Star of the Sea Commentary Essays - Physical Geography, Oceanography

Star of the Sea Commentary Essays - Physical Geography, Oceanography Star of the Sea Commentary The passage from Star of the Sea was written by Joseph O'Connor . It is a piece of narrative prose which takes place on a passenger ship. The passage is written in a third-person subjective narrative mode. The extract takes place at a point in the storyline as the ship is passing through a violent storm at sea, which portrays the forces of nature The passage starts with a sense of an atmosphere, "The music of the ship was howling around him." This sentences is very filled with visual and auditory imagery. The opening sentence creates a feeling of a fast-paced rhythm in its brief expression. The pace reflects the craziness of flooding rain and surging sea. The metaphor of the ship's "music howling" brings an auditory imagery which symbolizes the storm, which overwhelms the singular pronoun "him" just as the storm overwhelms the Star of the Sea. As well Nature overwhelms the Man. "The low whistling; the tortured rumbles; the wheezy sputters of breeze flowing through it" gives a sharp feeling with its short phrases, which gives the sentence certain rhythm. The repetition of similar vowels ("whistling", "wheezy", "breeze") creates a hollow sound that are similar to that of a gust of wind at sea. All of a sudden there is a quickness and urgency that is showed in the use of the present progressive tense: "Rolling. Foaming. Rushing. Surging." The repetition of the ending " ing " and the similarly short, onomatopoeic verbs create the image of rapid increase and decrease. The sounds of these words recreate the loud surges of rushing water. The waves begin to grow and this can be seen by the increasing amount of consonants ("thicken", "swell", "strength"), and now it is a "battlement almost crumpling against its own weight, the metaphor of the sea as a "battlement" compares it to the structure of defense. It is like the water is waging war against the boatand almost overcoming itself in its own power. The metaphors of war become more common as the comparison of the Star of the Sea to a war horse , "bucking" in retaliation to the sea's attack upon the boat. The crash of the waters upon the frail passenger boat is compared, through simile ("Like a punch thrown by an invisible god"). The invisible god represents the way of Nature. Nature is like God, when it leaves Man awe struck when the Man is engulfed. The people of the boat feel the strength when Nature strikes the boat; "He was aware of being flung backwards, into the edge of a bench, the dull crack of metal against the base of his spine". The onomatopoeic expressions "flung" and "crack" created by auditory imagery the intensity at which he is thrown, the harsh consonants reflect the brutality of the descriptive noise of his spine hitting the metal of the bench. The ship is very noisy. The ship itself makes a sound just like the waves. The voice of the ship reminds me of someone screaming for help. "The ship creaked violently" and then when the ship went into defensive strategy in a weak attempt to combat nature, "pitched into a tilt, downing slowly. " In this defense mode the ship almost overthrew its own passengers, which suggests to a previous image of the bucking horse knocking over its rider. A commotion takes place on board which creates a chaotic image of fear and panic, by the highly emotive description "clamor of terrified screams", a "hail of cups and splintering plates", a "starboard [lifeboat] snapped and swung loose like a mace, shattering through the wall of the wheelhouse", all the adjectives gave a incredible amount of consonants which mirror the loud chaos aboard the ship and illustrating how violently the Man-made objects are able to be destroyed. The visual imagery of the "hail" of cups, the "splintering plates" and the lifeboat as a "mace", a weapon of battle which has now turned on its own creator, symbolizes, and how vulnerable Man is compared to the wrath of Nature. The consonants become more shrill with the next words when the boat squeals a "shredding skreek " as it begins to

The Catcher in the Rye - the Importance of the Title

The Catcher in the Rye - the Importance of the Title The Catcher in the Rye  is a 1951 novel by American author  J. D. Salinger. Despite some controversial themes and language, the novel and its protagonist  Holden Caulfield  have become favorites among teen and young adult readers. In the decades since its publication, The Catcher in the Rye  has become one of the most popular coming of age novels.  Below, we’ll explain the meaning of the title and review some of the famous quotations and important vocabulary from the novel. The Meaning of the Title: The Catcher in the Rye The title of The Catcher in the Rye is a reference to Comin Thro the Rye,  a Robert Burns poem and a symbol for the main characters longing to preserve the innocence  of childhood.   The first reference in the text to catcher in the rye is in Chapter 16. Holden overhears: If a body catch a body coming through the rye. Holden describes the scene (and the singer): The kid was swell. He was walking in the street, instead of on the sidewalk, but right next to the curb. He was making out like he was walking a very straight line, the way kids do, and the whole time he kept singing and humming. The episode makes him feel less depressed. But why? Is it his realization that the child is innocent- somehow pure, not phony like his parents and other adults? Then, in Chapter 22, Holden tells Phoebe: Anyway, I keep picturing all these little kids playing some game in this big field of rye and all. Thousands of little kids, and nobodys around- nobody big, I mean- except me. And Im standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff- I mean if theyre running and they dont look where theyre going I have to come out from somewhere and catch them. Thats all I do all day. Id just be the catcher in the rye and all. I know its crazy, but thats the only thing Id really like to be. I know its crazy. Holdens interpretation of the poem centers around the loss of innocence (adults and society corrupt and ruin children), and his instinctual desire to protect children (his sister in particular). Holden sees himself as the catcher in the rye. Throughout the novel, hes confronted with the realities of growing up- of violence, sexuality, and corruption (or phoniness), and he doesnt want any part of it. Holden is (in some ways) incredibly naive and innocent about worldly realities. He doesnt want to accept the world as it is, but he also feels powerless, unable to effect change. The growing-up process is almost like a runaway train, moving so fast and furiously in a direction thats beyond his control (or, even, really his comprehension). He cant do anything to stop or stall it, and he realizes that his wish to save the children is crazy- perhaps even unrealistic and impossible. Through the course of the novel, Holden is forced to come to terms with the reality of growing up- something that he struggles to accept. The Catcher in the Rye: Key Quotes What I was really hanging around for, I was trying to feel some kind of a goodbye. I mean Ive left schools and places I didnt even know I was leaving them. I hate that. I dont care if its a sad goodbye or a bad goodbye, but when I leave a place I like to know Im leaving it. If you dont, you feel even worse.- J.D. Salinger,  The Catcher in the Rye, Ch. 1I dont even know what I was running for- I guess I just felt like it.- J.D. Salinger,  The Catcher in the Rye, Ch. 1It was that kind of a crazy afternoon, terrifically cold, and no sun out or anything, and you felt like you were disappearing every time you crossed a road.- J.D. Salinger,  The Catcher in the Rye, Ch. 1People always think somethings all true.- J.D. Salinger,  The Catcher in the Rye, Ch. 2People never notice anything.- J.D. Salinger,  The Catcher in the Rye, Ch. 2Im the most terrific liar you ever saw in your life. Its awful. If Im on my way to the store to buy a magazine, even, and somebody asks me where Im goi ng, Im liable to say Im going to the opera. Its terrible.- J.D. Salinger,  The Catcher in the Rye, Ch. 3 When I really worry about something, I dont just fool around. I even have to go to the bathroom when I worry about something. Only, I dont go. Im too worried to go. I dont want to interrupt my worrying to go.- J.D. Salinger,  The Catcher in the Rye, Ch. 6All morons hate it when you call them a moron.- J.D. Salinger,  The Catcher in the Rye, Ch. 6In my mind, Im probably the biggest sex maniac you ever saw.- J.D. Salinger,  The Catcher in the Rye, Ch. 9Its really too bad that so much crumby stuff is a lot of fun sometimes.- J.D. Salinger,  The Catcher in the Rye, Ch. 9There isnt any night club in the world you can sit in for a long time unless you can at least buy some liquor and get drunk. Or unless youre with some girl that really knocks you out.- J.D. Salinger,  The Catcher in the Rye, Ch. 13Goddam money. It always ends up making you blue as hell.- J.D. Salinger,  The Catcher in the Rye, Ch. 15 The Catcher in the Rye: Vocabulary Holden speaks to the reader in the first person, using the common slang of the fifties, which gives the book a more authentic feel. Much of the language Holden uses is considered crass or vulgar but it fits the personality of the character. However, some of the terms and phrases Holden uses are not commonly used today. Understanding the words Holden uses will give you a greater understanding of the prose. Chapters 1-5 grippe:  influenza chiffonier:  a bureau with a mirror attached falsetto:  an unnaturally high-pitched voice hounds-tooth:  a pattern of jagged checks, usually black-and-white, on fabric halitosis:  chronic bad breath phony:  a fake or insincere person   Chapters 6-10 Canasta:  a variation on the card game gin rummy incognito:  in the act of concealing ones identity jitterbug:  a very active dance style popular in the 1940s Chapters 11-15 galoshes:  waterproof boots nonchalant:  unconcerned, casual, indifferent rubberneck:  to look at or stare, to gawk, especially at something unpleasant bourgeois:  middle-class, conventional Chapters 16-20 blasà ©:  indifferent or bored, unimpressed conceited:  having a high opinion of oneself, arrogant louse:  a contemptible person; it is also the singular term for lice Chapters 21-26 digression:  a deviation from a central theme in speaking or writing cockeyed:  askew, cross-eyed pharaoh:  ancient Egyptian king bawl:  to cry

Strategies of communication Essay Example | Topics and Well Written Essays - 1750 words

Strategies of communication - Essay Example The aforementioned points are important in all communicating situations whether one is transmitting persuasive, positive or negative messages. However, it must be noted that communication can be misinterpreted even if there is nothing wrong with the message due to a number of reasons. The research shows that implicit personality, logical error, the halo effect, stereotyping, differences in perception, incorrect filtering, language problems, poor listening, differing emotional states, differing backgrounds, information overload, message complexity, lack of trust, differing status, and closed communication climate can influence the process of decoding. I have been working, most of the time, in Marketing and Sales departments in different companies after completing my education. Marketing and Sales are generally considered a key department for all organizations as it generates revenues for the organization, which is vital for the survival of the organizations. Working in this department means that a person should have high communication and analytic skills because not only he holds meetings with external clients but also spends considerable time in holding meetings with various departments of the company. Almost six months ago, I changed my company and joined the current firm as General Manager where I have a team of 30 people. The climate of the organization was antagonistic and morale of the employees of the department was not very high when I joined the company.

Food and Baverage Operations Management Assignment

Food and Baverage Operations Management - Assignment Example In between these times, the demands as well as production are slow and there are valleys. Another important characteristic of the food production as well as the beverage and food service system is that both these factors are labor intensive and not involve not only the skilled but the unskilled workers as well. The fact that the men us tend to change at daily basis shows that the pattern of food production also varies largely. The above mentioned characteristics are seen to create challenges emerging in not only production but also in scheduling employees, high food and labor coasts and lastly difficulty in staffing. The food service directors strive to eliminate the effects of these traits and search for ways to reduce them. Since the conventional food service systems are highly responsible for these characteristics to exist, several other foodservice systems provide solutions to this issue. The different foodservice systems include the conventional system, assembly serve, ready prepared and lastly the centralized or commissary system. Different factors possess specific effects on the menus and recipes for each of these foodservice systems. The first and foremost factor is the nature of the menu that is being finalized; this factor is followed by other features such as size of the operation for which the menu is being decided, the quality of the operation along with the objectives of the operation. Furthermore, the type age group and quality of customers the specific system will be targeting also plays a major role in deciding the menu as well as the recipes. This includes the food habits as well as the food preferences of the customers being targeted. Since nutritional balance of the dishes in the menu is of immense importance, it is vital that the dishes that are being produced have a nutritional balance. Since in the given case study, 50 guests are adults, so the men u planned will contain more dishes that

Ginseng: Alternative Treatment for Menopausal Symptoms :: Medicine Medical Drugs Essays

Ginseng: Alternative Treatment for Menopausal Symptoms By the time women reach their late forties or early fifties, their ovaries begin producing less and less of the reproductive hormones estrogen and progesterone, resulting in the uncomfortable symptoms commonly known as menopause. During menopause, a woman will usually experience many symptoms which will greatly interfere with her quality of life - hot flashes, night sweats, vaginal dryness, mood swings, lack of concentration or irritability, and interrupted sleep. Once her menstrual cycle has completely ended, other bodily changes occur, such as thinning of the bones, often resulting in osteoporosis, and less pliant blood vessels, placing her at risk of heart disease. Many women turn to estrogen replacement therapy as a means of finding relief from the burden of menopausal symptoms because of its high efficacy and other beneficial properties. Estrogen replacement has been shown to significantly reduce the frequency of hot flashes, and patients receiving this treatment reported improved sleep quality and sense of well being. It has also been found to decrease sleep latency and increase REM sleep, thereby reducing insomnia and subsequent fatigue (Ginsburg, 1994). Although estrogen replacement has produced drastic improvement in women's menopausal hindrances, some women are ineligible or uncomfortable with the idea of taking hormones and opt for a natural solution - ginseng. Ginseng - the Natural Alternative Ginseng, the root of the Araliaceous plant, has been used for several thousand years in the Orient as a tonic and restorative. Pharmacological investigations by Western pharmaceutical firms, encouraged by the growing interest in herbal remedies in the West, show that ginseng acts as an adaptogen, meaning it can bring abnormal physiology into balance by helping the body increase resistance against noxious or stressful physical, chemical, or biological influences (Chong & Oberholzer, 1988). Ginseng's potential capacity to increase nonspecific resistance to various stressors is the reason it has been used as an alternative treatment for menopausal symptoms. It is important to remember that the effects of ginseng will vary different individuals depending on diet, lifestyle, exercise and other drugs. In other words, an individual's health and hormonal regulation will essentially determine the effects of ginseng (Bahrke & Morgan, 1994). It is possible for some individuals to respond to ginseng, while others will show no response at all. Ginseng and Hot Flashes Hot flashes are experienced by 60 - 85% of menopausal women and they may occur infrequently, or as frequently as 20 times a day (Ginsburg 1994).

Narratives in Conversation

Narratives in Conversation By Agatha Xaris Villa INTRODUCTION This essay focuses on the study of the narrative most prevalent in everyday conversations – the conversational narrative. First, it discusses a definition of the narrative from a structural level based on the structure of conversational narrative presented by William Labov (1972). Next, it enumerates some of the important functions which the narrative is able to achieve both on a personal level and also on the interpersonal. Lastly, it ventures to explore the notion of the narrative based on its context – language and society, culture.NARRATIVES: A STRUCTURAL PERSPECTIVE In the 1960s and 1970s, William Labov developed what is now commonly believed to be the general structure of a narrative. His research involved ‘a focus on spontaneous recounting of experience’ and the capturing of vernacular, unmonitored speech. He interviewed African American youths in South Harlem and asked them whether they h ad ever encountered a life-endangering experience. He found that the stories which ensued from these interviews ‘reduced the effects of observation to a minimum’ (Labov, 2001) and referred to them as oral narratives of personal experience.Through his study, Labov noted some very important structural characteristics of oral narratives. First, he observed that the events featured in narratives often appeared in the order in which they actually happened. According to his definition, the narrative was a way of retelling (i. e. narrating) the action sequence of an event that had already happened. Therefore, parts of conversation considered to be ‘narrative’ was limited to the discursive data contributing to the recounting of the turn of events.All other parts which were not directly related to the story served the purpose of backing up the story. He claimed that these oral narratives usually had a basic structure composed of any of the following six basic parts: (1) Abstract, (2) Orientation, (3) Complicating action, (4) Evaluation, (5) Resolution and (6) Coda. Using a transcript of ‘Sample Stories – Stories about mothers’ (CD-ROM 1, Band 6)(Appendix 1. 1), we may illustrate these elements as they occur in actual oral narratives. The data presented has two speakers: a female interviewer (A) and a male interviewee (B).The transcript also features two accounts: the first is with regards to (B)’s early memories of his mother who was training as an educational psychologist and the second of which occurred sometime during his adolescence. By definition, an abstract is a synopsis of what the story is about. Looking at the transcript of ‘Stories about mothers’, it is useful to note that the first story offered by (B) seems to lack an abstract. This, however, is understandable as his story was elicited by (A)’s question regarding childhood memories of his mother. Therefore, the interviewer provided th e abstract prior to the beginning of the narrative.In the second story, the abstract is located in line 21-22 wherein (B) cites when his mother was ‘most sympathetic’ to him – during his ‘adolescent rebellion stage’. Typically, the orientation appears first in the narration and begins by citing the basic details of the story: that is, the ‘who’, the ‘what’, ‘where’ and ‘what were they doing’ of the narrative. In our transcript we can detect the beginning of an orientation in lines 5-10 in which (B) recounts when his mother had begun studying educational psychology and some of the tests she carried out on him and his brother.The complicating action effectively answers the question – ‘then, what happened? ’ An example may be found in line 11 where (B) said recalls his mother’s reaction to a ‘slightly alarming’ result of an inkblot test. The complicating action i s the only element which Labov believed to be a pre-requisite to a narrative. On the other hand, evaluation is the only element which does not necessarily happen in sequential order in a story. It may occur in any part of the story, most noticeably at the story’s climax and answers the question – ‘so what? ’.It may come in the form of ‘external evaluation’ (narrator steps in to give an evaluation)(e. g. line 10: referring to the intelligence tests as ‘actually fine’) or ‘internal evaluation’ such as intensifiers (which emphasize on aspects of a story)(e. g. ‘†¦she took it very, very seriously’. ), paralinguistic features (e. g. the use of sound effects, facial expressions and gestures) and the taking on of other people’s voices (Bakhtin, 1981). Evaluation is important to the narrative as it is a way for narrators to emphasize important parts of the story by drawing the attention of his listene rs by adding more information.An obvious paralinguistic feature which we can deduce from the transcript was (B)’s use of tone and pause. At about line 11, he starts using a rather loud and fast-paced voice but the dynamic changes in line 13 before (B) voices out his mother saying ‘Oh I see†¦Ã¢â‚¬â„¢ followed by a pregnant pause for ‘dramatic effect’. It may be argued that tone and the pauses were used evaluatively and therefore is a very good example of how people are able to use language creatively even in everyday conversation. In a narrative, the resolution is what we refer to as the concluding action – what finally happened.For example, in conclusion to the memory of the slight scare regarding the inkblot test, we are told that (B)’s mother reassures him that he needn’t worry because she was ‘just learning’ (line 15-16). The final element, the Coda, tells us how the story is relevant to the storyteller or his audie nce in the present time. A potential coda may be found in line 18 where (B) jokes that he now thinks that the results of his mother’s tests were ‘right’. The Labovian categories regarding the narrative structure has been criticized for ‘constricting’ what can be considered a story but continues to have significant impact on narrative study even today.It persists to be a useful procedure in narrative analysis by providing a succinct set of categories for defining ‘stories’. Furthermore, while it emphasizes on the ‘flow’ relationship between ‘experience, cognition and representation’ – it spends a fair amount of time taking the language into consideration before attempting to make sense of it (Squire, 2008). NARRATIVES: A FUNCTIONAL PERSPECTIVE Rather than identifying narratives according to their structural characteristics, we may also define narratives according to the function they accomplish in relation to the storyteller and his or her audience.In the process of storytelling, the narrator is not only able to recount the happenings of past events but in addition, the resultant narrative is imbued with select aspects of the teller’s identity. Through the narrative, the storyteller tells his audience the ‘kind of person’ he sees himself as. (Toolan, 2006, p. 63). Narrative identity may be projected in the narrator’s use of evaluative language. Sometimes during the course of an oral narrative, the speaker might use different styles (style-shifting) or language varieties (i. . codeswitching) in order to ‘create voices’ for their characters and may serve to help in the transmission of identity and allegiance (Maybin, 1996). In ‘Stories about Mothers’, (B) portrayed himself as an active participant in his mother’s tests. In retrospect, he seems to be telling us that at present, he is rather fond of his childhood memories of his mother (perhaps alluding that he has a good relationship with his mother now) and that he has since grown out of his rebellious teenage stage (he’s ‘mature’ now).Narratives not only serve a personal function but may also serve an important interpersonal purpose. According to the work of Norrick on nuclear families (1997), participation in co-narration (which is common practice in families and others in close relationships) is a way for family members to demonstrate and therefore solidify their position within the family. He believes that family membership may be measured by the contribution that a member is able to provide to the act of shared narration. Through the shared arration of past or recurring events, individuals exhibit shared group identity and allegiance. Norrick also points out that shared narration may also function as a way to demonstrate shared values within families. While an outsider may not have the advantage of having shared experiences with other family members and so be unable to participate in the co-telling of past events, he or she may use his or her own experiences which are similar to those of the family in order, thereby adopting values inherent with the family.In this way, outsiders may gain acceptance as ‘insiders’ of the family. All this is in agreement with Bruner’s suggestion that ‘our sensitivity to narrative provides the major link between our own sense of self and our sense of others in the social world around us’ (1986). NARRATIVES: A CONTEXTUAL PERSPECTIVE In order to gain a full understanding of the narrative, one must take context into serious consideration because stories are constantly under the influence of the narrator’s representation of experience as well as of language, society and culture.While it is a narrator’s prerogative to portray the characters and events of his story in a manner of his choice, the details of the story and the way that it i s told is largely influenced by the storyteller’s personal notions of himself, those around him and events. Stories, whether they are in written or oral form are all representations of the narrator’s experience (Toolan, 2006, p. 68). External and internal evaluations are important tools used by the narrator to be able to represent their experience of people and events through the narrative.In addition, evaluation may also be ‘embedded’ into narratives when narrators directly quote a character (Toolan, 2006, p. 68). In ‘Stories about mothers’, [B] repeatedly gives voice to his mother by quoting some of the things she used to say (e. g. You’ll be fine! ). How experiences are represented all depends on the narrator’s personal constructs. Personal constructs are inner worlds and perceptions that determine the way that we ‘see’ people and events and are largely determined and affected by language, culture and society.The importance of taking the socio-cultural context of a narrative is important especially when we move to decoding the ‘meaning’ behind narratives. In 1975, Grice explained that everyday conversations were being guided by four maxims: the maxims of Quality, Quantity, Relation and Manner (Toolan, 2006, 72). These maxims (inferential norms or so called conversation implicatures) explain how individuals are able to ‘logically’ comprehend meaning in conversation but may be insufficient when trying to explain how stories or jokes are understood.Nair (2002) proposed that in the process of narrative inferencing (i. e. , the way that we figure out what a story means), cultural cooperation between the narrator and the audience is of utmost importance. The implications regarding the importance of impliculture in narrative inferencing is that we are reminded that (1) there are aspects of narratives which are culturally situated and must be interpreted in the context of t he same culture and (2) therefore, only individuals who share the same cultural identity may fully interpret cultural narratives.The relationship between the narrative and culture is further demonstrated by the fact that stories of folklore and native traditions have been passed on from generation to generation in the form of the narrative. In this way, narratives contribute to the preservation and transmission of cultural identity and belonging. CONCLUSION Stories are commonplace in everyday life. In fact, it has been said that conversational English is largely in the form of the narrative (Maybin, 1996) – in laidback conversations with friends and relatives to our more professional interactions with colleagues in the workplace.They can be identified through their structural characteristics, the personal and interpersonal functions they serve in everyday social life and are both the result and inferred from the socio-cultural context and yet, the oral narrative remains a nat ural part of human life from the cradle to the grave – from the silly bed time stories we are told in childhood, to the epitaphs told in ‘our memory’ at our lives end. REFERENCES Bakhtin, M. M. (1981). The Dialogic Imagination. Austin. State University of Texas Press. Bruner, J. 1986). Actual Minds, Possible Worlds. Cambridge, Mass. Harvard University Press. Grice, H. P. (1975). Logic and conversation. In Cole, P. and Morgan, J. (eds) Syntax and Semantics. 3: Speech Acts. New York: Academic Press. Labov, W. (1972). Language in the Inner City. Philadelphia, University of Pennsylvania Press. Labov, W. (2001). The Social Stratification of English in New York City. 2nd edition. Cambridge: Cambridge University Press. Maybin, J. (1996)(Ed). Chapter 1 ‘Everyday Talk’. In Maybin, J. and Mercer, N. eds) Using English from conversation to canon. Routledge/The Open University. pg. 21-27 Nair, R. B. (2002). Narrative Gravity. Chapter 5 ‘Rationality and rel evance’. Oxford, Oxford University Press. Norrick, N. R. (1997). Language in Society, 26(2). pg. 199-220. Squire, C. (2008). Reading Narratives. http://www. uel. ac. uk/cnr/documents/CNRWIPJune04Squire. doc (accessed: July 2008) Toolan, M. (2006). Chapter 2 ‘Telling Stories’. In Maybin, J. and Swann, J. (eds) The art of English: everyday creativity. The Open University. pg. 54-76

The Positivism Criminology s Theory Of Human Evolution

The Positivism criminology developed in early XIX century together and was based on belief in science as a higher form of knowledge. The main features are determinisms, which assume that criminal behaviour can be conditioned by certain factors, not controlled by man. Second is individualism, specifically oriented on offender, not on criminal act itself. In contrary to classic theory, positivism believes that crime committed by human is not the result of decision-making (free will), but combination of different factors, like biology, psychology and sociology. Positivist had significant part in changing Criminal Justice System, they encouraged validity of treatment and reformations programs as way of improvement. The major influence on biological positivism had English naturalist Charles Darwin (1809-82) and his publications â€Å"On the Orgin of Species†(1859), which enclose theory of human evolution. According to Darwin,† humans come from animals and as them are subject to laws of nature rather than free will† Burke, (2009, p.63). The worth mentioning here is atavism ‘the nation that some individuals are born with features of more primitive forms of humanity†¦less suited to human civilization; more prone to aggression, with less self-control’ Jones (2013 ,p.9)which was part of Lombroso theory. Cesare Lombroso (1876) was one of the leading members of this ideology and ‘father’ of the Italian School of Positivist Criminology .He rejected Classical School andShow MoreRelatedThe Theories And Theories Of Criminology1772 Words   |  8 PagesIntroduction Criminology has emerged as a science in the recent years, and various theories and perspectives have been developed by the social scientists and criminologists in this regard. 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