The United Kingdom constitution is underpinned by strong, clear Essay

The United Kingdom constitution is underpinned by strong, clear principles which serve to uphold democracy - Essay Example The characteristics of the associations among the government and the residents, the trustworthiness of country’s establishments and the rights and the duties of people define the strengths of democracy. The constitution of the UK has developed progressively to renovate the association between the government and the residents, and to react with the challenges of globalisation as well as the other social aspects. In order to uphold the democracy, there is need for shaping new relationships and instigating drive towards new constitutional reimbursements, which commend parliament and people with more authority and right1. British Constitution Constitution can systematise, allocate and control the authority of state. It sets forth the state structure, state foundations, and ethics governing the state relations. Unlike other countries, the constitution of the UK has no single legal documents which sets out the central regulations and delineate the functions of the state. The British constitution has evolved from extensive time period and from several sources2. Maintaining democracy requires several modifications in constitution. Over the past few eras, the government has followed policies on decentralisation of the UK. The modifications have transformed the constitutional setting of the country. There are arguments which call for more fundamental changes and support additional legitimate changes which can weaken the administrative power and strengthen democracy through direct resident participation in decision making. But it is unclear that constitutional changes would inevitably generate a democratic recovery3. The strengths of constitution in the UK disembark from the Crown and reside with the government and parliament. People of the UK hardly have the likelihood or the opportunity to be involved in the official political process. The major aspect of the UK constitution is composition of arbitrary, infinite and inexplicable authority, and majority of these p owers originate from the Crown and are implemented by the government and the Queen. The Queen herself possesses four constitutional authorities such as the right to assign Prime Minister, the right to disband parliament, the authority to discharge the administration, and the power to deny imperial ascension to regulation approved by the parliament. But in recent years, application of many of those authorities has proved to be highly provocative. For instance, in the year 2003, Tony Blair, the then Prime Minister of the UK, had used his authority to announce war to battle with Iraq on fabricated information and without prior authorisation of parliament4. Transformation of Democracy in the UK It had been observed that several western European nations perceived increasing attention for intensifying citizens’ involvement and encouragement in strategy decisions. The UK has certain democratic form which essentially authorise the majoritarian character of British democracy. The regi onal Assemblies Act passed in 2003 had made the UK less centralised and more decentralised. The UK has developed its own democratic tradition and carefully added components from other democratic models5. Parliamentary Sovereignty Parliamentary sovereignty is the code of the constitution of the UK. It provides the parliament with the decisive legal control

The Negative Aspects of Animal Experimentation Essay -- Ethical Issues

Imagine your dog, your cat, or even your favorite animal being hit by a car. The tests that animals are put through during research are not much different. Every year millions of animals are forced to endure pain and suffering while being put through cruel and unnecessary tests (Newkirk 1). Animal experimentation should be illegal because there are other options for research, it is cruel and unfair to the animals, and because the results are not always accurate. There are several other ways to conduct experiments that do not use animals. Instead human tissue and living cells can be used to test new drugs and their chemical toxicity (Hayhurst 36). The cell cultures are placed in test tubes, assay plates, or other experimental containers and injected with a small amount of a drug. The cells create an artificial environment exactly like the environment inside a human’s body. Organs from humans or animals can also be used along with bacteria, fertilized chicken eggs, and from embryos (Day 98-99). Animal cells are more commonly used for testing than human cells are. Some human cells cannot be cultured in labs. Also there is a limited supply of cells from humans. The human cells used only come from tissue that is left over from surgery or from cadavers. A single animal can supply a large amount of cells as well as many different kinds of cells. These cells can be used for toxicity testing and to evaluate the risk of the drug. When cell cultures are used the dosage required is only a very small amount, which prevents the drug from being wasted. The dosage can also be carefully controlled and measured resulting in more accurate data (Day 99). Organ cells can be used to predict toxicity in target organs such as the l... ...drug had been given to mice, rabbits, rats, and monkeys, and all of them showed no bad effects (Allen 1). Within minutes the volunteers were writhing on the floor in agony. The drug was designed to dampen the immune response, but instead it supercharged theirs, unleashing a cascade of chemicals. All six of them were sent to the hospital. Several of them suffered permanent organ damage. One man’s head swelled up so badly that the case was referred to as the â€Å"elephant man trial† (Allen 1). Every year millions of animals are used to test products before they are used on humans. People use these products without thinking about the animals that the suffered and died for their benefit. They are selfish, and they never stop to think about the other options for testing, the cruelty of the experiments, or whether or not the test results are even accurate.

Krysztof Kieslowski

IntroductionKrysztof Kieslowski‘s genius germinated as a truly original and thought provoking film director was deeply influenced by the presence of Communism in Poland,. Later to join the ranks of the world’s greatest filmmakers, Krysztof was quoted as saying asking questions about our existence was more important than being concerned with political reality ; â€Å" why get up from bed ?!† – If one was not at all concerned about the metaphysics of things. In this context his fascination towards the parameters of memory and complexities of survival developed and was later manifested in his works.The land of his birth, Poland, was the background for many of his movies. He shifted his focus from documentary reality as a filmmaker working in his country. The gaze of his camera shifted from documenting reality to the probing the inner life of human beings, deeply affected by their reality in different ways.   The oeuvre of Kieslowski straddled over many conce rns. Two of his recurring themes were the persistence of memory and survival amidst the harsh realities of life. Death and violence was a feature of life in communist Poland.Every vestige of idealism was stripped away in the wake of mind numbing regimentation and the murder of freedom and humanity – almost reducing people to bare survival level.   On a spiritual level the characters in Kieslowski’s works seem to agonizingly grope their way forward out of this darkness.Each in their own way resolve a dilemma of existence, to find reunion, stark truth, even death, happiness and yet the films never work their way to some artificial conclusion – ambiguous as life is, in fact. An examination of the director’s projects will throw up evidence of these recurring themes. Yet, the films are never completely pessimistic, even if some might go deep into the dark side of human nature or seem to be concerned with erotic obsession. Thus in one hand it magnified memory or the reconstruction of memory and on the other hand he juxtaposed the manifestation and complexities of survival.However, the director was himself a very warm person who simply felt that depicting fictionalized reality was simply a better, if oblique, way to show reality. One tends to get an impression from the whole body of work that a lot is being said in the films but very subtly. Of course, helping Kieslowski was his immensely talented cast who seem to draw every shade of feeling out in films as diverse as No End and The Double life of Veronique.   On the face of it nothing very much seems to be happening in these films.   It is all subtle emotional underplay and a strongly controlled interplay of human conflicts and deeply moving responses. (Dollard, 89-92)Two of his films are representative of the aforementioned themes: Three Colors: Blue and Decalogue 2Three Colors: Blue (1993)‘Blue’ is a work of such intensity that one is eternally grateful that Juliette Binoche plays Julie Vignon De Courcy, the protagonist of the film with such a fine texture of emotions.Blue is the Polish director’s penetrating and highly involving work on loss and freedom and is also the dominant hue of his film. It is also part of a trilogy, Red, White and Blue the director made.A bluish candy wrapper in a small girl’s hand, reflects, sunlight through a car’s window; the next shot cuts to a leaking pipe, hinting at the imminent accident involving the car. Julie Vignon is the only survivor in the accident, which kills her daughter and husband. Fortunately for viewers, the car crash is heard not seen. The rest of the incident is shown in fragments and slivers of shattered glass. This reflects the state of the injured Julie in hospital.Extremely painfully she recollects the incident in fragments. The fragments hint at her life so far. She is the wife of a well known musician. The husband has been lately rumored to have run out of original ideas for composition – his scores are said to have been penned by his wife. Julie seems to fighting these memories off almost as if they cause great suffering. She seems to find it difficult to survive.Through these initial terse cuts , Kieslowski draws us wide eyed into a private world of pain and suffering mad acute by lingering memory   this is a devastated world , and very subtle action depicts this . Dialogue would be utterly contrived in this situation. A typical approach would be to take the path of resolution of this pain shown in quick recovery. True to his commitment, the director does not make it so easy. In the hospital, Julie attempts suicide by an overdose of pills but does not really go all the way – she survives.   Here there is a further ‘hardening’ of the situation. (Lamb, 243-245)After her release from hospital, Julie wants to kill herself off psychologically by withdrawing from the world. Her grief in fact, is so intense that she can ne ither cry nor even feel.   Yet, her body language reveals that she is still in great pain. Her mouth quivers as she watches her family’s funeral on television and her daughter’s casket. She visibly goes limp as she approaches her husband’s study. This is depicted with an economy which truly emphasizes the slow build up of grief.   She withdraws herself completely from the world around her and shifts from the family’s country estate to an apartment, in her maiden name. She wipes out all traces of the past, even of her family except a few slivers of glass. Reflections in glass are a persistent device used in the film – meant to convey the distance Julie is creating for herself and her memories.But the distance Julie wants to create cannot really stave off her past, try as she might; her reaction is to further withdraw into an enigmatic silence. At this point, her husband’s business partner, Olivier, searches her out and offers to complete her husband’s unfinished symphony as a tribute to his memory. Here is the working out of a cathartic device. The audience would find it relieving to have Julie come out of the prison of grief and re attach to the world.The resolution of the film’s mesmerizing tone of grief is toward a brighter shade. Blue is the color of grief but Juliet’s slow emergence back into personal peace helps to overcome this. Olivier’s role is cathartic meant to bring a closure. Towards the end of the film, she decides to collaborate on finishing her husband’s symphony and gives off the family’s country estate to her husband’s mistress. (Fletcher, 188)Losing everything can be freedom too.DECALOGUE 2Decalogue was a series of ten I hour films, each based on one of the Ten Commandments. The work was however, no rendering of the Biblical story but a reframing of the commandments to contemporary Poland. Each sin attributed to a particular moral lapse in each of t he ten films. These films offered Kieslowski the convenience of working with some of his favorite themes and some new ones.   They obliquely refer to Kieslowski’s religious concerns but in a way totally in synch with the director’s typically understated and subtle style. They are tightly made and form a work of considerable cinematic importance.The central theme of Decalogue 2 is of the purest moral dilemma. Dorota’s husband is seriously ill and in hospital. What she needs to know from the doctor is whether he will survive or not. She is pregnant by some one else and if her husband survives, she will abort the child .If he dies, she will keep the child.The doctor denies any knowledge of her husband’s prognosis saying he doesn’t clearly know how to answer her.   The doctor’s story is then told in flashback and we find that his family has been killed in a World War 2 bombing raid.   His tragic loss in the past and his memory of it makes him conscious of another life at stake. Here we have a clear glimpse of the director’s humanity and his strong convictions as a person even when working or dealing with a lot of abstraction in his films. The doctor’s dilemma is;  Ã‚   should he tell her the husband will be well thus making Dorota abort the child? In the end the doctor‘s brilliant answer will help to save two lives (Dorota’s and the child’s).The film is embellished like the others in this collection with the many small details that help build up the situation in a one hour film – details that keep audiences involved in the story unfolding. The film reveals that the doctor lives in the same apartment block as Dorota, walks to work. There are scenes involving Dorota’s smoking which obviously increases the danger to her.The theme of survival is cleverly shown in scenes where a bee tries to draw itself out of a bottle on a table in the husband’s hospital bed, makin g the connections to the issue of the fragility of life and strong survival instincts at work both within the film and in living beings. Human beings seem to be longing for contact or withdrawing in their own private world. Meaning is ambiguous in these films: there are the sub themes to consider – violence, chance, fate, and destiny.   Dream sequences are an extension of memory giving us a glimpse of the depth of anguish or obsession which different in the human beings. (Kar, 145)Rather, as his other creation like The Double Life of Và ©ronique, the films take on a life of their own with individuals in a society, in a state, in a family. More is happening to these characters than the films makes apparent. The director does not observe from the wings but probes deep in to what makes human conflict, what goes on in their minds. Thus the aspects of memory and complexities of survival become evident again and again.ConclusionThroughout the latter part of his career, Kieslowsk i reveals a streak of pessimistic humanism. The works show a fascination for the inner life of human beings and a spiritual quest for the meaning of existence, with carefully structured camera compositions and an almost sparse narrative. The deeper truths lie beneath the surface of reality and the unraveling of it is as unpredictable as life – the creator does not contrive situations to fit his view. However, he remained loyal towards his belief of greater truth regarding memory and complexities of survival. (King, 126)Works Cited:Dollard, John; Krysztof Kieslowski looks into Tomorrow. (New Haven and London: Yale University Press. 2006) pp 89-92Fletcher, R; Art: Beliefs and Knowledge; Believing and Knowing. (Mangalore: Howard & Price. 2006) pp 188Kar, P; History of Cinema & Market Applications (Kolkata: Dasgupta & Chatterjee 2005) pp 145King, H; Art Today (Dunedin: HBT & Brooks Ltd. 2005) pp 126Lamb, Davis; Cult to Culture; (Wellington: National Book Trust. 2004) pp 243-245

Vietnamization of the Vietnam War

Campaigning under the slogan â€Å"Peace with Honor,† Richard M. Nixon won the 1968 presidential election. His plan called for the â€Å"Vietnamization† of the war which was defined as the systematic build-up of ARVN forces to the point that they could prosecute the war without American aid. As part of this plan, American troops would slowly be removed. Nixon complemented this approach with efforts to ease global tensions by reaching out diplomatically to the Soviet Union and the Peoples Republic of China. In Vietnam, the war shifted to smaller operations geared towards attacking North Vietnamese logistics.   Overseen by General Creighton Abrams, who replaced General William Westmoreland in June 1968, American forces shifted from a search-and-destroy approach to one more focused on defending South Vietnamese villages and working with the local population.   In doing so, extensive efforts were made to win the hearts and minds of the South Vietnamese people.   These tactics proved successful and guerrilla attacks began to subside. Advancing Nixons Vietnamization scheme, Abrams worked extensively to expand, equip, and train ARVN forces.   This proved critical as the war became an increasingly conventional conflict and American troop strength continued to be reduced.   Despite these efforts, ARVN performance continued to be erratic and often relied on American support to achieve positive results. Trouble on the Home Front While the antiwar movement in the US was pleased with Nixon’s efforts at dà ©tente with communist nations, it was inflamed in 1969, when news broke about a massacre of 347 South Vietnamese civilians by US soldiers at My Lai (March 18, 1968). Tension grew further when, following a change in stance by Cambodia, the US began bombing North Vietnamese bases over the border. This was followed in 1970, with ground forces attacking into Cambodia. Though intended to enhance South Vietnamese security by eliminating a threat across the border, and thus in line with the Vietnamization policy, it was publicly viewed as expanding the war rather than winding it down. Public opinion sunk lower in 1971 with the release of the Pentagon Papers. A top-secret report, the ​Pentagon Papers detailed American mistakes in Vietnam since 1945, as well as exposed lies about the Gulf of Tonkin Incident, detailed US involvement in deposing Diem, and revealed secret American bombing of Laos. The papers also painted a bleak outlook for American prospects of victory. First Cracks Despite the incursion into Cambodia, Nixon had begun the systematic withdrawal of US forces, lowering troop strength to 156,800 in 1971. That same year, the ARVN commenced Operation Lam Son 719 with the goal of severing the Ho Chi Minh Trail in Laos. In what was seen as a dramatic failure for Vietnamization, ARVN forces were routed and driven back across the border. Further cracks were revealed in 1972, when the North Vietnamese launched a conventional invasion of the South, attacking into the northern provinces and from Cambodia. The offensive was only defeated with the support of US airpower and saw intense fighting around Quang Tri, An Loc, and Kontum.   Counterattacking and supported by American aircraft (Operation Linebacker), ARVN force reclaimed the lost territory that summer but sustained heavy casualties.