16th Century Story-Romeo and Juliet

16th century was the golden period for English literature culminating from the age of Renaissance born from the deathbed of medieval scholasticism to whole new thoughts, ideas and culture. The human thoughts were free from the bondage of fixed principles of Aristotelian philosophy to the doctrines of Christianity. The period of Renaissance implied a perception of greater beauty and polish in the Greek and Latin Scholars. In other words, it was a birth of a kind of new inventiveness in classicism. The renaissance revived ancient classical learning into an arena of Dramatics. Play writers from liturgical play shifted to the miracle to morality and from the morality to the interlude and from their journey began to with the regular drama of Elizabethan age.Play writers began to avoid classicist approach in favor of originality and secular ideas defying the old conventional ways. In this air of new thoughts and ideologies and certain social obstructions plaguing the theater world, there w as born William Shakespeare, a new soul to whom Ben Johnson a worthy rival and harsh critic gave his glowing tribute with these words:â€Å"Soul of the age!Applause! Delight! the wonder of our stage !Triumph, my Britain! Thou hast one to show,To whom all scenes of Europe homage owe.He was not of an age, but for all the time. (Payne & Hunter 2003)Shakespeare genius operated in his capacity to capture the length and breath of human life’s and character in all its complexity and variety and has touched every element of human experience and every segment of human sensibility. Within his plays are interlaced the stories in all his variegated form whether it was passion of Othello or agonized sense and spirited Hamlet or the tortured souls of romantic couple Romeo and Juliet. Story of Romeo and Juliet breathes within the heart and soul of lovers for many generations ahead and is admired and loved by very one.It was Romeo & Juliet that has made Shakespeare realized his full potenti al as play writer, and he could have been 26 years old then and made him stand apart than the rest of his contemporaries.   It was written around 1595 when the major tremor struck London in 1540, and he mentioned this episode through the voice of Nurse in Act 11, scene 3, line 23. (Twentieth Century Fox Film Corporation 1996)Romeo and Juliet should not be visualized as only a tragic love story but deep within lies prejudices of tradition and practices that was the hallmark of the society 16th century. Society demanded women and men, both to adhere to family honor by following the tradition of families even if it was at the cost of bloodshed and the end of love. It is a story of love that flourished even though there was a strong rivalry between two families reaching to the extent of killings.Montagues and the Capulets are enemies, always ready to take revenge on each other, entangling themselves in bloody feud on the streets of Verona. Each time one member of a family is killed, h is relatives will be eager to sort revenge by taking blood of the other and if any one found Romeo meeting Juliet, he is sure to get killed. In this environment of deep hatred and bloodshed, Shakespeare gave a very fervent place to love. Lovers enjoy each others company and bestow their affection for each other, and say all what lovers would love to say to each other. Till today, lovers take the example of love of Romeo and Juliet.It is better to die rather than live without their love, is an essence that spreads through Romeo Juliet and within all of us. They both meet strangely and it is misunderstanding that kills them both. It was the love at first sight and it is to the Shakespeare genius that he told to all the lovers the fact that love at first sight could culminate in true love.The story start with these lines:â€Å"Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands uncl ean† (Act I, Prologue)And amidst all the confusions and in an effort to meet, both Romeo and Juliet die. Their death was the beginning of new rays of hope for the peace. Both died but it was the love finally that won. The play culminates with the words:â€Å"For never was a story of more woe (sorrow) Than this of Juliet and her Romeo†. (Act V, Scene III)Romeo and Juliet have all the elements that could make it a good story. It has a plot, climax, accurate settings, characters, symbolism and theme that have made it one of the masterpieces. Amidst this, Shakespeare has knitted very beautifully elements of both distressing scenes but along with that humor, bloody battles and civil enmity, and naive love and unapprised hate formed the part of this play. The setting of Romeo and Juliet took place in the cities of Verona and Mantua, Italy, within a span of four days. Majority of the action took place at Verona except the scene Act V, scene 1 which occurred in Mantua.The setti ngs reveal the social life with certain political nuances. Verona became a battlefield due to bloody revenges between Capulet and Montague families and it was a place where Romeo and Juliet were told that they should hate each other owing to their genre. Romeo and Juliet shower their love for each other at the fruitful Capulet orchard at Verona, whereas at Mantua, Romeo is exiled after he kills Tybalt.  The lovers took their lives too at the Capulet tomb.Weather also plays a most crucial aspect to settings. It is a month of July when major incidents happen. The July is a hot season good enough to escalate the tempers of every one. Temper of characters rises high quite often even at the slightest pretext and ends only after bloody revenge. Romeo in whose heart there is an ardent love for Juliet; he too takes revenge on Tybalt and is banished. In the end, without any second thought thinking Juliet is dead, he kills himself. The hot weather is also a sign of igniting the sexual and l ove passion between Romeo and Juliet.The play starts with a prologue, as was the general tendency among play writers of that era, which is followed by the sequence of events covered in five acts. Unlike other Shakespearean plays, there is a single plot, which is enacted onstage and is in chronological order. There are no flashbacks and the focus is shown on Romeo throughout the play. The structure of plot is very well developed with exposition, climax, rising and falling action, denouement and symbolism. The climax arises at several points in the story. In one of them, it reaches the point when Juliet takes a drink pretending to be dead and Romeo did not receive the correct letter.Shakespeare uses less of symbolism yet it is a very important part of the play. Light and Dark images reflects the intensity of love that is sparking between Romeo and Juliet and their glory of happiness when they are together and sadness when separated. The light and dark images are the symbolic of devili sh yet powerful forces bringing them together and also separating them. Darkness brings Romeo and Juliet together whereas light separates them, but darkness again prevails when Romeo dies. In other words, world is not stable but is a constantly changing.There is always a light after day and day after light. The other symbols are swords representing violent attitude and poison which is not basically evil as it was given to Juliet by Friar Lawrence to make her appear dead. But the irony of the fact is that this potion became a cause of the death. Thus it adopts dual purpose. It became a cause of death but rejoined the two bitter enemies. Another symbol thumb biting by the buffoonish Samson is not a very important symbol but shows the incoherent pride and vulgur display of power.Romeo and Juliet’s characters breath life but not much effort is given to character development. Unlike Macbeth, it is a plot that has generated much interest. The more emphasis is give to the character of Romeo who looses temper very soon. He is just a teen whose love at first sight changes the whole scenario and life of both the families.Shakespeare is world’s greatest play writer and all this elements are so well structured together that they make us realize emotions and appeals of lovebirds within our souls. Society crushed their love by their intriguing patterns and traditional approach, yet from the play, also emerges that eventually in the end it is the love only that always blossom.Romeo and Juliet is a true reflection of society of 15-16th century. Royal families pride and their sense of revenge take their and their relatives and even their children on the bed of blood. But this is not an end though Romeo and Juliet died yet they are there within all of us inspiring in us the true love.With poetic diction and eloquent words, Shakespeare challenges the old traditional ways to give fresh lease of life. It is an end of Romeo and Juliet but a beginning for many more Rom eo and Juliet’s in this world.REFERENCE LISTBates Alfred. 1906. ROMEO AND JULIET: An analysis of the play by Shakespeare The Drama: Its History, Literature and Influence on Civilization Vol. 14. pp. 6-13. London: Historical Publishing Company. Retrieved on January 13, 2008 from W.W.W: http://www.theatrehistory.com/british/romeoandjuliet001.htmlHazlitt William. 1817. ROMEO AND JULIET: An analysis of the play by William Shakespeare. (Originally published in Characters of Shakespeare's Plays. London: C.H. Reynell) Retrieved on January 13, 2008 from W.W.W:http://www.theatredatabase.com/16th_century/william_shakespeare_010.htmlJohnson Bill. The Power and Passion of Love and Hate: A Review of Romeo and Juliet. Retrieved on January 13, 2008 from W.W.W: http://www.storyispromise.com/rjoutlin.htmMabillard   Amanda. 2000. (Updated: 2006) An Analysis of Shakespeare's Romeo and Juliet.   Shakespeare Online. Retrieved on January 13, 2008 from http://www.shakespeare-online.com/playanal ysis/romeocommentary.htmlMowat Barbara A.   and Werstine Paul. 1992. Romeo and Juliet. New Folger Library Shakespeare edition.Payne Michael & Hunter John. 2003. Renaissance Literature: An Anthology. Blackwell Publishing.Shakespeare William.2001. Romeo and Juliet (Contributor Roma Gill) Published by Oxford University Press.Siegal Paul N. 1961. Christianity and the Religion of Love in Romeo and Juliet. Shakespeare Quarterly 12(4) pp. 371-392Smirnov Aleksandr. 1936. Shakespeare: A Marxist Interpretation. (Translated by SONIA VOLOCHOVA, Transcribed by Sally Ryan for marxists.org, 2000.) New York: The Critics Group.Twentieth Century Fox Film Corporation. 1996. The Tragedy. Retrieved on January 13, 2008 from W.W.W: http://www.romeoandjuliet.com/setting/tragedy.html

A Brief History of Economics Essay

Through his use of dialectical materialism, Marx not only changed the history of economic thought, but found great illumination for himself regarding the bonds of human society. The concept that seems relatively simple in today’s complex economic world was utterly revolutionary in the time of Marx: people develop their ideas about the world (and thereby, their ideas for how society should be organized and stratified) based on the material aspects of their lives. It was an elegant extension of basic Marxist theory: capitalism, according to Marx, is interested in offering naked materialism as a kind of booby prize to make up for the means of production being taken away from the people. If the people can no longer work for themselves and no longer work at perfecting their own craft as individuals, then, as Marx correctly deduced, people would require something to validate their work. This became the center of capitalism, as Marx understood it: materialism exists as a kind of justification for capitalism, and since materialism has permeated our culture to such an extreme degree, eventually social orders began to revolve around it. Hence, what capitalism serves as the cause of what Marx saw as nothing less than ongoing class warfare. It is interesting to note that Marx believed a violent revolution on the part of the proletariat was not simply a possible method of changing things, but actually served as the only method of changing things. This is because materialism was so embedded into class structures (which, in turn, was so embedded in power structures), and the only way for society to functionally survive was for it to become overturned completely. It is also interesting to note the ongoing effect that Marx has had on philosophic thought: materialism had previously been dislodged by Descartes and the famous declaration â€Å"I think, therefore I am;† as far as most people who pondered these things could conclude, thought preceded matter. However, Marx not only brought materialism to the philosophic forefront—the then-controversial idea that material preceded thought—but illustrated the notion that the abstractions of materialism had been concretized by capitalism into purchasable goods. 2: Marx and the Secret Source of Profit Perhaps the most enduring notion of Marx’s is the so-called secret of the source of profit under a capitalistic society†¦though such is Marx’s legacy of intellectual thought, a great many people simply accept this notion as reality: the source of profit is the surplus value that an employer gains from laborers. After all, the means of production have been taken from the people: skilled artisan cobblers have been replaced by factory line workers churning out shoe after shoe after shoe. The money saved by employing this assembly-line method of industrial production becomes pure profit for the employer. Interestingly, Marx tethered this to his own theories on circulating capital—that is, something that does not last, and is used up in the production of other goods and services, in direct opposition to fixed capital, which is traditionally held for over a year by a business or institution. Marx astutely deduced that the distinction between these concepts is not only relative, but arbitrary: the idea that capital held for 365 days is circulating and that capital held for 366 days is fixed is absurd. However, it allows the proletariat to essentially gloss over their own necessity to the entire institution of capitalism: they are led to believe that society is held up by the fixed capital of major investors and their long-term investments. In reality, society is held aloft by the ongoing purchases of the common man (and woman): their disposable income is burned off to provide them a sense that capitalism is worth it†¦it turn, their disposable income is used to make the rich richer, as the cliche goes, all the way up the capitalist pyramid. In Marx’s view, this is one of many ways that those in power forestall the seemingly unavoidable class war that he advocates: those with power—the purchasing power of the common man—are convinced they have none, and are bought off with trinkets. It is interesting to note that this echoes the master/slave morality inversion of Nietzsche. 3: Marginalists and the Economy In the evolution of economic theory, the impact of marginalism cannot be overstated. Once one had accepted the blunt realities of Marx—specifically, that society was organized based on the perceived value of items—the logical question remained: how does one quantify the value of an item? Marginalism illustrated the diminishing returns on the marginal utility of resold products, which dramatically impacted analysis of capitalist economy, the focus of economic analysis, and theories of value and distribution. Regarding the analysis of capitalist economy, marginalism helped solidify the supply and demand notion of economics as that of mainstream economic thought, as opposed to the labor theory of value espoused by Karl Marx. To put it mildly, this has had ongoing economic effects for the last century and a half. The focus of economic analysis shifted accordingly, as marginalism interacted with price theory: this allowed economics to project demand curves utilizing marginal rates of substitution as a means of determining not only when, but why a seller is willing to relinquish a product for a particular price. Perhaps one of the most lasting effects of marginalism on economic thought has been its effect on theories of value and distribution. With the previous measures in place, economists (as well as common people) now had a more-or-less accurate measure of determining the value of any given product in any given social context. Of course, this also effects the ongoing distribution of certain products to certain demographics in order to maximize profitability. Interestingly, this is one of the chief criticisms of marginalism as well: that it is a vague pseudoscience whose intent is to maintain not only the economic status quo, but the appearance of the status quo. It is no surprise, then, that Marxists continue to grapple with marginalist theory: they see it as a means of keeping the proletariat in check, and preventing any uprisings from them. 4: Thorstein Veblen: Survival of the Fattest Thorstein Veblen, for better or worse, specialized in bringing the human element into economic theory. Specifically, he theorized that the institution of the leisure class was a parasite feeding upon America: upon the backs of workers who are actually productive are a class who seek only profit and produce nothing but waste. He essentially created and popularized the notion of conspicuous consumption as the epitome of this theory: that wealthy individuals spend large amounts of money on ostentatious goods whose sole benefit is to publicly display their wealth to the world. Unfortunately, this has become an integral part of the economy: although an engineer might weep at the man spending over a hundred thousand dollars for a car, the American economy would be crippled if conspicuous consumption vanished overnight. Hence, the parasite metaphor: conspicuous consumption and naked profit helps the wealthy to bloat themselves on the backs of the poor until the entire enterprise inevitably crumbles under its own weight. Veblen perceived quite clearly that human notions about the world are social constructs created by individuals, and as time went on, those notions would change, necessitating a change in economic thought as well. He makes frequent comparisons to evolution to further this end: idle curiosity spurs innovation, innovation spurs conflict between the old guard and the innovators, and an economic Darwinism is born. The advent of industry and technological revolutions merely expanded his original point: the parasitic relationship continued unabated, as the innovations of the productive engineer class were inevitably utilized as means of conspicuous consumption and waste on the part of the leisure class. Planes are developed as a result of idle curiosity, for instance, but it is the leisure class that necessitates the invention of first class as a way of displaying their own status in the social hierarchy.

Functionalism on Computer Mouse Essay

The view, that the physical realization of a well-designed component is not, in some sense, its quintessence. Rather, what makes a functional component the kind it, is described in terms of its role in relating inputs to outputs and its relations to other functional components. If you see a machine that you’ve never seen before, you might ask: â€Å"What is that machine? What is its principle? What is it for? † In poising those questions, you are asking for an elucidation of the function that the machine serves. In many contexts, when we throw questions like â€Å"What is it? † what we ultimately are asking for is a version of what it does. As a theory of mind, functionalism is quite appealing. It is based in mathematical proof and provides a means of constructing analogies to guide our understanding of the mind. Ned Block (1980) classifies three senses of functionalism. The first is simple decompositional functionalism. ‘Functionalism’ in this way points to a research strategy that relies on the decomposition of a system into its components; the whole system is then explained in terms of these functional parts. Second, computation-representation functionalism is a unique case of decompositional functionalism which depends profoundly on the ‘computer-as-mind’ correlation. Psychological explanation under computation-representation functionalism is â€Å"akin to providing a computer program for the mind† (Block 1980, p. 171). So, these mental processes are viewed as being decomposable to a point where they can be conceived of as processes which are as simple as those of a digital computer. Last but not least, Block identifies metaphysical functionalism. This type of functionalism is a theory of mind that hypothesizes that mental states simply are efficient states. The metaphysical functionalist asserts that mental states are the forms of mental state they are because of the causal relations between inputs, outputs and other mental (i. e. functional) states of the system, as in the Turing machine. The physical realization of the set of functions which implement a mind are irrelevant to what makes something a mind – it’s the functional relations that count. Functionalism, briefly, is a theory which considers mental states to be causally related, both to behavior and to other mental states. The question of how a value can be added to a product keeps the manufacturers quite confused always. How its functions satisfy all the possible needs of all the customers from the product is a topic for research for the companies which emphasizes on the theory of functionalism. Things have been the principal topic of design discourse since the early nineteenth century. Debates developed around the integrity of materials, the refinements of form, and craft versus mass production, and the relation between form and function. To the degree that the discourse about things has dominated design thinking, insufficient attention has been paid to the relation things and experience of the users (Margolin 2002, p. 38). Every industrial product has some specific purposes. The design of the products must be conformed in the best possible way to the expectations that result from the function the product fulfills. It can be seen in the modern products that rigid functionalism of the past has been discredited. The range of people’s need is often greater than designers are eager, or something competent to accept. Whenever a product is designed a significant factor comes up and that is to omit the unimportant to carve out the important. The time is knocking on the door which compel us to discover our environment anew and return to the simple basic aspects, for example, to items that have unconstructed obvious-seeming functionalism in both the physical and the psychological sense. That’s why products should be well designed and as neutral and open as possible, leaving space for self-expression in using them (Rams 1989, p. 111). Good design can also be very little for various reasons. The design of a computer mouse also happened to be on the same line. This part of computer hardware connects to your computer to assist you manage cursor movement and pointing ability on the PC screen. A computer mouse makes navigation simple by allowing you to freely move your cursor around your screen. This allows you to perform functions of your computer with ease. Mouse is known for the ease they give point and click navigation. They are also identified for how good they work with all the different types of computers on the market today; the technology is so cross-system compatible that it become rare to see any problem when you decide to go from one type of mouse to another on your system. Computers are used by more and more people every day for use at home and at the office. Modern desktop computers offer users with user-input mechanisms that are well-matched for the applications that run on these computers. The use of a hand operated pointing device for use with a computer and its presentation has become almost universal. In computer science mouse is the jargon use to refer to a pointing device which usually slid along a flat surface to create x and y output signals as a result of said movement, the signals generally cause the cursor on the connected computer screen to move and allows the user to point to objects on the screen. A computer mouse is a handheld device that a user slides over a suitable surface causing the cursor on a computer screen to move in a direction determined by the motion of the device. The mouse is a hand-held device that functions on a flat surface which, in tandem with the necessary computer hardware and software, permits the user to manage movement of a cursor or pointer on the display. Computer mouse are often referred to as cursor positioning devices or cursor control devices, although mouse are used to perform many other functions, such as to open and drop documents, re-size and move windows, drag , menu items in a pull-down menu, select icons, text, launch applications and others. Computer mouse can be found in a various types of physical embodiments. Normally a mouse consist of a body that serves as a grip for the user’s hand and as a configuration for mounting a movement sensing system and two or more mouse buttons for the choice of computer functions. A computer mouse is ergonomically designed so that a user’s hand fits comfortably around the device. The computer mouse may be deemed as having a bottom surface which is in contact with a work surface such as a mouse pad when in use, and an upper surface which includes one or more pressure-sensitive switches for controlling computer operations when operated. Computer mouse are available with electro-mechanical, opto-mechanical, or optical movement sensing systems. Traditionally, a computer mouse is connected to a computer system by a cable for passing on signal/power there between. The bodily connection of the mouse to the host computer by the cable inopportunely limits free movement of the mouse and may result undesirable movement sometimes. Constant bending or twisting of the cable may effect further deterioration thereof so as to effect in detachment or inappropriate contact of connectors at reverse ends of the cable. Wireless computer mouse have been developed in the recent time to do away with the need for a cord, and to make it simpler for a user to move the mouse around without having to drag a cord. A cable less mouse that corresponds with a computer system through electromagnetic signals for data transmission solves the problem. The wireless computer mouse is commonly energized by battery and corresponds by means of infrared transmission or radio frequency transmission which possible the wireless operation. In general, proponents of various forms of functionalism make the claim that the physical realization of a given function is not, in some sense, its essence. Metaphysical functionalism identifies causal structures with mental states which are realizable by â€Å"a vast variety of physical systems† (Block 1980, p. 173). But once we have an implementable easiest function, there are no more queries as to what functions can be comprehended by that performance, dissimilarly in the case of a theoretical categorization. Put in different words, it is in no way clear that we have any reliable way of restraining the possible functions of a system without mention to an underlying physical mechanism which also applies in the case of Computer Mouse. A computer user manipulates a pointing device to change the position of a cursor or other object on a computer display, or to select objects on the display. The physical movement of the pointing device results in a similar movement of the cursor and/or object on the display. However no doubt, that the discoveries in the field of computing has changed our lives and effecting the discourse of history in many ways. Today the life has become so easy to lead with the help of these technological advancements and that has resulted from the extensive research in the field of functionalism. But the question remains that whether the idea of functionalism will be conquered by something else, whether a saturation period will strike in our life, or we will continue to witness the victory march of functionalism like this towards the path of future. Works Cited 1. Margolin, Victor. â€Å"The Experience of Products. † The Politics of the Artificial. Chicago: University of Chicago, 2002, pp-38-59 2. Rams, Dieter. â€Å"Omit the Unimportant. † Design Discourse, edited by Victor Margolin. Chicago: University of Chicago Press, 1989, pp-111-113 3. Block, N. â€Å"Introduction: what is functionalism? † Readings in philosophy of psychology. Ed. N. Block. Cambridge, MA, Harvard University Press, 1980. 1: 171-184

Instructions will be attached Essay Example | Topics and Well Written Essays - 250 words

Instructions will be attached - Essay Example First, it is an opportunistic response to the weak economy evidenced by the way customers respond to price reductions. Secondly, price cutting is a also a differentiated competitive strategy against the main competitor, Wal-Mart. This is evidenced by the fact that Target has maintained high price margins on home goods, electronics and designer apparel, and invested that extra capital in lowering prices in departments where they are directly competing with Wal-Mart, such as their grocery sector. However, it is worth noting that price wars have escalated with time forcing both retail giants to lower their price margins considerably. For instance, Mercent Corp. claims to change prices of approximately two million products every hour (Angwin and Mattioli web). This is no different from Target and Wal-Mart, as they seek to retain respective market shares. Considering Target’s strategy is more oriented towards product differentiation, then it cannot simply translate to â€Å"Wal-Mart mini-me† simply because Wal-Mart has a more price oriented strategy. Since Wal-Mart has maintained low price strategy especially in outlets competing with Target implies that Target is a worthwhile competitor to Wal-Mart. Target definitely needs a more rigorous strategy to grow. The best strategy will certainly depend on what Wal-Mart will do. Perhaps, Target may take Wal-Mart as a benchmark as they formulate their way forward. Angwin, Julia and Mattioli Dana. Coming Soon: Toilet Paper Priced Like Airline Tickets. The WallStreet Journal. September 5, 2012. Web. 24 April 2013.

Basquiat Essay Example | Topics and Well Written Essays - 1250 words

Basquiat - Essay Example While the novel is key to point out the significance of Basquiat's brand "Broken Heart," the film just shows him plastering it all over anything that inspires him wherever he goes. While the book describes the unique character of many of the odd balls and eccentrics that surround Basquiat, the film relates this to the audience by actually having contemporary actors who they perceive as eccentric and odd in their own right. Actors like Dennis Hopper, Benisio Del Toro, David Bowie, Gary Oldman and Christopher Walken, all have their respective reputations with being connected to drug culture. Jeffrey Wright's depiction of Basquiat is a perfect example of a life of addiction lived in the new wave art movement of the 1980's. Wright adds certain mannerism to his body language and inflictions in his dialogue that the book can't translate over to the reader. Basquiat is a mysterious and intriguing character and many fans of his work wouldn't mind retracing his life. There is also the aspect of 80's culture in America, which is a blend of art and pop culture that is not often clearly defined through films produced in that era. The decade poses just as much mystery as the life of Basquiat. Hoban's book expresses very well how deeply imbedded Basquiat was into the drug culture. It also keeps a close grasp of the characters that surround Basquiat, allowing for a better case of name recognition. Throughout the film many characters like Gina Cardinale, Bruno Bischofberger, Albert Milo and pretty much anyone else in the movie other than Andy Warhol all get lost and can only be recog nized through their personalities, or talent of the particular actor playing them. -What light did Hoban shed on other artists and art dealers of the 80s and how well did she describe the "glitzy" art world of that era' Cite example from the book illustrate your points. Did the film give more or less insight into the decade' Compare and contrast the reading and the film. Be certain to explain which Explain why or why not. Hoban's novel does do a good job of expressing the extent of greed and decadence that was being cast upon the artists of the 80's. Ironically enough, the ideology of Andy Warhol and the rest of his entourage of fellow eccentrics called for a revolution of capitalism and marketing in art. Essentially the works of artists like Basquiat and Warhol can be deemed as the start of graphic design as it is known today. The closely knit relationship between art and capitalism that exploded into a cultural movement in the 80's is immediately depicted in Hobman's novel with Basquaits death in the opening of the book when the author says, "His father invited only a few of the artist's friends to the closed-casket funeral at Frank Campbell's; they were outnumbered by the phalanx of art dealers'The eulogy was delivered by Citibank art consultant Jeffrey Deitch, lending the moment an

THE EFFECTS OF OBESITY ON ACADEMIC PERFORMANCE Research Paper

THE EFFECTS OF OBESITY ON ACADEMIC PERFORMANCE - Research Paper Example TomyprofessorshereatStrayerUniversity,Iwouldliketoespeciallythankyou. OurCampusDean,Dr.TeresaGreenwoodhasbeennotonlyagreatprofessorbutagoodrolemodelineducation.Ithankyouforyouradvice,suggestions,conversationsand leadershiphereatStrayerUniversity.Yourteachingandleadershipstyleshavebeenmotivatingtopursuearoleineducatingouryouthoftoday.ToDr.Bretanthanksfor yoursupportandfriendship.Ireallyhaveenjoyedyourteachingsandfellowship.Yourapproachtoeducationhasbeenimpressiveandfulfillingduringmytimeinallofyour classeshereatStrayerUniversity.ToJ?r.Jordan,BassandGoldstein,thanksforallof yourteachingsandleadershipthathavebeensatisfyingandrewardingintheEducation ManagementprogramhereatStrayerUniversitysince2010.Finally,thankstoallfaculty andstaffmembersyouallhavebeeninstrumentalinthisendeavor. TABLE OF CONTENTS Acknowledgement Table of Contents Chapter 1: Introduction†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢ € ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦...1 Context of the Problem†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..4 Statement of problem †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.5 Significance of the study†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦6 Research questions...†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦...6 M ethodology †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..†¦.....7 Organization of the study †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦8 Reference†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦...10 CHAPTER 1: INTRODUCTION Related to the wellbeing of children, childhood obesity is one of main issues these days in almost every part of the world. This medical condition adversely affects the mental and physical health of children, as well as their level of self-confidence.On academic lev el, it puts an unpleasant impact on the mind and confidence of obesity children because of which they usually do not show good academic performances (Sabia, 2007, p. 871). In developed countries, childhood obesity has become a serious health concern (Dehghan, Akhtar-Danesh,& Merchant, 2005). Obese children usually do not perform well in their studies because they feel inferiority complex when their peers make fun of them. Their level of confidence and self-esteem go down as the result which makes them unable to talk to their teachers and peers in a confident way. It is obvious that at school level, children are not as mentally mature as they get when they grow up. So they do not have any idea whether they are doing a good act by laughing at a comparatively fat fellow or not. They laugh at him/her, make fun, and call him/her by improper names because of which the confidence level of the targeted fellow goes down and he/she becomes unable to cope with the situation. This results in ma king the child self-conscious and less focused towards studies. Moreover, obese children feel low due to such situations because of which

Job Description Report Essay Example | Topics and Well Written Essays - 500 words

Job Description Report - Essay Example They should also know how to record and account for reimbursements and use the billing software and use the indices in all the coding books effectively. Software: They should be competent in using Medical Coding ICD-9 Software. This is a  diagnosis  and  procedure  categorization search tool based on the latest  .NET  Framework Technology.  Adding, modifying or deleting ICD-9-CM codes with the click of a mouse. Chart Review: An inpatient coder must thoroughly review all patient medical charts in an effort to ensure that all information is accurate and reliable. He should do chart review by extracting pertinent data from the patient’s health record, and determine appropriate coding for reports and billing documents. Compliance: All information entered into the database by an inpatient coder must be done so in accordance with the policies and procedures of the medical facility. Should Maintain compliance with both external regulatory and accreditation requirements, and with State and Federal regulations. Staff Interaction: When discrepancies and other anomalies are discovered in files, an inpatient coder must communicate with medical staff members such as nurses and doctors to resolve the issue immediately without delay. Education: In order to gain employment as an inpatient coder, the candidate must possess a high school diploma or its equivalent and have taken coursework in medical terminology, physiology and anatomy. On admission, the coder must identify and code the diagnosis that qualifies the patient to meet the hospice certification of â€Å"life expectancy of 6 months or less†. During the hospice episode, the additional disorders/diseases may be added and should be updated upon recertification. End-stage diagnoses are not usually captured by the ICD-9-CM code( the medical coding software). Secondary diagnoses also are coded because patients other have multiple medical conditions at the end of life. Eligibility

E-waste Dumping - A Challenging Legal and Ethical Choice in Global Essay

E-waste Dumping - A Challenging Legal and Ethical Choice in Global Business - Essay Example This fast growing waste stream is accelerating because the global market for PCs is far from saturation and the average lifespan of a PC is decreasing rapidly - for instance for CPUs from 4-6 years in 1997 to 2 years in 2005 (Culver, 2005). PCs comprise only a fraction of all e-waste. It is estimated that in 2006 approximately 180 million mobile phones will be retired. Similar quantities of electronic waste are expected for all kinds of portable electronic devices such as PDAs, MP3 players, computer games and peripherals (O'Connell, 2002). A lot of this waste (approximately two thirds) ends up in Asian countries, mainly China and India. There this waste is dismantled by bare hands, by low paid workers. This is a very serious environmental and health hazard for those nations. This paper shall consider the ethical and legal aspect of e-waste dumping in different countries, mainly China. Unfortunately, largely for economic reasons, the developed world has used primarily one method of dealing with this crisis-exporting their e-waste to less developed countries that are unable or unwilling to protect their citizens from the resulting harm to the ecology or public health. The minute quantities of reusable minerals contained within these electronic products have value only in places with paltry wages and where health codes for their extraction are nonexistent or not enforced. As a result, studies estimate that 50% to 80% of all e-waste amassed for "recycling" are shipped abroad to countries such as China, India, and Pakistan. Researchers found that approximately 13 million computer systems were channeled to recyclers in the United States during 2002, suggesting that up to 10 million of these units moved offshore to parts of Asia. In response to the growing concern over how China will manage its increasing piles of waste electrical and electronic equipment (e-waste), central government departments have drafted a number of interrelated legislations. A national pilot program has also been initiated by the National Development and Reform Commission (NDRC) to determine the most suitable model for a Chinese e-waste management system. Growing interest in the e-waste recycling business from the private sector is another indicator of the significant changes in store for China's largely unregulated and environmentally unsound e-waste processing industry. The rationale behind these legislative and market developments is clear, driven by factors such as the environmental and health impacts of e-waste recycling and disposal, and the incentive of complying with international environmental standards. Discussion America discards thousands of tons of e-waste annually. Most of this e-waste consists of computers and electronic items. Computers and electronic equipment contains toxins. The toxins in computers aren't harmful while the computer is intact. The problems start only after the computer is discarded and breaks apart, leeching its ingredients into the environment. In China, e-waste is becoming an important waste stream, both in terms of quantity and toxicity. E-waste refers to discarded appliances, such as televisions and refrigerators, as well as a variety of associated waste products, such as electrical wiring, printed wiring boards (PWBs),

Explore public relations practice in Business in China Essay

Explore public relations practice in Business in China - Essay Example China has enjoyed political stability resulting from minimal opposition from citizens and legitimate governance. Historically, China has remained intact for around 5000 years hence high levels of developments achieved. The prolonged existence of stability is due to achievement in building healthy public relations between the citizens. There is widespread interdependence of all the people of China whereby there is communal responsibility rather than individual. This means that most of the roles are collective and focus on the success of the whole country rather than individuals (Shandwick, 2004). Like other countries of the world, China experiences cases of violence due to rising conflicting ideas among the leaders. A single party known as â€Å"The Communist Party of China† (CPC) governs China. The party provides leadership to the country’s 22 provinces, 5 sovereign regions and 4 directly governed municipalities. There are two other notable governing regions Hong Kong and Macau, which are also under CPC. The capital city for China is Beijing. China’s landscape is not favorable for traditional agricultural practices because most of the land lies in the desert. The terrain in general is rugged and hilly. The land proximity forced most of the Chinese to practice peasant farming for survival (Culbertson, 2006). The practice of peasant farming ended in 1970’s as an initiative by Mao Tse-tung to change Chinese Society. Mao suggested adoption of Western technology to end poverty. Adoptions of western technology and public relations have improved the economy of China to the present state. The purpose of this essay is to address the bond between the Chinese culture and public relations. This addresses the people of China way of life and their relationship. Another focus is the impact of media in promoting public relations in the country, and impacts of public relations to business development in the country (Culbertson, 2006). Finally, the essay

Definition of finance Essay Example | Topics and Well Written Essays - 250 words

Definition of finance - Essay Example Knowing which investment to make with the available resources also requires being aware of levels of uncertainty attached to the investment. When classifying investments, they may be grouped into either short-term- where returns are expected within a short time-frame, and long-term-where returns are expected after a relatively long time. Finally, there is the sources of finance, commonly referred to as funding, includes financial institutions i.e. banks, informal lending facilities i.e. shylocks, financial instruments e.g. bonds and liquidating assets that are not in use. There are also debts where a company, individual or group may decide to transfer a debt previously incurred to a lending institution or individual. The lending institution or individual would then receive repayment of the debt when due. This is done where a relationship or trust has been built between the borrower and lender and it usually implies an urgent situation. A company, individual or business may choose this as a source of funding when they require money urgently and mostly the decision is arrived at, as a last

Will the Z generation be the laziest generation yet because of smart Research Paper

Will the Z generation be the laziest generation yet because of smart technology - Research Paper Example This generation heavily relies on the social media to socialize and communicate to their friends. The generation is believed to have brilliant minds in regard to using the internet in seek solution to various problems affecting their lives. â€Å"Youths have the common need of a future worth living† (Weber and Greenberg 6) For instance, if they have a complication in regard to health, they just go to the internet to find answers (Sladek 18). It has been argued that generation Z has little secret in their lives especially when dealing with social media. They are willing to disclose and discuss any information with friends and strangers in their social media platforms. Hutchby and Moran-Ellis (1) argued that â€Å"the increase interplay between children and technologies poses critical questions for how we can understand the nature of childhood in ate modern society†. For instance, this generation does not care about sharing their private life especially on their intimate life. They like constantly being on mobile phones texting and on social media chatting and updating status (Weber and Greenberg 26). This generation is disadvantaged because they do not concentrate on their class work since most of the time they are online chatting and updating their status. â€Å"Most U.S teenagers participate in online social network sites at the expense of other activities† (Bers 7). With the use technology, the generation does not mostly rely on class work since they can easily get any information they want from the internet. This is what has contributed to the issue of plagiarism. They just copy the work of other people that has been placed on internet and present it as their own. In another dimension, the generation does not want to struggle much researching on what they are given by their teachers. They like concentrating on results they get from the internet (Gudith 110) It has also been found that most of the people in

Dynamic and flexible opportunities Essay Example for Free

Dynamic and flexible opportunities Essay Different institution or any organized group that composes members and hierarchy of position can establish welfare policy to maintain balance and harmony. Policymakers are faced with a challenging task to present variety of opportunities, orders and challenges basically for the benefits of those people under a group or institution. However what if those welfare policies create different impacts on the participants? Since an organize group composed of different kinds of members, one can not guarantee that everyone will agree with the given rules and policies. Opinion and principles from different kinds of people who have different cultural and social orientation may collide and thus create conflict. Some policies that are beneficial to others may be a disadvantage to some. Can the conflicting goals of welfare policy ever be reconciled to produce an effective welfare policy? Diversity of ideas and insights from different members can create a relationship within the group who will explore and examine the conflicting interests that is associated to the given welfare policies. The prevailing sense of community from this relationship can establish a sense of understanding from the ideas and goals of each. Since policy welfare is always equated with the well being within the members, relationships and human attachment will be beneficial to unity. This will encourage members to discuss and review the welfare policy that should aim to propose measures which will bring a fairer distribution of resources and opportunities. Attachment will definitely give them a moral responsibility. Variety of insights from different cultural and social orientation can challenged the minds of the policy makers to create more dynamic and flexible opportunities and policies that will suit all members. As a result, these flexible opportunities will help the members to enhance and explore their talents and capabilities outside their normal orientation. The innovated policy welfare because of conflicting goals may create subsequent developments to the individuality of the members and later on to the institution as a whole. Sometimes conflicting goals from the established welfare policy can be healthy and beneficial to the organized group. It encourages innovation to the welfare policy which as a result can motivate new discoveries to the possible policies that can help the members grow as a person and as professionals. Diversity of culture and principles can motivate learning and self discovery. In order to established effective welfare policy, one must discover their full potentials.

Marcel Duchamps Influences on Modern Art

Marcel Duchamps Influences on Modern Art Marcel Duchamps Influence on 20th/21st Century Art 1: Introduction The influence of Duchamp’s notion of readymade art has had widespread and profound connotations for the development of art in the 20th and 21st century. Firstly, Duchamp’s art attempted to avoid many of the traditions of art at the time; his use of readymades stigmatised the notion of the artist as a creator. This radical redefinition of the role of artist informed future Conceptual artists in their attempts to relocate the boundaries that would define their role. Duchamp’s role was precisely the opposite role as those artists concerned about formulating an ideal form of subjective expression – Duchamp was more concerned about the political role of the artist and the institutions that serve to create art, rather than of the production of art itself. His readymade work challenges many of these conceptions and institutions by drawing attention to the political and social processes behind the production of art. Secondly, Duchamp’s readymade work also b roadened what could be defined as art. This placed art within a broader philosophical, structural and linguistic field of discourse in which the placement of art was more ephemeral. Ultimately, Duchamp’s project was to untie and disassemble art entirely; this is linked to the postmodern notion that categories and objects do not possess any inherent meaning, but only contain the meanings that we ourselves assign to them. As such, Duchamp’s legacy in both a practical and a theoretical and philosophical sense has served to inform cultural and artistic debate throughout the 20th century, from Jasper Johns, to pop art, performance art and other forms of avant-garde art that challenge the underlying principles behind artistic production. Duchamp’s readymade has left a profound legacy across the board of contemporary art for a number of reasons. Responses to the readymade and the challenge that it poses for a redefined art divorced from the artefact are widespread. Firstly, the elevation of a readymade work of art alters the role of the artist in the production process: Buchloh comments that the extent of Duchamp’s influence on art can be answered by responding to three particular points for discussion. Firstly, he suggests that Duchamp’s influence can be seen in how â€Å"the specific forms of how traditional forms of mark-making can be displaced by an exclusively photographic or textual operation of recording and documentation† (Buskirk Nixon, 205). The impact of this method is to erode and to redefine the role of artist. Whereas we can say that the classical and modernist form of the artist was to present us with a version of reality authenticated by the presence of the artist and the s ubjective aesthetic rules that made that artist â€Å"good† or â€Å"bad†, Duchamp’s readymade work, namely The Fountain, challenges this approach by stressing the role of the artist as a collector and an assembler rather than as a creator. Because it is obvious that Duchamp’s Fountain would not be considered a work of art if it were presented to us in a lavatory, Duchamp highlights and challenges the prejudices inherent to artistic production: namely, the traditional methods for artistic production and for â€Å"mark-making† are redefined and with it, the artist. Of course, this implication has had a profound impact on the development of 20th and 21st century art, from Jasper John’s flags to Warhol’s pop art, and has served to change the material conditions behind the production of art. The mechanistic connotations invoked by Duchamp and his readymade radically challenges and redefines the aesthetic palette available to artists; Duch amp’s influence was to challenge the subjective aesthetic of artistic production – Duchamp’s systemic use of a readymade on the one hand broadens the philosophical and conceptual basis for art production while on the other hand exposing the fallacies of art production in its more traditional sense. Of course, the impacts of this challenge have served to inform critical debate about the role of the artist in art ever since. 2: Readymades In Advance of The Broken Arm, Trebuchet (Trap), Hat Rack, Bicycle Wheel, Bottle Dryer, Air de Paris (400 words) â€Å"The elevation of a common object to the level of a work of art did not consist in merely choosing and signing it. It implied following a set of four rules: de-contextualisation, titling, limiting the frequency of the act and, the most esoteric of all, the necessity of a ‘rendez-vous’ – the meeting of the artist and the object† (Schwarz, 126). Duchamp’s readymade also served to interrogate the principles by which we define objects themselves; because Duchamp’s readymade work inherently interrogates the status of objects by changing their relation to one-another, it can be asserted that Duchamp’s project was to challenge how categories and objects are defined by their intrinsic properties rather than by their relationship to their broader environment. Buchloh points out that Duchamp facilitated the â€Å"radical dismantling of all traditional definitions of objects and categories – the ‘dematerialisation of the work of art,’ as Lucy Lippard called it – and its transfer onto the linguistic, the photographic, and the site-specific operations within which Conceptual art was defined† (Buskirk Nixon, 205). Of course, the linguistic and structural properties of Duchamp’s readymade serves to interrogate and dismantle the traditional role of artist. It also broadens the scope and the context of art itself. However, perhaps more significantly, the nature of Duchamp’s readymade does not allow for a particularly easy redefinition of art’s aesthetic role. For example, if it is asserted that Duchamp’s role was to reposition items of artistic worth and to place them into the political space of a gallery, this highlights the political rather than the aesthetic role of the gallery and the artist in measuring items of subjective worth. In addition, Duchamp’s process of selection is also telling: â€Å"The great problem was the act of selection. I had to pick an object without it impressing me and, as far as possible, without the least intervention of any idea or suggestion of aesthetic pleasure. It was necessary to reduce my personal taste to zero. It is very difficult to select an object that has absolutely no interest for us not only the day we pick it but which never will and which, finally, can never have the possibility of becoming beautiful, pretty, agreeable or ugly† (Paz, 88). Duchamp’s aim, therefore, was to divorce art from its meanings and from the methods of judgement that are usually assigned to it. His desire to locate an object that had absolutely no interest whatsoever highlights both his desire to challenge the centrality of the artistic object, and also helps us to trace his legacy through what can be construed as an attempt to apply Duchamp’s philosophical theory on locating a work of art that can never be â€Å"beautiful, pretty, agreeable or ugly†, and the inevitable failure entrenched within the politics of the readymade: despite Duchamp’s intention to create art that did not have any meaning, the assignation of meaning to Duchamp’s readymades as a series of fetishised objects seemed inevitable and also influenced other Conceptual artists in their project to erode the stability and the legitimacy of the artefact via a number of means: the fetishisation of art in late capitalism, for example, causes art to am ass a capitalistic value regardless of whether the artist him or herself wishes for a value to be attached to it. Trebuchet: a coat rack, which means a â€Å"trap for small birds and is a pun on the phonetically identical ‘trebucher’, meaning to stumble over.† (Schwarz 126-7). Section 3: Duchamp as Rrose Selavy (400 words) Duchamp and the dada movement in general were concerned about elucidating through irony and humour the role of the artist in the production process. Although the concept of the readymade changed this role from that of creator to selector of appropriate works of art, the role and identity of the artist was questioned in a more thoroughly mocking way with his invention of his female alter-ego, Rrose Selavy, whom several works of art were ascribed to. Naumann (2008) suggests that the invention of Rrose Selavy served the grander purposes and preoccupations of Duchamp’s work, whose interests and themes include â€Å"disguise, reflection and signature† (70). Taken generally, the invention of an alter-ego who has as much artistic authority as the artist himself serves to obfuscate, delude and disorient the viewer of the art in itself; the notion of disguise functions as a means of disrupting the traditional role of the artist as singular creator of the work in question. Rrose Selavy also has a performance aspect to it, which, among other things, helps to blur the boundaries between the work of art and the artist himself. Along with this, Duchamp’s alter-ego also has obvious connotations through the paradigm of gender studies. The peculiarities of Rrose Selavy’s role is particularly problematic concerning this. As well as satirising the role of artist, the construction of Rrose Selavy also expressed many of the reservations expressed by Duchamp about the increasingly blurred boundaries between gender. Hopkins (2008) argues that Duchamp’s views were deeply conservative regarding the growing concern over gender equality: â€Å"he was deeply wary of the growing autonomy and mannishness of contemporary ‘liberated’ women. [†¦] The evident preoccupation with gender indeterminacy [†¦] became thematized conclusively in the photographs of his female alter ego Rrose Selavy† (Hopkins, 81). But while Rrose Selavy can be read as a satire of the mannish women who had become increasingly empowered in 1920s France, the role of Selavy could also be seen as a satire of the â€Å"traditional† French aristocratic woman, whose conservative sensibilities are also mocked by Duchamp’s character. This problematic is also supported by the texts that frequently anchored the print representations of Rrose Selavy. Litterature magazine tagged one of his portraits with the following sentence: â€Å"Here is the Domain of Rrose Selavy – how arid it is – how fertile – how joyous – how sad† (from Hopkins 2008, 87), which demonstrates warmth and empathy with Rrose Selavy rather than irony or satire. Hopkins adds that â€Å"The Paris group may well have understood Duchamp to be killing off his old ‘dry’, dusty male persona and being reborn as Rrose (Eros).† (Hopkins, 86-7). Section 4: Duchamp’s use of language, wordplay, puns, paradoxes and humour in his work Fresh Widow, Why Not Sneeze Rrose Selavy, L.H.O.O.Q., Ready Made Rectified (Wanted $2000 Reward) (400 words) Duchamp’s assault on the art establishments and its values was executed in a manner that used a great deal of wordplay, irony and often cryptic allusion to more salacious and scandalous depths. Fresh Widow, for example, features a play on the words for French Window and can be read, as Hopkins comments, as â€Å"a salacious allusion to the sexual availability of bereaved women in Paris after the war†. Other puns assist in denigrating the stature of the traditional artistic canon by anchoring them in a completely different, and somewhat lewder context. This eroticism is exemplified by Duchamp’s famous work, â€Å"L. H. O. O. Q.†. Mundy (2008) suggests that humour and eroticism were key components to this Dada aesthetic, as Duchamp reinvented himself as a woman, disfigured a Mona Lisa with a moustache and printed underneath the letters â€Å"L. H. O. O. Q.† which, in French when pronounced phonetically translates as â€Å"she has a hot arse†. T he intention of this clearly stems from an attempt to intentionally sabotage works treated with reverence by the establishments at the time by using sexual innuendo and wordplay. In addition, the linguistic addition draws attention to what exists outside of Da Vinci’s original framing, perhaps drawing attention to extraneous factors in artistic production and reproduction that cannot be framed as easily. In many respects, the titles of Duchamp’s works have almost as great a significance as the works themselves; Mundy (2008) comments that this focus intentionally blurs the boundaries between traditional points of anchorage in the artistic production process: â€Å"The title-cum-impossible-question of another readymade, Why Not Sneeze Selavy?, posits unfathomable relationships between objective reality and subjective intentionality† (35). Paradox between different elements of the sculpture are brought into question and serve to defy simple, certain interpretation. Duchamp’s famous readymade The Fountain challenges the utilitarian role of the urinal by placing the signature horizontally rather than vertically, thus metamorphosing the work into a piece of art by defying its utilitarian purpose. For de Duve, the challenge of Duchamp’s legacy is, in part, linguistic: â€Å"I went straight for what I think to be the heart of the issue, namely the status of the sentence: ‘this is art.’ It entails no definition or redefinition whatsoever, neither of ‘this,’ nor of ‘art.’ To take a shortcut, I’d say it is the modern formula for the aesthetic judgement† (213). Because Duchamp primarily and explicitly asserts that his fountain is art because it is socially defined as such (by its location, its reception etc.), he places art within an unfamiliar field of discourse – namely that, anything can be seen as art providing it is anchored by the notion that what is being done is art. As su ch, Duchamp’s interrogates and problematizes any objective qualities that may have previously been considered â€Å"artistic† by nature. Of course, this has impacted significantly on conceptual and avant-garde art throughout the 20th century and into the 21st. His work Ready Made Rectified utilises Rrose Selavy by juxtaposing his own portrait with a wanted poster, on the one hand emphasising his role as enfant terrible of the artistic establishment and drawing ironical attention to the fallacious nature of the spectacle in itself. Humour and irony is always used to expose these central paradoxes and to create a detachment between the various angles that are interrogated by these pieces. Mundy (2008) suggests that, for Duchamp, â€Å"humour is always of a tragic nature. Humour signals a total independence of mind and is, essentially, a revolt of the spirit and of the unconscious against the conditioning of life and society. Humour has an endless power to challenge and provoke. It is a factor of opposition, superbly subversive in so far as it establishes a victory of the pleasure principle over the reality principle.† (35). Section 5: Duchamp’s work with Chance Three Standard Stoppages (400 words) Duchamp also interrogates the place of art in society by using chance operations. Three Standard Stoppages provides an example of this strategy, and again serves to undermine and interrogate the role of artist in the production process, as well as interrogating a number of other devices and standards. Firstly, Three Standard Stoppages draws attention to the authority of standardised meters. Judovitz (1995) suggests that, because the work is on the one hand based on standardised measurement, but on the other hand does not produce consistent results, undermines the legitimacy of â€Å"universal† systems of measurement, which has metaphorical connotations for the way in which value judgements are made: â€Å"it demonstrates the recognition that the meter itself as a unit of length is generated through approximation: the straightening out, as it were, of a curved meridian. Duchamp sets the viewer straight by graphically showing that the authority of the meter as a measuring devic e relies upon distortions that he corrects through chance operations† (Judovitz 1995, 48). In addition, the work also interrogates notions of artistic authority: Three Standard Stoppages â€Å"puts into question the voluntaristic and intentional logic that defines the creative act and the identity of the artist. To assume chance as a locus for production is to understand causality itself not as an origin but as a productive event, whose plasticity can redefine the notion of artistic creativity† (Judovitz 1995, 49). The utilisation of chance, therefore, metaphorically serves to emphasise the temporal element of artistic production – the â€Å"traditional† role of the artist as an objective, isolated producer of universal and timeless works is drawn into question by these chance operations. As such, the prior legitimacy of artistic creativity being equated to notions of timelessness are jeopardized. Section 6: Duchamp (or more accurately his alter-ego Rrose Selavy) The Green Box the use of Photomechanical Printing, instead of the usual autographic printing methods (400 words) The use of unusual printing methods in Duchamp’s The Green Box draws significant attention to the traditional methods associated with mechanical reproduction of works of art. The mechanical drawings of The Green Box, combined with the intentionally disruptive printing methods utilised draw attention to the very process of printing and the relationship between mass production techniques and the innately singular nature of hand-made works of art. Judovitz suggests that Duchamp’s use of mechanical drawing does not base itself around physical or scientific principles. Instead, â€Å"they represent a ‘symbolic way of explaining,’ one that privileges the logic of the machine, only to reveal its ironic underpinnings† (Judovitz 1995, 58). Significantly, the use of photomechanical printing further emphasises the problematic nature of these drawings which, on the one hand aesthetically reproduce the visual methods of mechanical drawing, while on the other hand is representative of a more outlandish, pseudoscientific principle that disrupts the legitimacy of the rubric, codes and language used to construct such mechanical, scientific devices. The use of photomechanical technology to construct these prints also draws attention to the more invisible process of production, rather than to the mere surface of the production itself. The legacy of Duchamp’s mixing and matching of various print processes has been widespread, both in terms of its philosophical qualities (questioning the authority of a single method of printing, and of the singular importance of a single work of art) and also its more technical aspects. Of course, this interrogation of the notion of artistic originality can be found in pop art, that reconciled notions of art, commerce and mass production in the generation of works of art that were no more artistically meaningful (meaningful in the traditional sense) than mass produced wallpaper or a newspaper advertisement. Thirkell (2005) comments that â€Å"Duchamp’s questioning of the notion of originality has also had a profound influence on modern print, ultimately triggering the revolution in print expression exemplified by photomechanically driven vehicle of Pop Art.† The Green Box, therefore, in its playfulness with printing processes would prove influential in the emerg ing debate surrounding artistic legitimacy, authority and originality. Section 7: Duchamp’s work in Optics in Motion Rotary Demisphere, Rotaryrelease (400 words) Many of Duchamp’s optical works focussed on optical illusion and the ambiguity of depth perception. His Rotoreliefs in particular create the illusion of depth and draw attention to the role of the artist as a magician or trickster. In addition, many of these works also had erotic connotations, as the voyeuristic proclivities of the viewer of the art are made explicit by overt and metaphorical sexualised content. Mundy (2008) comments that the Rotoreliefs and their disorientating movement echoes that of eroticism: â€Å"the visual sensation of movement back and forth had an erotic undertone† (31). This work in optics was also drawn from Picabia’s optical work, which was more overtly eroticised (Octophone II, for example). This draws attention to the innately subjective nature of sexualised imagery, and suggests that sexual content somehow alters and transfigures the technical quality of art in itself; by suggesting that sexuality is in itself a subjective illusion , Duchamp erodes the boundary that is arbitrarily placed between the art and the consumer of the artistic product. Mundy suggests that â€Å"he took the eroticisation of vision – the power of the corporeal and mental responses to control the interpretation of what is seen – to new heights† (31). This fragmentation of the process of interpretation serves metaphorically to activate the subjective, sensual feelings of the viewer of the art, who interprets the illusion as though is was not illusory. The use of optical illusion questions the boundary between what is â€Å"real† and what is â€Å"illusory†, as the eyes of the viewer effectively trick the viewer into perceiving the illusion as real. Perspective and depth and its illusory nature is made explicit by Duchamp’s works in optics. In Hand Stereoscopy, special glasses are required to give the work a level of depth, and also equates the use of colour and the use of depth: Judovitz comments that â€Å"these dots of pigment are the projection of the perspectival (mathematical) principles underlying optics† (138-9). In addition, the drawing together of depth illusions and colour serves to blur and make explicit the relationship between these technical attributes of the artistic product itself: as Duchamp himself suggests, â€Å"perspective resembles color† (Sanouillet Peterson 1973, 87). Section 8: Duchamp’s work influencing artists:Cornell: Duchamp’s work With Hidden Noise influenced Cornell’s Untitled (Rattle and Music Box); Cornell’s Cabinet of Natural History (Object) (one of the bottles containing shards of glass and labelled Methode de M. Duchamp) alludes to Duchamp’s work The Large Glass. Box Assemblages have become the process for Cornell’s entire oeuvre. (400 words) The legacy of Duchamp’s work has been significant, as many artists serve to draw attention (either explicit attention or implicit, coded reference) to the themes and codes of Duchamp’s disruptive oeuvre. Perhaps the most explicit reference to Duchamp’s legacy can be found in the work of Cornell, whose works drew directly from Duchamp and utilised much of his iconography. In particular, his Untitled works, such as Mona Lisa, Rattle and Music Box serve to use imagery popularised by Duchamp; in the former piece, the Mona Lisa in placed in a significantly different context, perhaps drawing more attention to Duchamp’s Mona Lisa of L. H. O. O. Q. than it does the original. The repetition of this imagery also draws attention to the mechanical processes of production that Duchamp used to interrogate the notion of the artist as a producer of singular works of art. Cornell’s use of readymade works can also be traced back directly to the influence of Duchamp. His Cabinet of Natural History, for example, is an assemblage of various found pieces of art placed in a glass cabinet. Apothecary bottles, maps and photographs are recontextualised in a manner thematically similar to Duchamp. In addition, Duchamp is also referenced directly, as if to interrogate further the concept of artistic authority and originality: Kosinski (2006) notes that â€Å"one bottle, containing shards of glass and labelled ‘Methode de M. Duchomp’ alludes to Duchamp’s key work, the Large Glass while playfully toying with the correct pronunciation of his French name† (39). The significance of Duchamp to Cornell is made explicit by the direct reference he makes to Duchamp’s legacy. In addition, his use of economy and meticulous, scientific rigour echoes the attention to detail of Duchamp’s scientific works. Thirdly, Cornell uses li nguistic anchorage, wordplay and the discrepancy between speech and writing (via the use of puns and misspellings) in a manner that echoes Duchamp’s work that places classical works of antiquity within a surprising new context. Section 9: Duchamp’s work influencing artists: Johns: Johns work Device makes reference to diagrams and sketches found in Duchamp’s Green Box. Johns acknowledged the powerful provocation of the readymade in his work Thoughts on Duchamps, published in1969 in Art in America. (400 words) Duchamp’s aesthetic statements on the role of artist was explored in an aesthetic sense by artists such as Jasper Johns, whose use of flags and collage sought to redefine what was considered as authentic art, Duchamp’s legacy also permeates into more conceptual fields. Buchloh comments that â€Å"the legacy of Duchamp was transformed from its first level of reception in the work of Jasper Johns to the second level in Morris – what one might call the semiological, or the structural / linguistic axis† (205). The effect of Duchamp on Jasper Johns is, by Johns own admission, significant. Again, Johns utilises Duchamp’s iconography and reformulates classical imagery in a manner that echoes Duchamp’s original idea to redefine the role of the Mona Lisa. For example, in Johns ambitious work The Seasons, explicit attention is drawn to the figure of the Mona Lisa in the first of the four paintings. Kosinski comments that irony is utilised in a manner t hat resembles the work of Duchamp himself: â€Å"The shadow in each panel of The Seasons is Johns himself, melancholic perhaps and surely self referential, although it is executed after a drawing of his cast shadow that was executed by someone else. This game of ironic distance is surely rooted in Duchamp’s play with shadow portraits† (32). This drawing of attention away from the subject and onto peripheral objects surrounding the subject draws immediately from Duchamp’s attempts to raise speculation about the single classical subject of painting. In addition, the dual authorship of these pieces raises questions about artistic integrity in a manner similar to Duchamp. Section 10: Duchamp’s work influencing artists: Rauschenberg: Duchamp’s influence is present in Rauschenberg’s boxes. He was influenced by With Hidden Noise for his work Music Box (Elemental Sculpture). (400 words) Thirdly, Duchamp’s legacy is explicitly referenced in the works of Rauschenberg, which look at the different ways in which the relationship between artistic modes of production and the increasingly fraught and disturbed relationship between artist and viewer. Rauschenberg’s Music Box (Elemental Sculpture), for instance, bears significant resemblance to Duchamp’s readymade With Hidden Noise, which demands the viewer to activate the piece in order for it to make a sound. The challenge that this poses for the viewer is similar to that of Rauschenberg: â€Å"Unwieldy, the box demands the physical engagement of the spectator-turned-performer, and the central issue is not the mysterious hidden object, but rather the potential sound itself, and the implied demands on the viewer to wrestle with the cumbersome crate† (Kosinski 2006, 19). The boxes that demand the attent ion of the viewer, and disturb the cherished role and piece of the artistic piece disturbs and challenges the traditionally voyeuristic relationship between the artist and the work in question. In addition, Rauschenberg’s boxes are more expansive in their approach to the role of art in the society that surrounds them; in a manner similar to Duchamp’s readymades, Rauschenberg takes directly from the society that surrounds it rather than approaching the production of art in a purely â€Å"creative† sense. Of course, this draws significantly upon the thematic content of Duchamp’s legacy, and draws explicit attention to the paradoxes and the frustrations that both artists had with the traditionally impotent role of art regarding the broader society that served to pigeonhole it. Rauschenberg’s process, while drawing upon Duchamp’s legacy, serves to reappropriate many of its central motifs and preoccupations in a manner that distinguishes it from the work of Cornell and Johns. While both Cornell and Rauschenberg utilised boxes in a manner that drew upon the work of Duchamp to frame its preoccupations, the nature and the content of these boxes were very different in their overall thematic context: â€Å"Cornell’s boxes are highly refined and rich in their variety of cultural allusion.† Kosinski (2006, 44) comments: â€Å"Rauschenberg’s early boxes, though small, are cruder, atavistic and dangerous rather than delightful† (44). As such Rauschenberg can be seen as taking a specific element of Duchamp’s thematic approach to readymade art and pushing it to its logical conclusion; his work is more confrontation than Cornell, who sought to beautify and protect his modified readymades by placing them in a more aestheti cally pleasing context, surrounding them in glass, etc. Rauschenberg’s work, by contrast, offers a more directly political assault on the establishment ethics at the time, drawing more upon Duchamp’s concept of the readymade as â€Å"junk from life† (Kosinski 2006, 46). Section 11: Duchamp’s work influencing artists: Robert Morris: Morris’s work Mirrored Cubes is influenced by Duchamp’s Green Box. Morris’s Three Rulers was influenced by Duchamp’s Three Stoppages. (400 words) The work of Robert Morris is also framed significantly by the central paradoxes opened up by dada and by Duchamp in particular. It’s attention, according to Benjamin Buchlow, is secondary to the primary reception in the artists described above. Here, the response to Duchamp’s work is based on â€Å"what one might call the semiological, or the structural / linguistic axis† (Buskirk and Nixon, 205). By this, Buchlow suggests that Morris’s Cardfile piece in particular draws attention to these categories of meaning regarding the tension between artistic subjectivity and anonymity. The development of Conceptual art in America, which is epitomised by Morris’s problematic work which draws attention to notions of artistic validity and of the tension between this structural and linguistic axis, is heavily indebted to the particular tensions opened up by Duchamp and his technical works which oriented itself around an exploration of the role of subjectivity in the artist. While this is drawn attention to, it is significant to note that the problematic surrounding artistic subjectivity in a given artistic piece continues to remain prevalent even in Morris’s deeply deconstructive and polymorphous work. Alberro comments that â€Å"Behind the Duchamp / Morris legacy I always see the figure of the artist; the artist / agent is always there. It’s there in both Duchamp and Morris, even in the Cardfile where he’s trying to remove it† (209). Thus, the drawing of attention to the purely linguistic sphere in Morris’s work equates to Duchamps utilisation of processes of artistic production that were traditionally outside of the traditional camp of visual, plastic art production. Like the readymades, Morris’s Cardfile is conceptual as it draws explicit attention to its own inherent aesthetic meaninglessness. It does not connote anything by itself; rather, it is defined by its context as an exhibition piece. I n addition, its purely linguistic role serves to disturb the previous aesthetic determinants of giving a piece artistic value as such. The role of artist in Duchamp’s readymade has been transfigured in a radical way into a political and social figure – namely, he is not defined by the artwork that he / she produces, but is defined by his / her position within the political space offered – this is explored by conceptual artists such as Robert Morris and in performance art where the artist does not decide to entrench himself in the dogmas of an accepted aesthetic tradition, and does not distance himself fro

Assessing The Rights Of Children

Assessing The Rights Of Children In general, all around the world Children do not have the right to make major decisions in their life. Most of the decisions that affect the children are made by their parents or guardians such as teachers, social workers etcSo because of this lack of decision making, children are sometimes abused and exploited for the benefit of their guardians. And as a result, the child is both mentally and psychologically harmed. For this reason governmental and nongovernmental organizations and their expertise are trying to overcome this crucial society problem by making laws that protect the children from being harmed by their guardians and the society they are living in. Furthermore, these organizations make sure that childrens get the basic necessities like, education, food, shelter etc†¦ In a sufficient and proper way. There are some international and local children rights that are drafted by international governmental and nongovernmental organization who work toward the benefits and safeties of the children. So we would be discussing who should be considered as a child and what laws exist to protect these children. Then, well briefly describe what Islam says about the rights of children and role of parenting. And finally, we are going to introduce some of the major local and international organizations working on this area and our groups practical part which we created awareness we about the children rights and the role of parenting through surveys and meeting with students . What are children rights? As any human being childrens have rights. And these rights are nothing but human rights with some special protection and care given to the young ones (children). These rights are the right to associate with both biological parents, human identity as well as the basic needs such as shelter, water, food, education, criminal laws appropriate to their age and health care .Children rights are very large and respective to each society. However, most society agrees that we should allow children to be free from being mentally, emotionally and physically abused. Who is a Child? A child is a young person especially between infancy and youth (Merriam Webster , 2010). However, this is a very general and vague definition .The question may arise, how old should the person be to reach youth or in other word what is the range of infancy and who is youth. For these questions there is no specific answer because each and every country has their own ways of considering someone as an adult or not. I think it would be easy to define adult than a child. And this would help us understand the child which is just the opposite of being adult. Adult is the age that someone can legally vote, marry or sometimes can buy alcohols, be charged with crime as the adult age. However, this can vary from country to country. For instance child labor in Syria, Bangladesh or Paraguay is minimum 12 whereas most other countries set 14 to 16 years old. And In USA the figure is completely different. A person to legally work should be minimum 18 years old and 15-17 can only work if they have permission from their guardians only. Marriage is one of the major things that separate adults from children. A married person is usually considered as an adult. Because he/she is going to become a guardian of their children and they should be able to take care of their families. In many countries the age of marriage varies. For instance, in many African countries, such as Mali, Niger and Mozambique, over 50% of girls are married before they turn 18. In Yemen, 64% of girls are married before 18, and in Bangladesh, 81% of girls marry before 18. (Nour, 2006) Another interesting issue that most people consider themselves as an adult is the age to vote and decide who should lead or being able to run for election. In most countries around the world the legal age to vote is 18 however in some countries like Australia and Germany the legal age to vote can be only 16.This shows that a 16 years old in Germany is considered as an adult while in Italy the minimum age to vote to elect a senator is 25 and in Liechtenstein, a person to vote should be 30 years old or above. Also, in different religions scripture there are differences on who is a child or who should be considered as an adult. In Jews, a 13 years old kid is considered as an adult and is able to attended ceremonies and parties. On the other hand in most of the time Islam considers someone who is above 15 as an adult. In short, there is no specific exact age of considering someone a child. However, in each country they have some part of the society that are considered as a child .So with respect to each country there are some right given to the child prior to the age of adolescence. Historical background of the rights of childrens law So far there is no specific point where we can say the history of children rights started, however for the past 50 years and so the rights of the children are becoming clearer and separated from the other general human rights. Universal Declaration of Human rights is considered as the basis for all the international legal children rights. The 1923 declaration of rights of children drafted by Englantyne Jeeb and Dorothy Buxton in London, England in 1919 is appreciated by league of Nation and adopted by the united nation in 1946, and then considered as the Convention on the rights of the Child. The first legally binding international body that incorporates with civil, cultural, political, social and economical rights is the Convention on the rights of the Child monitored by the Committee on the rights of the child. It is human right treaty with 190 ratifications. Only the two countries which didnt sign for this treaty are the United States and Somalia. Somali didnt sign because of the internal problems its currently facing and United Sates didnt sign because of some contradicting rules like childrens rights to inheritance in same-sex marriages and particular rights for youth. The CRC have four major principles. This principles are the principle of non discrimination, the best interests of the child, the right to life, survival and development, Considering the views of the child in decisions which affect them (according to their age and maturity). Childrens rights law is defined as the point where the law intersects with a childs life. That includes juvenile delinquency, due process for children involved in the criminal justice system, appropriate representation, and effective rehabilitative services; care and protection for children in state care; ensuring education for all children regardless of their origin, race, gender, disabilities, or abilities, and; health care and advocacy. (Ahearn, 2007) Children rights can be categorized in to three major categories as Provision, Protection and Participation. Or depending on the child right information network (CNN) we can categorize children rights in to two major categories as Economic, social and cultural rights and the second as Environmental, cultural and developmental rights (Freeman, 2000) Provision is the right to live a standard living, get a proper health care, education and be able to enjoy a child life. This includes being able to have a playing place and recreation places. This helps the child to grow healthy, confident and happy in his life. They will learn how to treat people well, how to care for people and help their society in the future. Protection: Children have the right to be protected from abuse, exploitation, discrimination and neglect. This includes offering the child a safe place to sleep, live and play. The last category is Participation. A child should be offered a place in the society. They should be able to participate in community programs, youth voice activities and decision makings.

Graffiti - The Unlawful Art :: Urban Art

One day in the afternoon while I was surfing on the Internet, one of my friends forwarded a really interesting website addressed www.stillfree.com to me. At the beginning, I thought it was some kind of shopping promotional website but after clicking on it, an interesting video popped up. I saw a man being video recorded while he was climbing up a fence of a military airport. Then, he ran quickly towards the Air Force One, which is the personal aircraft of the President of the United States, and tagged a graffiti drawing on the jet. It gave me a big shock after watching the video because that man actually sneaked in to the US military airbase and tagged the Air force One aircraft. The event was being broadcast on some major TV channels. After making everything clear, I realized that video was not really took place at the US airbase and it was actually made up by a prominent fashion designer Marc Ecko. The whole process of the video was so real, but it came up as a campaign video to promote the art of graffiti. There are many different points of view on graffiti and it has always aroused arguments on its legalization. Graffiti can be recognized as a form of art, or crime. Graffiti consists of inscriptions, slogans and drawings scratched, scribbled or painted on a wall or other public or private surface. According to The Dictionary of Art, the word "graffiti" is derived from the Greek term "graphein" (to write) and the word "graffiti" itself is plural of the Italian word "graffito." Graffiti is also a form of self-expression. It is the means used to express the artist's identity, feelings, and ideas. The art of graffiti is also a kind of communication that links people regardless their cultural, lingual, or racial differences. When graffiti was first becoming popular, the tools being used were mostly wide tipped markers and spray cans. Graffiti can also be analyzed according to the elements of lines, color, and structures that are present in the work in order to produce a narrative about it. The graffitist first does a sketch, and then he or she plans out characters and selects colors. Next, the artist selects his or her surface and does a preliminary outline, followed by a filling in of colors and ornamentation, and then the final outline is completed. However, graffiti is not readily accepted as being art like those works that are found in a gallery or a museum.

Multicultural Education Means Mediocre Education, Part II :: miscellaneous

Multicultural Education Means Mediocre Education, Part II I had taught high school and middle school English and social studies in a public school system for thirty-four years, retiring from the teaching profession in July of 1999. Any observations, opinions and conclusions I make about Multicultural Education are not theoretical: they are pragmatically based on experience and my interactions with over four thousand students. And I have been scrutinizing and studying Multicultural Education for four decades now and have heard too-many-times the lackluster educational jargon originating from college professors and from misguided advocates of M.E., and quite frankly those â€Å"elitist arguments† have become rather redundant, hackneyed and monotonous, and to think that I once wholeheartedly espoused those ethereal Multicultural Education principles as an idealistic teacher beginning my career back in September of 1965. Despite the â€Å"Happy Face† that supporters of Multicultural Education are attempting to promote and propagandize, one distinct adjective comes to mind whenever I think about Multicultural Education and that particular word is â€Å"insidious.† To the unsuspecting layman or college student â€Å"Diversity through M.E.† is a nifty catch phrase that sounds awfully noble and pleasant to the ears upon hearing its utterance, but the process known as Multicultural Education is actually quite detrimental to the implementation of effective American education. I deliberately describe the scourge as insidious because over the past forty years M.E. has imperceptibly and very cunningly been introduced, advanced and perpetuated by its militant proponents without the American public realizing exactly how harmful, how treacherous and how detrimental the seemingly benign terminology appears to be. First of all, Multicultural Education never clearly defines and identifies itself to the American public for what it really is. U.S, citizens automatically equate and associate M.E. with Bilingual Education and ESL (English as a Second Language), which the clever campaigners for M. E. never lucidly delineate and differentiate. Bilingual Education and ESL are indeed definite, positive, beneficial and necessary programs in our American public schools. Those two activities encourage and facilitate the cultural â€Å"Melting Pot† ideal whereby immigrant and certain minority students learn English and ESL and are hopefully successfully assimilated into American society after two-to-four years of exposure to a new language and a new culture. But Multicultural Education is the complete opposite and inverse of Bilingual Education and ESL. M.E. deceitfully and deliberately does not accurately distinguish itself from Bilingual Education and ESL to the unwary American public.

Are Cultures Diminished or Enhanced Through the Process of Globalization?

Are cultures diminished or enhanced through the process of Globalization? An essay by Jaclyn Macdonald- 389686 Globalization offers opportunities but presents problems. Connectivity between cultures is developing at an exponential rate. This has ramifications for individual cultures. Increased interaction, principally through new media and greater global mobility creates opportunities to enhance cultures but it carries with it the risk of cultural erosion as external influences may overwhelm attitudes, beliefs and values.Globalization is defined as ‘a process in which worldwide economic, political, cultural and social relations become increasingly connected across time and space’ (Thompson, 1995, 149). Globalization is not a modern phenomenon and has its precedents in the empires of Spain, France and Britain among others. The progressive development of economic and political ties of these colonial powers took decades or centuries to come to realization.The rapidity of th is process has been greatly accelerated by the technological and communication developments of recent decades that have facilitated a dramatic increase in global economic, political, cultural and social integration. Consequently, the world has become increasingly interdependent in the areas of travel, communications, trading and finances, all of which contribute towards frequent cultural interactions and greater mobility of people. Globalization brings about a rapidly developing and ever increasing density of the network of interconnections and interdependencies that characterize present-day social life. Globalization lies at the heart of modern culture; culture practices lie at the heart of globalization. This is the reciprocal relationship’ (Tomlinson, 1999). Globalization alone does not determine the shape and character of culture nor is culture the only influence on globalization. Edward Tyler defined culture as ‘that complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities acquired by man as a member of society (Thompson, 1991). The evolution of echnology, primarily new social media, has created opportunities for individuals to choose to embrace or dismiss the aspects of the cultures they are exposed to. Additionally, they can run the risk of losing parts of their own cultures to a wave of foreign influences. ‘One of the most widespread theories of cultural globalization is the idea that the world is becoming more uniform and standardized, through a technological, commercial and cultural synchronization emanating from the West’ (Lange, Meier, 2009, 56).Theorists who support cultural homogenization insist that the spread of globalization has lead to an erosion of cultures and traditions. This view infers globalization to be a euphemism for western cultural imperialism, proposing ethnocentricity will eventually eradicate individual cultures. Identity is commonly deemed fundamental to huma n experience ‘Identity is people’s source of meaning and experience’ (Castells, 1997: 6). The ethnocentric view does not recognize that globalization invariably causes individual culture as David Morley comments, migrants ‘moved from a world in which . . identity was not a central concern, to one in which they were pressed . . . to adopt a particular form of individuality’ (Rantanen, 2005). Manuel Castells writes; ‘Our world and our lives are being shaped by the conflicting trends of globalization and identity’. Opposing homogenization theories, Castells explores ‘the widespread surge of powerful expressions of collective identity that challenge globalization . . . on behalf of cultural singularity and people’s control over their lives and environment’ (Castells, 1997: 2).While homogenization theorists suggest that a ‘global culture’ will dominate all others, Castells proposes that the need for identity d rives cultures to remain individual and as such, globalization thus proliferates cultural identities rather than diminishing them. Global homogenization has an impact on culture by directly affecting the production and use of commodities, social relationships, and the dominance of religion in societies. Homogenization†¦ does not affect how people relate to each other and how they find meaning and purpose in life. It leaves largely untouched the freedom and agency of the subjects in the creating and changing culture, both as individual and as groups (Friedman, 1994). Increasing global mobility has produced a fear of the deterioration of cultures however, people are not merely objects of cultural influences but rather, subjects able to consciously discard or assimilate culture. This choice to embrace culture is now augmented.Integrating cultures can contribute to increasing nationalism due to the human need for sense of belonging and identity, Hall writes; ‘when the era of nation-states in globalization begins to decline, one can see a regress to a very defensive and highly dangerous from of national identity which is driven by a very aggressive form of racism (Rantanen, 2005; 97). Nationalism has thrived to accomplish this sense of belonging throughout history and though national identity may not be everlasting it remains today despite increased global mobility.National identities no longer rely on physical location due to media facilitation as people have gained the ability to communicate and access information to connect to their nation. International students at the University of Melbourne encounter this threat to their national identities. They are submerged in a new location for three years or more with cultures incongruent to that of their homeland. They are faced with the diversity of cosmopolitan Melbourne and the culture of the university itself. Isolated from their native culture, international students would easily become overwhelmed by th e lifestyle of their new surroundings.However, through communication programs like Skype, Facebook, and Twitter they are able to stay in closer contact and with greater ease than students in previous times. People of individual cultures naturally relate to others who share their culture and this bond is immediately apparent when viewing the social relationships on the Melbourne University campus. Students of similar backgrounds, ethnicities and languages can often group together on the university campus, insulating themselves from other cultures.Some groups speak in their primary language in order to distinguish themselves from others and of course to communicate more effectively. The difficulty inherent in this is that language can be divisive as well as inclusive. It can be a deterrent to other students initiating a conversation if they feel excluded. Cultural interaction in tutorials is less divided than in the open and unsupervised areas of campus. Though friendships are often f ormed between those of similar cultures, the interactive style of learning typically deems social groups irrelevant.Students necessarily have to communicate more in tutorials with other people. Australia’s tertiary institutions ‘have an important role to play in the shaping of young peoples’ identities and in the development of active citizenship in an increasingly multicultural and globalized society’ (Mansouri, Lobo, 2011). Multicultural tertiary campuses can offer many advantages for their students by facilitating greater social understanding of cultural differences and similarities. Creating a educational environment which nurtures and manages cultural diversity effectively is not an easy task. This management depends on the professional management and governance of teaching and learning activities’, which allows students to develop their full potential’ (Grobler et al. 2006). Increasing numbers of international students have brought abou t a level of insecurity driven by the belief that common values are being eroded because they are distanced from their native lifestyles. The concept, termed deterritorialization, explains the way in which events outside of our immediate localities, ‘action(s) at a distance’ – are increasingly consequential for our experience.Students with migrant backgrounds, who were born in Australia or have lived here for many years, ‘may have issues with their hybrid identity; mediating between two cultures, that of their parents and that of mainstream Australian society’ (Butcher, 2004; 215-216). Specifically, it is argued that people worldwide now develop a bicultural identity, which distracts from their local heritage. When students leave their home country to study in Australia, they are breaking the physical connection to their local heritage. Modern culture is less determined by location because location is increasingly penetrated by ‘distanceâ€℠¢ (Giddens, 1991).Before the advances of communication technologies, people were only aware of their physical surroundings, which limited their reception of information and cultural influences. ‘Places provide an anchor of shared experiences between people and continuity over time†¦ It enables people to define themselves and to share experiences with others and form themselves into communities’ (Bennett, 1998, 103). Global mobility has increased through the process of globalization, which breaks the physical bond between cultural groups.Modern technology works to reconnect people through communication rather than place. ‘In conditions of modernity, place becomes increasingly phantasmagoric: that is to say, locales are thoroughly penetrated and shaped in terms of social influences quite distant from them. (Giddens, 1990: 18-19)’. The customary method of social interaction has in many cultures progressed into global online communication rather than tradi tional face-to-face interaction. The change in interaction method has produced new social relationships. The decreased need for place in communication is evolutionary in culture.People are no longer determined by their physical surroundings as technology provides them with a choice of the information they receive. ‘When we communicate through telephone, radio, or computer, we are physically no longer determined by where and who we are socially (Meyrowitz, 1985: 115). The processes of globalization has evolved concurrently with media technologies, causing telecommunications to be described as the ‘central nervous system’ of the very process of globalization (Castells 1996, Mansell 1994). Media is vital for providing cultural and symbolic resources worldwide, contributing to its success.Barker has observed, ‘globalization has increased the range of sources and resources available for the construction of identity’ (Barker, 1997). According to many theori sts, the sense of place has been fundamentally changed by the arrival of media and communications. ‘Our world is becoming senseless to many because, for the first time in modern history, we are relatively without place; we are part of a global world’. (Meyrowitz, 1985). What many theorists of place have failed to acknowledge is the increasing connectivity, not only between global places, but also within places.Audiences ‘naturally gravitate towards programming choices that appear most relevant or proximate to their own context and thus allow them to seek the pleasure of recognition of their own culture’ (Straubhaar, 1991) or ‘ultimately people like to see something close to their lives’ (Hong, 1998). The process of globalization creates many benefits for enhancing cultures. The evolution of technology, has most significantly, created opportunities for individuals to view culture as a preference rather than compulsory.People are now able to make an informed decision about their adoption of culture through increased information access, ‘the combination of economic, technical, social and cultural resources held by media organizations had meant that ‘quantatively and qualitively†¦ the media have established a decisive and fundamental leadership in the cultural sphere’ (Hall, 1977, p. 341). Many external influences threaten to diminish cultural individuality however; it is the evolutionary influence of globalization, which has allowed culture to be an individual’s choice, which truly enhances culture. References Appadurai, Arjun. Modernity at large: cultural dimensions of globalization. Minneapolis, Minn. : University of Minnesota Press, 1996. †¢ ? 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