Bcom/275 Week Four Individual Assignment Essay - 796 Words

Week Four Individual Assignment To: The Family of the Trapped Mines It is with great regret, and deepest sorrow that I announce to you today, August 5, 2010, the collapsing of our Copper mine in Copiapà ³ trapping our family members far below the surface. At this moment we are not aware of their fate, or location, and we are making every effort possible to rescue your loved ones, and bring them back safely. We have contacted our Mining Minister Laurence Golborne to assist us with the rescue efforts. President Sebastian Pinera is also aware of this tragic accident. Our rescue workers’ current main objective is to locate your loved ones as quickly as possible, and determine how many may be critically injured. We intend to drill five†¦show more content†¦We are not in a position to estimate how long it may be before we can remove our family members from harm but believe no stone will be left unturned until we bring everyone last one home safely. To: Employees of Compania Minera San Esteban Primera To employees of Compania Minera San Esteban Primera, we have suffered a terrible accident today August 05, 2010. Thirty-three of our fellow employees have been trapped as a result of collapse of our mining tunnel. We do not yet know the fate of our dearest co-workers but we have begun the emergency rescue process. First, our rescue workers’ current main objective is to locate our employee as quickly as possible, and determine how many may be critically injured. We intend to drill five inch bore-holes in diameter to help find their location. After we locate them we will make an attempt to provide food, water, and medical supplies to help sustain their health. To understand better the circumstances your co-workers are in we will provide you consistent update, and further discussions will take place via e-mail, emergency phone lines, and text message. Please understand that all of our efforts, and resources must be concentrated in the rescue efforts. I expect serious concerns, a wide array of emotions, and tempered anger at the result of these events. I urge everyone to remain calm, and steadfast. As the owner of Compania Minera San Esteban Primera, I take full responsibility for the events of today.Show MoreRelatedBCOM 275 All Class Assignments and DQs – A Graded Material Essa y703 Words   |  3 PagesBCOM 275 All Class Assignments and DQs – A Graded Material http://homeworklance.com/downloads/bcom-275-complete-course-business-comm-critical-thinking-amaterial/ BCOM 275 All Class Assignments and DQs – A Graded Material BCOM 275 Week 1 Individual Exercise 1.1 Complete exercise 1.1 from Ch. 1 of Communicating in the Workplace. Choose two misunderstandings you experienced and fill out the chart for these. Respond to questions 1 and 2 shown under the chart for each example of a misunderstandingRead MoreBCOM 275 Complete Class1327 Words   |  6 Pagesï » ¿BCOM 275 Complete Class   Ã‚  Ã‚   Check this A+ tutorial guideline at http://www.assignmentcloud.com/BCOM-275/BCOM-275-Complete-Class. For more classes visit http://www.assignmentcloud.com BCOM 275 Week 1 DQ 1 What are some ways in which receivers of messages provide feedback when listening or reading a message? What effect does this have on the message?   Ã‚  Ã‚   Check this A+ tutorial guideline at http://www.assignmentcloud.com/BCOM-275/BCOM-275-Week-1-DQ-1Read MoreTerm Essay2794 Words   |  12 PagesSyllabus BCOM/275 Version 2 1 Syllabus School of Business BCOM/275 Version 2 Business Communication and Critical Thinking Copyright  © 2011 by University of Phoenix. All rights reserved. Instructor: Jon Olson 12/18/2012 – 02/04/2013 Course Description This course introduces students to the foundations of communication in a business setting. Students will develop skills in critical thinking and decision making through the forms of written communication, including memos, emails, businessRead MoreAnz Bank142091 Words   |  569 Pages271 7,117 6,310 6,492 15.8% 15.4% 0.97% 2.13% 142,064 15.0% 15.3% 0.93% 2.22% 132,347 43.7% 1.17% 44.7% 1.17% 44.6% 1.22% 44.9% 1.22% Individual credit impairment charge ($m) Collective credit impairment charge/(release) ($m) 1,141 (155) 1,158 30 Total credit impairment charge ($m) Individual credit impairment charge as a % of average net loans and advances Total credit impairment charge as a % of average net loans and advances 986 0.22% 0.19% 1

Architecture as a Political Tool for Change Free Essays

string(102) " alive so that future coevalss would be able to understand what people had suffered, under apartheid\." Red LocationArchitecture as a Political Tool for Change Could you speak about the context of the project-Port Elizabeth as a Port City and New Brighton as a Township? Port Elizabeth sits on the East Coast ofSouth Africa and interestingly enough it was one of the first topographic points to be discovered by the Portuguese, on their geographic expeditions to the East. The metropolis sits on a big bay called Algoa Bay and offers great entree to the backwoods of South Africa. It was truly given form in colonial footings by the 1820 Settlers but in the 20thcentury became the Centre of car industry of Africa and most of the world’s major auto makers had assembly lines in Port Elizabeth. We will write a custom essay sample on Architecture as a Political Tool for Change or any similar topic only for you Order Now So it is a tough minded industrial town. You could state it is much like a company town, a spot like Detroit. It is a topographic point that ne’er had any industry to back up it, other than a port and the motor auto industry. In the last portion of the 20thcentury it was the site of a great trade of internal battle, chiefly led by the trade brotherhoods, which were mostly responsible for the ruin of apartheid. You could state that the autumn of the apartheid authorities was made touchable by the opposition mounted within the state and it was the trade brotherhoods in Port Elizabeth who mostly shaped that. So it is an industrial town with a strong and proud trade brotherhood history. It has had its ups and downs like all industrial metropoliss have had. The context of New Brighton so, is that it provides most of the labor for the car industry. The people who live there are ferociously proud. Obviously trade unionism and trade brotherhood civilization is really much portion of the manner they see the universe and Red Location is an of import Centre in New Brighton. It is in a sense one of the few sites of battle in the state where trade unionism is really strongly marked. The metropolis was best characterized by the early work of Athol Fugard, which were all set in Port Elizabeth. The plants truly dealt with a tough sort of urban Centre, where people struggled for endurance and managed to do sense of lives that were truly devastated by apartheid, and assorted other things. It is a great metropolis but it is a metropolis that has ever had an unsure hereafter. The people are truly great, because most of them have merely known adversity, so they don’t have the same sort of outlook that people from Johannesburg, Cape Town or Durban might hold. They are much more down to earth and much more able to set up with less, with a batch more temper. I think it is one of the nicest metropoliss to work in. What is the significance of Red Location? Red Location was the first settled urban black community in the whole of South Africa, and it came approximately, oddly plenty through the Boer War. The edifices that comprised Red Location in 1902 really came from an Afrikaner concentration cantonment. At the terminal of the Boer War, the barracks were dismantled and were so taken to Red Location and re-assembled to originally suit a battalion of British soldiers, who shortly moved out. The first African black households so moved in. So it is historically of import because it was the first African black community in the state. And for this ground it really became the Centre of the rational and cultural life of New Brighton, which grew to a community of, what is today, approximately half a million people. You had great figures like George Pemba, the creative person, Govan Mbeki, Raymond Mhlaba and Ernest Malgas among others who are really of import people in our history who came from New Brighton. It was besides a site of battle. In the late 1940s the battle against apartheid intensified, many of the leaders of that battle came from New Brighton and peculiarly the Red Location country. Thingss like the first resistance, armed MK cell existed in Red Location. The first inactive opposition against the base on balls Torahs was mounted in Red Location, led by Raymond Mhlaba, which took topographic point at the Red Location railroad station. So there were a figure of important events that truly mark Red Location as a national site of battle. What for me is most interesting is this really self-contradictory inversion, where you have a set of infinites [ the barracks ] which were constructed for the captivity of Afrikaner adult females and kids. They were efficaciously concentration cantonments. About 30 five 1000 Afrikaner adult females and kids died in those concentration cantonments. Then after the Boer War they were re-assembled in a black country, where black households lived. So with the rise of Afrikaner patriotism, you have Afrikanders, efficaciously incarcerating black people, in assorted different ways, in the same set of infinites. So those edifices have gone through a figure of different battles. And in a manner it is a strong metaphor for this state, that in a manner, everyone in this state has fought for their freedom at one phase or another. So the thought with Red Location was that it would be the ideal topographic point for a museum, which would cover truly with rapprochement. Where you could convey together the histories of the Afrikaner people and the histories of the black African people and show that they both suffered in different ways at different times, under different groups and governments. So it was in a manner about speaking about a existent signifier of rapprochement. It wasn’t merely one group against another. So the alone conditions of Red Location lent itself fabulously for a museum. Second Ernest Malgas, Raymond Mhlaba and Govan Mbeki wanted to happen some manner to maintain the memory of Red Location alive so that future coevalss would be able to understand what people had suffered, under apartheid. You read "Architecture as a Political Tool for Change" in category "Essay examples" So in a self-contradictory move, we thought, what better topographic point in Port Elizabeth than to utilize Red Location as the new cultural Centre of the metropolis. You have the site of battle that you so conveying people from different parts of the metropolis, to prosecute in cultural activities, where you have a museum which negotiations about all these different battles of a whole scope of different people. And that is how the whole thought was born, which is a antic manner of believing about spacial transmutation. It truly reaches deep into the manner in which people feel about their universes if you confront them with all these different histories. So that was the purpose that lay behind it and we are now seeking to do that into a concrete world. Could you describe the cardinal thoughts for the Museum and how the histories of Red Location or South Africa were represented in the Memory Boxes? The thought of the memory boxes was bound up with the inquiry of how to do a museum in modern-day South Africa that would be directed towards, a populace that may hold ne’er been into a museum before. How could youre-describe the modern-day museum that would be accessible to a populace that might hold no construct what a museum is? And that’swherethe thought of the memory box came from. It is something that we all know. It is boundup with the thought of stand foring the yesteryear and which goes all the manner back to the Boer War concentration camp.One of the jobs with the concentration cantonments was that while, thirty five 1000 Afrikaner adult females and kids died an equal figure of black adult females and kids besides died in the camps.At the terminal of the Boer War, Emily Hobhouse wanted to do a memorial that would memorialize the agony of adult females and kids in the war. The Afrikaner patriots so, got clasp of that thought and they removed any mention toblack adult females and kids and made the Vrouemonument, which became this powerful symbol in the rise of Afrikaner patriotism. So they efficaciously rewrote history and excluded black adult females and kids in order to fulfill their peculiar nationalist involvement. So I didn’t want the Red Location museum to reiterate the same thing for black people, where the museum would state the narrative of the black people subverting the white people and so it would merely be a narrative about black triumph over white people. Therewere many white voices that had to be heard and there were many adult females that were involved. So I wanted to travel off from the meta-narrative, because when you tell a individual history you exclude excessively much, which is what the Afrikaner patriots did. So the memory box became a manner of interrupting up narrative of history into a series of episodes which are bound up about subjects to make with battle instead than a series of additive events. So it was both a political thought and a spacial thought. The new edifices within the precinct, and peculiarly the Museum, have a really distinguishable architectural linguistic communication. How did the physical and or political context of Red Location give signifier and form to the edifices? There were two things which I thought were of import. Firstly it was 1998 and the whole inquiry of what constituted public architecture and how public edifices be represented in the state was up for inquiry. There was, in a sense a antic chance, for this new beginning of doing new civic architecture and realising that, at that point in clip, the linguistic communication of the civic architecture of the yesteryear would be inappropriate for doing civic edifices of the hereafter. One of the most interesting exercisings of that clip was the Constitutional Court, which truly had to make with a edifice which was a mixture of a whole batch of different things. And, in a manner, one could state that was a really clear representation of the thought that we are a really assorted heterogenous society and that the public edifices we make should reflect that. That was one attack. I took a more political attack and truly wanted to give look to the epic histrions of the trade brotherhoods. In most parts of the universe the saw-tooth roof is seen as a symbol of topographic points where people are exploited and I thought possibly in South Africa there could be a different reading of it-that it could read as a topographic point where the battle was fought and won and that it could be a topographic point imbued with virtuousness. This thought was proved to be effectual in three ways. First that it was a omnipresent signifier found throughout South Africa, it was symbolically associated with trade unionism and thirdly it was an effectual manner of ventilating and conveying visible radiation into the edifices. So for the competition I designed seven or so edifices, and decided that the linguistic communication which would keep the edifices together, would be the thought of conveying visible radiation in through the roof, but the roof signifier would be changed and adjusted to accommodate the programmatic demands of the infinite below. The edifices have an inexplicit relationship to the street, made touchable through the interaction of people with the frontages. Could you elaborate on this? Well the urban scheme was to make an ten, a cross-road, which is the most straightforward signifier of taging an urban infinite. One of the things I didn’t want to make was to make public unfastened infinite, because public infinite has to turn and organize itself over clip, you can’t do it immediately. But it seemed to me that the best public infinite in South Africa is the street and the manner in which life happens along its borders. So what we did at Red Location was to reenforce the thought of street and where we make bigger infinites we merely created indentures in the edifices which come straight off the street. This is nevertheless a comparatively new thought for public edifices in South Africa. The metropolis has for a long clip held the position that all public edifices had to be behind fencings. We confronted them on this and they were good plenty to give us the spell in front. And it has worked. Other than the uneven scratch here or at that place, the edifices have been good looked after by the people. So it seems to be a reasonably good scheme for doing public edifices. For me the most successful move we made was the diagonal cut across the forepart of the museum because people really travel right into the infinite of the museum even though it is outside it still becomes portion of their day-to-day lives. They are really straightforward thoughts, it is non rocket scientific discipline, but we seem to hold lost these things as designers because we make things excessively complicated, we move excessively far off from what is so obvious to us. Then on a smaller graduated table the thought was to line the walls of the edifices with seating, shadiness and trees. One of the loveliest things I have seen take topographic point during summer eventides is outside the archive edifice. The seats that line the wall have a series of visible radiations above them and between them you have small dark infinites and I have seen about eight twosomes sitting in these darker pools, sitting at that place and spooning. This is like, their topographic point where they could acquire together, and I thought, this is merely the best thing that architecture could be-this topographic point where immature people can come to snuggle. The edifices have a house order, made explicit by the usage of the concrete frame. Be it the purpose to do the edifices adaptable or to suit multiple utilizations? That’s a slippery 1. It was ne’er the purpose to do the infinites adaptable or mutable. That said, the museum is really frequently non used as a museum. A batch of the people sing the museum are go toing talks, book launches and even wine tasting. So the museum has become something much more than a museum but has become a Centre for community engagement the place of black intellectuals. So I think if you make infinites that have a strong order and that order has a good proportion I think it can ever accommodate to alterations in usage over clip. I think when you have fragmented infinites, which are strictly shaped by programmatic usage it becomes about impossible to adapt.But built-in in the design of the edifices is an overarching order and a system of proportion that would impart themselves to other utilizations if need be. They can be kicked around, they are robust. What informed the stuff picks? In general footings, when 1 makes a edifice one is ever confronted with a million picks and you have to somehow bound yourself. What seems to do the most sense in making that is to merely utilize what is locally available. The metropolis has a authorization that all public edifices are required to hold a 50 % local labour constituent which meant that we had to plan edifices which were non overly-complex in their devising. We used concrete block which was made by the contractor. The pine is Tsitsikamma pine, which is a really beautiful wood from the nearby Tsitsikamma wood. The other thought is truly a didactic 1. To state to the people who live in Red Location that we must travel off from this thought of sing where you live as a 2nd rate topographic point, but instead that stuffs used in your environment are baronial stuffs and when used decently can truly be used to do rather beautiful things. So it is non about the stuffs itself but how one uses them. And so it empowers people, to gain that if they build out of concrete block and pine they can really do truly nice palisading systems. So it is non about demoing up the sort of poorness but instead working with what is omnipresent to the country and promoting it to give it a signifier of pride and regard. I frequently get asked by co-workers or other designers whether possibly people in Red Location would prefer the edifices to non be made with concrete block, pine and steel sheeting? But I have ne’er thought of it in that manner, so long as they are put together in a pleasing mode. We as in-between category citizens seem to transport those biass more than anyone else. On more micro graduated table there was a sense of seeking to happen a linguistic communication of stuffs that would reflect people’s relationship with them. So the material that people would touch would be made from soft warm stuffs and the material that they didn’t touch would be made out robust stuffs such as concrete, so where people would sit we would utilize lumber and line the walls with rug. So it was reasonably straightforward in that sense. The edifices are truly rather large, could you discourse this? One of the first unfavorable judgment we received about the museum was that it was excessively large and that the graduated table was incorrect. That it didn’t transport a human graduated table. I have ever been rather amused by that thought, because somehow the thought of human graduated table, is something that worlds can make. But it isn’t that. Human graduated table can be present in immense edifices, it is more about accomplishing the right proportions and composing of the parts. One of the jobs with townships is that they have excessively much of one sort of graduated table, there is no alleviation at all from these individual narrative edifices, so the thought of edifice large edifices in a township is great because you so acquire a apposition of graduated tables. But one ever has to convey the graduated table down through the composing of the elements. It is the same thought as a Gothic cathedral, which has a monumental graduated table and as you move closer and closer you see more and more item, until you can finally follow the lineation of a saint which has been carved out of rock, with your fingertips. It is that sort of grading of edifices which we don’t have any longer, which is my job with say the work of Frank Gehry, who I think is a great designer, but his edifices have no graduated table. One could construct them at half the size and it would read in the same manner. I think that comes from the computing machine because the computing machine doesn’t have a graduated table, and that’s a great job we face. Last, you work a batch by manus. What is the significance or importance of this, both in your personal work and for architecture as a whole? I think through the act of pulling. There is nil that the computing machine can make that can replicatethat sense ofcontrol that you have by pulling by manus. Whenyou draw by the manus you connect with your head and your bosom, and it is an action that you can command. It has immediate graduated table, because you have a splanchnic connexion between your manus and your encephalon. So I truly believe it is of import. I think it is get downing to be rediscovered, you see in architectural diaries that are get downing to print tonss of drawings by designers, which is good. It has besides got to make with a lesson I learnt from Pancho Guedes. He taught me that one should ne’er finish a drawing, but instead redraw and redraw and it is through the act of redrawing that the thought becomes more crystalline. I one time found Pancho redrawing a program he had worked on twenty old ages ago, and he was merely seeking to acquire it better and better, and that’s how you learn. How to cite Architecture as a Political Tool for Change, Essay examples

Chinese Immigration to the United States from 1850 to 1930 free essay sample

A look at the experiences of the Chinese during their immigration to the United States. We will write a custom essay sample on Chinese Immigration to the United States from 1850 to 1930 or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page This essay examines the experiences of the Chinese people who immigrated to America between the years 1850 and 1930. The author looks at the events that these people experienced such as the hardships and the culture barriers as well as the series of laws and events that occurred during this immigration to the United States. As with many other people groups who left their homelands for America during this 80-year period, Asians experienced a great number of positive and negative ordeals in their attempts to join the great melting pot of the new world. Chinese immigration during this time is filled with countless stories of hardship, rejection, persecution, opportunity, and success. A significant language barrier compounded the Chinese immigration experience. Beginning in the mid- 19th Century when young, single men were recruited as contract laborers from Southern China (particularly from the Kuangtung Province), Asian immigrants have played a vital role in the development of the United States. Several factors contributed to the influx of Chinese to the wild American West around 1850.

Broadcast Promotion / Marketing & Promotion Essays - Marketing

Broadcast Promotion / Marketing & Promotion Broadcast Promotion / Marketing In today's market you must: 1. generate and understand new ideas 2. tackle challenges of: a. building ratings b. building revenue 3. understand that the marketplace is cluttered and noisy with 2 - 3000 commercials each day 4. it's like the Field of Dreams: you have to think outside of the box to market what you build Marketing is defined as: 1. a philosophy, not a department 2. winning the perceptual battle 3. being much more multi-dimensional 4. having a much greater sophistication 5. for example: a. on-site display (signage) b. balloons c. live remotes d. movie screenings The evolution taking place in promotion / marketing: -p/m directors think more like executives -their job extends into stations and handling of clients and creating an increase demand for sales -they have to get people interested in the station -according to a recent survey, station GMs want p/m directors to become a marketing executive -the same survey says they have to look beyond the next promotion -also, a good mix of business management and creativity is essential -lastly, the survey said that a p/m director has to be able to generate: 1. ratings 2. revenue 3. goodwill P/M has four basic parts: 1. audience 2. sales 3. value-added 4. non-spot revenue - since there's limited space to sell ads, have to find other ways to make $ When promoting your station, there's countless avenues to take: 1. newspapers 2. TV 3. radio 4. billboards 5. bus/taxi placards 6. transit shelters 7. direct mail 8. special events The promotion must be: 1. in good taste 2. consistent with the station's public image 3. all literature must be factual and not lead on potential advertisers The basic skills needed for P/M are: 1. broadcast ratings 2. research techniques 3. budget planning capabilities 4. motivational techniques and how to apply them 5. advertising including characteristics of various media and how they can be used 6. media selection - know the buying process 7. on-air effects and results 8. generate favorable publicity 9. station promotion - other than non-air 10. effective sales promotion 3 ways to get message(s) to the public: 1. advertising 2. promotion 3. publicity Who are these publics? (everyone on local level or national spot level is public) 1. listeners/viewers 2. potential audience 3. special interest groups 4. community leaders 5. ad agency buyers 6. clients 7. potential clients 8. minority groups 9. the press in general The Promotion Director's job responsibilities (con't): 1. community relations - enhances image of station 2. audience promotion - informs or motivates them to watch a program 3. image promotion - reaffirm the station's image 4. sales promotion - media buyers and potential clients 5. marketing 6. merchandising/value-added - extras offered to clients 7. advertising - ways the station gets image to the public 8. publicity - like free newspaper space a. advantages: low cost & it's 4 times greater than an ad because it comes from a 3rd party b. disadvantages: you lose control of what's said The biggest promotional successes are those that the promise you make has to be different. Films and Cinema

The Blame for the Cold War Essay Example

The Blame for the Cold War Essay Example The Blame for the Cold War Essay The Blame for the Cold War Essay The blame for the Cold War cannot be placed on one person it developed as a series of chain reactions as a struggle for supremacy. It can be argued that the Cold War was inevitable, and therefore no ones fault, due to the differences in the capitalist and communist ideologies. It was only the need for self-preservation that had caused the two countries to sink their differences temporarily during the Second World War. Yet many of the tensions that existed in the Cold War can be attributed to Stalins policy of Soviet expansion. It is necessary, therefore, to examine the role of Stalin as a catalyst to the Cold War. Stalins foreign policies contributed an enormous amount to the tensions of the Cold War. His aim, to take advantage of the military situation in post-war Europe to strengthen Russian influence, was perceived to be a threat to the Americans. Stalin was highly effective in his goal to gain territory, with victories in Poland, Romania, and Finland. To the western world, this success looked as if it were the beginning of serious Russian aggressions. The western view of the time saw Stalin as doing one of two things: either continuing the expansionist policies of the tsars that preceded him, or worse, spreading communism across the world now that his one-state notion had been fulfilled. It also must be mentioned that Stalin is seen as wanting unchalleged personal power and a rebuilt Russia strong enough to withstand caplitalist encirclement.'1 Admittedly, the first view of Stalin, as an imperialist leader, may be skewed. The Russians claim, and have always claimed, that Stalins motives were purely defensive. Stalins wished to create a buffer zone of Communist states around him to protect Soviet Russia from the capitalist West. In this sense, his moves were not aggressive at all they were truly defensive moves to protect the Soviet system. His suspicions of Western hostility were not unfounded: the British and U.S. intervention in the Russian Civil War (1918-1920) were still fresh in Stalins memory when he took power. Furthermore, Stalin was bitter because he was not informed of U.S. nuclear capabilities until shortly before the atomic bomb was dropped on Hiroshima. Compounding tensions was the fact that Stalins request that Russia be allowed to participate in the occupation of Japan was denied, even though Russia had declared war on Japan on 8th August (the bomb was dropped on Hiroshima on 10th August) and had been respon sible for annexing south Sakhalin as agreed to at Yalta. This failure to be included in the Western worlds politics created an even deeper rift between the two superpowers. Clashes between Stalin and the West first appear at the Yalta and Potsdam Conferences in February and July 1946, respectively. Though the mood at Yalta was more or less cooperative, Stalin agitated matters by demanding that all German territory east of the Rivers Oder and Neisse be given to Poland (and thus remain under Soviet influence). Both Roosevelt and Churchill refused to agree to these demands. The Soviet Union responded bluntly, saying ..the Soviet Government cannot agree to the existence in Poland of a Government hostile to it.2 The atmosphere at the Potsdam Conference was noticeably cooler, with Truman replacing Roosevelt as the representative from the United States. Trumanhad been kept in complete ignorance by Roosevelt about foreign policy,3 which meant that Truman was not aware of the secret assurances of security Roosevelt had made to Stalin. His policy towards Soviet Russia, then, was much more severe than that of Roosevelt. He was quoted as saying We must stand up to the RussiansWe have been too easy with them.4 Both Truman and Churchill were annoyed because Germany east of the Rivers Oder and Neisse were being occupied by Russian troops and were being run by the pro-communist Polish government, who expelled over five million Germans. This went directly against the agreements made at Yalta earlier in the year. The west viewed this as an act of aggression on the part of the Soviet Union. The Soviet Union responded with a statement saying Poland broders with the Soviet Union, what [sic] cannot be said of Great Britain or the United States.5 From this point, the Cold War truly becomes a chain reaction. In March of 1946, Churchill presented his Iron Curtain speech at Fulton, Missouri, in response to the spread of communism in eastern Europe. He called for a western alliance to combat the threat. Stalins response was hostile: rather than trying to negotiate a peaceful settlement, Stalin continued to tighten his grip on eastern Europe. Communist governments were installed in every area of eastern Europe (barring Czechoslovakia) by the end of 1947. These governments were implemented by guerrilla tactics: elections were rigged, non-communist members of the governments were expelled, with many being arrested or executed, and eventually, Stalin dissolved all non-communist political parties. Stalin began to implement a reign of terror using the Russian Army and his secret police force. Moreover, Stalin had increased his influence in the Russian zone of Germany as if it belonged to Russia. He allowed only the communist party and drained the area of its vital resources. The West reacted. It appeared to them that Russias attitude went against all of the promises that Stalin had made at Yalta namely, that Stalin would permit free elections in the eastern European states. Russia argued that it needed to maintain a sphere of influence in the area for security reasons: to this, even Churchill agreed in 1944. Further, Russia argued that the areas had never had democratic governments, and that a communist system would allow these backward countries to progress and flourish. Stalins policy of expansion worried the West: in response, the West introduced the Truman Doctrine and the Marshall Plan, both of which sought to arrest the spread of communism. Stalins aggressive tactics did not end with creating a sphere of influence. Stalin re-established Cominform in September 1947. Cominform represented a union of all of the communist states within Europe, including representatives from the French and Italian communist parties. Even within this communist structure, Stalin had to exert his influence. It was not enough for a state to be merely communist: it had to adopt the Russian-style communism. Furthermore, the states within Cominform were expected to keep trade within the Cominform member states, and were discouraged from making any contact with the Western world. Russia strengthened the ties with the Cominform countries through the Molotov plan, which offered Russian aid to the satellite states, and the establishment of Comecon, which served to coordinate the economic policies of the communist states. These actions on the part of Stalin only increased the rift between the capitalist and the communist systems, and made future comprom ise and negotiations more difficult. Perhaps the most aggressive move that Stalin made, however, was the takeover of Czechoslovakia in February 1948. Several key issues arose in this conflict. First, the U.S. felt alienated when Czechoslovakia rejected Marshall Aid, which the U.S. blamed on the influence of the communist party. Second, the Prime Minister of Czechoslovakia was a communist, the President and Foreign Minister were not. Finally, the fact that the communists took power in Czechoslovakia by means of an armed coup sent waves of fear through the western world, causing the iron curtain to fall even further. The U.N. had its hands tied, because there were free elections (the candidates were all communist) and there was no proof of Russian involvement. While it cannot be proved that Stalin ordered the coup, the signals were clear: Stalin had likely encouraged the coup, and it was not coincidental that Russian troops in Austria were moved up to the Czech border. Czechoslovakia was the final east-west bridge, and wi th the fall of it, the iron curtain was complete. The final hostile movement of Stalin of importance was the Berlin blockade and airlift. When Russia grew dissatisfied with the economic disparity that had developed in Berlin, it responded by closing all road, rail and canal links between West Berlin and West German. The goal was to force western powers from West Berlin by reducing it to the starvation point. While the blame for the Cold War cannot be placed on a single man, Stalins expansionist policy was clearly an ever-present catalyst in the war. Certain Truman was not blameless, but the U.S. was not expanding its empire the Soviet Union was. Whether the expansion was for self-preservation, or whether it was merely imperialistic expansion, is relatively immaterial. What Stalins actions unarguably did was start a string of chain-reactions within the western powers, and therefore, a good deal of the blame must rest with him.

Yeha - Saba (Sheba) Kingdom Site in Ethiopia

Yeha - Saba' (Sheba) Kingdom Site in Ethiopia Yeha is a large Bronze Age archaeological site located about 15 miles (25 km) northeast of the modern town of Adwa in Ethiopia. It is the largest and most impressive archaeological site in the Horn of Africa showing evidence of contact with South Arabia, leading some scholars to describe Yeha and other sites as precursors to the Aksumite civilization. Fast Facts: Yeha Yeha is a large Bronze Age site in the Ethiopian Horn of Africa, established in the first millennium BCE.  Surviving structures include a temple, an elite residence and a set of rock-cut shaft tombs.  The builders were Sabaean, people from an Arabian kingdom in Yemen, thought to be the ancient land of Sheba. The earliest occupation at Yeha dates to the first millennium BCE. Surviving monuments include a well-preserved Great Temple, a palace perhaps an elite residence called Grat Beal Gebri, and the Daro Mikael cemetery of rock-cut shaft-tombs. Three artifact scatters probably representing residential settlements have been identified within a few kilometers of the main site but have not to date been investigated. The builders of Yeha were part of the Sabaean culture, also known as Saba, speakers of an old South Arabian language whose kingdom was based in Yemen and who are thought to have been what the Judeo-Christian bible names as the land of Sheba, whose powerful Queen is said to have visited Solomon. Chronology at Yeha Yeha I: 8th–7th centuries BCE. Earliest structure located at the palace at Grat Beal Gebri; and a small temple where the Great Temple would be constructed later.Yeha II: 7th–5th centuries BCE. Great Temple and the palace at Grat Beal Gebri built, elite cemetery at Daro Mikael begun.Yeha III: Late first millennium BCE. Late phase of construction at Grat Beal Gebri, tombs T5 and T6 at Daro Mikael. Great Temple of Yeha The Great Temple of Yeha is also known as the Almaqah Temple because it was dedicated to Almaqah, the moon god of the Saba kingdom. Based on construction similarities to others in the Saba region, the Great Temple was likely built in the 7th century BCE. The 46x60 foot (14x18 meter) structure stands 46 ft (14 m) high and was constructed of well-made ashlar (cut stone) blocks measuring up to 10 ft (3 m) long. The ashlar blocks fit together tightly without mortar, which, say scholars, contributed to the structures preservation over 2,600 years after it was built. The temple is surrounded by a cemetery and enclosed by a double wall. Foundation fragments of an earlier temple have been identified beneath the Great Temple and likely date to the 8th century BCE. The temple is located on an elevated location next to a Byzantine church (built 6th c CE) which is higher still. Some of the temple stones were borrowed to build the Byzantine church, and scholars suggest there may have been an older temple where the new church was built. Construction Characteristics The Great Temple is a rectangular building, and it was marked by a double-denticulate (toothed) frieze that still survives in places on its northern, southern, and eastern faà §ades. The faces of the ashlars display typical Sabaean stone masonry, with smoothed margins and a pecked center, similar to those at the Saba kingdom capitals such as the Almaqah Temple at Sirwah and the Awam Temple in Marib. In front of the building was a platform with six pillars (called a propylon), which provided access to a gate, a broad wooden door frame, and double doors. The narrow entrance led to an interior with five aisles created by four rows of three squarish pillars. The two side aisles in the north and south were covered by a ceiling and above it was a second story. The central aisle was open to the sky. Three wooden-walled chambers of equal size were located at the eastern end of the temple interior. Two additional cultic rooms extended out from the central chamber. A drainage system leading to a hole in the southern wall was inserted into the floor to assure that the temple interior was not flooded by rainwater. Palace at Grat Be'al Gebri The second monumental structure at Yeha is named Grat Beal Gebri, sometimes spelled as Great Baal Guebry. It is located a short distance from the Great Temple but in a comparatively poor state of preservation. The buildings dimensions were likely 150x150 ft (46x46 m) square, with a raised platform (podium) of 14.7 ft (4.5 m) high, itself built of volcanic rock ashlars. The exterior faà §ade had projections at the corners. The front of the building once also had a propylon with six pillars, the bases of which have been preserved. The stairs leading up to the propylon are missing, although the foundations are visible. Behind the propylon, there was a huge gate with a narrow opening, with two massive stone doorposts. Wooden beams were inserted horizontally along the walls and penetrating into them. Radiocarbon dating of the wooden beams dates construction between early 8th–late 6th centuries BCE. Necropolis of Daro Mikael The cemetery at Yeha consists of six rock-cut tombs. Each tomb was accessed via a staircase along 8.2 ft (2.5 m) deep vertical shafts with one grave chamber on each side. The entrances to the tombs were originally blocked by rectangular stone panels, and other stone panels sealed the shafts at the surface, and then all was covered by a mound of stone rubble. A stone enclosure fenced in the tombs, although it is unknown whether they were roofed or not. The chambers were up to 13 ft (4 m) in length and 4 ft (1.2 m) in height and were originally used for multiple burials, but all were looted in antiquity. Some displaced skeletal fragments and broken grave goods (clay vessels and beads) were found; based on grave goods and similar tombs at other Saba sites, the tombs probably date to the 7th–6th c BCE. Arabian Contacts at Yeha Yeha period III has traditionally been identified as a pre-Axumite occupation, based primarily on the identification of evidence for contact with South Arabia. Nineteen fragmentary inscriptions on stone slabs, altars and seals have been found at Yeha written in a South Arabian script. However, excavator Rodolfo Fattovich notes that the South Arabian ceramics and related artifacts recovered from Yeha and other sites in Ethiopia and Eritrea are a small minority and do not support the presence of a consistent South Arabian community. Fattovich and others believe that these do not represent a precursor to the Axumite civilization. The first professional studies at Yeha involved a small excavation by the Deutsche Axum-Expedition in 1906, then part of the Ethiopian Institute of Archaeology excavations in the 1970s led by F. Anfrayin. In the 21st century, investigations have been conducted by the Sanaa Branch of the Orient Department of the German Archaeological Institute (DAI) and the Hafen City University of Hamburg. Sources Fattovich, Rodolfo, et al. Archaeological Expedition at Aksum (Ethiopia) of the University of Naples Lorientale - 2010 Field Season: Seglamen. Naples: Universit degli studi di Napoli LOrientale, 2010. Print.Harrower, Michael J., and A. Catherine D’Andrea. Landscapes of State Formation: Geospatial Analysis of Aksumite Settlement Patterns (Ethiopia). African Archaeological Review 31.3 (2014): 513–41. Print.Japp, Sarah, et al. Yeha and Hawelti: Cultural Contacts between Saba and Dmt; New Research by the German Archaeological Institute in Ethiopia. Proceedings of the Seminar for Arabian Studies 41 (2011): 145–60. Print.Lindstaedt, M., et al. Virtual Reconstruction of the Almaqah Temple of Yeha in Ethiopia by Terrestrial Laser Scanning. International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences 38.5/W16 (2011): 199–203. Print.Phillipson, David W. Foundations of an African Civilisation: Aksum the Northern Horn 1000 BC–A D 1300. Suffolk, Great Britain: James Currey, 2012. Print. Wolf, Pawel, and Ulrike Nowotnick. The Almaqah Temple of . Proceedings of the Seminar for Arabian Studies 40 (2010): 367–80. Print.Meqaber Gaewa near Wuqro (Tigray, Ethiopia)

Ibtisam Mahameed Essay Example | Topics and Well Written Essays - 2000 words

Ibtisam Mahameed - Essay Example She helps them enhance their confidence and then introduce them to peer groups of the three main religions – Christianity, Judaism, as well as Islam (Jerusalem Peacemakers 1). For a number of years, Mahameed has been offering advice to Jewish and Arab women concerning their status in the society. As a religious woman – Muslim, she has worked with religious Druze, Christian and Jewish women on promoting peace through learning about each other’s religions, as well as cultures, and spreading them to other religions. She is currently on the board members of Middleway, a group for promoting a peaceful, non-violence community, and she was instrumental in helping establish the Women’s Interfaith Encounter, a women’s program of the IEA – Interfaith Encounter Association (Jerusalem Peacemakers 1). As we can see, Ibtisam Mahameed is a very influential woman, one that can be contrasted to the likes of Mother Teresa and Wangari Mathai of Kenya due to her work. This paper will dwell on this prominent Arab woman who has gone against all odds to establish herself in a nation that disregards the female race. It will dwell on her background, works, influences and achievements. Background Ibtisam Mahameed is a member of the Arab-Palestinian minority in Israel, a group, which lost most of its terrain, assets, rights and freedom, in the Israel’s War of Independence, in 1948. ... She has eight siblings – three brothers and five sisters, and she and her husband, a house painter, have three children. She is currently in her early 50’s. She states that when she was growing up, extremely few girls in the Arab community had schooling rights, but her parents were incredibly supportive, and she managed to complete high school. Since then, she has studied educational administration and management. As a religious woman, particularly Muslim, Mahameed claims that she is obliged to wear traditional garments (Jerusalem Peacemakers 1). Unfortunately, the Israeli community around her associates every religious Muslim with potential terrorism and extremism. Her peace activist work needs her to travel a lot and alone (not with her family members) around Israel and throughout the work. Therefore, she is obliged to spend nights away from her family members, a matter that is very odd in the traditional Arab community (Jerusalem Peacemakers 1). In such a community, the woman is expected always to be at home fending for her family while the husband goes to work. This is why harsh rules are imposed on women and working in the Arab world. In the beginning, Mahameed says that some members of her family found it very hard to accept her association with Jews and Christians, as well as her work for Arab-Jewish co-existence (Global Oneness Project 1). The family members who found that odd even went to the extent of not talking to her, but now support her. She claims that her family pays a social price due to her activism. For instance, her daughter was the main candidate for a teaching job in Mahameed’s home town, but she was denied the opportunity as the village elders felt

Canada and the Founding of The United Nation Essay

Canada and the Founding of The United Nation - Essay Example Prior to the formation of the United Nations, countries first organized themselves to address specific issues. One of the first organization prior to United States that was organized to address peace was the International Peace Conference that was held in 1899 in The Hague to put in place the mechanism on how to resolve crisis peacefully that would prevent wars from happening such as the previous world wars. Canada has been instrumental in the creation of United Nations being one of its founding members and has been an active participant and supporter since its beginnings. It was active not only in the primary role of UN to maintain peace and stability but also on other aspects such as supporting its drive to promote human rights, improving the administrative capability of UN and providing financial support to the institution. United Nations is created to prevent another world war to happen and to also collectively address global issues such as peace and security, climate change, food security and others. It was created after World War II where countries in ruin and wanted lasting peace. At present, UN has expanded its role from averting a world war and maintaining peace to addressing global issues in the 21st century. It has also became a major international platform for dialogue and negotiation not only in settling conflict and dispute but also in addressing other timely humanitarian concerns such as human rights and climate change. United Nation’s predecessor was the League of Nations which was created with similar intention as the International Peace Conference which was established in 1919 to prevent war and promote peace and security under the Treaty of Versailles. The League of Nations however was disbanded after it failed to prevent the Second World War from happening giving way to creation of United Nations after Second World War in 1945.

The King, The Demigod Essay Example for Free

The King, The Demigod Essay The never-ending narrative of a young truck driver (Wadhams, Nathan Lindsay 39) turned into a world cultural icon never fails to garner praise and admiration. Years and decades have elapsed, yet the Elvis phenomenon has managed to maintain a cult following has endured the tests of time. The Elvis Presley fairy tale continues to echo the success and seemingly unsurpassed popularity of a man who shaped and transformed the rough terrains of history. Indeed, Elvis Presley is one of the most celebrated fairy tale protagonists similar to that of Cinderella. He is the fulfillment of every boy’s dream. He is the knight in shining armor of countless damsels in distress. He symbolizes the youth’s vibrant energy and even adults are swayed by his presence. He is Elvis Presley. However, his massive influence is neither caused by musical virtuosity nor pure charm. A simple musician that he was, it always bring wonder how Presley has captivated the hearts of many. Could it be that just like Faust, Elvis also sold his soul to the devil? Could it be that Elvis Presley is no less than a media-made hero? Yet if he is a product of media hype or exaggeration, his glamour could have already faded as new faces and rising stars enter the limelight. Evidently, the Elvis fever remains an epidemic in which the cure is yet to be discovered. On the other hand, as a deeper examination of Elvis Presley’s seemingly inevitable success can be attributed to the fact that he embodied a demigod image (Paytress 10) whose primary weapon is no less than music. A demigod is briefly defined as â€Å"half human† and â€Å"half god (Loewen 13). This image is greatly portrayed and manifested by the so-called King of Rock n Roll (Browne 636). Elvis Presley is a demigod in the sense that his charisma, style and presence create a divine like euphoria among his supporters. He is omnipresent and his prestige is something that even the most powerful leaders and politicians cannot easily acquire. Yet, unlike the well-revered gods of Olympus, Elvis Presley is not a product of an imaginative mind. He exists in real-life situations. He can be touched. He can be hugged. Thus, his mortal side enabled him to develop strong connections and relationships with his respective fans. The strong degree of attachment between Elvis and his supporters provided a god-like experience, without really resorting to romanticism and escapism. Elvis Presley is a walking fairy tale Relatively, Elvis Presley’s music created a sense of belongingness. Presley established a strong sense of community deeply characterized by similarities of interests and perspectives. Although marked with rebelliousness, for many Elvis believers, rebelliousness is a sign of struggle against the highly constricted nature of various social values, norms and mores. At one point of history, Elvis and his music articulated the hidden angst and concerns of the youth. The celebrity transformed into a superhero fully determined to regain and freedom and liberty via music. If music is described as the language of one’s soul, then Elvis Presley became the music of many youths. In addition to that, Elvis Presley’s sensual imageries and gestures readily challenged the existing taboos of society. Under this context, it can be argued that Elvis Presley has also preempted the rise of sexual revolution. The non-conformity, the unorthodox style, the courage and freedom that Elvis Presley manifested were more than enough to immortalize his memories. The duality of characteristics that Presley possessed contributes to his popularity and influence. He is the thesis and the anti-thesis. He is praised and criticized. He is half-human and half-god. He is loved and hated. In other words, Elvis Presley was able to provide a duality of experience that mostly of his contemporaries have failed to achieve. With a legion of supporters that he garnered, his untimely death served as an unpleasant surprise. Somehow this made his fans longed for more. The king is greatly missed by his believers. His absence basically explains why his memories remain intact. As Elvis Presley is emulated by his fans, somehow, the connection is reestablished—once again, the demigod is brought back to life. The fairy tale becomes a reality and his music continues to play. Works Cited Browne, Pat. The Guide to United States Popular Culture. Wisconsin: University of Wisconsin Press, 2001 Loewen, Nancy. Zeus. Minnesota: Capstone Press, 1999 Paytress, Mark. Bolan. London: Omnibus Press, 2002 Wadhams, Wayne; David Nathan and Susan Lindsay, eds. Inside the Hits. Massachusetts: Berklee Press, 2001

The 1966 Impala vs. 1996 Impala SS :: essays research papers

The 1966 Impala vs. 1996 Impala SS   Ã‚  Ã‚  Ã‚  Ã‚  It is hard to believe how the Impala has changed over the last thirty years. It went from a step up from an average car to what it is now, a full size luxury car with all of the options.   Ã‚  Ã‚  Ã‚  Ã‚  Chevrolet built the Impala in 1966 with very little standard options. It came with a bench seat, AM Radio, lap safety belts, 283 cubic inch V-8, and manual transmission. They did not construct the car with any form of emission system. The federal government did not require car companies to equip the car with emissions systems until 1968. The emission systems helped to reduce pollution emitted from the car. During the mid-sixties, engines started to get bigger and more powerful. One option for the Impala was the Super Sport model, more widely known as the SS. This option gave the car a 396 cu. in. engine, four speed manual transmission, heavier duty suspension and all of the SS insignias. If you were buying any car in 1966 you could order it with each individual option that you wanted.   Ã‚  Ã‚  Ã‚  Ã‚  They built the Impala SS in 1996 with many standard options. It came with bucket seats, a console, automatic transmission, shifter on the floor, leather seats, seventeen inch aluminum rims, all season radials, and the LT1 engine(commonly in the Corvette). This car was built with all kinds of safety equipment, emission systems, and a computer to control the entire car. The emission system on the car is approved for 1998 emission standards. The safety equipment on the Impala SS is lap/shoulder seat belts, dual air bags, and crumple zones. The computers on today's new cars control the engine, the fuel injection, the emission systems, the air bags, the transmission, the cooling system, the instrument gauges and all of the warning lights. On the 1996 Impala SS, the options came in packages. If you just wanted air conditioning with the car, you would have to buy the package with air conditioning included. The car companies devised putting options into packages so they could produce many identical cars and still can sell them with some guarantee.   Ã‚  Ã‚  Ã‚  Ã‚  The 1966 Impala was designed very differently than the 1996 Impala SS. In 1966, the Impala was built with a steel frame and metal body panels. This design made the car very strong and durable that is one main reason you see many old cars still in running today. Cars were also built with chrome. You do not see that on many new cars. The 1966 Impala, I think they built it with style,

Heredity, the Environment and Development Essay

The study of genetics has grown out of a desire to understand how exactly the individual comes to be just that, an individual different from its peers. In order to comprehend the scope of possible outcomes and how they came to be behavioral genetics looks at a number of variables; these include the impact of our genes (nature), and our environment (nurture). A countless number of hypotheses were put to the test through research to analyze the degree of influence of each. In this paper, team A will discuss the methods of behavioral genetics, the various research techniques used, their testing populations and why used, along with proposed answers and explanations. Behavioral GeneticsBehavioral geneticists uses family, twin and adoption studies as a basis for their argument of individual differences (Lerner, Bearer, Garcia, & Coll, 2004). A significant contributor to studies in behavioral genetics, provides this definition: â€Å"Behavioral genetics is the genetic study of behavior, which includes quantitative genetics (twin and adoption studies) as well as molecular genetics (DNA studies) of human and animal behavior broadly defined to include responses of the organism from responses measured in the brain such as functional neuro-imaging to self-report questionnaires† (Plomin,2004). Read more:  Influences that affect children’s development essay One of the first twin studies was conducted by Bouchard in 1979 when he found a set of monozygotic twins, babies from a fertilized egg that splits into two. The babies were separated at a few weeks old. The babies had many physiological and psychological similarities. Since Bouchard’s initial study it has been proven that, while monozygotic twins raised together have many similarities, those separated at an early age have an even greater likeness. Since twins being raised together are more likely to highlight their differences in order to maintain some element of independence, behavioral geneticists argue that this indicates a strong genetic underpinning in human development (Plomin, 2004). Research conducted by Grilo and Pogue-Geile (1991) correlated the familial relationships with extroversion. The study included monozygotic twins reared together and apart, dizygote twins reared together and apart, biological parents and children, biological siblings, adoptive parents and children and  unrelated siblings reared together. The results reflected that the highest correlation was between monozygotic twins raised together and apart. The lowest correlation was between unrelated siblings raised together. For behavioral geneticists, these results conclude that genetics are at work in determining the extroversion of a person. Behavioral geneticists suggest reasonable doubt in assuming connections between psychological environments and developmental results may be genetically arbitrated and that the environment a person is in responds to the genetically influenced characteristics (Plomin, 2004). The genetic association between parent and child is useful to examine. For example, â€Å"†¦differences in parenting can be the genetic effect rather than the environmental cause of children’s psychopathology† (Plomin, 2004, p. 345). The results of the twin, adoption and family studies support these assumptions. The Correlation of Heredity and EnvironmentThe nature versus nurture controversy exists because some people believe that a person’s genetics has the greatest impact on their personality, intelligence and behavior. On the flipside, some people believe that the environment has more of an impact. Behavior geneticists assume that behavior is influenced by the relations of heredity and environment. With the help of twin studies, and adoption studies researchers are working on understanding what molds a person into the individual he or she is today. Twin studies, using identical twins, are conducted to understand how biology influences traits and psychopathology in humans whose genotypes are the same (Haimowitz, n.d.).Twin studies also use fraternal twins who share half of the genes they acquire at conception which helps to compare the degrees of genetic influence such as intelligence and personality. Adoption studies take a look to see if adoptive children exhibit the behavioral and psychological traits of their adoptive parents, or those of their biological parents (Haimowitz). Any links to biological parents can be attributed to genetics, and any connection to adoptive parents can be  attributed to environment. Heredity-Environment correlations can be shown in three ways. One is the passive genotype-environment correlations. Passive genotype-environment correlation exists when a child’s biological parents are raising him or her (MacDonald, n.d.). An example of this situation could be Ana’s parents having the genetic predisposition to be intelligent and read skillfully leading one to believe that Ana will more than likely share these skills. Evocative Genotype-Environment Correlation occurs when a child’s genotype provokes a specific type of physical or social environment (MacDonald, n.d.). An example of this type of correlation: Andrew is artistic, and outgoing, he will elicit encouragement to try out for plays. Sheena is very athletic and competitive; she will be encouraged to go out for sports. Active genotype-Environment Correlations emerge when a child seeks out environments he or she will find compatible and stimulating (MacDonald, n.d.). An example could be that a child like Matilda, who has a gift of music, will seek a musical environment where she can expand on her talent. Scientist researching how genetics influences academic achievements show three ways heredity and environment could possibly be correlated. The three ways in which Meredith Phillips and a team of colleagues found genetics and environment to be correlated are passive correlation, active correlation, and reactive correlation. â€Å"Passive correlation: genes influence both a child’s environment and heredity (Phillips, Brooks-Gunn, Crane, Duncan, & Klebanov, n.d.,  ¶ 3).† â€Å"Active correlation: genes influence the environments that a child seeks out (Phillips et al.,  ¶ 3).† â€Å"Reactive correlation: environments react differently to people with different genetic profiles (Phillips et al.,  ¶ 3).† In passive correlation if a parent is the type of person whom enjoys reading, the love for reading could be transferred to the child from the parent reading to the child frequently. The child will already have the genetics from the parents. My son enjoys music I would like to think he received that from me because of my interest in music. He hears a great deal of music when at home therefore, the music rich environment my son is placed in has an influence on his musical achievements. Combined with the genetic aspect of my love for music and his father’s love for music the affect of his music rich environment causes a stronger influential desire to be involved in music. In active correlation, the child has genetic influences from the parent reading to him or her. When the child voices the desires for the parent to read to him or her, the parent enjoying the reading ultimately influences the child by reading to the child. The child requesting stories to be read is the incentive the parent has to continue the process along with the parent’s love for reading. Reactive correlation was described as genetics affecting the child’s physical features with the child’s features being judged by peers. The views of the child’s peers are voiced and in the process the child’s academic achievements are effected. The child’s environment can put him or her under a certain labels. In this situation genetics affects the views of the child’s peers and the environment combined with genetics can have a negative affect on the child’s academics. Definition of Shared and Non-shared Environmental ExperiencesBeyond genetics, each individual has a unique personality that is based on a blending of their shared and non-shared experiences in life. Shared environmental experiences are those which the majority of the world encounters. Shared experiences can occur differently by culture, but generally adhere to a specific â€Å"social clock or a set of age norms that defines a sequence of normal life experiences (Boyd & Bee, p. 10).† For American culture think of the traditions of school, watching a baseball game, having a BBQ, getting married, having children, working and retiring as relative shared norms that all, or most of us, encounter. Of course, non-shared experiences are different for each of us; these are categorized as individual experiences. Individual or non-shared experiences  can be influenced by â€Å"race, socioeconomic status, and other social factors (Boyd & Bee, 2006, p. 36).† These individual differences can also be related to school, relationships, marriage and childbirth and the unique perspective that each person has. Each individual thinks much differently and so the way that they perceive and interact in the world will make their experiences, shared and non-shared, unique to them. Role Played by Shared and Non-shared Environmental Experiences DevelopmentThe importance that shared and non-shared experiences have in development is that they help shape our personal development as well as our social development. If in fact, each person encounters shared experiences in accordance with the norm expected, they are more likely to fit in culturally and have a higher understanding of appropriate and healthy relationships. Likewise, with non-shared experiences if interactions each person has with their parents and peers, and in his or her independent life, is healthy they will know themselves internally and process environmental factors that occur around them in a healthy manner. If the shared and non shared experiences of an individual do not go according to the norms of society it will be more difficult for them to develop into healthy adults who function both independently and interdependently at appropriate levels. (Boyd & Bee, 2006, p. 36) In conclusion, behavioral geneticists have used a wide array of approaches to their research in developmental theories. Through the use of identical twins a great deal of information has been acquired on the basis of both genetics and environment. The strongest proponent of this argument was shown to be the case of identical twins separated at birth exhibiting very similar characteristics even though they had not been raised in the same environment. Corresponding research which also strengthens this argument shows that adoptive children exhibit very few of the characteristics of their adoptive parents. It seems safe to say that genetics lay the foundation of behavior with environment and individual experience capable of exhibiting some influence beyond that. References Boyd, D., & Bee, H. (2006). Lifespan Development. Retrieved from http://ecampus.phoenix.eduGrilo, C. M., & Pogrue-Geile, M. F. (1991). The Nature of Environmental Influences on Weight and Obesity: A Behavior Genetic  Analysis [White paper]. Retrieved from National Institute of Health: http://www.pubmedcentral.nih.govHaimowitz, A. G. (n.d.). Heredity versus Environment: Twin, Adoption, and Family. Retrieved April 21, 2009, from http://www.personalityresearch.org/papers/haimowitz.htmlLerner, R. M., Bearer, E. L., Garcia, , & Coll, C. G. (2004). Nature and Nurture: the Complex Intereplay if Genetic and Environmental Influences on Human Behavior and Development. . Retrieved from http://books.google.com/books?id=iFriCJCTsx4C&printsec=frontcoverMacDonald, K. (n.d.). PSYCHOLOGY 361: BEHAVIOR GENETICS. Retrieved April 21, 2009 , from http://www.csulb.edu/~kmacd/361Notes2.htmlPhillips, M., Brooks-Gunn, J., Crane, J., Duncan, G. J., & Klebanov, P. (n.d.). How Might Genetic Influences on Acad emic Achievement Masquerade as Environmental Influences?. Retrieved April 22, 2009, from http://www.children.smartlibrary.org/NewInterface/segment.cfm?segment=2606Plomin, R. (2004). Genetic and Developmental Psychology. Merrill-Palmer Quarterly, 50(3), 341-352. Retrieved from http://muse.jhu.edu/login?uri=/journals/merrill-palmer_quarterly/v050/50.3polmin.html

Characterisation of Eddie Carbone Essay

Explore the ways a central character is presented in the drama text. Use examples from the text in your response. Eddie Carbone, a 40 year old Italian American Citizen from Sicily, is the tragic protagonist of A view from the Bridge by Arthur Miller. Alfieri, the chorus in the story, first introduces Eddie as a good, hard working man who does normal things like raising a family, eating, getting old, etc. However as Alfieri states, no one can know what his true self is like. Alfieri prepares us for the discovery of the secrets in the play. That two illegal immigrants Marco and Rodolfo are taking shelter in Eddies home and Eddie’s deep secret of his quasi-incestuous desire for his niece, Catherine. At first, Eddie is shown as a good man who is happy and respected by his family. Eddie behaves like a normal, fairly overprotective uncle towards Catherine and the audience would probably not have guessed that he has any desire of her other than the standard uncle and niece relationship. However it is not the standard uncle and niece relationship in Eddie’s mind but far more complex. The first sense of uneasiness we see is when Catherine lights his cigarette. Eddie receives some kind of unnatural pleasure from this experience. A woman lighting a man’s cigar can have a sexual implication and this is what Eddie see in Catherine. Knowing that Eddie has these feelings, there are clues earlier back in the text to his obsession with Catherine. When Catherine sits on her heel beside him, he criticizes the length of her skirt. He doesn’t want Catherine to look attractive in public because he is worried that some man might ask her out. He wants Catherine all to himself and does anything he can to prevent her from getting a boyfriend. Eddie also does not want her moving out of his home. He wants Catherine always within his grasp. When Catherine tells Eddie that she got a new job, he disapproves straight away: â€Å"No – no, you gonna finish school. What kina job, what do you mean? All of a sudden you-â€Å". He is very panicky and disturbed by this information that Catherine is getting a job meaning that Eddie would see Catherine less which seem like a realistic reason for an uncle to be upset about, but knowing Eddie’s true intentions, he want Catherine to be near to him as close as possible. Eddie’s inner feelings are also somewhat exposed during when Eddie and Beatrice argue. Although Eddie cannot yet grasp his own feelings, is seems like other character like Alfieri and Beatrice are aware of his interest in Catherine: Eddie: â€Å"What are you mad at me lately? † Beatrice: â€Å"Who’s mad? †¦ You’re the one is mad. † Eddie is referring to â€Å"mad† as in angry and asking why Beatrice is cross with him. Beatrice responds by referring to the â€Å"mad† as in mentally insane and suggests that Eddie had lost his mind, which he eventually does. Eddie is also show to be a selfish natured and an untrustworthy man. He reminds Beatrice not to let her tired cousins sleep in his bed because the bed is his own property. This could link with the way that he feels about Catherine; she is his personal property and that no one can ‘use’ his personal property apart from himself. Eddie’s experience with life and work has led him to become untrusting of others. He advises Catherine â€Å"the less you trust, the less you be sorry† showing that Eddie has not trusted al lot of people in his life and that when he does, it turns out going wrong. This prepares us for the suspicion and distrust he has when Rodolfo arrives. Eddie becomes increasingly jealous of Catherine’s interest in Rodolfo. â€Å"Catherine: (enthralled) Leave him finish, it’s beautiful! † Catherine likes Rodolfo from the instant she met him and Eddie, aware of this is, wants Catherine to like him in the same way instead of Rodolfo. Eddie quickly comes up with an excuse to stop Rodolfo from singing by saying that â€Å"you don’t want to be picked up, do ya? † which seems like a plausible reason – if Rodolfo sings too loud then someone might notice something strange and inquire. However Eddie’s true motive for preventing Eddie from singing is to stop Catherine from being amazed by Rodolfo. Eddie’s jealousy becomes further exposed as his face is described as being ‘puffed with trouble’ in the stage direction where Catherine is making Rodolfo coffee. He is jealous that Catherine is getting Rodolfo a drink when before Catherine was getting him a beer. Eddie state of mind is shown when Catherine is talk to Eddie after she has got back from Brooklyn Paramount with Rodolfo. Catherine has told Eddie that she likes him and the stage directions show hiswd reaction to this: â€Å"He looks at her like a lost boy†. Eddie feels a sort of saddened jealousy but he is unable to realize this dishonourable emotion and incapable of admitting this to himself. He is indeed emotionally â€Å"lost†. Eddie’s obsession with Catherine and his spiteful nature grows throughout the story. He tries to do anything he can to put Catherine of Rodolfo. In his conversation with Beatrice, Eddie says to her that he is homosexual: â€Å"Paper Doll they’re callin’ him. Canary. He’s like a weird†. Eddie is trying to make Beatrice and everyone turn against Rodolfo but ironically everyone turns on him. Eddie tells Catherine that Rodolfo only likes her because he wants to obtain an American citizenship by marrying her: â€Å"Katie, he’s only bowin’ to his passport†. Eddie is trying to make Catherine doubt Rodolfo but this is unsuccessful and ends up in Catherine distrusting Eddie. This strong obsession Edie has with Catherine did not just start when the cousins arrived but has been an ongoing process from before. This is shown in Eddie’s conversation with Beatrice where she tells him that she has worries of her own: â€Å"When am I gonna be a wife again, Eddie†¦ It’s almost three months†. Eddie and Beatrice have had no sexual affiliation for three months because all that has been on his mind is Catherine. Near the end of Act 1, Eddie’s is show to be violent and cold hearted. He mocks Rodolfo’s skills in singing, making clothes and cooking and compares him to himself and say that this is no place for him. He is suggesting that he is not manly enough to be here like him and that he should be in some other place. Eddie tries to supposedly â€Å"teach† Rodolfo boxing all of a sudden: â€Å"Well, come on. I’ll teach you† However Eddie knows that Rodolfo is weaker than he is and uses this as an excuse to punch Rodolfo in the face and show everyone, especial Catherine, how weak Rodolfo is and to humiliate him however this had the opposite effect and exposes how sadistic Eddie can be. Eddies motives for his actions all originate from his quasi-incestuous love for his niece. As Alfieri describes, â€Å"His eyes were like tunnels†, he can only see Catherine and no one else. He cannot understand why he only sees Catherine but that is all he sees and refuses to let any feeling or any person enter that tunnel nd making sure that Catherine stays only in his tunnel and not anyone else’s. Significantly, the lyric of the song Rodolfo sings, â€Å"Paper Doll†, symbolically reflects Eddie’s feelings for Catherine: â€Å"It’s tough to love a doll that’s not your own† â€Å"I’m gonna buy a paper doll that I can call my own† â€Å"A doll that other fellows cannot steal. † Figuratively, Eddie is the one singing the song and Catherine is the subject of the song, the doll, and that is has been ‘stolen’ by someone – Rodolfo. This song was carefully chosen by Arthur Miller to act as an intimation of what was to come. Eddie is unable to comprehend his true feelings but other characters have a clearer view than he does. Like Alfieri, who knows of his love for his niece and describes this as â€Å"a passion that had moved into his body†. This is significant because this metaphor is close to the truth of what has happed to Eddie; this newly found passion of Catherine as grown over time and has became strong enough so that it fully controls his body, and is behind every action in Eddie’s life. Eddie’s first conversation with Alfieri shows that Alfieri knows his feelings: â€Å"sometimes even a daughter, and he never realizes it, ut through the years – there is too much love for the daughter, there is too much love for the niece. Do you understand what I’m saying to you? † But Eddie does not fully understand what Alfieri is saying, he think Alfieri mean â€Å"love† and in a Uncle and niece love, but Alfieri knows Eddies feeling and is talking about real physical love for Catherine. Eddie blindness towards his inner feeling and stubbornness in letting go of Catherine are Eddie’s tragic flaws that bring upon his downfall.

Crucial, Vital, Essential

Crucial, Vital, Essential Crucial, Vital, Essential Crucial, Vital, Essential By Sharon Some words just cant be qualified, such as unique. Something either is or isnt unique – thats all there is to it. Here are a few more words of that type. Crucial Crucial derives from the Latin crux, meaning cross. The word originally meant cross shaped, but took on the meaning of deciding between opposing arguments in the 19th century. From there it was a short stretch to its current meaning of decisive. Vital Vital derives from the Latin words vitalis and vita meaning life. Its meaning has changed through the centuries. In the 14th century it meant pertaining to life; in the 15th it meant essential to life or sustaining life; in the 16th it meant endowed with life. By the 17th it had come to mean life giving or essential to the existence of something, which is its meaning now. Essential Essential is presumed to be derived from the Latin esse – to be – via essence, which denotes that qualities that make a thing what it is. Its common to hear people talking about issues that are highly crucial, most essential and very vital, however these uses are wrong. Something is either crucial or essential or it isnt – and nothing can be more vital than another thing which is vital. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Misused Words category, check our popular posts, or choose a related post below:7 English Grammar Rules You Should KnowUsed To vs. Use ToUses of the Past Participle

The French Revolution, Its Outcome, and Legacy

The French Revolution, Its Outcome, and Legacy The outcome of the French Revolution, which began in 1789 and lasted for more than a decade, had numerous social, economic, and political effects not just in France but also in Europe and beyond.   Prelude to Revolt By the late 1780s, the French monarchy was on the brink of collapse. Its involvement in the American Revolution had left the regime of King Louis XVI bankrupt and desperate to raise funds by taxing the wealthy and the clergy. Years of bad harvests and rising prices for basic commodities led to social unrest among the rural and urban poor. Meanwhile, the growing middle class (known as the bourgeoisie) was chafing under an absolute monarchical rule and demanding political inclusion. In 1789  the king called for a meeting of the Estates-General- an advisory body of clergy, nobles, and bourgeoisie that had not convened in more than 170 years- to garner support for his financial reforms. When the representatives assembled in May of that year, they couldnt agree on how to apportion representation. After two months of bitter debate, the king ordered delegates locked out of the meeting hall. In response, they convened on June 20 on the royal tennis courts, where the bourgeoisie, with the support of many clergy and nobles, declared themselves the new governing body of the nation, the National Assembly, and  vowed to write a new constitution. Although Louis XVI agreed  in principle to these demands, he began plotting to undermine the Estates-General, stationing troops throughout the country. This alarmed the peasants and middle class alike, and on July 14, 1789, a mob attacked and occupied the Bastille prison in protest, touching off a wave of violent demonstrations nationwide. On Aug. 26, 1789, the National Assembly  approved the Declaration of the Rights of Man and of the Citizen. Like the Declaration of Independence in the United States, the French declaration guaranteed all citizens equal, enshrined property rights and free assembly, abolished the absolute power of the monarchy and established representative government. Not surprisingly, Louis XVI refused to accept the document, triggering another massive public outcry. The Reign of Terror For two years, Louis XVI and the National Assembly co-existed uneasily as reformers, radicals, and monarchists all jockeyed for political dominance. In April 1792 the Assembly declared war on Austria. But it quickly went badly for France, as Austrian ally Prussia joined in the conflict; troops from both nations soon occupied French soil. On Aug. 10, French radicals took the royal family prisoner at Tuileries Palace. Weeks later, on Sept. 21, the National Assembly abolished the monarchy entirely and declared France a republic. King Louis and Queen Marie-Antoinette were tried hastily and found guilty of treason. Both would be beheaded in 1793, Louis on Jan. 21 and Marie-Antoinette on Oct. 16. As the Austro-Prussian war dragged on, the French government and society, in general, were mired in turmoil. In the National Assembly, a radical group of politicians seized control and began implementing reforms, including a new national calendar and the abolition of religion. Beginning in September 1793, thousands of French citizens, many from the middle and upper classes, were arrested, tried, and executed during a wave of violent repression aimed at the Jacobins opponents, called the Reign of Terror.   The Reign of Terror would last until the following July when its Jacobin leaders were overthrown and executed. In its wake, former members of the National Assembly who had survived the oppression emerged and seized power, creating a conservative backlash to the ongoing French Revolution. Rise of Napoleon On Aug. 22, 1795, the National Assembly approved a new constitution that established a representative system of government with a bicameral legislature similar to that in the U.S. For the next four years, the French government would be beset by political corruption, domestic unrest, a weak economy, and ongoing efforts by radicals and monarchists to seize power. Into the vacuum strode French Gen. Napoleon Bonaparte. On Nov. 9, 1799, Bonaparte backed by the army overthrew the National Assembly and declared the French Revolution over. Over the next decade and a half, he could consolidate power domestically as he led France in a series of military victories across much of Europe, declaring himself emperor of France in 1804. During his reign, Bonaparte continued the liberalization that had begun during the Revolution, reforming its civil code, establishing the first national bank, expanding public education, and investing heavily in infrastructures like roads and sewers. As the French army conquered foreign lands, he brought these reforms, known as the Napoleonic Code, with him, liberalizing property rights, ending the practice of segregating Jews in ghettos, and declaring all men equal. But Napoleon would eventually be undermined by his own military ambitions and be defeated in 1815 by the British at the Battle of Waterloo. He would die in exile on the Mediterranean island of St. Helena in 1821. Revolutions Legacy and Lessons With the advantage of hindsight, its easy to see the positive legacies of the French Revolution. It established the precedent of representational, democratic government, now the model of governance in much of the world. It also established liberal social tenets of equality among all citizens, basic property rights, and separation of church and state, much as did the American Revolution.   Napoleons conquest of Europe spread these ideas throughout the continent, while further destabilizing the influence of the Holy Roman Empire, which would eventually collapse in 1806. It also sowed the seeds for later revolts in 1830 and 1849 across Europe, loosening or ending the monarchical rule that would lead to the creation of modern-day Germany and Italy later in the century, as well as sow the seeds for the Franco-Prussian war and, later, World War I. Sources Editors of the Encyclopaedia Brittanica. French Revolution. 7 February 2018.History.com staff. French Revolution. History.com.The Open University staff. French Revolution. Open.edu.Roy Rosenzweig Center for History and New Media staff. Legacies of the Revolution. chnm.gmu.edu.

Evolution of Social policies in Mental Health in the US Essay

Evolution of Social policies in Mental Health in the US - Essay Example Hippocrates who lived in the 5th century is the pioneer who treated mentally ill with methods which was not rooted in superstition or religion. Negative attitudes towards mental illness persisted into the 18th century in the United States, leading to stigmatization of mental illness, and unhygienic (and often degrading) confinement of mentally ill individuals. Since then the mentally health had been evolving and at present it has reached a stage where comprehensive policies underlie mental health treatment particularly in U.S. In this paper, the evolution of social policies with regard to mental health in U.S will be looked in to. The social, economical and political factors that have contributed to the evolution will be explored. The current policy, goal of the policy and its relevancy with the welfare and state would be analysing. Also whom the policy serves and its universal characteristics will be examined. Mental health in U.S has been progressing ever since the beginning of 20th century. The Mental Health America which was founded in 1909 founded by Clifford Beers has changed the lives of mentally ill people. The U.S governments formed throughout these years have been proven to contribute largely to the welfare of mental health system in the country. Many research and lobbying effort have undergone to revive and upgrade the mental health system in U.S. The National Mental Health Act passed by Harry Truman 1946 gave rise to National Institute of Mental Health and have allocated funds from government for the research, treatment purposes. Moreover, The Mental Retardation Facilities and community health centre was passed by the Congress in 1963 which gave a new dimension to mental health system. In 1979, the National Alliance for mentally ill was formulated All these changes have given enormous support, education, advocacy and research facility to

Employee relations Essay Example | Topics and Well Written Essays - 3000 words

Employee relations - Essay Example It also includes the ongoing evaluation of performance of employees, managing it, ensuring that ‘laws and regulations’ are followed and also to solve the employees disputes (Society for Human Resource Management, 2011). Good employee relations denote peaceful, pleasant, abundant relation between labour and management. Sound relation regulates the production by minimising conflicts. It improves the worker’s strength by resolving their problems through negotiation and consultation. It improves the status of employees, evades any kind of disputes and thus, preserves ‘industrial democracy’. Employee relation is the virtual balance of negotiating influence between the employees and management. In every organisation, an efficient ER executive provides instruction about how a company can manage with the grievances, penalising process and legislative recognition process of the Employment Relations Act (1999). For managing the employee relation the managers mu st act in a reasonable and logical manner towards the employees and labour unions. It is vital for personnel authorities to ascertain standards of activities which are rational (Gennard & Judge, 2005). In this context, the study will evaluate the employee relations related challenges as faced by Royal Mail. Analysis of Organisation Royal Mail is a public limited company controlled by the government of the UK. Their annual turnover is more than ?8 billion and it has almost 200,000 employees. In the UK, Royal Mail operates under its well-known brands: Royal Mail; Post office and Parcel force Worldwide. Royal Mail has gone through a restructuring process to reduce costs, improve effectiveness to compete with other rivalries in the postal sector. It ensures delivery of sustained high quality services effectively (CSR Case Study Series, 2005). Basic Organisational Structure Royal Mail Group serves mails and parcels throughout the UK. It has almost 168,000 employees in the UK. It has 11,9 05 Post Offices and manages almost 400 million parcels per year. The network of Royal Mail includes almost 11,500 branches throughout the UK. Royal Mail Group has five non–Executive Directors and three Executive Directors who take all the managerial decisions for Royal Mail. The CMU (Communication Workers Union) is the labour union of Royal Mail which stands for non–managerial employees. The company follows the bureaucratic organisational structure. The flow of communication goes through different layers of management which causes slow decision making. With respect to employee relation, organisation can adopt unitary or pluralistic approach (Royal Mail Holdings plc, 2010). Industrial Relation Theory There are three theories of industrial employees’ relations namely unitary, pluralist and radical. Unitary: In unitary system, the organisation is a harmonious system. There is no trade union. Mangers and workers both share similar interest, purpose and objective. Pl uralistic: In pluralism, there are two parties in the organisation namely trade unions and the management. Any conflict is dealt with collective bargaining, mutual agreement or negotiation between trade union and management. Marxist

Adas Muteness and Voice Essay Example | Topics and Well Written Essays - 2750 words

Adas Muteness and Voice - Essay Example This is the kind of social situation that is described in opening pages of The Piano as the main character Ada describes her preparations to leave her home and cross the sea to New Zealand where she will meet the husband that her father has just married her to without having consulted her at all. This introduction makes an instant connection between her muteness in voice and her muteness in her society and even in her own life. Throughout the story, Ada is trapped in a man’s world, even when she goes as far away as New Zealand and its untamed frontier which is where most of the story takes place. However, in the character of Ada, Jane Campion shows how a woman without a voice made herself heard even to those who wouldn’t listen, demonstrating how a voice could be used as a tool of power in an otherwise powerless world. It is helpful to gain a bit of historical understanding regarding the female voice in order to fully appreciate the significance of Ada’s silence and returning voice by the end of the story. Anne Carson provides a strong analysis of how concepts regarding the woman’s voice evolved out of ancient history. According to Carson, women expressed the moments of extreme joy, grief, fear and hope within the regular and climactic moments of life through the sound of the ololyga: â€Å"a high-pitched piercing cry uttered at certain climactic moments in ritual practice †¦ or at climactic moments in real life †¦ and also a common feature of women’s festivals† (Carson, 1995: 125). Because the noise could be irritating to those not actively engaged in the celebration, these rituals were usually held outside of the range of hearing of the men and the city. Over time, this had the tendency to reinforce ideas of women as savage mysterious outsiders. Their religio us rites were often female only, they made strange sounds while practicing and they practiced outside of the city limits, making them seem like wild animals in the wilderness.   Meanwhile, the proper role of the man was to disconnect from his emotions enough to control the escape of unintended, uncontrolled sounds.  

Marxism Concepts of Art | An Analysis

Marxism Concepts of Art | An Analysis The nineteenth century was significant in Europe because it spawned or brought to the forefront revolutionary new forms of culture and theology. Among these movements were feminism, Marxism, the romantic period of music, and the impressionist period of art. Marxism has been critically acclaimed for its adherence to the popular utopian traditions of past ages and its determination to exterminate the inequities of the feudal class system. Marxism was a nineteenth century behemoth, its shadow influencing not only social and political thought but also provoking minds around the world. Critics of ideologys influence on art harangue the latter as a restrictive form of interpretation, one whose hold over arts beholder evokes themes that override those intended by the artist. However, art created in the impressionist period was created on the basis of the artists perception, and if no one can recall exactly what the artist intended, then using ideologies of the time remains a logical basis o f interpretation. Marxism promotes the involvement of all aspects of society in its ideology. However, when used as an exclusive method of art, Marxism can be quickly dismissed as stringent and a useless art method. In his Theory and Philosophy of Art, Meyer Schapiro contends that ideology constricts the freedom of artistic expression. Schapiro insists that philosophers using ideologies in artistic interpretation forgo the artists rendering and draw their own conclusions, therein ignoring the prevailing themes and purposes behind the artists creation. Through intense speculation of an object, the philosopher has [deceived] himself in assertions which are not sustained by the picture itself but rather in his own social outlook (Schapiro 1994, p. 134). For example, Japanese aesthetics value the imperfect, almost deifying the worn and blemished. A rusty spade in a tool shed would be perceived by classical Japanese aesthetics as beautiful because of its natural state. The traditional Japanese artist would have painted the shed to exemplify its imperfections and the subtleties of its presentation. A Marxist contention might be that the artist presented the spade as a token of the working class, a tribute to the agrarian utopia sought after by many of the period. By making these assumptions, the individual perceiving the Japanese spade would be detracting from the paintings meaning; though agrarian utopia is a beautiful image, it is ultimately deviant from the artists purpose and casts the painting in a whole new light. Using a school of thought such as Marxism endeavors people to [imagine] everything and [project] it into the painting, causing them to experience both too little and too much in [their] contact with the work (Schapiro 1994, p. 138). Schapiro and his contemporaries are concerned with the nature of the work, not the beholders perception. Arts grandeur is in its presentation, which if misinterpreted bypasses the artists intentions, altering the state of art. Recurrent themes might be based on philosophy, but the concept of [the] metaphysical power of art remains a theoretical idea (Schapiro 1994, p. 139). It is irrelevant that there may exist a hidden message within the subject perceived. What is of consequence is rather what the object portrayed means to the artist. Projection and personal interpretation negates the fundamental aspect of the artists presence in the work, and metaphysical integration in interpretational method stints the potential of arts full meaning (Schapiro 1994, p 139). Marxism specifically denigrates the self in favor of the whole, therein detracting from art as a representation of the artist himself or herself. As a means of interpretation, Marxism is useless as the art becomes solely focused around the objective nature of the subject. Painters such as van Gogh and Monet did not popularize the impressionist movement because their objects were more true to reality than others of the age; they popularized the movement because their interpretations were revolutionary and unlike that of their contemporaries. In effect, all art becomes a piece from a self-portrait; the subject is turned to the spectator as a part of the artist, not an instrument of political ideology (Schapiro 1994, p. 140). Schapiro describes shoes as a recurrent theme in van Goghs paintings to solidify his argument. The focus of several paintings, van Goghs worn shoes are a portion of the self, a revealing theme (Schapiro 1994, p. 140). They do not signify the work ethic of a communist, nor does the weathered nature of the shoe imply the subject had anything to do with attaining an agrarian utopia. For van Gogh, the shoes were a memorable piece of his own life, a sacred relic (Schapiro 1994, p. 141). Paintings of the shoes were brilliant because of what they meant to van Gogh. The virtuosity of van Goghs style and presentation make him unique; shoes by themselves mean nothing without the artists rendering. What makes a painter unique is his or her ability to present him or herself, manifesting personality into unconventional objects in such a way that an audience can connect and relate to the emotion evoked. The object presented means nothing without the artists intimation. A shoe, for example, is mere ly a protective covering in the real world. It does not exist to testify to the greatness of Marxism and its superiority over other ideologies. In art, objects do not exist to signify metaphysical forms or ideas, but to serve the artists meanings. The efficacy with which an object portrays the artist is what makes it extraordinary. Theology is useless as an interpretive method of art history because of its constrictive nature on the purpose of art; Marxism is particularly inhibiting because of its emphasis on the nature of being and the individuals position in society. If a painter were to create a work solely to advertise Marxist doctrine, the artistic creation itself would be impeded. Practical aims, rules methods, [and] fixed notions of style hamper virtuosity and the artistic process (Schapiro 1994, p. 202). Schapiro continues, stating, the creation of art has rested on the activity of self-directed [people] who regard their work as a free expression of their natures (Schapiro 1994, p. 204). Ideologies are not naturally occurring in society as a whole; they are indoctrinated and therefore are alien concepts. Marxism is not a natural conclusion, but rather one that had to be indoctrinated into the bourgeois, who in turn had to give up their advantageous statuses in order to better society. Because Marxism is forced by nature, it cannot be a viable art method in Schapiros system of interpretation. Though Schapiros passion for the personal and physiognomic on behalf of the artist is commendable, it too easily dismisses the possibility that social ideology played a part in the artists choice of subjects (Schapiro 1994, p. 139). Marxism changed the way men and women viewed society, and hence altered individual perception. Empiricism, or the theory that all knowledge is based on experience, is a testament to artistic presentation. Theoretically speaking, van Gogh may have painted his shoes because he was an avowed Marxist and chose to present a commonplace object in a Marxist light. Those testifying otherwise can prove their points only by having known the artist themselves, or by proving through communications relayed by the artist suggesting the contrary. Marxism, like other ideologies, is not an impossible basis of inspiration. For example, the twentieth-century composer Dmitri Shostakovich chose to proclaim his disdain with Soviet Russia through music. Political ideologies suc h as Marxism are revolutionary because they alter perception and opinion. As an inspirational method, Marxism is very useful. Ideologies and social movements lend form and base to art; whether they positively or negatively affect an artist, ideologies are an inspirational basis for many works. Marxism does not necessarily diminish art as a form of self-portrait in inspirational form. It molds and manipulates the course of the art. Though it changes the direction of interpretation (possibly detracting from the artists meaning), it is feasible as part of the subject if determined to be a prevailing theme of the work in question. Schapiro describes the philosopher Martin Heidegger and his interpretation of a painting as an [illustration of] the nature of art as a disclosure of truth (Schapiro 1994, p. 135). Contrary to Schapiros contentions of arts theoretical metaphysical implications, Heidegger purports art is metaphysical in nature. The artist is therefore presenting the object from a different vantage. The nature of art is metaphysical in its individuality, so ideology is not to be dismissed as a viable method of art history. Marxism in particular has the capacity to be an effective method of art solely because of its paradigm shift in the concept of individuality. Marxism, like other ideologies, is an irrevocable aspect of society, especially in nineteenth century art. Society is part of what makes an artist individual; it is the lifeblood of creativity and influence. Movements such as impressionism are themselves fashioned by society and altered interpretations. Schapiros stance is that society is constraining and the ideologies of which it is comprised imperil [artistic] liberty (Schapiro 1994, p. 201). Marxism is only constraining, however, when applied to capitalist societies. It is impossible for a human being to be completely unbiased and unaffected by ideologies as every human being has some affiliation with a school of thought. Marxism has the ability to inspire just as much as it has the ability to constrict and limit artistic freedom. Though Heidegger may ignore what those shoes meant to van Gogh himself, he may have also suggested a new side of van Gogh, one that is revealed in a new light just as van Gogh presented shoes in a new light (Schapiro 1994, p. 147). Marxism further may serve as a basis of ideas and concepts. Schapiro himself admits, a disciplined classic style needs a source of ideas, a continuously renewed energy of concept ionotherwise [art] is a sterile routine (Schapiro 1994, p. 201). Ideology, by nature, is a set of conglomerated beliefs and observations. Why, then, does Schapiro assume it to such an inefficacy as a method of art history? Schapiros conclusions border on myopic as he fails to consider the possibility that ideologies can also serve as inspirations, as a possible source of ideas rather than the only source. All ideologies become constrictive if used exclusively. More constrictive on the artistic process is the elimination of ideology as a viable method; by consciously restraining interpretive vehicles, art is stinted and the liberty Schapiro so treasures becomes finite. As far as impressionism is concerned, Marxism is as effective as any other method of art history. The word impression refers to the objective, what the mind itself perceives. The very nature of impression is derived from the illusory rather than reality. Speculation, when observed within moderate means, is the purpose behind an object. Using an ideology such as Marxism does not impede interpretation so long as it is not used exclusively. Schapiro describes Heideggers speculative method as detracting and self-serving, purporting that he conjectures that his reader could imagine himself wearing [van Goghs] old leather shoes (Schapiro 1994, p. 149). The speculative approach to impressionism is its very basis. Had van Gogh intended to portray the shoes as part of his history, perhaps he would have painted himself wearing them. That he chose to focus on still life and not a self-portrait insinuates the possibility that van Gogh wanted to portray the shoes as open to outside interpretation as well. Marxist interpretations would not be indicative of useless method in the aforementioned perception so long as the interpretations outside the obvious are secondary in nature. To further his argument against ideologies such as Marxism as viable methods of art history, Schapiro addresses the opinions of French philosopher Denis Diderot. He describes Diderots preoccupation with freedom, considered in its inner and outer circumstances (Schapiro 1994, p. 201). If utilizing Marxism is a transgression on freedom, then it is a safe assumption to make that no artist will ever be free. All forms of thought are constrictions so long as they are regarded as limiting the abstract. Artistic production is reliant on the power of suggestion. The power to create is reliant on the power to envision, and the power to envision is subsequently dependent on the power of suggestion. Schapiro, however, takes Diderots stance that the artists inner freedom is the impulsive, unaccountable flow of the pencil an d brush, of images and ideas; verve, enthusiasm, spontaneity, and naturalness are its outward signs and without that flow, there is no authentic art (Schapiro 1994, p. 201). Marxism, therefore, would erstwhile be an obstacle in the artistic process. However, impulses are drawn from ideas, and spontaneity requires inspiration, both of which may be derived from ideologies. Schapiro supports this contention, writing that the conditions most favorable to the flow in art are not only a matter of temperament but are also social (Schapiro 1994, p. 201). Art history reveals that social ideologies such as Marxism are not only viable methods, they are also intrinsic in the creation of art. Diderot anticipated a dilemma of artists: they wish to be free creators, unconfined by any goal external to art but also wish to participate in the most advanced consciousness of their society and to influence it by their work (Schapiro 1994, p. 207). If ever there was an ideology that encapsulated total social involvement, it was Marxism. So if artists participate in the most advanced consciousness of their society, how can they be truly free by Schapiros standards? Is it because they have made a conscious decision? Their choices, however, are influenced by their desire to be a part of something larger. In effect, they are limited by their desires, which are concrete aims and goals. Marxisms all-encompassing doctrines are a reflection of scientific method, designed with multiple factors and social tenets in mind. Stephen Eisenman presents Marxism as a useful method of art in his Nineteenth Century Art, presenting evidence that certain critics consider the scholarly (scientific) method and subject matter [of art] perfectly merged (Eisenman 1994, p. 9). Marxism is based on a single concept: total egalitarianism. To serve that end, Marxism lists several factors and instructions. Art is similar, centered on a singular subject or theme. Different details delineate and instigate thought on the aforementioned subject, drawing further parallels between art and ideology. Eisenman furthers his contentions opposite that of Schapiro by stating outright how empiricism has dominated studies of nineteenth century art but has rarely been explicitly acknowledged as a methodology, whether inspirational or interpretive in nature (Eisenman 1994, p. 10). In defining true expression, many scholars reject the purist tyranny of abstract and absolutist systems such as those defined previously by Schapiro, insisting t hat art historians should be as flexible, various, and comprehensive as possible in their approaches, and be willing to consider anything from the history technology to the abiding mysteries of genius and psychology as potentially illuminating their ever more vast subject (Eisenman 1994, p. 10). Therefore, Eisenman counters critics who lambast ideologies as limiting, stating that by closing interpretive doors on art methods, one further inhibits the freedom of expression. Separating artists from society alienates the artist from humanity, therein isolating the artist as potentially self-deprecating. Diderots dilemma of the artist seeking to be creatively free and yet still a driving force of society is a paradoxical query answered by Eisenmans assertions in favor of Marxism. Eisenman supports the statement that art history itself, especially art history of the nineteenth century, has been significantly transformed by the prevailing attitudes of radical scholars; Marxist philosophy has played a signal role in overturning the formerly prevailing confidence that art history could be told as a straightforward, descriptive narrative independent of the interests, politics, gender, or ideology of artists, audiences, and critics (Eisenman 1994, p. 10). The aspects listed by Eisenman encapsulate what drives artists to create. Marx postulates that while humans by their nature as humans have senses and perceptions, these are rude and unformed in the absence of their specific development and cultivation, which only occurs historically (Eisenman 1994, p. 11). In the Marxist school of thought, Diderots emphasis on creative freedom still remains paramount to artistic creation. However, Marx stipulates that the abstract is only given form by prevailing attitudes of the day. Eisenman supports Marxism as a method of art, writing, all the senses are differently developed according to the nature of the particular society in which the person lives: a capitalist society in which the sense of having dominates is clearly different in its sensual or perceptual capacities from a feudal or Communist society which does not subscribe to the concept of private property (Eisenman 1994, p.11). Ultimately, art methods are only viable given the freedom of interpretation they allow. Marxism is viable because it promotes inspiration on part of the artist, as well as affording an observing art beholder a unique avenue of interpretation. The only caveat to employing ideology as a method of art is its constrictive nature. When applied exclusively, any single art method exudes glaring inefficacy in the face of constricted artistic freedom. However, the singling of any art method as a useless art method lends itself to the practice of restriction, defeating the requisite observation of creative freedom, whether the artist or the one perceiving art practices that freedom. Marxism, in turn, is just as useful an art method as any other ideology, so long as it is utilized as one possible perception among many. Marx argued, the cultivation of senseswhether in the form of art, music, or literaturein its turn plays a significant role in the historical unfolding of a society, and it is an untenable fact that history plays a part in shaping art, whether in the form of ideology or any other aspect of humanity (Eisenman 1994, p. 11).