A Man For All Seasons :: essays research papers

A "Man for All Seasons" is about a man so inconspicuous and righteous that an entertainer who takes on the job must have the option to extend a practically superhuman nearness. As is clear, the story depends on the life of Sir Thomas More, righteous man and chancellor to the court of Henry VIII. It is 1530 and from what I know, entertainers in this film normally wear straightforward half-veils and get serious about jobs. More was the main individual from Henry VIII's administration who might not be tempted or defiled by Henry's dangers. At the point when the lord requested that More sign a vow setting up the government as leader of the Church of England, More cannot. He was unable to adjust the law, he said. As the play advances and More loses his riches and even his opportunity, he turns out to be nearly grandiose in his severe adherence to the law. Irritating, yet he should stay thoughtful as his family goes down with him into misery and destitution. The man who plays him must show both his warm air and his relentless devotion or the content would be only an activity in mouthing lines. What I saw from the story was the means by which the wheels turn in More's brain, the shine of warmth and the depressingness of hopelessness that flash over his face. It isn't sufficient to paint him as a man. He should take care of business among grovelers and syncophants, a transcending nearness. A man for all seasons, at the end of the day. By and large, I am constrained to state that one likely would not have the option to effectively protect their uprightness in a circumstance, for example, Thomas More's. However, in light of the question of whether a man can sensibly want to do as such, I accept that More's conduct reaction embodies a positive affirmation of such. Regardless of whether it couldn't be sensibly expected for a man to keep up his uprightness when reliably confronted with such a situation, it would presumably be affirmed that such was justifiable. To some degree in a roundabout way, this case helps me to remember Aristotelian and Platonic conversations of excellence and the idea of man. A few savants would most likely demand that man

Of fame Essay Example For Students

Of acclaim Essay The artists make Fame a beast. They portray her to a limited extent finely and carefully, and to some extent gravely and pointedly. They state, look what number of plumes she hath, such a significant number of eyes she hath underneath; such huge numbers of tongues; such huge numbers of voices; she pricks up such a significant number of ears. This is a twist. There follow incredible stories; as that, she gathereth quality in going; that she goeth upon the ground, but hideth her mind in another place; that in the daytime she sitteth in a watch tower, and flieth most around evening time; that she mingleth things done, with things not done; and that she is a dread to extraordinary urban areas. Yet, that which passeth all the rest is: They do relate that the Earth, mother of the mammoths that made war against Jupiter, and were by him pulverized, immediately in a resentment delivered Fame. For certain it is, that rebels, figured by the goliaths, and subversive notorieties and slanders, are nevertheless siblings and sisters, manly and female. However, presently, if a man can tame this beast, and carry her to take care of at the hand, and oversee her, and with her fly other ravening fowl and murder them, it is to some degree worth. However, we are tainted with the style of the writers. To talk now in a miserable and genuine way: There isn't, in all the legislative issues, a spot not so much dealt with but rather more qualified to be taken care of, than this of notoriety. We will hence talk about these focuses: What are bogus popularities; and what are genuine notorieties; and how they might be best perceived; how distinctions might be planted, and raised; how they might be spread, and increased; and how they might be checked, and laid dead. Furthermore, different things concerning the idea of distinction. Popularity is of that power, as there is hardly any extraordinary activity, wherein it hath not an incredible part; particularly in the war. Mucianus fixed Vitellius, by an acclaim that he dissipated, that Vitellius had in reason to expel the armies of Syria into Germany, and the armies of Germany into Syria; whereupon the armies of Syria were vastly aroused. Julius CãÆ'æ'ã‚â ¦sar took Pompey unprovided, and laid sleeping his industry and arrangements, by an acclaim that he shrewdly gave out: CãÆ'æ'ã‚â ¦sars own officers cherished him not, and being wearied with the wars, and loaded down with the riches of Gaul, would spurn him, when he came into Italy. Livia settled everything for the progression of her child Tiberius, by nonstop giving out, that her better half Augustus was upon recuperation and revision, and it is a typical thing with the pashas, to hide the demise of the Great Turk from the janizaries and men of war, to spare the sacking of Constantinople and different towns, as their way may be. Themistocles made Xerxes, lord of Persia, post apace out of Grecia, by giving out, that the Grecians had a reason to break his extension of boats, which he had made athwart Hellespont. There be a thousand such like models; and the more they are, the less they should be rehashed; in light of the fact that a man meeteth with them all over the place. Accordingly let every single astute senator have as incredible a watch and care over popularities, as they have of the activities and structures themselves.

Changing roles of women :: essays research papers

Nectar, I’m Home      â€Å"Honey, I’m Home† now doesn’t even have a sex direction to it, however just 30 years back it alluded to the â€Å"bread-winner† (the man of the house) getting back home following a difficult day of work welcoming his better half. This thought of male predominance is appeared in the content Mirror on America, in the image where the husband to be is holding his better half who is definitely littler than him, giving a type of strength a male has over a female (63). It is likewise appeared in the image where the man seems as though he got back home from a taxing day of work and trusting that his better half will serve him supper (62). These days it’s a little extraordinary most ladies are utilized full-time and need to tell the truth and cook for their families. Tragically, things are actually the equivalent the if not harder for ladies since now they need to cook and clean, yet they likewise need to work.      Dave Barry, the writer of the paper â€Å"The Ugly Truth about Beauty†, in the content Mirror on America accepts ladies are excessively worried about the manner in which they look. He suggests that ladies are forever discontent with their look, while all men â€Å"think of themselves as normal looking† (35) . Ladies feel they need to endeavor to upgrade their looks in light of the fact that the picture society depicts of â€Å"beauty† is a long way from the normal woman’s highlights. The creator transfers this message when he discusses supermodel Cindy Crawford giving out cosmetics tips:      Cindy had all these moderately aged ladies applying magnificence items to their faces;  â â â â she focused on the fact that it was so imperative to apply them with a specific goal in mind, utilizing the tips of  â â â â their fingers. All the ladies obediently did this, despite the fact that it was clear to any  â â â â sane onlooker that, regardless of how cautiously they applied these items, they  â â â â would never look remotely like Cindy Crawford, who is a hereditary  â â â â mutation. (35) Shockingly, everybody even me has been influenced by society’s see on excellence. I accept my view on â€Å"beauty† is fundamentally the same as that of most men. I accept a person’s stunner is handily improved by their character.      The character and character of an individual is controlled by their experience, foundation and youth. Youngsters are impacted extraordinarily by their environmental factors just as their good examples whether they are positive or negative good examples to have. The instabilities ladies have about their looks are because of their childhood.

Tort of Negligence Assignment Example | Topics and Well Written Essays - 1250 words

Tort of Negligence - Assignment Example The obligation of Care †This is the main thing which should be proved.Did the litigant owe an obligation of care to the offended party? As Clumsy was your representative; this relationship falls under the built up classifications and along these lines unmistakably an obligation of care towards awkward was available. The pool of water may have been left there by another worker yet he was approached to keep the floor clean by you and in this manner a definitive obligation in the inn to guard your representatives lies with you. (Roger LeRoy Miller, 2008)  Was the Duty of Care Breached †To set up a break of obligation under the tort of carelessness it should be demonstrated that the respondent neglected to do what a sensible individual would have done in comparable conditions? (Roger LeRoy Miller, 2008) The inability to practice required standard of care is viewed as a demonstration of carelessness under the law. For this situation, as the chief of the café, it is my obligation to guarantee that representatives have a sheltered domain to work where doesn't make any injury or mischief them. As water was overflowed the floor, a sensible individual would have kept the floor clean †so there was a break of obligation. Regardless of whether the water was spilled on the floor †the sensible activity would have been to set up a â€Å"Wet Floor† sign so as to caution anybody moving toward the territory. As nor was the floor kept clean and nor was an admonition sign set; it very well may be sensibly demonstrated that the re was a penetrate of the obligation of care with respect to director of the café.  Damage/Injury Caused by the Breach of Duty †The offended party needs to build up that because of a penetrate of the obligation of care with respect to the respondent he endured a type of harm or injury. This harm or injury would not have been caused if there was no break of the obligation of care.

Angels of Wrath - The Women of Richard III - Literature Essay Samples

And lived with looking on his images;But now two mirrors of his princely semblanceAre cracked in pieces by malignant death,And I for comfort have but one false glassThat grieves me when I see my shame in him.Thus does the Duchess of York lament the birth of her own son, Richard III, perhaps Shakespeares most evil creation. A machiavellian who delights in governing with fear and force, his evil is only offset by his ready and cunning wit. As his talents lead others to self-destruction, the audience too succumbs to Richards wit and egoism until finally his cruelty appears repulsive and destructive. Yet Shakespeare does provide a counterpoint, a sharp contrast, to Richards villainy. The women of Richard III function as voices of protest and morality. They often see through Richards intrigues and predict the dire consequences of his acts. Shakespeare uses the women to point out moral truths and emphasize general principles of the Elizabethan worldview of moral and political order ( Tillyard 108). Whereas Shakespeares Richard III pursues his malevolent intentions wielding a disarming wit and a bloody, conscience-less sword, the women of the play derive what power they have from sincere verbal poison and from raw, unbridled sentiment. Lady Anne, the Duchess of York, Margaret and Elizabeth, subverted in their roles as queens, mothers and wives, each contribute to the furthering of Shakespeares moral themes in several waysthrough their roles as victims as expressed in their intense lamentations, in their cries for revenge through divine retribution, and in alluding to a higher moral order that transcends the actions of the men (Tillyard 107). In each of these ways, the women of Richard III help illustrate how destruction comes about when order, both political and moral, is violated, either by the weakness of a reigning king, or through the machinations of those who cause civil war by wanting to take the kings place. Such instability and chaos devastates the in dividual, the family, and the nation, resulting in moral decay, treachery, anarchy and a profound level of human suffering.The world that Shakespeare portrays in Richard III is a mans world (Asimov 313). The women are presented as sideline characters that function only to grieve, complain, or bury the dead. Richard himself views women as tools, as shown by his various asides to the audience when he announces his plots, in which the marrying of Anne or Elizabeth are only moves in his elaborate games of intrigue and power. Shakespeare further emphasizes the womans inferior role as Richard invariably allocates his own guilt along sexual lines so that women are the root his evil (Tillyard 111). He declares to his condemned brother Clarence that this it is when men are ruled by women, implying that it was Queen Elizabeth who tempted her husband into the harsh extremity of executing his own brother, thereby deflecting blame from himself, the true perpetrator of the plot. Simply, plain Clarence, laughs Richard. I do love thee so that I will shortly send thy soul to heaven.Overwhelmingly, the women are victims of such political machinations, and though their vulnerability allows their manipulation, the eloquent expressions of their grief shows not only that Richards schemes are played out on people whose agony of body and spirit can be intensely real, but also shows that the state of civil turmoil, disorder, and treachery that has prevailed since the War of the Roses began leaves no one untouched by suffering.Anne, the first woman we are introduced to, is grief stricken by the deaths of her husband Edward and his father King Henry VI, both slain by the hand of Richard. Poor key-cold figure of a holy king, / Pale ashes of the house of Lancaster, she cries. Be it lawful that I invocate thy ghost / To hear the lamentations of poor Anne. In portraying this genuine heartbreak, Shakespeare gives the audience its first taste of the despair wrought by his villain-hero s handiwork. At the same time, the allocation of guilt is further evident. When Anne charges him with the bloody murders of her loved ones, Richard initially scrambles for a surrogate, blaming Edward IV and Margaret) before hitting upon a far more effective line, accusing Anne as the primary causer of the deaths (Tillyard 111). Your beauty was the cause of that effect! / Your beauty that did haunt me in my sleep! / To undertake the death of all the world, / So I might live one hour in your sweet bosom. Shakespeare expands scope of the grief in the second scene of Act II, in which both Elizabeth and the Duchess lament and enumerate similar losses of loved ones. The Duchess cries in agony, Was never mother had so dear a loss. / Alas! I am the mother of these griefs! / Alas! You three on me, threefold distressed, / Pour all your tears! I am your sorrows nurse, / and I will pamper it with lamentation. The Duchess here laments that Richard, her false glass of comfort, has plucked my two crutches from my feeble hands, the crutches being her sons Clarence and Edward. She calls for the former Queen Margaret, who has lost her husband and son, for the Queen Elizabeth who has lost her husband, and for the orphaned children of Clarence, to pour their collective grief onto her, for she is the mother of the fiend that wrought this avalanche of distress.Act IV contains some of the plays most poignant lines when Elizabeth looks back on the Tower, suspecting she may never see her imprisoned sons again. Ah my, poor princes! / If yet your gentle souls fly in the air, hover about me with your airy wings / And hear your mothers lamentation. It is in this moment, as Richard condemns the young and innocent princes to die, that the audience finally finds Richards cruelty to be repulsive, and thus turn their sympathy toward the victims of his villainy. In the same scene, the Duchess sums up the state of despair all the women find themselves in when she says, I to my grave, w here peace and rest lie with me! / Eighty odd years of sorrow have I seen, and each hours joy wracked with a week of teen. Though one can call the Duchess and the former Queen Margaret monotones of complaint, the point is made that this individual devastation is the result of the disaster that has befallen the nation as a whole. Everyone is taintedeven the women are not entirely guiltless in the struggle between the warring houses. Through their passive acceptance, as in Annes acceptance of Richards proposal, to Margarets very active part as a soldier in the battlefield, the blood and barbarities of civil strife have reduced everyone, but especially the women, to helpless creatures who can only recite psalms of grief, guilt, and sorrow.Finally, in the fourth scene of Act IV, the wailing queens Margaret, the Duchess, and Elizabeth unite in their mournings. Again, Shakespeare uses the women to emphasize the woeful state of the nation. Elizabeth asks Margaret to teach her how to cur se, cursing being the only outlet for these women, powerful in title but impotent in reality, incapable of stemming the tide of sorrow and suffering the disorder of the times has wrought. Forbear to sleep the nights, and fast the days / Compare dead happiness with living woe / Bettring thy loss makes the bad causer worse; / Revolving this will teach thee how to curse, replies Margaret to Elizabeths plea. As the women lament their loss, the audience is once again made aware of how destructive Richards vengeful crimes against the world have been. Shakespeare uses their sorrow to finally illuminate Richard as the villain that he is.In considerations of the way women employs women as scapegoats and currency, younger females have received the most attention (Succio 51). However, when we consider how Richard uses women as ciphers, three older womenQueen Elizabeth, Margaret and the Duchess of Yorkstep reluctantly into the foreground. All of these women suffer, on one level, a loss of definition at the hand of Richard. Not only does Richard subvert the role of queen, he also undermines the roles of mother and wife (Tillyard 117). For example while the death of Edward robs Elizabeth of a husband, it robs the Duchess of York of a son. Her stock now depleted by two-thirds, the Duchess turns to Elizabeth commenting that unlike her, Thou art a widow, yet thou art a mother / And hast the comfort of thy children left. In addressing Elizabeths yet current claim to motherhood, the Duchess appears to abjure her own; it is as if she no longer wants to assume the title of mother if Richard is the son who grants her this right; accepting motherhood means accepting responsibility for all these griefs, for the losses sustained by Elizabeth and by Clarences Children. It is not enough for one mother to abandon her claim to the title of mother; Richard pursues a course of action that eventually forces Elizabeth to relinquish her claim also. As this process is set in motion, the Protector refuses to grant Elizabeth her status as mother, refusing to admit her to the Tower to see her children. Elizabeth cries in protest, Hath he set bounds between their love and me? / I am their mother; who shall bar me from them? Yet after the deaths of young Edward and Richard, Elizabeth is forced to perform an about-face in order to protect her remaining child. Because of Richards manipulations, a mothers name is ominous to children; hence, she must deny her title of mother in order to express her genuine identity a mother concerned for her childrens welfare. She dispatches her son Dorset to FranceO Dorset, speak not to me, get thee gone!and expresses her willingness to deny the legitimacy of young Elizabeths birth to save her marriage from Richard. Ill corrupt her manners, stain her beauty, / Slander myself as false to Edwards bed / I will confess she was not Edwards daughter. It is the love of a mother for her daughter, which prompts Elizabeths offer; she willi ngly renounces her titles of both wife and legitimate mother (Tillyard 118). In these examples, Richards general course of action is such to encourage women to abandon traditional titles, to de-identify themselves. Both the womens resistance and passivity to this desire endures them to the audience as victims undeserving of Richards seemingly interminable malice.When the women are not grieving, they are often venting their hate. The expressions of Margarets thirst for revenge are her curses, and she levels them generously on all who contributed to her personal losses: while she also evokes the mechanical aspect of justice when she prophesizes their destruction. Can curses pierce clouds, and enter heaven? she cries. Why then, give way, dull clouds, to my quick curses. After foretelling the fates of all the lords, ladies, queens, princes and kings that she feels have perpetrated her downfall, she turns her wrath on Richard (Succio42). On thee, the troubler of the poor worlds pe ace! / The worm of conscience still begnaw thy soul! / Thy friends suspect for traitors while thou livest, / And take deep traitors for thy dearest friends! / No sleep close up that deadly eye of thine, / Unless it be while some tormenting dream. Here the audience first glimpses the scope of the destruction that vengeful hate will cause. The already damned former queen will watch with only a tempered satisfaction as all of her curses are fulfilled with startling clarity. Each of the women join Margaret in cursing Richard, the most concentrated representation of the evil and illness that pervades the country, but it is interesting to note how often the curse reverses on the curser. Anne acknowledges this, thus admitting to her own duplicity in the mess everyone finds themselves in. As she stands before the corpse of her murdered father-in-law, she condemns herself unknowingly. If he ever have a wife, let her be made / More miserable by the death of him / Than I am made by my you ng lord and thee! Of course, as she succumbs to the sweetened words of Richard and accepts his offer of marriage, the curse she has made falls upon her. Within so small a time, my womans ear / Grossly grew captive to his honeyed words / And proved the subject of mine own souls curse. Richard loses any shred of sympathy or support when his own mother curses herself for hatching a cockatrice whose unavoided eye is murderous. Thus, Shakespeare once again demonstrates that even to the perpetrator, revenge is ultimately destructive in its very nature. This theme is constantly apparent, as by the end of the play, the description alivebut neither mother, wife nor Englands queen applies to Margaret, Elizabeth and the Duchess. All the scenes of female lamentation are riddled with curses, calling for justice when all are guilty (Succio 45). Shakespeare uses the women to illustrate how England itself is under a curse of civil dissension and moral ill (Tillyard 113). The ring of curses and the cries for justice directly reflect how deep the morass of blood, treachery, and disorder has become, and how urgently rightful order needs to be restored.But does vengeance belong to man or God? Shakespeare uses the tension created by Margarets curses and cries for personal revenge to answer this question in the person of Richmond. Throughout the play a moral order that transcends mens actions is eluded to but never given full expression until the last act. It is to this moral order, this immutable form of divine justice, that all the women are appealing when they cry to the heavens for their wrongs to be righted, especially poignant in the wailing queens' scene (Tillyard 113). In this scene, Margaret points out to Elizabeth how temporal life is: For happy wife, a most distressed widow;; / For joyful mother, one that wails the name; / Thus hath the course of justice whirled about / And left thee but a very prey to time.However, though Margaret uses this allusion to tempora lity to emphasize the maxim what goes around comes around, she confuses the fulfillment of her wishes with divine justice. Her curses come true because they should have, not because she wants them to (Succio 45). She, like the other women, tend to be morally myopic in their cries for justice, unable, or unwilling, to recognize their own guilt. Shakespeare makes Margaret the incarnation of the wrong sort of justice, derived from the Old Testament style of retributive justice, but he contrasts her with Richmond who submits himself to a higher order and incorporates forgiveness into his idea of justice (Succio 48). In Gods name, cheerly on, courageous friends, Richmond humbly says to his army. Reap the harvest of perpetual peace, / By this one trial of bloody war. Here it is clear that Richmond is not fighting a war for the sake of personal gain. He is fighting in order to rid England of Richard, that wretched, bloody, usurping boar. The fact that Shakespeare portrays Richmond as the nations savior, not bringing him into the play until the last scene and making plain that Richmond alone is untainted by the treachery that has gone before, endorses the fact that Shakespeare himself felt that vengeance belonged to God, made plain when Richmond submits himself to this higher order (Tillyard 141).In the last scene when Richard and Richmond present their soliloquies, the contrast between submission to order and extreme individualism is very clearly the contrast between good and evil. Here Shakespeare makes it clear that there is an existence beyond the realm of men that nevertheless has a profound effect on human life and experience (Succio 51). Margaret and the other women of the play serve to bring about this realization, through their lamentations and cries for revenge, that something over and above the world of men is needed to right the state of the country. They cry to this higher order and bring the need for its intervention to our attention, and this is t heir greatest contribution. Only their own participation in furthering the state of disorder prevents them from benefiting significantly from orders restoration in the form of Richmonds victory.Cicero once said, Justice is the essential virtue and moral right is the basis of action. In Richard III, Shakespeare shows how the existing order of England has been violated and presents the conflict and turmoil that results on both the individual and national levels. Order is restored only by the eradication of the forces that originally violated it and Shakespeare shows that these forces were essentially immoral in nature. The female characters are the major vehicles of this view, by voicing the sorrow that results from the disruption of moral order, through their cries for retributive justice, and through their appeals for this justice from a divine realm. They are the essential contrast to Richards evil, and through their struggles against his dominance they serve not only to illustrate the necessity of the restoration of order, but also to bring about that restoration. In moral terms, the women of the play thus serve to mitigate the natural destructiveness inherent in a male dominated world.Works CitedAsimov, Isaac. Asimovs Guide to Shakespeare. New York: Avenel Books, 1958.Succio, Peter. Manipulations of Curses in Richard III. Meanings of Shakespeare. Ed. Richard S. Sylvester. New Haven: Yale University Press, 1968. 39-48.Shakespeare, William. Richard III. New York: Washington Square Press, 1960.Tillyard, E.M.W. The Personal Dramas of Richard III William Shakespeare: The Histories. London: Greenhaven Press, 1971.

The Significance Of Money In The Relationships Between Men And Women - 550 Words

The Significance Of Money In The Relationships Between Men And Women (Book Review Sample) Content: Name Professor Course Date A Doll’s House Ibsen’s A Doll’s House depicts material dependency concerning the affairs of the heart and exposes several delusions of romantic idealism during the time. Talking about the money theme and how it affects all characters provides insights into the significance of money in the relationships of women and men in the drama. However, the drama is focused around the marriage relationship between Torvald and Nora, the play explores how the need for money influences the society. The 19th century was largely affected by economic and social changes that saw the society shifting from rural agricultural societies to urban manufacturing based communities. Therefore, an individual’s place in society coincided with one’s ability in making and controlling money. In the beginning of the play, Torvald can be seen to have been recently promoted and is expected to receive a huge income increment, however he still censures Nora for too much spending, arguing for the need of financial caution (TÃ ¶rnqvist 2). People like Torvald with professions such as lawyers or bankers controlled money, and coincidentally they were almost habitually male. Therefore, their ability to control money made it possible for them other people’s lives, as well as defining morals (Unwin 43). Hence, because Torvald was a banker enabled him the position to sit on the moral judgment on Krogstad and Mrs Linde in deciding which of them should be allowed to work. From the beginning to the end of the play, there are interactions about money, and the initial interactions between Torvald and Nora reveals how Nora knew that behaving in particular subservient way, would prompt Torvald to give her more money. Later in the play, the audience can see Nora using similar manipulations on Dr. Rank by drawing attention to the manner in which women tended to exchange sexual favors in return for money in the unequal society (Ibsen 29). By Torvald teasing Nora about being spend thrift, it is apparent that is Torvald’s way of exposing his dominance over her. Thus, Torvald controls money and hence controls the relationship. Furthermore, Nora’s attempt to take part control of money in the relationship by taking out a loan ends in great disaster, since her husband felt morally ashamed by her action. According to Torvald, Nora’s action placed him at the mercy of Krogstad, which implied that his moral standing as a man in the society was compromised (TÃ ¶rnqvist 2). Mrs. Linde’s life is also highly influenced by the importance of money. During her youth she was in love with Krogstad but chose to marry someone else whose fina...

Cultural Revolution Of The 1920s Essay - 745 Words

The 1920s were times of cultural revolution. The times were changing in many different ways. Whenever the times change, there is a clash between the quot;oldquot; and the quot;newquot; generations. The 1920s were no exception. In Dayton, Tennessee, 1925, a high school biology teacher was arrested. He was arrested because he taught the theory of evolution. The teacher, John T. Scopes, was accused of having violated the Butler Act. This was a Tennessee law that forbade the teaching of the theory of evolution in public schools. The Tennessee legislature felt that teaching evolution was wrong because it contradicted the creation theory of the Bible. The Scopes trial received worldwide publicity. The press nicknamed it the Monkey Trial†¦show more content†¦U. S. Attorney-General Palmer planned a round up of communists. January 2, 1920, he ordered department raids on meeting halls and homes in thirty cities nationwide to gather all suspected communists. Twenty seven hundred people were arrested without being charged with a specific crime. In all, more than 6,000 people were arrested. The raids ended after May 5th. This was due to a government ruling that mere membership in the party is not in itself a crime. Most people that were arrested were released, few of the people arrested were actually communists. The Red Scare continued when on April 1, five legitimately elected members of the New York State legislature were expelled for being members of the Socialist Party. World War I ended in 1920 with the signing of the Treaty of Versailles. Russia and the United States were allies during the war. After the war, both became the worlds new superpowers. As the tension between the two nations grew, so did the fear of Communism. The Ku Klux Klan was a racist organization founded in 1915 by William Simmons. 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TheRead More Immigrants and Immigration Movement of the Early 20th Century1077 Words   |  5 PagesTh e first immigrants were white European settlers who came for an assortment of different reasons, such as freedom of religion and employment opportunities. Waves of immigrants poured into the US until restrictions were made in the 1920s, which were largely for cultural and economic reasons. Many saw immigration as the only way to prevent starvation, extreme suffering and death. The US became a safe haven and melting pot for many different cultures and nationalities. However, it was not easy toRead MoreImpact Of Langston Hughess Contribution To Harlem Renaissance1697 Words   |  7 Pagesto become a huge settlement for the African American people and later a cultural center and a Cultural Revolution hub for the African American culture where great artist hail from. The major boom in the Cultural Revolution was realized in the 1920s and it became popularly known as the â€Å"Harlem Renaissance† or â€Å"The New Negro movement†. This is a particular era that the African American people draw pride in. the era saw a cultural, social, music and art explosion of epic proportions. This was aimed atRead MoreThe Impact Of The Industrial Revolution On America1060 Words   |  5 Pagesto understand the impact of the Industrial Revolution which was a period of great inventions and technological advances. During the Industrial Revolution, farming methods were improved when wealthy land owners bought much of the farm land from village farmers. Many resources were needed to aid in the production in the product that were being produced by the new technology. Many jobs were created and the nation became wealthier. The Industrial Revolution caused a shift in the global power balance