Nursing ethics Essay

For the purpose of this assignment, ethics in relation to nursing will be discussed. â€Å"Ethics; A code of principles governing correct behaviour, which in the nursing profession includes behaviour towards patients and their families, visitorsand colleagues† (Oxford Dictionary of Nursing 2004). This assignment will consider autonomy as identified in a practice placement, but will also look briefly at the ethical principle of non-malefience that is relevant in this assignment. It will also closely look at this issue and will describe how the principles of ethics apply to practice. In accordance with the Nursing and Midwifery Council (NMC 2004). Any names of patients referred to in this assignment have been changed to protect their confidentiality. The NMC states as a registered nurse you must guard against breaches of confidentiality by protecting information from improper disclosure at all times. The placement referred to in this assignment is an Elderly Mentally Infirm (EMI) home, which is located on Merseyside. The United Kingdom Central Midwifery and Health visiting Council (UKCC 2002, clause 6)). Which is now known as The Nursing and Midwifery Council (NMC) Also state that â€Å"Health Care Professionals should recognize the respect the uniqueness and dignity of each patient and client, and respond to their need for care irrespective of their ethnic origin, religious beliefs, personal attributes, the nature if their health problems or any other factor†. Autonomy (â€Å"Greek: Auto-Nomos – nomos meaning â€Å"law†: one who gives oneself his own law) means freedom from external authority†: Wikipedia, encyclopedia (2004). On this placement, there were several examples of how autonomy influenced care delivery; this assignment will address two of these examples. The first incident involved an eighty six year old lady called Betty, who suffered with severe dementia, the Practice nurse from her surgery was coming into the home to administer the flu injection to her and several other clients. It had been recorded in Betty’s case notes that she had had a fear of  needles in the past and had refused several injections before her mental health had deteriorated, Does an autonomous decision have to be rational? â€Å"In the ideal of autonomy day – to -day decisions should be rational, i.e. consistent with the person’s life plans† Hope, Savulescu and Hendrick, (2003 p 34). Betty had no living relatives to contact to discuss her treatment. Patients suffering with dementia cannot always exercise autonomy. A client may be mentally incapacitated for various reasons. These may be temporary reasons, such as the effect of sedatory medicines, or longer-term reasons such as mental illness. It is important to remember that capacity may fluctuate, sometimes over short periods, and should therefore be regularly reassessed by the clinical team treating the client. The principles of consent continue to apply to any medication for conditions not related to the mental disorder for which they are being treated. The assessment of their capacity to consent to or refuse such medication therefore remains important. The NMC (2004) recognises that this is a complex issue that has provoked widespread concern. It involves the fundamental principles of patient and client autonomy and consent to treatment, which are set out in common law and statute and underpinned by the Human Rights Act 1998. The principle of respect for autonomy entails taking into account and giving consideration to the patient’s views on his or her treatment. Autonomy is not an all or nothing concept, an initial step maintaining Betty’s autonomy may be to clarify all the facts in the case, for example does Betty have any understanding of the risks of not having this treatment? Her mental illness means that she is unlikely to be competent to consent or refuse the injection, but an attempt should be made to explain to her, in terms that she could understand, what the treatment would involve and what the outcome would be without treatment. Has her autonomy been enhanced as much as is possible? If the conclusion is that she is unable to understand the consequences of non-treatment, or that her fear of needles is stopping her evaluating the risks, then she will not be competent to make a decision. However, this does not mean that her fears and concerns should not be  acknowledged. Mill (1982) states â€Å"†¦..the only purpose for which power can be rightfully exercised over any member of a civilised community, against his will, is to prevent harm to others. His own good, either physical or moral, is not a sufficient warrant. He cannot rightfully be compelled to do or forbear because it will be better for him to do so, because it will make him happier, because, in the opinion of others to do so would be wise, or even right† Mill (1982 p 68). The NMC (2004) Code of Professional Conduct 3.3 states that, â€Å"When obtaining valid consent, you must be sure that it is: given by a legally competent person, given voluntarily, and informed†. Crow (1983) suggests that it is the nurse’s responsibility to deliver care within the framework of agreed moral principles, for instance those reflected in the Code itself. The principle of non-malefience should also be considered in Betty’s treatment, it would seem to be in her best interests to be treated. If the injection is the proposed treatment, the balance of harms and benefits may be such that treatment would causes distress for a short time not such that her life is intolerable. If the decision is to give the injection, then once again respect for Betty’s wishes and concerns should influence the approach to treatment so that her fears are mitigated as much as possible. All medication given covertly must, be recorded in Betty’s case notes for future reference this shows good nursing practice. According to Wikipedia, Encyclopedia. (2006). Primum non nocere is a Latin phrase that means â€Å"First, do no harm.† The phrase is sometimes recorded as primum nil nocereIt is one of the principal precepts all medical and nursing students are being taught in medical school. It reminds a healthcare professional that he or she must consider the possible harm that any intervention might do. It is most often mentioned when debating use of an intervention with an obvious chance of harm but a less certain chance of benefit. Another example of how autonomy influenced care delivery on this placement was, the entire patient’s case notes where locked away at the nurses station and the trained nurse had the key, if anybody needed the notes the trained nurse had to either get them or issue the key, which had to be returned straight away. This involved the principle of autonomy but also the principle of non-malefience. In any situation where confidentiality is breached, the nurse or doctor must be prepared to justify his or her decision before the General Medical Council. Respect for patient autonomy (deontological theory)The principle of respect for patient autonomy acknowledges the right of a patient to have control over his or her own life, and this would include the right to decide who should have access to his or her personal information. Where the basis for the duty of confidentiality is the principle of respect for autonomy any breach of confidentiality means that the patient’s autonomy has not been respected, whether or not the patient is aware of the breach. Now due to The Freedom of information act 2000, which came into force in January 2005, patients and carers now have the right to ask to see confidential records. There are exceptions to the confidentially clause and the principles addressed in this assignment. The National Health Service (NHS) Confidentiality, Code of Practice. This provides generic guidance where there is a need to disclose information that identifies an individual and that information is held under a legal obligation of confidentiality. â€Å"The issues to be considered and the appropriate steps to take can be ascertained by working through the model and referenced text refers to appendix one, two, three. A range of information disclosure scenarios can be found in NHS Code of Conduct Confidentially (2003). These reference and illustrate the model that can be used to aid decision-making. â€Å"They highlight issues relating to particular decisions, e.g. disclosure to NHS managers or to the police. It is hoped that they cover many of the circumstances that staff currently have to deal with† (NHS 2003). In 1997, the Department of Health published the Caldicott Report (‘On the Review of Patient-Identifiable Information’). It considered the flow of  identifiable patient information and recommended that confidentiality should be safeguarded by anonymising health data, where possible. â€Å"Each NHS organisation must have a ‘guardian’ (normally a senior health professional) to oversee all procedures affecting access to person-identifiable information† DOH Caldicott report (1997). The NMC code of professional conduct: A standard for conduct performance and ethics (2004) â€Å"requires each registrant to act at all times in such a manner as to justify public trust and confidence. Registrants are personally accountable for their practice and, in the exercise of professional accountability, must work in an open and co-operative manner with patients/clients and their families, foster their independence, and recognise and respect their involvement in the planning and delivery of care.† According to Beauchamp and Childress (2001) there are four principles, which are the most widely used framework and offers a broad consideration of medical ethics issues generally, not just for use in a clinical setting. Ethics are also applied to every day living, and that everybody has their own opinion of what is ‘right or wrong’, to quote Hinchliff, Norman & Schober (2003) â€Å"getting in touch with one’s personal value base is a crucial first step in the study of nursing ethics†. After considering these four Principles, which are general guides that, leave considerable room for judgement in specific cases. â€Å"Respect for autonomy: respecting the decision-making capacities of autonomous persons; enabling individuals to make reasoned informed choices. Beneficence: this considers the balancing of benefits of treatment against the risks and costs; the healthcare professional should act in a way that benefits the patient. Non-maleficence: avoiding the causation of harm, the healthcare professional should not harm the patient. All treatment involves some harm, even if minimal, but the harm should not be disproportionate to the benefits of treatment. Justice: distributing benefits, risks and costs fairly; the notion that patients in similar positions should be treated in a similar manner† (Beauchamp and Childress 2001). This assignment claims that ethics are an important part influence in the  delivery of care, but are also a very complex subject, and often leads the Healthcare Professional to examine their own ethical values, it is recommended that a wide range of reading is required to clarify the subject further. After examining the subject further, it is clear that that in the work place a majority of the delivery of care is, planned with the patients before it is put into practice, which try ‘s to ensure that ethical principles are followed. Professional practice and ethics are changing every day, and it is a complex subject it is also debatable how different people interpret ethics. Ethics is also about questioning our own and others practice â€Å"challenging our own and others practice requires courage and vigilance† Kenworthy, Snowy, & Gilling (2006). Reflection on ones own and other people’s ethical values is a very useful part of continuing learning throughout both career and life, and as a health care professional we must have a good knowledge of nursing ethics and use this in practice rather than personal opinion. In addition, with such issues as euthanasia and cloning, in the news almost every day the ethical pressures on the nursing and medical profession grows stronger. Nurses are seeking to develop further their knowledge of ethics and are increasing their ability to recognise ethical issues in practice. REFERANCE Beauchamp, T. and Childress, J. (2001). Principles of biomedical ethics. Oxford: Oxford University Press. Crow, J (1983).Professional responsibility. Nursing Timesi>. 79, 19-21. Department of Health. (1998). Caldicott report. London: Department of Health. Department of Health. (2001f). The Essence of Care – PatientFocused Benchmarking for Health Care Practitioners. RetrievedSeptember 27, 2006 London: www.doh.gov.uk/essanceofcare.htmDepartment of Health. (2003). NHS code of practice: confidentiallyi> (25 28). London: Department of Health. Department of Health. (2001). Seeking consent: working witholder people London: Department of Health. Hinchliff, S. Norman, S. &Schober, J. (2003). Nursing practice and healthcare. London: Arnold. Hope, T. Savulescu, J. hendrick, J. (2003). Medical ethics and the law,the core curriculum. Edinburgh: Churchill Livingstone. Kenworthy, N. Snowley, G. & Gilling, C. (Eds.). (2006). Common foundation studies in nursing. (3rd ed.). Edinburgh: Bailliere Tindall. Martin, E A (Ed.). (2004). Oxford dictionary of nursing. Oxford:Oxford university press. Mills, J (1982). On liberty. Harmondsworth: Penguin. Nursing ethics. (n.d.). Wikipedia, the free encyclopedia. Retrieved October 26, 2006, from Reference.com website: http://www.reference.com/browse/wiki/Nursing_ethicsNursing and Midwifery Council (2002) Code of Professional Conduct. London: NMC. Nursing and Midwifery council. (2004). Standard for conduct, performanceand ethics. London: NMC. Payne, R (1992). Accountability in principle and practice. BritishJournal of Nursing. 1, p301-305. Roper, N., Logan, W.L. & Tierney, A.J. (2000). The Roper-Logan-Tierney model of nursing: based on activities of living. Edinburgh: Churchill Livingstone. United Kingdom Central Council. (1998). Guidelines for mentalhealth and learning disabilities nursing (12). London: UKCC Publications.

The Gaze a Critical of the Female Figure in Art and Advertising

Ideas and Perspectives Module 2012/2013 Claire Hynds The Gaze A Critical of the Female Figure in Art and Advertising 22/01/2013 Contents 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¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦4 Chapter 1: History of ‘The Nude’ within European oil Paintings†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 5-6 Chapter 2: Susanna and the Elders†¦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‚¬ ¦ 6-10 Chapter 3: The Vanity of Women†¦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‚¬ ¦.. 10-11 Chapter 4: Helene Fourment in a Fur Coat†¦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‚¬ ¦11-12 Conclusion†¦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‚¬ ¦ 13 Bibliography†¦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‚¬ ¦. 14 List of Illustrations Peter Paul Rubens Susanna and the Elders (1636-40)†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Artemisa Gentileschi Susanna and the Elders (1610)†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 9 Tintoretto Susanna and the Elders (1555-56)†¦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 Rubens Helene Fourment in a Fur Coat (1577-1640)†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦12 Introduction Women have often been observed in society as being different from a man. A man’s presence is seen as being a powerful force; whereas a woman’s presence has been depicted as being a physical emanation, a kind of heat. It has been said that from a young age a woman has been taught to constantly watch her every move, whether it be her walking across a room, or whilst weeping at the death of a loved one.To be born a woman was said to have been born within a confined space, or into the keeping of a man. Throughout history men have always surveyed a woman before they considered treating them. Consequently how a man treats a woman can be determined by many things, for instance if a woman is to throw a glass on the floor, this is how she expresses her anger towards a situation and how she would like it to be perceived by others, yet if a man was to do the same this would be read as an expression of his anger. As John Berger states in ‘Ways of Seeing’ (P. 47) Men act and wome n appear. Men look at women.Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women themselves. â€Å"The surveyor of women in herself is male: the surveyed is female. Thus she turns herself into an object and most particularly an object of vision: a sight† (John Berger ‘Ways of Seeing’ Page. 47) Chapter 1 History of ‘The Nude’ within European oil Paintings In the history of European oil painting it has been said that women were known for being the primary and ever-recurring subject. In the subject of women they were best known for being painted in the nude.It is said that the first nudes to have been depicted in the history of art was that of Adam and Eve. John Berger has stated (P. 47) that is was worth mentioning the story of Adam and Eve as told in Genesis: ‘And when the woman saw that the tree was good for food, and that it was a delight to the eyes, and that the tree was to be desired to make one wise, she took of the fruit thereof and did eat; and she gave also unto her husband with her, and he did eat. And the eyes of them both were opened, and they knew that they were naked; and they sewed fig-leaves together and made themselves aprons†¦.And the Lord God called unto the man and said unto him, â€Å"Where are thou? † And he said, â€Å"I heard thy voice in the garden, and I was afraid, because I was naked; and I hid myself†¦. Unto the woman God said, â€Å"I will greatly multiply thy sorrow and thy conception; in sorrow thou shalt bring forth children; and thy desire shall be to thy husband and he shall rule over thee† What is found striking about this particular story is how Adam and Eve become aware of each other’s nakedness the exact moment they take a bite of the forbidden fruit, as a result of this they saw one another in a completely different way.Nakedness was created in the mind of the beholder. Wha t is also striking about this story is how the woman is blamed and made to suffer by being made to serve the man. As the traditions of paintings become more secular, other themes are offered up as an opportunity for painting nudes. But in all of them there remains the fact that the subject (a woman) is all too aware of being watched by the spectator. ‘She is not naked as she is. She is naked as the spectator sees her. ’ (John Berger ‘Ways of Seeing. Page. 50) Chapter 2 Susannah and the EldersSusanna and the Elders was one of the most popular images of the sixteenth century, these pieces were taken from the Old Testament story of Susanna and the Elders. The images that were done of Susanna and the Elders were depicted from specific passages from the 13th Chapter of the book of Daniel. Unlike most versions of Susanna and the Elders, the Schonborn painting presents the central confrontation between the main characters, the exact moment within the story when the Elder s return to the garden to seduce Susanna. Mary Garrard (â€Å"Artemisia and Susanna†, Feminism and Art History: Questioning the Litany, Norma Broude and Mary D.Garrard, eds. , pp. 146-171) had this to say on her account of these paintings: Few artistic themes have offered so satisfying an opportunity for legitimized voyeurism as Susanna and the Elders. The subject was taken up by relish by artists from the sixteenth through eighteenth centuries as an opportunity to display the female nude, in much the same spirit that such themes as Danae or Lucretia were approached, but with the added advantage that the nude's erotic could be heightened by the presence of two lecherous old men, whose inclusion was both ichnographically justified and pornographically effective. The story of Susanna and the Elders is seen as a remarkable testament of the man’s ego, a biblical theme of the exemplum of a female’s chastity which shows the celebration of sexual opportunity. Or as Max Rooses enthusiastically described Ruben’s version of the story as a â€Å"gallant enterprise mounted by two adventures†. Peter Paul Rubens, Susanna and the Elders, 1636-40 Griselda Pollock (Differencing the Canon, p. 105) states the following on the subject of Susanna and the Elder’s. â€Å"The biblical story of Susanna and theElders tells of a young married Jewish woman living in Babylon during the first exile of the Jewish people (after 586 BCE. ). Susanna is bathing in her garden. She sends her two maids into the house to fetch oil and perfumes for her bath. Two lecherous elders of the community spy on her, conspiring to force her to submit to them sexually. They threaten her that, if she refuses, they will denounce her of adultery with another man, adultery being, according to ancient Jewish law, a capital crime for women.Susanna refuses, preferring the fate of death to the sin they propose. She is then falsely accused by the elders and condemned to death. Daniel, of leonine fame, vindicates Susanna by exposing the elders' mendacity. Interrogating them separately, he asks them under which tree Susanna committed adultery. Each names a different kind of tree. They are then executed for the crime of false witness. † This story is seen as a complex narrative of sexual desire and visual temptation.During the Renaissance the focus of the woman’s nakedness while bathing is exposed to a lecherous conspiracy which emphasized the sexual, voyeuristic and visually violating aspects of the theme, while at the same time providing a biblical and even a theological justification of the painting as an erotic female nude, a genre that was emerging in this period, shifting the focus of the female nude from its traditional association with truth towards a more modern signification of desire and its privileged visuality.Garrard and Pollock’s focus on the subject of Susanna and the Elders is of a painting based on the same subject by A rtemisia Gentileschi. Artemisa Gentileschi, Susanna and the Elders, 1610. In one of the many versions of Susanna and the Elders by Tintoretto, Susanna is seen looking at herself in the mirror. In turn she becomes the spectator herself. Tintoretto, Susanna and the Elders, 1555-56. Mary Garrard Mary Garrard (â€Å"Artemisia and Susanna†, Feminism and Art History: Questioning the Litany, Norma Broude and Mary D.Garrard, eds. , pp. 149-150) presented the following on Tintoretto’s painting of Susanna stating: â€Å"Tintoretto, whose adventurers stage their advance in a manner more sneaky than bold, nonetheless offers a representative depiction of the theme in his emphasis upon Susanna’s voluptuous body and upon the Elders’ ingenuity in getting a closer look at it. † Chapter 3 The Vanity of Women The Mirror was often used within paintings to show the vanity of women. The moralizing, however, was seen as being quite hypocritical. You painted a naked woman because you enjoy looking at her, you put a mirror in her hand and you called the painting ‘Vanity’, thus morally condemning the woman whose nakedness you had depicted for your own pleasure†. (John Berger, ‘Ways of Seeing’, P. 51) The main function of the mirror was to make the woman notice herself and see what men see her as, a sight. It is a well-known fact that some paintings do include a male lover. However, the woman’s attention isn’t always directed straight at him.The woman is usually panting looking away from the man or she is seen looking out of the painting supposedly looking towards her true love, or in this case the spectator-owner. In one instance of this type of theme is that of Lely’s painting titled ‘Nell Gwynne’ at painting done especially for the king of that time. In this piece it is clear that the woman is looking passively out of the painting at the spectator, in this case the spectator turns out to be the king. However, Nell’s nakedness was not the expression of her own feelings, but instead was the sign of her submission to the king’s demands. Chapter 4 Helene Fourment in a Fur CoatOne painting that was found to be particularly fascinating was that of Ruben’s young second wife, who he had happily married even though he was, at the time, quite old. Rubens ‘Helene Fourment in a Fur Coat’ 1577-1640 In this piece we see Ruben’s wife in the mist of turning, as she does her fur coat begins to gradually slip off her shoulders. It is clear that if she continues with what she is doing she will not remain covered for very much longer. As her body faces us, even if it isn’t full frontal, it is shown as being a well experienced body. Her appearance has, in the eye of the painter, been altered bye his subjectivity.As John Berger (‘Ways of Seeing’, P. 61) describes ‘There is a displacement sideways of about nine inchesà ¢â‚¬â„¢. If looked at closely it is easy to work out that her thighs, where they are meant to join up with her hips, are seen to be at least a couple of inches apart from the left side of her body. Conclusion The ways of seeing a woman and the way they are presented within a painting have not changed. Women were depicted as being different from men, not because of the difference between feminism and masculinity, but because the spectator is often assumed to be a man and a painting of a naked woman were designed to flatter him. In the art-form of the European nude the painters and spectator-owners were usually men and the persons treated as objects, usually women. This unequal relationship is so deeply embedded in our culture that it still structures the consciousness of many women. They do to themselves what men do to them. They survey, like men, their own femininity†. (John Berger, ‘Ways of Seeing’, P. 63) In the end what was found was quite remarkable and found that women were often observed in society as being different from a man. It just goes to show that even in paintings women will always be seen as objects and nothing more.Bibliography Books: Berger, J. (1972) Ways of Seeing. London: Penguin Books. McMillan, K. Weyes, J. (2011) How to Write Essays & Assignments. 2nd ed. Ashford: Pearson Educations Limited. D’Alleva, A. (2010) How to Write Art History. 2nd ed. London: Laurence King Publishing. Broude, N. Garrard, M. D. (1982) Feminism and Art History: Questioning the Litany. 1st ed. New York: Harper & Row. Websites Tilt, S. (2011) Susanna and the Elders [Online]. Available at: http://employees. oneonta. edu/farberas/arth/arth200/women/susanna. html [Accessed: 14 January 2013]

Saudi Arabia unemployment citizens Research Paper

Saudi Arabia unemployment citizens - Research Paper Example The financial sector in the country is highly developed because the banks in the region do not pay taxes. The region is infertile and water resources are scarce. Thus, agronomy accounts for a small fraction of the economy, and the country is forced to import about half of its agricultural products. However, the major challenge that Saudi Arabia faces today is the high rate of unemployment in an zone that has the highest growing population in the world (Al Nisr Publishing). This paper will discuss the issue of unemployed citizens in Saudi Arabia, the problems it imposes and the appropriate solutions that the government and the private sector can impose to address the situation. Based on views raised by western diplomats, officials and ordinary Saudis, it is evident that they are shocked that such a wealth country is not capable of finding employment for its young women and men. Today, Saudi Arabia is regarded as being wealthier than ever before. The prices of oil have remained high for about three years. Since the prices of oil are set at $60 or every barrel, the country is anticipated to be earning about $480 million in a day. Approximately 40 percent of that amount is spent by the government in areas such as health, education, and man power (Adelman). If money alone was capable of solving the problem, then the issue of unemployment would not exist in the country. In fact, Saudi Arabia is anticipated to be growing at an alarming rate. The unofficial estimates reveal a 20 percent growth rate while the official estimate reveal 9 percent growth rate. It is higher among those people who are aged below 30 years, and who make up to about two thirds of the country’s population. This means that there is something that is entirely wrong in the economy (Adelman). For instance, the talk of â€Å"Saudization† of labor is one of the push factors as to why unemployment is rising in the

Important assignment -527 Research Paper Example | Topics and Well Written Essays - 1000 words

Important assignment -527 - Research Paper Example The capital city has a cold climate but is made colder by the nearness to Mount Kenya (Hornsby, 2012). The various inhabitants in Kenya are the Bantu, which takes the greatest percentage, followed by Notes. These put together, comprise of 97%. The coastal region is inhabited by European, who began exploring those areas and Arabs since the early times. Settlements began divisions when Kenya was colonized by the British Empire in 1985 and at around 1920, a clear way was prepared for their settlement. The Kenyan republic attained its independence in 1963, where it got the freedom to rule itself. It placed Nairobi to be its capital city that deals with commercial services with a great specialty in Agriculture. Kenya grows coffee and tea. The Swahili word came from the Bantus and was taken to be the mother language of the Swahili people in the coastal area. It became an official and national language for the country. Some vocabularies of Swahili got meaning from the Arabs time of the invasion in the coast, when they mingled with the Arabs who spoke Muslim and is a composition of some German, English, French and Portuguese (Steers, SaÃŒ nchez-Runde, & Nardon, 2010). The language was first spoken in the coast along Tanzanian border, before been made formal after independence by the then president of African Great Lakes region. The word then spread via fishermen in different coastal islands. Swahili began spreading along other regions from traders who dealt with cloves. During the trade time, they preferred the style as they maneuvered to other areas and in turn made people adopt. The word spread easily within the islands because the traders had established extensive contact with the people coming in and out of the coastal area. These made it a bit famous by the sixth century to Dar-es-salaam in Tanzania and most Kenyan regions. Currently, the biggest part of Kenya’s population is now in a position to speak Swahili. These are evidence where most

Dance movement therapy Research Paper Example | Topics and Well Written Essays - 1250 words

Dance movement therapy - Research Paper Example By waiting or first asking the client to attempt an explanation of the content and meaning of the movement statement the therapist can help a further exploration and understanding through a shared dialogue and then possible interpretation by the therapist. Theoretical Orientations The field of dance/movement therapy is based on the belief that healthy functioning depends on the integration of the mind, the body, and the spirit. When there is a lack of such integration, an individual, group, or family may suffer from a variety of psychophysical disorders. Dance/ movement therapy is a form of psychotherapy that utilizes movement as the medium of interaction and intervention promoting change. The following section summarizes the major theoretical orientations within the field of dance/movement therapy. Chace Approach A basic tool for establishing nonverbal relationships used by dance/movement therapists is called mirroring, or attunement. Marian Chace, a major pioneer in the field refle cted, through her own muscular activity, the body movement of her patients. She was able to meet her patients where they were emotionally on a nonverbal, movement level of communication. Marian Chace’s core concepts of working in groups, utilizing rhythmic body action, and communicating through dance and movement are considered fundamental. She states: Dance therapy is the specific use of rhythmic bodily action employed as a tool in the rehabilitation of patients. . . . The dance therapist combines verbal and non-verbal communication to enable a patient to express feeling, to participate in human relationships, to increase personal self-esteem, to develop a more realistic concept of his body image, and through all these to achieve some feeling of relaxation and enjoyment. (Chace, p. 247) Judith Kestenberg calls movement empathy attunement, observing that it involves harmony between movers. Regarding â€Å"complete attunement† (p144) in the mother–infant interact ion, Kestenberg (1999) notes that complete attunement consists of mutual empathy and that â€Å"there is not only a sameness of needs and responses, but also synchronization in rhythms† (p. 161). The experience of attunement requires a process of kinesthetic identification. Muscular tensions felt in one person are also felt in the other. It is not necessary to duplicate the shape of the movement. Visual or touch attunement with a child or adult who is upset can lead to soothing. The degree of tension exhibited by the child or adult can be initially matched and then developed into less intense, more soothing patterns (Loman, 114). An integrated developmental approach draws from psychodynamic, ego psychological, Jungian, and relational models. The approach encompasses a solid movement and body-level understanding of the individual, interpersonal relationships, groups, and family systems throughout the life cycle. The framework for understanding human development, based primaril y on Erik Erikson, Anna Freud, Judith Kestenberg, Jean Baker Miller and colleagues, Margaret Mahler, and Donald Winnicott, fosters awareness of the significant life challenges encountered at each stage of the life cycle. Each stage can be approached from a body–mind–spirit perspective. Object relations theories with their body-movement foundations; provide an understanding of the phases of separation/individuation and the nature of interpersonal rel

Why I Stopped Being a Vegetarian-Analysis Essay

Why I Stopped Being a Vegetarian-Analysis - Essay Example The first group is American meat lovers while the second group is the average Americans, especially individuals who are vegetarians or those considering to join the band wagon. This discourse will discuss the effectiveness of Fraser’s reasons for stopping being a vegetarian. Many people have been pondering with the dilemma as to whether to be a vegetarian or not presently. This follows the health risks associated with eating red meats. Pozzi argues that most killer diseases that people suffer from today, such as cancer; obesity and diabetes are as a result of unhealthy eating habit of the present generation (par. 3). As such, many people are considering leaving stopping eating red meat such as hamburger, for vegetables. Even though this is the reality in the present world, Fraser thinks otherwise. In her case, she feels that it is right for her to stop being a vegetarian. As earlier stated, Fraser gives several reasons why she opted to stop eating vegetables. Based on her cali ber and reputation, her arguments for making such a decision can be trusted. Logos Fraser begins by stating that she has had 15 years of experience as a vegetarian. As such, all her claims are based on solid experience. In her captivating essay, Fraser tell us that being vegetarian brought embarrassments in her life since it made her overburden her cooks with having to make her special meals all the time (Fraser 1). The fact that her cooks had to prepare for her a special meal different from that prepared for the rest of the family made her feel that she was overworking cooks. In addition, being a vegetarian made her feel that she was avoiding her friends since she could not socialize well with her friends, which was awkward in her view. Fraser states, â€Å"As a vegetarian, not only...Many people have been pondering with the dilemma as to whether to be a vegetarian or not presently. This follows the health risks associated with eating red meats. Laura Fraser’s article â€Å"Why I Stopped Being a Vegetarian,† is a captivating assay in which she describes her 15 years of personal experience as a vegetarian . Many people have been pondering with the dilemma as to whether to be a vegetarian or not presently. This follows the health risks associated with eating red meats. Pozzi argues that most killer diseases that people suffer from today, such as cancer; obesity and diabetes are as a result of unhealthy eating habit of the present generation. As such, many people are considering leaving stopping eating red meat such as hamburger, for vegetables. Even though this is the reality in the present world, Fraser thinks otherwise. In her case, she feels that it is right for her to stop being a vegetarian. As earlier stated, Fraser gives several reasons why she opted to stop eating vegetables. Based on her caliber and reputation, her arguments for making such a decision can be trusted. Health experts advise people to find time to socialize with others since it is good for health. Fraser tells us that she did not become a vegetarian out of choice but because of pressure from the society. In conclusion, since Fraser talks out of experience of being a vegetarian for 15 years, vegetarians and those who intend to become vegetarians, as well as meat lovers should take her advises and reasons for stopping being a vegetarian seriously for the future health of American society.

Benefits of Risk Management, Risk Management Frameworks Assignment

Benefits of Risk Management, Risk Management Frameworks - Assignment Example Importance of Risk Management Risk Management is extremely crucial because it helps the decision-making process regarding viability and competitiveness between organizations. It also helps in the creation of value which is the main factor to manage the business better in global markets when all organizations have equal access to available resources because then business processes to congregate on international standards. Operational efficiency can be increased by having plans for risk management already in place because it enables a business to do more for less. This means putting aside resources from regular expenditures in making strategic investments which will support company goals. A large percentage of the budget is spent on keeping the business running. Progressive organizations must have contingency plans to develop and expand resource deployment and implementation which will spare resources to concentrate on risk management strategies. (Mes 2010). Benefits of Risk Management Risk is always associated with insecurity and improbabilities with the possibility of things not turning out as expected. The benefits of risk management are that the organization is fully prepared for such eventualities and has a mechanism in place to handle risks and minimize losses. It is not possible to totally eliminate all risks, so good risk management develops awareness of risks when times are good, and perpetuates regulations and self-control during crises (Raz and Michael 2001). The benefits of risk management can be both long and short term. Accordingly, each stage of risk management efforts beginning from risk identification and evaluation and formulating alleviation or improvement strategies has its own benefits (Miller 1992). Question 2: Compare and contrast Management of Risk with another risk management framework (such as that offered in chapter 7 of Project Management by Larson and Gray), highlighting the similarities and differences between them.  

Psychedelia and Vietnam Essay Example | Topics and Well Written Essays - 500 words

Psychedelia and Vietnam - Essay Example In this way one considers that the narrator in the song speaks about having to avoid mortar shells. In great part the specific musical components contribute to this song’s message. In this way the guitar is low-key and thoroughly allows the vocals to shine through. Another prominent recognition is that Paxton’s voice is subdued, yet contains a significant degree of ethos, leading the listener to empathize with his message. Another prominent song with a war message is Johnny Wright’s ‘Hello Vietnam’. This song is less explicit in its criticism of the Vietnam War. While the song alludes to the arbitrary nature of the war, it is more concerned with articulating a story about a lost love going abroad to fight in the war. This seems to be the song’s most effective part. To an extent the song can even be interpreted as embracing the war. In this way the song speaks of American’s mission abroad and the importance of stopping communism before it becomes a larger problem. Specifically, the song implements a lyrical metaphor in comparing communism to a fire that must be put out or risk a larger problem. In terms of the specific musical components, to an extent one can argue that they interfere with the song’s message. The song adopts a lackadaisical country western musical approach that seems more concerned with the love story than conveying any sort of meaningful politi cal message. Finally, Sgt. Barry Sadler’s ‘Ballad of the Green Berets’ presents another perspective on war. While the first two songs made specific comments on the Vietnam War, this song instead constitutes a firm embracement of American military values. In this way, as the title suggests, the song functions as a ballad for the Green Berets. To a large extent the Green Berets are presented as heroic and brave individuals. While the song lacks a political message, this may actually be its strongest part;

Sarahs Key Essay Example for Free

Sarahs Key Essay The dance ‘The Oppression of the Jewish Race’ was based on the stimulus ‘Schindlers List’ directed by Steven Spielberg. The dance is in narrative structure based on the journey of the Jewish race from freedom to oppression. The feelings within this dance vary. In the first section, the dance begins with a light playfulness where happiness and hope are portrayed by the dancers. This hopefulness gradually fade however, as the dance steadily progresses into bleakness and has a numbing quality to it. The dancers continue in this despair with outwards signs of pain being expressed. The feeling in the end section of the dance is one of utter hopelessness and anguish. The dance concludes with this feeling as it is how the Jews felt by the end of the Holocaust and as many of their lives ended when the Holocaust was taking place during World War II. This was the motivations that the choreographer used to choreograph this dance. The overall choreographic intention is to convey the oppression of the Jewish race. Through five sections of the dance this is displayed as each section gets progressively worse in a narrative structure that depicts different parts of the Schindlers List movie the stimulus. I was given the role, by the guest choreographer, of a teenage Jewish girl who is a similar age to me. Using the Stanislavski techniques I developed my character for each section of the dance. In the beginning I am happy and free, using emotional memory to get into character before I begin dancing. As the dance progresses my character becomes less and less happy and free. By the second section, I have lost all emotion and my movements are no longer free but more mechanical. My facial expressions slowly transform into those of pain and my movement reflects this as they are bound. When in the gas chambers I brought the idea of pain in my movements and expressions as my character passes away. I brought the understanding of what the Jewish race would have gone through during this time, through my character. Section 1 – The Beginning The beginning section of the dance is acting. There are seven dancers on stage, each interacting with someone. One dancer (a small boy character) runs onto the performance space from stage left to find his toy car, which he finds and then plays with. Another dancer runs on from stage right (a small girl character) with her toy doll. The boy then snatches the doll away from the girl and teases her with it as she chases after him. The boy’s mother then enters (third dancer to enter the stage) from stage left and tells off the boy for being mean to the girl. The girl’s mother then enters the performance space and supports the girl as she is apologised to by the boy. At the same time as this apology is taking place. A grandmother and her granddaughter are making their way through the space beginning from upstage right. This is when I enter the performance. I run onto the performance space from upstage left, waving as I enter. I move through the space to interact with two of the other dancers, by hugging both of them as they are my grandma and friend. I then walk down stage with the grandmother and friend and my focus is on the other dancers who are greeting each other, the mood is light and free. The dancers then make their way down stage to form a line. They then take whatever prop that they have with them (e. g. the car for the boy) and have it in their hand. Activity One Choreographic Intention The dance ‘The Oppression of the Jewish Race’ was based on the stimulus ‘Schindlers List’ directed by Steven Spielberg. The dance is in narrative structure based on the journey of the Jewish race from freedom to oppression. The feelings within this dance vary. In the first section, the dance begins with a light playfulness where happiness and hope are portrayed by the dancers. This hopefulness gradually fade however, as the dance steadily progresses into bleakness and has a numbing quality to it. The dancers continue in this despair with outwards signs of pain being expressed. The feeling in the end section of the dance is one of utter hopelessness and anguish. The dance concludes with this feeling as it is how the Jews felt by the end of the Holocaust and as many of their lives ended when the Holocaust was taking place during World War II. This was the motivations that the choreographer used to choreograph this dance. The overall choreographic intention is to convey the oppression of the Jewish race. Through five sections of the dance this is displayed as each section gets progressively worse in a narrative structure that depicts different parts of the Schindlers List movie the stimulus. I was given the role, by the guest choreographer, of a teenage Jewish girl who is a similar age to me. Using the Stanislavski techniques I developed my character for each section of the dance. In the beginning I am happy and free, using emotional memory to get into character before I begin dancing. As the dance progresses my character becomes less and less happy and free. By the second section, I have lost all emotion and my movements are no longer free but more mechanical. My facial expressions slowly transform into those of pain and my movement reflects this as they are bound. When in the gas chambers I brought the idea of pain in my movements and expressions as my character passes away. I brought the understanding of what the Jewish race would have gone through during this time, through my character. Section 1 – The Beginning The beginning section of the dance is acting. There are seven dancers on stage, each interacting with someone. One dancer (a small boy character) runs onto the performance space from stage left to find his toy car, which he finds and then plays with. Another dancer runs on from stage right (a small girl character) with her toy doll. The boy then snatches the doll away from the girl and teases her with it as she chases after him. The boy’s mother then enters (third dancer to enter the stage) from stage left and tells off the boy for being mean to the girl. The girl’s mother then enters the performance space and supports the girl as she is apologised to by the boy. At the same time as this apology is taking place. A grandmother and her granddaughter are making their way through the space beginning from upstage right. This is when I enter the performance. I run onto the performance space from upstage left, waving as I enter. I move through the space to interact with two of the other dancers, by hugging both of them as they are my grandma and friend. I then walk down stage with the grandmother and friend and my focus is on the other dancers who are greeting each other, the mood is light and free. The dancers then make their way down stage to form a line. They then take whatever prop that they have with them (e. g. the car for the boy) and have it in their hand. Each dancer, in time with the music, kneels down and places their prop on the ground and has one last moment with it. The dancers focus stays on the ground as they all stand up and then simultaneously they raise their heads, their focus up and out. This concludes this section. I learnt this section by getting into character and portraying the emotions that a teenage Jewish girl would. I interact with the other character and I had to really make sure that I used ensemble awareness when getting into the line so that there was equal space between the dancers next to me and to be in a straight line. I portray the intentions of the dance by interacting with the other dancers, showing my relationship with them – this portrays that Jewish race was free to be who they are. My interaction with my prop shows how the Jewish race is still holding on to its individuality but has to eventually let it go. Section 2 – Free Motif This section involves free and flowing movements. The focus of the dancers is all on the movements as it begins with a series of retire step with arms open and moving in a circular motion (half of the dancers go upstage and the other half continue to move toward stage right along down stage), into a drag turn with the left leg and foot is out and the arms are extended on a diagonal, with the body on a tilt. The dancers then run forward and reach toward the sky before they bend and contract their bodies, running backwards with their arms curved alongside their torsos. This is followed by many flowing movements, with the opening of arms, reaching out and looking up. The section finishes with the dancers dropping to their knees with their arms out in front of them. As they get up the pain on their faces begins to show as they enter into the Hitler salute and lifting the right leg at the same time and then coming together to shuffle along with our hands placed on one another shoulders. This ending of the section shows the Nazi regime tightening and sending to Jewish people to concentration camps, their freedom being taken away from them. This section also involves many contemporary contractions and I have had to work on ballet technique. When practising the retires I needed to focus is on pointing my feet, keeping my left arm extended in second and staying up on releve. Through the use of focus and expression I brought the idea across that I was free yet not happy as I know that something is wrong, being in the ghettos. Section 3 – Mechanical Motif The dancers facial expressions in this section are completely blank when completing the dance moves, almost, no sign of any emotion, almost like a robot. Their focus is directly out or in the direction they are moving to. This reinforces the idea that they are losing the very essence of who they are, their humanity and individuality and are beginning to live as though they are like machines. This section is performed through twice. The first time it its completed is in complete unison, the second time they are dancing the same movements but repeated different moves three times so it looks like each dancer is doing something different though they all end at the same time. This section involves a series of isolations of the arms, feet, legs and body as the dances move mechanically. After the isolations is a back bend. The dancers place their hands on the small of their back; tilt back and head facing the sky. This is the only place in this section when the dancer’s faces show expression – pain, with mouths open to show the intensity of it. The dancers then hunch over with knees bent, walk forward and then stand up with hands clasped up by their shoulder, before they drop to the floor. Once on the floor the dancers sit back on their knees and circle round in a back bend and then stand up. This whole sequence is repeated as stated before except for the circled backbend and that concludes this section. I had to practice the sharpness of the movements and keeping myself void of Each dancer, in time with the music, kneels down and places their prop on the ground and has one last moment with it. The dancers focus stays on the ground as they all stand up and then simultaneously they raise their heads, their focus up and out. This concludes this section. I learnt this section by getting into character and portraying the emotions that a teenage Jewish girl would. I interact with the other character and I had to really make sure that I used ensemble awareness when getting into the line so that there was equal space between the dancers next to me and to be in a straight line. I portray the intentions of the dance by interacting with the other dancers, showing my relationship with them – this portrays that Jewish race was free to be who they are. My interaction with my prop shows how the Jewish race is still holding on to its individuality but has to eventually let it go. Section 2 – Free Motif This section involves free and flowing movements. The focus of the dancers is all on the movements as it begins with a series of retire step with arms open and moving in a circular motion (half of the dancers go upstage and the other half continue to move toward stage right along down stage), into a drag turn with the left leg and foot is out and the arms are extended on a diagonal, with the body on a tilt. The dancers then run forward and reach toward the sky before they bend and contract their bodies, running backwards with their arms curved alongside their torsos. This is followed by many flowing movements, with the opening of arms, reaching out and looking up. The section finishes with the dancers dropping to their knees with their arms out in front of them. As they get up the pain on their faces begins to show as they enter into the Hitler salute and lifting the right leg at the same time and then coming together to shuffle along with our hands placed on one another shoulders. This ending of the section shows the Nazi regime tightening and sending to Jewish people to concentration camps, their freedom being taken away from them. This section also involves many contemporary contractions and I have had to work on ballet technique. When practising the retires I needed to focus is on pointing my feet, keeping my left arm extended in second and staying up on releve. Through the use of focus and expression I brought the idea across that I was free yet not happy as I know that something is wrong, being in the ghettos. Section 3 – Mechanical Motif The dancers facial expressions in this section are completely blank when completing the dance moves, almost, no sign of any emotion, almost like a robot. Their focus is directly out or in the direction they are moving to. This reinforces the idea that they are losing the very essence of who they are, their humanity and individuality and are beginning to live as though they are like machines. This section is performed through twice. The first time it its completed is in complete unison, the second time they are dancing the same movements but repeated different moves three times so it looks like each dancer is doing something different though they all end at the same time. This section involves a series of isolations of the arms, feet, legs and body as the dances move mechanically. After the isolations is a back bend. The dancers place their hands on the small of their back; tilt back and head facing the sky. This is the only place in this section when the dancer’s faces show expression – pain, with mouths open to show the intensity of it. The dancers then hunch over with knees bent, walk forward and then stand up with hands clasped up by their shoulder, before they drop to the floor. Once on the floor the dancers sit back on their knees and circle round in a back bend and then stand up. This whole sequence is repeated as stated before except for the circled backbend and that concludes this section. I had to practice the sharpness of the movements and keeping myself void of expression of emotion during this section so that I could effectively portray the end of the Jewish races freedom through my movements. Section 4 – Bound Motif This section has the dancers focus mostly on the hands. There is a mixture of point and flexing of the feet as the hands are cupped. The dancers then contract and then lift up, back flexed and hands flat above head. Then the chest and stomach concaves as the dancers turn and then lift their leg. They then swoop the arms while bending to the right. The dancers then swing around to push out their cupped hands. They then turn again, still with the arms cupped and circle their head around while raising the cupped hands. The dancers then walk back into a cluster as this section conclude. I had difficulty alternating between flexing and pointing my feet and I had to practise this to be able to show the bound movements that are the constriction that the Jews are going through. Section 5 – Gas Chamber Scene This is the section where all of the dancers act/dance their death in the gas chambers. Our black dresses are taken off and the dancers are ‘naked’. Each of the dancers begins by raising their heads in unison as if to look at the ‘shower heads’ that release the gas. The expression is a mixture of hope and utter despair. The music then drops and the dancer’s shoulders hunch over and it is if they had been punched in the stomach. All the dancers then interact with one another as they slowly die. The last person dies as the violin ends, with a single lifted hand that comes shakily down as the dance ends. This death symbolises how the Jews dies as one group, their dignity stripped away and their race slandered. I had to practise this is a lot with another dancer and working together to try and project the death of our characters. This help to show the intention of how they still helped each other even as they were dying. When I performed I used weight bearing in the death scene as I hold one of the dancers who fall onto me. This is to show the support that the Jews are still giving one another. Throughout the different sections my focus varies from out at the audience, to my hands and then focusing on the different movements. This is to enhance the ideas of going from freedom to oppression. There are many relationships with the other dancers through interaction with the other dancers. This is particularly in the beginning section and in the death scene. I interact with two of the dancers at the beginning as I hug them and walk with them. In the death scene I hold one of the dancers and then with my ‘grandma’ we clasp hands and hold her. expression of emotion during this section so that I could effectively portray the end of the Jewish races freedom through my movements. Section 4 – Bound Motif This section has the dancers focus mostly on the hands. There is a mixture of point and flexing of the feet as the hands are cupped. The dancers then contract and then lift up, back flexed and hands flat above head. Then the chest and stomach concaves as the dancers turn and then lift their leg. They then swoop the arms while bending to the right. The dancers then swing around to push out their cupped hands. They then turn again, still with the arms cupped and circle their head around while raising the cupped hands. The dancers then walk back into a cluster as this section conclude. I had difficulty alternating between flexing and pointing my feet and I had to practise this to be able to show the bound movements that are the constriction that the Jews are going through. Section 5 – Gas Chamber Scene. This is the section where all of the dancers act/dance their death in the gas chambers. Our black dresses are taken off and the dancers are ‘naked’. Each of the dancers begins by raising their heads in unison as if to look at the ‘shower heads’ that release the gas. The expression is a mixture of hope and utter despair. The music then drops and the dancer’s shoulders hunch over and it is if they had been punched in the stomach. All the dancers then interact with one another as they slowly die. The last person dies as the violin ends, with a single lifted hand that comes shakily down as the dance ends. This death symbolises how the Jews dies as one group, their dignity stripped away and their race slandered. I had to practise this is a lot with another dancer and working together to try and project the death of our characters. This help to show the intention of how they still helped each other even as they were dying. When I performed I used weight bearing in the death scene as I hold one of the dancers who fall onto me. This is to show the support that the Jews are still giving one another. Throughout the different sections my focus varies from out at the audience, to my hands and then focusing on the different movements. This is to enhance the ideas of going from freedom to oppression. There are many relationships with the other dancers through interaction with the other dancers. This is particularly in the beginning section and in the death scene. I interact with two of the dancers at the beginning as I hug them and walk with them. In the death scene I hold one of the dancers and then with my ‘grandma’ we clasp hands and hold her. Activity Five Technique Contemporary ballet is a form of dance which incorporates elements of both classical ballet and modern dance. It takes its technique and use of Pointe work from classical ballet, although it permits a greater range of movement that may not adhere to the strict body lines of ballet technique. Many of its concepts come from the ideas and innovations of 20th century modern dance, including floor work, balletic movements and turn-in of the legs Most contemporary ballet focuses on the movement rather than a storyline, though this dance is an exception. Contemporary ballet does not focus on symmetry, and having a stage that is unbalanced is characteristic of the style. It focuses more on a physical interpretation of a theme. Contemporary ballet dancers curve, twist and bend their upper bodies, which is different to ballet, which is all about having perfect posture and control. This dance has a series of contemporary ballet based movement like contractions, curved backs, flexed feet and abstract movements Activity Five Technique Contemporary ballet is a form of dance which incorporates elements of both classical ballet and modern dance. It takes its technique and use of Pointe work from classical ballet, although it permits a greater range of movement that may not adhere to the strict body lines of ballet technique. Many of its concepts come from the ideas and innovations of 20th century modern dance, including floor work, balletic movements and turn-in of the legs Most contemporary ballet focuses on the movement rather than a storyline, though this dance is an exception. Contemporary ballet does not focus on symmetry, and having a stage that is unbalanced is characteristic of the style. It focuses more on a physical interpretation of a theme. Contemporary ballet dancers curve, twist and bend their upper bodies, which is different to ballet, which is all about having perfect posture and control. This dance has a series of contemporary ballet based movement like contractions, curved backs, flexed feet and abstract movements Two movements/moments that I found difficult: Moment/Movement one: I had to work quite a lot on my retire in the second section. I needed to make sure that my left arm is support and is strong in second position. I also to make sure that my left foot connects with my right leg on the side of my knee. I need to focus on my left hand as my right arm is circling around. In the performance, because I practised them, I performed this movement with clarity and confidence, whilst think of how I practised it. Moment/Movement 2: In the beginning I had to work on becoming my character, the teenage Jewish girl who is happy and free. Using Stanislavski techniques, I remembered a time when I was feeling happy and free, using my emotional memory to get into character before I begin dancing each practise. During the actual performance I got into character before entering the performance space, remember how I was happy and free from the practises prior to the performance. Breath My breath is used to show my emotion in the dance. In section one and two my breath comes easy and is free flowing like the movements. In section three it is sharp and restricted as the movements and isolations are causing this. In section four and five my breath is laboured and shaky as I am in pain and in despair. Two movements/moments that I found difficult: Moment/Movement one: I had to work quite a lot on my retire in the second section. I needed to make sure that my left arm is support and is strong in second position. I also to make sure that my left foot connects with my right leg on the side of my knee. I need to focus on my left hand as my right arm is circling around. In the performance, because I practised them, I performed this movement with clarity and confidence, whilst think of how I practised it. Moment/Movement 2: In the beginning I had to work on becoming my character, the teenage Jewish girl who is happy and free. Using Stanislavski techniques, I remembered a time when I was feeling happy and free, using my emotional memory to get into character before I begin dancing each practise. During the actual performance I got into character before entering the performance space, remember how I was happy and free from the practises prior to the performance. Breath My breath is used to show my emotion in the dance. In section one and two my breath comes easy and is free flowing like the movements. In section three it is sharp and restricted as the movements and isolations are causing this. In section four and five my breath is laboured and shaky as I am in pain and in despair.

Innovation, Creativity, and Design Essay Example for Free

Innovation, Creativity, and Design Essay The three concepts of innovation, design, and creativity are an intertwined three-step process that produces new thoughts, systems, or products. Regardless of their occupation, both men and women utilize creativity, innovation, and design on a daily basis, even if they are unemployed. How someone commutes to work, cleans their house, decides on what to eat for lunch, or which college to attend, is all a part of creativity, innovation, and design. This paper will define, compare and contrast, and describe the importance of creativity, innovation, and design in meeting organizational objectives. Defining Creativity, Innovation, and Design These terms tend to be difficult to define because most people are unclear about the differences between the three. Creativity can be defined as the ability of developing something original or unusual whether a process, idea, or item (Sloane, 2010). Innovation is the process of taking that creative idea or thought and putting it into action with the use of design. Design is the informal process of bringing an innovative idea to fruition (Von Stamm, 2008). All three terms are concepts that stand apart from one another, but also work together towards a common goal. Importance of Creativity, Innovation, and Design in Organizational Objectives Companies like Proctor Gamble, IBM, Ford, and Apple all reinvented themselves through management, new leadership, and getting out from underneath the groupthink mentality (Scoffield, 2011). In any organizational objectives, it is increasingly important to stay ahead of the competition, and that cannot be accomplished without the ability to innovate. Without creativity, innovation, and design the world would listen to music by way of a vinyl record, record dictation only on paper with pens and pencils, and watch their favorite shows on bulky, black and white, rear-projection televisions. Regardless of the sector, creativity, innovation, and design all drive the organization and its growing potential. Conclusion  Creativity, innovation, and design play an important role in everyday life. How people operate on a day-to-day basis includes creative and innovative decisions regarding every aspect of life. Organizational objectives are not resistant to creativity or innovation either; they should actually go hand-in-hand. Without the creative processes or individuals, companies will eventually become stagnant and die off, or take massive losses from their competitors’ success, as is the case with Blockbuster when compared to Red Box or NetFlix.

Grant Wood And American Gothic Film Analysis

Grant Wood And American Gothic Film Analysis Grant Wood is easily one of Americas most famous artists due to his iconic 1930 work American Gothic. Even today, while some people may not always remember Grant Woods name or even the title of the image, they most certainly always recognize American Gothic when they see it. This one painting is known worldwide as kind of an iconic show of American character, all represented by a farmer and his daughter in front of their carpenter gothic styled home. The painting itself may at first glance appear to have only the simple meaning of representing the small town folk of Iowa, but looking closer the meaning could be something deeper. Grant Wood was born on February 13, 1991 in Anamosa, Iowa. After his fathers death in 1901, Grant and his family moved to Cedar Rapids where he took art lessons from local artists while he was in high school. He would then later teach school near Cedar Rapids while working a job at a silversmith shop in Chicago. Grant also served in World War I. He would make clay models of their field guns and also helped camouflage artillery pieces. After the war he would come back to Europe in 1923 where he spent 14 months in Paris studying art. During his stay in Europe his paintings had an impressionistic style to them. When he came home to America, his paintings began to sell and he was able to quit teaching and focus on his art. Its sometime during this time that Grant began promoting regionalism in his art. Regionalism is a realist modern American art movement wherein artists shunned the city and rapidly developing technological advances to focus on scenes of rural life. His work began to har k back onto his early life on the farm before his father died. Grants paintings began featuring farmlands, townscapes, and people around where he lived. Then, while driving to Eldon, Iowa, Grant came upon a white frame home that inspired his famous painting American Gothic. Grant had his sister and their local dentist pose in front of the house, and painted them with a very detailed style during which a time most artists in America were painting in abstraction. The painting itself only took about three months for Grant to paint and it was an immediate success. American Gothic was the painting that got Grant Wood recognized as a respectable artist, because he was all but ignored before this work. None of Grants other works were ever as successful. He soon then entered the painting into the Art Institute of Chicago for a competition, and the painting was awarded the Norman Wait Harris bronze medal and then purchased by the institute for $300. This was Grants first major art sell and his first prize for any work he had done, and in 1931 American Gothic was exhibited in London and was met with equal success. The painting was soon being reproduced in newspapers, but received backlash when it was printed in the Cedar Rapids Gazette. Iowans who were reading the paper were outraged that they were being depicted as pinched, grim-faced, puritanical Bible-thumpers There was a large amount of negative response from many women in Iowa who were angry about the way Grant depicted the farmers daughter. These women considered the depiction mean and unflatt ering. Grant defended himself, saying that his intention was never to poke fun at anyone, and that the image is really just his own personal depiction of Americans. People who had positive reactions towards American Gothic assumed the painting was more of a satire of the simple life people lived in small rural towns, which was once not thought worthy of high art. American Gothic did make Grant a recognizable artist, but with recognition came harsh criticism. He was accused of creating mass appeal art, and that its viewers could easily understand the content of the paintings. Grant Woods workà ¢Ã¢â€š ¬Ã‚ ¦contributes nothing scientically, emotionally, or esthetically to art or society. It is the culmination of a trend of escapist and isolationist thought which was popular with some groups of yesterday, but which is definitely obsolete today. Its true, his rise of popularity was fast, but after his death in 1942 his fall of popularity was just as equally quick. During the 50s people felt like Woods art was too populist, and that it was always popular among the simple people. What exactly is American Gothic really trying to say? Grant painted the image in 1930, the same year as the start of the Great Depression. Its because the work was created at such dark times in American history that people relate it to the population in the 1930s. In a country mired in economic depression, Woods stoic couple embodied the bedrock values of the nation and the resolve needed to survive the crisis. People could relate to the image, the man standing firmly with his pitchfork, defending his home. Something many people were doing during the 1930s, just trying to defend and keep what is theres. However after a couple of years American Gothics success had dropped and was out of the public eye for about a decade. The image was still a symbol of strength for Americans during crisis during that time. In 1957, for the production Music Man, Meredith Wilson had his actors pose in the same way as Grants figures in American Gothic. Soon after that a cartoonist, Charles Addams, featur ed the figures of American Gothic in one of his New Yorker cartoons. By this time the image became somewhat of a universal image of just plain folk of America. When the civil rights began, the image then took another turn for interpretation. Now, its no longer just or plain folk, the people of the image became symbols for something more. To some people they had become symbols of right-wing and even racist America. The meaning behind the painting seems to always change for different generations depending on the situations the generations are facing, because people always tend to relate works of art to their current situations. Even though the meaning does change, American Gothic is still one of Americas most well known, as well as most parodied, work of art. Honestly the image itself could be interpreted in many different directions because Grant himself took on many different contemporary social issues that are still being debated today. The very title suggests Americas long-standing ambivalent relationship with Europe. The Iowa subject matter pushes to the surface the tension and the mutual lock of understanding that exists between urban and rural America during the Great Depression and that persists today. The image also raises the specter of political partisanship and variant social values. Today American Gothic doesnt necessarily speak of the Midwest, or even of Iowa, and its most likely that people of today dont even realize where the painting is set. But when people look at American Gothic, some just cannot help but smile. This could be why the image is parodied and referenced in so many various ways. American Gothic is indeed one of the most popular pieces of art to ever be parodied so many times. The parodies of the image have all kinds of different purposes. Some might address a specific opinion or viewpoint, and others are just made for nothing more than comedy effect and fun. The first American Gothic parody was most likely the production Music Man, when the characters pose exactly like the man and his daughter in front of their home. The painting made its way onto a General Country Corn Flakes cereal box in the early 60s. The image made its way into an episode of The Dick Van Dyke Show, where an actual parody of the picture is a part of the episodes plot. The producers used American Gothic because they needed a painting that would be instantly recognizable to an American sitcom audience. It was also used in a promotion add for the Beverly Hillbillies for the cover of the Saturday Evening Post, that featured the characters of the show in the same iconic poses as the painting. Many of the decades parodies represented a joking type of attitude toward convections, traditions, authorities, and icons. Some even ridiculed the images and written works they parodied. American Gothic seemed to be more used as a weapon than as a target in its parodies. Almost all of American Gothic parodies-from presidents and first ladies to Mickey and Minnie Mouseà ¢Ã¢â€š ¬Ã‚ ¦operate with the same basic conceit. They manipulate the details of the original, usually the faces, often the clothingà ¢Ã¢â€š ¬Ã‚ ¦either to signify the difference between the then of the painting and the now of the parody or to collapse those difference. When it comes to parodies, it really goes back to how people were and still are interpreting the meaning behind American Gothic. The painting is an icon of the American People, and many people have their own interpretations, but the real meaning may always remain unanswered. Grant Wood was an artist who connected with the simple folk of Midwest America in his lifetime through his regionalistic styled art. His image American Gothic is most known for being a symbolic work for the 1930s for being a portrayal of the American pioneer spirit. The image remains a popular iconic image, keeping people interested in its deeper meaning with people creating parodies by relating the work to current events.

Why Did Adolf Hitler Become A Hate Filled Dictator? :: essays research papers fc

Why Did Adolf Hitler Become A Hate Filled Dictator?   Ã‚  Ã‚  Ã‚  Ã‚  Adolf Hitler; throughout the entire world this name is synonymous with World War II and the Holocaust. Hitler was the notorious anti-semetic Chancellor of Germany who initiated World War II. Many different events in Hitler’s life led to his eventual hatred for specific cultures, i.e. Jewish and Marxist groups.   Ã‚  Ã‚  Ã‚  Ã‚   On April 20, 1889 Adolf Hitler, was born to Alois Hitler and Klara Polzl Hitler and baptized a Roman Catholic (History Place). As a young boy in Austria he was spoiled by his mother, who feared that she might lose another child; however from his father he received verbal and physical abuse because he expected total discipline. When Hitler attended school at a monastery he admired the way the Abbot controlled his monks with supreme authority. Hitler’s father and the Abbot both expected to have total control of their domains, because of this Hitler’s thought of control could have already been forming in his young mind.   Ã‚  Ã‚  Ã‚  Ã‚   Around 1896 the family moved for the second time, to a small house, near a cemetery, which in the next few years would become home to Hitler’s younger brother, Edmund, and his father, Alois. Both of these deaths would send Hitler into the first of a long line of depressions. At the age of 13 Hitler became the head of his household and received his first taste of power and money.   Ã‚  Ã‚  Ã‚  Ã‚  Education, Hitler found somewhat easy and received good marks at the beginning, however things would eventually change. Hitler found out that he had a good ability to remember buildings and draw realistic renderings of them from memory which will come into play later on in his life. After Hitler became bored with school he started making trouble and eventually dropped out at the age of 16 which began his years of dilettante, aimless existence, reading, painting, and wandering around (Biography).   Ã‚  Ã‚  Ã‚  Ã‚  After Hitler’s mother died leaving him as an orphan, Hitler left for Vienna to attend the Academy of Fine Arts. However he failed the entrance exam twice and again began to wander aimlessly as a homeless orphan,his only income being small paintings of local landmarks, namely buildings, which he sold. This is when Hitler discovered anti-semetism and his racial views in the form of Mayor Karl Lueger and Lanz von Liebenfels, some prominent locals, that would remain as the Nazi ideology for some time.   Ã‚  Ã‚  Ã‚  Ã‚  Hitler moved to Munich in 1913 where he joined a Bavarian regiment in the German army to fight in World War I.

Preventing Bacteria from Creating Resistance to Drugs Essay -- Explora

Preventing Bacteria from Creating Resistance to Drugs In 1943, the antibiotic era began when penicillin, a member of the [beta]-lacam family of drugs, was developed. Since then, tens of thousands of derivatives of penicillin have been developed, but only seventeen antibiotics of this family are currently marketed in the United States. Penicillin and its derivatives work by preventing certain bacteria from building strong cell walls that keep their shape and integrity. Without well-integrated cell walls, "bacterial trying to grow in the presence of penicillin puff up and die."1 Almost all bacterial diseases have evolved some level of resistance. The "increased use of antimicrobial drugs encourages the spread of resistance and increases the prevalence of drug-resistant strains."2 In fact, most virulent strains, like many sexually transmitted diseases, require at least double the dosage that was used a decade ago. Vancomycin, commonly referred to as the "last resort drug," is being used by hospitals in ever-increasing amounts. Bacterial resistance is the result of evolutionary responses. One cause of resistance is through mutation. In some instances, proteins used to build the cell are altered to bind penicillin poorly or not at all. A second type of resistance occurs when the bacteria preemptively breaks down penicillin into harmless by-products before they have the chance to bind with the cell wall. A greater cause for concern is the fact that "bacteria may reproduce with different bacterial species passing on resistance" to bacteria that did not previously possess the ability to resist any drugs.3 Humans are the predominant cause for drug resistance. The following are some examples of how human intervention has res... ...3. Palumbi. Pg. 81. 4. "Meanwhile, Back at the Farm" in Infectious Disease Alert. Nov. 1, 2001. vol. 21 i. 3 Pg. 17. 5. Palumbi. Pg. 89. 6. Palumbi. Reproduced from Table 4.1 on Pg. 75. 7. Skolnic, Andrew. "New Insight Into How Bacteria Develop Antibiotic Resistance" in The Journal of the American Medical Association. Jan. 2, 1991. vol. 265 n. 1. Pg. 14. 8. For further reading consult: Skurkovich, Simon. "Facing the Coming Plague" in World and I. June 1998. vol. 13 n. 6. Pg. 150. FURTHER READING & USEFUL LINKS 1. This presentation was intended to be associated with the following article: Eckert, Eric. "Diseased Soieties" in World and I. Oct. 1998. vol. 13 n. 10. Pg. 166. 2. Lappe, Marc. Breakout: The Evolving Threat of Drug-Resistant Disease. San Francisco: Sierra Club Books, 1995. 3. "How Bacteria Build Resistance to Antibiotics" presented by USA Today

Gran Torino Essay

Does the movie Gran Torino glorify violence and gun culture in the United States make specific reference to events in the film? The movie Gran Torino does glorify, justify violence and gun culture in the United States when used for the greater good as the military or police do to save lives of many civilians every day. The protagonist Walt Kowalski known as simply Walt well he’s a character he loves using his gun as if it was his culture after all he is a retired veteran. He demonstrates in this movie that it is only by facing the sometimes overwhelming obstacles and difficulties of life that an individual can truly be at rest even by guns. In the movie Walt is the main contributor to justifying violence and gun culture including saving sue and her friend from near death as well as the Hmong saves Thao from Latino gang, saving Tao from the Hmong gang also his cousins and for everyone’s greater good giving up his life to save Tao and his family from anymore danger. As sue and her date are walking down the street they are confronted by bunch of street thugs(the black gang) who try to sexual abuse sue and threaten to hurt her date. Walt brings justice to this by standing up to the gangbangers they exchange words Walt pulls out his pistol to scare off the gangbangers and in successful with doing that he takes sue back home. Also Thao is saved from a gang by gang as he was walking the Latino gang try to interact with him but he puts his head down and keeps walking then his cousin comes around and saves him from death As he uses force and gun use to potentially save her life which does diligence and glorifies the use of gun violence. Thao is caught by Walt when he tries to steal the 1972 gran Torino as part of a gang initiation he fails at doing so. His family finds out about this miss deed and in order to restore honour Thao must pay his dues to Walt. The punishment that Thao receives is to work for Walt for 2 weeks in those few weeks. He is harassed for failing his initiation and helping Walt. Walt sees Thao for who he truly is in the time they spend together, and lends his helping hand going as far as to get Thao a job.one of the Hmong gang members Thao cousin saw him walking back from work and thinks Thao is trying to make him look bad in the eyes of the family. He is viciously beaten by the gang bangers, his tools are also broken and in vengeance Walt along with his trusty pistol goes after one the gang member and beats the living hell out of him. Walt tells the gang that if they ever touch Thao or his family again  he will kill all of them. The gang does not listen to Walt’s warning and drive by shoot there house and seriously injure sue. Walt Kowalski’s actions are glorified and considered valiant efforts to protect the Hmong family. In the end the most glorified moment is when Walt gives his life up, which not cannot be given back to cease all gun battle and violence to restore peace. Walt does this for the Hmong family in the days before his death Thao had asked him to help retaliate for the drive by shooting Walt tells Thao that they will retaliate but plan it out and tells Thao to come back tomorrow at four. Walt the next went to get a haircut and a suit fitted as well as to get a confession from father Janovich.When Thao returns they go to the basement, Walt locks him in and tells him he’s going to end this Thao deeply protests. As Walt shows up he calls the gang bangers out there ready with the automatic weapons Walt sports a cigar as he pulls for a light the gang it’s a gun and open fire taking Walt’s life the police are called and there are witnesses this finally puts rest to the violence. To conclude the movie Gran Torino does glorify, justify violence and gun culture in the United States when used for the greater good as the military or police do to save lives of many civilians every day. You never need an argument against the use of violence; you need an argument for it.Walt uses violence a lot but it is seen as good including saving sue and her friend from near death as well as the Hmong gang saves Thao from Latino gang, saving Tao from the Hmong gang also his cousins and for everyone’s greater good giving up his life to save Tao and his family from anymore danger. Ultimately use the use of violence and gun culture brought quite the opposite safety and happiness this was justified in the events in the film, sometimes in real life issues.

Kanye West

Kanye Omari West was born June 8, 1977) is an American rapper, singer, and record producer. West first rose to fame as a producer for Roc-A-Fella Records, where he eventually achieved recognition for his work on Jay-Z's album The Blueprint, as well as hit singles for musical artists including Alicia Keys, Ludacris, and Janet Jackson. His style of production originally used pitched-up vocal samples from soul songs incorporated with his own drums and instruments. However, subsequent productions saw him broadening his musical palette and expressing influences encompassing '70s R&B, baroque pop, trip hop, arena rock, folk, alternative, electronica, synth-pop, and classical music. [2] West released his debut album The College Dropout in 2004, his second album Late Registration in 2005, his third album Graduation in 2007, his fourth album 808s & Heartbreak in 2008, and his fifth album My Beautiful Dark Twisted Fantasy in 2010. His five albums, all of which have gone platinum, have received numerous awards, including a cumulative twelve Grammys,[3][4][5] and critical acclaim. All have been very commercially successful, with My Beautiful Dark Twisted Fantasy becoming his fourth consecutive #1 album in the U. S. upon release. [7] West also runs his own record label GOOD Music, home to artists such as John Legend, Common and Kid Cudi. [8] West's mascot and trademark is â€Å"Dropout Bear,† a teddy bear which has appeared on the covers of three of his five albums as well as various single covers and music videos. [9] About. com ranked Kanye West #8 on their â€Å"Top 50 Hip-Hop Producers† list. [10] On May 16, 2008, Kanye West was crowned by MTV as the year's #1 â€Å"Hottest MC in the Game. [11] On 17 December 2010, Kanye West was voted as the MTV Man of the Year by MTV. [12] Kanye West's first career productions came on Chicago rapper Grav's 1996 debut album Down to Earth. West produced eight tracks on the album. While the album did not attract much attention and would be the only album released by Grav, West would soon be producing for higher profile artists. In 1998-1999 he produced for well known artists such as Jermaine Dupri, Foxy Brown, Goodie Mob, and the group Harlem World. West got his big break in the year 2000 however when he began to produce for artists on Roc-a-Fella Records. He produced the well received Jay-Z song â€Å"This Can't Be Life† off of the album The Dynasty: Roc La Familia. West would later state that to create the beat for â€Å"This Can't Be Life† he sped up the drum beat from Dr. Dre's song â€Å"Xxplosive†. [19] After producing for Jay-Z earlier, West’s sound was featured heavily on Jay-Z's critically acclaimed album The Blueprint, released on September 11, 2001. [20] His work was featured on the lead single â€Å"Izzo (H. O. V. A. ),† â€Å"Heart of the City (Ain't No Love)† and a diss track against Nas and Mobb Deep named â€Å"Takeover†; West has worked with Mobb Deep and Nas since the track's release. After meeting great commercial success and critical acclaim for his productions on The Blueprint, West became a sought after producer in the hip-hop industry, even before he became known as a rapper and solo artist. In the years 2002-2003 he would produce for artists such as Nas, Scarface, Talib Kweli, Mos Def, T. I. , Ludacris, DMX, and Monica. He also continued producing for Roc-a-Fella Records artists and contribued four tracks to Jay-Z's follow up album to The Blueprint, The Blueprint? : The Gift & the Curse. After great successes as a producer, West now looked to pursue a career as a rapper and solo artist, but struggled to find a way to get a record deal. Chris Anokute, then A&R at Def Jam, said that when West regularly dropped by the office to pick up his producer checks he would play demos of solo material to Anokute in his cubicle and bemoan the fact that no one was taking him seriously as a rapper. [21] Jay-Z admitted that Roc-A-Fella was initially reluctant to support West as a rapper, claiming that he saw him as a producer first and foremost. Multiple record companies felt he was not as marketable as rappers who portray the â€Å"street image† prominent in hip hop culture. [19] Beginning his career as a rapper, Kanye West rapped a verse on Jay-Z's The Blueprint? : The Gift & the Curse, an album he produced for, from the same label he was signed to as a rapper. At the start of his career, Kanye West's production style often used pitched-up vocal samples, usually from soul songs, with his own drums and instruments. [20] His first major release featuring his trademark vocal sampling style was â€Å"This Can't Be Life†, a track from Jay-Z’s The Dynasty: Roc La Familia. West said he sped up the drum beat of Dr. Dre's â€Å"Xxplosive† to use as a replacement for his drums on â€Å"This Can't Be Life†. [19] West has said that Wu-Tang Clan producer RZA influenced him in his style,[16][88] and has said on numerous occasions that Wu-Tang rappers Ghostface Killah and Ol' Dirty Bastard were some of his all-time favorites, â€Å"Wu-Tang? Me and my friends talk about this all the time†¦ We think Wu-Tang had one of the biggest impacts as far as a movement. From slang to style of dress, skits, the samples. Similar to the [production] style I use, RZA has been doing hat. â€Å"[89] RZA himself has spoken quite positively of the comparisons, stating in an interview for Rolling Stone, â€Å"All good. I got super respect for Kanye. He came up to me about a year or two ago. He gave me mad praising and blessings†¦ For people to say Wu-Tang inspire Kanye, Kanye is one of the biggest artists in the world. That goes back to what we say: ‘Wu-Tang is forever. ‘ Kanye is going to inspire people to be like him. â€Å"[90] After hearing his work on The Blueprint, RZA claimed that a torch-passing had occurred between him and West, saying, â€Å"The shoes gotta be filled. If you ain't gonna do it, somebody else is gonna do it. That's how I feel about rap today. â€Å"[90] West accompanied by an eleven-piece chamber orchestra While his use of sampling has lessened over time, West's production continues to feature distinctive and intricate string arrangements. This characteristic arose from him listening to the English trip hop group Portishead, whose 1998 live album Roseland NYC Live, with the New York Philharmonic Orchestra inspired him to incorporate string sections into his hip hop production. Though he was unable to afford live instruments beyond violin riffs provided by Israeli violinist Miri Ben-Ari around the time of his debut album, its subsequent commercial success allowed him to hire his very own eleven-piece string orchestra. For a time, West stood as the sole current pop star to tour with a string section. [2] West has stated on several occasions that outside of work, he favors listening to rock music over hip-hop. He cites Franz Ferdinand, Red Hot Chili Peppers, and The Killers as some of his favorite musical groups. Additionally, on Graduation, West drew inspiration from arena rock bands such as U2, The Rolling Stones and Led Zeppelin for melody and chord progression. [91] Both a fan and supporter of indie culture, West uses his official website to promote obscure indie rock bands, posting up music videos and mp3s on a daily basis. [92] This musical affinity is mutual, as West has collaborated with indie artists such as Santigold, Peter Bjorn and John and Lykke Li while his songs have gone on to be covered countless times by myriad rock bands.

Creation Science Essay

Creation science is a controversial nature study founded on principle that the existence of the cosmos is as a result of supernatural causes (Browning, 1997). Also referred to as scientific creationism, the study combines creation concepts mainly from the Christian and Islamic understanding with scientific discoveries. The creation accounts described in the book of Genesis from the Holy Bible and the Qur’an are supported by â€Å"Creation Science† programs taught in some universities. These programs attempt to show how scientific discoveries are more consistent with creation accounts than they are with evolutionary theories suggested by earlier scientists such as Darwin (Browning, 1997). While such creation science concepts sometimes create some controversies, there should be no such problems and science and faith should be allowed to mingle. The most astounding problem is that science relies on empiricism while faith depends on believing on the unseen. However, science should be understood as man’s endeavors in understanding his universe and it is not unscientific to believe in deliberate creation of life. There are a number of evidences in the Holy Bible that can be used to study the modern Earth. For instance, the Great Flood in the story of Noah provides an understanding to the geological features in today’s Earth (Browning, 1997). In general, creation science should be supported to realize a large number of scientists supporting the paradigm that God creatively designed and formed the Earth while applying the scientific methods in gaining a deeper understanding to the question on the origin of life and the universe. The fields such as biblical archaeology and chronology, cosmology and philosophy of science are all the product of creation science and thus the thinking of creation science should be upheld to find answers to some of the questions pure science and pure religion fail to address. Reference: Browning, J. D (1997). Noah’s Ark: A feasibility study. Retrieved July 21, 2010 from http://mall. turnpike. net/C/cs/ark/allnotes. doc