strictly enforced. Strong passwords that are often changed will be used as passwords are continuously vulnerable, especially during password assignment, management, and use (Microsoft, 2017). Contoso employees will be required to have a password of at least 10 characters in length with a mixture of mixed case characters, special characters, and numbers. Password age thresholds will be set in the password policy for a maximum age of 45 days and a minimum age of 30 days. A password history of 10 will be set to prevent users from cycling back to previously used passwords quickly. This will ensure that if any user credentials are compromised, they wont be of use to an undetected malicious user for long. In addition to the general password policy just discussed, the administrators will also be subject to a fine-grained password policy for security reasons. Fine-grained password policies will allow for multiple password policies to affect different users throughout a domain (Microsoft, 2012). Contoso will be able to use this feature of Windows Server to enforce stronger password restrictions upon select users, the IT department in this situation. Additional complexity, password history, minimum and maximum password ages, as well as increased password length requirements will be enforced upon these employees to protect the corporate network. In the event of a network breach, accounts with high power or permissions, such as the members of the IT department, will be the first group to be targeted by malicious users. By having frequently changing and complex passwords, this will increase the time for passwords to be cracked as well as shorten the available time for them to be used by mali cious cyber actors. Additional security measures to be enforced will include the disabling of user accounts after 10 days of no activity. Account deletion will occur after 30 days of inactivity, unless prior arrangement is made through the IT support department. This will be done to ensure access to network and company resources remain secure from malicious attacks. Furthermore, account logon hours will be applied as determined by the employees regular work hours with an hour of buffer time at the start and end of their regular work day. In addition to the hardware firewalls already in place, the use of Windows Firewall will be applied to each computer within the organization through group policy and rules will be tailored to each department. For example, outbound traffic from the Human Resources and Finance department user workstations to the Creative, Media, and Production file server will be blocked. Special precautions for the public facing infrastructure, such as the mail and web servers, will have extra restrictions placed on them for additional security. For example, incoming ICMP traffic from the public internet will be blocked to prevent against Denial of Service (DOS) attacks. Windows Defender will also be active on all employee workstations throughout the enterprise as well as all servers. The right configuration of the hardware and software firewalls and Microsofts security product should protect Contoso from numerous cyber threats. These are just a few policies laid out to begin the hardening of the netw ork and the IT department will develop others as they see fit. Print Services: The print and document services role will be installed on the primary file server at each site, FL_FS1 and WY_FS1, with multiple print devices located throughout the environment. Specifically, there will initially be two print devices located within each department to accommodate printer pooling as a means of load balancing the print jobs between the many users. Any employee will be able to print to other print devices outside of their department, but they will have a lower priority than employees utilizing their own department resources. DNS and DHCP: IPv4 addresses will be used throughout the organization for simplicity of management as that is still widely used today. In the future when Contoso grows and global adoption rates of IPv6 increase, reconsideration of addressing will take place. As there will be many network-critical devices throughout the enterprise network, such as file servers, printers, and domain controllers, these computers will all be assigned static IP addresses rather than have DHCP reservations. This will be done to ensure that critical devices are always reachable in case of a DHCP failure. Other devices such as employee workstations, company laptops, or other mobile devices will have address management performed through the use of DHCP. Scopes will be configured to have lease durations of 16 hours. This will ensure that an address assignment covers a full work day while still being short enough to prevent the pool of available addresses from running low from mobile devices entering and leaving the network throughout the day. DNS and DHCP services will be handled by the primary domain controllers of each site, respectively. Those servers will also act as a backup for their sister servers in the opposite site for failover solutions in the event of server failure or corruption. The 80/20 rule will be applied within each scope; the primary DHCP server provides roughly 80% of the addresses within its scope with the secondary providing the remaining addresses. This will be done to provide address assignment in situations where the primary DHCP server is unable to fulfill its services (Microsoft, 2005). Summary: In summary, the network infrastructure and hardware will be set up at both sites in a mirrored fashion to provide ease of management for the IT department in addition to allowing for easy growth over the next few years. The multiple domains and logical structure of active directory will ease the burden of organization and administration of the enterprise network. Each server will have a dedicated backup server for cases of machine failure, corruption, or other disaster. Security practices such as the password policy, use of Windows security software, and additional firewall restrictions will ensure that the company sensitive business matters are protected. Estimating conservatively, the IT department could complete the initial setup within a week. While this network deployment may seem excessive, Contoso Advertising is a growing enterprise that requires a solution that will be able to scale as their organization grows. References Manage Multiple, Remote Servers with Server Manager. (2013, June 24). Retrieved January 10, 2017, from https://technet.microsoft.com/en-us/library/hh831456(v=ws.11).aspx Microsoft. (2008, January 21). File Server Resource Manager. Retrieved February 01, 2017, from https://technet.microsoft.com/en-us/library/cc754810(v=ws.10).aspx Microsoft. (2017). Why Is Server Core Useful? Retrieved January 18, 2017, from https://msdn.microsoft.com/en-us/library/dd184076.aspx Microsoft. (2017). Configuring Password Policies. Retrieved February 09, 2017, from https://technet.microsoft.com/en-us/library/dd277399.aspx Microsoft. (2005, January 21). Best Practices. Retrieved February 20, 2017, from https://technet.microsoft.com/en-us/library/cc958920.aspx Microsoft. (2012, October 19). AD DS: Fine-Grained Password Policies. Retrieved February 25, 2017, from https://technet.microsoft.com/en-us/library/cc770394(v=ws.10).aspx Microsoft. (2004, May 25). Using Software Restriction Policies to Protect Against Unauthorized Software. Retrieved February 25, 2017, from https://technet.microsoft.com/en-us/library/bb457006.aspx#EEAA Otey, M. (2011, October 17). Top 10: New Features in Windows Server 2012. Retrieved January 10, 2017, from http://windowsitpro.com/windows-server-2012/top-10-new-features-windows-server-2012

Owen’s war poetry Essay

It is a widely acknowledged truth that war is contemptible and cruel, but it takes the poetic opulence and the lively experience of the war to effectively convey one’s strong attitude against the reality of war. With his frequent use of contrast, para-rhyme and vivid imagery especially of blood and light in his collection of war poems, Wilfred Owen successfully portrays the brutal reality in battle thus stirs the readers’ sympathy for the soldiers, expresses his anger at the futility of war, demonstrates the disdain for ignorant people back at home and voices his anguish at the condemnation that these soldiers have to endure. The horrendous experience Owen has gone through as a soldier in the British Army in World War I explains why the tremendous sufferings by the soldiers stands as the most predominant idea in almost all his poems in the anthology. From the passive suffering of cold winds that â€Å"knife us† (Exposure) to the disturbing death of an unlucky fellow comrade in gas warfare (Dulce et Decorum est) â€Å"flound’ring like a man in fire or lime†, Owen presents a wide range of pains that blurs the boundary between life and death. Although the type of destruction portrayed in each poem is not the same as any other, they all highlight the frightening cruelty of the war, most obvious of all the deterioration of a man’s physical appearance and strength. They are all â€Å"knock-kneed, coughing like hags† before someone was caught in the toxic gas â€Å"guttering, choking, drowning† (Dulce et Decorum est), having â€Å"old wounds save with cold that can not more ache† (Insensibility) that escalate into â€Å"a thousand pains† (Strange Meeting), or even losing their sight â€Å"eyeballs, huge-bulged like squids† that brings them to such a total breakdown that â€Å"he sobbed† (The Sentry). â€Å"All went lame, all blind† because the merciless war gives no exception whatsoever, and that they had lost their boots makes no difference, they still â€Å"limped on, bloodshod†. Using factual vocabulary and vivid imagery which might at some point become grotesque, Wilfred Owen exposes the ugly truth of the war. Blood is an effective image conveying the sense of suffering in the battle, all of which is disturbing and brutal. It bears the connotation both of the death of soldiers and their guilt of shedding the lives of other human beings. The blood either â€Å"come gargling from the froth-corrupted lung† (Dulce et Decorum est) or even gets â€Å"clogged their chariot wheels† (Strange Meeting). Also, if one notices he would see that the word â€Å"blood-shod† in Dulce et Decorum est which echoes â€Å"blood-shed† fully conveys the hellish nature of the war. So much blood has poured that â€Å"the veins ran dry† (Disabled). Owen also successfully utilizes the effect of sounds and pace. By breaking lines into short fragments, he depicts the exhaustion and the limping of these men through the night. Also, whenever he talks about sufferings, Owen uses harsh sounds such as â€Å"k† (knock-kneed), â€Å"d† (drunk with fatigue, deaf to the hoots)†, â€Å"b† and â€Å"p† (what we spoiled/ Or, discontent, boil bloody, and be spilled†) which are either naturally unpleasant sounds or are even reminiscent of the sounds that rifles make. Death is prevailing in these poems and we see most clearly in â€Å"Strange Meeting† that the para-rhyme with the second rhyme lower in pitch than the first demonstrates the dying that these soldiers are going through. They start of as enthusiastic youth only to see themselves slowly rotten away to death. That is the brutal reality of war that Owen brings to readers. Through this we can see clearly that he is strongly anti-war. Together with depicting the physical pain, Owen also highlights the trauma that war leaves on any single soldier and the disparaging effect on their mentality. The idea of seeing their wretched comrade in their dreams is so haunting that it either gets so real-â€Å"guttering, choking, drowning†(Dulce et Decorum est) or keeps coming back like the â€Å"eyeballs† that â€Å"watch my dream still†(The Sentry). The use of continuous verb tense conveys the actuality of a nightmare and also emphasizes on the on-going nature of such horrendous suffering that will definitely traumatize the on-lookers that survive. Also, the idea of being â€Å"watched† adds the survivor guilt that disturbs them. It is so callous an experience, seeing human beings â€Å"die as cattle† that at one point a veteran â€Å"try not to remember these things†. However, â€Å"whenever crumps pummeled the roof and slogged the air beneath†, the hurtful sight in which his comrade â€Å"moans and jumps† and make â€Å"wild chattering of his broken teeth† reappears (The Sentry); there is purely no way out because even the sounds of nature brings back such distressing memory. The description of hostility in nature is also used to further accentuate the enormous psychological suffering of the soldiers. The â€Å"shrieking air† that chases the soldiers running from post to post and the constant rain which â€Å"kept slush waist high, that rising hour by hour, choked up the step† (The Sentry) induces the sense of threat, that any moment the soldiers would all be swallowed up. The soldiers are too discouraged that they slowly give up fighting for their lives in the harshness of nature where â€Å"the merciless iced east winds† â€Å"knife us† (Exposure) or when they are about to be â€Å"jabbed and killed†, all they would do is â€Å"parry† (Strange Meeting). The personification of nature makes it obvious as well how all these soldiers have ceased to consciously distinguish the unloving nature from the human army that they have to fight against in the battle. The sense of pervasive pessimism in the battle is also demonstrated by the pejorative image of â€Å"dawn massing in the east her melancholy army† (Exposure). Dawn, the traditional imagery of hope and new beginning, has been distorted to become a signal of â€Å"melancholy† despair that â€Å"attacks† on â€Å"shivering ranks of gray†. The gloomy dawn blends in with the color of the enemies’ uniform, which further stresses the disheartened spirit of the soldiers in war. Even in their dreams in which they catch a vision of their beloved hometown, they remain skeptic, wondering whether it is just a precursor to death, asking â€Å"Is it that we are dying?† The pararhyme â€Å"snow-dazed faces† and â€Å"sun-dozed† establishes the wispy link between their suffering and their home but also brings out their discouragement at the incomplete and unreal vision of their dreams. Although Owen intends to draw sympathy from the readers for the soldiers thus the anger at the war, he does acknowledge all these sufferings as the condemnation that the soldiers are inclined to suffer once they have gone to war. His frequent reference to Hell is an allusion to The Divine Comedy by Dante Alighieri which details his visionary progress through Hell and Purgatory. With the description of fire in battlefield, Owen induces a sense of the â€Å"haunting flares† in Hades’ world (Dulce et Decorum est). In Strange Meeting, the soldier â€Å"stood in Hell† after he â€Å"escaped† from the vicious battle. The image of â€Å"purgatorial shadows† (Mental Case) is typically Dantean that emphasizes the tortuous experience of the veterans. By doing this, Owen is both trying to convey the hellish experience of being in the war as if they were punished for their guilt and expressing his certainty of arrival in Hell even after the soldiers have escaped from the battlefield. This implicitly disapproves the participation of these soldiers in the war, saying that their sufferings is the condemnation for their crime, because by the time a soldier is killed, he is already a â€Å"devil’s sick of sin† (Dulce et Decorum est). Born into an Evangelical family, Owen unsurprisingly echoes some religious reference in his poems. The â€Å"devil’s sick of sin† above is a good example. Besides that Owen also acknowledges that the soldiers are going through adversity because â€Å"love of God seems dying† (Exposure). To him, war is a sin against the will of his God which angers Him so much that he ceases to be benevolent to the small creatures of his Creation. In The Sentry, the exclamation â€Å"I see your lights!† and the reply â€Å"But ours had long died out† opens itself to some interpretations. The lights that the ill-luck soldier has seen bear the connotation of the light at the end of the tunnel, an escape from the despicable life into death. But the others’ lights, their hope and faith, have ceased to exist. Thus we can see in Owen’s eyes, war is a crime that defies the will of God and is worth condemning as it brings all the soldiers under the curse as well. Such pains are so enormous that the only way to stay alive is to suppress all emotions and become insensitive. The ironic use of the word â€Å"happy† which recurs in the poem â€Å"Insensibility† conveys the bitter resignation to the fact that soldiers can only live in war if they â€Å"let their veins run cold† before they die and from whom no â€Å"compassion† â€Å"makes their feet sore on the alley cobbed with their brothers†: they are allowed no more space for emotions once their comrades fall in the battle and they have to step on the corpses to make their way out. â€Å"Wading sloughs of flesh† and â€Å"treading blood† (Mental Cases) have become a usual occurrence that if the soldiers do not grow empathetic towards, he would be robbed off his sanity. War takes away so many lives-the soldiers â€Å"dies as cattle† that they â€Å"keep no check on Armies’ decimation† as it is ultimately pointless. However ha unting and hurtful it is to witness a comrade’s death, the soldier â€Å"forgot him there† (The Sentry). War dehumanizes people to such an extent that a little bit of care for anyone else would be a luxury. They have to adapt by turning their eyes â€Å"rid of the hurt of color of blood† and keep â€Å"their hearts remain small drawn†, otherwise it would be too painful to keep moving on. This is a development on the depiction of blood, which now adopts implication of heart-feelings of pity. It has to be constricted to resist all feelings just as their senses become dulled in the way a military surgeon might burn flesh to stop the loss of blood from a wound by â€Å"cautery†. The advantage-that they can â€Å"laugh among the dying† is, in its cruelty, an outright criticism of the effect of war on human decency (Insensibility). Gradually, they lose the feeling for themselves as well. Also, Owen brings the response of the people back home into some of these poems to further highlight the destruction of war in the sense that it brings out the insensitivity of those who do not go to war. Surely, the death of young soldiers would dwell on the forehead of girls who love them for the rest of their lives as â€Å"The pallor of girls’ brows shall be their pall†¦and each slow duck a drawing-down of blinds† (Anthem for Doomed Youth), but most of the time, all that the soldiers perceive, as Owen depicts, is indifference and ignorance. There is a strong echo between â€Å"But nothing happens† (Exposure) and â€Å"but no one bothers† (Insensibility). War has made such a difference in the lives of those who went to the front and those who did not that it actually divides and weaken the link between human beings and Owen voices his rage in damning words â€Å"By choice they made themselves immune to pity†. Characterizing the insensitivity that is slowly engendered in human beings, Owen has successfully brought out the insensitive and merciless nature of the war. The suffering does not end once the last gun ceased to fire. Instead it drags on and becomes an incurable wound in the veterans’ mind after they return home. The sharp contrast between the life before and after the war of the young soldier in â€Å"Disabled† exemplifies the destruction that war makes on the lives of these soldiers. Once a football player that got â€Å"carried shoulder-high† for his excellent performance, the young man is now â€Å"legless, sewn short at elbow†, helpless and dependent. The juxtaposition of â€Å"crowds cheer goal† against â€Å"some cheer him home† shows the marked difference between the life of an admired footballer with that of a veteran who receives only spared sympathy from â€Å"some† people back home. There is a decrease in the degree of respect and recognition that the soldier gets before and after the war, and Owen severely despises war for that truth. The soldier’s social life is also worsened where he notices the â€Å"lovelier† glances that girls gave him as a young handsome guy have â€Å"passed from him to† others â€Å"that were whole†. The girls that have allowed him to â€Å"feel† their waists and hands now merely â€Å"touch him like some queer disease†. Again sharp contrast between â€Å"touch† and â€Å"feel† demonstrates the disappearance of emotions that were once present. Lack of emotions is accompanied by a sense of disgust for a â€Å"queer disease †. If in â€Å"Disabled†, Owen depicts the contrast between the life of a soldier before and after the war, in â€Å"Mental Cases† he focuses on the trauma that robs these soldiers off their sanity once they step out of the war. Not only physically destroyed, â€Å"chasms round their fretted sockets†, â€Å"stroke on stroke of pain†, they also suffer from insanity which resulted from witnessing â€Å"multitudinous murders†, â€Å"wading sloughs of flesh† and â€Å"treading blood† of their own comrades. To link this with a point previously made, war makes the soldiers either bitterly insensitive or makes them lose their minds. These men did not withstand and grow that insensibility; instead they have given in to the inhumanity of the war and thus become traumatized-â€Å"their hands are plucking at each other†. This is a strong allusion to Lady Macbeth who is overwhelmed with a sense of guilt in Act 5 Scene 1, thus it is reasonable to deduce that the haunting experience of killing massive number of people has rooted in these soldier’s minds causing them to lose their minds. Owen unceasingly points out the damaging influence of the war and finally comes to his firm conclusion that war is futile and contemptible. All these pains and suffering do not bring anyone anywhere. It only turns a â€Å"brother† into an enemy which gets â€Å"jabbed and killed† (Strange Meeting). It involves lengthy days of waiting although it is clear that â€Å"nothing happens†. The question â€Å"What are we doing here?† (Exposure) can be taken as both the query for the purpose of their night duties or the questioning of the point of the war itself. The suffering in the middle of the war, the post-war sense of loss for such futile dispute makes a complete picture of the â€Å"pity of war† that Owen tries to depict in his collection of poems. He forthrightly dismisses the sentimental description of the soldiers as â€Å"flowers for poets’ tearful fooling† or merely â€Å"gaps for filling† (Insensibility). Neither does he approve of such false promises as â€Å"jeweled hilts, daggers in plait socks, smart salutes† (Disabled) or â€Å"the old Lie: Dulce et Decorum est pro patria mori†. It is ultimately deception which lures â€Å"innocent† civilians into the horrendous battle. He is convinced that the propaganda can only fool â€Å"children ardent for some desperate glory† and the deception is too thin a mask for the callous reality of war. All in all, Owen is a strongly anti-war poet who has clearly establishes his stance on the distressing and repugnant reality of war. With a combination of various devices, notably para-rhyme, contrast and vivid imagery, Owen has both offered a factual account of war and voiced his anger towards war-the crisis, the crime of humankind.

Como Agua Para Chocolate

Verbal and Visual Representation of Women: Como agua para chocolate / Like Water for Chocolate By MARIA ELENA DE VALDES Como agua para chocolate is the first novel by Laura Esquivel (b. 1950 ). Published in Spanish in 1989 and in English translation in 1992, followed by the release of the feature film that same year, the novel has thrust this Mexican woman writer into the world of international critical acclaim as well as best-seller popularity.Since Esquivel also wrote the screenplay for director Alfonso Arau, the novel and the film together offer us an excellent opportunity to examine the interplay between the verbal and visual representation of women. Esquivel's previous work had all been as a screenwriter. Her script for Chido Guan, el Tacos de Oro ( 1985 ) was nominated for the Ariel in Mexico, an award she won eight years later for Como agua para chocolate. The study of verbal and visual imagery must begin with the understanding that both the novel and, to a lesser extent, the film work as a parody of a genre.The genre in question is the Mexican version of women's fiction published in monthly installments together with recipes, home remedies, dressmaking patterns, short poems, moral exhortations, ideas on home decoration, and the calendar of church observances. In brief, this genre is the nineteenth-century forerunner of what is known throughout Europe and America as a woman's magazine. 1 Around 1850 these publications in Mexico were called â€Å"calendars for young ladies. Since home and church were the private and public sites of all educated young ladies, these publications represented the written counterpart to women's socialization, and as such, they are documents that conserve and transmit a Mexican female culture in which the social context and cultural space are particularly for women by women. It was in the 1850s that fiction began to take a prominent role. At first the writings were descriptions of places for family excursions, moralizing tales , or detailed narratives on cooking. By 1860 the installment novel grew out of the monthly recipe or recommended excursion.More elaborate love stories by women began to appear regularly by the 1880s. The genre was never considered literature by the literary establishment because of its episodic plots, overt sentimentality, and highly stylized characterization. Nevertheless, by the turn of the century every literate woman in Mexico was or had been an avid reader of the genre. But what has been completely overlooked by the male-dominated literary culture of Mexico is that these novels were highly coded in an authentic women's language of inference and reference to the commonplaces of the kitchen and the home which were completely unknown by any man. Behind the purportedly simple episodic plots there was an infrahistory of life as it was lived, with all its multiple restrictions for women of this social class. The characterization followed the forms of life of these women rather than t heir unique individuality; thus the heroines were the survivors, those who were able to live out a full life in spite of the institution of marriage, which in theory, if not in practice, was a form of indentured slavery for life in which a woman served father and brothers then moved on to serve husband and sons together with her daughters and, of course, the women from the servant class.The women's fiction of this woman's world concentrated on one overwhelming fact of life: how to transcend the conditions of existence and express oneself in love and in creativity. 3 Cooking, sewing, embroidery, and decoration were the usual creative outlets for these women, and of course conversation, storytelling, gossip, and advice, which engulfed every waking day of the Mexican lady of the home. 4 Writing for other women was quite naturally an extension of this infrahistorical conversation and gossip.Therefore, if one has the social codes of these women, one can read these novels as a way of life in nineteenth-century Mexico. Laura Esquivel's recognition of this world and its language comes from her Mexican heritage of fiercely independent women, who created a woman's culture within the social prison of marriage. 5 Como agua para chocolate is a parody of nineteenth-century women's periodical fiction in the same way that Don Quijote is a parody of the novel of chivalry. Both genres were expressions of popular culture that created a unique space for a segment of the population.I am using the term parody in the strict sense in which Ziva Ben-Porat has defined it: â€Å"[Parody is] a representation of a modeled reality, which is itself already a particular representation of an original reality. The parodic representations expose the model's conventions and lay bare its devices through the coexistence of the two codes in the same message† (247). Obviously, for the parody to work at its highest level of dual representation, both the parody and the parodic model must be pre sent in the reading experience.Esquivel creates the duality in several ways. First, she begins with the title of the novel, Like Water for Chocolate, a locution which translates as â€Å"water at the boiling point† and is used as a simile in Mexico to describe any event or relationship that is so tense, hot, and extraordinary that it can only be compared to scalding water on the verge of boiling, as called for in the preparation of that most Mexican of all beverages, dating from at least the thirteenth century: hot chocolate (Soustelle, 153-61).Second, the subtitle is taken directly from the model: â€Å"A Novel in Monthly Installments, with Recipes, Romances, and Home Remedies. † Together the title and subtitle therefore cover both the parody and the model. Third, the reader finds upon opening the book, in place of an epigraph, a traditional Mexican proverb: â€Å"A la mesa y a la cama / Una sola vez se llama† (To the table or to bed / You must come when you ar e bid). â€Å"The woodcut that decorates the page is the typical nineteenth-century cooking stove. The fourth and most explicit dualistic technique is Esquivel's reproduction of the format of her model.Each chapter is prefaced by the title, the subtitle, the month, and the recipe for that month. The narration that follows is a combination of direct address on how to prepare the recipe of the month and interspersed stories about the loves and times of the narrator's great-aunt Tita. The narration moves effortlessly from the first person to the third-person omniscient narrative voice of all storytellers. Each chapter ends with the information that the story will be continued and an announcement of what the next month's–that is, the next chapter's–recipe will be.These elements, taken from the model, are never mere embellishments. The recipes and their preparation, as well as the home remedies and their application, are an intrinsic part of the story. There is therefore a n intricate symbiotic relationship between the novel and its model in the reading experience. Each is feeding on the other. In this study I am concerned with the model of the human subject, specifically the female subject, as it is developed in and through language and visual signification in a situated context of time and place.The verbal imaging of the novel makes use of the elaborate signifying system of language as a dwelling place. The visual imagery that at first expands the narrative in the film soon exacts its own place as a nonlinguistic signifying system drawing upon its own repertoire of referentiality and establishing a different model of the human subject than that elucidated by the verbal imagery alone. I intend to examine the novelistic signifying system and the model thus established and then follow with the cinematic signifying system and its model.The speaking subject or narrative voice in the novel is characterized, as Emile Benveniste has shown, as a living prese nce by speaking. That voice begins in the first person, speaking the conversational Mexican Spanish of a woman from Mexico's north, near the U. S. border. Like all Mexican speech, it is clearly marked with register and sociocultural indicators, in this case of the land-owning middle class, mixing colloquial local usage with standard Spanish. The entry point is always the same: the direct address of one woman telling another how to prepare the recipe she is recommending.As one does the cooking, it is quite natural for the cook to liven the session with some storytelling, prompted by the previous preparation of' the food. As she effortlessly moves from first-person culinary instructor to storyteller, she shifts to the third person and gradually appropriates a time and place and refigures a social world. A verbal image emerges of the model Mexican rural, middle-class woman. She must be strong and far more clever than the men who supposedly protect her. She must be pious, observing all the religious requirements of a virtuous daughter, wife, and mother.She must exercise great care to keep her sentimental relations as private as possible, and, most important of all, she must be in control of life in her house, which means essentially the kitchen and bedroom or food and sex. In Esquivel's novel there are four women who must respond to the model: the mother Elena and the three daughters Rosaura, Gertrudis, and Josefita, known as Tita. The ways of living within the limits of the model are demonstrated first by the mother, who thinks of herself as its very incarnation.She interprets the model in terms of control and domination of her entire household. She is represented through a filter of awe and fear, for the ostensible source is Tita's diary-cookbook, written beginning in 1910, when she was fifteen years old, and now transmitted by her grandniece. Therefore the verbal images that characterize Mama Elena must be understood as those of her youngest daughter, who has b een made into a personal servant from the time the little girl was able to work.Mama Elena is depicted as strong, self-reliant, absolutely tyrannical with her daughters and servants, but especially so with Tita, who from birth has been designated as the one who will not marry because she must care for her mother until she dies. Mama Elena believes in order, her order. Although she observes the strictures of church and society, she has secretly had an adulterous love affair with an African American, and her second daughter, Gertrudis, is the offspring of that relationship.This transgression of the norms of proper behavior remains hidden from public view, although there is gossip, but only after her mother's death does Tita discover that Gertrudis is her half-sister. The tyranny imposed on the three sisters is therefore the rigid, self-designed model of a woman's life pitilessly enforced by Mama Elena, and each of the three responds in her own way to the model. Rosaura never questions her mother's authority and follows her dictates submissively; after she is married she becomes an insignificant imitation of her mother.She lacks the strength, skill, and determination of Mama Elena and tries to compensate by appealing to the mother's model as absolute. She therefore tries to live the model, invoking her mother's authority because she has none of her own. Gertrudis does not challenge her mother but instead responds to her emotions and passions in a direct manner unbecoming a lady. This physical directness leads her to adopt an androgynous life-style: she leaves home and her mother's authority, escapes from the brothel where she subsequently landed, and becomes a general of the revolutionary army, taking a subordinate as her lover and, later, husband.When she returns to the family hacienda, she dresses like a man, gives orders like a man, and is the dominant sexual partner. Tita, the youngest of the three daughters, speaks out against her mother's arbitrary rule but cannot escape until she temporarily loses her mind. She is able to survive her mother's harsh rule by transferring her love, joy, sadness, and anger into her cooking. Tita's emotions and passions are the impetus for expression and action, not through the normal means of communication but through the food she prepares. She is therefore able to consummate her love with Pedro through the food she serves.Tal parecia que en un extranio fenomeno de alquimia su ser se habia disuelto en la salsa de rosas, en el cuerpo de las codornices, en el vino y en cada uno de los olores de la comida. De esta manera penetraba en el cuerpo de Pedro, voluptuosa, aromatica, calurosa, completamente sensual. (57) It was as if a strange alchemical process had dissolved her entire being in the rose petal sauce, in the tender flesh of the quails, in the wine, in every one of the meal's aromas. That was the way she entered Pedro's body, hot, voluptuous, perfumed, totally sensuous. 52) This clearly is much more than communication through food or a mere aphrodisiac; this is a form of sexual transubstantiation whereby the rose petal sauce and the quail have been turned into the body of Tita. Thus it is that the reader gets to know these women as persons but, above all, becomes involved with the embodied speaking subject from the past, Tita, represented by her grand-niece (who transmits her story) and her cooking. The reader receives verbal food for the imaginative refiguration of one woman's response to the model that was imposed on her by accident of birth. The body of these women is the place of living.It is the dwelling place of the human subject. The essential questions of health, illness, pregnancy, childbirth, and sexuality are tied very directly in this novel to the physical and emotional needs of the body. The preparation and eating of food is thus a symbolic representation of living, and Tita's cookbook bequeaths to Esperanza and to Esperanza's daughter, her grandniece, a woman's cr eation of space that is hers in a hostile world. Not only was the film adaptation of Como agua para chocolate written by the novelist herself, but in this case the screenplay represents a return to her original discipline.There are many cinematographic elements in the novel, primarily the numerous cuts and fade-outs of the story in order to feature the cooking. The camera is intrusive and can engulf its subject in a visual language that is unique to the voyeur or can replace verbal referentiality by overwhelming the viewer. For example, the opening shot of the film, filling the entire screen with an onion that is being sliced, plunges the viewer into food preparation in a way that no spoken word could parallel for its immediate effect.Similarly, the numerous close-ups of food being prepared, served, and eaten heighten the dominance of the performance of cooking and eating as both sustenance and social ritual. Contrast these images and this emphasis on the joy, sensuality, and even l ust of eating the Mexican cuisine of Tita's kitchen with the scenes of the monks eating in Jean-Jacques Annaud screen version of The Name of the Rose or the raw meat displayed in the monastery's refractory, where the emphasis is on the denial of the flesh through mortification. Gabriel Axel film Babette's Feast, on the other hand, contains both poles of this opposition between gratification and mortification of the body. The minister's two daughters, who substitute religious practice for living and who eat as punishment for having a body, are suddenly exposed to the refinement of food as art, pleasure, and gratification. ) In the film Como agua para chocolate the preparation of food is expressed visually, and the consummation of eating is seen in the faces of the diners; but it must be also emphasized that there is a full spectrum of effects here, ranging from ecstasy to nausea.Perhaps the major difference between Esquivel's novel and the film version is that there is a visual inter text in the latter that evokes the Cinderella fairy tale by using the ghostly appearance of the mother and making her death the result of an attack on the hacienda by outlaws. In the novel Mama Elena does not die until long after the attack and lingers on in partial madness, convinced that Tita is trying to poison her. By cutting short her death to one sudden violent episode and having her visage return to taunt Tita until the latter is able to renounce her heritage, the film makes Tita the Cinderella-like victim of personal abuse.In the novel the rigidity and harshness of Mama Elena is overwhelmingly sociocultural and not peculiar to Tita as victim. The visual intertext of fairy-tale language creates an effective subtext in the film, bringing out the oppression of the protagonist and her magical transcendence. Instead of a fairy godmother, Tita has the voice of her Nacha, the family cook who raised her from infancy amid the smells and sounds of the kitchen. Instead of a magical tra nsformation of dress and carriage to go to the prince's ball, Tita is able to make love through the food she prepares; she is also able to induce sadness and acute physical discomfort.She is therefore able to keep Pedro from having sexual relations with Rosaura by making certain that Rosaura is fat, foul of breath, and given to breaking wind in the most nauseating manner. Mama Elena's ghost first appears one hour into the film and quietly gains the upper hand, since she threatens to curse the child Tita is presumably carrying. The final confrontation between Tita and the ghost comes ten minutes later: Tita defeats the ghost by revealing that she knows Gertrudis is illegitimate and that she hates Elena for everything she has never been to her.The film's visual language is able to evoke images of provocation, contempt, and abuse that are not in the novel. From the fortieth to the forty-fifth minute of the film, part of Tita's immensurably Cinderellalike duties are enacted. Tita is the only one permitted to assist Mama Elena in her bath and with her dressing. The despotic abuse of Tita by Mama Elena clearly borrows the visual images of the cruel stepmother. The magical intermediary is not a beautiful woman in a ball dress, but rather a wrinkled old woman, the cook Nacha, who had given Tita the love Mama Elena denied her.Nacha's voice and face guide Tita. It is Nacha who tells her to use the roses Pedro gave her for the preparation of quail in rose petal sauce, and it is Nacha who prepares the bedroom for the final consummation of love between Tita and Pedro at the end of the film. Tita's magical powers are all related to food, with the exception of the kilometer-long bedspread she knits during her lengthy nights of insomnia. Tita's cooking controls the pattern of living of those in her household because the food she prepares becomes an extension of herself.The culmination of this process of food as art and communication is food as communion. The transubstantiatio n of Tita's quail in rose petal sauce into Tita's body recalls the Roman Catholic doctrine of the communion wafer's becoming the body and blood of Christ, but on a deeper level it is the psychological reality of all women who have nursed an infant. When the baby Roberto loses his wet nurse, Tita is able to take the infant and nurse him in spite of the fact that she has not given birth.Her breasts are filled with milk not because she wishes she were the mother of the child, but because the child needs to eat and she is the provider of food. The viewer of the film Como agua para chocolate must develop her expressive capacity as she broadens her affective experience. Mexican women–and to some extent Latin American women–seeing the film relive their family history, and this is so not only because of the strong and open cultural links between Latin American women in this century, on which both the novel and film draw, but also and perhaps primarily because of the skillful u se of the parodic model.The intertext of women's magazines and the loves, trials, and tribulations featured in the stories they published is used by Esquivel as a discursive code that transcends whatever regional differences may exist. The social registers, the forms of address, the language of the female domain are somewhat lost in translation, because as in cooking, the substitution of ingredients changes the taste.The representation of women in Esquivel's novel and in the film touches on that deepest reservoir of meaning which is the human body as described, seen, and, on the deeper level, understood as the origin of identity. Women from other cultures and other languages can develop an empathetic relationship with Tita, her cooking, her love, and her life. Men of any culture, but especially Mexican men and Latin American men, have the greatest deficiency in experiencing this film and therefore have the most to learn.They must gain access to some fragment of the expressive code o f visual and verbal images that are the infrahistoric codes of their mothers, wives, and daughters. If they cannot gain access to the expressive system, they will not have access to the affective experience of these lives. The imagery of nourishing the body in both the novel and the film provides us with the means for articulating the experiences of cooking, eating, making love, and giving birth in previously unsuspected ways, and thus allows the male intruder a peek into reality.Women's recuperation of artistic creativity within the confinement of the house, and especially the kitchen and the bedroom, is presented by Esquivel not in an ideological argument but rather by means of an intertextual palimpsest which is the hallmark of postmodern art. 6 I want to conclude with three observations on feminist art in this context. 1) This is not a protest movement; it is a celebration of the space of one's own which may have been hidden from view in the past but is now open to all. ) At the center of postmodernism there is the vesting of creative weight on the reader, and this makes intertextuality a means of providing an interpretive context; in the case of Esquivel that context is our grandmother's kitchen and bedroom. 3) The maturity of feminist criticism has moved beyond the need to go headhunting among the misogynist hordes of patriarchy; the challenge today is to celebrate women's creativity in the full domain of the human adventure, from the so-called decorative arts to the fine arts and science.

Native American Musical Instruments And Music - 980 Words

Native American Musical Instruments are about natives getting together and playing there instruments. They play them on holidays and birthdays, also they play whenever they want entertainment. It’s a tradition for them. Their instruments are not metal like ours, so it doesn t sound like ours either. Their instruments have a whole different tune and sound. Native Americans love to play their instruments. Its one of their favorite things to do. I am writing about Native American musical instruments because music is a big part of there s and our lives. Music is a big part of our lives, we had music for years. This bond has formed from when they made the instruments, and then they played them. They showed other people and they liked it. So†¦show more content†¦The genres that were played by the Native Americans were characteristics of music and how they were produced. Genres change because some people are from different cultures. Regional category a description of the mu sic encompasses vocal rhythm beat. They didn’t have have music sheets like Americans do. They played with there heart and what they felt like. They had/ have meaning to their songs/ music. A Native American instrument can be defined as any device created for the use of making music by native nation or tribe while some instruments were more traditional than others indigenous people would play the instruments. Their music, especially their singing is the iconic perception of Native music in popular culture. It doesn t say when they played them so i m going to guess they usually played them on holidays and birthdays. They probably played them for entertainment. Men and women would sing separately. There s no certain age, you have to play an instrument They would play for an hour for a lesson plus two or three periods for the activity. You have to practice a couple weeks or even months to make by a specially trained craftsman. Your usually younger when you start. Because the younger you start the better you sound when you re older. You just have to practice when you re not busy or every night. They usually played every day because that s what they re supposed to do, so they can get better. Natives are very caring aboutShow MoreRelatedNative American Instruments Essay879 Words   |  4 PagesNative American Musical Intruments are about natives getting together and playing there instruments. They play them on holidays and birthdays, also they play whenever they want entertainment. It’s a tradition for them. There instruments are not metal like ours so it doesn t sound like ours either. There instruments have a whole different tune and sound. Native americans love to play there instruments. Its one of their favorite things to do. 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