Java and JavaScript :: essays research papers

Java and JavaScript are languages that evolved because of the Internet. From the evolution of mainframes, to stand-alone PCs, to networked communication, and lastly to the Internet, one thing has been a constant, different languages evolved based on a need. For these two languages, the Internet was a perfect fit, and without them the Internet would be a less dynamic and vibrant highway. As the Internet grew, more and more people found it a more viable place to do business. With that came a need for languages that were fairly easy to learn, dynamic, secure, portable, and maintainable. The industry answered that call with languages such as Java and JavaScript. This paper will perform an analysis of both Java and JavaScript. In order for the reader to gain a better understanding of these languages, the history of these languages with overviews will be presented along with a discussion of the benefits and drawbacks. The History of Java In the middle of May 1995 Java was introduced into the world, and along with Netscape it would be the new way for Internet users to access this new information superhighway. But before it got to this point, Java technology was developed almost by accident. Back in 1991, Sun Microsystems was looking into the future in anticipation of the future of computing, and they tasked a team that became know as the â€Å"Green Project†. Their main focus was to come up with a plan for the future of computing, but what they came out with was something quite unexpected. Under the guidance of James Gosling, a team was locked away in an external site to work on the project that would define Sun’s technology direction for the future. Their conclusions pointed toward a future that had computers and digitally controlled devices converging. What they came out with was a language called â€Å"Oak†, named for the type of tree outside their office window. After failed attempts at selling the technology to the cable industry, the team convened again to determine the future of this new language. With the realization that the Internet was becoming a good way to move media content, the team took that to heart. What they came out with was a language that would use existing the HTML language, and what it did was revolutionize the Internet, and increase its use dramatically. In 1993, after an easy-to-use front-end to the web called Mosaic showed many that the Internet had many possibilities, the team knew that Java was the right fit for the Industry.

By what methods does Fitzgerald present the Jazz Age Society’s preoccupation with wealth and materialism?

The â€Å"Great Gatsby† was published in 1925 and was set in the ‘Roaring Twenties’. This was a glamorous decade marked by cultural, artistic and social developments, but it was brought to an end by the Wall Street Crash of 1929, which triggered the Great Depression of the 1930s. In the 1920s, America became very prosperous as the country recovered from World War I. There was a policy of Prohibition. This meant that alcohol was illegal, but the continued demand meant there was a lot of money to be made from bootlegging. It was a time of social change; the younger generation started to rebel against tradition. For many people, and particularly women, the war provided new experiences and freedom. After the war, there was a strong desire to try new and exciting things and to break from tradition. Jazz music became popular because it was more energetic than earlier music styles. Fitzgerald coined the term ‘Jazz Age’. Flappers began to challenge traditional gender roles. Flappers were women who behaved in a way that was thought to be inappropriate by the older generation; they drank, smoked and wore revealing clothing. Fitzgerald sets â€Å"The Great Gatsby† in an altered version of Long Island and Manhattan. Great Neck and Manhasset Neck become East and West Eggs, and the large landfill site Flushing is renamed the ‘valley of ashes’. The main sites represent different elements of the 1920s east-American lifestyle; Manhattan’s skyscrapers and luxurious hotel suites but it is also filled with lonely clerks who spend all their time working, and gangsters who meet in seedy bars. The valley of ashes is a stretch of wasteland which sits between the other sites and connects them. The valley illustrates that the excesses of wealth can’t be achieved without exploiting another part of society. The wealthy upper classes who inherited their money live in East Egg, West Eggs hosts ‘new money’; people who have earned their money. The people who live in East Egg come from old, wealthy families and have inherited money. They see themselves as elegant and well-mannered. West Egg is the home of the ‘new money’; people who have recently made their money through business. The people of East Egg look down on the people who live in West Egg because they consider their family backgrounds to be ‘inferior’ and their ostentatious displays of wealth to be in bad taste. Gatsby realises that money isn’t enough to cross the social divide between himself and Daisy; he needs to be upper class to be seen as her equal. His affected speech and imported shirts are an attempt to imitate the upper classes. Religion has been replaced by consumerism and the pursuit of pleasure. The characters live aimless lives that revolve around pleasing themselves and acquiring new possessions. For example, the guests at Gatsby’s parties focus on drinking, looking for new lovers, and trying to make ‘easy money’. The conversation between Michaelis and Wilson in Chapter eight suggests that consumerism has replaced religion; ‘You may fool me, but you can’t fool God! ’†¦Michaelis saw with a shock that he was looking at the eyes of Doctor T. J. Eckleberg†¦Ã¢â‚¬â„¢ Wilson mistakes the eyes of the advertisement for God. This shows that the eyes actually have no meaning except for the meaning that the characters give them. This could reflect the feeling of the ‘lost generation’ that life is essentially meaningless and is defined only by the values the people give it. Consumerism promises that material objects will make you happy and give your life meaning. However, material possessions don’t make people happy; in the novel this is symbolised by the fact that cars, a desirable consumer item, cause death and destruction. The idea that consumerism has replaced religious value in reinforced throughout â€Å"The Great Gatsby†; Fitzgerald mentions the ‘Presbyterian nymphs’ in the speakeasy, a place where people could illegally buy and drink alcohol during prohibition, in Chapter 4. This use of religious language could suggest that religious symbols have lost their power, and are at home in places of corruption. Weddings are a religious and legal union of a couple, but Daisy’s wedding to Tom is used primarily to display their extravagant wealth. Tom brings ‘four private cars’ and hires ‘a whole floor’ of hotel. Gatsby’s car ‘scattered light’ across the landscape and has ‘fenders spread like wings’. These descriptions give the car qualities often associated with religion; it’s source of light and is winged like an angel. Most of the characters in the novel are very wealthy and live a life of luxury. The rich and glamorous atmosphere defines the noel’s tone; the focus on the upper-class lifestyle gives the novel a mood of lively extravagance. For example, Gatsby owns a beach, motor-boats and a Rolls-Royce and his parties are full of ‘faces and voices and colour’. However, this society is contrasted with the poverty of those living near to the valley of ashes. The location of the valley of ashes between the wealthy Egg communities and New York makes the contrast stronger. There is also a constant sense that the glamorous lives of the upper classes are essentially meaningless; beneath the surface, everyone is bored because they have no purpose; Daisy seems to realise this when she asks what they should do ‘this afternoon†¦and they day after that, and the next thirty years? . Many friendships appear superficial. For example, Gatsby’s parties are full of ‘enthusiastic meetings between women who never knew each other’s names’. This shows that the society is full of pretence and loneliness. Many of Gatsby’s guests had tragic fates. For example, ‘drowned’, â €˜strangled his wife’, ‘killed himself’. This reinforces the message that behind the light-hearted partying, much of society was deeply unhappy. Fitzgerald’s portrayal invites the reader to be critical of the character’s empty, materialistic lives while simultaneously making those lives seem exciting and beautiful. This reflects his own attitude towards wealth. The characters are defined by their relationship with money; it affects how they act, how they see themselves and how others see them; Nick is confused about how to respond to wealth and decadence. When he begins his banking career he suggests his role models are ‘Midas and Morgan and Maecenas’. At the same time Nick says that Gatsby’s empty display of wealthy ‘represented everything for which I have an unaffected scorn’. Daisy and Tom take their wealth for granted. Tom assumes it is his natural right to be at the top of society, and Daisy was ‘casual’ about the beautiful house she grew up in. this attitude makes them ‘careless people’; they never worry when they hurt other people, they can retreat ‘back into their money’. Gatsby used to be ‘extravagantly ambitious’ and focused on financial gain. However, the Gatsby that Nick meets doesn’t get involved in the decadence of his own parties. This suggests that he has grown to be indifferent to his wealth; he just sees it as a means towards winning Daisy. For Myrtle, money buys happiness; she gets pleasure from her cold cream, pet dog and magazines. Her opinion of her husband was damaged by the realisation that he couldn’t afford to buy a suit for their wedding. Money takes on a meaning beyond its financial wealth. For Gatsby, money is confused with love. He says Daisy’s voice is ‘full of money’, linking his longing for her with his longing for the wealth and status that she represents. Gatsby understands the relationship between love and money. Daisy’s voice, he says, is ‘full of money’; it is the seductive, thrilling aspect of her. What Gatsby, with surprising consciousness, states is that Daisy’s charm is allied to the attraction of wealth; money and love hold similar attractions. Gatsby, with his boundless capacity for love sees that the pursuit of money is tied to his love for Daisy; and he knows himself well enough to see this. That Daisy’s voice is ‘full of money’ is a remark only Gatsby could make. It is a statement of someone attune to the possibilities of love and money and sensitive to them; perhaps too much. Tom could never have provided this description of Daisy; his attraction to her has nothing to do with wealth. Tom is accustomed to having money; money holds no interest for him because it does have to be chased after; his is old money simply there to be used. Tom may buy anything he wishes; from polo ponies to cufflinks; but he understands that polo ponies or cufflinks are all he is buying. Myrtle only cares about appearance and material possessions. Myrtle claims not to care about clothes; ‘I just slip it on sometimes when I don’t care what I look like’, but actually she’s obsessed with her appearance; she changes clothes regularly and buys cold cream and perfume. She wears bold colours, in contrast to Daisy who wears white but when Myrtle changes into a cream dress, her ‘vitality’ changes to ‘hauteur’. This shows that she thinks breeding is all about appearance. She’s also concerned with other people’s appearances. She was seduced by Tom’s clothes the first time she met him, mentioning that he wore ‘a dress suit and patent leather shoes’ as well as a ‘white shirt-front’. It’s significant that Myrtle pretended to be ‘looking at the advertisement’ instead of looking at Tom, because both Tom and the advertised product represent Myrtle’s greed for material objects and wealth. Tom Buchanan represents the immorality and materialism of the ‘Jazz Age’. Fitzgerald thought that the ‘Jazz Age’ was hypocritical and this is reflected by Tom’s behaviour; he is appalled when he learns of Daisy’s affair with Gatsby, but he has lots of affairs himself. He criticises Gatsby for ‘sneering at family life’, but ‘was God knows where’ when his daughter was born. He also criticises Gatsby for knowing criminals and for being a bootlegger, but Tom also knows criminals and he likes to drink, which shows that he doesn’t follow the prohibition laws either. He sets a high moral standard for other people, such as Gatsby, but has no morals himself. Nick notes that he moves ‘from libertine to prig’ to suit his needs. Tom’s wealth and sense of superiority makes him ‘careless’ and uncaring. Nick summarises Tom and Daisy’s behaviour when he says ‘they smashed up things and creatures and then retreated back into their money†¦and let other people clean up the mess†¦Ã¢â‚¬â„¢. They run away from their problems and never face the consequences. He acts as a foil to Gatsby; Gatsby is loyal, sensitive and caring whilst Tom is more or less the opposite. For example, he only seems to start caring for Daisy when he sees he could lose her. This suggests his reaction is as much about pride and possessiveness as about actually caring for her. The fact that Daisy chooses Tom over Gatsby highlights the shallow and materialistic nature of the ‘Jazz Age’ society. Like Daisy, Tom is materialistic; he has to appear to have the best of everything. For example, he was married with ‘more pomp and circumstance than Louisville ever knew’.

Why Did Nietzsche Break With Wagner

Of all the people who Friedrich Nietzsche met, the composer Richard Wagner (1813-1883) was, without question, the one who made the deepest impression on him. As many have pointed out, Wagner was the same age as Nietzsche father, and thus could have offered the young scholar, who was 23 when they first met in 1868, some sort of father substitute. But what really mattered to Nietzsche was that Wagner was a creative genius of the first rank, the kind of individual who, in Nietzsche’s view, justified the world and all its sufferings. Nietzsche and Wagner From an early age Nietzsche was passionately fond of music, and by the time he was a student he was a highly competent pianist who impressed his peers by his ability to improvise.  In the 1860s Wagner’s star was rising. He began receiving the support of King Ludwig II of Bavaria in 1864; Tristan and Isolde had been given its premiere in 1865, The Meistersingers was premiered in 1868, Das Rheingold in 1869, and Die Walkà ¼re in 1870. Although opportunities to see operas performed were limited, both because of location and finances, Nietzsche and his student friends had obtained a piano score of Tristan and were great admirers of what they considered the â€Å"music of the future.† Nietzsche and Wagner became close after Nietzsche began visiting Wagner, his wife Cosima, and their children at Tribschen, a beautiful house beside Lake Lucerne, about a two-hour train ride from Basle where Nietzsche was a professor of classical philology.  In their outlook on life and music, they were both heavily influenced by Schopenhauer.  Schopenhauer viewed life as essentially tragic, stressed the value of the arts in helping human beings cope with the miseries of existence, and accorded pride of place to music as the purest expression of the ceaselessly striving Will that underlay the world of appearances and constituted the inner essence of the world. Wagner had written extensively about music and culture in general, and Nietzsche shared his enthusiasm for trying to revitalize culture through new forms of art. In his first published work, The Birth of Tragedy (1872), Nietzsche argued that Greek tragedy emerged â€Å"out of the spirit of music,† fueled by a dark, irrational â€Å"Dionysian† impulse which, when harnessed by â€Å"Apollonian† principles of order, eventually gave rise to the great tragedies of poets like Aeschylus and Sophocles.  But then the rationalist tendency evident in the plays Euripides, and most of all in the philosophical approach of Socrates, came to dominate, thereby killing the creative impulse behind Greek tragedy. What is now needed, Nietzsche concludes, is a new Dionysian art to combat the dominance of Socratic rationalism. The closing sections of the book identify and praise Wagner as the best hope for this sort of salvation. Needless to say, Richard and Cosima loved the book. At that time Wagner was working to complete his Ring cycle while also trying to raise money to build a new opera house at Bayreuth where his operas could be performed and where whole festivals devoted to his work could be held. While his enthusiasm for Nietzsche and his writings was no doubt sincere, he also saw him as someone who could be useful to him as an advocate for his causes among academics. Nietzsche had, most remarkably, been appointed to a professor’s chair at the age of 24, so having the backing of this apparently rising star would be a notable feather in Wagner’s cap.  Cosima, too, viewed Nietzsche, as she viewed everyone, primarily in terms of how they might help or harm her husband’s mission and reputation But Nietzsche, however much he revered Wagner and his music, and although he had quite possibly fallen in love with Cosima, had ambitions of his own.  Although he was willing to run errands for the Wagners for a time, he became increasingly critical of Wagner’s overbearing egoism. Soon these doubts and criticisms spread to take in Wagner’s ideas, music, and purposes. Wagner was an anti-Semite, nursed grievances against the French which fueled hostility to French culture, and was sympathetic to German nationalism.  In 1873 Nietzsche became friends with Paul Rà ©e, a philosopher of Jewish origin whose thinking was heavily influenced by Darwin, materialistic science, and French essayists like La Rochefoucauld.  Although Rà ©e lacked Nietzsche’s originality, he clearly influenced him.  From this time on, Nietzsche begins to view French philosophy, literature, and music more sympathetically.  Moreover, instead of continuing his critique of Socratic rationalism, he starts to praise the scientific outlook, a shift reinforced by his reading of Friedrich Lange’s History of Materialism. In 1876 the first Bayreuth festival took place.  Wagner was at the center of it, of course. Nietzsche originally intended to participate fully, but by the time the event was underway he found the cult of Wagner, the frenetic social scene swirling around the comings and goings of celebrities, and the shallowness of the surrounding festivities unpalatable.  Pleading ill health, he left the event for a time, returned to hear some performances, but left before the end. That same year Nietzsche published the fourth of his â€Å"Untimely Meditations†, Richard Wagner at Bayreuth.  Although it is, for the most part, enthusiastic, there is a noticeable ambivalence in the author’s attitude toward his subject.  The essay concludes, for instance, by saying that Wagner is â€Å"not the prophet of the future, as perhaps he would wish to appear to us, but the interpreter and clarifier of the past.†Ã‚  Hardly a ringing endorsement of Wagner as the savior of German culture. Later in 1876 Nietzsche and Rà ©e found themselves staying in Sorrento at the same time as the Wagners.  They spent quite a lot of time together, but there is some strain in the relationship.  Wagner warned Nietzsche to be wary of Rà ©e on account of his being Jewish.  He also discussed his next opera, Parsifal, which to Nietzsche’s surprise and disgust was to advance Christian themes. Nietzsche suspected that Wagner was motivated in this by a desire for success and popularity rather than by authentic artistic reasons. Wagner and Nietzsche saw each other for the last time on November 5th, 1876. In the years that followed, they became both personally and philosophically estranged, although his sister Elisabeth remained on friendly terms with the Wagners and their circle. Nietzsche pointedly dedicated his next work, Human, All Too Human, to Voltaire, an icon of French rationalism. He published two more works on Wagner, The Case of Wagner and Nietzsche Contra Wagner, the latter being mainly a collection of previous writings.  He also created a satirical portrait of Wagner in the person of an old sorcerer who appears in Part IV of Thus Spoke Zarathustra.  He never ceased to recognize the originality and greatness of Wagner’s music. But at the same time, he distrusted it for its intoxicating quality, and for its Romantic celebration of death. Ultimately, he came to see Wagner’s music as decadent and nihilistic, functioning as a kind of artistic drug that deadens the pain of existence i nstead of affirming life with all its sufferings.