The Creation of Modern Capitalism Essay Example | Topics and Well Written Essays - 3750 words

The Creation of Modern Capitalism - Essay Example We are currently in the beginning times of such an upheaval, the change toward manageable turn of events. Most enormous partnerships created in a period of bountiful crude materials, modest vitality, and boundless sinks for squander removal. While fruitful in restoring the authenticity of an industry under gigantic open tension, Responsible Care has neglected to address the basic issues related with the substance business; a large number of its items and procedures are exceptionally poisonous, asset concentrated, and keep on putting tremendous weights on air and water assets. (Abernathy, 1978, 41) As the organization ages, the administration starts to settle in. Interests cool and are supplanted by discerning dynamic, frequently just the codification of what has worked previously. Information are accumulated, examination is performed, options are hypothesized, and situations are created. Endeavors are made to maintain a strategic distance from the round of data chiseling. Just when discerning dynamic is stylish does all the significant data stream to the correct chief, at the perfect time, and in the correct structure to be effectively investigated and deciphered. Balanced dynamic is triumphant, at any rate for some time. This stage is regularly envisioned as the ordinary condition of the organization, despite the fact that as far as we can tell, especially as the pace of progress increments, once in a while does this perfect state precisely portray how the organization really works. In the long run, judicious dynamic uncovers that the future capability of the business is constrained. Frequently, now, undermined by the possibility of a dreary future, the company counts on guarded schedules to shield the association from its destiny, similarly as cautious feelings rise in our lives when we sense looming injury. The executives presently observes the future filled more with inconvenience than with guarantee. Choices are made to secure existing organizations. The dread of disposing of the old for the new (item cannibalization), the dread of channel struggle, and the dread of profit weakening through obtaining incapacitate demonstrations of innovative pulverization and frequently viably shield the enterprise from the view of future difficulty - just as the need to act- - for quite a while. Social lock-in is built up, frustrating the rise of a pioneer or group that may make all the difference. The reasons for social lock-in For what reason does social lock-in happen The core of the issue is the development of concealed arrangements of rules, or mental models, that once shaped are incredibly hard to change. Mental models are the center ideas of the enterprise, the convictions and suppositions, the circumstances and logical results connections, the rules for deciphering language and signs, the narratives rehashed inside the corporate dividers. Charlie Munger, a long-lasting companion of and co-financial specialist with Warren Buffett and bad habit director of Berkshire Hathaway, considers mental models the hypothetical structures that assist speculators with bettering comprehend the world. Mental models are imperceptible in the enterprise. They are neither express nor

Ancient Greek Theatre Essay Example for Free

Antiquated Greek Theater Essay The Greek theater history starts with celebrations which respect divine beings. A case of such a celebration was ‘City Dionysia’ celebration which respected god Dionysus. During this celebration, which was occurring in Athens men perform melodies to invite god Dionysus. Plays were likewise introduced. Athens was the fundamental city where these celebrations and dramatic conventions were introduced. At old Greek Festivals, the entertainers, executives and producers were no different individual. Later just three on-screen characters were permitted to act in each play. What's more, this was trailed by adding not many non-talking jobs to perform in front of an audience. On account of the set number of on-screen characters, the chorale had a functioning impact of Greek theater. During the chorus’ conveyance of its lines music was frequently played. The showy types of the old Greek venue were catastrophe, parody and satyr. Athenian catastrophe, parody and satyr plays were the absolute soonest dramatic structures to rise on the planet. Greek theater and plays have lastingly affected Western dramatization and culture. Satyr plays managed fanciful subject in comic way. Catastrophe had as an originator, Thespis, who is viewed as the principal Greek entertainer of disaster plays. Aristotle’s Poetics state that disaster begins from dithyrambs which were tunes sung in commendation of Dionysus at the Dionysia every year. Sophocles, Euripides and Aeschylus were three notable Greek catastrophe writers. The structure of Greek disaster comprised of the accompanying: 1. Late purpose of assault 2. Viciousness and demise offstage 3. Visit utilization of envoys to relate data 4. Normally consistent time of activity 5. Normally single spot 6. Stories dependent on fantasy or history 7. Concentrate on mental and moral characteristics of characters Comedy plays were gotten from impersonation. Aristophanes composed the greater part of the satire plays. The structure of the parody comprised of two sections. Section one had the prolog, where chous gives banter or ‘agon’ and parabasis, a choral tribute tending to the crowd, in which a social or political issue is talked about. Section two comprises of scenes which show the consequence of the upbeat thought. Theater structures were known as a theatron. They were huge, outside structures built on the inclines of slopes. The greater part of the Greek auditoriums were developed in such a manner in this way, that the littlest sound could be transmitted to any situate of the crowd. They comprised of four primary parts: the symphony, the skene and the crowd (theatron) and the parodos. The symphony was an enormous region at the middle piece of the venue regularly roundabout. It was there where play, move and acting occurred. The most punctual symphonies were just made of hard earth yet later in the Classical time frame a few ensembles started to be made of marble and different materials. The ensemble of the auditorium of Dionysus in Athens was around 60 feet in breadth. The skene was a huge structure behind the symphony which was utilized as a behind the stage. It was where entertainers change their outfits and veils. It was generally enriched as a royal residence, sanctuary or other structure, contingent upon the necessities of the play. The crowd (theatron) was the place individuals were sitting to appreciate the play and it was in the front of the ensemble. It was typically part of slope neglecting the symphony. Individuals in the fifth century BC presumably sat on pads or sheets however by the fourth century numerous Greek performance centers had marble seats. The parodos were the ways by which the ensemble and a few on-screen characters made their doorways and ways out. The crowd likewise utilized them to enter and leave the venue when the presentation. The two covers of the image speak to the images for theater. They speak to the parody and catastrophe covers which were worn in old Greece. They additionally speak to duality. On-screen characters were exceptionally far away from the crowd that without the guide of outfits and covers they would be hard to see. Entertainers wore thick boots to add to their tallness and gloves to overstate their hanks with the goal that their developments would be anything but difficult to see by the crowd. The veils were made of cloth or plug, so none have endure. We anyway realize that they looked like from sculptures and compositions of old Greek on-screen characters. Disastrous veils conveyed sad or tormented articulations, while comic covers were grinning. The leader of the on-screen character was secured by his cover, which included hair. It is accepted that the state of the cover enhanced the actor’s voice, making his words simpler for the crowd to hear. This cover is related with the well known old Old Greek Theater. (2016, Dec 09).

College Writing Services Help You Prove Your Point With Fewer Words

College Writing Services Help You Prove Your Point With Fewer WordsThese days, many companies that offer college writing services are offering their customers the benefit of helping them write a persuasive essay that presents their students' ideas and expertise. However, sometimes these companies offer courses to help their students develop a more in-depth understanding of the writing process and therefore better understand the concepts that they are going to be writing about. These are sometimes called 'extended' writing courses and will give the student a deeper understanding of their topic than their original composition would have offered.This is usually the case with writing courses that go beyond the basics of the basic syllabus and instead focus on the most effective ways to persuade the reader. In a presentation, a strong and relevant introduction sets the stage for the rest of the text. The structure of the presentation also establishes what parts of the text should be read out loud and how often, so that the listener can make sure that they are hearing the same idea being presented in the most convincing way possible.Writing a persuasive essay is just as much about persuasion as speaking a persuasive speech. The best writers can almost always convey the point that they want to convey with the minimum amount of words, without appearing to be too wordy. It is through this minimum of words that the student is presented with the clear message that they want to send. They just need to ensure that they use those few words in a way that is appropriate to the argument.The speaker must work within the confines of the space provided by the space that they are in, and must ensure that they are still able to deliver the most effective message. The best college writing services will make sure that the student is aware of this in advance and will guide them along in every step of the way. They will provide guidance on how they should be using visuals, diagrams, and an extensive vocabulary of common vocabulary words that are not commonly used by most people. In essence, they will take the time to make sure that they are conveying the meaning of their words clearly, while being able to do so within the limited space that they are allowed to work within.If you are looking for some inspiration and some tips, look no further than some of the most famous and respected speakers, professionals, and ordinary folk who have had professional writing completed on their speeches. It is these writers who really get it, and they are sure to have a wealth of knowledge that you could take advantage of. The best college writing services also realize this and will tell you where to find some of the best speakers to present to you for your presentation.There is nothing worse than learning about something that will work for you on your own unique experience. But, there is nothing that you can find as helpful as some great information that has been gathered from pr ofessional speakers for educational purposes. They will help you build your argument up and give you a way to explain to your audience what they need to know.College writing services will help you provide a more persuasive argument with less words and will help you build your persuasive pieces into even more impressive pieces of writing by doing everything they can to make the space sound better. Sometimes, it might take a combination of these strategies to make a good argument. But, if you are serious about creating a persuasive essay, college writing services can help you do it.The important thing to remember is that these services will help you reduce the word count of your essays to the barest of essentials, but will still be able to get the point across. Most importantly, they will work with you and make sure that you get the most out of the space that is available to you. Then, all you have to do is present the piece to your audience, and they will be dazzled by the persuasive nature of your piece.

Ideal Gas vs. Non-Ideal Gas Example Problem

This example problem demonstrates how to calculate the pressure of a gas system using the ideal gas law and the van der Waals equation. It also demonstrates the difference between an ideal gas and a non-ideal gas. Van der Waals EquationProblem Calculate the pressure exerted by 0.3000 mol of helium in a 0.2000 L container at -25  °C usinga. ideal gas lawb. van der Waals equationWhat is the difference between the non-ideal and ideal gases?Given:aHe 0.0341 atm ·L2/mol2bHe 0.0237 L ·mol How to Solve the Problem Part 1: Ideal Gas LawThe ideal gas law is expressed by the formula:PV nRTwhereP pressureV volumen number of moles of gasR ideal gas constant 0.08206 L ·atm/mol ·KT absolute temperatureFind absolute temperatureT  °C 273.15T -25 273.15T 248.15 KFind the pressurePV nRTP nRT/VP (0.3000 mol)(0.08206 L ·atm/mol ·K)(248.15)/0.2000 LPideal 30.55 atmPart 2: Van der Waals EquationVan der Waals equation is expressed by the formulaP a(n/V)2 nRT/(V-nb)whereP pressureV volumen number of moles of gasa attraction between individual gas particlesb average volume of individual gas particlesR ideal gas constant 0.08206 L ·atm/mol ·KT absolute temperatureSolve for pressureP nRT/(V-nb) - a(n/V)2To make the math easier to follow, the equation will be broken into two parts whereP X - YwhereX nRT/(V-nb)Y a(n/V)2X P nRT/(V-nb)X (0.3000 mol)(0.08206 L ·atm/mol ·K)(248.15)/[0.2000 L - (0.3000 mol)(0.0237 L/mol)]X 6.109 L ·atm/(0.2000 L - .007 L)X 6.109 L ·atm/0.19 LX 32.152 atmY a(n/V)2Y 0.0341 atm ·L2/mol2 x [0.3000 mol/0.2000 L]2Y 0.0341 atm ·L2/mol2 x (1.5 mol/L)2Y 0.0341 atm ·L2/mol2 x 2.25 mol2/L2Y 0.077 atmRecombine to find pressureP X - YP 32.152 atm - 0.077 atmPnon-ideal 32.075 atmPart 3 - Find the difference between ideal and non-ideal conditionsPnon-ideal - Pideal 32.152 atm - 30.55 atmPnon-ideal - Pideal 1.602 atmAnswer:The pressure for the ideal gas is 30.55 atm and the pressure for van der Waals equation of the non-ideal gas was 32.152 atm. The non-ideal gas had a greater pressure by 1.602 atm. Ideal vs Non-Ideal Gases An ideal gas is one in which the molecules dont interact with each other and dont take up any space. In an ideal world, collisions between gas molecules are completely elastic. All gases in the real world have molecules with diameters and which interact with each other, so theres always a bit of error involved in using any form of the Ideal Gas Law and van der Waals equation. However, noble gases act much like ideal gases because they dont participate in chemical reactions with other gases. Helium, in particular, acts like an ideal gas because each atom is so tiny. Other gases behave much like ideal gases when they are at low pressures and temperatures. Low pressure means few interactions between gas molecules occur. Low temperature means the gas molecules have less kinetic energy, so they dont move around as much to interact with each other or their container.

Siege of Acre in the Crusades

The Siege of Acre took place August 28, 1189 to July 12, 1191, during the Third Crusade and saw Crusader forces capture the city. Following the loss of Jerusalem in 1187, efforts were made to launch a new crusade to retake the city. As a first step, Guy of Lusignan commenced a siege of Acre. Unable to take the city quickly, he was later joined by arriving Crusader forces led by Duke Leopold V of Austria, King Richard I of England, and King Philip II Augustus of France. This combined force succeeded in defeating Saladins relief force and compelled the garrison to surrender. Background In the wake of his stunning victory at the Battle of Hattin in 1187, Saladin swept through the Holy Land capturing Crusader garrisons. This culminated with the successful Siege of Jerusalem that October. One of the few Crusader cities to withstand Saladins efforts was Tyre which was administered by Conrad of Montferrat. Unable to take Tyre by force, Saladin attempted to obtain it through negotiation and treaties. Among the items he offered was the King of Jerusalem, Guy of Lusignan, who had been captured at Hattin. Conrad resisted these entreaties, though Guy was ultimately released. Approaching Tyre, Guy was refused admission by Conrad as the two had argued over the formers ascension to the throne. Returning with his wife, Queen Sibylla, who held legal title to the kingdom, Guy again was refused entry. Lacking options, Guy established a camp outside of Tyre to await reinforcements from Europe who were responding to the call for a Third Crusade. These arrived in 1188 and 1189 in the form of troops from Sicily and Pisa. Though Guy was able to sway these two groups into his camp, he was unable to come to an accord with Conrad. Requiring a base from which to attack Saladin, he moved south to Acre. Siege of Acre Conflict: Third Crusade (1189-1192)Date: August 28, 1189 to July 12 ,1191Armies Commanders:CrusadersGuy of LusignanRobert de SableGerard de RidefortRichard the LionheartPhilip AugustusDuke Leopold V of AustriaAyyubidsSaladin Opening Stages One of the most heavily fortified cities in the region, Acre was located on the Gulf of Haifa and was protected by large double walls and towers. Arriving on August 28, 1189, Guy immediately moved to assault the city despite the fact that the garrison was twice the size of his army while Sicilian ships began a blockade offshore. This attack was easily defeated by the Muslim troops and Guy began a siege of the city. He was soon reinforced by a variety of soldiers arriving from Europe as well as by a Danish and Frisian fleet which relieved the Sicilians. Battle of Acre Among the arrivals was Louis of Thuringia who convinced Conrad to provide military aid. This development concerned Saladin and he moved to strike Guys camp on September 15. This attack was repulsed though the Muslim army remained in the area. On October 4, Saladin again approached the city and began the Battle of Acre. In a day of bloody fighting, the strategic situation changed little as he was unable to dislodge the Crusaders from in front of the city. As the autumn passed, word reached Acre that Frederick I Barbarossa was marching to the Holy Land with a large army. Siege Continues Seeking to end the standoff, Saladin increased the size of his army and laid siege to the Crusaders. As the double siege ensued, the two sides contested control of the waters off Acre. This saw both sides exert control for period which allowed additional supplies to reach the city and the Crusader camp. On May 5, 1190, the Crusaders attacked the city but achieved little. Responding, Saladin launched a massive eight-day attack on the Crusaders two weeks later. This was thrown back and through the summer additional reinforcements arrived to bolster the Crusader ranks. Though their numbers were increasing, conditions in the Crusader camp were deteriorating as food and clean water were limited. Through 1190, disease ran rampant killing both soldiers and nobles. Among those who died was Queen Sibylla. Her death reignited the succession debate between Guy and Conrad leading to increased dissension in the Crusader ranks. Sealed in on land by Saladins army, the Crusaders suffered through the winter of 1190-1191 as the weather prevented receiving reinforcements and supplies by sea. Attacking the city on December 31 and again on January 6, the Crusaders were again turned back. King Philip II Augustus of France arrives in Palestine. Public Domain The Tide Turns On February 13, Saladin attacked and succeeded in fighting his way through to the city. Though the Crusaders ultimately sealed the breach, the Muslim leader was able to replenish the garrison. As the weather improved, supply ships began reaching the Crusaders at Acre. Along with fresh provisions, they brought additional troops under the command of Duke Leopold V of Austria. They also brought word that King Richard I the Lionheart of England and King Philip II Augustus of France were en route with two armies. Arriving with a Genoese fleet on April 20, Philip began constructing siege engines for assaulting Acres walls. He was joined on June 8 by Richard who landed with 8,000 men. Richard initially sought a meeting with Saladin, though this was cancelled when the English leader fell ill. Effectively taking control of the siege, Richard pounded away at Acres walls, but attempts to exploit the damage were thwarted by diversionary attacks by Saladin. These allowed the citys defenders to make needed repairs while the Crusaders were otherwise occupied. Richard I the Lionheart. Photograph Source: Public Domain On July 3, a major breach was created in Acres walls, but the subsequent assault was repulsed. Seeing little alternative, the garrison offered to surrender on July 4. This offer was refused by Richard who rejected the terms offered by the garrison. Additional efforts on Saladins part to relieve the city failed and following a major battle on July 11, the garrison again offered to surrender. This was accepted and the Crusaders entered the city. In victory, Conrad had the banners of Jerusalem, England, France, and Austria raised over the city. Siege of Acre. Public Domain Aftermath: In the wake of the citys capture, the Crusaders began quarreling among themselves. This saw Leopold return to Austria after Richard and Philip, both kings, refused to treat him as an equal. On July 31, Philip also departed to settle pressing issues in France. As a result, Richard was left in sole command of the Crusader army. Crushed by the citys surrender, Saladin began gathering resources to ransom the garrison and conduct a prisoner exchange. Displeased by the exclusion of certain Christian nobles, Richard refused Saladins first payment on August 11. Further talks were broken off and on August 20, feeling that Saladin was delaying, Richard ordered 2,700 prisoners executed. Saladin retaliated in kind, killing those Christian prisoners in his possession. Departing Acre on August 22 with the army, Richard moved south with the intention of capturing Jaffa. Pursued by Saladin, the two fought the Battle of Arsuf on September 7 with Richard achieving a victory.

Mein Kaumf by Adolf Hitler Essay - 828 Words

The Holocaust was a very sad time for millions of people in Europe and U.S. The leader of the Holocaust was Adolf Hitler. Adolf Hitler was in prison for trying to take over German Government and while he was in there he wrote a book. The book was called Mein Kaumf, which described his struggle and how he felt the German Government should be ran. After Hitler got out from his short sentance in prison, many people had already read his book which created his power. Hitler felt that Jews were the main problem for all of Germanys struggles and down fall. In 1935 the Nuremberg laws were created. The Nuremberg laws pretty much stripped the Jews of there citizenship. In 1936 the Nuremberg laws slowed down because of the Olympic Games which were†¦show more content†¦Otto owned a spice and canning buisness that was not far from there house. At Ottos office, it had a very interesting way it was built. When you would walk up the stairs to where the Secret Annexe (the place the Franks st ayed) there would be a bookshelf covering a door that led to a staircase that led to where they were staying. If a random person were to have walked off the street and into the office, they would be very confused in the annexe and have trouble even getting to the door to the annexe. On the morning of the Franks moving into the Annexe Margot would have already been there becuase she had been recieving call up notices prior to there actual day they were moving in so she had already left with Meip (Meip was one of the guardians at the office). When Anne and her parents were going to the Annexe, they had to wear multiple layers of clothing and carry only one bags because they did not want to draw attention to themselves. The Franks were not going to stay in the Annexe alone. The other people hiding with them were Hermann Van Dan, Petronella Van Dan, and there son Peter Van Dan. Also hiding with them was Albert Dussel. While they were all in hiding they had guardians who were Mr. Franks workers at his office. The guardians were the people who brought them the supplies that they needed and they guarded the Annexe. After two years in the Annexe the members were arrested. It was August 4, 1944 when they were arrested. They thought that the reason

Title Evidence, First Movement Words and Things Visual Strategies The Wild Ride Essay Example For Students

Title: Evidence, First Movement: Words and Things Visual Strategies: The Wild Ride Essay Two themes prefi gured in this fi rst chapter and foregrounded later in the fi lm deserve treatment in terms of the visual strategies they employ: the Wild Ride and the hysteric. Our claims as to the methodological ele ment of Christensen’s image- making practices become clearer if we temporarily skip ahead to Hà ¤xan’s depiction of the violent moral disorder of the Wild Ride of the witches to their Sabbats. This scene appears in Chapter 4 of the fi lm and is presented as a visual account of the old woman Maria’s confession to the â€Å"crime† of witchcraft. We will fully analyze the density of this scene in the corresponding chapter of the book, but for now we will focus only on Christensen’s complex use of works of art that originally appeared in fi fteenth- and sixteenth- century texts by Hans Vintler and Johann Geiler42 in the course of creating new cinematic images in Hà ¤xan. Christensen’s pre sen ta tion of the Wild Ride is thrilling by any standard.43 Making use of the special effects available to him at the time, the fury and terror of Hà ¤xan’s female wild riders stands out as one of many highlights of the fi lm. By the early sixteenth century, the Wild Ride had become a standard ele ment of both demonological and pop u lar literary accounts of the activities of witches, folding older legends of wild hunters, the restless travels of the dead at night, and tales of the Furious Horde into the standardized script of the Ride. Particularly strong in what is today southern Germany and Switzerland, variations on the myth of the night people retained their durable immediacy deep into the twentieth century.44 Charles Zika claims that in its vari ous tellings the Furious Horde consisted of â€Å"cavalcades of demonic spirits and souls, especially of those who died before their time and enjoyed no peace— soldiers killed in battle, young children, victims of violent acts, and so on.† 45 Folded into the exegesis of the ninth- century text Canon Episcopi, regarding the power of demonic illusion to deceive women into imagining that they could travel great distances at night, often in the com pany of the goddess Diana, the Wild Ride violently collapsed a multitude of characters and beliefs into a par tic u lar time and a singular image of the witch in sixteenth- century Eu rope. Christensen’s own image of the Ride compels the same collapse, though one that assumes fi delity to empirical evidence in the time of the witch hunts. This is characteristic of Hà ¤xan’s cinematic naturalism. There are many classic examples of images of the Furious Horde and the Wild Ride; two in par tic u lar stand out in relation to Hà ¤xan’s own visualization of the spectacular event. First is a clear correspondence between a woodcut from Hans Vintler’s Buch der Tugend titled Wild Riders on a Wolf, Goat, Boar, and Stool (1486) and the special effect of Christensen’s image of his witches fl ying through the air as part of Maria’s confession in Chapter 4. This woodcut refl ects its origins as a portrayal of Waldensian heresy (the subject of Vintler’s text), depicting the riders, men, and vehicles as mostly animals.46 While Christensen’s image substitutes iconic objects such as brooms and cooking forks for beasts and refl ects a discourse of the witch (found in Kramer in 1486) as being almost singularly female, it nevertheless takes direct inspiration from the classic woodcut in its perspective, its positioning of the riders in the frame, and the emphasis of the subjects that suppress depth of fi eld against the void of an empty background. Vintler’s woodcut, modifi ed naturalistically to mirror the seemingly unnatural and im possible Wild Ride of the witch, moves in the fi lm. Christensen also modifi es and brings to life characteristic repre sen ta tions of the Furious Horde, a super natu ral band that was not originally associated with witchcraft at all. Again, this conjoining of witch image to demonological discourse refl ects an empirically verifi able invention in the late medieval period and the Re nais sance. In par tic u lar, Christensen’s long shots of the witch’s Sabbat, unfolding in the twisted chaos of the deep forest, recalls the woodcut The Furious Horde that appears in the 1516 version of Johann Geiler’s Die Emeis. As with the echo of the Vintler woodcut in the Wild Ride, the perspective, framing, and composition of the image of the Sabbat in Hà ¤xan updates and transforms The Furious Horde, much as demonologists transformed the meaning of the Horde in the invention of the sixteenthcentury witch. Again, Christensen is not only â€Å"inspired† by Geiler’s image; he has in his creative activation of the imag e si mul ta neously produced an effect that corresponds to the empirical evidence of the witch’s coming into being and exhibited what Charlie Kiel has termed â€Å"the oscillating value of the non- fi ctive.† 47 Documentary elements can support, contradict, or even wholly become the narrative in early cinema; Hà ¤xan in this sense is consistent with other contemporary works in the oscillating value of its discrete artifacts. Visually, Hà ¤xan offers innovation to the repre sen ta tion of demons that were commonly circulated in woodcuts, broadsheets, and paintings at the time. While the depiction of vari ous lesser demons and fallen angels was quite common, they tended to be rendered as smaller versions of the horned Satan or as hybrid human– animal creatures with each â€Å"natu ral† species being traceable within the complete appearance of the demonic creature (such as in the Geiler woodcut just mentioned). Hà ¤xan does not simply reproduce these stereotypic images. Instead, Christensen at times broadens his regional frame of reference, drawing on works referring to witchcraft produced outside of German- speaking Eu rope such as Agostino Veneziano’s painting The Carc ass (ca. 1518–35) in relation to the Sabbat, or images that portray super natu ral creatures that appear in negative sixteenth- century â€Å"guides† to pre- Christian Norse myth, particularly some of the woodcuts that accompany Olaus Magnus’s Historia de Gentibus Septentrionalbis (in numerous printings from 1555), which appear to provide the inspiration for the â€Å"demonic children† Maria claims to have given birth to, revealed in her confession. Maria’s confession in Chapter 4 of the fi lm provides additional examples of the breadth of Christensen’s visual assemblage of the witch and her activities. As with the discourse of the witch in the early modern period, fi gures from antiquity such as Saturn and Circe are also alluded to in the repre sen ta tion of the Sabbat in Hà ¤xan. In order to clarify our argument here, it is necessary to briefl y analyze Christensen’s composition of a series of brief shots in the Sabbat that refer to sixteenth- century repre senta tions of Circe and the link they made between the Roman goddess and witchcraft. In Maria’s confession, Circe is indirectly named as â€Å"Satan’s grandmother.† 48 Images associated with games of chance, gambling, tricks, slight of hand, and illusion were often part of Circe’s repertoire. The logic here was that such games, seemingly minor performative elements of pop u lar tricks and entertainment, were actually rooted in the same demonic power of illusion as more obvious forms of malefi cium. Elements of Christensen’s image here appear to be directly referring to a number of we ll- known visual repre senta tions of Circe in the sixteenth century, particularly a woodcut from the workshop of Michael Wolgemut and Wilhelm Pleydenwurff and tentatively attributed to Albrecht Dà ¼rer that appeared in the Liber Chronicarum, titled Circe and Her Magical Arts Confronting Ulysses and His Transformed Companions (1493). Although the literal confrontation depicted in this woodcut between Circe and her assistant on the shore and Ulysses and his companions on a boat is absent in Hà ¤xan, the fl owing beauty of Circe herself is echoed in the fi lm’s image and the table cluttered with instruments of chance and magic directly corresponds to the association Christensen is intending to make here. Other surviving images from the time echo Hà ¤xan’s meaning here as well, albeit less directly. Art 2.3 EssayWithin the arc of this movement in Christensen’s fi lm, the objective knowledge of witchcraft is opened to the perception of otherness in the witch, the demonologist, the hysteric, and ultimately the scientist by way of a visible unity of the senses unique to the director’s method. â€Å"The ethnographic surrealist,† wrote James Clifford, â€Å"unlike either the typical art critic or anthropologist of the , delights in cultural impurities and disturbing syncretisms.†57 We are not claiming that Hà ¤xan is ethnographic in its formal approach, yet Clifford’s description does echo the links we are drawing here between radical approaches to the image in art and subversive methods deployed in documenting the real that were roughly contemporary to the fi lm.58 The transgressive approach to the archive, to classifi cation, and to expression that the fi lm exhibits also is akin to methods deployed in the journal Documents (1929–30) nea rly a de cade later. Edited by Georges Bataille, Documents willfully transgressed institutional genres through its â€Å"subversive, nearly anarchic documentary attitude,† an attitude that Christensen plainly shared.59 What distinguished Documents from Warburg’s Mnemosyne and Hà ¤xan is that the former seizes clichà ©d objects and then systematically empties them out in the course of its own expressions. Bataille and his contributors sought to defamiliarize the clichà ©s, disturbing the placidly deceptive surface of the mundane in their fragmentary, juxtaposing methods of critique and pre sen ta tion. In contrast, Warburg and Christensen begin by collecting mythological, fi gurative givens seemingly quite distant from the â€Å" really† real. Starting at radically different places, the outcomes of these projects converge on the same nodal point— unsettling distances between myth and the everyday that in turn produce expressive works that are themselves quite unsettling. It is obvious in light of this shared methodological aspiration why the surrealists would take inspiration from Hà ¤xan, brazenly (and unfairly) advocating Christensen over Dreyer as the Scandinavian fi lmmaker of note in the 1920s.60 David Bordwell groups Hà ¤xan, along with Carl Theodor Dreyer’s Leaves from Satan’s Book (Blade af Satans Bog, 1921), Maurice Tourneur’s Woman (1918), and Fritz Lang’s Destiny (Der mà ¼de Tod, 1921) within a tradition of â€Å"episode fi lms† in the classical period of silent cinema.61 This is consistent with our argument regarding Christensen’s fi lm, as all of these cinematic works weave together episodic fragments in order to draw parallels and correspondences across situations and characters. More explicitly than the others, however, Hà ¤xan also deploys the techniques associated with Warburg’s Mnemosyne and Bataille’s Documents for purposes of affectively emphasizing the dark, chaotic forc es that lurk under the smooth surface of the everyday. The parallels Christensen draws are therefore not simply between characters or situations but across domains of sense that cut across time. Thus, the episodic structure of Hà ¤xan not only allows characters seemingly out of a dead past to live again, it also draws the phenomenology of the hysteric and the work’s own contemporary time to the surface. Shadowed by the specter of an everyday fractured by mechanized global war, Hà ¤xan in turn brings its witches, inquisitors, and hysterics alive in the haunted now of the fi lm’s reception.62 In short, Hà ¤xan is promiscuous. It is neither wholly artistic nor scientifi c. It aspires to seize a quality Ulrich Baer granted only to photography when he wrote, â€Å"Films fail to fascinate in the same way as photographs do, because they invite the viewer to speculate on the future— even when irresistibly tempted to do so— only on the level of plot or formal arrangement. Photographs compel the imagination because they remain radically open- ended.† 63 Hà ¤xan calls Baer’s assertion into question. The opening chapter does not offer a speculation as to the future. It disorients the viewer, leaving her with the insistent, fundamental question, â€Å"What is this thing?† It compresses times past and future into a sequence of clichà ©d images that tr averses the steep slope between past and future in the form of an event. This is not a plot. Rather, it is a strategy to â€Å"compel† the viewer, although we would not limit this compulsion to the imagination alone. In other words, the inability to automatically categorize Hà ¤xan emerges out of a formal strategy rooted in an epistemic virtue. In science, such virtues demand that the subject know the world and not necessarily the self; Hà ¤xan’s demand is greater in its own way as it demands both.64 Thus, while Christensen never backs away from his claim that Hà ¤xan offers a truthful examination of the witch that can stand up to the test, he also deploys strategies of evidence making that would have been familiar to the subjects of his fi lm. As Joseph Leo Koerner puts it: â€Å"In the later Middle Ages, in practices ranging from persecuting witchcraft to meditating on Christ, techniques were developed to draw distinctions among visual phenomena, differentiating, say, physical objects from fantasies, dreams, and diabolical or artful de ceptions. Some of the best testimonies of this sorting operation come from artists. This is not surprising given that image- makers specialized in manipulating one thing (their materials) in order that a viewer should see something else.† 65 While Christensen’s materials might have been radically different than those of an artist in the late Middle Ages, his aim to manipulate these materials in order to make something invisible visible is consistent with his aims. This description, of course, could also be applied to experimental scientifi c techniques without much alteration to the stated aims of tests taken under the signature of such disciplines. For Christensen, objective knowledge itself has been possessed by the uncanny, rendering â€Å"imagination† or â€Å"reason† alone inadequate to bringing the witch to life, to forcing her to speak to what is already known in her pathological language of diabolic proofs. The witch must be experienced in her own milieu, a satanic biome that we will presently argue is one that Christensen represents as her state in nature. As it moves from the fi rst chapter to the second, Hà ¤xan constitutes an extension from the techniques and virtues of Mnemosyne to those of the nature fi lm. In other words, the fi rst chapter of Hà ¤xan is the pre sen ta tion of a series of clichà ©s— visual clichà ©s and ste reo types of the witch, fragments which were most likely already familiar to the viewer. This is hardly a waste of time, however, as these clichà ©s (what Deleuze terms fi gurative givens) will not only provide the empirical evidence for Christensen’s thesis but will also provide media from which the director will conjure the power of the witch. It is im por tant to note that Deleuze discusses fi gurative givens in reference to painting, not cinema; thus, the concept would not seem to readily apply here.66 Yet we suggest that Christensen is attempting to do something quite paradoxical, which is to release the movement of the painting and the woodcut through the cinematic image. Indeed, as we move through the fi lm, we cumulatively gain the sense that Hà ¤xan is a living tableau. This is by no means an accident. The fi lm excels in providing the ground for this sense, possessing the spectator through the immediacy regardless of whether the viewer logically knows that the represented event is already in the distance. This quality sets Hà ¤xan apart.