SUICIDLE essays

SUICIDLE papers Adolescents Suicides in the United States Self destruction is a difficult issue in the present society. It is the third driving reason for death among people between the ages of 15-25 years of age in the United States. It is the sixth driving reason for death among youngsters 5-14 years old. Consistently an ever increasing number of individuals are ending their own lives. The issue of self destruction happens everywhere throughout the world. Insights show that in the United States alone, 13 youngsters out of 100,000 end their own life (Teen Suicide, a pandemic). Self destruction has become a significant issue among young people in the nations. As regularly expressed, melancholy is the factor of self-destructive young people. The more discouraged an individual to be, and the more intently this individual approximates the state of significant melancholy, the more probable they are to be self-destructive. Despondency in its milder structures, notwithstanding, is usually found in young people. Numerous young people are confronte d with much affliction that they now and again find exceptionally hard to deal with. Tragically, there are a few adolescents who find that self destruction is the solution to their issues. Misery can be an aftereffect of a wide range of things. Like the demise of a friend or family member, partition from a friend or family member, loss of a natural method of being, loss of confidence, or disappointment in accomplishing certain objectives. It is supposed to be a psychopathic issue, which isn't exceptional, and is intense when not managed as quickly as time permits. I feel that the best answer for the issue isn't to illuminate the motivation behind why pre-adult end it all however to build the attention to the young people. Get to them before they succumb to self destruction. So let us continue in managing the tremendous high schooler self destruction issue by first perceiving their manifestations for self destruction, at that point talk about it with them, lastly by giving treatment to them. There are around seven general notice signs that reflect where inconvenience might be starting in self-destructive casualties. The first is misery. They might be discouraged about getting ... <!

Microscopic Examination Essays - Metallurgy, Metalworking

Minuscule Examination Minuscule EXAMINATION OF METALS In this test, our point is inspecting the microstructure of metals. By considering minuscule structures of metals, we figure out which material fits best to a given application. We utilized the most widely recognized strategy, optical procedure, to analyze the microstructure. We utilized a little example slice from the metal to be inspected. To have the option to see the structure obviously, we originally cleaned and cleaned the example. First we begin cleaning with emery paper no: 1 and some better evaluations. One ought to be cautious about the coarse rough particles and striations from them. Cleaning and pivoting the example 90? during the exchange can forestall these. The subsequent stage is cleaning, yet washing the example before cleaning gives an increasingly victory. At long last, we cleaned the example on a turning material secured with a viable grating like Al2O3-Water suspension. We continued cleaning until we acquired a mirror like face. After we wrapped up, the crystalline structure of the example, any splits, creases, non-metallic considerations and inhomogenities, could be uncovered. Before begin drawing we previously applied mounting process. In this progression we utilized a coordinated bite the dust set. We put our example into the kick the bucket set in the manner that the unpleasant essence of the example was the lower surface and the cleaned face looked upward. We filled the bite the dust pit with Bakelite and afterward we moved our kick the bucket to a mounpress. Mounting ensures our example as well as by making its base level and stable causes us while we are inspecting the example under the magnifying lens. In scratching process, contingent on substance piece, vitality substance and grain direction, we decide the grain limits and the nearness of synthetically various stages. To uncover these small scale auxiliary subtleties of the cleaned mount we utilized an etchant like 1% Nital. We inundated the mount with the cleaned face upward in a little dish of carving arrangement. When a sprout showed up we evacuated the mount. At this stage, the principal appearance of microstructure can be watched. In the wake of scratching, we washed the mount in water and splashed liquor over it. At long last we dried it in a flood of tourist to prepare it to be inspected under magnifying instrument. Science Essays

The Birth of UGA - UGA Undergraduate Admissions

The Birth of UGA - UGA Undergraduate Admissions The Birth of UGA A little over 14 years ago, my wife and I celebrated the birth of our first child. That initial year was tough, as for all parents, with the lack of sleep, late night feedings, tons (and believe me, it felt like tons) of dirty diapers, trips to the doctor, and a great deal of new parent confusion. Most parents look back and are amazed that both they and their children survived those early years intact and sane. This morning, UGA celebrated the founder and first president of UGA, Abraham Baldwin, with the dedication of a statue on North Campus, and it made me think about the challenges that he must have faced in those initial years when he chartered and gave birth to the University of Georgia. I am guessing that he had more late nights than I did, and while he did not have to deal with diapers, I am sure he had a great deal of more challenging and messy issues than I did. So today, we celebrate the founder of UGA, Abraham Baldwin, member of the Continental Congress, Signer of the US Constitution, US Representative, US Senator, Professor and UGA President, and Statesman! Go Dawgs!

Essay on Parenting Styles - 1769 Words

Parenting Styles Abstract This paper analyzes various parenting styles based on research by developmental professionals. The four basic patterns of behavior discussed here are authoritarian, authoritative, neglectful and indulgent parenting with the latter two being classified as permissive. Characteristics typical to each of these styles and their effect on parent and child will be explored in detail. Cultural differences will be discussed and what influences parenting has on education. Behaviorist research will be introduced and examined for comparison to the developmental approach. The research will indicate that about one-third of all parents use authoritative style of parenting. Regardless of the preferred style, varying factors†¦show more content†¦Effects of neglectful parenting can also be seen in children. According to Waitley, children of neglectful parents often: lack self-control, are confused, have low self-esteem, are discouraged, and defy limits yet want/need limits. Indulgent parenting is also a permissive form of parenting. Indulgent parenting can be summed up with the phrase, â€Å"Do what you want to.† (Waitley) According to Strauss, indulgent parents: do not enforce rules, do not communicate rules clearly, yield to coercion, have few expectations for mature behavior, hide impatience or anger, ignore/accept bad behavior, and are generally warm and loving. According to Waitley, children of indulgent parents often: have no self-control, lack social skills, lack responsibility, and have no self-discipline. From these descriptions, research endorses the theory that parenting style influences the development of children and adolescents. Children of authoritative parents fare best: Their social skills are high—they are likable, self-reliant, independent, and cooperative. (Feldman, 2000) It is important to note that in many cases authoritarian and permissive parents produce children who are perfectly well adjusted. Moreover, children are born with a particular temperament- a basic, innate disposition. The kind of temperament a baby is born with may in part elicit particular kinds of parental child-rearing styles. (Feldman, 2000)Show MoreRelatedParenting Styles And Styles Of Parenting1391 Words   |  6 Pages Parenting Styles My term paper will discuss the 4 Styles of Parenting, including; the styles of parenting that we as single parents and couple parents may identify with. My paper will also discuss how each parenting styles impacts our children, if it works and the style of parenting that’s most effective. Authoritative Parenting Style The Authoritative Style of Parenting, children are expected to follow the rules and guidelines that a parent with this style of parenting has put into place. ThisRead MoreParenting Styles : An Effective Parenting Style988 Words   |  4 PagesParenting style can influence whether a child succeeds or merely survives. The authoritative parenting style may be an effective parenting style in theory, however like communism, it is not as effective in practice. Children need to learn through friendships and develop social skills. Being able to connect to the outside world expand the mind and imagination, giving the children skills that help them think critically. On the other hand, being a permissive parent can also damage the child’s developmentRead MoreDifferent Styles Of Parenting Styles1708 Words   |  7 PagesSilicon Valley. (Hogan and Haskell, 2). Most of today’s kids have one of the following types of parents: Indulgent, Authoritative, Neglectful, Authoritarian*. T hese are generally regarded as the four main types of parenting. These four styles of parenting are the stereotypical parenting styles most people identify one or both of their parents as. Indulgent parents tend to coddle their children and protect them from disappointment. Authoritative parents are people who have reasonable demands and rulesRead MoreConflicting Styles Of Parenting Styles1375 Words   |  6 PagesConflicting Styles of Parenting Parents will treat their children the way they see fit. In the authoritarian parenting style, there is no room for freedom. In permissive parenting, there can be more freedom than the children know what to do with. Authoritative parenting combines the gist of both of the other styles and allows both freedom and structure. Both authoritarian and permissive styles have components that authoritarian parents see as productive methods if used properly. Many people associateRead MoreParenting Style Of Parenting Styles1772 Words   |  8 PagesPin pointing a specific parenting style that I was raised by was quite difficult. I believe that most parents use different styles throughout the raising of their children. Of course, I do understand that this paper is to select the dominate style of parenting used for my upbringing, but I was raised in two different households. Each household had its own dominate parenting style, however most of my life I was raised by my mother, so I’ll focus on her parenting style. As I stated above, I believeRead MoreEffects Of Parenting Styles992 Words   |  4 PagesParenting styles can be highly impressionable on their children.  There are various styles of parenting, and each style can have different effects on the child or adolescent.  The four parenting styles that can be implemented in the household are recognized as: authoritarian, neglectful, permissive, and authoritative. All four of these styles carry their own unique characteristics, and have some distinct features. Whichever style a parent decides is best to use for their child can have multiple shortRead MoreThe Different Parenting Styles1024 Words   |  5 PagesParenting styles have been described as the collection of parents’ behaviors which create an atmosphere of parent-child interaction across situation (Mize and Petit, 1997). Darling and Steinberg (1993) defined parenting style as â€Å"a constellation of attitudes toward the child that are communicated to the child and that , taken together, create an emotional climate in which the parents’ behaviors have expressed.† Despite these challenges, researchers have uncovered convincing links between parentingRead MoreThe Authoritarian Style Of Parenting Essay1414 Words   |  6 Pageschild-parent behavior, seeking to identify parenting styles. The Baumrid study and other further studies identified four main styles of parenting (Miller, 2010): the authoritative parenting style was characterized by fair rules and consequences; The Authoritarian parenting style was characterized by strict rules and harsh punishment; the permissive parenting style was characterized by minimal rules with little or no consequences; the uninvolved parenting style was characterized by no rules, and parentRead MoreEssay on Parenting Styles1213 Words   |  5 PagesParenting Paper Diane Baumrind’s typology has two major dimensions. The first dimension is responsiveness. In the text it mentions that responsiveness â€Å"refers to the extent in which parents respond to and meet the needs of their children.† (Knox 364). This is when parents support, encourage, and foster their children’s needs. The second dimension is demandingness which is â€Å"the matter in which parents place demands on children in regard to expectations and discipline.† (Knox 364). This is aboutRead MoreEssay on Parenting Styles1718 Words   |  7 Pagestheir  children  to  discuss  household  rules  and  their  importance  to  the  family  dynamics.  These  styles  of parenting  have  their  advantages  and  disadvantages.  There  are  ethical  and  unethical  issues  when  it  comes to  discipline  with  punishment  styles  as  well. The  advantages  and  disadvantages  of  The  Harsh ­Heart  family  can  lead  to  positive  outcomes and  horrible.  The  Harsh  family  would  be  the  authoritarian  style  of  parenting.  This  style  would  be  the  old fashioned  style.  This  style  believes  in  the  usual  strict  rules  with  no  question.  Consequences  are  harsher

What Were the Causes of the American Civil War Essay

What were the causes of the American Civil War? The Civil War happened due to the many differences between the North and the South. For example economic, social, cultural and political differences. These all helped lead America to a Civil War. But to an extent, the most important cause was the fact there were many disagreements with states rights versus federal rights. It was clear that there was always going to be a conflict between the federal government and the state governments because the federal government has the power to discuss bills and proposals for new laws. Whereas the state governments only has power to deal with policing, education and health care. And issues like slavery created tension between the two because the†¦show more content†¦And the Souths commitment to essential production of goods and slave labour was reflected in the region0s distinctive cult of honour, and its defence of social inequality. The South heavily relied on slavery to keep their economy stable, although not their only source of money, but by abolishing slavery and making it illegal it would damage their economy quite badly. And so this caused a lot of tension between the North and South because they were very different economically. The South is much more agricultural, and is reliant upon exports as well. The North on the other hand is in complete contrast to the South. The North industrialised very fast and many people of poor background and some African-American succeeded and made a lot of money. It isnt very clear that if they had lived in the South if they could have achieved this much success, but those in the North faced a lot less discrimination compared to the South. Because the economics of the dynamic industrializing North and the static agrarian South were incompatible, the two societies were on a collision course that led inexorably to war (http://civilwartalk.com/threads/historians-evolving-views -of-civil-war-causality.21223/) Many historians agree that this was not a major cause. According to economic historian Lee A. Craig, In fact, numerous studies by economic historians over the past several decades reveal that economic conflict was not an inherent condition of North-SouthShow MoreRelatedWhat Caused The American Civil War1634 Words   |  7 PagesWhat caused the American Civil War from 1861 to 1865? There has been several different debates and disputes about the causes of the American Civil War. Historians have stated slavery was the primary cause of the American Civil War, while other historians have argued there were other causes and effects in conjunction with slavery. Research has shown all historians did agree upon the division between the North, known as the Union, and the South, known as the Confederacy, battled on the soil of theRead MoreThe Civil War And American History890 Words   |  4 Pages In American History many significant events took place that re flected religious faith of multiple Americans and has shaped the world we live in today. Throughout the 1800s, the most memorable times in America took place throughout the Civil War. Events that escalated before, during and even following the Civil War resulted in a chain of reactions from many people within that period. After analyzing the events of the Civil War, I was able to draw a connection to the actions of the soldiers, womenRead MoreThe American Civil War, Wars, And Rumors Of Wars1183 Words   |  5 PagesThe American Civil War Wars, Wars and rumors of wars!!!! Everyone knows the United States has had its fair share of wars. Let me start by giving you a brief list of wars the United States has participated in according to Wikipedia. Both â€Å"Barbary Wars (1801-1805, 1815-1816), Wars of 1812, Mexican-American War (1846-48), American Civil War (1861-65), Indian War (1865-91), Spanish-American War( 1898), Philippine-American War (1899-1902) Border War(Mexican Revolutionary)1910-1919, World War I (1917-18)Read MoreRace And Reunion : The Civil War1581 Words   |  7 Pagessouth. Striving for a reunion, a majority of American white communities close obscure the civil war racial narrative would only fade. In race and reunion: The Civil War in American memory, by David Blight, represents how Americans chose to remember the Civil War conflict, from the beginning of the turning point of the war. The two major themes race and reunion, demonstrate how white Americans adjusted and altered the causes and outcomes of the Civil War to reflect their particular ideas regardingRead MoreCivil War Causes1382 Words   |  6 Pages Causes of the Civil War John Brown’s Raid vs. Industrial Revolution John Brown’s Raid was a more influential cause to the civil war than the Industrial Revolution. The Industrial Revolution caused incompability between the North and the South. The North relied on wage laborers with the new machine age economy while the South relied heavily on slaves. So, the North did not need slaves for their economyRead MoreCauses Of The American Civil War760 Words   |  4 PagesThe Civil War was one of the most momentous and pivotal periods in U.S history. After decades of tension between the North and South over matters involving expansion, slavery, and the states rights these caused the beginning of a horrific devastating time known as the American Civil War, that lasted between 1861-1865. Within these 4 long barbaric and destructive years, it led to an innumerous amount of political, social, and economical changes for the U.S. Leaving 2.4 million dead and millionsRead MoreWho Is The American Civil War?1245 Words   |  5 Pagesabout the America n Civil War, their first thought is usually about how the Union and Confederacy fought over whether man should or should not have the right to own slaves. While this issue was the main cause and the biggest factor that led to the American Civil War, it is not the only cause or factor. In Jeffery Dixon’s article, What Causes Civil Wars? There are two other big issue that cause counties to go war against each other. Those two other issues are; economy and geography. Civil Wars are foughtRead MoreThe Battle Of The American Civil War1335 Words   |  6 Pagesback with hindsight and the knowledge of warfare of the 21st century it is easy to say that the American Civil War was simply put, a very traditional war. Thinking of modern tactics and a course of numbers and deployment one might come to the conclusion that the Civil War was fought centuries ago; nevertheless, it only occurred 152 years ago. This hard fought national struggle was in fact a very modern war for many simple re asons, including the emergence of a new form of large national government withRead MorePrimary Causes Of The Civil War820 Words   |  4 Pagesstandpoints on why the Civil War had been fought but the primary reason why the Civil War started over uncompromisable differences between free Southern states and pro-slavery Northern states and their controversy over government power and slave laws. Fought during April of 1861 to 1865, the Civil War had divided the country into a frenzy against each other. In fact, a devastating 620,000 soldiers had died from accident, combat, starvation and disease, the deadliest war in American history. To add toRead MoreDebate on Civil War1069 Words   |  5 PagesAmerican Historians’ Debate on the Civil War The American Civil War has without a doubt left a permanent divide on this great nation’s past and present. American historians still debate the causes of a war that began in 1861 between the Union states and Confederacy states. The war can be seen as caused by the principle of slavery, the growing tension between northern and southern ideology or due to a crack in the political system of the time. United States’ history classes focus on teaching students

How Technology Affects Social Movements And Activists Who...

The Democratic â€Å"Globalization† Virus Technology plays a major role in empowering social movements and activists who work for democracy. While governmental barriers are put around society in order to maintain control of the public eye, people tend to be blinded from the â€Å"globalization† truth that surrounds the first-world environment. Ian Bremmer’s â€Å"Democracy in Cyberspace: What Technology Can and Cannot Do for Us† depicts how technology has the inability to democratize nations without human force. Readers are introduced to the idea of the â€Å"freedom virus†, where technology is making it harder for the government to hide the truth from their citizens. The dual nature of technology is used as a tool to speed up revolution, either connecting its users or creating a barrier among them. In Naomi Klein’s essay, â€Å"Fences of Enclosure, Windows of Possibility†, virtual and physical fences are described as an isolator, keep ing society away from their basic needs that should be granted by the social contract. Physical and virtual political borders created by globalization take away basic human rights and the freedom that all should hold. The promises globalization hold were seen as too good to be true, where government wanted to provide the idea in their own ways, blinding society from what they should really see in reality. As the technological world grows around the idea of globalization, there will be false hope and promises in what the world expects, creating even more barriersShow MoreRelatedThe Occupy Wall Street Movement1982 Words   |  8 PagesThe Occupy Movement is an international activist movement that fosters social and economic change and originated from the actions of the Occupy Wall Street movement (source #7). The focus is on the Occupy Wall Street movement that was launched on September 17th 2011 and was catalysed by Adbusters activist Micah White. White created a web page about the corruption that was happening surrounding the financial crisis in the United States leading to the most recent recession. Large corporations basedRead MoreEssay on Anti Globalization3397 Words   |  14 Pagesthe political stance of individuals and groups who oppose the neoliberal form of globalization (using the term globalization in a doctrinal sense not a literal one). Anti-globalization is also used to refer to opposition to international integration (using the term globalization in a literal sense not a doctrinal one). Anti-globalization can denote either a single social movement or an umbrella term that encompasses a number of separate social movements[1] In either case, participants stand in oppositionRead MorePower of Communication8354 Words   |  34 PagesCommunication Introduction: Communication is the basic human need to share meanings and express ideas and thoughts and that can be achieved by the exchange of information between the society members. The process of communication is defined by the technology available, culture and protocols of communication. Political scientists are interested in political communication through studying the interaction communication between the political system and the political process generally and they confirmedRead MoreSocial Media and Privacy: Relationships and Online Surveillance1929 Words   |  8 Pagesarticle â€Å"Who’s Watching Whom? A Study of Interactive Technology and Surveillance†, a yearlong experiment explored how people think about privacy and surveillance when using mobile social networks (Humphreys 2011, 575). In examining Google’s Dodgeball, a mobile service like foursquare that allowed users to provide their location-based information with others, they discovered that â€Å"most informants were not concerned about privacy when using the mobile social network because they felt they were in controlRead MoreRace, Poverty Globalization Essay1813 Words   |  8 Pagessafety measures. The industry employs more than three million workers in Bangladesh, most of them women. Activists say that global clothing brands like Tommy Hilfiger and the Gap and those sold by Walmart need to take responsibility for the working conditions in Bangladeshi factories that produce their clothes. From article by Vikas Bajaj published in The New York Times, November 25, 2012 How is poverty related to globalism, and why are people of color under the most severe threat from this processRead MoreA Globalized Society Brings People, Cultures, Markets, and Beliefs Together2643 Words   |  11 PagesA globalized society creates an increasingly complicated set of forces and factors that bring people, cultures, markets, and beliefs together. The improvement of technology, transportation, and communication means that in the last century businesses, governments, and people are being drawn into greater proximity with one another. As a result, the notion of civil society is slowly being challenged because state borders are no longer ‘containers of society’, meaning that the state is no longer a ‘fixedRead MoreThe Shift From Modernity And Post Modernity Essay2014 Words   |  9 Pagesmodernity, which is the social life, which has come from 18th century Europe and has been influential around the world (McLennan, McManus, Spoonley, 2010) to post mod ernity a time, which has changed considerably since the time of modernity. Post modernity mainly involves developments and changes within technological, economic, political and social ideas. Throughout my essay I will discuss the main features of the shift from modernity to postmodernity through economics, politics, social ideas, religion andRead MoreThe Masses: Medias Vice Grip On Our Identities2289 Words   |  10 Pagesoutlets, we are digging a bigger hole. The media’s influence has locked us into an impersonal world of social interaction. This impersonal world holds no real emotion that is embodied in us and that stems from us. Throughout the course of history, until the last ten years, our experiences have become trumped or overtaken by the medias vice grip. Once we decide to like a photo over Facebook or another social networking platform, we begin to embark on a journey filled with duplicative, pit-less emotion eRead MoreEffective Practices for Infusing Human Rights a nd Peace Education Middle School and High School Level3877 Words   |  16 Pagesand distributed by the Human Rights Resource Center at the University of Minnesota, allows students and teachers to discover human rights strengths and pinpoint areas that need a more comfortable temperature. Available in Topic Book 1: Economic Social Justice on pp. 67-72 or on-line at http://www.hrusa.org/hrmaterials/temperature/interactive.php. 2. Familiarize Yourself with State-of-the-Art Pedagogy and Facilitation Skills. Create a Human Rights Learning Community with your peers to developRead MoreImpact Of Globalization On An International Scale1857 Words   |  8 PagesFortunately, many places in the world are covered with people who posses tons of possessions. From cellphones, to computers, different types of attire clothes, vehicles, furniture, electrical machinery, plastics, footwear and much more, China is one of the most largest goods exporting countries in the world. Have you ever look at the bottom of any particular item you own and saw the three words of â€Å"Made In China† on the majority of those items? China is a very large manufacturing piece of land that

Bad Dudes Essay Research Paper TURNERJoseph Mallord free essay sample

Bad Dudes Essay, Research Paper Turner Joseph Mallord William Turner, the boy of a Barber and wigmaker, was born in London in 1775. As a kid Turner made money by coloring engravings for his male parent # 8217 ; s clients. At the age of 14 he entered the Royal Academy. He exhibited his first drawing, A Position of the Archbishop # 8217 ; s Palace in Lambeth in 1790. Two old ages subsequently he supplying illustrations for the Copperplate Magazine and the Pocket Magazine. In 1792 Turner went on his first chalk outing circuit. Most of his images during this period were cathedrals, abbeys, Bridgess and towns but in 1796 he became interested in painting images of the sea. He besides began touring with his creative person friend, Thomas Girton. By 1800 Turner was acknowledged as one of Britain # 8217 ; s taking topographical watercolourist. He received several committees to exemplify books. His artistic ability was recognized when he was elected an associate of the Royal Academy. In 1803 Turner # 8217 ; s manner changed. His impressionistic Calais Pier was criticized as being unfinished. For the following few old ages the critics attacked him and he had trouble selling his pictures. One critic called Turner # 8217 ; s landscapes # 8220 ; images of nil, and really alike. # 8221 ; Turner had his protagonists, including John Ruskin, who described his pictures as # 8220 ; true, beautiful and rational # 8221 ; . In 1844 Turner turned his attending to railroads and painted Rain, Steam and Speed # 8211 ; The Great Western Railway. J. M. W. Turner died at his bungalow in Chelsea in 1851. He left some three hundred pictures and 19 1000 water-colors to the state. Joseph Mallord William Turner enjoys a repute as one of the finest landscape painters in English history. The boy of a London Barber, Turner was born on April 23, 1775. His female parent died when he was still immature, and immature Joseph received merely the most fundamental of instruction from his male parent. From early childhood, Turner poured his energies into drawing, and subsequently painting. By the age of 13, he was exhibiting pictures in the window of his male parent # 8217 ; s barbershop. The kid prodigy was rewarded when one of his pictures was shown at the Royal Academy # 8211 ; a singular award for a chap of merely 15! At 18 Turner established his ain studio, and he was made a full member of the Royal Academy in 1802. Turner # 8217 ; s artistic instruction continued during extended travels abroad. He was captivated by the seascapes of Venice, and devoted his energies to capturing the altering forms of visible radiation and coloring material on the H2O. Although Turner worked extensively in oils, it is as a watercolorist that he is celebrated. He can be justly regarded as one of the establishing male parents of English watercolour landscape picture. One of Turner # 8217 ; s alone qualities is that he did non try to reproduce what he saw, but instead he tried to paint what he felt about a scene. In this he can be considered an early # 8220 ; Impressionist # 8221 ; painter. His best works exhibit a glorious, brumous wash of visible radiation, with forms simply suggested through the visible radiation. Despite popular credence of his work, Turner was a recluse adult male, with few friends. He ever worked alone and traveled entirely. He would exhibit his pictures, but he frequently refused to sell them. When he did sell a work, he plunged into depression. The Junction of the Thames and the Medway, 1807. JMW Turner died on December 19, 1851, and at his ain petition he was buried in St. Paul # 8217 ; s Cathedral. His singular aggregation of over 300 pictures, 20,000 water-colors, and 19,000 drawings were bequeathed to the state. The Clore Gallery at the Tate Gallery was opened in 1987 to expose this aggregation, harmonizing to the footings of his will. Some of his most abiding plants are Burial at Sea, and The Grand Canal, Venice. Turner, who earned an early repute for bring forthing accurate topographical positions, opened his ain private gross revenues gallery, where he exhibited this disruptive seascape. Based on notes in the creative person # 8217 ; s sketch blocks, the scene is the broad oral cavity of the Thames fall ining the North Sea, where the smaller River Medway farther churns the moving ridges. To the South, the town on the far shore is the haven of Sheerness. To rise the storm # 8217 ; s impact, Turner artfully manipulated the lighting in this composing. The canvass at the right, for case, are brightly silhouetted against the dark clouds. In actuality, nevertheless, the Sun is obscured high in the sky behind the thunderheads, doing it impossible for sunraies to strike those ships from the side. Rotterdam Ferry-Boat, 1833. This seascape was exhibited in 1833 at the Royal Academy, where Turner taught as the professor of position. Suppressing the job of making a credible sense of infinite across a featureless sweep of H2O, Turner anchored the carefully aligned design upon a little rider ferry. From this foreground focal point, a row of larger ships moves rearward over the jerky moving ridges on a diagonal line, bring forthing a singular semblance of deepness. The war vessel # 8217 ; s Dutch flags and the skyline of Rotterdam pay testimonial to Turner # 8217 ; s predecessors, the marine painters of seventeenth-century Holland. In peculiar, the low skyline and cloud-swept view derive from seaport scenes by Jan van Goven and Aelbert Cuyp. Venezia: The Dogana and San Giorgio Maggiore, 1834. At the # 8220 ; exceptional suggestion # 8221 ; of a British fabric maker, Turner devised this Venetian cityscape as a symbolic salutation to commerce. Gondolas carry ladings of all right cloths and alien spices. On the right is the Dogana, or Customs House, topped by a statue of Fortune, which Turner greatly enlarged in size. Furthermore, the Church of San Giorgio Maggiore has been pushed really far back in infinite, doing the Grand Canal seem much wider than it truly is. These theatrical hyperboles and the precise, additive drafting of the architecture owe much to Canaletto, an eighteenth-century Venetian painter whose art glorified his metropolis. At the 1834 Royal Academy show, critics gave enraptured congratulations to the scene # 8217 ; s radiant, scintillating Waterss. The following twelvemonth, another committee from the same frequenter resulted in its moonlit comrade piece, Keelmen Heaving in Coals by Moonlight. Keelmen Heaving in Coals by Moonlight, 1835. On England # 8217 ; s River Tyne, near the excavation metropolis of Newcastle, stevedores called keelmen transfer coal from flatboats, or keels, to oceangoing vass. The rough blaze of the workingmans # 8217 ; s torches contrasts with the funnel of creamy visible radiation emanating from the Moon. Critical sentiment about Turner # 8217 ; s unusual notturno was divided. One reviewer observed: # 8220 ; It represents neither dark nor twenty-four hours, and yet the general consequence is really agreeable and surprising. # 8221 ; Commissioned as a pendent to Venice: The Dogana and San Giorgio Maggiore and shown at the Royal Academy in 1835, this canvas creates a entire counterpoint in temper and significance. The Venetian scene is far off in the Mediterranean Sea, concerns luxury goods, and glows with warm daytime. This North Sea position # 8212 ; a familiar sight to the British public # 8212 ; reveals sooty, modern industry chilled by the colourss of a winter # 8217 ; s dark. The Dogana and Santa Maria della Salute, Venice, 1843. Displayed at the Royal Academy in 1843, Turner # 8217 ; s late position of Venice shows the Customs House, or Dogana, from an angle antonym to that seen in his 1834 image. Behind the Dogana, the domes of the Church of Santa Maria della Salute rise against the vibrantly aglow sky. Although his early plants had made Turner affluent and celebrated, this ulterior manner # 8212 ; in which visible radiation evaporates the solid signifiers — was far excessively daring for his coevalss to grok. In retrospect, nevertheless, it is such late plants that had the most impact upon subsequent landscapists. ( The parapet at the bottom right is officially inscribed with Turner’s full initials, JMWT ; informally, friends called him Bill. ) Houses of Parliament, 1834. A mixture of old and newer edifices on the north bank of the River Thames. The fire of 1834 burned down most of the Palace of Westminster. The lone portion still staying from 1097 is Westminster Hall. The edifices replacing the destroyed elements include Big Ben, with it # 8217 ; s four 23 pess clock faces, built in a rich late Gothic manner that now form the Houses of Commons and the House of Lords. Rain, Steam, and Speed The Great Western Railway, 1844. The scene is reasonably surely identifiable as Maidenhead railroad span, which spans the Thames between Taplow and Maidenhead. The span, designed by the applied scientist Isambard Kingdom Brunel and completed in 1839, has two chief arches of brick, really broad and level. The position is to the E, towards London. On the left people are boating on the river, while to the right a plowman works on a field. The repose of these traditional activities contrasts with the steam train rushing towards the spectator, the blunt lineation of its black funnel clearly seeable. In forepart of the train a hare, one of the speediest of animate beings, elans for screen. Turner # 8217 ; s image can be associated with the # 8216 ; railroad passion # 8217 ; which swept across England in the 1840s. It is besides an outstanding illustration of his late manner of painting. Sky and river landscape are dissolved in a haze of freely applied oil pigment, to give a dramatic feeling of the contrasting motion of driving rain and hurrying train. Snow Storm # 8211 ; Steam-Boat off a Harbour # 8217 ; s Mouth, 1842. This is possibly Turner # 8217 ; s finest seascape, and so perchance the greatest word picture of a storm in all art. It was exhibited at the Royal Academy in I842. Turner one time claimed that in order to paint this scene he had `got the crewmans to flog me to the mast to detect it ; I was lashed for four hours, and I did non anticipate to get away, but I felt edge to enter it if I did # 8217 ; . However, perchance he fabricated this narrative, for it is similar to one told of the marine painter Joseph Vernet, and no ship named the Ariel is known to hold sailed from Harwich in the old ages taking up to I842 ; possibly the rubric of the vas was intended to touch to Shakespeare # 8217 ; s The Tempest. Nor does the picture-title agreement to the full with what we really see, for the ship is `going by the lead # 8217 ; , which denotes that a leaden line is being sporadically dropped from the bow to estimate the s uperficiality of the Waterss so as to forestall the ship from running aground. Yet such a prudent, measured safeguard seems to be at odds with the existent quandary of a vas caught up in a whirlpool, even if we can appreciate why the boat should be firing signal projectiles to denote her place offshore. Yet even if some or all of Turner # 8217 ; s factual claims are false, and at that place seems to be some disparity between the maritime behaviour indicated in the rubric and what appears to be really go oning to the Ariel, the veracity of Turner # 8217 ; s communicating of what it is like to be at the Centre of a cataclysmal storm is beyond difference, with the full seeable existence Wheeling in a monolithic whirl around both the soft-shell clam and besides the witness. ( And on the soft-shell clam, by the way, we can see that its foremast and funnel are located in the right places, which once more indicates that Turner had purposefully taken autonomies with actual world in The Fighting Temeraire of three old ages earlier. ) Turner was really annoyed by reading a unfavorable judgment of this work that it represents a mass of `soapsuds and whitewash # 8217 ; , and was overheard to say+ `soapsuds and whitewash! What would they hold? I wonder what they think the sea # 8217 ; s like ? I wish they # 8217 ; d been in it. # 8217 ; But today it is easier to appreciate that his freedom of managing imparts the natural energy of a storm far more genuinely than if he had painted even # 8217 ; bead of rain or every moving ridge in the sea with greater grades of verisimilitude. Ruskin # 8217 ; s sentiment of this picture is that this is the grandest statement of sea gesture, mist and visible radiation that has of all time been put on canvas. Blizzard: Hannibal and his Army Crossing the Alps, 1842. Be the first image with which Turner printed lines of poesy in the catalogue with a recognition to an # 8216 ; MS # 8217 ; poems # 8216 ; Fallacies of Hope # 8217 ; . Turner # 8217 ; s images were going arranged, compositionally, around # 8216 ; vortexes # 8217 ; , in which the image emanates from a cardinal construction in a series of expanses, as above for illustration. He besides experimented with new signifiers, such as squares and octagons. His was ever a deliberate in development. The picture reveals the extent to which Turner sees the manner of the brushwork itself as a factor of the impact of the picture. Rise of The Carthaginian Empire, 1815. Turner so loved this picture, that he requested his organic structure be wrapped in the canvas upon his decease. Turner s executer of his will Francis Chantry pointed out to Turner that every bit shortly as you are buried I will see you taken up and unrolled. The will was altered the picture now hangs in the National Gallery, London. By petition from Turner, it # 8217 ; s now following to a haven position by Claude in the fantastic room 15. Thomas Girtin, ( 1775-1802 ) , English watercolourist, whose professional and artistic inventions gave birth to the single English Romantic mode in watercolor. Turner and Girtin meet at Thomas Maltons # 8217 ; s place where they were both copying and colouring from the huge Alexander Cozen aggregation in Malton # 8217 ; s ownership. This was the manner of larning to paint from the old Masterss. The two immature work forces aged 14 became best friends, and were shortly to go around England together chalk outing and picture. Both artist developing into what was to be known as Romantic Art, They convey a alone sense of the extent and graduated table of the English countryside. Their realistic manner and understanding to temper prepared the manner for the all-out Romanticism in art. Royal Academy of Arts, London, Great Britain # 8217 ; s chief art organisation, established for the intent of bettering and promoting picture, sculpture, and architecture. It was founded in 1768 by George III in response to a memorial presented by 22 creative persons, among them the British designer Sir William Chambers and the American painter Benjamin West. Sir Joshua Reynolds was its first president. Turner was moving President for a clip. The figure of Royal Academicians is normally 80. The first lasting suites of the Royal Academy were in the royal castle, Old Somerset House, in 1771. The society moved into New Somerset House in 1780 and so to the National Gallery, Trafalgar Square, in 1837. In 1869 the society moved to its current location in Burlington House, Piccadilly. Over a 1000 plant of art are shown at the one-year Summer Exhibition, at which members may exhibit six plants and nonmembers may exhibit three. Lend exhibitions are mounted by the academy every twelvemonth, and other exhibitions besides take topographic point under its backing. The lasting aggregation of the academy contains many valuable plants of art, including the Taddei Tondo by Michelangelo, every bit good as the sheepskin plants of about all the Royal Academicians. The art schools of the academy are unfastened to postgraduate pupils. The academy, which is under the direct backing of the British sovereign, is self-supporting, having the majority of its financess from loan exhibitions.

Herman Ebbinghaus Essays - Hermann Ebbinghaus, Cognition, Psychology

Herman Ebbinghaus During the late 1800's a new science was emerging in Europe. Psychology's roots can be traced back to Germany and a man by the name of William Wunt. Following Wunt other psychologists began emerging in different fields. Of these pioneers Herman Ebbinghaus was one, and his field of study was memory. He performed the first experiments in 1885 in Germany and the following is a background on the man and his field. Herman Ebbinghaus was born in 1850 in Germany and died there in 1909. He received his formal education at the Universities of Bonn, Halle, and Berlin (Gale, 1996). Ebbinghaus received degrees in philosophy and history from these universities (Gale, 1996). Ebbinghaus went on to teach at the Universities of Berlin, Poland, Breslaw and Halle (Gale, 1996). These experiences combined with later experiences with memory combine to give Ebbinghaus a curiosity about memory greater than most of his time. Memory can be defined as your amount of learning or your stored information. The process of storing and retreving information from the brain that is central to learning and thinking (Microsoft Encarta, [MSE], 1997). According to Myers (1998) memory is "any indication that learning has persisted over time". There are also four types of memory classified: recollection, recall, recognition, and relearning. Recollection is the reconstruction of facts based on clues that serve as reminders; recall is the active remembering of something from the past without help; recognition is the ability to identify previous stimuli as familiar; relearning is material that seems to be easier to remember than others as if it has been learned before (MSE, 1997). These four types of memory together help all people to remember anything from the states' capitals to your best friends birthday party from second grade. Some researchers say that there are specific sites dedicated to memory while others say that all the brain works together (MSE, 1997). There are tests to determine memory in individuals that Ebbinghaus Ebbinghaus 3 himself developed and will be discussed later. One test that does involve memory in a way would be the IQ test developed to test childrens level of intelligence which in turn depends on how much the child remembers. Ebbinghaus served in the Franco-Prussian War then seven years after that, decided to tutor in England, France and Berlin (Gale, 1996). It was during this time that Ebbinghaus became interested in memory and began to wonder how memory worked (Gale, 1996). In the journal of Physiological Psychology William Wunt said that a test on memory could not be performed (Gale, 1996). After reading this Ebbinghaus decided that he would try and test memory himself. Armed with his curiosity and his knowledge of memory from tutoring Ebbinghaus began the tests. He used the same mathematical treatment that Gustav Fechner used in Elements of Psychophysics to try and test memory experimentally (Gale, 1996). Ebbinghaus decided to be the subject and the experimenter in this test so he made a list of nonsense syllables that he would memorize (Myers, 1998). He crated 2,300 one syllable consonant-vowel-consonant combinations to make his study easier (Gale, 1996). He made words such as taz, bok, lef so that he could test the memorization rather than his previous knowledge of the words. He divided the material into lists that he memorized in different conditions (Gale, 1996). He measured them at night, in the day, when he was tired, just gotten up, etc. He recorded the average time it took him to memorize the lists perfectly then altared the test (Gale 1996). According to Gale (1996) he made observations about ther effects of such variables as speed, list length, and number of repetitions. Ebbinghaus also wanted to test long term and short term memory retention. He compared the time it took him to memorize any list once with the ammount of time it took him to memorize the same list again (Gale, 1996). He also measured immediate Ebbinghaus 4 memory showing that he remembered about six to eight items off his list after one look (Gale, 1996). Ebbinghaus in testing memory wanted to know how much he still knew from his lists later. According to Myers (1998) he would test himself on the same material thirty minutes to thirty days after his initial test. Using the mathematical methods mentioned earlier he came up with a retention curve showing how much of the information he was able to retrieve the next day. This figure can be seen on the attatched sheet, Figure 9.3. Ebbinghaus discovered that the longer he repeated the list on the

Free Essays on Urban Decay

Urban Decay: barricading our cities, And our minds Everyone bemoans the way street crime, visible poverty, deteriorating infrastructure, decaying homes and boarded-up businesses are becoming increasingly common features of city life, but we rarely ask ourselves how this deterioration in the world around us is affecting the way we look at the world. In not asking that question, we underestimate the importance of urban decay as a problem in its own right, and the degree to which it promotes other social ills. Inner city decay is part of a dangerous and silent progression that is not being given the attention it deserves: the fragmentation of our society into potentially or actually hostile camps, barricaded off from each other. And it has the potential, in the end, to exercise an important influence on the course of national politics. In order to see why, we have to start by looking at how decay happens. It begins with an anti-urban bias, a belief, deeply-rooted in Canada and the United States, that cities are, at best, a necessary evil, and the likely scene of violence, social disorder, dirt and tension. Rural and small-town life, by contrast, is associated with cleanliness, sturdy reliability and family values. The conclusion: We may need cities for our livelihoods, but they are not good places to live. These conceptions have been promoted by a profusion of media images. Consider The Waltons, Little House on the Prairie, Anne of Green Gables, or that odious MÃ ¼slix commercial that romanticizes fruit-picking. More to the point, for the past half-century the notion that we can live better outside the inner city has been energetically and effectively advocated by a development industry that gained its foothold on wealth and power and continues to augment that wealth through suburban development. New subdivisions are sold by purveying the image of a home in quasi-rural surroundings, but conveniently located near the c... Free Essays on Urban Decay Free Essays on Urban Decay Urban Decay: barricading our cities, And our minds Everyone bemoans the way street crime, visible poverty, deteriorating infrastructure, decaying homes and boarded-up businesses are becoming increasingly common features of city life, but we rarely ask ourselves how this deterioration in the world around us is affecting the way we look at the world. In not asking that question, we underestimate the importance of urban decay as a problem in its own right, and the degree to which it promotes other social ills. Inner city decay is part of a dangerous and silent progression that is not being given the attention it deserves: the fragmentation of our society into potentially or actually hostile camps, barricaded off from each other. And it has the potential, in the end, to exercise an important influence on the course of national politics. In order to see why, we have to start by looking at how decay happens. It begins with an anti-urban bias, a belief, deeply-rooted in Canada and the United States, that cities are, at best, a necessary evil, and the likely scene of violence, social disorder, dirt and tension. Rural and small-town life, by contrast, is associated with cleanliness, sturdy reliability and family values. The conclusion: We may need cities for our livelihoods, but they are not good places to live. These conceptions have been promoted by a profusion of media images. Consider The Waltons, Little House on the Prairie, Anne of Green Gables, or that odious MÃ ¼slix commercial that romanticizes fruit-picking. More to the point, for the past half-century the notion that we can live better outside the inner city has been energetically and effectively advocated by a development industry that gained its foothold on wealth and power and continues to augment that wealth through suburban development. New subdivisions are sold by purveying the image of a home in quasi-rural surroundings, but conveniently located near the c...

What are most important causes of radical islamist terrorism in South Essay

What are most important causes of radical islamist terrorism in South Asia(PAKISTAN) - Essay Example Terrorist have become a weapon of war while hiding behind a selfish religious background that does not play by the rule of religious laws. Political and economic waves within the country that have fuelled radicalization can be linked to poor leadership within the country. Autocratic leadership, corruption and high poverty levels in Pakistan have further fuelled the problem. From this perspective, the increase in radical Islam terrorism in South Asia is a consequence of weak leadership. The essay seeks to identify the various causes of terrorism within the country and possible approaches to contain the problem. Since its founding in the 1950s, Pakistan has had a long history of terrorism. The government estimates over 35,000 deaths of Pakistanis and an economic loss of about $68 billion within the country as a result of Islam extremist war. Although the country has had a consistent 6% growth in its economy, the country remains heavily indebted due to over expenditure in non-developmental projects such as Security due to its rivalry with nearby countries such as India1. Pakistan is a country that was founded shortly after India gained independence within areas that had high concentration of Islams.2 The Muslims intended to establish their own territories and to become a liberal state where they could worship freely and uphold their traditions. The Muslims felt that their social interaction with other religions was becoming a threat to their religious value and they were falling in the risk of religious dilution. As they refer to Islam as a â€Å"way of life†, they felt that acquiring freedom would be the best approach to sustaining their values in globalising world. The terrorism in Pakistan has had both internal and external implication in the world. Within the country, terrorism has subdivided the country into two religious groups

Reflection about nursing home visit Essay Example | Topics and Well Written Essays - 500 words

Reflection about nursing home visit - Essay Example In order to improve on my verbal communication skills, as I am not a native English speaker, I think I need to improve my English speaking skills through practice and by enrolling in an English language course. Non-verbal cues include eye contact, touch and use of space, gestures, body posture and presentation, and use of voice. Non-verbal cues reflect the real emotions and feelings of individuals involved in the conversation. Such was the case in my conversation with the patient. By establishing eye contact, I was able to assess the sincerity of her words. I also paid attention to her gestures which told me if my questions were getting uncomfortable for her to answer. And if she got uncomfortable answering, I changed my questions. I noticed that she gestured with her hands a lot; and being a former teacher, I understood why she has this habit. When I first approached her, I maintained a respectful distance between us. Since it was my first time to meet her, I respected her personal space. I asked if I could move my chair closer to her, and she agreed. I maintained a 3-feet distance from her; it was close enough for us to hear each other, and far enough to avoid invading her personal space (Rhode Island Health Literacy Project, n.d). I think I need to improve my non-verbal communication skills by increasing my interaction with patients. Through increased interaction, I will be able to improve my interpretation of patients’ non-verbal cues (Earp, et.al., 2007, p.197). Establishing rapport is seen in how we relate and perceive our patients. It also involves genuine concern and empathy for our patients (Travelbee, 1963). Upon meeting my patient, I immediately set out to establish rapport by greeting her by her first name, shaking her hand, and introducing myself. I asked permission to converse with her and when she agreed, I sat

Do You Call That Art? a Conversation

Do You Call That Art? a Conversation T: Do you call that art? I just dont see how something like could be called art, I just dont see it. Where is the form, where is the beauty? Is that not what art is for; to hint at universal truths, to uncover answers to fundamental questions about our human condition? To make us experience a kind of immortal truth, Beauty is truth, truth beauty that is all/Ye know on earth, and all ye need to know. (Keats, 1908: 14) Is that not what Keats said? To be honest I fail to see how an unmade bed surrounded by the detritus of a good night out can be classed as either. It is just sensationalism, pure sensationalism and should not be allowed into an art gallery. S: I suppose it has some merits doesnt it? T: No, none at all as far as I am concerned. What does it say? What does it mean? Where is the skill in its construction? Why, anyone could make that, look, it is only made out of every day items, theres no paint, no clay, no stone, none of the traditional tools of the artist. My six year old child could have made that, in fact he does every morning after a restless night. S: I read some interesting reviews on it. T: What do reviewers know? Listen to this: La Giaconda is, in the truest sense, Leonardos masterpiece, the revealing instance of his mode of thought and work. In suggestiveness, only the Melancholia of Durer is comparable to it; and no crude symbolism disturbs the effect of its subdued and graceful mystery (Pater, 1948: 264) That is both a reviewer and artist coming together in a perfect symbiosis of artistic appreciation, Walter Pater was a man of great intellect and understood the genius of Da Vinci in an intimate way. What is spoken of here lifts the everyday into the world of aesthetics and art, it transforms the daily life, it consoles and palliates, it makes the hardships seem worthwhile and the little pains of life worth bearing. S: Yes, I see that, but does that not apply to artists like Tracey Emin and Damian Hurst too? T: Do you feel palliated by this unmade bed? Do you feel as though your pain is soothed by a bisected sheep? These images serve only to make us feel worse, to highlight our pain, to capitalise on our misfortunes. These are the things that modern art work on, these are the emotions that they stir up; depression, sadness and alienation. Is that art? Is that worth bothering about, buying or funding? S: I dont know, perhaps if we were to look at them more carefully. Isnt art just a matter of taste anyway? T: Ah but taste is a complex thing and has been hotly debated in art history and philosophy. In some ways it goes right to the heart of our experience of art and literature as a whole. Two of the most interesting and most important theories concerning taste come, of course, from the English thinker David Hume and Immanuel Kant, both of these philosophers, in their own way, asserted the existence and importance of the notion of taste and aesthetic judgment. Hume saw that education and experience would enable men (and women) to acquire taste; the more art we see, the more books we read, the more films we see and the more music we listen to the more we learn about what is good and what is bad in art. For instance, if I had only seen one picture in my entire life, say of a cottage in a mountain glade surrounded by pink and blue flowers, then it goes without saying that this must be the best painting I know and, ipso facto that I must be of the opinion that this is the best painting in the world. The same, I suppose, goes for a situation where the only sculpture I had seen was this unmade bed, then I would naturally think it was masterpiece and hail it as the finest work of art ever made. Well, according to David Hume, the more I see the more educated I become, the more my taste develops. Therefore if I were to view, say, Eugene Delacroixs Massacre at Chios, that depicts a scene from the Greco-Turkish war of 1824 and is painted with both subtlety and strength, I would automatically think this was better than an unmade bed. If I then chanced to view a Renoir or a Rossetti then I might think that these were better. You see how this works? You see how, through education and experience my taste broadens and becomes more refined. S: But I still do not see who defines what is good and what is bad for the rest of us? Taste is relative isnt it? T: To an extent, says Hume, but taste as a benchmark and as a standard is set by those who are educated most. It stands to reason, does it not, that those who are educated and experienced most will know the most about a particular given subject. When your car needs a service what sort of mechanic do you choose? S: A good one? T: Yes, a good one, but what is a good mechanic? Is it a good mechanic someone who has had no or very little experience with cars, is it someone who has only ever seen or worked on one car the whole of their lives? No, you would choose the mechanic with the most experience, the mechanic who has worked on hundreds, perhaps thousands of cars. S: Yes, I suppose I would. T: So, could we not say that that mechanic is an expert, at least over the other mechanic who has seen very few cars? S: Yes. T: Well, it would that mechanic who sets the standard. What if he told you your engine needed replacing? S: I would believe him. T: Exactly, and if the inexperience mechanic told you it didnt, who would you believe? Who would you think was telling you the right thing? S: Probably the experienced mechanic, he after all is more educated and more experienced so he must know what he is talking about. T: So why is it so different with taste? Why is it so difficult to believe that those with most experience set the taste for the rest of us? Taste is intersubjective, it is founded on agreement and consensus. This was Humes great notion. It does not exist as an objective notion nor purly subjective but somewhere in between. Joshua Reynolds encapsulates it well when he says The arts would lie open for ever to caprice and casualty, if those who are to judge of their excellencies had no settled principles by which they are to regulate their decisions, and the merit or defect of performances were to be determined by unguided fancy (Reynolds, 1992: 182). Although, of course, Reynolds himself saw taste as being intrinsically fixed and established in the nature of things. S: So, what about Kant? How did he see taste and aesthetic judgement? T: For Kant, taste came secondary to the notion of beauty. There was, he thought such a notion as intrinsic beauty; a beauty that existed outside of taste, outside of the capriciousness of fashion, a beauty that is, to quote Keats again A Joy forever. Kants philosophy extended far and wide, his works like The Critique of Pure Reason and The Critique of Practical Reason sought to classify and quantify exactly what it was to be human, not just in an ontological sense but in the sense of how we experience the world; how we perceive things and, most importantly, how we reason about these things. In fact Bertrand Russell says in his A History of Western Philosophy that According to Kant, the outer world causes only the matter of sensation, but our mental apparatus orders this matter in space and time, and supplies concepts by means of which we understand experience. (Russell, 1979: 680) In order to experience the world, thought Kant, we label many of the things we sense, often in ways that are unconscious or arbitrary. Take this bench, for instance, we both know this is a bench and that it is for sitting on but we only know this because it has certain characteristics as distinct from, say, that fire extinguisher over there. It is made of wood, it is flat, it has four legs etc. etc. The bench is out in the world (Cummiskey, 1996: 78) and thus our experience of it informs our idea of what it is. For Kant there was no such thing as an a priori knowledge; nothing, he said could be divorced from our experience of it. S: But how, then, if we know this is a bench through our perception of it out in the world can we ever know beauty. Beauty, after all is not out in the world, it is surely a priori? We must have an idea of beauty before something can be classed as beautiful. I understand that, for Hume this is based on consensus, but this does not fit in with Kants ideas. T: For Kant, beauty does exist in the world but not, perhaps in the way that we might assume. He noticed that we classify and label things according to the purpose they have for us as human beings. We have a notion of the bench because it is good for us to sit down on and take a rest every now and then. Beauty on the other hand can not be eaten or smelt or even touched, however it is in every culture every civilisation known to man so, in some ways at least, it must be intrinsic to our needs. Beauty and art have a purposeless purpose. S: How can a purpose be purposeless? T: Let me explain: when I see a picture by Monet for instance, it inspires feelings in me of contemplation and of emotion. I am touched by the delicate brushwork, I am moved by the images. If I see a beautiful flower I feel the same thing. I do not find the flower beautiful because I want to eat it or because it gives me an actual benefit in the real world but because it promotes a kind of internal pleasure, a psychological harmony. This is what Kant thought of the beautiful. If we begin to attach meaning to art by deliberately making it ugly or adapting it for our own psychological or socio-political ends we ruin its initial purity and lose a valuable part of its nature. Kant said Taste is the faculty of estimating an object or mode of representation by means of a delight or aversion apart from any interest. The object of such a delight is called beautiful(Kant, 1972: 479). This is why Kant regarded Nature as representing a higher plain than man made art, simply because it does not have the other aspects, the poetic, artificial meaning. This unmade bed is neither of these situations, it is neither a depiction of the sublime in Nature not does it evoke a universal response. It simply is, like the unmade bed that it mirrors, because of this is can not be art. However, if we take a picture from the Romantic movement of Nineteenth century, for example, such as Turners The Fighting Temeraire (1838) or Landscape with a Distant River and Bay (1840) we can see that what the artist is striving for is a universal achievement of beauty; a beauty that is invested in the very paint he uses, a beauty that arises from the purity of the image; the colours, the brushwork, the setting. S: So, for Kant, the artist is the translator of that sense of beauty? T: Yes, for Kant, only the artist or the man of genius can truly be said to be a translator of these universal truths. His theories gave way to the march of the Romantic movement in Europe and artists like Turner, William Etty and Landseer and writers like Wordsworth, Coleridge and Shelley. Let us think, for example, of the painting The Leaping Horse by John Constable (1825). What do we see in this painting? We see the majesty of Nature, not only in terms of the visual images of the sky, the clouds and the trees but in the way that this is translated through the human experience. The figure in the foreground is pictured not merely against Nature but in it, existing within it and being a part of it. There is a directness of vision here that reflects Kants assertions on the place of the artist within society. The artists role, he said, was to translate the experience of the sublime, of the beauty of Nature, into the synthetic medium of art. This unmade bed, or the bisected sheep of Hurst or even the daubings of Jackson Pollock do not attempt to do this and so, in my opinion at least, are not art in the slightest. A: I beg to differ with you. They turn to see A standing behind them. A: What do you see there? S: I see an unmade bed, I see rubbish, I see magazines, tissues, cigarette butts. A: I see an idea, a concept, a representation of truth. As you said, truth is beauty, right? T: No, actually what I said was Beauty is truth and truth beauty there is a world of difference between those two ideas. A: Yes perhaps, and I would agree with you, maybe this work is not about beauty in the Kantian sense, it is not about a universal notion of what is beautiful, what is sublime but it has everything to do with what the world means to us and how we interpret our own experiences of life. In his first manifesto on Surrealism, Breton says The marvellous is not the same in every period of history: it partakes in some obscure way of a sort of general revelation only the fragments of which come down to us: they are the romantic ruins, the modern mannequin or any other symbol capable of affecting the human sensibility(Breton, 1990: 16). All we have now are shards of aesthetic philosophy that have made their way down to us. S: So you are saying Kant and Hume were wrong? A: No, I am saying they were right in their time. We have been let down by their structures; the notions of truth and beauty no longer mean anything to us in this postmodern age. T: Postmodern? Does that word even mean anything? A: Well, yes, Modernism as a philosophical construct can be seen to stem from the Enlightenment of the mid Eighteenth century. S: I thought Modernism happen just after the First World War? A: Yes in a way, the artistic and literary movement hails from then but, in terms of philosophy and, of course, aesthetics, Modernism can be seen to be founded much earlier with thinkers such as Rousseau, Locke, Hobbes, Bishop Berkely and others. Later, of course, this manifested itself in philosophies of Kant, Hegel and Marx. S: So, what do these thinkers tell us about what art is and why this work should be called art? A: Well it was not so much what they said about art that is of importance as how they say it. Modernism, as Jean Francois Lyotard says in his study The Postmodern Condition: A Report on Knowledge, relied on metanarratives, all encompassing notions like truth, beauty, the body and even the self to provide a foundation for its philosophies. The Enlightenment is considered the birth of the modern because it asserted the primacy of the individual consciousness and the reason upon which it was based; it signalled a split from the religious dogma and the superstition of the Renaissance and Middle Ages. The art, the music and the literature all reflected the birth of this new idea. Postmodernism is not so much the rejection of this as a melancholic outcome of its demise and failures. I am sure there is not one thinker in the whole postmodern canon who would not find it agreeable to rely on concrete notions like beauty and truth, but what are they? That is what postmodernism asks us, they have failed us. Foucaults poetic evocation at the end of his history of human sciences is as good as any at expression this idea: As the archaeology of our thought easily shows, man is an invention of recent date. And one perhaps nearing its end. If those arrangements were to disappear as they appeared, if some event of which we can at the moment do no more than sense the possibility without knowing either what its form will be or what it promises were to cause them to crumble, as the ground of Classical thought did, at the end of the eighteenth century, then one can certainly wager that man would be erased, like a face drawn in the sand at the edge of the sea.(Foucault, 1997: 387) The postmodern condition recognises no hierarchy of taste; it does not see taste as being universal or being classifiable in any meaningful way. With technological advances like the internet and reprographics what now is beautiful? What can even be considered original? This is the point that Walter Benjamin makes in his seminal essay The Work of Art in the Age of Mechanical Reproduction. S: So, the Modernist artists were the beginning of this, after all they experimented with style and content didnt they? As Ezra Pound said, they sought always to Make it new. A: Could we not see artistic Modernism as not so much the beginning of something new as the end of something old? Its theoretical foundations are clearly based in a number of thinkers all of which assert the importance of teleological thinking: Freud, Marx, Hegel etc. If we examine, for instance Guillaume Apollinaires series of essays and articles on the Cubists, we can see that we characterises both Cubism and Apollinaire is the sense of revolution; in both art and in conceptions of beauty. He says Greek art has a purely human conception of beauty. It took man as the measure of perfection. The art of the new painters takes the infinite universe as its ideal, and it is to the fourth dimension alone that we owe this new measure of perfection.(Harrison and Wood, 1997: 178) We can see here how, even though the nature of the artists vision has changed, his or her place hasnt. The Cubists and, indeed the Moderns as a whole (especially in terms of its literature) asserted the validity of the artist in exactly the same way as our friend here has pointed out that Kant did. T: Which I see as being a testament to the correctness of Kants vision. A: It was this that the Moderns desperately strove to cling on to, all of their experimentation, all of their theorising, all of their invention can be seen as merely an attempt to cover up the fact that what was dying, what was losing its validity was them; their special place as artists, writers and thinkers. In the postmodern age all things are equally valid as art, all things are equally worthy even an unmade bed. How does a painting like David Bombergs The Mud Bath (1914) or even Picassos Guernica (1937) reflect the ideals of Kant? They are obviously beautiful pictures and yet they have the power to terrify and to inspire awe, they do not palliate or console so much as remind us of our own death and mortality. How do they fit in with your scheme? T: You have answered your own question, they are sublime paintings. They remind us of our own place as human beings. I agree with you, times change and so does art but the notion of the artist as a translator of human emotion is an important one. Picasso was a visionary, his art was beautiful, it made one think, to cogitate, to realise ones own humanity. OK, not in the same representative way as, say Constable or Rossetti but, then again, neither did Turner, Monet or any of the Impressionists. The subtle play of colour and light, for instance in La Promenade (1875) or even the famous Waterlilies (1905) is nothing but the distillation of experience both in terms of the artists heightened sensibility and training. The same can be said of Picasso or Braque or any of the so called Moderns that you speak of. The form is of no importance, forms and fashions change, what matters is the importance of the artist. There are recent artists who manage to combine both an artistic brilliance with a clear understanding of exactly what art means. Take someone like Lucien Freud, for instance, his paintings do not inspire one in the traditional sense of the word. They do not remind one of beauty in the same way Botticelli does or Poussin, however he asks questions about the human condition whilst displaying an artistic talent, or skill if you will. Freuds pictures are about what is like to be human, about what it is like to have a body that is constantly dying, that is betraying the young person that you still are on the inside. His naked self portraits are concerned with my point exactly: with the place of the artist in society. It is their role to exorcise the ghosts. A: Art should not be a religious experience. T: You are wrong, thats exactly what it should be. A: Art is about reflecting whats here and now not what is eternal. The work of Tracey Emin is as valid as Lucien Freud, as valid as Picasso as valid as Turner and as valid as Rembrandt because it is a product of a time that recognises no universal truths, no absolute hierarchies and no metanarratives. T: But how, then do you judge? How do you decide what should be in an art gallery and what isnt? Do you simply open the doors and let everyone in? A: Yes. T: But thats absurd, where would that led us? A: What are you afraid of? What have you got to lose? S: What is there to lose by the destruction of the discourses of truth and beauty? A: Well, this is at the heart of the question of whether this work is a work of art. What is there to lose by saying it isnt? We have seen the failure of realism in describing the truth about the human condition and we have seen the failure of abstraction in describing the truth about human emotions and mind. The only thing left for us to do is to suggest that it is the truth itself that is non-existent. S: So there is no truth left. A: There is no universal truth, the same as there is no universal sense of beauty. What is beauty after all? The Japanese have a notion they call Wabisabi, it makes up almost all of their aesthetic appreciation. Roughly translated it means imperfect or incomplete, modest or humble. It is as far from our traditional notions of Western aesthetics as we could get. There is none of the grandeur of the sublime, none of the intricacies of Vermeer or Zoffany just the simplicity of line and the imperfection of creativity. S: You mean Wabisabi actively encourages imperfection? A: Yes, it is an intrinsic ingredient of the Japanese aesthetic, but the important point is that aesthetic notions change from country to country from time to time, therefore it is an impossibility for them to be a universal ideal as our friend here seems to think. S: But is it art, this unmade bed? A: Is it in an art gallery? S: Yes. A: It must be art then. T: So you are saying anything that is in an art gallery is art, how ridiculous. That means anything I bring into this gallery could be called art. My dog? The shoes on my feet? The flask I have in my bag? At least we know where we are with the universal notion of beauty. It may not be perfect, in fact it may far from perfect but it is solid, it is not ever-changing or open to this mumbo jumbo that you are talking of. You speak as though everyone were an artist, as though everyone could lay claim to being a Picasso or a Matisse. A: Well, in a way, yes, I am. For postmodernism to work we must adopt a number of responsibilities and positions as well as reject old ones. We must be aware of our actions, Of course that means realising that, perhaps, the whole system of aesthetics needs re-evaluating. Media such as the Internet and increased access to cheap means of publishing means that it is becoming easier and easier to publish ones work and get it to a wide audience. Many musicians have found this out and have started making their work available for Internet downloads and many artists are using technology to challenge the boundaries of the traditional routes into the art world. This has got to be a good thing hasnt it? S: So, what you are saying is that because of changes in society, because of this postmodernism thing the old ideas about what is beautiful, what is true, what is art become irrelevant. In their place is a series of individual judgements based on context. If I put a light switch into a gallery a s a light switch it is not art, if I put it in as art then it is? A: Exactly. S: So it has a linguistic base your argument? If I say something is art, it is? T: This all sounds like rubbish to me. Art has a function in the real world, to be beautiful or at least to make us realise our own humanity or humanness. If we do not draw boundaries, if we dont make distinctions between art and the rest of the world we cheapen art. A: Or we elevate life! T: Take for example Hegels aesthetics theory. For Kant, existence, and along with it art and culture, could only be witnessed in a subjective sense, in other words only bits of the larger picture could be seen by anyone at any one time. It would be impossible to see the whole. Hegel disagreed with this and stated that, if we used reason, we could look at the entire universe at once. S: But thats clearly impossible isnt it? How can we look at anything other than through subjectivity? T: Think about the philosophy of science, physics, chemistry, do they not claim to be able to look at the entire world at once? There is no suggestion in medicine, for instance that we find a cure for TB in a subjective way. An integral part of the truth of the discovery is that it is reproducible, objective and quantifiable, in other words that it is being viewed in some kind of universal way. Israel Knox has a fine quote about Hegels method Hegel exalted reason to an eminence from which it could have an adequate and coà ¶rdinated knowledge of the whole of reality of reality as the incessant temporal forward march of the Absolute, of Spirit, of God.(Knox,1958: 81). It is reason that is at the basis of scientific discovery so why can not reason be at the heart of Aesthetic theory? A: Because reason is an outmoded construct. T: Let me finish! For Hegel, art is a reflection of Geist, which can be translated as either spirit or mind. In Hegel the two are much the same thing the mind and the spirit could be thought of as the defining entity in man; it is the thing that distinguishes him from anything else. His humanness, if you will. Geist is a manifestation of the order of the universe, the phenomenology of Geist is existence and its highest expression is art and philosophy. In this Hegel disagrees with Kant who, as we saw, thought that Nature was the most beautiful of all things. If art is an expression of Geist and Geist itself is a manifestation of the orderliness or reason of the universe, then it follows that the greatest art must be that which mirrors most succinctly this universal sense. For Hegel, art transcends nature precisely because it is a manifestation of mans spirit. You see, Hegel believed in a system he called dialectics. In the Preface to his Phenomenology of Spirit (1977) (or mind, of c ourse) he outlined his grand scheme of things and one that he was to go on to relate to art in his Introductory Lectures on Aesthetics (1993) of the 1820s. The dialectic is the grand working of history, it describes how progression can be achieved by thesis, antithesis and synthesis rather than relying on the idea of a continual advancement. In art, as in everything, first an antithesis establishes an idea, say the classical period of art; here we have a number of philosophies, ways of seeing and ideas that go up to making what we know about the world. However this is very rarely enough, this is never would we call exhaustive. Our culture, in order to progress, needs an antithesis. The classical period of art then, gave way to a period of Romanticism whereby artists and writers developed startling new ideas and notions that would transform art into something completely new. This second notion is the antithesis, it describes not a backward movement but a negation that can propel things forward; that can ensure a synthesis is formed that unites the two and causes forward momentum. For Hegel, this happens in all walks of life, from ideas and science to art and literature. He takes the great periods of art and shows how they interacted with each, succeeding schools challenging preceding schools and so on until eventually there will be an end to art where we have reached a final stage of enlightenment and there is no longer any need for dialectics. Hegel sees that reflected in his own age, with its use of reason and beauty and its synthesis of ideas and notions. Look at this bed, I see no spirit in this, I see no manifestation of Geist here, I see a manifestation of damp and mildew but very little else. This is not art because it does not conform to any of the notions I have been talking about, there is nothing here of the majesty of the universe nothing that lifts us above our everyday experience, in fact it is our everyday experience. S: I can see how Hegels philosophy makes art seem reasonable and structured, I can see that there is a progression from one idea to another. After all, if you look at a painting of the classical period it looks nothing like a painting of today, does it? Hegel must be right; art must be a reflection of some universal spirit that finds its expression in an ever progressing artistic movement. A: But, of course, if that is the case where is the end point? S: The end point? A: Yes, according to Hegel and the other philosophers of Modernism like Marx, the dialectical process inevitably advances, it has to lead to some end point. In Marx it was the glories of revolution and a Marxist state, in Hegel it was the enlightened mind. For their philosophies to have any form of truth in them this end point needs to taken into account but, where is this end point? Where has it gone? We have had almost 150 years of Marxism and over 200 hundred years of Hegelianism but still there is no sign of reaching the end point that they speak of. Consider this, for Hegel the crowning glory of civilization was his own, and therefore our, age. This was the time at which art and literature, music and culture reached its highest point, the point at which Geist was reflected most in societys artifacts. T: Yes, that is what I said. A: According to that philosophy there can only be progression, there can only be forward motion through dialectics; art, literature, culture can only get better. T: Yes, surly. A: But where is this enlightened society? If anything, society is getting more dangerous, more violent. The canonical image is that of Auschwitz, how can Auschwitz be a symbol of a society getting more enlightened and reflecting the reason of the universal unity? If anything it is a sign that it is getting less enlightened. What about the Russian Gulags, they challenge both Hegel and Marx and the same time! On the one hand they make us question the idealist dialectic of Hegel by suggesting that, far from getting more and more enlightened, society is getting more and more barbaric and, on the other, it questions Marxs dialectical materialism by asking where is this glorious revolution that was promised? What we have is not a series of structured progressions based around thesis and antithesis at all but an ad hoc collection of ideas that are organised retrospectively by history. S: So what does this mean for art? A: Well it means that, not only are the ideas in Hegels aesthetics challenged but also that his very methodology is as well. It was this failure that Adorno and Horkheimer traced in their ground breaking work The Dialectic of Enlightenment (1997). It is not so much that postmodernism negates modernism or reason but that it shows up its failings. In an interesting reworking of Odysseus and the Sirens in their book, Adorno and Horkheimer suggest that there is forever a socio-political aspect to art that precludes it from ever being a universal given. Odysseus plugs the ears of his sailors with wax so that they can not hear the song of the Sirens but he ties himself to the mast, fully able to hear. S: What does this mean for art though? A: Well, it means, for one thing that the experience of the Sirens song (a clear symbol for art) depends upon who you are in the ship. If you are a sailor you only know the dangers of the song, you are blissfully unaware of its terrible beauty and alluring qualities and if you are Odysseus you are know the beauty and the terror but you have the pain and responsibility of denial. The song remains the same, only the listeners change. S: So the value of art,

Colonialism and Imperialism - The White Male and the Other in Heart of

The European, White Male vs. the Other in Heart of Darkness      Ã‚   The novella Heart of Darkness has, since it's publication in 1899, caused much controversy and invited much criticism. While some have hailed it's author, Joseph Conrad as producing a work ahead of it's time in it's treatment and criticism of colonialist practices in the Congo, others, most notably Chinua Achebe, have criticized it for it's racist and sexist construction of cultural identity. Heart of Darkness can therefore be described as a text of it's time, as the cultural identity of the dominant society, that is, the European male is constructed in opposition to "the other", "the other" in Heart of Darkness being defined as black and/or female. Notions of cultural identity are largely constructed through language and setting and are essential to the reader's understanding of the text.       While many characters are critiqued or criticized by Conrad for their exploitation of Africa and it's inhabitants, they remain the dominant and superior race, both according to Conrad, and his primary narrator Charlie Marlow. The African characters are not only constructed as "other", but also as inferior and to an extent subhuman. This is evident through their lack of language or voice throughout the text. Africans are denied language, and are instead granted "grunting" noises and a "violent babble of mouth sounds" relegating them to an inferior status.       Only on two occasions are the natives given language and expression by the author. Firstly, when cannibalism is seen to overcome them, and one of then when asked what they will do with the body of one of the dead crew, replies "Eat 'im". The second occasion is when the enigmatic figure of Kurtz... ...constructing women as the "other", not being able to cope with the truth and facts of life, Conrad asserts the superiority and dominance of the white male.       In Heart of Darkness, cultural identity and the dominance of the European, white male is constructed and asserted through the constructions of the "other", that is the African natives and females, largely through language and setting. Thus, while claims of Conrad's forwardness in producing a text that critiques colonialism may be valid, Heart of Darkness is ultimately a product of it's time and therefore confirms the contextual notions of difference.          Bibliography    Conrad, J. Heart of Darkness. London: Penguin Group. 1995.    Achebe, C. An image of Africa: Racism in Conrad's Heart of Darkness   1975.    Sarvan, C.F.   Racism and Heart of Darkness 1982.   

Achilles in “The Iliad” Essay

The telling of the Trojan War within the confines of the Iliad goes above and beyond great lengths to describe and portray many key players but a lot of the main focus was on that of who’s considered to be one of the greatest warriors who has ever lived. This warrior goes by the name of Achilles. The main logic and reasoning behind this key focus is to make sure that readers of the literature have a detailed description, physical or mental implanted into their brain so they can relate, regardless if the actions are positive and or negative. It gives the reader the chance to indulge themselves into the character like if they were at war fighting for what they believe in or what they were told to do. In the beginning Homer’s depiction of Achilles leads one to believe that he is a big bad hard ass that strikes fear in the hearts of many. Yes this is true but as the story unfolds, he is not only this cold blooded warrior, but one that has emotions and shows them. A prime ex ample of his feelings coming out is when he learns of his beloved friends Patroclus’ death. With him actually showing emotions, in contrast to the other warriors this made him well rounded. Homer starts out with a quick description of Achilles stating how he’s half man half god. This is all thanks to his mother for taking the correct measures and precautions when he was just a baby. By doing this she created a super human warrior of sorts without really even knowing Achilles possesses super human strength that gives him an advantage of most if not all of his competition. He is also described by Homer as having a very close relationship with the gods. No one really knows why, but one can only assume. Another point brought up is that he also has very deep seated character flaws that are always interfering and clouding his judgment so he may out with nobility, integrity, and common sense which makes him intellectually and morally cursed in a sense. A great example of his irrational decision making is when says to hell with this was and decides to abandon his comrades and puts victory in jeopardy all because he had felt the upmost disrespect coming from his commander Agamemnon. â€Å"Achilles is a man of noble principles all throughout the poem. His argument with Agamemnon is a testament to that.† He  pretty much turns into a spoiled brat because he can’t get his way and he doesn’t like what is being said to him. He is also very self-centered and egotistical. He wants to be the center of attention and be a part of the history books and with the pride he has and the tendency to follow that big ego of his is preordained. He eventually has to choose between fame and what comes along with it or being at a relaxed chill like comfort lever. He decides to go with the fame. Already considered by most to be blood thirsty, prideful, and full of wrath. It really starts to show once Patroclus is murdered in battles after the Trojans thought that it was Achilles that they were killing. Adhering to Patroclus’ pre death advice of patching up things with his commander he does so but in turns focuses all his hatred and anger towards Hector. You would think he was keep calm and so things a little different after his friends’ death but he learned nothing and seems like his friend died in vain in a sense. Achilles leads his men on what can be considered a suicide mission of sorts to kill Hector. Once that’s done he desecrates Hector’s body and slays 12 Trojans warriors and Petroclus’ funeral. These actions are the epitome of what Achilles stands for and represents. Under his blood thirsty and angry exterior, he has a break when King Priam pleads and begs for his son’s body back and by doing so something triggers in Achilles brain about his dad so he decides to return Hector’s body back to his father. Afterwards he’s back to normal in the proverbial sense and he has no idea that his prideful and egotistical ways will be the downfall and death of him. When he was dipped in the river Styx as infant, one vital part of his body was left venerable, his heels. After the Iliad concludes he was later shot in the heel by an arrow belonging to the brother of Hector, Paris. Even though Achilles doesn’t show growth throughout the epic, he is the epitome of a Homeric character because he lacks control, character, depth, and has a huge lust like appetite for fame. Works Cited â€Å"Analysis of Achilles’ Personality Growth in Homer’s the Iliad† StudyMode.com. 03 2007. 03 2007 . Character of Achilles in Homer’s Iliad.† 123HelpMe.com. 18 Jul 2013 .

The Types Of Parliamentary Democracies - 1930 Words

The two types of Parliamentary democracies are direct democracy, also known as consociational or consensus democracy, and representative democracy, otherwise called majoritarian democracy (Dickovick 118-120). A consensus democracy is founded on the principle that the citizens govern directly and that power is distributed between the executive and legislative branches to prevent and limit one branch from gaining too much power. An example of a consensus democracy is Switzerland, as it promotes consensus of the people, and it exhibits the factors necessary for a direct democracy. Alternatively, a majoritarian democracy is based on the principle of majority rules, and that power is concentrated and centralized. The United Kingdom is an example of a majoritarian democracy because it follows the majority rule principle and possesses all the qualities of a representative democracy. While consensus democracy and majoritarian democracies are both forms of democracy, the contrasting ap proaches to democratic rule they engage in - foremost pertaining to the ideas of distribution of political power, causes the two types of democracy to be diametrically opposite. A consociational or consensus democracy is commonly used in heterogeneous or plural societies, as a majority rule democracy would be unpredictable and hazardous in such a society. consensus democracy has its virtues in the front-end of democracy. It emphasizes the belief of the consensus of the people rather than theShow MoreRelatedcompare and contrast parliamentary and presidential system in the Caribbean835 Words   |  4 PagesCompare and contrast the Parliamentary and Presidential model of democracy. Which model do you believe is most suitable for Caribbean democracies? Parliamentary and Presidential democracies are forms of government that similar in some respects and differ in others. 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