Marginal Revenue and Profit

?All together for an organization to have the option to arrive at its maximum capacity money related administration must be set up. This administration should know about in any event the rudiments of money related plans which are income, cost and benefit. These three things can represent the deciding moment an organization. Every one of these things must be comprehended and considered before plans can be laid to make or better an organization. Income is the sum an organization gets (Marginal Revenue, 2009). On the off chance that an organization is in the matter of deals, income is the measure of cash the organization gets per unit sold. Minimal income is the measure of cash an organization gets for the last unit sold. This is found by separating the adjustment in income by the adjustment in amount sold. For organizations that contend with each other minimal income isn't significant. This is on the grounds that in a serious domain most items are sold at a set cost with the goal that minimal income is equivalent to the set deals cost of the item. For an imposing business model then again, minor income is significant. Imposing business models have a diminishing minimal income bend (peripheral Revenue, 2009); for a restraining infrastructure the minor income is not exactly the business cost. This is on the grounds that a syndication must have a lower deals cost so as to build the measure of item sold. Complete expense is the measure of cash it expenses to work at a specific pace of creation (Baker, 2000). There are two kinds of cost: variable and fixed. Fixed expenses are those that continue as before paying little mind to creation and variable expenses are those that change with creation. Peripheral expense is the expansion either to add up to cost or all out factor cost coming about because of one more unit of yield (McConnall and Brue, 2008). Typically this is found by separating the adjustment in complete expense by the adjustment in amount. Benefit is the positive addition from a venture or business activity subsequent to deducting costs (Profit, 2009). Benefit augmentation is the possibility that individuals will attempt to make as high a benefit as conceivable given the conditions. Since negligible income is the measure of income an extra unit will acquire and minimal expense is the sum the extra unit will cost to deliver, at that point benefit expansion is where peripheral expense and minor income are equivalent (Profit Maximization, 2009). So as long as minimal expense is lower than peripheral income there is benefit, yet in the event that negligible expense ever surpasses minor income the last unit ought not be created. On the off chance that the minimal income is higher than the minor cost, the organization can deliver more units. Entrepreneurs and supervisors should have the option to make a benefit. At whatever point individuals consider benefit, they know that benefit is the measure of cash left after the costs are paid and the vast majority know the more prominent the benefit the happier they will be. The vast majority don't realize that benefit amplification requires the information on peripheral expense and minor income. So as to decide when an organization is done benefitting from creation of additional units, one must realize that benefit boost is where negligible income approaches minor expense. Refernces (2009). Minimal income: Fundamental account. Recovered July 16, 2009, from fundamentalfinance. com Web webpage: http://financial matters. fundamentalfinance. com/micro_revenue. php Baker, S. (2000). Cost ideas. Recovered July 16, 2009, from Economics intelligent instructional exercise Web website: http://hspm. sph. sc. edu/COURSES/ECON/Cost/Cost. html (2009). Benefit. Recovered July 16, 2009, from investorwords. com Web website: http://www. investorwords. com/3880/benefit. html Profit Maximization. Recovered July 16, 2009, Web website: http://www. econ. ilstu. edu/ntskaggs/eco105/readings/benefit max. htm McConnell, C. , and Brue, S. (2008). Microeconomics seventeenth ed. New York: McGraw-Hill Irwin.

Philosophy of Bacon Essay Example | Topics and Well Written Essays - 1250 words

Theory of Bacon - Essay Example In antiquated days scarcely any individuals used to be taught. Rationalists and strict heads used to wear the pants of the general public. The general public used to respect the strict heads. Logicians became absence of training and absence of understanding the world. Obviously the facts confirm that there exact same individual terrified of religions and the logicians were restarting as the advancement of society. In the antiquated occasions at that point and to be extraordinary scholars like Epicures, Zeno, Cleanthes, Arcecitators, Cameades, Pyrrho, Tenion and so on. Their way of thinking was being addressed by the general public, the European culture. Another age of however is surfacing, scrutinizing the very presence of the antiquated European Philosophers. New scholars began opening up their material, down to earth configurations of another way of thinking to the world. A renaissance is gaming and its hypotheses of present day reasoning. It is a scholarly comes and with some cutt ing edge reasoning, the creation used to be denied the work must be renamed an old rationalist and afterward just it used to be acknowledged. Such was the antiquated Philosophers influence on the general public. In actuality the work done by any savvy isn't his own. It is rediscovered and it had really in light of the fact that composed by an antiquated savants and it is just rediscovered by this intellect.But everything changed in the start of the seventeenth century in the renaissance a response began selling is against the old scholars. Individuals began getting a kick out of the chance to reprimand it dismiss it, and endeavoring something new. To build up a reality that cutting edge scholars was to renewed in right off the bat in current Europe, after its unified 300 years in carnation in antiquated Greece. In the old world there were vitality bottlenecks. They couldn't test or upgrade their wellsprings of vitality. They needed to cut the plants and consume for vitality. To somewhat one just or a restricted utilize as it were. Use if creatures and their own lab our, and the vitality of slaves was unreasonably little for them to permit at that point make gadgets that may permit them to make more vitality. Consequently in antiquated days individuals couldn't have an authority over the materials they were having. Or maybe to state that they didn't have the foggiest idea about the logical way to deal with marks best of material that are accessible. At that point came the new present day time frame wherein falls and so forth began creating utilized vitality and more command over the conditions. The general public was changing for better and began living in comfort. The innovation controlling the exhibitions keeping away from the paddling of slaves, the development of attractive analyzes solidifying enough unusual vitality to soul despite the fact that out fitted with guns explosive to shoot the group to use in mining purposed, the creation of a mechanical clock the print machine thus an, etc. Francis Bacon was an early scholar Francis Bacon clarified all the more strikingly about and they can think plan and devise means and approaches to meddle with the nature. He was exceptionally hopeful of an increasingly illuminated and all the more remarkable others conscious. Being and they can accomplish supernatural occurrences in meddling with the nature. They can utilize the nature. Bacon has confidence in accommodating force and its point is to create and super instigate another nature on a given body. The work and point of human information is to wellsprings of transmissions. Genuine information is information by causes, caused are four sorts (1) The material (2) The formal (3) The productive (4) The last Of these four materials and productive are of little results, if everything is valid and dynamic science. On the off chance that a man gains information just on specific subjects, his insight is likewise flawed. On the off chance that an effective and material caused he may find certain things reference to substances in some degree like another chose before hand, both may not turn out to be so proficient to contact the more profound bound ascent of the things.

Disobedience Essay Example | Topics and Well Written Essays - 1000 words

Insubordination - Essay Example It was during this time the Western Tradition Law was framed and started to create. Now and again, residents felt that a few laws are uncalled for subsequently result to opposing them. Frequently, the opposition is peaceful and the residents look to resist certain laws, orders of the legislature just as new standards presented by those involving power planned to profit themselves to the detriment of the residents. It is a deferential contradiction for what is reasonable and valid. Edward Joseph Snowden is an American Computer expert. He is a previous operator of the Central Intelligence Agency just as a previous contractual worker of National Security Agency. Edward chose to release some arranged records to the news sources, these archives contained some data of worldwide observation. The observation frameworks gathered and broke down data on outsiders and Americans. Snowden did this since he felt that it was meddling with the protection of the residents. His activity got differed co nclusions other than labeled a loyalist, swindler, informant just as a covert agent. Thomas More was conceived when school underlined the estimation of power, chain of command, and social controls. He grew up with the conviction that law went connected at the hip with profound quality and ethical quality compared with religion (Watson 8-10). As indicated by More, profound quality was better thought about than law and that formation of laws needed to base on the ethical morals. Be that as it may, More trusted in compliance of law and authority. As per him, law was uniform and there would be social issue the pioneers utilized their ethical convictions to run the show. He quieted that it was an ethical obligation for people to comply with the law. One of the axioms from him was that â€Å"I will give the demon the advantage of law, for my own safety.† (Watson 8-10) More served under King Henry VIII, he believed his method of administering to be shameful and not savvy. As much as he was not content with the methods of the lord, he despite everything served the rul er and followed a few

Ill attach the document that has the questions Essay

Sick connect the record that has the inquiries - Essay Example Because of this weight applied on the cylinders, the cylinders thus apply erosion on the brake cushions henceforth creating a clasping power on the pivoting plate joined to the wheel circle. This cinching power is what is liable for halting the turn plate subsequently the wheel. Figure 1 underneath shows the working guideline of a stopping mechanism. [3] Figure 1 How plan and operational prerequisites impact material property necessities for the brake circle? The focal point of a brake circle contains course with the end goal that as the vehicle drivers presses the brake cushion, the plate is mounted on the hub and is held in to put by the wheel. At the point when brakes are applied, a great deal of warmth is produced because of the contact between the slowing down surfaces. In this manner, materials picked for the development of the brake parts ought to have the option to withstand high temperatures. Additionally, the brake circle runs at a specific rapid during the time spent halti ng the movement of a wheel. [1] The most generally utilized brake plate material was solid metal however it was found to devour a great deal of fuel because of its high explicit gravity. This has seen misuse of other lightweight materials to supplant cast iron. The materials for use in planning the brake circle must have an ease for each unit property and furthermore meet the advanced rationale condition. In this manner, materials utilized for slowing mechanisms must have a steady and dependable frictional and wear properties under shifting states of burden, speed, temperature and condition, and high solidness. [6] Therefore the few variables to be viewed as while choosing a brake circle material incorporate the capacity of the brake plate material to withstand high grinding and less grating wear and capacity to withstand the high temperature developed because of contact. Another significant components that are of significance in thought during the brake circle configuration is the expense of the entire procedure and the heaviness of the materials to be utilized. [1] Material choice exercise for brake circle One of the most central capacity of a material for the assembling of a brake plate is the material to have the option to lessen grinding and less mileage. It should likewise have the option to appropriately work even in high temperatures. The brake circle should likewise have enough warm stockpiling ability to forestall mutilation or breaking because of warm pressure. This isn't especially significant in a solitary stop yet it is vital on account of rehashed prevents from fast. Once in a while it might be immaterial to believe the expense of materials to be utilized if the material is to play out a basic capacity in space for example beryllium for auxiliary parts, iridium for radiation screening. Likewise on the off chance that it is to be utilized in clinical methodology for example gold tooth fillings and in gear for profoundly serious games for example one dashing cruiser had a chamber head made of strong silver for its high warm conductivity. [12] The model for brake plate In Fig. 1 beneath, a brake circle can be romanticized as two pillars having length L, profundity b and thickness h, bolted together at their closures. Every one of the pillar is stacked in twisting when the brake is applied, and in light of the fact that slowing down creates heat, it hence gets hot. The firmness S of the shaft is additionally basic. In the event that the solidness is lacking, at that point the circle will flex, weakening slowing down productivity and permitting vibration. Its capacity to transmit heat, as well, is basic since part of the warmth

Value Chain And Supply Chain Analysis Commerce Essay

Worth Chain And Supply Chain Analysis Commerce Essay The meaning of significant worth chain examination incorporates assessment of business exercises which impacts the companys serious quality. Conveying an item on time is the aftereffect of different business forms working impeccably to make a Value Chain that drives a firm more noteworthy benefit over expenses (Dess, Lumpkin, Eisner, 2007). There are two primary worth chain exercises in the associations. The first is essential exercises which could straightforwardly include an incentive for the last items, for example, promoting and deals, activities, administration and so forth. The subsequent one is bolster exercises which could bolster the viable of essential exercises, for instance, the framework, Human Resources Management, innovation and so forth. (Campbell, 2002) All these divisions cooperate to create the companys benefit. In the race for worldwide control, the segments of this worth chain must be optimizedâ on an overall scale, at all degrees of the enterprise Global Headq uarters, Regional Headquarters, and nation level, just as inside the basic item portfolios, areas, and nations that the organizations work in. (Johnson, 2008) 2.1.1 The Value-Chain exercises for the business and FedEx Corporation Transportation is perhaps the biggest business on the planet, and its part run is exceptionally wide which incorporate taxicabs, truck, train, ships, freight boats, planes, pipelines, distribution center and coordinations administration. For the business, the three principle patterns were globalization of business, data innovation improvement and new innovation to help process proficient, and the market interest for more worth included. Consequently, the organizations in transportation and coordinations industry rely upon the worldwide system of appropriation focuses to increase snappy installment cycle and less expensive assets. In FedEx Corporation, as a pioneer firm in the business, its concentrated structures have constantly required, and encouraged billion dollar interests in IT and set up the site from 1994. It gave an effective innovation to the FedEx Corporation as a pioneer in the entire business for e-business. This procedure turned into a bit of leeway that they used to su bvert their rivals qualities and confined client assistance. With an all around associated IT organize, FedEx had the option to use their IT bit of leeway to support their corporate records on a worldwide premise, as opposed to on a nation by nation premise. With the best HR framework in the business, FedEx likewise has had a functioning key acquisition advancement activity that has been embraced by the remainder of the business, creating investment funds more than a huge number of dollars, directly to the reality. The most significant piece of the worth chain is found in the senior administration of these organizations. FedEx has had steady, solid groups running the basic segments of the worth chain and the related divisions. (Latinamericanlogistics.org, 2009) For additional help exercises of foundation, in the early years, most organizations created on purchasing space on business aircrafts or getting their shipment to the outsiders. Notwithstanding, FedEx stress on making its own armada, the system could successfully diminish the expense of business process, increment the constancy and speed of conveyance and improve the length of request cycle. Moreover, for settling the transportation volume development delayed down, the FedEx Corporation redesigned in the time of 2000, its five auxiliary organizations could work autonomously yet contend all in all in the business. 2.1.2 The center exercises for the business and FedEx Corporation Worldwide Transportation and Logistics Industry as the administration business, its center movement of significant worth chain ought to be the administration. The organizations ought to contend on client division, evaluating and nature of administration. In the business, USP was the biggest organization for transportation. Most organizations ought to underline on decreasing the cost, very much oversaw coordinations activity could successful diminish the length of request cycle and mitigate the pressure of income. FedEx Corporation was acquainted as government Express with the early commercial center. Around then, the organization battled to another coordinations strategy, which was for the time being conveyance. It succeeded and all around done what's needed for their rivals in the market and bring all the more fascinating to the coordinations advertise. The most intriguing thing is that FedEx gives quick conveyance administrations which has been named as FedEx Ground. This administr ation gives the conveyance day in 2-3 days and inside a more affordable expense to each shipper. On the opposite side, FedExs esteem chain is inserting into Ground, Cargo and different divisions. From the start time when organization discussing FedEx ground, the companys president and CEO (Frederick, 2008) demonstrated that the choice to part Ground separated was to Broaden and develop FedExs product offering, so as to exploit client center, and the size of the market. In the bundle business of FedEx Ground, it incorporates low worth items which dont should be at conclusive goal in light of the short bundle time of FedEx Express. Smith (2006) reported the model is taken from 3M Company, which has 250 separate working organizations, every one of which is centered around a particular market section. Agreeing the figure 1, FedEx had explicit destinations and procedures in each Value-chain exercises. Figure 2 FedEx esteem chain exercises (Source: http://www.fedex.com/us/about/today/strategic) 2.2 Supply Chain Management Analysis Flexibly Chain Management is the screen and the executives of materials, data, and accounts, as those components move in a procedure from provider to producer to distributer to retailer to customer (SearchManufacturing.com, 2007). For running the full scope of items and administrations, organizations depend on SCM convenient methods and strategies to move merchandise. For example FedEx guarantee the quick conveyance inside the more affordable expense. FedEx is in the matter of giving organizations the capacity to deal with their flexibly chains. In the Global Transportation and Logistics Industry, the phase of gracefully chain ought to be from provider, inbound, fabricating, request the executives to the outbound. For the entire procedure, the organizations should have powerful administration on stock administration, stockroom the board, the buying procedure, the item appropriation, transportation and the client support. (Lynch, 2006) In FedEx Corporation, it has propelled the board framework in each procedure. The figure 2 shows that the distinctive administration framework use in FedExs flexibly chain the board. For example, the Customer Oriented Service and Management Operating System is one of one of a kind framework in FedEx Corporation which could incorporate the data of merchandise dispatching and the data about the method of transportation. In addition, the Global Resources for Information Distribution which propelled in 1998 could improve the quality and amount of their conveyance. Besides, its Global Inventory Visi bility System, Inventory Management System, Transportation Management System Enterprise Resources Planning, Customer Clearance System are on the whole compelling supporting for each progression in the flexibly chain the executives. Figure 2, FedEx arrangement in the flexibly chain process. (Source: Case investigation of FedEx) In single word, FedEx Corporation could generally get the interest and changing needs rapidly and viably in the business, their pioneer methodologies in esteem chain exercises and gracefully chain the board could impeccably bolster the organization to accomplish its basic belief and take the initiative situation in the Global Transportation and Logistics Industry. 3. Mergers and Acquisitions in Global Transportation and Logistics Industry and FedEx Corporation Mergers and Acquisitions (MA) alludes to the part of corporate procedure, corporate money and the executives managing the purchasing, selling and joining of various organizations that can help, fund, or help a developing organization in a given industry develop quickly without making another business substance. (Lynch, 2006) A merger make the investors of the associations meet up to share the assets for augmenting the association and the all the old investors in the merger will turn into the investors in the new association. (Campbell, 2002) But the obtaining is one association purchasing and subsuming the inconsistent accomplices. The offers in the littler organization will be purchased by the huge one. (Ansoff, 1988) With the advancement of human culture, financial globalization is progressively certain that MA between organizations has become a typical thing, however an arrangement isn't as straightforward as composing the word and its undertone of a long ways past the shallow sig nificance, and in this way a right comprehension of mergers and acquisitions are especially significant. 3.1 The MA in the business and assessment Evidently, it has the two advantages and constraints for MA in the Global Transportation and Logistics Industry. From the perspective on points of interest, initially, the MA could expand the piece of the overall industry in the entire business. For example the DHL obtained Airborne Express to build its piece of the overall industry in ground conveyance showcase. (Lyne, 2003) Secondly, it could decrease the opposition in the market. Thirdly, it could increase special access for the appropriation channels. For example, FedEx procured the UK express organization called ANC for improve the conveyance directs in the UK. (Business Wire, 2006) Moreover, MA may enable the organization to build up the new items or adventure item goes for looking through more open doors in the market of Global Transportation and Logistics Industry, this strategy will be a lot faster than the association to dispatch it from the earliest starting point step. In addition, the MA could assist the organization wit h gaining new creation and data innovation for diminishing the expense, improve the quality and separation of their items. For instance, FedEx procured Caliber Systems in 1998. Besides, the organization could entre in another market by MA. For examples, Ama

Five Steps Toward a More Meaningful Holiday Season

Five Steps Toward a More Meaningful Holiday Season The room is full, a bit cramped, the crowd filling their seats. It’s snowing lightly outside the half-windows behind the stage, just a few flurries coating the sidewalks above this basement. Its December 2012. The windows weep from the indoor heat. I turn on the microphone and look over the crowd, avoiding eye contact, which’ll just make me more nervous than I already am. I begin my speech by telling a story about a child on Christmas morning: “Fast forward a few weeks from now, Christmas Day, as little Andy unwraps Optimus Prime. A grin breaks across his features when the large toy lights up and comes to life, flashing and beeping and driving Andy’s parents crazy. “But in a few moments, Andy discards the toy and begins unwrapping the rest of his presents, extracting each box from under the tree, one by oneâ€"some long, some tall, some heavy, some light. Each box reveals a new toy. Each shred of green-and-red wrapping paper a flash of happiness. “An hour later, though, little Andy is crying hysterically. Based on his fits, this has undoubtedly been the worst Christmas ever. Sure, Andy received many of the things on his list, but he’s far more concerned with what he didn’t receive: that Power Ranger he wanted, that video game system he was secretly hoping for, that new computer all his friends are getting. The toys in front of him simply remind him of what he doesn’t have. “This sounds childish, I know, but don’t we do the same thing? Don’t we often look at the things around us and wish we had more? Don’t we covet that new car, those new clothes, that new iPhone?” Several people in the crowd nod with identification. “What if Andy was happy with the toys in front of him? And what if we were, too?” I ask rhetorically. After a brief pause, Ryan jumps in: “We are clearly in the throes of the holiday shopping season,” he says, speaking through his handheld microphone. “Take a look around. Malls are packed with herds of consumers. Storefronts are decorated in green and red. The jingly commercials are running nonstop. The holiday season has officially peeked its gigantic, mass-mediated noggin around the corner. It’s here, and if we rely solely on billboards and store signage, then we might believe we must participate. “Retailers prepare months in advance for thisâ€"preparation that’s meant to stimulate your insatiable desire to consume: Doorbuster sales. New products. Gigantic two-page ads. TV, radio, print, billboards. Sale, sale, sale! Early bird specials. One day only! Get the best deal. Act now! While supplies last. “Joshua and I want, however, to shed some light on this shoppingâ€"ahem, holidayâ€"season. Each year around this time, we all feel that warm-‘n’-fuzzy Christmastime nostalgia associated with the onset of winter. We break out the scarves, the gloves, and the winter coats. We go ice skating, sledding, and eat hearty meals with our extended families. We take days off from work, spend time with our loved ones, and give thanks for the gift of life. “The problem is we’ve been conditioned to associate this joyous time of yearâ€"the mittens, the decorations, the family activitiesâ€"with purchasing material items. We’ve trained ourselves to believe buying stuff is an inextricable part of Christmas. We all know, however, the holidays needn’t require gifts to be meaningful; rather, this time of year is meaningful because of its true meaningâ€"not the wrapped boxes we place under the tree. I’m not saying there’s anything inherently wrong or bad about gift-giving during this time of year. However, when purchasing gifts becomes the focal point of the season, we lose focus on what’s truly important. “Instead of concentrating on holiday shopping,” Ryan continues, “I’d like to encourage you to take five steps toward a more meaningful Christmas together: “Step one. Avoid holiday doorbuster sales. Whether it’s Black Friday or any of the subsequent big shopping weekends, it’s best to stay inside. It’s important to understand that consumption is an unquenchable thirst. Retailers, advertisers, and manufacturers know this too well, and these sales are designed to take advantage of our insatiable desire to consume. Instead, support your local businesses: support the people in your community who are making a difference. “Step two. Gift your time. If you could receive only one Christmas present this year, what would it be? The answer for me is simple: time. The best present is presence. You see, the people I care about mean much more to me than a new pair of shoes or a shiny new gadget or even a certified pre-owned luxury car with a huge bow on top. And yet, many of us attempt to give material items to make up for the time we don’t spend with the people we love. I knowâ€"I did it for years. But possessions can’t make up for lost time. The next time someone asks you what you want for Christmas, consider responding, ‘Your presence is the best present you can give me.’ “Step three. Gift experiences, not stuff. Here’s an idea: what if you decided to gift only experiences this year? How much more memorable would your holidays be? Your experiences build and strengthen the bond between you and the people you care about. Some experiences worth gifting might include tickets to a concert or play, a home-cooked meal, breakfast in bed, a foot rub, a vacation together, watching a wintertime sunset sink into the horizon. Don’t you think you’ll find more value in these experiences than in material gifts? Don’t you think your loved ones will find more value, too? “Step four. Ask for better Christmas gifts. I’d be remiss if I didn’t discuss the gift of giving: the gift of contribution. The age-old apothegm is true: ’tis better to give than to receive. A few months ago, I gave my birthday to Charity Water, and we raised more than five thousand dollars from friends and family to gift clean water to more than two hundred and fifty people who didn’t previously have access to it. Perhaps you can do the same this Christmas: instead of gifts, you can ask people to donate to your favorite charity in your name. Won’t that feel better than a new necktie, a pair of shoes, or a piece of jewelry? “Step five. We call this step ‘Soup-Kitchen Christmas.’ You can do what we’re doing this year [2012] and donate your time to a local soup kitchen, homeless shelter, food bank, or any place that needs volunteers. This year, Joshua and I will be in Vancouver during Christmas, where we and a local group of our readers will donate part of our Christmas Day to a soup kitchen who’ll be able to really use our help during the holidays. You see, sometimes we have to contribute to help other people, but sometimes we need to contribute to help ourselves. When we step into our discomfort zones and contribute beyond ourselves, we grow: we experience the world in a different way, and we gain new perspectives from which to be thankful.” Ryan pauses for a moment to let it all sink in. Two-thirds of the crowd is nodding with vigor, the other third looks skeptical. Ryan blinks hard from the stage lights and continues, “If this all sounds a little preachy, I’m sorry; I’m not here to preach to you. I’m not saying you must doâ€"or that you should doâ€"anything. I know many of you are just like me: you’re unhappy with the status quo, unhappy with what you’re supposed to do with your lifeâ€"just unhappy with the way things are. And so was I. But then I chose to circumvent the status quo. And so can you.” “Meaningful Holiday” is an excerpt from Everything That Remains.

Modernist Fiction and the Camera-Eye. - Free Essay Example

Style in itself is an absolute manner of seeing: Modernist Fiction and the Camera-Eye. In 1897, Joseph Conrad began The Nigger of Narcissus with the declaration that, my task which I am trying to achieve is, by the power of the written word to make you hear, to make you feel- it is, before all, to make you see. His emphasis on the artists loyalties to more perfectly convey the world in fiction prompted literatures move beyond mimetic Realism and toward a new type of representational writing where authors could use language to investigate the ways we perceive the world.. However, forty years earlier, Gustav Flaubert had similarly emphasised this need for a mastery of language to make the reader see through style alone. He believed the future of Art lay in the direct engagement of language with expression and thoughts on reality (Flaubert 301) characterised in his novel about nothing, Madame Bovary (1857). Flauberts theory predicts the ideas of the literary impressionist movement, pioneered by Walter Pater and defined by its preoccupations with the processes of perception and visual sensation, its evocation of superimposition and multiple perspectivesand its understanding of enduring and essential forms underlying the visible world (Marcus 186). The attempts of literary impressionism to depart from mere aesthetic representation and turn inwards embodied Modernisms desires to investigate deeper into their characters, continuing the work of Flaubert by experimenting with language to represent these processes of perception, perfecting techniques such as stream of consciousness, narrative temporality and alternating points of view. It is by the presence of these features in Flauberts work that led to his characterisation as proto-modernist, foreshadowing the later stylistic experiments of Modernist authors like James Joyce in Ulysses (1922) which embraced the interior experience of reality, providing an ideal comparison in an investigation into modes of seeing. However, while such experimentation with narrative representation was occurring in literature at the turn of the century, a new art was emerging that promised to perfect the way we viewed the world- the cinema. In 1913, D.W Griffiths reiterated Conrads manifesto, saying T he task I am trying to achieve is above all to make you see (Spiegel xii); only this time he was referring to his intentions for film. When cinema first came to public attention in 1895, it predominantly focused on documentary films that mimetically represented the world as a series of images. Yet, as technological advances mobilised the camera, many filmmakers recognised that by organising the images on screen as part of the conceptual design, film held the same diegetic potential as literature (Spiegel xii). This notion of a narrative film was heavily theorised by Dziga Vertov, a Soviet filmmaker from the 1920s and pioneer of the kino-eye, translated here as the camera-eye. One of his most pertinent beliefs was that film would perfect the imperfect human eye and improve its ability to portray reality since, we cannot improve the making of our eyes but we can endlessly perfect the camera (15). However, disdainful of the mimetic, Vertovs camera-eye extended beyond the lens to the editing of the film-pieces to form the narrative of the film thus making camera-eye a style in itself. The sole purpose is, through the ca mera, to organise the film pieces wrested from life intoa meaningful visual phrase, an essence of I SEE (88) subliminally invoking Conrad and his Modernist contemporaries intentions and also providing the link between the film editor and the author. In considering the techniques film uses to achieve a diegetic quality, we recognise many similarities to its literary predecessors, notably Flaubert and Joyce, explaining their categorisation as cinematic novels. For Flaubert, this classification lay in his foreshadowing of cinematic forms and for Joyce, his close relationship with the cinema inspiring his revolutionary style of representing reality, with both authors displaying ultimate mastery and directorial control over the world they create. In Theory of Film, Balazs emphasised the advantages of witnessing the birth of a new art and that studying the evolutionary process of film would help understand its predecessors, namely literature itself (22). The synonymous relationship Balazs establishes between literature and film presupposes a reciprocity between the two mediums; as cinema develops itself by adopting literary techniques, modernist literature draws on cinematic techniques to assist its experimentation in showing reality. However, seeing was not exclusive to vision, the modernist narrative relates to modes of seeing as modes of knowing (Danius 21) and so we must explore the ways Modernist literature sought to bring interiority to the foreground, encouraged by cinematic form. By drawing on knowledge of Modernist techniques and film theory while analysing the novel and its adaptation, we can hope to ascertain how both genres departed from mimetic representations of the world and turned towards more diegetic engageme nts by striving to create a more perfect eye with which to perceive the world, adopting the camera-eye. With Madame Bovary, Flaubert wanted to create a book about nothingheld together by the strength of its style (Flaubert 300). Since nothing of this calibre had been attempted, Flaubert needed to create new modes of representation to achieve these ambitious narrative objectives, a feat which caused him great difficulty; I have to portray, simultaneously and in the same conversation, five or six characters who speak, several others who are spoke about and the whole town, giving physical descriptions of people and objects: and in the midst of all that, I have to show a man and a woman who are beginning to fall in love with each other. If only I had space! (Flaubert 304). Flauberts dissatisfaction with the current authors pen led him to refine his use of language establishing his distinctively visual style as a character of his novels in itself. Considering Flauberts narrative in this way poses a problem for the filmmaker hoping to adapt these now recognisably cinematic representational techniques to the screen since as Stam notes, not only do Flauberts characters refuse to sit still for their portrait, the portraitist- Flaubert or better still the narratorial camera- also refuses to stay still (154). It is this narratorial camera that will provide our focus. As opposed to viewing the adaptations of Renoir (1933), Minnelli (1949) and Chabrol (1991), in terms of their fidelity to the text, by analysing Flauberts most cinematic chapter, the Agricultural Fair, we may hope to better understand the features by which Flaubert aimed to make us see life as it is, most aptly through narrative montage. Chabrol, professed to make the film Flaubert would have mad e had he a camera instead of a pen (Stam 176) offering an intriguing analogy through which to investigate Flauberts writings as a precursor to the controlled and controlling camera-eye encouraged by Vertov. The crux of the chapter resides in the juxtaposition of the menial village fair and Emma and Rodolphes retreat upstairs to the town-hall, foreshadowing Eisensteins concept of constructive montage. Viewed as a collision of ideas, Eisenstein believed from the superimposition of two elements of the same dimension always arises a new, higher dimension (49) seeing montage as a narrative driving force rather than just a rhetorical device. The narration of the two scenes is initially divided by alternating paragraphs between the lovers conversation and the councillors speeches yet by disintegrating these distinctions, Flaubert increases the scenes momentum, mirroring the escalating passion between the lovers. In likening Flauberts syntactical play to the editing of the film cuts, we can better understand his vision as he creates an experiential narrative, facilitated by the mobility of his narratorial camera. Flaubert begins with a wide-angle equivalent shot intricately listing each aspect of the fair, gradually building a complete pictorial representation before filling his tableau with people pouring in from the lanes, the alleys, the houses; and from time to time one heard banging of doors closing behind the ladies of the town in cotton gloves who were going to the fete (108). Having established this opening shot, Flaubert replaces the presence of the omniscient novelist with the seeing eye of man (Spiegel 30), not only giving a broader view of the scene but also in alternating between these two modes of perception offers a deeper representation by presenting the world through the perspectives of the characters involved. This is exemplified though the switch in point of view to Mme Lefrancois and Homais watching the couple walk through the fair and then to Flauberts recreation of Emma and Rodolphes frenetic gait as they try to escape the watchful eye of Homais, They were obliged to sep arate because of a great pile of chairs that a man was carrying behind them (111). Recognising the distinctly cinematic nature of this section, both Minnelli and Chabrol focalise the narration of this scene through the gossips, transposing the camera-eye to their view of the couple. Renoirs relatively stationary camera meant this type of swift movement was unattainable and so, omitting this early section of the chapter, he favours basic cuts to transition the eye between Emma and Rodolphe and the councillors outside to demonstrate their simultaneity. In this way, Flauberts panning narratorial camera was already more advanced in its ability to travel with its characters and mimic their eye-line. However, in utilizing pan shots to impersonate Emmas gaze watching Rodolphe, Renoir bestows the camera with a voyeuristic quality, directly implicating it within the narrative in the same way Flaubert was able to do by passing the narration to the vision of the gossips. Minnelli and Chabrols more technologically advanced cameras enable the filmmaker to employ more sophisticated editing techniques to provide a silent narrative. This is exemplified through Minnellis use of quick succession cutting; the gossips watching the off-screen couple, Charles on the stage alone; the two in the empty room upstairs reminding us where Emma should be watching her husband on stage. Flauberts use of multiple vantage points lends itself well to the cinema, as exemplified by Chabrols imitation of the lines of vision of his characters, notably the view down from the window of the town-hall to the councillor on stage and the view up to the window as though from the audience, creating a multi-layered representation of the scene. As aforementioned, Flauberts use of syntactical leaps, predating film-cuts, provide great scope for the film editor looking to create a film narrative, as illustrated by Chabrol. As the tension building between the lovers emanates into the disintegrating paragraphs of the text, Chabrol intensifies the scene with rapid cuts between the couple and the scene below their window. One of the most apparent advantages of film is the use of sound, which allows adaptations of Madame Bovary to embrace the subtleties of Flauberts language to encapsulate the same dramatic semantic overlap championed in the text. By cross-cutting the scenes and their dialogue, Flaubert used language itself to direct our perception of the scene, exemplified by the convergence of the word duty in both scenarios as either Rodolphe overhears the speech outside or if this overlap is a way for Flaubert to ensure duty resonates with the reader, subtly influencing our perception of the characters since we know neither have much respect for marital duty: born of respect for law and the practice of duty Ah! again! said Rodolphe. Always duty. I am sick of the word (117). Minnellis screenplay dramatises these moments through the overlaid soundtrack of the speeches outside the window while Emma and Rodolphe sit in silence. As Emma finally yields to Rodolphes advances, the councillor outside announces Dr Charles Bovary, disrupting her fantasy. As she tries to run off, Charles voice can be heard outside talking about a brash imposter; demonstrating the ingenious use of dialogic in addition to scenic overlap to narrate the situation without implicitly including it in the words themselves. In giving this line to Charles, the audience is made aware, as is Emma, of the atrocity of her behaviour. Chabrol similarly incorporates the narrative capabilities of sound into his diegesis by using the window as a means for the speeches outside to filter into the room adding an extra level of sensorial perception. In extracting these subtleties from the text, the adaptations literalise the fluidity of sound exemplified through these syntactical distinctions whilst comp lementing the drama of the scene. In Flauberts writing it is not only words that speak but bodily presence, exemplified through his reference to the physicality of his characters as a way to further our understanding of their interior consciousnesses. Flauberts use of the body as a narrative tool foreshadows Balazs theory that the expressive moment is the aboriginal mother tongue of the human race (42), able to articulate emotion external of dialogue itself. Flauberts revolutionary style of writing therefore disproves Balazs belief that in the epoch of word culture, we made little use of the expressive powers of our body and have therefore partly lost that power (42). In this way, cinema can be seen as a reclamation of this lost type of narrative and so in adapting novels we are given a new mode of perception as we can analyse the language of gesture lacking in the novel; it is the visual means of communication Man has again become visible (41). Once again, we return to this idea of seeing and so considering this, ci nemas materialism moves to enhance the visuality of Flauberts original novel rather than reduce it to mere drama. Flauberts text embraces the performative aspect Balazs defends in film, allowing his narration to enter Emmas body as it reacts to her situation; all the time she was conscious of Rodolphes head by her side she kept hearing, through the throbbing of her temples, the murmur of the crowd and the voice of the councillor intoning his phrases (119). In representing Emmas consciousness as she struggles to cope with Rodolphes advances and the proximity of her husband outside, Flaubert adds to the experiential nature of the text by endowing the characters body parts with narrative ability as manifestations of the characters thought processes; He passed his hand over his faceThen he let it fall on Emmas. She drew it back. But the councillor was still reading (116). Chabrol particularly focuses on these understated instances, reiterating his profession of implementing Flauberts pen for his camera. Rather than undermining the language itself, his substitution of Flauberts words with visual repr esentations reaffirms the necessity of the moment within the narration of the action itself. In seeing adaptations as ways by which to enlighten the reader to Flauberts visionary intentions, the eye watching the screen is forced to engage with the brain, stimulated by the page, through use of editing techniques. Bluestone believed one may see visually through the eye or imaginatively through the mind (1) yet these adaptations suggest that in order to more perfectly perceive the world, one needs to engage both the eye and brain, an idea pioneered by Virginia Woolf in her polemic, The Cinema (1926). She chastises the moviegoer as the savage of the 20th Century (55), a passive receiver of information on the screen requiring no involvement of the brain; the eye licks it all up instantaneously and the brain, agreeably titillated, settles down to watch things happening without bestirring itself to think (54). The alliance of eye and brain is unnatural, as they are torn asunder ruthlessly as they try vainly to work in couples (56), so, regarding adaptation, while the eye recognises the woman on the screen as Emma Bovary, the brain does not; Flaubert ensured we knew Emma through the inside of her brain and so to see her now, materialised, causes a conflict in our perception. However, Woolf recognises cinemas potential as an expressive art if only it can formulate a mode through which both eye and brain can coexist, complimenting each other, only when some new symbol for expressing thought is found, the filmmaker has enormous riches at his command (57). Considering the establishment of diegetic film by Vertov and Eisenstein, it seems filmmakers were listening to Woolfs suggestion for the cinema. Their new type of representation satisfies Woolfs assumption that much of our thinking and feeling is connected with seeing, as previously suggested by Danius, believing there must be some residue of visual emotion (57) not of use to writers that the cinema can adopt in order to enrich its images. If the filmmaker could animate the perfect form with thought (57), then cinema as a representational form could even surpass literature. In this way, Flauberts intensely visual style of writing predates Modernist hopes for the cinema through his attempts to convey the vi sible characteristics of thought itself (57). But in cinema, the eye wants help (55), unable to perceive reality alone, it needs the assistance of the brain to understand the reality on screen just as the brain draws on its minds-eye to visualise the images in the novel, returning us to the notion of reciprocity between literature and film. While Flauberts focus was on the object seen, emphasising the eye, Joyces Ulysses switched focus to the actual act of the seer seeing, focusing in on the mind, as Spiegel wrote where Flaubert saw wider, Joyce saw harder and deeper (64). Rather than aiming for an accurate representation of life like Flaubert, Joyce looked to interior life and so situates both authors in an ideal parallel to explore the evolution of modes of perceiving reality. Part of the appeal of cinema to Joyce was that it could free him from the tediousness of storytelling and precise observation of everyday and allow him to develop the novel in more esoteric ways; linguistic experimentation and psychological complexity (Sinyard vii) something Ulysses certainly demonstrates. Like Madame Bovary, Ulysses is a novel about nothing; a sensorial exploration of Dublin in one day, narrated through an omnipotent roaming eye and the interior experiences of his two protagonists, Leopold Bloom and Stephen Dedalus. The result is a reality composed from the impressions and perceptions of these two men as they connect with their environment, allowing the reader to experience the primary moment of perception as they do. Platt said things are conceived as they are perceived: to think is to act.This is the new cinema (Marcus 8). Considering this in literature, is it possible to modify Platts statement; while it may be the new cinema, it has most likely been influenced by the new literature that was perfecting its own omnipotent camera-eye as demonstrated in Ulysses. Experimental filmmaker and friend of Joyce, Sergei Eisenstein wrote that What Joyce does with literature is quite close to what were doing with the new cinematography and even closer to what were going to do (Trotter 87). What Eisenstein was specifically referring to was Joyces focus on interior monologue, just becoming available to cinema through the advent of sound. Eisentein believed Ulysses was the most significant event in the history of cinema (Marcus 425). Interestingly categorising it amongst cinema, Eisenstein supports the belief that Joyces personal interest in film directly facilitated the distinct dramatic and cinematic features in the novel, enabling Joyce to use cinema as a trope for what he saw in his minds-eye as cataracts and eye operations diminished his sight (Norris 8). While Woolf wanted the mind to join the eye in cinema, Joyce refined his fictional, camera-eye to compensate for his lack of actual sight, responding to Platts idea that one perceives through thoug ht itself. In this way, Danius believes we should view Ulysses as an advancement of Conrads imperative as Joyce answers the call to perceive, turning it into an axiomatic and autonomous aesthetic principle (22) and so in reading it as such we can attempt to investigate the ways in which Joyce attempts to make us see, principally through imploring the senses, making perception a corporeal experience. Joyce said Eisenstein was one of the only directors he would allow to adapt Ulysses; the ultimate meeting of eye and brain, Eisenstein as one of the greatest artists in the visual medium of film and Joyce, one of the greatest writers of prose who had virtually no sight (Norris 10) but unfortunately the pairing never came to be. In 1967, Joseph Strick approached Ulysses, qualified by his expertise in cinema verite that gave the camera a status as a character in the film and foregrounded its role in producing perspective and point of view (Norris 17) demonstrated in his debut, The Savage Eye (1959). Since the main adaptive challenge resides in how to convey Joyces interiority, this style of camera-work was suited to depicting Joyces internalisation of the narratorial eye as he makes us see through perception itself. One of the most cinematic sections in the text is Wandering Rocks, a chapter consisting of nineteen short scenes set around Dublin featuring most of the characters in the novel. A more elaborate experiment than that of the Agricultural Fair whose aim was to represent simultaneity of events for dramatic purposes, Joyces use of montage orchestrates an almost anthropological study of the everyday in the city. The camera-eye in Wandering Rocks roams the city and closes in on the protagonists of each scene while still conscious of the presence of characters already met on the journey or ones we will meet later. These characters are not always seen by the protagonist and so emphasises the readers privileged view. Blooms shadowy presence is first seen in scene 5 where Boylan is buying a present for Molly in Thorntons while flirting with the shopkeeper. A single sentence inserted into their conversation;A darkbacked figure under Merchants arch scanned books on the hawkers car (291), alerts u s to the simultaneous presence of Bloom, buying Molly a new book as promised earlier in the novel. The narratorial eye does not encounter Bloom again until sc9, this time the darkbacked figure scanning books on the hawkers cart (299) is identified by Lenehan as Bloom. The subtle change to the progressive tense signals a switch in perspective as the reader witnesses the same scene as Lenehan. Much as Flaubert added to his narration by representing the physicality of his characters, Joyces use of montage endows certain images and figures with diegetic quality by positioning them as temporal markers within the narrative itself. For instance the HELYs sandwich board men we met earlier in Blooms shopping trip in Lestrygonians are encountered again, further in their journey in sc5, HELYs filed before himpast Tangier Lane, plodding towards their goal (291). In reintroducing them into the narrative, Joyce forcibly engages his readers minds-eye and brain as they recall when they last saw the image. This argument supports Eisensteins claim that montage is the mightiest means for acreative remoulding of nature (5). Despite the intensely cinematic feel of the section, Strick chose to omit the Wandering Rocks from his adaption instead focusing more on the ways in which Joyce represented the psychological interiority of the characters through their hallucinations and inner monologues, feeling it is through knowing the mind of the characters that the audience could hope to see the world as they do. In Proteus, Joyce uses the inner monologue in Stephens mind, the great spectator hero (Spiegel 1), to deal explicitly with the nature of perception providing an ideal insight into the use of cinematographic stylistics in his sensorial exploration of the day in Dublin. As he walks down Sandymount Strand, Stephen considers the ineluctable modality of the visible (45), questioning the flawed way in which we rely on our sight to see the world which is only capable of receiving signatures of all things (45) from reality rather than a true perception, thought through my eyes (45). Stephen discerns to counter the limits of the diaphane (45) and problematic sight by seeing with another sense hearing, shut your eyes and see (45). Danius suggests this type of synaesthetic imagery suggests the pre-eminence of the language of the eye (172) reiterating the focus on the visual in fiction. If our knowledge of seeing the world relies solely on sight, then in closing off that sense, Stephen fears th e world will cease to exist, bolstering himself to open his eyes, I will see if I can see (46). The world continues to exist without him, and ever shall be, world without end (46), this is reminiscent of Woolfs belief that the cinema can depict the world as though we have no part in it (55) furthering the notion that Joyce draws on cinematic ideas to perfect modes of seeing in literature. This emphasis on seeing invokes Vertovs theory of the imperfect human eye, something Joyce counters in transforming Stephens eye into a camera. Watching the waves on the beach, he exclaims Ah see now! Falls back suddenly, frozen in stereoscope. Click does the trick (61), emphasising the poignancy of vision in perception and the privileged position of the modernist writer to be able to freeze time in order to comment upon reality. Strick is able to literalise this effect through the transposition of the camera lens for Stephens eyes, implementing a black screen as he closes his eyes, providing what Eisenstein called a rushing visuality (105). In doing so, Strick similarly isolates the senses of the audience enabling us to perceive the sounds of the beach with Stephen, his footsteps on the pebbles, the tapping of his ashplant cane, uniting the audiences experience with that of the character. Using centred long axial shots (Trotter 100), Strick interposes tableaus of the sea, birds and the beach, not only representing Stephens line of vision but also by displaying them as quick flashes he illustrates Joyces notion of perceiving mere signatures of objects that the brain places together it make sense of reality. In forcing the audience to connect eye and brain in such a way, Strick captures Joyces intention to use the narratorial eye to translate the representation of senses into mental sensations to be seen or heard in the silent interiority of the reader (Danius 185) involving them in the primary moment of perception alongside Stephen. Moving from the sensorial, Circe descends into the hallucinatory Nighttown where even perfectly refined senses will not help perception of this world. Written in the style of a screenplay with stage directions, speakers names and delivery notes, this surreal section removes itself from reality concerning itself with the internal consciousnesses of Stephen and Bloom. In adopting a script format, Circe details the characters thoughts with mimetic accuracy, as though the reader is viewing a performance in the characters mind, whilst advancing the diegesis by enriching our understanding of the character through this interiority. This is most pertinent in Stephens meeting with the ghost of his dead mother. Drunk in the brothel, Stephen imagines he sees his mother, asking her Choking with remorse and horror: They say I killed you mother (681), echoing Bucks earlier comment that his aunt believes Stephen killed her and so implying its impact on his consciousness. Strick replaces the novels horrific descriptions of The Mother with a blurred outline of a woman advancing towards Stephen, fitting the scene in the context of a drunken dream rather than the terrifying manifestation of guilt in the text. To break from the unconscious, Strick ensures we are aware of Stephens conscious position in the brothel with Bloom and the whores by infiltrating his hallucination with Zoes voice, Im melting! and concern at Stephens whiteness. The novels stage directions indicating Blooms movement to open the window are translated into dialogue, adding to the complete visual experience since the audience are not in the lounge but in the darkness depicting Stephens mind. The scene provides a privileged insight into how Stephen perceives himself as instigated by the comments of another, namely Bucks aunt, representing the layers of perception Joyce deems necessary to infiltrate in order to perfect our view of this world. While Circe withdraws narrative power from the characters by presupposing a playwright of the events, it is further removed in Ithaca where Joyce utilises the question and answer format of catechistic techniques to give an invisible narrator complete control over what the reader is permitted to know, its only aim to make us see. Rather than tailoring the questions to only answer material details of the scene, the catechizer ensures they require more insightful responses in order to maintain the intensity of interior narration that has dominated the novel, for example, Did Bloom discover common factors of similarity between their respective like and unlike reactions to experience? (777) The responses provide exact details to the extent of pedanticism, perhaps satirising the ways in which art attempts to mimic reality; such details do not add anything to the direct understanding of the moment but do demonstrate the lengths a modernist writer goes in order to make the reader perceive a scene on every level. The plethora of minutiae details in the text could confound a straight-forward literalisation to the screen and so Strick counters these potential difficulties by preserving the catechism format as a voice-over alternated between Stephen and Bloom as the image on screen depicts their unheard conversation in Blooms kitchen before following Bloom to the bedroom with Molly. The alternation of voices creates the effect of the characters narrating themselves and others as the questions ask how they perceive one another; while Bloom makes tea, the voice-over asks: [Stephen] Which seemed to the host to be the predominant qualities of his guest? [Bloom] Confidence in himself, an equal and oppositional power of abandonment and recuperation. Catechism shortens the process of perception by removing the intermediary thought processes, exemplified in Proteus, by employing the omniscient narrator to chart Blooms internal analysis of Stephen built from his impressions of him up to this point. In addition to this, Joyce manipulates this style to reveal more subtle expressions of the emotions of this character, notably in the resulting presentation of Bloom. Once Stephen has left, Bloom returns to the house, Alone, what did Bloom hear? The double reverberation of retreating feet(827). In the film, Strick adds the sound-effect of bedsprings solidifying Blooms paranoia about Mollys infidelity upstairs. This concern is subtly confirmed when asked: What did his limbs, when gradually extended, encounter? The presence of human form, female. Hers. The imprint of a human form. Male. Not his (862). The short sentence structure encapsulates Blooms emotion in his realisation that another man has indeed just been in his bed. The adaptation benefits from the spoken voice in its ability to attend to tonal changes in the actors voice to more adequately convey the impression this event has had on the character. Similarly, the final line fades into the sound of a ticking clock as Bloom drifts to sleep and the rhythm of speech passes over to Molly, opening up the final narrative act of the novel in Penelope. In this section, Joyce focuses on the ultimate act of self-narration in an unpunctuated inner monologue in the form of stream of consciousness. In choosing this form, Joyce emphasises the importance placed on processes of perception throughout Ulysses by turning his literary camera-eye inwards. The removal of punctuation dramatises the swift transitionless jumps of the mind from one perspective to another (Spiegel 168), reminiscent of montage techniques. In this way, the narrative can be likened to the cinematograph itself, a kaleidoscope of incident (Spiegel 79) perhaps characterising Penelope as the most visionary and so most accurate conveyance of representing reality. As a reconstruction of the laws of the thought process, Marcus believes the montage form Joyce adopts is allied to that particular penetration of interior vision (91) and it is through this penetration alone that Joyce not only shows but tells his world. Eisenstein believed that only the sound film was capable of reconstructing the course of thought (105), which clearly encouraged Stricks decision to record the voice-over monologue first, hoping it would inspire the aesthetic texture of the rest of the film (Norris 21). In separating the voice from the speaker through voice-over, Strick literalises the notion of inner monologue as a feverish inner debate behind the story mask of the face (105) with Barbara Jeffords emotive performance intensifying our experience of Mollys mind. However, perhaps most imperative to our understanding of the scene follows from Eisensteins idea of the quivering inner words relating to visual images (105) in the mind that can be literalised on screen, something Strick exploits to great effect adding another perceptive level to the monologue itself. By providing constantly changing images, Strick further articulates the fragmentary nature of Mollys mind represented in Joyces narration and replaces the minds-eye we see within the text with the perfected human eye of the camera. While the images do not necessarily correspond to Joyces words semantically, they refunction the text by actualising the images circulating in Mollys mind, transforming the camera into Mollys consciousness itself and so allowing the audience direct entrance to perceive her in her most exposed form. As the scene begins, the camera adopts an eye-level shot following her gaze around the room, watching the ceiling while chastising Blooms request for breakfast in bed. Ruminating on whether Bloom is having an affair, the image changes to Bloom and their former maid, Mary Driscoll, in the kitchen. Her declaration that I wouldnt lower myself to spy on them is paired with an image of her searching in a drawer, a memory of her past behaviour. Her admission of jealously at Blooms alleged infidelity is followed by memories of her liaisons with Boylan. While the text does not explicitly name Boylan at this point, Strick speculates on who she could be thinking about, sometimes you love so wildly when you feel that way so nice all over you cant help yourself (875) by adding the sequence of Molly and Bloom passionately kissing on her bed. Each image on the screen relates directly to an interpretation of the text, her visit to confession is ingrained with her internal guilt as the priest emerge s as Boylan and the stills of the churchs stained glass windows show a figure, head in hands, being scolded. Stricks choice of images support the argument that the screen has transformed into an uncensored projection of Mollys internal thoughts, notably through the use of naked male statues to represent her irreverent sexual desire. When not directly conveying the surreal images of Mollys mind, the camera returns to omniscient eye, for example showing her kissing rosary beads, possibly representing her Catholic guilt for thinking such lascivious thoughts whilst reminding us of our voyeuristic position amongst these thoughts. To further Mollys reflection on herself, Strick uses mirrors and shot/reverse shots, with the camera behind her shoulder, as she looks at herself, saying only not to look ugly or those lines from the strain; we see what she sees since we look into the mirror with her. Oscillating between this type of shot and eye-level shots, Strick gives the effect at once of being inside Mollys mind but similarly reaffirming the audiences position as a privileged observer of this scene. As the text provides an uncomfortably close access to Mollys sexual fantasies and conquests, Strick translates this through the extreme close-ups of the looming faces of her lovers again creating an experiential style of viewing, similar to the style of writing Joyce used in Proteus. The texts intense visuality makes it impossible to avoid engaging the brain without the minds-eye and without this mutuality the monologue would risk misinterpretation. Stricks decision to record images after the audio satisfies Woolfs intentions by remaining loyal to the imperatives of the modernists to primarily appeal to the brain which will always elaborate itself with images through its minds-eye, yet here the brain is assisted by the camera. By closing this exploration of perception with an entirely internal speech, Joyce seems to be saying that it is through this interiority that we are able to truly see. The sensorial experiments exemplified in Flaubert and Joyce show the Modernists advancement from mimesis as a means of making the audience see, to engaging with how the characters perceive the world, using language as an entrance into their thought processes to unite the reader with the character at the initial moment of perception. To return us to this moment, the author needs complete editorial control over all components that constitute the perceptive experience; namely visual engagement with the object and its influence on the consciousness. While literature was experimenting with ways to engage more intellectually with reality, the Modernist writer found inspiration in the emerging art form of cinema that was similarly attempting to perfect the eye by transposing it through the camera-lens. Tolstoy said: The cinemas swift change of scene, this blending of emotion and experience iscloser to life. In life, changes and transitions flash by before our eyes and emotions of the soul a re like a hurricane. (Sinyard vii) epitomising our argument as to why Modernist writers looked towards cinema to inspire their pen as they sought new styles through which to make us see the world. Tolstoy saw the camera as a direct threat to the writer, claiming it will make a revolution in our life- in the life of writersA new form of writing will be necessaryBut I rather like it (Cartmell 5). Viewed as such, the cinematic stylistics in literature can be said to be the product of this threat and so supports the idea of the cinematic novel and cinema as analogous, a logical progression of representational art forms that can compliment and interpret one another as both modes seek to express new ways of seeing. In this way, supporting our belief that filmic adaptation of these novels can offer new interpretations and so provide a continuation of Conrads imperative to make us see. Flauberts conclusion that style is an absolute manner of seeing (301) prompted modernist writers to imbue the pen with cinemas camera-eye by merging both mediums visual techniques. In doing so, the writer is given a new dialectic through which to observe and write about life, revivifying the representational capabilities of his pen.