Saturday, December 7, 2019

Designed With One Admin Ou Per Department †Myassignmenthelp.Com

Question: Discuss About The Designed With One Admin Ou Per Department? Answer: Introduction STL is a construction company that has 3 departments and employs 30 employees. To meet the requirements of the company, intranet with some specialized features will be structured and designed. ADDS will be designed to help the administrator properly manage the network. Roaming profiles will be created using the file server. A DHCP server for the specification of IP scope of both client and the server will be installed. A web server will be installed to help administrator and the users browse the web page. Windows server 2012 R2 Windows server 2012 r2 is the new version of windows server2012.It provides some enhancements. Offsite disaster and backup recovery options are there. For storage resources and virtual machines, it provides cross-cloud management capacity. It provides the virtual machine for service provider and windows Azure cloud computing environment. Features of Windows server 2012 r2 VHDX reshaping and prevent the duplication for virtual desktop infrastructure Storage spaces tiering. Networking of Windows server 2012 r2 Clustering IPAM(IP Address Management) DNS Hyper-V virtual Switch. Windows server gateway. Hyper-V DHCP Remote desktop services windows deployment services PowerShell Directory services and security ADDS and domain creation ADDS is one of the centralized system. It could be designed for networking management. It is used to manage the network elements in admins.In windows platform it acts as a central could create group and centralized user for full network. In network operating system, it performs as a main switch board. With the help of network, it reduces the administration and security resources. ADDS provides the single point that, all the objects in the network has single point administration. The benefits of ADDS is providing the single user name and password for all the network sources. By using the single user name and password, one could access the network sources in any system. Features of ADDS Reliability Expandability maintainability Reliability Subsystem redundancy is realized in a simple way. The small failure in system does not affect the overall system. Expandability The process modifying the program is simple. The expansion operation is done without affecting the system. To receive the data from the new nodes, one doesnt need to change the sender software. Maintainability Testing could be performed in easy manner. In the time of system operation, one could note down the status of node. Installation and configuration of ADDS Click local server and press ADD roles and features. Click server selection and press next. Select features and click .NET framework 3.5 features. Click ADDS and note down the brief explanation of ADDS. Click install. Now the installation process will be started. After completed the feature installation, the ADDS is installed perfectly Roaming profile and the file server File server is nothing but the one which is used for storing the files and sharing the files if necessary. To create a file share, File serve Resource manager can be used as a role selected on the file server in the windows 2012R2 server manager. The procedures for logging in to the Windows server and creating the file server are given below. Install windows 2012R2 server using a virtual box like the oracle virtual box. Open the server manager from the start screen of the server manager. Click file and storage services from the left side of the server manager window. Click shares-Tasks-New share New share wizard opens. From the new share wizard, select SMB share-Advanced profile-Next Under the share location, select share by volume and then the place where the file has to be stored is created. "Specify share name" screen opens and enter the name of the new share. Next "Configure share settings" screen appears. Select "Enable access-based enumeration" and "Encrypt data access" Select specify permissions-customize permissions to set the preferred permissions. Quota can be applied to the folder by selecting a quota template. The file share folder has been created. DHCP server and its installation DHCP is used to assign the IP (internet Protocol) addresses dynamically. It is one type of protocol. It could be developed in both LAN (local Area network) and enterprise network. It worked at the application has DNS (domain name system) address, default gateway and subnet mask. Benefits No need to record the IP addresses one could assign. It found the unauthorized server on the network. If any client is moved to other region, they get another IP address automatically. There is no need of manual configuration. Features It could support more than 64host. It provides extensive support for downloadable parameter. MAC to IP address mapping is possible. Procedures dorthe installation of DHCP server Start with server manager. Open the ADD roles and features wizard from the server manager. Select results and view the installation progress. Note down, under installation progress DHCP server is present. Now the DHCP post install configuration wizard is appeared. Select authorization and give the user name. Select summary and view the status of DHCP installation. DHCP is installed successfully. Web server and its installation IIS is one type of Web server. It acts as role server. It stands for Internet Information Services. The operation of IIS is to accept the request from the client computer and provide the response to the client system. The basic work of the IIS (web server) is delivering the information to the WAN,LAN and intranets. It could deliver the information in more formats like image files HTML codes etc. It performs via many protocols Features of IIS Centralized certificates Dynamic IP Restrictions Server Name indication IIS CPU Throttling Application Initialization. NUMA-aware scalability FTP logon attempt restrictions. Procedures for the installation of DHCP Open the Server manager. Click installation type and press next. Select server selection and then click next. Select server roles and select web server (IIS). Click next. Select features and click enhanced storage. Click role services and select custom logging. Click install and wait for seconds to complete the installation. After complete the feature installation, check the IIS is installed perfectly. Conclusion To create a file share and manage the roaming profile, file server is created. A DHCP server and ADDS server is also installed. In addition to the ADDS, DHCP and file server, IIS server is also installed. The servers are installed in such a manner that they satisfy the intranet needs of the STL Company. Windows 2012 server installed on a virtual box is used for the creation and testing of the servers. The network is designed with one admin and one OU per department. References [1]M. Tulloch,Introducing Windows Server 2012 R2 technical overview. [Redmond, Wash.?]: Microsoft Press, 2013. [2]S. Lynn,Windows Server 2012. Farnham: O'Reilly, 2013. [3]O. Thomas,Training guide. . [4]2017. [Online]. Available: ... rests.html. [Accessed: 26- Sep- 2017]. [5]2017. [Online]. Available: ... tures.html. [Accessed: 26- Sep- 2017]. [6]2017. [Online]. Available: ... rver-2012/. [Accessed: 26- Sep- 2017]. [7]2017. [Online]. Available: ... er-2012-r2. [Accessed: 26- Sep- 2017]. [8]2017. [Online]. Available: ... r-2012-r2/. [Accessed: 26- Sep- 2017]. [9]K. Schaefer, J. Cochran, S. Forsyth, R. Baugh, M. Everest and D. Glendenning,Professional IIS 7. Hoboken: John Wiley Sons, Inc., 2011. [10]R. Aitchison,Pro DNS and BIND 10. Berkeley, CA: Apress, 2011.

Saturday, November 30, 2019

Philomela by Matthew Arnold free essay sample

This poem is a mythological history of love and treason, a history that show the poet’s dramatic loneliness and alienation from the real world. The poetic voice speaks to an external self, comparing his passion and his pain with the eternal passions and pains of the world, always the same, represented by the myth of Philomela. It is then a clear declaration of what is poetry for the author, and by the use of mythological images he achieves an universal meaning through space and time. The poem has three stanzas of 4, 11, and 17 lines, with few rhymes and various patterns. The first part introduces the topology, the second adds the narrative elements with a link to the past, then, in the third stanza, the poet completes the narrative using rhetorical questions, obtaining a full fusion of himself with poetry and with the myth. First Stanza In the four lines of the first stanza the poet introduces the setting of the story he is going to tell/narrate. We will write a custom essay sample on Philomela by Matthew Arnold or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page His imperative â€Å"Hark! †, repeated twice, is an invitation to listen the sing of the nightingale, a call to himself, a call to his world. Then the name of the mythical bird: â€Å"the nightingale†, a poetic symbol linked with the themes of love, betrayed love, revenge, and therefore rather a lament than a chant. At the same time the nightingale represents, over centuries, the superior art that can inspire the poet, a kind of romantic muse. The other symbolic object in this first part of the poem is the â€Å"cedar†, for it is well known the wide use of this aromatic wood in ancient Greece to build ships, thus two specific semantic fields can be found in the cedar tree: the classical Greek environment that the poet wants to create, and his ability to build his own art. The last line of this stanza, evaluated with the title of the poem, makes completely clear the images just given: triumph and pain together are the feelings transmitted by the mythical nightingale, by the myth of Philomela. Second Stanza The second stanza begins in perfect coherence with the setting of the first. The poet calls to a â€Å"wanderer†, a very topical noun for poets, rising/showing a feeling of surprise for something unexpected. Now the poetic voice is addressing directly the mythological bird, he calls it (the zoomorphic Philomela) â€Å"wanderer from a Grecian shore,† making a first personification from a human being into a nightingale that will be revealed in the following lines. After many years, and from the far land of Greece (line 6), the bird is here, where the poet can listen her â€Å"burst†. From line 7 the personification is complete, the poet states two rhetorical questions to define more and more who is the nightingale’s personification: it is Philomela. She is asked from the poetic voice if she is still suffering for an ancient, deep, intact pain, an â€Å"old-world pain† that gives all the sense of wideness of her eternal love suffering. The second question of this stanza recalls the reader where the poet is, a topological point of view that change the time and space setting: from Greece to England, from myth to reality. Now, Philomela, in the shape of a nightingale is here, with the poet, can the idyllic place be a â€Å"balm† for her sorrow? Third Stanza In the third stanza the poetic voice begins with one of the three interrogatives that will give the educated reader the whole scene of the mythological story the speaker is referencing to. It is the myth of Philomela and Procne, betrayed by Tereus. The zoomorphic personification reveals the identity of Philomela, now a nightingale, singing on the cedar tree, whose singing the poet can hear, getting from it a fresh inspiration for poetry. From line 16 to line 27, each question is an episode of the myth, the poetic voice asks for facts he already knows, recalling the events to increase the pathos in an hyperbole of emotion. Then, it is clear a double personification: the one of Philomela into a nightingale, and the one of the poet himself into the same mythical bird, as the muse of his poetic art. The last question (lines 22-27) gives to the reader a feeling of hysical materialization of Philomela, the word â€Å"assay† is in general relevant with substances, objects (or subject) that change shape and state, â€Å"the feathery change†: from human to fauna, from history to myth. And all this sorrow, for a betrayed love, â€Å"once more seem to make resound† in the city of Daulis, in the Cephis valley, the places where the tragedy happened. Now the very last interrogative (lines 28-30) is a call to Eugene. Who is Eugene? It is a name, but it is also a genus of the myrtle family plant, another main symbol in poetry. Thus it can be inferred that Eugene is the muse of the poet, the poetic inspiration that is in himself, the old and new world that, inside him and in the same time, drives him to â€Å"Eternal passion! † and to â€Å"Eternal pain! †. Conclusion Same last consideration about the metrical scheme and the main subject of this poem. This poem is part of a tradition destined to endure through time, it shows the theme of the incurable loneliness of the exiled artist from his ethereal country, trapped in the physical world but subdued to the desire of infinity, a being always balanced between elevation and fall.

Tuesday, November 26, 2019

The Simple Guide to Effectively Describing The Setting of Your Story

The Simple Guide to Effectively Describing The Setting of Your Story How to Describe the Setting of a Story Need help writing your novel?Click here to download my ultimate 12-step guide. One of the toughest nuts for any novelist to crack is where to start. How do I know? Well, two-thirds of my 192 published books are novels, so I’ve faced this dilemma nearly 130 times. Trust me, it doesn’t get easier. But there are common errors to avoid. I know because I’ve made them. And because I love asking agents and editors what mistakes they see in beginners’ manuscripts. Ready for the most common error? The apparent feeling that you must start by describing the setting of your story. Setting is important; don’t get me wrong. But we’ve all been sent napping by novels whose covers and titles promise to transport us, and yet begin with some variation of: The house sat in a deep wood surrounded by†¦ Gag. Pro tip: Readers have little patience for description. In fact, they often skip it to get to the action. If your main question is how to describe the setting, I have a simple answer: Don’t. But, you say, I have to establish where we are and set the scene, don’t I? Yes. Like any other reader, I like to get an immediate feel for where and when things take place. But we writers make a mistake when we make that- describing the setting- a separate element. If you do it at the beginning, you should do it for every scene in a different setting, right? Sorry, but that will quickly transport your reader from slumber to death. Well, you say, how do I set the scene without describing it? You don’t. But you make description part of the narrative, part of the story. It will become almost invisible, because mentions of what things look and feel and sound like will register in the theater of the readers’ minds, but they will be concentrating on the action, the dialogue, the tension and drama and conflict that keep them turning the pages. In the end they won’t remember how you worked in everything they needed to fully enjoy the experience. Consider these setting examples: Describing the setting of a story before starting the action: London in the 1860s was a cold, damp, foggy city crisscrossed with cobblestone streets and pedestrians carefully dodging the droppings of steeds that pulled all manner of public conveyance. One such pedestrian was Lucy Knight, a beautiful, young, unattached woman in a hurry to get to Piccadilly Circus. An eligible bachelor had asked her to meet him there†¦ I shouldn’t have to inform you that such an opening is all telling, no showing, and that the question of how to describe the setting has been answered, but not correctly. Describing the setting by layering it in tothe story: London’s West End, 1862 Lucy Knight mince-stepped around clumps of horse dung as she hurried toward Regent Street. Must not be late, she told herself. What would he think? She carefully navigated the cobblestones as she crossed to hail a Hansom Cab- which she preferred for its low center of gravity and smooth turning. Lucy did not want to appear as if she’s been tossed about in a carriage, especially tonight. â€Å"Not wearin’ a ring, I see,† the driver said as she boarded. â€Å"I beg your pardon?† â€Å"Nice lookin’ lady like yourself out alone after dark in the cold fog†¦Ã¢â‚¬  â€Å"You needn’t worry about me, sir. I’m only going to the circus.† â€Å"Piccadilly it is, Ma’am.† First, the location tag, flush left before the first paragraph, saves us a lot of narration which can be used to let the story emerge. And yes, the second sample is longer, but that’s because we’re not telling, we’re showing. The reader learns everything about the character from the action and dialogue, rather than from just being told through description. So try the technique you’ve likely heard about since the day you decided to study writing: Show, Don’t Tell You’ll have to remind yourself of this daily for the rest of your life, but once you add it to your writing toolbelt, you’ll find it adds power to your prose and keeps your reader’s interest. The key, as you can see from the examples above, is to layer in your description. Maybe when Lucy meets her new gentleman friend, he grabs her and pulls her into an alley, saying, â€Å"Come here where no one will see us.† There she might scrape her knuckles against a brick wall and wish both hands were free so she could tighten her coat against the wind. Incorporating description that way- showing rather than telling- can alone revolutionize your novel. Apply This Setting Technique Immediately and see how it picks up the pace and adds power. It will force you to highlight only the most important details, triggering the theater of your reader’s mind. If it’s not important enough to become part of the action, your reader won’t miss it anyway. But you’ve read classic novelists who use description exactly the way I’m advising against. What gives? Two things: 1- If those novels were written before TV and movies (let alone smart phones), they were aimed at audiences who loved to take the time to settle in with a book for days at a time. 2- If those novels were written in our generation and still succeeded with that kind of writing, it’s because the author is a master. If you can write at that level, you can break all the rules you want. I can’t, so I’ll stick with what works for today’s readers. How about you? Need help writing your novel?Click here to download my ultimate 12-step guide. Still confused about how to describe the setting of a story? Give me examples from your own work in the comments below.

Friday, November 22, 2019

APA Referencing †How to Cite a Website (Proofed)

APA Referencing – How to Cite a Website (Proofed) APA Referencing – How to Cite a Website These days, with the World Wide Web at our fingertips, many students don’t even know what a book looks like. OK, that’s not true. It would be pretty difficult to be at college without going to the library at least occasionally. Why is it all papery? Can I adjust the brightness? The point we’re trying to make is that the internet is an increasingly valuable tool for research when writing a college paper, so knowing how to cite a website correctly is vital. In this post, we take you through the basics of citing a website using APA referencing. In-Text Citations Parenthetical citations for a website are the same as for any other source, requiring you to give the author’s surname and year of publication: APA referencing has specific rules for citing a website (Lee, 2010). Make sure to look carefully, as often the name of the author or date of publication can be tucked away somewhere. If, however, you cannot find the details required, there are alternatives. If you can’t find the name of the author, you can use a shortened version of the article title instead: The tutorial is designed for complete newcomers to APA style conventions (â€Å"The Basics of APA Style,† 2016). If you can’t find the date, you can use â€Å"n.d.† to indicate this: Proofreading helps you achieve the grade you deserve (ProofreadMyPaper, n.d.). Reference List As with any source, you should add any websites cited in your work to the reference list. The basic format for this in APA referencing is: Author (year and date). Title of document [Format description]. Retrieved from URL The â€Å"format description† part is only required if you’re citing a specific kind of document or site, such as a blog post or an online slideshow. For instance, the blog post cited in the first example above would appear in the reference list as: Lee, C. (2010, November 18). How to cite something you found on a website in APA style [Blog post]. Retrieved from When information is missing regarding the author or date of publication, use the same conventions as described above for citations. For instance, a page with no named author would appear as: The basics of APA style (2016). Retrieved from A page with no date of publication, meanwhile, would simply use â€Å"n.d.†: ProofreadMyPaper (n.d.). About us. Retrieved from

Wednesday, November 20, 2019

The Main Problems Of Fast Food Essay Example | Topics and Well Written Essays - 750 words

The Main Problems Of Fast Food - Essay Example Fast food restaurants have become a factor that makes families spend less time together since mealtime is the only time a family has for all its members to come together for sharing experiences. With fast food restaurants, the family time has been eaten away, and especially for the youngsters who prefer fast food restaurant because of it a place where they hang out with their fellow peers. Even though I see fast food restaurants as an intervention of current generation in the way ready-made food is served in a faster way, it is a big concern the way these foods have high amounts of salts and fats hence have adverse effects on our health. It is important, therefore, to make good choices during the process of ordering food in a restaurant while being active in our daily lifestyle in order to minimize adverse effects of fast foods. Preventing overweight usually involves balancing of energy while addressing factors that greatly affect eating and the physical activity (Boyle, Long and Rot h 328). A hard-working professional who is working in a city will definitely prefer readymade food due to various reasons, and with the benefits and setbacks that come with fast foods, many of them have centered their interests on the positive effects of eating fast foods. Many people who often find no time to prepare food at home opt to take fast food because it takes few minutes to be ready. Nevertheless, besides all the advantages that come with fast foods, they also come with setbacks hence they are not an exception.

Tuesday, November 19, 2019

413 week 13 Assignment Example | Topics and Well Written Essays - 250 words

413 week 13 - Assignment Example Physicians cum entrepreneurs have identified a business opportunity where they can â€Å"make a kill.† Nonetheless, whereas the profits from diagnostic imaging services are lucrative, the health care services are jeopardized. Using the analogy of the Tragedy of the Commons, Archie and Alexander (2010) offer the probable eventuality of the healthcare system if nothing is done to contain the entrepreneurial trend among the physicians. In their effort to maximize their profits, they gradually drive the cost of accessing medical care high. This is already evidenced in the rising expenditure on both Medicare and Medicaid associated with imaging services. Similarly, overutilization of the diagnostic imaging services may provide temporary reprieve but the long term implications are most likely to drive healthcare into the doldrums. This is because more professionals, including those with little knowledge on diagnostic procedures, may choose to invest on the imaging services so as to increase their income. This is bound to cause decline in the quality of medical care. In conclusion, entrepreneurial trend occasioned by diagnostic imaging services should be discouraged at all costs using appropriate technologies. The trend not only hurts the quality of medical care, but is bound to frustrate the code of ethics in healthcare. Because of this, this issue is most likely to be an issue in future discussions within the Healthcare Information Management

Saturday, November 16, 2019

Film and Literature Essay Example for Free

Film and Literature Essay Literature and film feed at the same breast, considering the affinities between them. Since its very beginning, Hollywood has used works of fiction as source material for films. One of the most discussed adaptations is Francis Ford Coppola’s Film Apocalypse Now (1979) based on Joseph Conrad’s novel Heart of Darkness (1902). This paper compares and contrasts these works of art, arguing that while there are obvious differences, the film generally general remains true to the core meaning of the novel. One can say that Coppola’s film is a thematic and structural analogue to Conrads novel. Differences On the surface it seems that Apocalypse Now deviates largely Heart of Darkness. The differences can be seen in settings, events, characters, and other snippets of information such as quoted lines and strange actions of the major characters. The settings of the two stories are different and written in different periods of time. The setting of Conrads late nineteenth century novel is the Belgian Congo in the 1890s. By contrast, Coppolas 1979 film takes place in Southeast Asia in the 1960s during the Vietnam War. In addition, the novel centers on Charles Marlow, a British sailor employed by a European trading company as captain of one of their steamboats, whereas the film focuses on an American army officer, Benjamin Willard. Another major difference is that the ivory traders are in the Congo of their own greed and free will, whereas the American soldiers are drafted into Vietnam and engage in the war against their will. At the first glance, there seem to be character differences in the novel and film – Copollas Willard is nothing like Conrads Marlow. In the novel, Marlow is very eager to meet Kurtz and perhaps gain knowledge about the secrets of the ivory trade in the former Zaire. On the other hand, Willard seems to have a death wish. Copolla portrays Willard as a depressed human, having a soldiers killer instinct, throughout the entire film. The effectiveness of point of view also differentiates the novel and the film. While it is true that Willard remains on the screen more than anyone else in Apocalypse Now, and his comments are often heard on the films sound track, viewers still do not see others completely from his perspective as readers do in Heart of Darkness. Hence, the film is robbed of some of the emotional intensity that one feels when one reads the novel. This is simply because the narrator in the novel communicates his subjective reaction to the episodes from the past. In the film, the audience does not grasp the extent to which the narrator is profoundly affected by Kurtzs tragedy. Many of Marlows sage reflections about Kurtzs life and death are absent in the film. Moreover, while Coppola successfully creates a staggering experience of the wars madness, he seems to confuse the moral issues. This is perhaps because of his view of personalizing the novel. The director identifies so strongly with Kurtz that he modifies the issue of power and disturbs the delicate balance between Conrads story and the subject of Vietnam. Apocalypse Now succeeds in making its viewers experience the horror of the war and to realize their own complicity in it, but it fails to highlight the nature of Kurtzs horror illuminated in Heart of Darkness. Coppolas failure to combine Conrads story and the Vietnam War in this respect points largely to The films adaptation of Kurtz. In the novel, Kurtz is corrupted by his isolation in the wilderness, resulting in an obsession with power and unfolding frightening truths about himself: I think it had whispered to him things about himself which he did not know, things of which he had no conception till he took counsel with his great solitude-and the whisper had proved irresistibly fascinating. It echoed loudly within him because he was hollow at the core. (133) in the film, Coppola tries to resonate Kurtz’s â€Å"hollowness† by having the character recite The Hollow Men by T. S. Eliot. But this can be seen as more of an emblematic solution that does not somewhat applies in the Vietnam War context. Parallels While the settings, backgrounds, characters, and approaches of the novel and film are somehow different, the narration, structure, and that theme are similar. The following paragraphs summarize some of the essential parallels between Conrads Heart of Darkness and Coppola’s Apocalypse Now. In the novel, Marlow introduces his narrative with a passage about â€Å"devotion to efficiency†, the idea behind how the ivory trade makes profit, justifying cruel exploitation (Kinder 16). This statement is also applicable to the Vietnam War context as they are both in the stages of Western imperialism: The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much. What redeems it is the idea only. An idea at the back of it; not a sentimental pretence but an idea: and an unselfish belief in the idea-something you can set up and bow down before, and offer a sacrifice to. (70) Coppola does not retain this speech in the film, but it becomes the groundwork for the dramatic events that unite Kurtz and Williard: the former’s recounting of the inoculation story and the latters murder of a wounded Vietnamese woman. The two are driven into a situation in which â€Å"military efficiency is totally undermined, yet they have been trained to worship it and to internalize it as the source of their own personal pride† (Kinder 16). In the novel, although Kurtz embodies all of Europe, he can be viewed as a â€Å"universal genius† who shows what lies ahead for those who take the challenge to look into the abyss. Despite the shortcomings in the handling of Kurtz, Copollas conception of film remains a masterful work that complements the power of Conrads vision. The novel and the film embody the theme of insanity and madness and insanity caused by the evil of imperialism. Madness in the novel is the result of being removed from ones normal environment and how people cope with their new environment. The same theme is explored in the film. Many soldiers who are drafted into Vietnam are barely 18 or 19-year-olds. Their mental stability is shaken when they are thrown into a harsh environment, where their lives hang on by the minute. Soldiers such as Lance and Chef are ready to snap at any moment due to the shock and realization of what kind of situation they are in or what is the purpose of fighting fellow men. They also fear the fact that they do not know where they are headed. Copolla and Conrad literally and metaphorically confront the madness and insanity brought about by Western imperialism and colonialism. Through Kurtz and the American soldiers, Copolla is able to portray what war is like for them, and why so many of them suffered from Post Traumatic Stress Syndrome. The film suggests that wars are an imperialist tool that drives the weak into their destruction. On the other hand, Conrad exposes how the imperialist agenda leads to the exploitation of foreign lands and its people, leaving the imperialist agents themselves deranged and empty (Papke 583). Both the novel and the film also give rise to a race discussion. Conrad and Coppola portray White men as the dominant. They not only rule over their respective crews; they also dominate the local peoples. Marlow and Willard look at the native people as if are the savage culture and White men are the civilized one. But it is interesting to note that each of the two main characters see a little of himself in Kurtz, a degenerated savage White man. Coppola’s take on Conrad’s Heart of Darkness has gained much attention from film scholars. In â€Å"The Power of Adaptation in Apocalypse Now†, Marsha Kinder states that â€Å"Coppola rarely hesitates to change Conrads story-setting, events, characters-whenever the revision is required by the Vietnam context. † (14) Moreover, the dialogues in the film, especially Willards voice-over narration, have been attacked by several film critics for sounding more like a parody of author Raymond Chandler than an adaptation of Conrads novel. But a deeper look suggests that Willards character and tone are not intended to be Marlows. To suit the Vietnam context, Willard has been totally transformed into a trained assassin, whose life has been drained of all meaning. Coppola retains Conrads focal image of the river. In the film, just as in the novel, each of the main characters embarks on a literal and metaphoric central journey. Marlows description of the Congo is an enormous snake uncoiled that fascinates him as a snake would a bird. The films structure is controlled by the image of the river â€Å"that snaked through the war like a main circuit cable,† carrying Willard to Cambodia. The novel and the film begin with the protagonists explanation of how they got the appointment which necessitated their excursion upriver. Marlow is dispatched to steam up the Congo in to find Mr. Kurtz, while Willard is mandated to journey up the Mekong River in a navy patrol boat to find Col. Kurtz. Moreover, while they travel up a primeval river to fulfill their respective assignments, they speculate about the character of the man they are seeking, with the help of the information they have pieced together about him. In both novel and film, the river eventually leads Marlow and Willard to Kurtz and his dying words of horror (Kinder 15). This final destination for both men is their soul-altering confrontation with Kurtz. Overall, it is an expedition of discovery into the dark heart of man. It is also a close encounter with mans capacity for evil. Coppola agrees with this observation and stated that he also saw Willards voyage upriver as a representation for the journey of life that people take within themselves and during which they decide which side to take: good or evil. The horror of the world dominated by hollow men is at the center of both Heart of Darkness and Apocalypse Now. Kurtz, in his god-like acousmatic voice and morally terrifying manifestation, is invested with much greatness: He fully understands existence in all its repugnance. Repelled and terrified Kurtz pushed himself to go into the very heart of darkness, to fully engage in the dualism (good and evil) of Being. To call Kurtz heroic or rapacious or good or evil, is to miss the point entirely. He is forever shaped by a dark satori, by an understanding of the omnipresent nature of darkness. Marlow and Willard are arguably Kurtzs spiritual sons, and they experience the same realization. Both of them look full face at the great condemnation, at the dark obscurity of Being. Each of them faces moral terror in the shape human conduct forced beyond decent limits; and each of them is profoundly transformed by this experience. In her book, Double Exposure: Fiction Into Film, Joy Could Boyum states that â€Å"in substituting Willard for Marlow, a madman for a sane one,† Coppola creates a character incapable of â€Å"any shock of recognition,† a man unable to â€Å"know evil when he sees it† (114). Boyum also argues that there is no discovery for Willard; he is a â€Å"murderer confronting a murder, a madman face to face with madness-it amounts only to a tautology. † Thus, Copollas Apocalypse Now can be argued as a movie that has no moral center. Unlike Willard, Marlow returns from the river experience with intact moral perspective and sanity, inviting the readers trust and identification. But one can also say that, like Apocalypse Now, Conrads Heart of Darkness, itself, is a novel that has no moral center. The book suggests that Marlows great realization is that existence itself has no moral heart. The character has not sustained the river journey with his intact moral perspective unchanged. Towards the end of the novel, Marlow is a transformed man, largely isolated and very different from those people aboard the Nellie. He is alienated forever in his wisdom. Willard, too, in the end, is vastly separated by his new knowledge. While many critics see Willard as immoral, insane, and unchanging, Kurtzs view of him is more fitting. In the film, Kurtz describes Willard when he sees him for the first time as â€Å"an errand boy sent by grocery clerks to collect a bill. † But in the end, Willard becomes wiser. He has been transformed, humbled by his face-to-face confrontation with the darkness natural in Kurtz, in himself, in existence. Therefore, the separate stories of Willards and Marlows river experiences follow a similar narrative pattern and arrive at a similar truth. Apocalypse Now is a thematic and structural analogue to Heart of Darkness. This is perhaps because, Copolla, in his authorial wisdom, fully understood that theme and technique, meaning, and structure are inseparable entities. To tell a story differently is to tell a different story. It seems that, ultimately, Copolla and Conrad tell the same story. Conclusion This paper looks at the differences and parallelisms between Conrad’s Heart of Darkness and Coppola’s Apocalypse Now. In comparing and contrasting the novel and the film, this paper suggests that the film has some significant deviation from the novel. Despite this, however, Apocalypse Now generally remains true to the core of Heart of Darkness. Both the novel and the film follow the same story line but Conrad and Copolla have different ways of presenting this story. This results in surface differences. But a deeper and closer reading of both the novel and the film reveals that they complement each other. This is one of the most important things in adapting a work of literature into a film. Works Cited Boyum, Joy Gould. Double Exposure: Fiction Into film. New York: Universe Books, 1985. Conrad, Joseph. Heart of Darkness. New York: New American Library, 1950. Kinder, Marsha. â€Å"The Power of Adaptation in ‘Apocalypse Now’†. Film Quarterly 33. 2 (1979-1980): 12-20. Papke, David Ray. â€Å"Joseph Conrads Heart of Darkness: A Literary Critique of Imperialism. † Journal of Maritime Law and Commerce 31. 4 (2000): 583-592.