Environmental Protection Agency Essay Example | Topics and Well Written Essays - 1000 words

Environmental Protection Agency - Essay Example With the wide scope and scale of EPA’s thrusts and issues spanning practically all facets of the environment, evaluation of specific policies to determine whether some identified programs promote business investment or discourages it need to focus on a specific focus. To achieve the aim of the essay, the cleanup activities promoted by the Superfund, would be used to evaluate policies that either promote or undermine business investment. Superfund Background The Superfund is specifically designed to address the cleanup activities needed for hazardous wastes. The scope of the policies and guiding procedures to govern operations and activities under the Superfund are likewise vast encompassing areas such as the cleanup process and the site activities. Under the cleanup process, there are 10 major classifications with 44 indicated enforcement policies and guidance for implementation and direction. The site activities include 10 areas such as contacts and agreements, enforcements, worker health and safety, institutional controls, among others, that each have respective regulations and policies for due evaluation and implementation. Assessment of Policies As revealed by Gale Encyclopedia of Espionage and Intelligence, â€Å"EPA provides outreach and educational activities for communities surrounding the toxic waste sites to raise awareness of risks, prevention and avoidance strategies, and to promote direct involvement in cleanup activities† (The Gale Group, Inc., 2004). The EPA, through the Office of Enforcement and Compliance Assurance (OECA), as one of the policy enforcement agencies, â€Å"aggressively goes after pollution problems that make a difference in communities through vigorous civil and criminal enforcement that targets the most serious water, air and chemical hazards. OECA also advances environmental justice by protecting vulnerable communities† (EPA: OECA 2011, par. 1). The agency’s success in policy design and in enforcemen t relies on the joint collaboration and participation of other agencies, particularly with the Office of Administration and Policy (OAP) that â€Å"recommends national policy on issues pertaining to enforcement and compliance. OAP provides a wide range of administrative support services which includes: human resources, labor relations, budget, finances, contracts, grants, records management and management of the compliance and enforcement information on the Agency’s Web site† (EPA: OECA 2011, par. 13). The govening office in charge of policy design works in coordination with other offices to ensure that their policies are appropriately implemented and other appointed agencies monitor compliance to these regulations. The other crucial agencies that participate in enforcement of policies include the Office of Civil Enforcement, Office of Criminal Enforcement, Forensics and Training (OCEFT), Office of Compliance (OC), Office of Environmental Justice (OEJ), Office of Feder al Activities (OFA), Federal Facilities Enforcement Office (FFEO), and Office of Site Remediation Enforcement (OSRE). With the clarity of explicitly stated policies, regulations and governing compendium, as well as the specific regulating offices tasked with enforcement and monitoring of compliance to

Applying to Northern Ontario School of Medicine Essay

Applying to Northern Ontario School of Medicine - Essay Example 2. How have your academic, work and life experiences prepared you for being a student at Northern Ontario School of Medicine and for studying and working in rural, remote and/or northern urban communities? I was born in Ghana, an under-developed country where majority of the population live in poverty. People had little to no access to resources such as good schools, libraries, computers, tutoring, and activities pertinent to health care. My family migrated to Toronto in 1994 when I was 13. Being a minority my parents had to settle for low income jobs. As the oldest child, I was compelled to work odd jobs to contribute to the household earnings while in high school. We were forced to live in ‘ghettos and remote areas,’ with very poor housing and health care services. Many of my peers dropped out of high school, became pregnant and some turned to selling drugs. While growing up, and to some extent today, I lack the basic resources needed to develop academically and profes sionally. Despite all of this, I acclimatized very well into my environment and have been successful in my educational choices. The hardships that I have overcome have only made me a better person and I would not be here today if it were not the same. With my diverse background I believe I am ready to study and to work at rural communities where I could give back in some way.4. List activities and interests outside academic and work environments not detailed elsewhere in the application.

Marcel Duchamps and Andy Warhol Essay Example for Free

Marcel Duchamps and Andy Warhol Essay

Frida Kahlo and Tracey Emin: Psychoanalytic Approaches

Frida Kahlo and Tracey Emin: Psychoanalytic Approaches Case Study One: Frida Kahlo 2000 The intention of this dissertation is to define links between psychoanalytic theories and fine art. In this chapter the artists Frida Kahlo and Tracey Emin are discussed and compared to see how psychoanalytic approaches differ when employed with contemporary and traditional art. Frida Kahlos work is associated with Surrealism, an art movement first written about by Andre Breton; it was founded in 1924 developing from Dadaism and was inspired by the psychoanalytic works of Freud. In the surrealist manifesto Breton identifies the movement as a means by which the subconscious could be expressed, verbally, written or painted. The surrealists believed that our conscious mind interferes with the subconscious part, which is heavily based on Freuds theory of the ego and the id. The surrealists believed that this is why we have dreams; when we are asleep the reasoning mind cannot control the subconscious. Surrealism used a method called free association, originally Freuds theory, whereby Freuds patient would automatically say what they are thinking, in the case of an artist they would paint without thinking. Consequently, it seems surrealism is not necessarily a style but a method of painting. By looking at the both Kahlo and Emin, the two can be compared to distingu ish the ways in which psychoanalysis differs in the opposing styles of work, one of traditional movement and the other a contemporary style. Kahlos work deals with a diverse range of subjects, from her own identity and pain to politics, the Mexican artists work has been deliberated over by many critics and art historians as her oeuvre covers many aspects of art. It is hard to place as surrealist as it mixes a world fantasy with surrealism while also dealing with sexuality, race and gender. However, it is contended that Kahlos work does support psychoanalytical theories as there are many connections between her work and Freuds work which is a factor that the surrealist movement was heavily based upon. In contrast the work of Tracey Emin does not use symbols for her audience to guess at, instead her work has a very clear and concise in meaning, through her highly personal work she leaves her audience unquestioning with no ambiguity surrounding it. However, it would be interesting to look at the psychological effects that the production of this type of work may have on the artist and to investigate how the process creating art work of such personal nature has any psychological impact. This will enable understanding of the intentions behind such personal art work; she articulates details about herself that a majority of people would rather keep to themselves. In a similar way to Kahlo, both artists draw on their own experiences to produce art work. In Kahlos painting, Tree of Hope (see figure one), she presents the audience with a definite divide between night and day. This use of this strongly imply a state of dream, to explore R.D Laings theory of the unembodied self where the individual experiences him self as being more or less divorced form his body(Laing1965:69) this applied to Kahlos work suggests that the severe act of cutting the image into two halves defines the feeling of separation from her conscious body. The spectator is aware of the false self being portrayed within the image. According to Laing such separation denies the unembodied self of any actual interaction with everyday life. The theory suggests the unembodied self becomes a spectator of the life in which the actual body lives, so therefore does not connect with any experience the physical body encounters. This psychoanalytical process occurs due to stress within ones life that the ego cannot deal with, the disassociation is the ids way of protecting the e go. In Kahlos piece Tree of hope the painting is not clothed in the prosaic language usually employed by our thoughts represented symbolically by means of similes and metaphors (Freud, 1953:633) The image renders narrative, through the day harsh reality is awakened; Kahlo collides with a profusion of pain, while at night she is set free from her anguish by her dreams, the subconscious mind allows her to escape. The use of colours and choice of composition has allowed her to deliver her innermost anxieties and fears to the audience. These anxieties, according to Freud, are unpleasant inner state that people seek to avoid, it can act as a signal to the ego that things are not going right, as humans we suffer from neurotic, reality and moral anxieties, in order to deal with these Freud states that we therefore go into defence mechanisms that protect the ego from conflicts caused by the id, the id being the unconscious part of your brain, the ego is the conscious rational mind. The stress caused by daily lives is relevant to Freudian theory of sublimation. In Freuds book The ego and the id (1923) he established the theory of sublimation through superior recognition and puts forward that the superego is an internal moral agency of the parents (Wright: 1995). He assumed that there are two separate sets of drives, both contained within the mind. The instincts consist of self-preservation, which is associated with the ego; the second is sexual instincts which are associated to the libido or id. These instincts direct all human conduct until he generated the existence of narcissism. These theories differ over the various writings due to the topic and their affiliation to each other. To further this, if Freuds theory about anxiety is applied to Tracey Emins work it can be suggested that she goes through the process of sublimation; her work is a healthy redirection of an emotion which is mainly found through art, it is the process of transforming the libido into a chievements that are accepted by society. Emins work is similar to Kahlos in the way that her own personal stories of her body reiterate stories in the media. Emin expresses graphic descriptions of her most intimate feelings as her work is based solely on her life experiences. For example, in Emins work The last thing I said to you was dont leave me here the audience is confronted with a photograph of a vulnerable girl, who is tucked in a corner of some small shack, suggesting she has been some sort of victim of abuse. Lacans theory of the gaze is a theory that can be tested on this photograph, as the set up of composition makes the audience feel as if they are standing behind this naked, vulnerable person, so the viewer is made to feel as if they are gazing upon her, the spectators take on the role of the voyeur. Emin poses the question, is she the object of desire? There is a certain amount of irony within the photograph as a majority of viewers are hardened to the image of naked women due to media; mediated imagery is usually of very confident, provocative women, this perplexing view unsteadies the viewer due to the uneasy ambience. This is because photography can in a literal sense turn the depicted person into an object, which will distance both the v iewer and the viewed. With her back to us she unaware of who is looking, which creates a sense of naivety within the work, so therefore the viewer becomes uncomfortable with the role of the voyeur. This work has subtle implications that are more suggestive compared to a majority of Emins work which has a great sense of immediacy and provocative substance; she makes strong statements that judge the gaze of society that is put upon women. In contrast Kahlos works show the audience how she gazes upon herself, in theory Kahlos paintings are able to talk to the viewer as they express something about the artists emotions which people can relate to on many levels, through their personal attributes. This supports Derridas theory of deconstruction, where by deconstruction of a body of text is not just one, it can have several different meanings, and this theory can be applied to artwork because artwork itself can have more then one interpretation. In the essay Derrida two paintings in paint: a note on art, discourse and the trace, Jeff Collins argues that Derrida indicates a certain failure of discourse in the face of artworks (Holdridge, 2006:213). Collins contends that Derridas theory suggests art is a confrontational method which challenges anything that refuses to accept or surpass it; the author denotes artwork that does not have a dialogue to deal with this theory. Kahlos work can be contradictory in meaning for each viewer; which can be associated with the notion of death of the author; according to Barthes, the viewers own beliefs can change the authors original intensions, the layering of meaning can only be derived from the viewers point of view, as they will see the work and interpret it according to their own context, beliefs experiences or personal attributes. The viewer needs to be able to set apart the artist from the work to release the interpretation from any prejudgment. Barthes believe that this is dependent on the spectators experience of Kahlos work, being a renowned artist many people will be familiar with her histories and will derive an interpretation from that in itself. However, many audiences are not familiar with the work will read it in an entirely different light. Kahlo also uses messages and paradoxes within her work. In The little wounded deer (see figure four) she portrays herself as this wounded animal, which has been shot at by numerous hunters. The arrows are metaphors for the pain she feels, in my opinion this could symbolize her injuries from her accident or it could represent suffering from numerous disappointments in her life. She appears calm, tranquil and relaxed while she is watched by, what we assume is a hunter and dripping with blood. Kahlo was Mexican and they believed that a newborn human has an animal counterpart and that persons fate was tied to that of the animal that represents the calendar sign of the day of their birth. So she could be suggesting that her animal counterpart is dying and therefore metaphorically she is going to be rid of the animal that matches her and through her rebirth she will gain a new one. This painting it therefore a representation of her thoughts, which is her subconscious, by using dream logic strategies of displacement and condensation, Kahlo sets out to create a fabled identity for herself; the self-portrait consequently becomes a format for a parody of her own individuality. In my opinion, surrealism and representing the mind is difficult because it is the unknown, questioning it and giving possible answers through painting. Through her art Kahlo is attaining control of herself, she portrays her emotions which attain psychological relief. Emin also has a need to attain control would, in Freudian terms this would be classified as a form of hysteria. Hysteria in current psychological terms is described as two categories, one being somatoform whereby mental problems such as stress can cause brain to feel physical pain. The second is dissociative which occurrs when a persons psyche cannot handle a particularly traumatic event. However, in Freudian terms this hysteria created by the subconsious part of the mind, which was protecting the ego from the id. This is also relevent when looking at Kahlos work, the subconsious creates this form of unreality which is evident in the paintings. The straight lines and defined edge to objects of natural enities creates an order, an element of control over something which is not controllable. This can be tested with Deleuzes theory of percept. According to Deleuze, art requires simple modulations whereby the artist is consciously thinking and making decisions about the evolution of the piece of artwork; percepts are a psychological imprint of something, for example, the way an individual artist sees one thing will be varied from another. Percepts represent more than decision, they symbolize how the artist is feeling about that piece of art at the moment in time, or the subject which it is based on. According to Deleuze the making of the decision is not as important as modulations, MÃ ¼nter has put boundaries around the manmade objects, the modulationsreveal the forces that populate the world, that affect us, that make us become' (Sutton, 2008:75) Kahlo keeps her images separate, in Tree of hope (see figure one) she has a definite divide between night and day, by doing this she accentuates definite boundaries that the colours alone would not achieve, this establishes a ha rsh boarded image with restrictions. It shows a definite division between the human and the natural, while addressing this we may also consider that the artist may feel the two cannot be combined. These percepts also occur in the works of Kahlo, What Water Gave Me (1938) is a painting of Kahlos that is particularly relevant to Derridas theory, other then her many self-portraits, within this painting, Kahlo has painted her legs from the baths viewpoint, her legs are partially obscured by the bath water, and her toes stick out at the end, the painting has an uncanny aspect to it, we have all see this viewpoint so there is a familiarity to the work. Kahlo is allowing her audience to see things from her perspective. Through the composition we are able to see her thoughts swimming about as she contemplates everything that has occurred in her life. The modulations in this piece are life and death, something that is uncontrollable yet is inevitable. Everything moves according to one law-li feAnguish and pain, pleasure and death are nothing but a process in order to exist. (Kahlo) Her written views are contrasting to that expressed in her paintings. This painting is affective because it invites the viewer into the work; in affect the spectator completes it. Through this image Kahlo displays herself bare for every one to see; which adds a certain irony to the painting, as it is almost a nude portrait. In addition, this painting fits the classification of Surrealism because she utilizes imagery, which combines dream imagery with reality. In this chapter, the discussion of Kahlos and Emins work have given insight into the way in which psychoanalytical theories can be used in conjunction with artworks. It defines how the use of these theories can induce more depth into a painting which may not have had much substance to begin with. This in itself comfirms Deleuzes theory of percept showing how the artists mind is both in the real wold in which the body exists and in the world of the self, this theory will be challenged further in correlation with Cindy Shermans work in the next chapter.

japanese internment :: essays research papers

[47] - (2x) Death Monster [48] - (3x) Chimera Hawk [49] - Luther sequence [II] Boss Fights / Forced Battles - Aquatic Gardens of Surferio [A.1] - Sculpture Lord and (2x) Sculpture Guard [III] Boss Fights / Forced Battles - Ancient Ruins of Mosel Underground [R.1] - Amoeba Giant [R.2] - Aurora Monster [R.3] - Spirit Trio [IV] Boss Fights / Forced Battles - Maze of Tribulations [M.1] - Render [M.2] - Succubus [M.3] - Basilisk King [M.4] - 9 Sets of Aqua Wisps [M.5] - Earth Dragon [M.6] - Springer [M.7] - Alei [M.8] - Mighty Vox [M.9] - Sootie [M.10] - Floor 8 Minibosses [M.11] - Gabriel Celesta [V] Boss Fights / Forced Battles - Sphere 211 (Floors 101 - 211) [S.1] - Norton Redux (floor 101) [S.2] - Enraged Crosell (floor 115) [S.3] - Shadow Dragon (floor 126) [S.4] - Vengeful Shelby (floor 137) [S.5] - Frenzied Biwig (floor 147) [S.6] - Green Thing (floor 159) [S.7] - Arch Demon (floor 170) [S.8] - Angry Azazer and Raging Belzeber (floor 181) [S.9] - Furious Berial (floor 192) [S.10] - Super Blair (floor 200) [S.11] - Lenneth (floor 210) [S.12] - Ethereal Queen (floor 211) [S.13] - Freya [VI] Boss Fights / Forced Battles - Urssa Cave Temple [U.1.1] - Albel and Romero [U.1.2] - Nel and Zorto [U.1.3] - Peppita and Hodge Podge [U.1.4] - Roger and Farbnil [U.2] - Fayt + Whoever he was paired with in the ending [VII] Albel [Al.1] - Albel 2 [Al.2] - Albel 3 [Al.3] - Albel 4 [VIII] Gemity Arena [G.1] - Reigning Champions =============================================================================== Abbreviations and Introduction [In] =============================================================================== Abbreviations: -AAA: Anti-Attack Aura. There are two main types of attacks in this game: Strong and Weak. If a weak attack is launched at a target that is at 100% fury, the attack will be guarded and an Anti-Attack Aura emitted. There are a variety of Anti-Attack Auras available in the game, but the best overall is the first one you get, called Standard. It simply emits a beam towards the attacker that, when it hits, causes Stun. On the other hand, a Strong attack launched a target with 100% fury will break the target's guard and reduce its fury to 50%. The terms "AAA" and "guard" are interchangeable. -HP: Hit points; Consumed when using physical battle skills. You die (are "incapacitated") when your HP reaches 0. The same is true for enemies. -MP: Magic points; Consumed when using magical battle skills and Spells (Symbology). You die (are "incapacitated") when your MP reaches 0. The same is true for enemies. This leads to some interesting options against foes with high HP but low MP. =============================================================================== Introduction: I wanted a comprehensive faq for every single "forced" battle in the game.

Alice Munro Open Secrets The A Essay -- essays research papers

ALICE MUNRO’S THE ALBANIAN VIRGIN IN OPEN SECRETS EXEMPLIES HER CHARACTERISTIC APPROACH To try to trace Alice Munro’s narrative techniques to any particular development in the short story The Albanian Virgin would be difficult. This could be because it is simply written from careful observations as are many of her other short stories. In her short stories, it is as though she tries to transform a common, ordinary world into something that is unsettling and mysterious as was seen in Vandals. Most of her stories found in Open Secrets, are set or focused on Munro’s native Canada, Huron County, and particularly in the small fictional Ontario town of Carstairs, although the setting in The Albanian Virgin is in British Columbia. The story, The Albanian Virgin, found in Open Secrets, exemplifies Munro’s characteristic approach to short story writing as it explores central character’s lives that are revealed from a combination of first person narrative and third person narrative. By using both narratives, Munro adds realism, some autobiographica l information about her own life in the short stories, as the stories are also based on fiction as can it be found in earlier written short stories. Since many of her stories are based on the region in which she was born, the characters and narrators are often thought of as being about her life and how she grew up; and making her stories appear from a feminist approach. This could also indicate why the central characters in the short stories in Open Secrets, are all women: a young woman kidnapped by Albanian tribesmen in the 1920’s in The Albanian Virgin, and a young born-again Christian whose unresolved feelings of love and anger cause her to vandalize a house in Vandals. Her theme has often been the dilemmas of the adolescent girl coming to terms with family and a small town. Her more recent work has addressed the problems of middle age, of women alone, and of the elderly. The characteristic of her style is the search for some revelatory gesture by which an event is illuminated and given personal significance. (The Canadian Encyclopedia Plus 1995) Munro’s later work can probably be seen as that of her later or more recent memories, as she ages so does the characters of her short stories. The short story, An Albanian Virgin, begins... ...sp; The use of narratives, both first person and third person brings about the unique style of Alice Munro. Not many writers could write in such a way that makes the reader feel like they are the narrator in a way. Most of her stories have often been compared to be more near autobiography than to fiction by some critics. It is true that much of her stories in some way or another do relate to her life, being that of her childhood or that of her later years. The point of the matter is that although the reader can distinguish some similarities in the stories, they are for the most part fictitious with an add of some realism to them. REFERENCES Blodgett, E.D. "Alice Munro." The Canadian Encyclopedia Plus. 1995. Bloom, Amy. "From Strength to Strength." The Boston Book Review. January/February 1995, Electric Newstand. MacKendrick, Louis, K. Alice Munro’s Narrative Acts. Downsview, ECW Press, 1983. Munro, Alice. Open Secrets. Toronto: McClelland & Steward Inc., 1994. Turbide, Diane. "The Incomparable Storyteller." Maclean’s. October 17, 1994, 46-49.

Heroism in the Crucible

Mads Szklany English 11 Mr. Doty March 29, 2010 Heroism in The Crucible Often people have to endure tests of character in order to prove who they are. It is when people have to face great opposition that their character is truly shown; we see whether people are heroes or cowards. Those who are heroic always stand up for their morals and never back down and do selfless acts for the good of others. When people encounter moments where they have to face opposition they can do either of two things; they can stand up for what they believe in and do what they think is the right thing to do, or they can sit back and let someone else do it and simply try to ignore the problem. The ones who always stand up for what they believe are the people who are true heroes. People who have a heroic character will constantly rise up and speak out loud when they see that something wrong is going on. The people who are heroes are incredibly important to society, because they are the people who work for a better tomorrow; they are the people who are willing to sacrifice themselves for something better. In The Crucible, by Arthur Miller, there are multiple characters that show the quality of a hero when faced with opposition. I believe that the four characters that showed the most â€Å"hero† quality were john Proctor, Elizabeth Proctor, Rebecca Nurse and Giles Corey. Rebecca Nurse is a good and simple example of someone who is a hero. She is a hero from the beginning to the end of the story. From the start she is willing to sacrifice her own life for her morals, which shown how strong a character she is. Even when she is repeatedly being pleaded by Reverend Hale to confess to witchcraft in order to save her own life, she refuses, because she knows it is a lie and lying is against her good morals. The heroes, Giles and Proctor, are more complex and grow to become heroes in the book. In the beginning of the book Giles Corey does not appear to be a hero. However, throughout the book he begins to play more and more the role of a hero. In the beginning of the book Giles is seen as more of an annoying person who will do bad things to benefit himself, but he changes throughout the book. When the witch hunts start he does not really believe in witchcraft, however, he is still curious about it and wants to ask the expert, Reverend Hale, some questions. Giles accidently makes his wife look like a witch when he starts asking Hale questions. Giles asks Hale about his wife, â€Å"I have waked at night many a time and found her in a corner, readin’ of a book. Now what do I make of that? † (37). It was uncommon for Women to read at this time so it made her look like a witch. Then after this Giles goes on to say, â€Å"It discomfits me! Last night-mark this-I tired and tired and could not say my prayers. And then she close her book and walks out of the house, and suddenly-mark this-I could pray again! † (38). Giles, however, forgets to mention to Reverend Hale that he has only recently started going to church and that he is not very good at saying prayer; he never mentions that this could have something to do with him not knowing how to say a proper prayer. After Giles wife is taking to prison he does not do very much and just keeps on with his life. For the way he spoke of his wife and simply allowed her to go to jail he is definitely no hero. Later, though, Giles starts to notice that even the slightest offhand remark can result in suspicion of one working with the devil. Giles finally wakes up when Putnam’s daughter accuses George Jacobs of witchery. When this happens then Giles notices a motive and claims that Putnam only wants Jacobs’ land. This is when Giles realizes that he needs to take a stand because if he doesn’t then no one will. Giles then rushes to the court shouting that â€Å"Thomas Putnam is only reaching out for land! † (79) Giles claims to have proof and a witness who heard Putnam speak of it. When the court asks him to tell them who the witness is he refuses, because he does not wish to condemn another person, just like he condemned his own wife. Because he will not say who it was, they take him outside and start putting stones on top of him, trying to make him confess. Elizabeth speaks about when Giles was again asked to say who it was. Elizabeth said, â€Å"Great stones they lay upon his chest until he plead aye or nay. They say he give them but two words. â€Å"More weight,† he says. And died† (125). In the end of the book Giles has learned and grown. He dies a hero because he refuses to do the wrong thing; instead he stands up and faces the consequence of doing what is right. From the beginning of the book Proctor knows that the witch trials are only something made up by a group of girls lead by Abigail. He knows because Abigail told him first hand that Betty, who is supposed to be bewitched, is only pretending. Abigail says, â€Å"We were dancin’ in the woods last night, and my uncle leaped in on us. She took fright, is all† (20). Abigail, however, has told the whole town that Betty has been bewitched. When Proctor finds out this information he still does not go to the court because part of him is still in love with his old mistress, Abigail. Later when Abigail begins to accuse Elizabeth, Proctor’s wife, of witchcraft, Proctor has then had enough. He goes to the court and yells to the court that, â€Å"A man may think God sleeps, but God sees everything, I know it now. I beg you, sir, I beg you—see her what she is. . . . She thinks to dance with me on my wife’s grave! And well she might, for I thought of her softly. God help me, I lusted, and there is a promise in such sweat. But all it is a whore’s vengeanceâ€Å" (102). Here Abigail starts to look guilty. Proctor confesses to lechery and if it is true that Proctor did commit lechery with Abigail, then very likely the court will figure out that all this was simply a well-planned plot by Abigail. The court wants Elizabeth to come from the jail and speak to the court in private. When Elizabeth goes to the court she does not know that her husband confessed to lechery. Therefore when Elizabeth is asked about the relationship that Proctor and Abigail had, she merely denies there ever being a relationship between them. She knows that if she lies then she will go to hell, but if she speaks the truth then she will condemn her husband, which she does not wish to do, because of such a selfless act she also becomes a hero. Proctor is the greatest hero in the book. He is also the person in the book who learns the most and grows. He is a very human character because when faced with oppositions he wants to do the right thing, but still has so doubt about what to do; he is a hero, though, because in the end he makes he right decision. He decides to confess, even though his confession is a lie. Then when he is confessing they tell him that he needs to sign his name on a confession. When they ask him to sign his name he begins to cry and refuses to sing, saying, â€Å"Because it is my name! Because I cannot have another in my life! Because I lie and sign mysel f to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name! † (133). Proctor realizes that by him confessing he will be condoning the hanging of all the innocent people. He then decides that he rather stand up for what is right and been hanged, than confessing to a lie. Proctor accepts his fate, Reverend Hale begins plead with him saying â€Å"Man, you will hang! You cannot! † (133). Proctor simply replies with his eyes full of tears, â€Å"I can. And there’s your first marvel that I can. You have made your magic now, for now I do think I see some shred of goodness in John Proctor. Not enough to weave a banner with, but white enough to keep it from such dogs. Elizabeth, in a burst of terror, rushes to him and weeps against his hand. Give them no tear! Tears pleasure them! Show honor nor, show a stony heart and sink them with it! † (133). Then morning comes and Rebecca and Proctor are taking outside to be hanged. When Proctor stands up preparing to be hanged Elizabeth says, â€Å"He have his goodness now† (134). Elizabeth feels that now Proctor has become the great man that he was meant to be. Proctor could have saved his own life but instead he chooses to die because that is the heroic thing to do; he dies for a right cause. The book shows a variety of heroic characters. However, the most important aspect of the book is also that is shows that heroes are not born heroes but they are made into heroes when faced with great opposition. Heroism is one of the most important things in life. Most people lack the qualities of a true hero. Most people are weak and fall when faced with the slightest bit of opposition. That is why heroism should be praised when it is shown. Everyday heroes are those who are willing to do selfless acts for the good of others. Works cited: Miller, Arthur. The Crucible. New York: Penguin books, 1951.