Gilgameshs Quest for Immortality free essay sample

In the epic sonnet Gilgamesh, the fundamental topic is Gilgamesh’s mission to vanquish the evil presence that is in the rear of each human’s mind consistently: demise. His journey to vanquish mankind’s penultimate fight demonstrates vain at long last, yet could Gilgamesh be viewed as undying from an alternate point of view? Eternality can exist on two planes: both a physical and figurative world. Gilgamesh failed is his mission to live substantially perpetually, and in this manner looks for everlasting life in a symbolic sense. In the event that he could make something, a thought or an activity that will be recollected always, for example, executing Humbaba, he also can live perpetually through this achievement. Along these lines, one might say, Gilgamesh did really prevail as he continued looking for unceasing life. We will compose a custom article test on Gilgameshs Quest for Immortality or on the other hand any comparative point explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page Gilgamesh has all that he might request: wealth, acclaim, influence, yet he despite everything needs more. He needs to live until the end of time. Since he is accustomed to being immediately satisfied of all that he needs, he anticipates that the equivalent should happen as he continued looking for everlasting life. After the passing of Enkidu, his craving to live always becomes much more grounded. Having a protected, favored life, the demise of Gilgamesh’s shut companion, basically his other half, was undoubtedly his first involvement in death, and it startled him. In Book IX, he asks, â€Å"Must I kick the bucket as well? Must I be as inert as Enkidu? How might I bear this distress perplexes my gut, this dread of death that drives me forward? † This does in fact drive him forward and drives him directly to the divine beings. Gilgamesh isn't satisfied with what the divine beings need to let him know, however. After his long excursion and the retelling of his story, Shiduri lets him know â€Å"You will never locate the interminable life that you look for. At the point when the divine beings made makind, they additionally made demise, and they kept down everlasting life for themselves alone. People are conceived, the live, at that point they kick the bucket, this is the request the divine beings have proclaimed. † Yet, rather than tolerating his destiny (which is the basic destiny of all humanity), he gets chafed, requesting information on the best way to discover Utnapishtim. Gilgamesh is advised the way to unceasing lifeâ€an herb. In any case, when he picks this herb, a snake eats it and Gilgamesh has depleted every one of his odds at everlasting status. The story unexpectedly finishes there. We don't know to what degree Gilgamesh acknowledges his destiny, in the event that he does by any stretch of the imagination. In any case, on the off chance that one makes something that will live perpetually, won’t he too live for eternity? Shakespeare has been dead from a physical perspective for very nearly 400 years, yet his work is as, on the off chance that not progressively, common today than it was at that point. So couldn’t one contend that Shakespeare is as yet alive with regards to his pieces and plays? He is dead, yet he made something that will live until the end of time. One can likewise live forever via completing an activity or activity that influences individuals for a long time to come. Once more, for a model, Martin Luther King Jr. is dead, in any case, he lives on through all the advancement he made for social liberties. Clearly, Gilgamesh won't live on as an eternal until the end of time. Nonetheless, he shows himself in an activity that will live on foreverâ€killing Humbaba. Thus, he lives endlessly through the execution of this activity. The way that he could live on everlastingly in the brains of men is implied a few times in the content. At the point when Gilgamesh and Enkidu leave on their journey to kill Humbaba, Gilgamesh says, â€Å"I will chop down the tree, I will slaughter Humbaba, the entire world will know how mightly I am. I will make an enduring name for myself, I will stamp my popularity on men’s minds until the end of time. † His name lives on consistently, so he does alongside it. These inferences are made just right off the bat in the content, by both Gilgamesh and Enkidu. Notwithstanding the past statement, Gilgamesh says in Book V, â€Å"If we help one another and battle one next to the other, we will make an enduring name for ourselves, we will stamp our acclaim on men’s minds until the end of time. † The early conversation of living always through activities instead of in the tissue could show that Gilgamesh or Enkidu may have some consciousness of their destiny. In the event that both of them could exist truly always, what might be the purpose of executing Humbaba? They’d have all forever to put their stamp on mankind, so why trouble attempting to leave their imprint through an activity that is hazardous and equipped for prompting outrage in the divine beings? Gilgamesh was composed more than 4600 years back. It’s apparently the most established composed content, more established even than the book of scriptures. 4600 years is quite a while, basically an unfathomable length of time comparative with the normal human’s course of events. What's more, we are as yet perusing Gilgamesh today. Thus, he has prevailing as he continued looking for everlasting status. We as a whole know his name, what he did. He is alive in both our brains and the pages of this book.

Writing High School Term Papers Can Lead to Success

Writing High School Term Papers Can Lead to SuccessIt seems that the increasing popularity of high school term papers has led to more people studying hard to write. This can have a negative effect on the way you feel about yourself and your future. It can make you feel that your life is not worthwhile, but it does not have to be this way.There are many people who work very hard to get where they are and succeed in a successful career. Most people are not sitting down at their desk, being highly productive. Even if you do sit down and begin to write, it is important to remember that you need to be writing. There are other aspects of life that require your attention.For example, if you are working on a high school term paper for English you should take your time in completing it. The problem with most people is that they will start to write when they have nothing else to do. You should be able to complete it when you do not feel rushed. You should also be able to start before the deadl ine, but this may not always be possible.The goal of any term paper is to get it right the first time. However, there is also an element of fun involved with it. A lot of students like to give it a real try. If you are in high school you will be faced with plenty of challenges, so it is important to be able to cope with them.Be prepared to let your imagination run wild. In the same way that you should be able to follow the rules and prepare yourself for a test, you should also be able to show that you are motivated and well organized. There is no need to become too concerned about this aspect of your assignment. You should simply be able to write.Get together with your classmates before hand and get to know each other better. This way you will be able to determine whether or not they are dedicated enough to the task. If you notice that some people are putting a lot of effort into their papers, then it is likely that these people will also be more successful in whatever they do. If y ou find that some of your classmates are struggling, do not lose hope, there is still hope.It can be a great idea to send your term paper to a college advisor for their opinion. A college advisor will be able to help you find out what you can do to improve your chances of winning the competition. They will also be able to tell you how much you should expect to spend. By taking advantage of this opportunity, you will be able to save money that you may have been spending on a fancy home or fancy cars.The most important thing about a term paper is that it needs to be done. There is no point putting it off if you know that it is going to end up being a waste of time. You should always have a commitment to finish the term paper, because there is no reason that it should be any different from the rest of your years of high school.

The Islamic Faith Sufism Essay - 1350 Words

Islam, as a religion, is divided into two different sects, Sunni and Shii. These divisions have their own separate values and rituals that create an unconquerable schism between them. The gap, however, is somewhat bridged by a twist on the Islamic faith known as Sufism. The mystic ways of the Sufi society make it very appealing to both Sunnis and Shiites, not to mention the newcomers to the Islamic faith. Sufism uses the quality of unification and the quality of appeal to make it one of the strongest aspects of Islam. Sufism was founded on the belief that Muslims could obtain a one-on-one; relationship with God through mystical practices. Mysticism is defined as a particular method of approach to Reality making use of intuitive and†¦show more content†¦The Master proceeds to stand in the midst of this chanting, and he is followed by the circle of devotees around him. The entire group then begins to chant very loudly while they jump, clap, sway, or bounce. At the end of this two-hour session, the Master gives some verbal command, which causes the devotees to stop their chanting while the choir drops to a very low tone, and the ceremony comes to an end. The Sufis believe that this type of worship will bring them to ecstasy, thereby shortening the distance between God and themselves. Sufis also believe that the ecstasy for which they strive can only be reached by a Pure Love; for the Beloved; or God. Sufis believe that their God is omniscient and omnipotent. They hold faith in his ability to give and take away. Their God has the undeniable ability to do anything and everything that he wills. Their strength comes from the Beloved, and they strive solely for the right to be one with the Beloved. The end of the Path come when the mystic soul is rapt up into union with the Divine and the soul becomes one with God; in much the same manner as the drop subsists when it is merged in the oceanamp;#8230;for the part has returned to become one with the Whole.; The Sufis have one particular story, which shows this deep infatuation with the Beloved. The story speaks of a man who is asked where he is going, where he comes from, what he desires, etc. His replies always contain the word Beloved (i.e. From theShow MoreRelatedEssay on The Sufi Philosophy in Islamic Faith1274 Words   |  6 PagesThe Sufi faith has had a long and rich history in the overall Islamic faith. Sufism has many distinguishing differences in its practices and beliefs from that of the other Islamic sects that we know of today. One thing I personally found interesting is how this particular sect of Islam isn’t as popularly spoken of like the Sunni and Shia sects of Islam. Some of the most interesting and distinctive differences in this division of Islam is are wool clothing that the Sufi’s wear along with the mostRead MoreSpread of Islam in India1409 Words   |  6 Pagesbunch of beliefs and faiths after the Prophet Mohammad. In order to that the colonizatio n of Muslims initiated in India was the key place from where Islam was started its expansion version to remaining places of South Asia.Beyondpersuasion and forced conversion, the main factors that influenced in the spread of Islam in India were conquest of Muslim armiesfrom Arabia and Turkey, commercial activities of Muslim traders and the Islamic teachings in equality as well as in Sufism. The conquest of ArabRead MoreThe Mystical School Of Islam1196 Words   |  5 Pagesorigin of this belief among scholars. 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Its followers seek to find truth and love through direct encounters with God. The name ‘Sufism’ is associated with the coarse wool garments that sufi saints wore as a mark of their rejection of worldly things. The method of their realizing God was the renunciation of the World and Worldly pleasures. They lived a secluded life. The Sufi movement consists of fraternal orders in whichRead MoreThe Search For Truth Through God1354 Words   |  6 PagesLoebenberg Honors 171 November 8, 2014 â€Å"Love Loves Difficult Things† The search for truth through God is where the philosophy of attaining knowledge intersects with religious doctrine. Although the esoteric and mystical system of Sufism has its origin in Islamic orthodoxy, Sufism can be seen as less as an individual sect and more of a stepping-stone towards Christian revelation. In the Sufi allegory The Conference of the Birds by Farid Ud-Din Attar, God is represented as a mystical essence within andRead MoreSufism1337 Words   |  6 PagesSufism: how did sufism affect Islam and the world ? Sufism Sufism has come to mean a wide range of beliefs that center on the quest for personal enlightenment in the union with God. Sufis are sometimes described as the mystics of Islam, but Sufism fits awkwardly in the categories of religions. Technically Sufism is a denomination of Islam, however there are many Sufis that are not Muslims and there are many Muslims that are reluctant to consider Sufism part of Islam. One of the fewRead MoreAl Gazali1257 Words   |  6 Pagesin 1058 AD in Tus, Persia and impacted greatly upon the Islamic faith, particularly toward Sunni and Sufi members; they know him as ‘the Proof of Islam’. Al Ghazali provided a positive impact upon the Islamic faith and its million of devotees and still continues to do so today through his many works. Al Ghazali was educated in Tus, Persia, at the Nishapur School as well as at the Nizamayyah School in Baghdad. Here, he excelled in Islamic sciences. In 1095, Al Ghazali experienced a personal crisisRead MoreThe Between Politics And Religion1423 Words   |  6 Pagesreligion and politics. How do the various approaches to Islam we ve studied—traditionalism as represented by the ‘ulama, Sufism, Islamism, and modernism—differ in conceiving of the relationship between the two? Does each necessarily have a vision of an Islamic engagement with politics and, if so, what does it look like? The interaction between politics and religion in the Islamic context is one that descends from the model of the Prophet Muhammad, who served as a transcendental figure and as a community

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Personal Philosophy Of Leadership And Generational Lines

PERSONAL APPROACH TO LEADERSHIP 2 Personal Approach to Leadership across Cultural and Generational Lines The world seems to be getting smaller, and a harmonized place of work seems to be something of the yesteryears. Instead, current leaders are required to deal with a diversity of employees across generational in addition to cultural lines, respectively with their personal values, work ethic, as well as desires. The situation can be a difficult profession to keep every person in high spirits and productive. Therefore, styles and approaches that function satisfactory with some individuals may be entirely unsuccessful with others. Nevertheless, a leader should not alter their entire leadership approach every time they have an interaction with someone from a diverse generation or cultural environment. It would be my suggestion to have one sound approach that would work for most of everyone. In spite of age or cultural circumstances, each member of a team for sure has one something in common: they work for a salary and they have to be productive in order to continue to receive a salary. Therefore, individuals should learn how to balance this and other mutual grounds into a place of work environment that not just accepts diversity, nevertheless embraces it. Stop allowing alleged divisions hurt team’s efficiency and learn the competences needed to successfully guide a diverse team.Show MoreRelatedAn Application Of Servant Leadership Essay930 Words   |  4 PagesPractical Application of Servant Leadership Jenni Ludwig Denver School of Nursing Practical Application of Servant Leadership Robert K. Greenleaf coined the idea of servant leadership in 1970 (Swearingen, 2004). In the simplest of terms, servant leadership is about serving others first with leadership following. These leaders assume the role only after believing it is the best way to serve others (Swearingen, 2004). 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Mitchell Colombia College Hums 345: Working with Communities Organizations Abstract Acquiring positions of authority comes with the added responsibility of making sure you are correctly and competently communicating the ideals set forth by your agency. Social workers and helpers who are in leadership positions have to understand the many facets involved in leading and guiding people. Leadership styles are often affected by culturalRead MoreSummary : Eastern Washington University3541 Words   |  15 Pagesinternship working on leadership skills† (R. Murphy, Personal Communication, July 26, 2011). The Fairchild OAP, like many other organizations is looking for recent graduates to come prepared to do more than front line work. The OAP can train someone to run a raft or rent a bike, they need people that can lead others effectively and help the organization grow. 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Identify Relevant Legal Requirements free essay sample

Describe how to establish respectful, professional relationships with children and young people. Listening is the most important way in which to establish a respectful and professional relationship with a child or young person. By people listening to what a child has to say, without interruption, shows the child that they are interested in what the child has to say. By not interrupting the child, it shows that their views and opinions are not only respected, but are also as important as the views and opinions of the person they are talking to. You should maintain eye contact; concentrate on what the child is saying and physically lower yourself to the child’s level to make the child feel more comfortable and shows the child they are respected and on the same level as the adult. You should also take an active interest in what the child has to say, this will show the child that you respect them and make them feel like you want to hear what they have to say. We will write a custom essay sample on Identify Relevant Legal Requirements or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Describe with examples how to behave appropriately for a child and young person’s stage of development. When working with a child in nursery we can act appropriately for their age by being enthusiastic when talking to them, you can also sit down and play games with them. When they are upset or they have hurt themselves we can comfort them by reassuring them that they are going to be okay for example if they fall over and cut their knee you reassure them and tell them the steps of what is going to happen next. When talking to them it is important to come down to their level and make eye contact and smile at them so that they dont feel intimidated by us. We should also make time to listen to them without interrupting them and not shout at them as this could be very upsetting for them at this age. * When working in infants we can behave appropriately for their age by bending down to their level remaining eye contact and nodding your head and showing the right body language, this also applies for when the child is upset or hurt. You need to be enthusiastic when asking them to do and learn things so that they will want to do it this shows them that the work they are going to be fun or at least it will come across to them as fun. e should also smile at them so they are reassured and feel safe. * When working in junior schools we should listen and talk to them at their own level make eye contact and smile. We mustnt talk over them or be sarcastic and we should be positive about what is being said. We mustnt talk over them or be sarcastic and we should be positive about what is being said. We should encourage children at this age to start doing their work independently. * When working in a senior school we can behave appropriately by talking to them on their level and not talking down to them. We should also let them know what sort of behaviour is expected of them while they are in our class and make them aware of the consequences of miss-behaving. If they are upset or hurt we should sit them down and talk to them being sympathetic about what has happened. If a child id being disruptive or not listening you should bring the child to one side and sit them down with not losing eye contact with them and explain to them that they have choices and offer them the choices if they do not follow these two choices you bring in the head teacher or another member of staff with qualifications to deal with the situation. Describe how to deal with disagreements between children and young people. If there is a disagreement between a child then there are steps you need to take for example if two children are arguing over a toy you sit them both down get to their level remain eye contact with both of them as much as possible and explain that they have to take it in turns to play with this particular toy. When it comes to junior school you use the same approach except from you offer them an alternative. If the child does not take to notice what you have just said and carry on to disagree with each other you separate the children and start a different activity with one of them. In senior school there shouldn’t be many disagreements at this age the children should know the differences between right and wrong and to share or move on and do something else and then come back to what they needed before hand. If this doesn’t happen you separate the two children or however many people are involved. And give the other member something else to do or find the exact same thing as what the other has got. If it is not over a object for example a argument, You sit down with them individually and discuss the problem. You hear both sides of the story and figure out a resolution. You tell both the students to keep out of each other’s way or settle on a agreement.

Proposal for a Animation Dissertation Essay Example

Proposal for a Animation Dissertation Essay Three initial ideas for dissertation. 1. Analogue film and its imprint on the digital era. This thesis for a dissertation would have set about to analyse the relationship between analogue and digital filmmaking and the differences in these practices since the rise of the latter’s popularity and usability. The paper would have evaluated digital filmmaking practices and the new range of techniques that modern technology has brought about, giving reference to the rise of importance in editing since the development of red-one and the response to this of various filmmakers, Lars Von Trier etc. New aesthetics would have also been explored, looking at films such as Inland Empire (Lynch, 2006) and Trash Humpers (Kornine, 2009) and the ways in which contemporary films utilise imperfections of the digital medium to create new aesthetics in opposition to that of the cultured visuals of Hollywood cinematics. The essay would also have devoted a chapter to Marshall McLuhan’s theories of the postmodern effect of globalisation through the Internet and how new media has changed the face of film and the way practitioners can operate within visual culture. . Auteurism – career momentum that outlasts the diminishment of practitioner’s talents. This dissertation would have explored the effect on a director that being branded an auteur can have. The paper would have formed a discussion on how being branded an auteur early in a filmmakers career can end up inadvertently damaging their product. The dissertation would have utilised case studies on directors such as Michel Gondry, Wes Anderson and M. We will write a custom essay sample on Proposal for a Animation Dissertation specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Proposal for a Animation Dissertation specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Proposal for a Animation Dissertation specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Night Shyamalan to form the basis for an argument on the view that the directors films are so highly praised for aspects of cinematography and narrative that, in later projects, revert to conforming to what they believe audiences expect of them and begin to display a distinct impression of ‘style over substance’. It would go on to suggest, backed up by aforementioned case studies, that directors can have the tendency to become lost within their own visuals and thematic traits and loose sight of what got them branded as n auteur in the first instance. This idea was formed through watching M. Night Shyamalan in chronological order and forming an opinion that he has utilised the ‘twist’ ending to such an extent that it no longer shocks an audience and creates the effect that garnered him so much critical acclaim after the release of The Sixth Sense (1999). Stemming from this realisation the paper would study other auteur branded director’s films and form ed an opinion on whether the tag of an auteur can damage a practitioners brand. . Hasta la vista†¦ movie – the effect of ‘geek culture’ on the modern day movie experience This paper would have studied the effect of geek culture on the modern day viewing experience when anticipating and watching an upcoming film. The paper would have drawn on statements made by Marshall McLuhan about the rise in usability of the internet and new media and how this has affected the way in which modern day audiences participate in the movie going experience. The dissertation would have utilised examples such as the modern trailer, blogs, the film website, critics reviews and events such as film and comic book conventions to introduce the thesis that curiosity and commentary on films through these mediums destroy the feeling of ambiguity experienced by cinema goers who previously could enter a film not knowing a thing about the film they were about to watch, and how this is an era that now lies well within the past. It would analyse the modern day climate in which a person can read a magazine and scour the Internet for 30 minutes and have already found out the main events, listened to the soundtrack and know every stylistic trait of a film before viewing it. The paper would have presented this view but also attempted to present an unbiased argument by stating that it is because of this ‘geek culture’ and its positive promotion on the Internet that many modern day films are produced and received so successfully. As reference for this argument a case study would be conducted into the promotion of film through viral videos, and a further case study would be conducted into the forthcoming film Tron: Legacy (2010) and how the internet may have facilitated its production. Word Count: 701 Abstract This study addresses the viability of auteurism in the contemporary moving image industries and the significance of this in relation to whether or not an animator can be considered a genuine auteur within the wider context of general artistic practice. The purpose is to provide an up to date and comprehensive, analytical framing of auteur theory and enhance the arguments laid down by critics, thinkers and theorists on both the psychoanalysis concerned with the consideration of the ‘original’ self in a postmodern society and whether the collaborative, creative nature of the animation industry lends itself to the term auteur. The dissertation will provide a social, historical and theoretical study of a number of discourses concerned with the animation industry, examining distinguishable personalities within the medium and formulating a thesis on arguments limiting auteur theory to the status of â€Å"high art† whilst questioning the genealogical construction of understanding surrounding the bourgeois construct of authorship. The paper sets about to provide an unbiased argument on the authentic nature of auteurism within contemporary perceptions of animated cinema, it attempts to present two sides to arguments that concern the author and audiences of a ‘text’ and their role within a process of cognitive perception. It will instigate discussion on aspects of auteurism by presenting case studies on Pixar and they ways in which the corporation operates in contrast to non-western animators such as Hayao Miyazaki and The Brothers Quay. The central argument is concentrated on an animator’s ability to experiment and diversify, create new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Word Count: 263 Methodologies Report This paper is a theoretical and historical study of the animation industry, how it has grown and blossomed from the advent of Joseph Plateau’s Phenakistoscope in 1832 and the early animated films of Reynaud And Melies in the late 1800’s, through to the modern day industry dominated by the market conditioning animation studios such a Pixar and Disney. Alongside this contextual background the relativity of auteur theory will be discussed in relation to its possible existence in a contemporary business that competes against contemporaries often seen to exist on a plane artistically above that of the mainstream animation industry. This question of authorship within the animation practice has been widely disputed and contended by a range of commentators throughout its short history and this study will serve to provide a conclusive framing of the topic. The first problem with thinking about animation and its broad stable of directors as a base for authorship can be traced back to its association with ‘high art’ and the origin of the word auteur in conjunction with media studies, Cahiers du Cinema. During the 1950’s, a period in which French film enjoyed widespread artistic acclaim, this influential film journal, written by, among others, Jean Luc Goddard, Francois Truffaut and Jacques Rivette, attempted to emphasise the role which a filmmaker assumes in the direction of their film and the significant way in which they acquired a distinguishable signature style from production to production. This became further associated with terms such as camera-stylo or metteur en scene. The Cahiers du Cinema insisted that if a director was to become recognised as displaying the traits of an auteur he must be recognised as contributing a signatory licence across a series of films, that clearly defined both aesthetic and thematic trends and offered a conclusive view of the elementary principles of an ‘art form’. Problems arose with the theories concerning auterist film practice in the late 1960’s almost a decade after the Cahiers had coined the phrase during the French renaissance. The collaborative and procedure orientated nature of making a film was called into question and â€Å"became subordinate to the critical parameters that determined film as a directors medium and as the significant voice of the film† (Wells, 2002 p. 72). Notable screenwriters such as Nicholas Kazan and Ernest Lehman have voiced their discontent with the notion of the director as the singular contributor to the stylistic and thematic contents of a film. Supporting this, since the late 60’s, few film historians have onoured the notion of a director as a singular contributing factor within a film and note other practitioners – the screenwriter, cinematographer and producer – to having mounted a substantial challenge to the directors claim to the romantic concept of the author. It is obviously true that the animation director’s influence can have a large effect upon the films artistic direction but it is interesting to consider whether or not they alone hold the pen or camera-stylo, as it were. Inevitably because of the range of opinions that exist within the subject of auteur theory especially considering the spectator and the sociological connotations that are implied by the author and audience existing alongside the text and inhabiting it (Barthes, 1982) it is hard to provide a definitive account of authorship in animation practise and the discussion of this theory remains challenging within media studies. The addition of thinking about the animation director as an auteur further complicates the debate of authorship. It can be said that in one frame of mind the animation industry perfectly echoes that of filmmaking practice in relation to production process and artistic conditioning implied through this range of processes. On the other, it further complicates the argument concerning the ability of the filmmaker to work within an arguably even larger creative environment or completely alone. It has been argued (Wells, 2002 p. 73-74) that this allows animation to be seen as one of the most auteurist of art forms and that’s its methods of production, especially when considered to be at its most collaborative, insist upon the strict intervention of a singular voice that acts as an authorial presence. Frustratingly few animation directors have been praised as auteurs within the medium, with their identities often becoming swallowed up by corporate image, in the case of animation houses such as Pixar and Disney, being debased with the appeal of consigning it simply to a petty form of narrative or, again, falling victim to the acceptance of the mutually reliant process of production. Connected to this is the concept that animation has been, and will always be, produced for a predominantly immature audience and that auteur theory cannot be applied to a film practice that concerns itself with providing articles for such a demographic. This has become a tired argument as there a huge variety of ways in which a director can be described to be an auteur. Drawing arguments from a wide variety of sources and assisted by specific case studies it is this dissertations aim to provide a vocabulary for how the animation auteur can be addressed. It is this papers intention to, utilising a variety of modes and methods, signal the opinions of scholars that have campaigned for the existence of a recognisable auteur within the media industries and then go on to transplant these theories into that of the modern day animation industry. The essay will touch on contemporary titans of the animation world such as Disney and Pixar whilst also giving special consideration for the foundations that have been laid by the historical forbearers in crafting a profitable industry in which today’s practitioners of mainstream animation operate. Alongside the mainstream, consideration will be given to the independent or ‘experimental’ animator, working outside the confines of an industry that, it has been suggested, limits they way in which a director can remain in control of the artistic and thematic outputs of their film. Special consideration will be given to the eastern European animators such as Jan Svankmajer, The Brothers Quay and Yuiry Norstein and the ways in which we can regard them as auteurs through the methods of production in which they practice their ‘art’. It will also analyse how the work of Hayao Miyazaki is differentiated from that of its western counterparts not only through its visual and thematic styles but also through the sociological boundaries in which it is released. Thought will be given to a society, and the pschoanalysis that accompanies it, in which audiences flock to the cinemas to see the newest releases from a highly recognised and respected animation house, but also, a director that is considered to be a genuine auteur and one of the artistic powerhouses of contemporary Asian cinema. Following this, my final chapter will concern itself with the major discourses in animation today. It will utilise a case study instigating investigation into the way in which the modern animation houses conduct their modes of production and whether or not this can be seen as adding to or detracting from the auteur model laid down by Cahiers du Cinema. The theoretical background for this paper will cover many areas of film history and criticism and point to key areas in which the auteur theory has come under contention, drawing on key sources it will analyse their relevance within the contemporary animation industry and provide current case studies of animation auteurs and production houses to provide a coherent context for the theories that it attains to underpin. The dissertation will cover well-known critics ranging from Cahiers du Cinema to modern day articles from film journals such as Sight Sound and The Online Animation Journal. The writings of these authors will be used to give context for some of the statements that are made concerning auteur theory and to assist in cultural references to animated movies and cinematic movements from the last 130 years. The paper will also reference the work of cultural theorists such as Roland Barthes and Michel Foucault, whose work has been invaluable in the affirmation of what constitutes a genuine author and the ways in which we can view them in a modern day society. The dissertation aims to provide a spread of criticism from a wide range of historical periods during the 20th century, and, as the essay is concerned with the shift within the understanding of an auteur and its place in the industry of today, it was considered to be important to include opinions from more than the contemporary to demonstrate the shift that has occurred in our understanding of the director as an author. Alongside a wide range of scholarly sources directly concerned with film criticism that have been implemented the essay attempts to utilise areas of psychoanalysis and cognitive deconstructions to attain some idea of how sociological boundaries have been built up concerning the idea of the individual self, especially situated within a creative industry and within the confines of a post modern society. The study borrows and reconstitutes ideas and theories from such well-known thinkers as Sigmund Freud, Jacques Derrida and Richard Harland. Although not directly connected with the world of cinema the ideas put forth by these thinkers have greatly influenced the way in which proportions of society think of the ‘unified self’ and the case for ‘original thought’. It was important to consider dialogue provided by theorists working outside of the filmic world as it has allowed the paper to gain a more conclusive view of aspects that can affect auteur theory more concerned with the workings of an audiences conscious thought, rather than that of cinematography and narrative alone. During the course of this essay the proposed theories will be analysed through a variety of method and, as mentioned, the sources come from a wide range of authors to provide many different opinions on auteur theory. These include; cultural theorists, directors, film critics and psychologists. In addition to the wide spread of authors that have been used the material has been drawn from a variety of qualitative and quantitative ources that comprise of scholarly books, newspaper articles, film journals, blogs, online critics circles, websites providing information on box office receipts, films and other visual resources. These methods have been undertaken to avoid the time consuming necessity of providing a source of self-produced data such as interviews or focus groups conducted with individual interviewees and focus groups. The data provided through this wide range of sources should compensate for a lack of self produced data and give a clear indication of the criticism and ideas that exist across a wide range of society. The main critical ideas that are analysed and enforced within this essay is an affirmative opinion that auteur theory is alive and well within the modern day film industry and that this also translates through into the contemporary animation industry. The essay sets about to deconstruct misconceptions concerning the negative reception that auteur theory receives from both cinematic and cultural theorists, and whilst the focus of the essay is very much on the promotion of the auteur director and the analysis of the cultural surroundings in which he operates the paper is careful to provide a balanced view of the topic by framing the question with both positive and negative responses. In summary, the main critical ideas to be analysed will be animation aesthetic and message as well as the existence of the auteur within the film analysing both his, or her, impact on the messages, narrative and aesthetic of the their work from film to film. It reviews the sociological structures that we are surrounded with and brought up through that allow, or disallow us, to consider the director as a true author, taking into consideration industry, modes of production, aesthetics, messages, fluency, consistency and cultural impact and finally the shift in style of animation throughout the years and how it should be considered an equally important and valuable cultural artefact as that of the live action cinema. Word Count: 1980