Case Study of Bolivar and Contemporary Greek Mythology Essay -- Nikos

The excessive element of the hero in both the poetic and artistic expression of Nikos Engonopoulos: The case study of â€Å"Bolivar† and the contemporary revival of Greek mythology It is, I think, in itself an heroic act to speak today of heroes and heroic excession in an era that is characterized as anti heroic. In earlier times – much earlier than the nineteenth century – the history of human achievement was not conceived of as anything but the history of heroic deeds which the distinguished dared to undertake and successfully managed to execute (J.P.Vernant 1989: 145) and whose memory is still alive. But, nowadays, achievement is considered to be the transient personal flaunting in fields such as politics, economics, athletics and entertainment. Those people, indeed, inspire admiration bordering on deification, reverence, in other words, equal to the admiration for heroes of earlier times, adoration of idols. Our time is antiheroic, a time in which idols have substituted for heroes and the necessity for selfassertion and personal benefit wins over this collective development. However, the question still remains as to the excess in human potential and the choices confronting an adventurous temperament extinguishing or at least neglecting fear in the face of danger. No matter how extraordinary and insane it might be, very often, heroic behaviour continues to enchant. This happens, possibly, because of the element of excess which is characterised, more than at any other time, by a convergence of the desire of modern man not to be hemmed in by individual â€Å"musts† of the technological civilization and a desire to return to the charm of the fairy-tales of his childhood years. This effort to accept the reality is neve... ...nica Mc Goldrick, 1995. 16. Todorov Tzvetan, 1995, Les abus de la memoire, Arlea, Paris. 17. Gellner Ernest, 2002, Nationalism, Alexandria Athens. B. Articles 1. Engonopoulos Nikos, May 1956, Zygos, â€Å"Are there common points of contact between modern art and the ideal of Greek art?†, Athens. 2. Friar Kimon, 1978, Modern poetry, â€Å"Simon and Schuster†, New York. 3. Gonzales F., 1976, Collection Voix, Maspero,  « Battle, N. Engonopoulos, Bolivar, Introduction, traduction et postface », Paris. 4. Vasiliou A ., 1978, Modern thought, 20, â€Å"Engonopoulos – Empirikos and Greek surrealism†, Athens. 5. Diamantopoulou Evangelia, May 2000, Elelef, 3, â€Å" Fear and fearless heroes in Theophilos Hadjimichail’ s paintings†, Athens. 6. Diamantopoulou Evangelia, 2002, Anef, 5, â€Å"Aphrodite, goddess of ancient Greece, goddess of the sea: the artistic proposal of Theophilos†, Cyprus.

Dangerous Encounter :: essays research papers

It was a dreadful afternoon, big droplets of rain fell directly on my face and clothes. I tasted the droplets that mixed with my tears, the tears I cried after the incident. The pain in my foot was excruciating. It caused me to make a big decision of whether I should visit you or not. I decided I would. I limped towards my bright, blue car where my bony, body collapsed onto the seat. I started the engine up but at the same time being cautious of my bleeding foot. I then drove to the destination where I was bound to meet you. I was bound to meet you after three years of counselling from my last appearance with you. I guess all I can remember is the scarring.... I remember.... When.... When my friend introduced me to you. My friends were so obsessed and entangled by the wonders you did for them. If I can recall they said you took them to new places and down new paths. They talked about how you healed their sorrows and pain. I could not resist the temptation. Never once did I talk to my parents about my encounters which were influenced by you. What a fool I was. You severely disheartened my life, turned me evil. All my ambitions that inspired me were lost. You and your sharp eyes stabbed me right in the arm. It also stabbed the people I loved right in the arm too. Although, it was so amazing how dependent on you I was during my youth. These memories still sting like a violent slap across the face. Now, facing you today is such a hard task to overcome.... I pulled into the driveway and staggered into the loud, large and mysterious place. I was surprised at how many people were there. It could have been about twenty or so. I would not know because I am not highly educated. My education actually collapsed after being involved with you. I put all my attention and focus towards you. I can’t count the amount of times I missed class or skipped school. Whilst thinking of this, a young girl came strolling over. She had dark, long hair, brown eyes and a slim figure nearly identical to my own appearance. She wore a white garment matched with pure, silk shoes. Her glamour attracted people from all directions. She looked about twenty five years old.

Henna in Arab countries and India Essay

Henna is a type of temporary tattoo that dyes the skin for several weeks. Henna is made out of a plant that is dried, ground to a dust and then made in to a paste by adding essential oils. Henna got its start in the Arab culture and remains popular to this day and growing in popularity in other countries. The paste that is made is placed into a cone or bag that closely resembles that used by cake decorators. The paste is applied to the skin in intricate designs and as it dries and hardens it begins to fall off leaving behind an orange tint. Designs made from henna are completely free form and have no specific meaning and are meant for the sheer beauty of the art with no religious or cultural meaning. The henna tattoo can consist of nearly any pattern or series of patterns and the more elaborate the design the more erotic and sensual it is. Henna is made primarily of several design styles which include flowers, paisley designs, intricate lines, shading and doily designs. These pattern s can wrap around your fingers, wrist, ankle or any other curved part of your body. Henna in the Arab World Permanent tattoos in the Muslim world are greatly frowned upon, which makes henna a very popular alternative that dates back hundreds of years and is steeped in tradition. Henna makes it easy to get a tattoo without it being against Muslim traditions, since they only last a few weeks. These beautifully intricate designs are applied mainly to young women to glamorize themselves (older women will also sometimes wear henna) to their husbands after their wedding and during the ceremony. Arabic Henna throughout the World Henna can be seen in countries all around the globe despite its roots being firmly planted in the Middle East existing in India, Egypt, Pakistan, and Morocco among just a few. The typical style in the originating country is that of large floral patterns painted all over the body, but as the design spreads it changes to meet the needs of the people. The United States, for instance, has taken henna and made it into pure skin decoration. Unlike the Middle East, the main reason to get henna is for show and not some profound meaning. The sentimental factors involved have been removed and what’s left is something very basic and watered down. Henna done at the circus, carnivals and Renaissance fairs are just several examples of western style henna. I went to (global village) in Indian village to meet some women’s who knows more about the henna and I had an interview with an old lady that work there in henna shop she’s Indian: (Me): Could you tell us a bit about the tradition of henna and how it has transformed into a popular body art? (Old lady): Henna has been used down through the ages for thousands of years. Inscriptions place henna in use in Syria as early as 2100 BCE and in the Greek Islands from around 1700 BCE. Henna has usually been utilized with cultures that have a history of Goddess worship. Henna was relatively unknown ten years ago, and it has become more popular with women here in California and around the world. The art of henna is amazing, and now it can be embellished with jewels and glitter to make it sparkle and coordinate with your clothes. Women of all ages use henna for celebrations, and the art has improved and become more popular than ever before through word of mouth and the Internet. (Me): What exactly is henna dye, and what are the ingredients? (Old lady): Henna is the Persian name for a shrub known scientifically as Lawsonia Inermis. It is harvested twice a year, dried and ground into a fine powder. The powder is used to dye hair red and for the ancient eastern art of mehndi. The henna tannic acid is a natural safe vegetable dye that bonds with the collagen in your skin cells and the keratin in the hair leaving a lovely color. (Me): Is henna dye available in different colors or levels of intensity? (Old lady): Different colors or levels of intensity are achieved in several ways. Henna can be steamed on the skin to darken it, or it can be left on for different lengths of time to get darker and lighter stains. Henna will be a shade of red/brown. There are no other safe dyes and henna does not come in black or blue. Allergies Are Rare (Me): Should you test for an allergic reaction prior to applying henna dye to the skin? (Old lady): You can test for henna sensitivity although it is extremely rare. If you use 100% natural henna mixed with safe oils and lemon juice, there is little to no chance of an allergic reaction. If you suspect a henna allergy, please do not apply the henna and be sure to also test for citrus allergies. (me): Even though henna art is temporary, how long should the tattoo last? (Old lady): Henna typically lasts seven to ten days. However, it can last longer than that depending on several variables such as where the henna is placed on the body, how long the henna is on the skin, if the skin is clean, and if the essential oils and henna are good quality. (Me): Could you explain the difference between Indian style designs and Arabic style henna? (Old lady): Indian styles of henna are usually filled with lacy paisleys or flowers and everyday shapes from daily Indian life such as the mango and the peacock. Arabic style is usually a large floral that will have more open space, and the designs will not have a motif like faces or peacocks. Both styles of henna are amazingly beautiful. (me): Is it easy to apply henna yourself? What’s the process? ((Old lady): If you want to apply the henna yourself, you can purchase paste already made or mix it yourself. Henna Caravan sells henna ready to use inside applicator bottles and our Create kits let you mix your own. Which ever you choose, all you have to do is: * Fill your applicator, clean the skin and you are ready to begin. * After the paste is applied, leave the henna on the skin for four to six hours and scrape it off leaving the dyed skin. * The stain will continue to darken over the next 36 hours, and you will have great henna. Tools and Supplies (Me): What tools and implements are needed to create a henna tattoo? (Old lady): You can use a hand rolled cone, a jacquard applicator bottle or other bottle to apply henna. Henna has been applied with sticks, rolled into strings and pressed on the skin, taped areas or stencils and paintbrushes may also be used. (me): Are there any starter kits that are a good investment for a beginning henna artist? (Old lady): I think the Henna Caravan kit is a perfect beginner kit. It comes complete with everything you need to have a successful henna experience – bottles, premium henna, wonderful essential oils and all the tool and tips and patterns to get you started. The jacquard bottle is easy to refill. (me): What rituals or occasions are most popular for henna art? (Old lady): In our experience birthday parties are most popular for every age along with graduation parties and Bar/Bat mitzvahs, Blessing ways are also great fun and so relaxing for everyone. (Me): Summer is a great time of year to flaunt a henna tattoo. If someone is on the fence but wants to experiment with their first henna design, what’s your favorite placement and artwork style? (Old lady): Get something you like whether it is flowers or skulls or geometric patterns, and put it on your ankle or up the leg. If you want more, just repeat the pattern; make three flowers instead of one, so it flows on the body. (Me): Why are some henna darker than others? (Old lady): Mostly this depends on how the henna has been stored. Henna leaves plucked straight off the plant will leave the darkest stain. Leaves that have been powdered need to be carefully preserved; powdered henna that is kept cold in an airtight container is best in my experience. Henna has, today, become a part of all major festivals and celebration. Be it, Purim, Eid, Diwali, Karva Chauth, Passover, Nowruz or Mawlid, it has graced every occasion with its presence. Celebrations like wedding, birth of a baby and birthdays seem to be incomplete without the ceremony of henna. Brides, in the present time, typically have the most complex patterns of henna, to express their greatest joy and wishes for luck. With an improved technology being used for its cultivation, henna available today, has an enhanced dye content and greater artistic potential than earlier.

Subway Verses the Tube Train

Subway and The Tube Train George Tooker, an American artist painted â€Å"Subway† in 1950. Cyril E. Power, a British artist, created â€Å"The Tube Train† in 1934. With a quick glimpse of the eye, one may think these two pieces of artwork are similar. After all, a subway and a tube train are basically the same thing. To a trained eye, one can see the many differences in the two pieces. Tooker was associated with the Magic Realism movements, and is best known for his depictions of alienation in modern city life (Artnet).Tooker focused on urban loneliness and disillusionment. His subjects are often obscured by heavy clothing and appear sagging and shapeless, trapped within their own dull worlds (Leninimports). Tooker adopted a method of using egg yolk thickened slightly with water and then adding powered pigment, a medium that was quick drying, tedious to apply, and hard to change once applied, called egg tempers (Leninimports). â€Å"Subway† depicts office workers trapped in a maze of prision-like passageways (Artnet).The central figure in â€Å"Subway† is a middle aged woman with short, gray hair, cut and curled in the style of 1950s (Whitney). Her facial expression is fearful, appears anxious, and looks depressed. Tooker paints her in midstride as she walks toward an unseen destination. She is wearing a bright red dress. The surroundings are dark and dull and of neutral colors. The viewer’s eye is drawn to the woman because of the positioning of the other figures in the painting and because the walls and railings of the subway create a fanlike effect around her (Whitney).The other female figures in the painting are in the distance and hard to be seen by the eye. The men in the painting are threatening figures who lurk in the background, wearing long coats, all identical except for the color (Whitney). Some of the men are looking suspiciously around the walls of the booths at the woman. The woman wears red, white, and blue whi ch may symbolize the desperate desire of American women in the 1950s to become more modern and independent (Whitney). Power was elected Fellow of the Royal Historical Society in 1925.That same year he helped set up Grosvenor School of Modern Art. It was here where he learned about lino cutting (Lenimports). Linocut is a printmaking technique where a design is cut into the linoleum surface with a sharp knife, with the raised areas representing a mirror image of the parts to show printed. The linoleum sheet is inked with a roller and then pressed onto paper or fabric. Power’s work was generally printed in color, with separate blocks for each color of ink (Nydam). â€Å"The Tube Train† is made of four colors, yellow, red, light blue, and dark blue.It is a representation of life in London as workers go home on the underground train. The seated rider’s heads are buried in newspapers. A few people are standing in the front of the train. Both men and women are seen in the print. The viewer is looking down the isle of the train, as if they are sitting in the back. This print is an example of a one point perspective. They print also uses a lot of repetition. The deiling design is repeated is all the ceiling tiles. All the seated riders are holding a newspaper. The men on the train are all wearing hats.One can now see how a quick look at a piece of artwork can be deceiving. Although the subject matter of art may be alike, the fine details, which give art its true meaning, can differ greatly from one piece to another. http://www. leninimports. com/cyril_e_power. html http://www. leninimports. com/george_tooker. html http://whitney. org/Education/Teens/RaidTheMuseum? GeorgeTookerByVita3052 http://www. artnet. com/artists/george-tooker/ http://nydamprintsblackandwhite. blogspot. com/2011/05/cyril-powers-tube-train. html http://query. nytimes. com/gst/fullpage. html

Isolation in The Great Gatsby Essay

Hundreds of people are gathered around dancing, drinking, and having a good time. People are causally talking and laughing. Men and women from all around are having the â€Å"time of their life. † However, the lifestyle of the city, money, and connections don’t always create fulfilled, happy lives. For Daisy Buchanan, Nick Carraway, and Jay Gatsby, they are never alone but always isolated. Daisy Buchanan uses her need for attention and people to adore her most likely to cover up her fear of isolation. From the beginning Daisy has virtually been alone. Her husband Tom was not even there for the birth of their only daughter. Well, she was less than an hour old and Tom was God knows where. I woke up out of the ether with an utterly abandoned feeling†¦ † (21). She was very isolated from Tom at that point of time in their marriage. This stems her fear of being alone leads to the suspicion of Tom and Myrtle’s affair. She doesn’t have the strength to step away from Tom’s money or her fear and confront him though. She uses attention to cope with his affair. For example, she kisses Gatsby in her own husband’s house. She needs to know that someone will give and receive her attention. She lets her fear of isolation run her life. Nick Carraway is the one of the most isolated characters in The Great Gatsby. He once said that, â€Å"At the enchanted metropolitan twilight I felt a haunting loneliness †¦ sometimes (61-62). † Through this quote Nick expresses his overwhelming loneliness of city life. He is originally from the Midwest and doesn’t know many people in West or East Egg. He feels alone in the â€Å"crowd† especially at Gatsby’s famous parties when â€Å"introductions (are) forgotten on the spot† (44) and enthusiastic meeting occur between people who don’t even know each other’s names. Nick also feels alone when he realizes he had turned thirty already. He fears growing old because he sees isolation within old age. He sees the people around him and notices that no one is truly happy and as they age life doesn’t get any better. Jay Gatsby’s death confirmed his fears of isolation. Gatsby was the most well known man in West Egg and hundreds of well known, famous people showed up at his parties every night, yet â€Å"Nobody came† (143) to his funeral. Nick was just an average person just trying to work his way up to the American dream. If no one came to say goodbye to Jay Gatsby after his death, what was in store for him when he died. This mphasized his fear of growing older and being isolated. Jay Gatsby seemed like he was on top of the world from the outside looking in. He was extremely wealthy and had hundreds of people at his house at all times; however, on the inside he was just like everyone else, lonely. The love of his life married a different man when he went off to war. He had never gotten over her and always longed for her to come back to him. He isolated himself from everything that didn’t have to do with her. He made his money, bought his house, and threw his parties in hopes to impress and get her back into his arms. He was still in need of company though. He asked Nick Carraway to go to Coney Island in his car late one night. Then, when Nick said it was too late, Gatsby asked if he’d like to go swimming. Nick turned down his offer yet again. Gatsby had all the toys, money, and people in the world to interact with yet he was still lonely because he had isolated himself so much from the outside world. Even into his death, Gatsby didn’t have anyone but a few people at his funeral. He had isolated himself so much; he never made any true relationships. Throughout The Great Gatsby, Daisy, Nick, and Jay suffer from the fear or isolation of the outside world. The dream life of knowing people, being wealthy and living in the city with the upper class is as glamorous as it seemed to be for these characters. They are always around people, but always alone. It’ll show you how I’ve gotten to feel about – things. Well, she was less than an hour old and Tom was God knows where. I woke up out of the ether with an utterly abandoned feeling, and asked the nurse right away if it was a boy or a girl. She told me it was a girl, and so I turned my head away and wept. ‘All right,’ I said, ‘I’m glad it’s a girl.

Sugar

Sugar is a common name of substances that are white, soluble in water, fermentable and generally sweet, containing carbon, oxygen and hydrogen in its composition, extracted from the juice or starch of the roots and roots of many plants such as sugarcane, sugar beet, carrot, maize, date, grape, wheat, and potatoes. Sugar has various types such as sucrose, lactose, maltose, laevulose, fructose, glucose, and starch. Sucrose from sugar beet and sugar cane is the sugar that used in daily life. Aside from the sugar we take with fruits, vegetables and natural foods, added sugar is the main cause of many health problems. The main focuses of this article will be the damages sugar causes to our physical and mental health along with the why and how to quit sugar. Effects on Physical Health All forms of sugar such as corn syrup, honey, maple syrup affect the body somehow. The body cannot handle a very high amount of processed sugar. The basic organs are severely damaged by the consumption of this poor-quality sugar. Sugar alone is not a group of food itself. However, as expected, sugar is present in most foods by itself and does not contain any nutrients, proteins, fats and enzymes, and is the only empty calorie structure. There is no safe quantification of added sugar. Only natural sugar in fruits and vegetables is balanced with vitamins, fibers and enzymes, so the properties of fruits and vegetables slow down sugar digestion and help the body. However, added sugar does not provide any benefit. Sugar, the trigger of many chronic illnesses, is found in the abundance of packaged foods, all kinds of pastries and sweetened drinks. In particular, health problems that are caused by the loss of sugar are frequently encountered in people who are constantly consuming intensively since childhood. Among the damages of sugar, the disorder of blood sugar balance comes first. Sugar consumption which causes excessive secretion of the insulin hormone that makes blood sugar balance, causes the blood sugar to fall again due to such high insulin, which leads to many troubles. It is also known that this effect of sugar, which reduces the resistance of the body and makes all disease and disorders more open, is triggered by a long irreversible process. As the consumption of sugar increases, more fat accumulates in the tissues and these fat tissues, which gradually cover the internal organs, also prevent the functioning of the organs. As a result, there are serious consequences from heart and vascular diseases to fatty liver, cancer, obesity and dysfunction in the organs.

Culture, ideology, politics and economics are linked in the output of media organisation in way that is true for no other sector of capitalist enterprise

Introduction Although some might believe otherwise, the media is not a neutral or objective institution. It is rather a disputed space that can be manipulated to serve certain interests. McNair (2007:103) affirms that â€Å"culture, ideology, politics and economics are linked in the output of media organisation.† This statement is especially true of the UK newspaper industry. McQuail (2008:7) also argues that power structures social relationships and that this has an effect on the way the mass media is organized. Both historically and presently the influence of the media can be observed. Newspapers promote certain ideologies, create and reinforce cultural patterns, and greatly influence views on politics. Media products that are made for mass consumption are often controlled by a handful of wealthy owners. This is very similar to what Karl Marx calls the ‘bourgeoisie’ or the owners of the means of production. They are in control of factories and the livelihoods of workers. How ever, in much the same way, media production serves the interests of the few, and not those of the masses. The ruling class often determines the content of widely distributed newspapers. In support of McNair, I will argue that media output is very closely linked to culture, ideology, and politics, in a way that is advantageous to those who own the means of production. In order to show this, I will discuss all factors (culture, ideology, politics, and economics) in relation to each other and analyse the influence that the newspaper industry has had historically on political, economic, and cultural affairs. The paper will mainly look at 18th century, 19th century, and present press and media output in Britain. Critical Analysis The struggle over control of newspaper content is also an economic struggle between the bourgeoisie and the workers or the lower classes. This is a conflict that mirrors the Marxist notion of class struggle. Starting as far back as the 18th century, the UK ruling class has fought to destroy radical newspapers of the time, such as Poor Man’s Guardian, Twopenny, and Republican. The aims of the radical press were to promote class organisations through the development of a critical political analysis. Class organizations and unions were meant to earn workers better wages and more rights. Thus, by developing radical newspapers, the working class sought to improve their economic condition. This is an example of the struggle between the aristocracy and the workers who were criticising corruption and the repressive taxation which was impoverishing them (Curran 2010:13). Here, politics is also interrelated to the media and to economics. It was only through adopting a critical political analysis that workers could advocate for their rights. On the other hand, the politics of the right (or the wealthy owners) represent their economic interest of keeping the wealth and control of the press in the hands of few. The emergence of more progressive publications in the early 1800s showed how the ideology of the ruling classes was in opposition of radicalism. Their politics served to prevent the workers from gaining more control of the media output. Between 1830 and 1836 there was an increase in circulation of radical newspapers. In London alone, the readership grew from half a million to 2 million. Dr Philmore, a member of Parliament, complained that â€Å"these infamous publications [†¦] inflame working people’s passions, and awaken their selfishness, contrasting their present condition with what they contented to be their future condition- a condition incompatible with human nature, and with those immutable laws which providence has established for the regulation of human society â€Å" (Curran 2010 : 14). In other words, the rich believed that it is their right to maintain their social and economic standing. In response to radicalism, they sought to pass regulations that would control the media output. This implied that they could promote the views that would benefit their own economic and social condition. As already seen, those who can control media output use this resource to promote their ideology, culture, and politics. In this way, they also maintain their wealth. In order to silence the voice of radical newspapers in the 1800s, the government decided to introduce the stamp duty, which meant that publications were redefined to include political periodicals. Curran and Seaton (2010) also note that during those days, the government sought to increase press taxation. This was to ensure that those in charge of the press are wealthy men of high social standing. Curran and Seaton explain that the reason behind stamp duty was â€Å"to restrict the readership to a well to do by raising the cover price; and to restrict the ownership to the propertied class by increasing the publishing cost â€Å" (Curran and Seaton 2010:11). This shows how economics plays a big role in restricting those who do not have the necessary means from promoting their own ideology, politics, and culture. The example clearly illustrates the link between economics, culture, and politics that McNair talks about. It also portrays, once again, how those who own the means of produc tion can promote the ideologies that benefit them. Over time, those who were financially in control of the media used this to their advantage and slowly began to take radicalism out of the picture. It became the norm that only those who have enough capital could have a say in politics and influence the ideology of the masses. In the late 19th century, when some control methods failed and stamp laws were repealed, the press establishment embarked on a â€Å"sophisticated strategy of social control†, where the radical newspapers were replaced by apolitical, commercial publications, read by mass audiences and controlled by capital (McNair 2009:87). According to McNair (2009), the radical publications of the end of the 19th century had either been forced out of existence, moved right politically, or become small specialist publications. As newspapers became cheaper and the market expanded, capital investment and running costs increased beyond the capacity of radical publishers. Thus, radical voices were once again silenced. This shows that the output of news is greatly influenced by the ownership and capital, as only the wealthy are powerful enough to determine the course of media production. Currently, it can be said that media output in the newspapers is still dependant on who owns the enterprise, what are their politics, and what kind of ideology and culture they want to promote. Oftentimes, the output does not necessarily reflect the truth, but rather takes the form that is best suited to serve the interests of the few. It is not uncommon for stories to be censored or even not published at all. To illustrate this, Anthony Bevins (1997:47) argues that â€Å"Journalists cannot ignore the pre-set ‘taste ‘of their newspapers, use their own sense in reporting the truth of the any event, and survive. They are ridden by news desks and backbenches executives, have their stories spiked on a systematic basis, they face the worst sort of newspaper punishment –byline deprivation.† Conclusion The history of newspaper publishing in the UK shows that economic interests influence media output immensely. I have argued that, historically, culture, ideology, politics, and economics are all interrelated influences on the content of media. In order to show this, my paper has looked at historical events that have had an impact on the course that the media (especially newspapers) has taken during the past few hundred years. Starting with the 18th century, the press has been a battlefield between the rich and the poor. Radical newspapers fought to have a say in politics. Unfortunately, those who had more wealth and invested more capital were the ones able to take control of the press. With the control of the press also came the promotion of certain ideologies. The ruling class favoured the politics that went against the interests of the workers. Politicians and capitalists alike strived to protect their standing. The stamp duty is an example of measures that they were taking to ens ure that radical media output does not grow enough to influence political views. Even though this measure did not last, the effect that commercialization has had on newspapers and media output, in general, is still evident. Those who own media corporations prefer an apolitical and commercial approach. Over time, the voices of workers with radical demands have stopped being heard in the mainstream media. Moreover, even the practices of journalists nowadays are influenced by this approach to media as a profit driven enterprise. The relevance of stories is often determined based on commercial appeal and sensationalism, rather than facts. Stories can be censored and facts hidden. Economics, as well as politics are mainly to blame for these developments. McNair (2009) sums up this interrelationship perfectly through his work. The fact that politics, economics, culture, and ideology play a big role in determining media output is undeniable. Although this is unlikely to change in the near future, it is important to know whose politics and interests influence what we read, hear, and see in the media. Bibliography Curran, J. and Seaton. Power Without Responsibility : Press, Broadcasting and the Internet in Britain. Routledge, Abingdon, 2010. McNair, B. News and Journalism In the UK . Routlege, London, 2003. McQuail D. Mass Communication. SAGE, London, 2008. Tumber H. News : A Reader. Oxford University Press, Oxford, 1999. Wahl-Jorgensen, K. & Hanitzsch, T. The Handbook of Journalism Studies. Taylor & Francis, Abingdon, 2009.