Banning Progress in the World of Swimming

Banning Progress in the World of Swimming Picture a teenager who committed to a sport almost his entire life, came to every practice and dry-land training session for many consecutive years and begged his parents to buy him a six-hundred-dollar polyurethane swim suit only to be somewhat similar to the infamous Micheal Phelps, Ryan Lochte, or Jason Lezak. Now picture the same kid being told that he can no longer wear that “technical” suit at any swim meets and that he has to resort to the primitive “jammers” swimsuit, which has not been used in the Olympics since 2004. This all sounds ridiculous; however, it is ridiculously true.At the annual 2009 Convention of USA Swimming Delegates, representing clubs from all 50 states, an overwhelming vote had been cast for early implementation of a ban on high-tech swimsuits. Only to follow in near future, that is on Jan 1st of 2010, will be the same response from the NCAA, FINA, and numerous high school swimming organizations, including New Yorks PSAL.English: Ryan Locht e during 2008 Olympic Trials (O...The USA Swimming ban will take effect on October 1st, 2009 and will throw away the dreams of countless youngsters, hard-earned money of countless parents, and strive for innovations in the world of competitive swimming all into the bin.If an individual works his heart out both physically and mentally in order to achieve a certain goal, shouldnt he be given the same opportunities as those who already achieved that goal? A typical high school teen who is part of a USA swimming club outside of school regularly spends and average of twenty hours in the pool weekly. Completing workouts that total over 5 miles daily, which is more that most individuals walk, the teen who undergoes such mental and physical stress is uncontrovertibly determined toward achieving a certain goal. If any type of turbulence is...

Imagery Essays - Christian Poetry, Eliot Family, New Criticism

Imagery Essays - Christian Poetry, Eliot Family, New Criticism Imagery Imagery Depicted Through T.S. Elliot's The Hollow Men The imagery depicted in T.S. Eliot's poem The Hollow Men evokes a sense of desolate hopelessness and lends to Eliot's generally cynical view of civilization during this period in history. A reaction of deep and profound disappointment in mankind around him is made evident in this poem, first published in 1925. In this short piece, Eliot lists several deep faults he finds in his fellow human beings, including hypocrisy, insensability and indifference. Overall Elliot leaves the reader with a feeling of overwhelming emptiness. An important feature of this poem is the fact that the narration of the poem is in first person. This establishes Eliot's and the readers relationship to the images and ideas presented. When the poem begins We are the hollow men rather than They are ... or You are... the reader is immediately included within this poem, along with Eliot himself. This type of narration creates a sense of common hollowness and by the end of the poem, therefore, a sense of common responsibility and guilt. Early in the poem, Eliot creates a world of desolation. The idea of dryness is emphasized by the repeadted use of the word dry in the first stanza, where we read of dried voices, dry grass and dry cellar. When he mentions the sound of rats feet over broken glass he subtly prods at our anxieties about disease and decay. Eliot then mentions the dead, calling them Those who have crossed...to death's other kingdom. These people are made real by Eliot's repeated mention of their eyes. He refers to them first as making their crossing into death with direct eyes, meaning that they faced and surrendered to death, unable to turn away. Also he states they have eyes I dare not meet in dreams, indicating that this narrator fears addressing death, either his own or those who have crossed. Later in the poem, in part IV, Eliot returns to the eyes imagery with The eyes are not here/There are no eyes here. The absence of eyes, here, indicates Eliot's condemnation of indifference among those still living to the fate of the dead. Further into section IV he presents The hope only/Of empty men as being when and if The eyes reappear/ As the perpetual star. Here Eliot calls for an opening of eyes and cessation of disregard and indifference to these deaths. The idea of being afraid to face death and feeling guilt over the deaths of others contributes to the full explanation of what Eliot means by hollow men. Besides being afraid to face the eyes of the dead, just as the criminal cannot face the eyes of his victim, this narrator also expresses a desire to hide from death itself. When he wishes to also wear/Such deliberate disguises/Rat's coat, crowskin, crossed staves/In a field/Behaving as the wind behaves, we realize that the hollowness is a disguise to fool death into going elsewhere. This particular section of the poem overlapes images of rats and crows, animals associated not only with death, but also with the scarecrow and it's crossed support staves. Section V of the poem begins with a variation of a children's rhyme, Here we go round the mulberry bush which replaces the mulberry with the cactus called a prickly pear. This strange song comes somehow as a relief from the desolate tone of the poem previously. The presence of the cactus instead of the familiar mulberry keeps the reader in Eliot's world of desolation, while bringing to mind the fact that innocent children still live and play in that world, and that someone must take responsibility for the world they are born into. The somewhat grim concluding stanza echoes the mulberry bush song from earlier, this time with an even darker tone. Again the reader is confronted with the image of children, their playfulness and hopefulness, paired with the image of the death of not only men but of the entire world. Here Eliot plainly states a ghastly warning about the path he sees his world taking. He sees it all coming to an end not in some apocalyptic catastrophe, but through mankind allowing himself to slowly decay and degrade to the point of oblivion.