Wednesday, January 29, 2020
Eukaryotic Transcriptional Activator Essay Example for Free
Eukaryotic Transcriptional Activator Essay Introduction            Much of what was initially known about transcription came from pioneering prokaryotic transcription studies that followed the1959 discovery of RNA polymerase. During those earlier times, it was presumed that gene structure and transcription in bacteria were practically the same for eukaryotes. This later turned out to be incorrect since eukaryotic DNA assumes higher-order structural forms and transcriptional and regulatory processes in eukaryotes are much more complex. Thus, studies on eukaryotic transcription have become invaluable in further understanding this vital process that regulates gene expression in higher organisms (The Royal Swedish Academy of Sciences 2).            One such study was done by Brent and Ptashne, wherein they investigated which of two proposed mechanisms does GAL4 activate transcription (729). GAL4 is a protein that initiates the transcription of the GAL1 gene in S. cerevisiae, given that a region called UASG or a certain 17-bp sequence (termed â€Å"17-mer†) is present anywhere from 40 to 600 nucleotides upstream of the gene’s transcription start site. The two regions bind GAL4 to activate transcription similarly when inserted upstream in another gene, CYC1 – normally regulated by the two UASs (upstream activation sites) UASC1 and UASC2, which bind certain cellular proteins (in Brent and Ptashne 729).            GAL4 is thought to activate transcription either by a) binding to DNA and stabilizing unusual DNA structure so that protein binding near the transcription site is promoted; or b) binding to DNA without disturbing its structure and activating transcription by getting in contact with other proteins. Based on earlier lambda experiments that involved mutant repressors which, operating via mechanism b above, can bind DNA but are unable to activate transcription because the amino acids in the region thought to contract RNA polymerase were altered, Brent and Ptashne tried to determine the domains responsible for GAL4’s DNA-binding and activator functions. For this purpose they used LexA-GAL4, a new protein construct having the DNA-binding specificity of LexA, an E. coli repressor protein whose amino-terminal domain binds to operator regions to repress gene expression (729). It was found that LexA-GAL4 functions in the same manner in E. coli, but activates transcription in yeast if and only if, a lexA operator is likewise present near the transcription start site (730). Data Analysis            The synthesis of LexA-GAL4 in bacteria and yeast was facilitated through the use of plasmids. The gene for LexA-GAL4 is the combination of the E. coli DNA fragment that codes for the 87-residue amino-terminal of LexA, and the S. cerevisiae fragment coding for the 807-residue carboxy-terminal of GAL4. Figure 1a (see Tables and Figures) shows the DNA sequence and corresponding amino acids coded in the LexA-GAL4 fusion junction while b and c respectively show plasmid 1109, whose LexA-GAL4 synthesis is regulated by the tac promoter, and 1027, regulated by the ADH1 promoter (Brent and Ptashne 730).             LexA-GAL4’s repressor activity in E. coli was demonstrated by two experiments. Table 1 summarizes the results of the first experiment on a bacterial strain wherein a lacZ gene was adjoined to the lexA promoter. LexA autorepresses its own transcription so the strain used carried a mutant, nonfunctional lexA gene. Plasmids were then used to synthesize different regulatory proteins after which repressor activity was measured by the amount of b-galactosidase produced by lacZ. The results show that LexA-GAL4 transcription repression from the lexA promoter was comparable to that of LexA. Meanwhile, Figure 2 shows the results of the second experiment which made use of the fact that certain LexA-repressed genes need to be expressed for cells to recover from DNA damage. That is why, cells with a mutant LexA that is able to bind to the operator but can’t be deactivated through proteolysis exhibit UV sensitivity. Figure 2 shows the survival rate of E. coli cells depending on the regulatory proteins synthesized by corresponding plasmids. As with the first experiment, LexA-GAL4 showed a similar repressor action as with LexA so that E. coli cells that had them were markedly UV-sensitive compared to cells that had no regulatory protein or had the l repressor which does not recognize the lexA operator and hence has no regulatory effect on transcription (730-731).            In contrast to its action in E. coli, LexA-GAL4 acts as a transcriptional activator in yeast when a lexA operator is present. Plasmids were used to transform one group of GAL4+ cells into producing LexA-GAL4 and another to produce native LexA. Both groups were then further modified to carry a gene made from the fusion of either GAL1 or CYC1 and lacZ, and either UASG, the 17-mer, UASC1 and UASC2, a lexA operator, or none of these upstream of the gene (see Figure 3). From the CYC1-lacZ gene results in Table 2, it can be seen that whereas LexA repressed b-galactosidase production, LexA-GAL4 activated transcription but only when there is a lexA operator upstream. Transcription appeared to be stimulated more when the operator is nearer the transcription start site. Conversely, transcription was markedly hindered in the glucose medium (731-732) which is consistent with previous observations that GAL4 is only active when cells are grown on a galactose medium but is inhibited in the presence of glucose (729). Table 3 shows the same trend in LexA-GAL4 activity with the GAL1-lacZ gene. In fact, LexA-GAL4’s dependency on the presence of a lexA operator to activate transcription was also emphasized in similar experiments using strains having either a gal4 gene point mutation or a gal4 deletion, wherein LexA-GAL4 activated CYC1-lacZ and GAL1-lacZ transcription only when an operator was present and likewise, was dependent on operator proximity to the transcription start site. In these experiments, LexA-GAL4 failed to stimulate b-galactosidase production even in plasmids bearing UASG or the GAL1-lacZ gene, nor was it able to compensate for the absence of wild-type GAL4 when no operator was present (731-732). Comparison of LexA-GAL4-stimulated GAL1-lacZ transcription with that in a plasmid bearing wild-type UASG showed that the 5’ ends of the RNAs made were the same (Figure 4). However, it is not yet clear why the amount of transcripts produced was only 5% of that which was expected based on b-galactosidase measurements (731). The reduced activity of GAL4 on glucose media is attributed to the association of the GAL4 C-terminus with the inhibitory protein GAL80, thus hindering efficient binding with UASG (729). The results in Table 4 indicate that the LexA-GAL4 C-terminus likewise associates with GAL80. A glucose medium was used to grow GAL4-producing cells that had UASG but no lexA operator upstream of a GAL1-lacZ gene. Results suggest that LexA-GAL4 proteins, in the absence of an operator to bind to, are free to interact with GAL80 and consequently facilitate transcription by leaving wild-type GAL4 to bind to UASG (732-733).            Figure 5 shows a spliced yeast gene and a derivative wherein a lexA operator was inserted into the gene’s intron. This was done to test whether LexA-GAL4 can also activate transcription if the operator is downstream of the normal transcription start site. UASG was present upstream but a gal4 strain was used so no GAL4-stimulated transcription would occur and b-galactosidase production would be purely dependent on LexA-GAL4. From the results in Table 5, it may be seen that LexA-GAL4 was able to stimulate transcription only when there’s an operator in the intron, though b-galactosidase production was only 4% as much of that resulting from transcription from UASG in a GAL4+ strain (733).            The essence of this study’s findings is depicted in Figure 6, which shows that the hybrid protein LexA-GAL4 can successfully stimulate transcription in yeast but only in the presence of a lexA promoter upstream (733). Tables 2 3 and more importantly, the parallel experiments with the GAL4-expression impaired strains (731-732), best illustrate LexA-GAL4’s strict requirement for the presence of an operator in order to activate transcription. Conclusions            Through the series of experiments done, Brent and Ptashne were able to gather data attributing activator function to GAL4’s C-terminus, consequently suggesting that activation by GAL4 is more probably achieved by its interaction with other proteins rather than by binding to UASG and then perturbing DNA structure. Since LexA-GAL4 successfully activated transcription without binding to UASG, a change in structure doesn’t appear to be crucial for transcription to occur (733). Though the results of the experiments were per se quite conclusive, they are rather indirect evidence for the GAL4 mechanism being put forward. A probably more direct proof is offered by the Keegan, Gill and Ptashne study mentioned which claims that another hybrid protein having the amino terminal of GAL4 binds UASG but fails to activate transcription, likely because the C-terminus is that of b-galactosidase which functions differently (733). This study has successfully illustrated the synthesis of hybrid proteins that can be used for exploring further not just the activator function of other eukaryotic regulatory proteins (734), but on the whole, transcriptional and regulatory processes in various other eukaryotic organisms. Good follow-up studies would therefore be a structural study to determine whether no change in DNA structure is indeed involved in GAL4 activity and more generally, the application of the methods and concepts learned here to other eukaryotic genes and their known regulators so as to perhaps be able to establish whether a mechanism similar to that proposed for GAL4 is also in play. Both ultimately can help to build a general but detailed picture that will allow for a deeper understanding of eukaryotic transcription and regulation of gene expression.
Tuesday, January 21, 2020
Analysis of Trifles by Susan Glaspell Essay -- Susan Glaspell
"Trifles" is a play with a unified plot. Although there are verbal flashbacks to the events of the day of the murder of John Wright, the play's entire plot begins and ends in a span of one day. The author also extends the unified plot to create a single setting (the farmhouse kitchen). The plot centers on John Wright's murder. Mrs. Wright is the main suspect; an investigation is taking place as to the motive or reason for the crime. The Sheriff, Mr. Hale and the County Attorney are introduced first to the audience. They are investigating the crime scene. The women, Mrs. Hale and Mrs. Peters, accompany the men to gather whatever of Mrs. Wright's belongings that she needs in jail. This exposition turns ironic when the women end up "investigating" and actually come up with evidence, while the professional men leave without an answer to their quest to find a motive for the murder of Mrs. Wright's husband. Mr. Hale gives an account of what he came upon the day of the murder. He found Mrs. Wright in a state of shock and nervousness. Mr. Hale states that Mr. Wright didn't care much for talking to people; all he wanted was peace and quiet. This foreshadowing will be used by the women, mainly Mrs. Hale, to connect the motive to the dead bird that they find later on in the play. Additional foreshadowing facts are the broken jelly jar and the "very cold" kitchen atmosphere. Again, the women feel that this coldness was what drove Mrs.' Wright to murder. Mrs. Hale informs the County Attorney that Mr. Wright was not a very cheerful man, which may be why the farmhouse does not look or feel cheery. The audience learns that Mr. Wright was a cold, uncommunicative, selfish man. The theme of men versus women come into view... ...ver, Mrs. Peters undergoes character development from believing that it should be up to the law to decide what should happen to Mrs. Wright to being convinced that women ought to stand together against the stereotypical views of women that the men have. This change occurs when Mrs. Peters recalls a childhood event that involved her cat and a mean, dreadful little boy. The play's rising action occurs at the point when the men could not connect the why and the how of John Wright's murder. The women, as they meddle with their "trifles", uncovers the knowledge and objects that the masculine detectives were seeking. In the end, the men come up empty and the women leave the farmhouse with concealed evidence in hand - the dead bird. The audience is left thinking that Mrs. Wright will be a free woman. As to what the actual verdict will be, no one knows.
Monday, January 13, 2020
Heart of Darkness Analysis Essay
The heroic journey. This is a familiar feature of many stories. From Odysseus of ancient Greece to Harry Potter of popular culture, this archetype remains a predominant feature of a myth. From gypsies sitting around campfires telling tales of magic and wonder, to twenty-first century audiences crowding around their television screens, stories that we tell are to enlighten, advise and entertain. The structure of creating tales with archetypes composes an enthralling piece of work and a story line that keeps readers engaged and interested. These archetypal patterns are woven into Joseph Conrad’s story Heart of Darkness. The novella encompasses the frames of the ancient myths and the hero’s myth along with the archetypes which reveal the hero’s inner world. Symbolically, the Hero’s journey represents the descent into the unconscious. In Heart of Darkness, the hero is represented in Marlow and his personal unconscious is represented by the jungle, or the forest; the forest is traditionally dark, like a labyrinth. The most developed stage of Marlow’s journey is to realize his Shadow. When he reaches the jungle, he recognizes it. In the story the shadow character is Kurtz. The other archetypes aren’t quite as well developed; nevertheless, their meaning is very important in the understanding of the story. A hero is character that remains almost exactly the same throughout the ages; as it has distinct qualities and characteristics that each adhere to. As Campbell states, the Hero must feel that â€Å"something is missing in life†(Campbell) and it should evoke his desire to leave the familiar space and enter the unknown. For Marlow, a spur to go on a quest was his, â€Å"the mariner’s, not being on a voyage for long enough and desire to visit the place he had wanted to go since childhood†(Conrad Pg. 21). His desire to go to Congo was so strong that having failed by himself, Marlow asked his relatives to help him get appointed for a job there; as that notion drove him. Marlow was eager to go to the jungle because there was a river which â€Å"resembling an immense snake uncoiled †¦ had charmed [him]†(Conrad Pg. 22), when he had looked upon a map. A strong impact of the idea on Marlow’s onscious reveals that it was caused by the hero which typically creates either outward or inward necessity for changes. Being a wonderer he could do without traveling. Therefore, the longing for voyages implies that the hero got tired of the surroundings of the land and needed an escape to the sea or a river. However, the need for a change in surroundings may be symbolically viewed as a need of a change in one’s mind. Campbell claims that the hero has to cross the threshold of consciousness and adds that the entrance is not free and is protected. The guardians â€Å"mark the point of no return†(Campbell). In Heart of Darkness the symbolic threshold is the Continental Concern Marlow worked for. Here Marlow’s first entering the company should be considered. He entered the building of the Company through an â€Å"immense double door ponderously ajar†(Campbell Pg. 45). The door shares its meaning with the threshold. It is a transitional point from one place to another, from lightness to darkness. What concerns Marlow was that he was invited to move from the conscious to the unconscious and discover the different realms. Nevertheless, the manner of his entrance was of great importance; he, the hero â€Å"slipped through one of these cracks†(Campbell Pg. 47). The contradiction of the â€Å"immense double door ponderously ajar†and â€Å"the crack†suggests that the other realm is entered through a narrow passage; a secrecy which creates the feeling of danger. Campbell claims that when the hero reaches his unconscious, another realm, he is overwhelmed with doubtful thoughts and sometimes despair. This is all considered to be a part of the process during the journey of the hero and coming to a realization and understanding, as well as obtaining the â€Å"elixir†Not only does Marlow feel uncomfortable, but the reader finds him doubtful, too. When he signed the contract, he â€Å"began to feel slightly uneasy †¦and there was something ominous in the atmosphere†(Campbell Pg. 49). Marlow tried to justify his eerie feeling and explained that in the following way: â€Å"A queer feeling came to me that I was an impostor. Odd thing that I, who used to clear out for any part of the world at twenty-four hours’ notice, with less thought that most men give to the crossing of a street, had a moment – I won’t say of hesitation, but of startled pause, before this commonplace affair. The best way to explain it to you is by saying that, for a second or two, I felt as though, instead of going to the center of a continent, I were about to set off for the center of the earth. †(Conrad Pg. 93) The very fact that Marlow felt as if going to the center of the earth sharpens its geographical parallel with the human psyche. The movement in the geographical space represents the movement in the hero’s unconscious. One of the key elements in the Hero’s journey and self-acceptance is the realization of the shadow. However, the shadow may contain some positive features if a person under certain conditions represses his positive side and lives out the negative. The shadow embodies the qualities the person dislikes in others and therefore represents the opposite side of the hero. In Heart of Darkness, the man of dark mystery is Kurtz. He is the Shadow figure of the hero Marlow. The first parallel between the hero and his shadow is that these two characters are the only two in the story who are given names. All the other are addressed by their profession, with the exception of the Russian. If the shadow is the opposite of the hero, Kurtz and Marlow respectively, it means that they both have the positive and negative aspects of the character. On the assumption that the hero assumes his shadow as a remarkable person it may be stated that the shadow possesses some good qualities. Consequently, Kurtz as the shadow encompasses both the negative and the positive. Kurtz, archetypally the hero’s Shadow, â€Å"presented himself as a voice†(Conrad Pg. 92) and all the other characters â€Å"were so little more than voices†(Conrad Pg. 92). The fact that the characters were no more than voices reveals their intangible nature. It may be assumed that the unconscious communicated with the conscious self using voices and the strongest of them was the voice of the Shadow. Kurtz’ ability to talk was the main characteristics he was adored for by other people. Among all his talents Marlow distinguishes the gift to express himself: â€Å"The point was in his being a gifted creature, and that of all his gifts the one that stood out preeminently, that carried with it a sense of real presence, was his ability to talk, his words – the gift of expression, the bewildering, the illuminating, the most exalted and the most contemptible, the pulsating stream of light, or the deceitful flow from the heart of an impenetrable darkness. †(Campbell Pg. 61) Although, Marlow is presented as a perfect story teller, it can be assumed that until he integrated his shadow he was an introvert. Marlow recalled that when he was going to the jungle he felt â€Å"the idleness of a passenger, my isolation amongst all these men with whom I had no point of contact†(Conrad Pg. 67). Due to his reserved nature, the hero’s shadow appeared as an eloquent person implying the quality the conscious needed. The outward experience or the hero may help one to repress the shadow’s drives and impulses. The hero can be defined â€Å"as an inner guiding factor that is different from the conscious personality and that can be grasped only through the investigation of one’s own dreams†(Conrad Pg. 8). However, the shadow may possess â€Å"valuable, vital forces, they ought to be assimilated into actual experience and not repressed†(Conrad Pg. 83). In such a case the hero must live out what initially seems to be dark, but truly is not. In Heart of Darkness the archetype of the mentor is symbolically represented by the character of the Russian whom Marlow met at Kurtz’ station: â€Å"There he was before me, in motley, as though he had absconded from a troupe of mimes, enthusiastic, fabulous. His very existence was improbable, inexplicable, and altogether bewildering. He was an insoluble problem. It was inconceivable how he had existed, how he has succeeded in getting so far, how he managed to remain – why he did not instantly disappear. †¦The glamour of youth enveloped his parti-colored rags, his destitution, his loneliness, the essential desolation of his futile wanderings. †¦Glamour urged him on, glamour kept him unscathed. He surely wanted nothing from wilderness but space to breathe in and to push on through. His need was to exist, and to move onwards at the greatest possible risk, and with a maximum of privation. †(Conrad Pg. 72) The mentor is an archetype pointing to the wholeness of psyche. It is a state when an individual does not have any secret wishes. The Russian’s need to exist â€Å"with a maximum of hardship†shows that the mentor is not obsessed by the wishes, opposed to the shadow who is greedy. The mentor urges the hero to move forward and often suggests the ways how the hero should act in order to overcome the obstacles. In the story, it was the Russian who had helped Marlow to face Kurtz. Another archetype of which is distinguished in the novella is that of a woman, the temptress and destroyer of man. In Conrad’s story, the archetype of the temptress is a complex one, since it is represented by the two distinctive women characters and is not directly connected with the hero, but is rather viewed in relation to the shadow embodied in the figure of Kurtz. One is the native woman whom Kurtz met in the jungle and another is her opposition; his fiancee in Europe whom Kurtz called â€Å"My Intended†(Conrad). Nevertheless, the two women have an indirect impact on Marlow, since â€Å"to him the meaning of an episode was not inside like a kernel but outside†(Campbell Pg. . Thus, it may be assumed that, according to the archetypal pattern of the Hero’s journey, Marlow happens to recognize the possible variations of the two-fold temptress. After confronting Kurtz in the jungle and persuading him not to join the natives in their rites, Marlow brought him on the deck of the steamboat and saw the native woman who was Kurtz’ mistress: â€Å"She walked with me asured steps, draped in striped and fringed cloths, treading the earth proudly, with a slight jingle and flash of barbarous ornaments. She carried her head high; her hair was done in the shape of a helmet; she had brass leggings to the knee, brass wire gauntlets to the elbow, a crimson spot on her tawny cheek, innumerable necklaces of glass beads on her neck; bizarre things, charms, gifts of witch-men, that hung about her, glittered and trembled at every step. She must have had the value of seven elephant tusks upon her. She was savage and superb, wild-eyed and magnificent; there was something ominous and stately in her deliberate progress. (Conrad Pg. 102) The description shows the native woman as fascinating and abominable. Marlow found her â€Å"superb†and â€Å"magnificent†, self-assured by her femininity as she walked â€Å"proudly†and â€Å"with measured steps†. But at the same time she was â€Å"savage†, â€Å"wild-eyed†and â€Å"ominous†. Since the savage woman is related to Kurtz and represents the wilderness where he resided, it should be noted that Kurtz both desired and hated â€Å"all this and somehow couldn’t get away†(Conrad Pg. 99). Marlow described the state of Kurtz as â€Å"the fascination of abomination – you know, imagine the growing regrets, the longing to escape, the powerless disgust, the surrender, the hate†(Conrad Pg. . The black woman embodies the negative temptress. The temptress kept Kurtz by her â€Å"charms†, however, he strived to get back to his fiancee. He was tempted by the wilderness which was embodied by the native woman. She â€Å"had taken him, loved him, embraced him, got into his veins, consumed his flesh, and sealed his soul to its own by the inconceivable ceremonies of some devilish initiation†(Conrad Pg. 102). Marlow wasn’t lured into temptation since he recognized the danger of temptation with its devastating effects through his contemplation on Kurtz’ life. Her appearance suggests an element of a female warrior ready to fight for the possession of Kurtz. When seeing her, the Russian said that â€Å"if she had offered to come aboard I really think I would have tried to shoot her†(Conrad Pg. 89). Since the figure of the Russian represents the very determination of the mentor, and tries to not allow the temptress to approach the hero, it suggests that the temptress was eager to draw the Shadow, manifested in Kurtz, back to the jungle. Therefore, it may be assumed that she tried to prevent the integration of the shadow, but failed as Kurtz had stayed on the steamboat and left for Europe. The temptress, try as she may, was unable to keep Kurtz in the jungle with her. Another representation of the temptress is shown through the figure of Kurtz’ fiancee. Marlow describes her in the following way; â€Å"She struck me as beautiful – I mean she had a beautiful expression. †¦She seemed ready to listen without mental reservation, without suspicion, without a thought for herself. She came forward, all in black, with a pale head, floating towards me in the dusk. †¦I noticed she was not very young – I mean not girlish. She had a mature capacity for fidelity, for belief, for suffering. †¦This fair hair, this pale visage, this pure brow, seemed surrounded by an ashy halo from which the dark eyes looked out at me. Their glance was guileless, profound, confident, and trustful. She carried her sorrowful head as though she were proud of her sorrow. †(Conrad Pg. 12) As the passage shows, for Kurtz, his fiancee represents an ideal woman in every way possible. She represents the capacity for personal love in man’s psyche. She claimed that â€Å"it was impossible to know him [Kurtz] and not to admire him†(Conrad Pg. 116). Moreover, when Marlow kept hesitating to tell her the last words of Kurtz since they were very heavy ones; â€Å"The Horror! The Horror! †she cried â€Å"don’t you understand I loved him – I loved him – I loved him! †(ibid, 204). In her case, the fact that she repeated it three times suggests the spiritual nature of her love.
Sunday, January 5, 2020
Cyberspace Hate Propaganda and Internet Censorship Essay
Cyberhate - Hate Propaganda and Internet Censorship The Internet is an ideal medium for hate groups, such as neo-Nazis, because of the mass exposure, inexpensiveness, uncensored nature and ease of publishing offered. The Internet allows hate groups to target a broad audience: impressionable children are the most vulnerable. Attempts at censorship fail because of the international nature of the Internet, and to a lesser extent, free speech contentions. Instead, the freedom of speech exercised by cyberhate groups can be applied by online anti-hate advocates to counter cyberhate. Educating youth is the most important tool against cyberhate, however. Teaching children to be critical of content on the Internet implies that children†¦show more content†¦Forceless statements such as If these numbers are correct... after describing that rising hate group numbers are difficult to discern also jeopardize credibility (2002, Kim). Kims references are suspect as well: one third are from nonacademic sources such as CNN, ABC News, and Time magazine. A dependency on such partial sources is below the quality expected of university-level writing. The evidence provided in Hate Propaganda is obviously inadequate, and is weakened further by the style of the article. Kims writing style can be unsure and depreciating. The unsubstantiated observation that Perhaps, the Internet might have been the greatest thing that ever happened to hate, [italics added] is weakly phrased, unsupported and left to be unquestioned by the reader (2002, Kim). As such, it does not reflect the soundness expected of a scholarly paper. However, the essay benefits from a linear form of argument that clearly describes the problem of hate on the Internet, how children are affected, the viability of censorship, and lastly, how free speech can effectively combat cyberhate. The paper is easily understood as a result. The tone of theShow MoreRelatedEssay on The Debate Over Internet Censorship1547 Words  | 7 PagesDebate Over Internet Censorship Many people believe the Internet has become the World’s Emancipation Proclamation. They believe that this newfound cyber-freedom will free countless generations of people. These people will be of every race, creed and color, whose lives, up until now, have been restrained by the paradigm of governments. Whether it is the United States Government, or the government of a foreign nation, the Internet will be our new Underground Railroad of cyberspace. Read More Internet Censorship Libraries Essay2768 Words  | 12 Pageswhat information is available to its visitors via the Internet? This scenario is being debated all across the United States. Many states are arguing over whether or not the library has the authority to limit what information is accessible via the Internet computers at the library. The argument is over the First Amendment right of Free Speech. There are family groups who are actually in favor of allowing unfiltered access on the Internet, not what one would think. These groups also support theRead MoreWith The Current Atmosphere Around Politics In The United1954 Words  | 8 PagesWith the current atmosphere around politics in the United States, it has been brought to nearly everyone’s attention that the power of the Internet is a strong and dangerous one. World Leaders who wish to maintain their popular sovereignty have flocked to social media sites such as Tumblr, Facebook, or in most cas es, Twitter. Specifically, President Trump has been using social media and his free speech to say anything that comes to mind, and have it reach thousands of individuals in an instant. Whether
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