I. Abstract

The following is an examination and recommendation of the legal restructuring necessary for Iceland to emerge from the current financial crisis with a strong economy structured around the restoration of- (1) fishing stocks,  (2) wetlands, and (3) the implementation of the European Union Emissions Trading Scheme. While addressing the most profitable and sustainable approaches to rebuilding Iceland’s economy, this paper will simultaneously identify the challenges that emerge, and the legal framework that is necessary to ensure minimal exploitation of Iceland’s natural resources.

II. Introduction

(a) Restate Thesis with topic summary

III. Wetlands Restoration

(a)    Challenges – Abundant scholarly research, but policy incentives to conserve wetlands are lacking at present.[i]

(b)   Legal history[ii]

(c)    Recommendation for Iceland to restore drained and degraded wetlands as means of reducing carbon, nitrous oxide and methane from the atmosphere. Also a proposal of an additional way for countries to meet their EU ETS mitigation commitments.

IV. Fishing Stock Restoration

(a)    Challenges – public opposition. In order to restore fishing stocks, there must be strict government regulation.  But citizens and politicians are also wry of outside intervention in national fishing matters, and fears are often publicly expressed that joining the EU will cause outside intervention in national quota laws[iii]. Public distrust is exemplified by a long history of fishing “wars” with the United Kingdom, most famously the Cod-wars[iv]. Currently, Iceland is engaged in a dispute with Scotland and the Faeroes over mackerel.[v]

(b)     Legal history[vi]

(c)     Recommendation to restore fishing stocks through stricter regulation, while simultaneously ensuring that national laws are in place which protect Iceland’s fishing interests before the country joins the EU.

V. Hydro- and Geothermal energy “exploitation”

(a) Challenges

(i) Public opposition to joining the European Union. There is fear of outside regulation, especially of regulations on fishing quotas and whaling. But joining the EU could ensure vital legal restrictions on excessive external exploitation of geothermal extraction[vii] through the full implementation of the EU Environmental Trading Scheme (ETS).[viii] Fully implementing the EU ETS would also give Iceland further incentive to ease their dependency on renewing business contracts with ALCOA, and the planned expansion of aluminum smelters throughout Iceland[ix], which have devastating impact on local farming communities. However, Iceland will not join the EU unless Icelanders support it in a referendum which may be held in late 2011 or early 2012. According three polls conducted by Gallup between May and September 2010, between 54 and 69 percent of those asked oppose Iceland joining the EU.[x]

(ii) Iceland applied for membership to the EU in July 2009, negotiations started in July 2010 and the EU has opened accession talks. The European Commission recognizes that Iceland has already assimilated two-thirds of its national laws in accordance with EU laws. But progress has halted because the EU has demanded that Iceland resolve the continued dispute with the UK and the Netherlands over the money lost when the online Icesave bank collapsed in 2008.[xi] (Icelanders rejected a payment plan in a referendum held in March 2010. The UK and Dutch governments want Iceland to reimburse $5billion which they paid as compensation to Icesave investors.)[xii] The EU expects Iceland to implement more regulations on the financial system in order to qualify for membership. [xiii]

(b) Legal history[xiv]

(c) Recommendation for Iceland to join the EU, fully implementing the European Union  Emissions Trading Scheme as a way to both profit from the extraction of natural resources, and regulate the amount of exploitation.

VI. Conclusion

[i] 1. “Third Informal Dialogue on LULUCF,” Landbunadur.is, accessed September 14, 2010, http://landbunadur.is/landbunadur/wgrala.nsf/key2/hhjn7etf6x.html

2. “Wetland Restoration; A Proposal for an Amendmentto Decision 16/CMP.1 on Land Use, Land-Use Change and Forestry adopeted by Decision 11/CP.7, “Ministry for the Environment,” www.coford.ie/iopen24/pub/workshop-Iceland.pdf

3. “Informal Data Submission on LULUCF to the Ad-Hoc Working Group on Fuerther Commitments for Annex I Parties Under the Kyoto Protocol (AWG-KP),” United Nations Framework Convention on Climate Change, accessed September 14, 2010, http://unfccc.int/files/kyoto_protocol/…/awgkplulucficeland081209.pdf

[ii] “Legislation,” Ministry for the Environment, accessed October 5, 2010, http://eng.umhverfisraduneyti.is/legislation/

[iii] “Why Is Britian Braced for a Mackerel War?” BBC World News, accessed August 25, 2010, http://www.bbc.co.uk/news/magazine-11062674

[iv] The Cod wars, or Þorskastríðin, was a series of territorial confrontations in the 1950s and 1970s regarding fishing rights in the Atlantic between the United Kingdom and Iceland. In 1976 Britian deployed naval vessels within the disputed waters and Iceland treatened to close the major NATO base in Keflavik—the dispute ended shortly thereafter. “1975: Attack on British vessels heightens Cod War,” BBC News, accessed September 22, 2010, http://news.bbc.co.uk/onthisday/hi/dates/stories/december/11/newsid_2546000/2546045.stm

[v] 1. “European Parliament Could Take Action In Mackerel Fish Row,” BBC News, accessed August 30, 2010, http://www.bbc.co.uk/news/uk-scotland-11126330

2. “Faroes and Iceland urged to back down over mackerel,” BBC News, accessed September 10, 2010, http://www.bbc.co.uk/news/uk-scotland-11199799

3. “Scottish fishermen are to boycott a meeting in the Faroe Islands over the host country’s decision to unilaterally increase mackerel quotas,” BBC News, accessed September 10, 2010, http://www.bbc.co.uk/news/uk-scotland-11199799

[vi] “Lagasafn,” Althingi.is, accessed October 4, 2010, http://www.althingi.is/vefur/lagasafn.html

[vii] “Forsetar Raeddu Orkumalin,” Morgunbladid,” accessed September 19, 2010, http://www.mbl.is/mm/frettir/innlent/2010/09/19/forsetar_raeddu_orkumalin/

[viii] “Establishing a Scheme for Greenhouse Gas Emission Allowance Trading Within the Community and Amending Council Directive 96/61/EC,” Official Journal of the European Union, accessed September 14, 2010, http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=OJ:L:2003:275:0032:0032:EN:PDF

[ix] “Power Struggle,” The National Geographic Magazine.,” accessed September 22, 2010, http://ngm.nationalgeographic.com/2008/03/iceland/del-giudice-text.

[x] “Many Icelanders Keen on Adopting Euro, Mixed on EU,” Gallup,” accessed October 5, 2010,  http://www.gallup.com/poll/118381/icelanders-keen-adopting-euro-mixed.aspx

[xi] “Grimsson Says Iceland Seeks Solution in Depositor Spat: Video,” Washington Post Online, accessed September 24, 2010 http://www.washingtonpost.com/wp-dyn/content/video/2010/09/14/VI2010091407299.html

[xii] “Iceland panel wants charges over 2008 bank collapse,” Reuters, Accessed September 12, 2010, http://www.reuters.com/article/idUSTRE68A1JP20100911

[xiii] “EU Enlargement: The Next Eight,” BBC World News, accessed September 14, 2010, http://www.bbc.co.uk/news/world-europe-11283616

[xiv] “Legislation,” Ministry for the Environment, accessed October 5, 2010, http://eng.umhverfisraduneyti.is/legislation/

I am defining a film genre that I call “boys’ school.”  These are films in which the narrative and cinematic action is centered on boys at single-sex educational institutions, wherein the primary characters and the primary relationships are all male.  As an only girl between two brothers, and having grown up in a community where all-male spaces are clearly defined, I have long been interested in the all-male experience; in this way, the boys’ school film is an antidote to my female innocence.  Beginning with Boys Town [1938] and culminating most recently with History Boys [2006], the boys’ school has been represented in film as a space in which conflict and camaraderie grow among the men and boys, as do systems of surveillance and discipline, at the hand of a penetrating, all-male gaze (there is a noticeable absence of female characters in these films).  These are the prominent propellants of the films’ narrative and emotional engagement with audiences.  Certain secondary commonalities exist among some of the films (i.e. Catholic, religious instruction, or the presence of an eccentric or “cool” teacher figure who relates to the students) and bolster genre resemblances among the films.

—

As of yet, there has been no previous formal grouping of these films, and I intend to characterize some sort of category for them.  The issue of genre is heavily debated, from its definition to its merit, but what remains is that people have a natural tendency to classify and to organize.  Film scholar Daniel Chandler provides a solid survey of genre theory in a chapter entitled “An Introduction to Genre Theory,” explaining the types of groupings and the motivations for them.   Chandler sets out various film theorists’ approaches to genre, and explains the importance of genre analysis, which is basically contextualization.  In turn, this allows for a broader understanding of whatever the material is.

—

I will assess whether what constitutes this genre is intrinsic or extrinsic.  In other words, is this a genre defined by setting, subject matter, plot, or emotion?  Or is it a grouping delineated for critical purposes?  My tendency is towards a fluid definition of genre, and towards a synthesis of internal and external markers for boys’ school films.  I believe that the physical setting (though not relegated to a geographical or historical place) of the boys’ school film— its hallways, classrooms, and grounds— creates specific opportunities for interactions, activities, and relationships unique to this environment, particularly intense moments of fighting and of friendship.  I also maintain that there are certain common elements among the plots of these films that elicit certain emotions from audiences (i.e. the absence of females; some kind of punitive abuse, whether physical or psychological, that draws forth pity, anger, and frustration).  Ultimately though, I am outlining this genre for a critical purpose: through studying the filmic representations of these all-male institutions, I want to bring attention to the construction of male relationships in society and how certain patterns of behavior are perpetuated and portrayed.

—-

Beyond investigating genre theory, I will watch the films which seem to fit this proposed genre (watching as many films as possible, that may or may not be exact fits will help inform my genre criteria).  I will compare the employed narrative and filmic devices which emotionally engage viewers.  Other relevant literature that I will examine includes film critiques, theory pieces, and philosophical works on these specific films; on the all-male gaze operating in the films; on the emotional impact of film in general; and on relevant pedagogic and disciplinary traditions.  Though I am embarking on this research with a Foucauldian slant (with an eye towards issues of surveillance and discipline as brought forth in Discipline & Punish and issues of boys’ amorous relationships as explored in the History of Sexuality, specifically the “Boys” chapter in Volume III), I am not sure if that will continue to inform my specific genre study.

—

Through this examination of boys’ school films, I would like to bring forth both a personal and a public understanding of the gendered space that is a boys’ school.  While the genre study will help group together a family of similarly set films, it will also help contextualize the individual works within larger issues of male-male interactions— both positive (supportive) relationships and negative (punitive) ones.  The basic question to be answered is: how do certain features of these environments (as shown to us in narrative films) perpetuate certain patterns of male behavior?  I hope that we will gain a broader understanding of these patterns in a way that provides some sort of corrective— if not in behavior, then at least in thought— to negative patterns.

Research Question: How do the peaks in the evolution of Fairy Tales show their fairy tale interpretations to be a reflection of the social context in which they are created?
There are many sources out there dealing with fairy tales and the settings in which they were written. Since I’m coming into this topic wholly anew, the first source was a great starting source from which I could branch out:

“The Moral of the Story.” Current Social Issues| Moral Values | Health Care, Science, Environmental News | Vision Media. Web. 18 Sept. 2010. http://www.vision.org/visionmedia/article.aspx?id=153

The source offers insight into the major peaks of fairy tale evolution and offers support of my research question. For example, Charles Perrault in 18th century France had an interpretation of Cinderella where she drops the slipper on purpose and the source mentions how sexuality and social mobility into aristocracy was prevalent in those times (i.e. kings having relations with their servant girls). Consequently, it points to a possible claim that the French Cinderella does in fact represent the ambitious poor girl of the time. If we look at the Grimm Brothers in 19th century, their fairy tale interpretations run alongside the Romantic period of 19th century, where religion and Christian morality played a large role. It was most interesting, however, to read that 18th century England began to mass-produce fairy tales for children, paralleling a shift in society where literacy and “a budding children’s culture” was on the rise. It seems that 18th century France and England had radically different fairy tale interpretations, French being overtly sexual and the English being much more focused on communicating morals to children. So if more research is done about both cultures of this time the link between Fairy Tales and their social context can be established even more so.
In addition, if the claim that fairy tales, such as Cinderella, reflect the moral values of the society at the time, this claim could be extended to contemporary time. For example, 1997’s adaptation of Cinderella, where she is African American, reflecting the prevalent racial issues in American society, and perhaps their gradual resolution.
The second source is a more critical examination of fairy tales and how researchers perceive them:
Weber, Eugen. “Fairies and Hard Facts: The Reality of Folktales.” Journal of the History of Ideas 42.1 (1981): 93-113. JSTOR. University of Pennsylvania Press. Web. .

The source mentions the high mortality rates of women especially during childbirth in 19th century Germany, paralleling Hansel and Gretel and Cinderella, which deal with child neglect and a wicked stepmother, respectively. It was interesting to learn from the source that the Grimms’ opening lines to about half of their fairytales points to the tie between the stories and real life: “In days of yore when God Himself still walked the earth, the land was much more fruitful that it is now” (96) and “In days of old when wishing still did some good, there lived a king whose daughters were all beautiful…” (96). This contrasts to the conventional start “Once upon a time…” which suggests that the story is going to be wholly made-up. This could be an interesting piece of evidence to look into in support of my claim that the Grimms did want to include significant religious overtones in their fairy tales to reflect the time period.
What was interesting in this section was his mention of Hansel and Gretel, a fairy tale of German origin (Grimms), and his drawing a parallel between it and the occurrences of the time not only in Germany but in France. He gives an anecdotal example about Jean-Roch Coignet, a well-known French soldier, who wrote about Restif de la Bretonne’s father who widowed and then remarried. What followed was a story a lot like Hansel and Gretel where the stepmother took his children to the forest and left them there. The significance of this anecdotal case that it shows that perhaps Fairy Tales have components that are general enough to be applied to universal matters (orphans, mean stepmothers etc.). So the extent to which each major peaks’ fairy tale interpretations mirror the time period and culture isn’t clear-cut, so it would be more rewarding to look at the specific changes that took place from peak to peak and how those changes reflect the society.

As a double major in Biology and Philosophy it is no surprise that I have had the longest and most through exposure to material pertaining to these two areas of study. Biology, to me, has always been about memorization and philosophy, about contemplation. In many cases, philosophy has no specific answers and this is where abstract thinking about hypothetical problems comes in. I find both majors immensely interesting but I’ve always had a knack for being revolutionary and learning about something completely different (like photography). Being in Macaulay Honors College, I was lucky enough to be exposed to many other areas of study in the seminar classes: Genetic Engineering, Homelessness, History of Yellow Fever in Bay Ridge, and diverse art and literature in CHC 1. It was an amazing feeling learning about things I either thought about but never had the time to learn or never even though about in the first place.
When Professor Natov asked me to intern in a CHC 1 class three years after I took it I was thrilled. It was a chance to experience the class again, which out of all four seminars was my favorite. Unlike my experience in CHC 1, this one had a slightly different focus, which included fairy tales. The class read Beauty and the Beast and The Frog Prince and it was fascinating to see how the fairy tales as we know them today were completely different centuries ago. I conversed with Professor Natov and a close friend who took Professor Natov’s Children’s Literature course and was almost shocked to find out what a close tie fairy tales had to the social context in which they were composed. Since then, I’ve wanted to learn more in-depth about fairy tales. Originally, however, I decided to take a slightly different approach to them and look at them from a philosophical perspective (i.e. what philosophical issues and morals do they convey). In formulating my thesis I soon realized that the values that are conveyed in fairy tales have changed over time, as fairy tales themselves have changed. So it is essential to look closer at
these changes and the social context that accompanied these changes.
The senior-thesis class is my chance to address this task. After much research, it was clear that fairy tales started off as one thing and centuries later ended up as we know them today from, perhaps, Walt Disney. They began as oral narratives, and after being documented, underwent a series of significant revisions. It would be almost impossible to look at every single interpretation since the beginning of time due to the () of material (i.e. almost every culture has their own Cinderella). However, there are certain peaks in history that are vital in the evolution of fairy tales, such as 18th century Charles Perrault in France, 19th century Grimm brothers in Germany, and 20th century Walt Disney, to name a few. Currently the questions I seek out to answer are 1) When and where were the significant milestones of fairy tale evolution? 2) What were the changes that the fairy tales underwent (in a more general sense, the underlying themes)? 3) How do these various interpretations of fairy tales reflect the social values and morals that were relative to the culture and time period in which they were made? And 4) How do Snow White, Cinderella, and The Little Red Riding Hood serve as prime examples of fairy tale evolution (closer analysis)?
In presenting my topic I see myself as assuming the role of communicating to my readers something they may not know and may find interesting about the evolution of fairy tales. In addition, I seek to partially assume the role of a scholar in answering the question of what influenced the evolution of fairy tales throughout specific points in time to increase my audience’s understanding of the topic (especially if part of it already has some knowledge of the topic). I imagine that some of my readers are scholars as well and I seek to provide sufficient and relevant evidence in addressing my thesis and answer any questions they may have. In doing so I will also increase the understanding of the general readers who perhaps don’t know much about
the topic.

I’ve waited on lines at midnight. I’ve won trivia competitions. I’ve debated theories on the internet and I hate the movie adaptations. In short, I’m a huge Harry Potter fan. Unlike those who claim Harry Potter got them into reading, I was always a voracious reader. I didn’t love the books because I had never read anything like them before, on the contrary, J.K. Rowling’s books sat on my shelf next to well-worn copies of J.R.R. Tolkien, C.S. Lewis, and L. Frank Baum. I was no stranger to intricate mythical worlds, precocious teenage heroes and magical adventures, and for many years, the Harry Potter series was simply that, an enjoyable fairytale.

As I got older, however, the books got progressively darker, and I began to suspect there was more to the series than just an exciting plot. The tension between magical and non-magical people looked suspiciously similar to race and class divisions in our reality. Both the “good guys” and the “bad guys” could rightfully be called terrorists or freedom fighters, depending on a character’s allegiance. The magical government seemed to have eyes and ears everywhere…almost as if authorized by a Patriot Act of their own. The parallels to our own society were impossible to ignore, but I was content to acknowledge J.K. Rowling’s political subtext without wondering how or why she was able to integrate social critique while leading readers through Harry’s adventures.

The last book was released in 2007, just a few months after I graduated from high school. Although I was still active in the online fan community, I went to college with a sense of closure – no more wondering which characters would live and which would die, who would be betrayed and who would do the betraying, or if Harry and his girlfriend would ever get beyond the occasional kiss. (They had three children.) I moved into the dorms and on with my life, not really expecting to take another look at the series until I read it with my own kids. I certainly didn’t expect a class I took last year to inspire me to dive back into the series in the name of academia, instead of leisure.

Doomsday was an honors seminar dedicated to examining our culture’s fascination with apocalyptic belief. We read a variety of apocalyptic fiction and analytic nonfiction about the pervasive effects of millennial electism on our society. The Harry Potter series, with its emphasis on the triumph of good over evil, explores many of the social and political consequences of this hierarchical worldview. The series, naturally, borrows heavily from the traditional apocalyptic myth and narrative established by the Book of Revelation. I chose to do my thesis on apocalypticism in the Harry Potter series because I want to study how J.K. Rowling appropriated St. John of Patmos’s text both to create a hugely popular book series and further her own social agenda. I want to help the readers of my research better understand the social significance of the Harry Potter series as more than just an exciting story about a boy wizard.

I expect my readers to be generally familiar with both apocalyptic belief and the Harry Potter series as cultural phenomena. Since apocalypticism is so pervasive in our society and Harry Potter has become a household name, I hope to incite readers’ curiosity by combining two such popular subjects. I want to explore how the books portray specific themes within the apocalyptic belief system (i.e. “us” vs “them” mentality, gender panic, authoritarianism, etc.). Hopefully, I will be able to support general discussion of these themes with specific examples of symbolic details in the books. On the other hand, I’ll have to be careful to avoid getting too caught up in the minutia of the apocalyptic significance of each detail. That would be boring for readers familiar with the books as well as those uninterested in the series.

I’ll be the first to admit I grew up with Harry Potter. He was eleven in the first book and seventeen in the last; I was nine when I took my first ride on the train to Hogwarts and eighteen when the series ended. I’ve been a member of the online fan community since I was twelve, going to Wizard Rock concerts since I was fifteen, and this past summer, at twenty-one, I went to Orlando to attend a fan convention and visit the new amusement park. Obviously, my story continues as I enter my senior year and start thinking about graduate school. There will not, most likely, be any more books following Harry through his twenties and beyond. Nonetheless, I’m not leaving him behind just yet. Through my research, I hope to join the small-but-growing community of scholars who have begun to study this series at the university level.

The Proposition Paper: Drawing the Bridge Between Show and Life’s Box of Chocolates

What is the relationship between “Method Acting” and living with a method?

Offering Additional support and confirming unsupported claims as such:

James Allen’s As Man Thinketh might be true, but I can offer evidence to show that it is with the scientific conclusions by Paul Ekman, and the highly applicable methodology devised from psychosomatic empirical observations by neurology teaming with the sources in David Kraner’s anthology Method Acting Reconsidered.

Applying a claim more widely:

Ekman correctly applies his research on human reaction to immediate events, but it can be applied to a grander scope of planning and even to the realm of the theatricals. Likewise, he claims that his research is true in the immediacy of behavior, but I can show it’s true in general and for future occasions.

Contradictions of kind:

Certain members of the theatrical community, expressed in Hare’s book, claim that the Method is a fraud, but it is not entirely. Similarly, many claims try to distinctively shape the system when all it accomplishes it is creating a branch.

Sources would argue against the validity of James Allen’s work, that it is a kind of fraud, but it is not.

Part-whole contradictions:

Most of these types of contradictions are in the definition of “Method Acting”, some say it is one way, others create another way, some are against the principle, others base schools on it.

Just because Ekman teamed with the Dalai Lama to interpret certain concepts, some say that the relationship invalidates his scientific standing, but it certainly doesn’t.

Developmental or historical contradictions:

Many people say the Method is not changing, although I am referring to the Method of Acting, this mode of conservatism can just as easily be applied to the Method of Religion, some say it is not changing, but it is, and it has been and will continue to be.

External cause-effect contradictions:

Ekman claims that appraisal of events causes only reactions, but it can also cause a new appraisal.

Contradictions of perspective:

The Bulk of the paper: Ekman discuses appraisals as being the base of reaction to events, but the new context of methodology from theatrical and behavior studies can modify appraisals and thus reactions to events before they occur. James Allen is back up by seeing his work from the perspective of Ekman in thought influencing state of being which is again seen from the point of view of those in David Hare’s anthology tackling Method Acting.

[1]  Paul Ekman, Emotions Revealed,  rev. ed (New York: Owl Books, 2007)

2 David Kraner, Method Acting Reconsidered, David Hare, ed. (St. Martin’s Press, New York, N.Y), 4.

3 James Allen, As Man Thinketh. America: Create Space, 2010.

The Coach Versus the Couch: Draft of Proposal of Focused Topic

What is the relationship between “Method Acting” and living with a method? It would first be important to answer whether there is such a thing as living without a method, what ‘living with a method’ means, and whether or not an awareness of such a method is relevant to the question of its existence. “Method acting,” requires a definition of its own because, through the ages, it has developed a number of connotations so that its contemporary meaning is ambiguous.

Etymologically, ‘method’ comes from the Ancient Greek “methodos,” the pursuit of knowledge, investigation, mode of prosecuting inquiry, system. Today it is a “way of doing things.” Every sentient human has a way of doing things so long as he does things; he has a process of completing an action that is unique to his personal individuality. The renowned psychologist, Paul Ekman, who has been a pioneer in the study of emotions, concludes: “It is a person’s appraisal of an event that triggers an emotion, not the event itself,”[i] The “appraisal” is a result of the relationship between the world and one’s inherent value system about it. If one wants to accomplish a goal, a minimal physicalization or sending one into space, his actions will be a result of the application of that value system.

Method acting is a “technique that combines work on the role, with an emphasis on researching and experiencing the character’s life, and work on the self, which stresses the actor’s personal investment and commitment to memory, experience, and worldview.”[ii] The Group Theater, the 1930s collective that produced works by many outstanding American playwrights, developed members like Stanford Meisner and Stella Adler who would become prominent figures in Method Acting to this day. Adler added that one must “define the difference between your behavior and the character’s, find all the justification of the character’s actions, and then go on from there to act from yourself, without thinking where your personal action ends and the character’s begins.”[iii] Like in subtraction, by finding the difference between one’s own value system and the projected character’s, then the result is the template of beliefs through which one can assume the reactions of the character, indeed as if he were the character.

If every action is the result of an appraisal, then every step in a goal seeking process will too be due to the specific value system that evaluates, or appraises, the new events in conscious perception.  Method Acting describes a system to Trojan horse one’s inherent value system into that of a “character’s” so that one united system results, what will stop a person who dreams of an accomplishment, a fantasy character of himself, from realizing and becoming that fantastic character by the methodological value adjustment required to similarly create one united system? Method Acting can be reexamined to be Method Living.

[ii] David Kraner, “I Hate Strasberg,” Method Acting Reconsidered, David Hare, ed. (St. Martin’s Press, New York, N.Y), 4.

[iii] Stella Adler, On Ibsen, Strindber, and Chekhov. New York: Alfred A. Knopf, 1999.

        This paper will address the dilemma that is created in distributing humanitarian aid in the Democratic Republic of Congo of Rwandan refugees. The question that the paper will be attempting to answer will be: should humanitarian aid be distributed based on the concepts of new humanitarianism or traditional humanitarianism, in particular of the case of Rwandan refugees.
 
        First, I will define humanitarian aid and give a quick but through synopsis of the history of humanitarian aid distribution. In this part of the paper there will probably be some statistics of how much humanitarian aid has been distributed, to what countries that the most humanitarian aid been distributed to, what type of humanitarian aid has been given, in what situations is humanitarian aid given and who is responsible for the distribution of humanitarian aid. This part of the paper will have mostly research from history books and maybe some primary sources from the documentation from organizations that have participated in the distribution of humanitarian aid.
 
        Second, I will address the concepts of new humanitarianism and traditional humanitarianism by defining them. “Traditional humanitarianism” is a term that encompasses the beginnings of humanitarian aid distribution since 1859. This concept refers to the distribution of aid regardless of political affiliation. The term will be more clearly defined and broken down into subparts of humanity, impartiality and neutrality. The three terms will also be defined and three examples will be given such that the definitions are clear. Then, “new humanitarianism” will be defined as a relatively new concept of distributing humanitarian aid based on political biases. New humanitarianism will be explained by stating how it derived from traditional humanitarianism, when it became an influential concept in humanitarian aid distribution, what examples in the history of humanitarian aid distribution constitutes as new humanitarianism, and how it fundamentally differs from traditional humanitarianism. This section of the paper will be primarily derived from secondary sources, mainly from peer-read journals.
 
        Third, since the paper will focus on the humanitarian aid distribution to Rwandan refugees in Democratic Republic of Congo, I will give a quick history on the Rwandan genocide. This part will be accomplished by stating the initial problems with the movement of fleeing Rwandans into present-day DRC. I will spend at least one paragraph defining the term “refugee” by employing the political science definition because humanitarian aid is not distributed to all fleeing groups but rather groups that fall under the “refugee” category. I will also state the social and political conditions of the refugee camps by addressing who controls the camps, what type of humanitarian aid is required, which actors provide the humanitarian aid, and who are the people that live in the camps. The definitions can be found by using peer-evaluated journals. The social and political conditions can be found in articles and also in the databases of the United Nations and many aid organizations.
 
        Fourth, I will explain how different organizations have had a role in the distribution of humanitarian aid. I will state the Red Cross and Doctors Without Borders as examples of traditional humanitarianism and new humanitarianism, respectively. I will discuss the roles of the Red Cross and Doctors without borders in the case of Rwandan refugees. I will clearly state what policies that were employed during humanitarian aid distribution were considered to fall under new humanitarianism and what fell under traditional humanitarianism. The effectiveness and weaknesses of both theories will be stated by providing examples of specific situations of the actions of humanitarian aid organizations. The events that will be stated in this section of the paper can be found in the texts of peer-read journals as well as books written by experts in the field. This section of the paper will be the longest because it directly addresses my thesis question.
 
        In conclusion, I will discuss the, hopefully, effectiveness of traditional humanitarianism over new humanitarianism. This will not be an opinion but rather a stance that will be backed by ample evidence (by the time I write the conclusion hopefully).

        This paper will address the dilemma that is created in distributing humanitarian aid in the Democratic Republic of Congo of Rwandan refugees. The question that the paper will be attempting to answer will be: should humanitarian aid be distributed based on the concepts of new humanitarianism or traditional humanitarianism, in particular of the case of Rwandan refugees. The position of this paper will be that humanitarian aid should be based on traditional humanitarianism and the concept of humanity, which will be more clearly defined in the paper.

        Traditional humanitarianism states that humanitarian aid should be based on a sole goal of helping to alleviate suffering of the population in question (Vayrynen, 1999). Traditionalists also state that in order to effectively distribute aid to the population, there has to be neutrality. So, the aid organizations would not support any party, the victims or the people committing the crimes. The impartiality principle is fundamental to the Traditionalists but has led to much controversy in the past two decades (Fox, 2001). New humanitarianism believes that humanitarian aid should not be only based on the concept of humanity but also of publicity. New humanitarians state that in order to really alleviate human suffering the problems of the state has to be publicized. In this case, the humanitarian aid organizations are involved in politics of the state.

        This paper will discuss how the usage of new humanitarian has failed to solve the problems of refugees by either making the problem worse or violating the principle of humanity. Rwandan refugees in DRC are an example how new humanitarianism was used and violated the fundamental principle of humanity. In order to understand the Rwandan refugee situation, the history of the Rwandan genocide will be discussed. The term “refugee” will be defined (Lischer, 2003). The methods of distributing aid and what has happened to the aid in the refugee camps will be stated (Leriche, 2004). Humanitarian aid distribution in the case of Rwandan refugees has often been of abuse and mismanagement. The lack of proper distribution of aid has led to war economies that harbor and indirectly support genocide committers (Lischer, 2003).

        When the Hutus were pushed into refugee camps in Zaire, the humanitarian aid organizations were provided relief. After two years, aid organizations began to realize that they were supporting a re-emerge of Hutu military in the camps. The former Hutu military personnel, due to mismanagement, captured most humanitarian aid. Even though there were hundreds of thousands of starving Hutu women, children, and men, many aid organizations felt that they were abetting in uprising of the Hutu military. Many aid organizations packed up and left the camps because they were no longer allowed into the camps due to their public outcry. In 1994, the number of aid organizations in the camps went from 150 to less than 10 (Fox, 2001).

        New humanitarians claim that this is not going to solve the larger refugee problem because the aid has been supporting the military combatants in the camps.  Fiona Fox, in “A New Humanitarianism: A New Morality for the 21^st Century?”, states that new humanitarianism seems to only target aid to states that agree with Western human rights standards and the states that do not are left to their own devices. As a conclusion, humanitarian aid is being used as a political strategy to control the developing world. In the Rwandan refugee camps the refugees were encouraged to go back into Rwanda from DRC, but most refugees were reluctant to go back. So in order to force the refugees to return to Rwanda, the United Nations High Commissioner of Refugees withheld essential medical supplies and limited food rations. Over one million Rwandan refugees crossed from DRC back into Rwanda. It was argued that the forceful return of the Rwandan refugees were essential to the long-term stability of area (Fox, 2001).

        The case studies of the Cambodian Kumer Rouge, Afghan Mujadideen, Milosovic in Yugoslavia, and Ethiopian famine will also be discussed to should how new humanitarianism and traditional humanitarianism was used. The humanitarian aid organization, the American Red Cross, will be used the major example of traditional humanitarianism and Doctors Without Borders will be an example of new humanitarianism.

Fox, Fiona. “New Humanitarianism: Does It Provide a Moral Banner for the 21st Century?” Disasters 25.4 (2001): 275-89.

LeRiche, Matthew. “Unintended Alliance: The Co-option of Humanitarian Aid in Conflicts.” Parameters 2004: 104-20.

Lischer, Sarah Kenyon. “Collateral Damage: Humanitarian Assistance as a Cause of Conflict.” International Security 28.1 (2003): 79-109.

Vayrynen, Raimo. “More Questions than Answers: Dilemmas of Humanitarian Action.” Peace and Change 24.2 (1999): 172-96.

Films set in all boys schools

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The environment of all boys schools as established through cultural patterns and institutions

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Certain societal and cultural patterns and institutions have created realities and films about all boys schools as environments wherein formative relationships and experiences are born.

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How do these patterns and institutions give rise to these environments?

What kinds of experiences are created?

How are these experiences unique to these environments?

How are these experiences translated and honed through the filmic medium?

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Elevator story:

I am writing on: the subgenre of films set in all boys’ schools.

Because I want to find out: how these unique environments are created and how they operate on the culture.

In order to see/show/understand: how certain patterns of male behavior are created, enforced, and/or portrayed in film.