The Reconciliation of the North and South after the Civil War

As soon as President Andrew Johnson signed a Proclamation which promised order and peace to the United States on August 20th, 1865, the Civil War was formally ended. Though the Confederates had been dominated, there was still a battle to preserve the Southern lifestyle against the impeding Northern republican ideals. President Lincoln had plans to peacefully restore the country to the Union it was prior to the war, but his assassination created set-backs to his plan. While both the North and the South were working toward reconciliation in the nation, the north was more interested in creating a controlling, centralized government while the south was concerned with protecting and preserving their southern customs and ideals. While there were many attempts at reconstructing, the Reconstruction era ultimately failed at unifying the Union under agreed terms due to the constant disagreements between the north and the south. The end of the battles of the Civil War introduced a period which was set to restore and reconstruct the United States of America. President Abraham Lincoln had plans to reconcile the nation in a peaceful manner. Lincoln’s goal was to reestablish the nation in a way that would not reproach either the north or south. In his second inaugural speech following the end of the Civil War, Lincoln’s statement â€Å"Both read the same Bible, and pray to the same God; and each invokes his aid against the other† (Abraham Lincoln, Blackboard, p. 269) points out the sharedShow MoreRelatedReconciliation And The Forgotten African American867 Words   |  4 Pages Written Assignment 3: Reconciliation and the Forgotten African-American Jessica Howell History 2010 Dr. Michael Ramey December 3, 2015 Howell 2 The Campaign rhetoric of Horace Greeley in 1872, the religious revivals of D.L. 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Perception as the Source and Basis of Knowledge Essay

Perception as the Source and Basis of Knowledge It is human nature to desire to acquire knowledge, but how we acquire this knowledge is a constant debate between philosophers. For years philosophers have written about different sources of knowledge. We can divide these ideas into two theories, rationalism and empiricism. A question that divides the two dogmas is; Is perception the source of knowledge? Empiricists say yes whole-heartedly while Rationalists believe that we accomplish knowledge through reason. Both empiricism and rationalism can be convincing, but there are some points on both sides that would need rethinking. Rationalism is purely based on reason and the foundational concepts†¦show more content†¦This is simply the name for a dirty river; we cannot assume that it is red. There are countless other examples of names like this, the Barenaked ladies are not Barenaked ladies for example. This knowledge we call a priori, is not necessarily true by definition. We would need experience to learn that the red river is not red and that a band named the Barenaked Ladies is actually a group of men who are often clothed. Rationalists also use mathematics to support their claims. Common examples of this are; parallel lines never meet and the sum of the angles in a triangle is 180 °. This is true for some people. Some people can figure these things out with nothing but reason, but I would believe that there are some others that cannot. Rationalists believe that we are born with detailed concepts of God, causality, and mathematics. There is no way to prove this but it is an interesting theor y. Empiricism bases its entire doctrin on the belief that we must refer to experience as a source of knowledge. We have come to know this type of knowledge as a posteriori: knowledge that comes after or is dependent upon experience. To contrast the a priori statement black cats are black, you could say as an a posteriori statement cats are black. 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Comparison of Aaca and Apa Ethic Codes Essay Sample free essay sample

Merely as contention and differences emerge invariably with respects to God and His topographic point in society. it would be equaled in the kingdom of reding. This paper will reexamine the Code of Ethics of the American Counseling Association ( ACA ) and the American Association of Christian Counselors ( AACC ) . When reexamining. it is the foundation of each association that prove to represent the most typical difference. The AACC seeks to honour Christ through guidance and supply counsel to the Christian counsellor. while the ACA is committed to the general counsellor at-large and heightening the client’s life while staying focused on a general position of society. There are several other general similarities and differences. Chiefly. that the counsellor should neer do injury to the client. Other similarities that centre around the protection of the client reside in both codifications. Several would include confidentiality. record maintaining. informed consent and the respo nsibility to protect the client and others from physical injury. Although both codifications provide guidelines sing sexual familiarities. it is defined otherwise in the codifications which changes the timelines of rightness for holding a relationship with a client. This paper will analyse the differences and similarities in three countries: confidentiality. go oning instruction and sexual familiarities. Keywords: comparing. ACA. AACC. moralss. codification. counsellor A Comparison of the American Counseling Association and the American Association of Christian Counselors Code of Ethical motives It is apprehensible by detecting the nucleus of our nation’s beliefs to protect the freedoms and rights of others. guidelines would be in topographic point to advance ethical behaviour in counsellors. In 1892 Francis Bellamy penned words that would be etched into the model of our state. â€Å"†¦ one state. indivisible. with autonomy and justness for all. † A desire to guarantee that the people of this state would be treated reasonably and with dignity rings true today. It is besides noteworthy that the contention that came with the add-on of â€Å"under God† to the Pledge of Allegiance by President Eisenhower in 1954 would be in multiple aspects of life. Whether or non the American Association of Christian Counselors ( AACC ) or the American Counseling Association ( ACA ) agree on every guideline. it is of import to observe that th ey both seek to protect those that are wrestling with the challenges of life and frequently easy to be preyed upon or taken advantage of. Section 1 Each organisation may word this primary end of ethical behaviour otherwise. but the nucleus is the same. make no injury. The ACA informs counsellors that â€Å"The primary duty of counsellors is to esteem the self-respect and to advance the public assistance of clients. † ( 2005. p. 4 ) . The AACC introduces its mission of honouring Jesus Christ and advancing integrity in Christian guidance. nevertheless. it affirms that â€Å"†¦the first regulation of professional-ministerial ethical behavior is: make no injury to those served. † ( 2004. pp. 4-6 ) . It is this spirit of making no injury that drives several other general similarities in the codifications. As noted in the AACC foreword. it is apparent that the ACA codifications were referred to while outlining them ( 2004. p. 2 ) . The topics of reding relationship. professional duty. rating. appraisal and reading. supervising preparation and learning have many similarities. Though there are some differences in spec ific countries. it is what drives the codifications foundations that offer the most noticeable discrepancies. For illustration. the ACA views the end-of-life attention for terminally sick patients otherwise. Where the ACA codification provides a more open-ended attack in giving the counsellor an option based on the Torahs applicable to the state of affairs ( 2005. p. 5 ) . the AACC is specific in detailing that â€Å"Christian counsellors refuse to excuse or recommend for active signifiers of mercy killing and assisted self-destruction. † ( 2004. p. 7 ) . These types of differences occur throughout both paperss. Confidentiality is besides detailed in both codifications to protect the client and their information. Both codifications rely upon the fact that the relationship of trust is foundational to the guidance relationship and it is through confidentiality that the counsellor can gain this trust ( ACA. 2005. p. 7 ) . Ethical guidelines in both support the importance of discoursing confidentiality. Specifically. both encourage the procedure of informed consent to discourse revelation . records and confidentiality guidelines to call a few. Clinton and Ohlschlager province. â€Å"Informed consent. a cardinal ethic in reding. is every bit much about revelation of values and beliefs as it is about theory and applied technique. † ( 2002. p. 29 ) . Where techniques and theory may differ. some of the ethical guidelines with which all counsellors should pattern should non alter. Section 2 The chance to inform the client of critical information that can find the success of their guidance is important. Informed consent is besides a clip to discourse non merely confidentiality. but the exclusions to confidentiality. It is the country of confidentiality that will get down the reappraisal of three specific countries ( confidentiality. go oning instruction. sexual familiarities ) to compare with both codifications. Confidentiality is expressed in both codifications to be upheld to the fullest extent of the jurisprudence. Both codifications detail that this confidentiality covers all manners of communications including verbal. written. sound or videotaped ( AACA. 2004. p. 11 ) ( ACA. 2005. pp. 4-8 ) . It is noticed that the ACA guidelines cover all of these methods throughout several subdivisions of their codification. Within the guidelines of confidentiality. one celebrated difference is the add-on of specifically including revelation of contagious. dangerous diseases in th e ACA codification ( 2005. p. 7 ) . Although both codifications enlighten counsellors to the general demands that confidential does non use when revelation is required to protect clients or others from injury or when lawfully required to uncover. merely the ACA inside informations that â€Å"When clients unwrap that they have a disease normally known to be both catching and life threatening. counsellors may be justified in disclosing†¦Ã¢â‚¬  ( 2005. p. 7 ) . This is interesting in visible radiation of high hazard activities that be demonstrated by clients. a revelation of this type can so fall in the class of protecting others from injury. It is besides under the premiss of protecting clients from injury that guidelines sing sexual familiarities are in topographic point. Clients are frequently vulnerable and can be exploited by counsellors doing great injury. The similarities of both codifications with respects to sexual or romantic relationships to current clients is about indistinguishable. it is prohibited. Differences begin with relationships with former clients. The AACC defines and prohibits sexual dealingss with former clients as unethical ( 2004. p. 8 ) . The ACA merely prohibit the relationship with former clients for 5 old ages with guidelines in topographic point to guarantee that the counsellor is clear and non working the client and come ining the relationship ethically ( 2005. p. 5 ) . What is alone is that based on the pos itions of the AACC. the guidelines seem to differ. The AACC is dedicated to honouring God. and must observe that â€Å"Since matrimony is honest before God. the lone exclusion to this regulation against matrimony to a former client. is a instance expecting marriage†¦Ã¢â‚¬  . It besides provides guidelines to guarantee the counsellor is continuing with a sound ethical determination. Alternatively of a 5 twelvemonth waiting period. the AACC proposes a 2 twelvemonth period after the decision of guidance ( 2004. p. 8 ) . Last. another method that can sometimes be overlooked as guaranting that the client is non harmed is that of go oning instruction. The committedness of the counsellor to develop and educate themselves systematically in order to be an effectual competent counsellor is indispensable. Both the ACA and AACC note that counsellors must remain engaged and informed in their field. With respects to ethical behaviour. the AACC displays it as a responsibility of the Christian counsellor. ( 2004. p. 10 ) . Seeking out developing. specialisation and enfranchisement keeps the counsellor aware of informations in their field. It is besides of import to observe that the ACA explains the demand to maintain current â€Å"†¦with diverse populations and sp ecific populations with whom they work. † ( 2005. p. 9 ) . It becomes a reminder that the competent counsellor must ever look for ways to better and pass on with all people. Decision It is with all people in head that this paper began. and it is with all people in head it will stop. The codifications of moralss and guidelines that have been crafted to help the counsellor in making no injury are of great value. Although. there are differences. it is apparent that both codifications are needed to steer the counsellor. One is non independent of the other. The AACC seeks to steer the Christian counsellor and supply them with the tools necessary to go non merely competent counsellors. nevertheless. competent Christian counsellors. The undertaking to intermix the ability to work ethically with a deep devotedness to honour God is non an easy one. It is so a new codification for an emerging profession ( 2004. p. 3 ) . Both codifications seek to see the universe alteration because of their committedness to ethical guidance. The mission of the ACA is to â€Å"†¦enhance the quality of life in society by advancing the development of professional counselors†¦Ã¢â‚¬  ( 2005 ) while the AACC positions moralss in what can be deemed a simpler way†¦love. George Ohlschlager speaks of the â€Å"The Christian Counselor’s Golden Rule† adapted from Romans 13:8-10. The regulations are non long. they are non difficult to gestate. and in a powerful sentence everything is summed up. â€Å"Therefore. to love your clients as Christ loves you is to carry through all your obligations—all your moral-ethical-legal duties—as a Christian counsellor. † ( Clinton. Ohlschlager. 2002. p. 147 ) . Mentions American Counseling Association ( 2005 ) . ACA Code of Ethics. Alexandria. VA: Writer. American Association of Christian Counselors ( AACC ) . ( 2004 ) . AACC codification of moralss: The 2004 concluding codification. Retrieved from hypertext transfer protocol: //www. aacc. net/about-us/code-of-ethics/ Bellamy. F. ( 1892 ) . Pledge of Allegiance. Independence Hall Association. Retrieved from hypertext transfer protocol: //www. ushistory. org/documents/pledge. htm Clinton. T. . A ; Ohlschlager. G. ( 2002 ) . Competent Christian Counseling. Volume One. New York. New york: Crown Publishing Group.

Literary Essay About Romeo And Juliet Example For Students

Literary Essay About Romeo And Juliet How does the director, Baz Luhrmann, excite the interest of the viewer in the opening scenes of the film Romeo and Juliet?  Baz Luhrmann directed Romeo and Juliet in 1997. This was not the first film based on William Shakespeares play, but it is the first version of the play set in modern times. Because of this, the film would appeal to younger viewers, teens-late twenties, as they could easily understand what was happening and they could relate to it, unlike other versions of the play which people found hard to understand. The opening to a film is extremely important because it is used to excite the viewers interests and to give a first impression. Many people decide whether or not to watch a film by its trailer or opening sequence. The opening scenes are also used to introduce the setting and some of the characters, just like a book would in the first chapter. One of the main aims of the opening scene is to give the viewer a basic idea of the film and its genre, all of these things encourage the viewer to watch on by exciting there interests. Luhrmanns aim is to encourage a wide audience to watch the film and he achieves this by using a range of cinematic techniques in the opening sequence. One important technique is the use of the camera. Baz Luhrmann uses a range of angles in the opening scenes to excite the interests of the viewer. At the very start of the opening sequence Baz Luhrmann has the camera focused on a television screen in a black room with nothing else, this is to engage the viewers attention. He uses the camera as the viewers eyes as they begin to watch the news on a television channel. The news begins with a newsreader reciting the prologue from the actual play as if it were the real news, this emphasises the fact that the film is set in modern times and that it could be happening now. The director then pans in on the screen as if to draw the attention of the viewer to the play. Then once the prologue has finished the camera begins to rush into the centre of the city, just like a bird would, drawing the viewer deeper into the film and drops them right in the city centre to allow them to watch everything happening around them. Baz Luhrmann uses a birds eye view and long shots of the city to show its scale and the power of the two families within it. He also uses close-ups to emphasise the importance of certain people and places within the play. The director uses the camera to zoom in and out on certain places, such as the two towers, to show that they are both equal to each other in power and size. As the camera zooms out it shows how the towers are in proportion with each other but not with the rest of the city which links with the equal power that the two families have. When Baz Luhrmann focuses on the two towers he is trying to encourage the viewer to understand how powerful the families are and how strong their hatred is. He is also trying to emphasise the aspect that they are both alike in dignity and stance in the city. This interests the viewer because they want to learn more about the two families and the constant zooming in and out creates speed which keeps the viewers mind and eyes occupied and excited. Location and setting is also critical in a film. Luhrmann uses Mexico as his location for the opening sequence and the rest of the film because it is parallel to the life in Verona. Almost everyone owns a gun or weapon and violence is common. This helps the viewer to relate to the film, as it is real life and happening in present times. Baz Luhrmann does not use a real location for the television sequence because he does not want to draw the attention away from the main point of the introduction, the prologue. .ubfa5925932c43de817a85d9b2ec24dd4 , .ubfa5925932c43de817a85d9b2ec24dd4 .postImageUrl , .ubfa5925932c43de817a85d9b2ec24dd4 .centered-text-area { min-height: 80px; position: relative; } .ubfa5925932c43de817a85d9b2ec24dd4 , .ubfa5925932c43de817a85d9b2ec24dd4:hover , .ubfa5925932c43de817a85d9b2ec24dd4:visited , .ubfa5925932c43de817a85d9b2ec24dd4:active { border:0!important; } .ubfa5925932c43de817a85d9b2ec24dd4 .clearfix:after { content: ""; display: table; clear: both; } .ubfa5925932c43de817a85d9b2ec24dd4 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ubfa5925932c43de817a85d9b2ec24dd4:active , .ubfa5925932c43de817a85d9b2ec24dd4:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ubfa5925932c43de817a85d9b2ec24dd4 .centered-text-area { width: 100%; position: relative ; } .ubfa5925932c43de817a85d9b2ec24dd4 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ubfa5925932c43de817a85d9b2ec24dd4 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ubfa5925932c43de817a85d9b2ec24dd4 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ubfa5925932c43de817a85d9b2ec24dd4:hover .ctaButton { background-color: #34495E!important; } .ubfa5925932c43de817a85d9b2ec24dd4 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ubfa5925932c43de817a85d9b2ec24dd4 .ubfa5925932c43de817a85d9b2ec24dd4-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ubfa5925932c43de817a85d9b2ec24dd4:after { content: ""; display: block; clear: both; } READ: Vanilla Sky by Cameron Crowe EssayThe atmosphere created from the location that Baz Luhrmann has chosen is one of tension. This is because during the day it is very hot and humid, tempers flare and violence is common, while during the night there is an essence of mystery and anticipation. The location used excites the interests of the viewer because it is an actual lace where real people live and where the play is almost real life. Editing is used very effectively in the opening sequence of the film Romeo and Juliet. Baz Luhrmann has been extremely clever and precise in the editing of this film. He has very little time to get the viewers attention and to keep it, so he only selects the scenes that are the most relevant and intriguing to the viewer. Luhrmanns opening sequence is quite unusual as he has a montage of scenes from the rest of the film flashed across the screen in less than twenty seconds. Each scene is different and the constant change in colour, light, sound and movement allows the viewer to remain interested and to give them a taste of the rest of the film. He also uses many scenes of violence in the montage to continually emphasise the violence that is happening through out the film. Baz Luhrmann uses the prologue as a sort of montage, he takes key phrases from the prologue and uses them as newspaper headlines, alongside moving pictures and he flashes the whole prologue up on the screen in black and white writing, with changing fonts and sizes to keep the viewers attention. This type of editing creates speed and a rush of adrenaline, which draws the viewer deeper into the plot, and the speed makes the viewer want to watch more. Music and sound is an important tool in exciting the interests of the audience. Baz Luhrmann uses non-diegetic sound such as the opera music to add tension and he alters the music with certain scenes to help the viewer understand the length of the feud and the hatred between the two families as it becomes very dramatic. The director allows some diegetic sound, such as the police helicopter, to come through the opera to show the violence and the constant police watch. When Friar Lawrence begins to recite the prologue the opera music and background sounds stop and the newspapers, with the prologues key phrases as headlines, are flashed on the screen as the Friar says them. Baz Luhrmann creates anticipation by speeding the music up during the faster pieces of the opening. During the montage, the opera music is very fast which increases the tension and brings the opening sequence to a high, dramatic end. The type of costume used in a film is very important because it can help the viewers to understand the film and its meaning or it can work against that purpose. The costumes, which Baz Luhrmann uses, are modern; he does this to imply that the plot and theme are relevant to todays audience. Baz Luhrmann was trying to attract a wide audience, mostly between fifteen and thirty, and he is successful in doing this because of the type of opening he developed. The mise en scene is a French term, which refers to the arrangement of actors, props and action on a film set. It is used to describe everything that can be seen in a frame. During the opening sequence there is a frame in which a police helicopter is hovering over the city with armed police looking out over it with their guns ready to fire if necessary. Baz Luhrmann has created this frame because he is trying to make the viewer aware of the amount of violence in the city and to what limits the police are being pushed to, to control it. He wants to create an image of the amount of authority the police has over the two families as this would excite the viewers interests because they would be interested in seeing how the police are forced to control the violence and what restrictions they are going to put in place. .u0b63c69f6bee4b780fa4ff268aadd87b , .u0b63c69f6bee4b780fa4ff268aadd87b .postImageUrl , .u0b63c69f6bee4b780fa4ff268aadd87b .centered-text-area { min-height: 80px; position: relative; } .u0b63c69f6bee4b780fa4ff268aadd87b , .u0b63c69f6bee4b780fa4ff268aadd87b:hover , .u0b63c69f6bee4b780fa4ff268aadd87b:visited , .u0b63c69f6bee4b780fa4ff268aadd87b:active { border:0!important; } .u0b63c69f6bee4b780fa4ff268aadd87b .clearfix:after { content: ""; display: table; clear: both; } .u0b63c69f6bee4b780fa4ff268aadd87b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u0b63c69f6bee4b780fa4ff268aadd87b:active , .u0b63c69f6bee4b780fa4ff268aadd87b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u0b63c69f6bee4b780fa4ff268aadd87b .centered-text-area { width: 100%; position: relative ; } .u0b63c69f6bee4b780fa4ff268aadd87b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u0b63c69f6bee4b780fa4ff268aadd87b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u0b63c69f6bee4b780fa4ff268aadd87b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u0b63c69f6bee4b780fa4ff268aadd87b:hover .ctaButton { background-color: #34495E!important; } .u0b63c69f6bee4b780fa4ff268aadd87b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u0b63c69f6bee4b780fa4ff268aadd87b .u0b63c69f6bee4b780fa4ff268aadd87b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u0b63c69f6bee4b780fa4ff268aadd87b:after { content: ""; display: block; clear: both; } READ: India: Empire of the Spirit EssayBaz Luhmann does achieve his aim of exciting the interest of the viewer. He does this by using affective cinematic techniques to his advantage. The director has made Shakespeare accessible to a wider audience by setting the play in modern times and after watching the opening sequence to the film I, as a viewer, would want to continue watching the film because all the techniques combined create anticipation that makes you want to watch more.