Art Therapy Essay

I. Introduction, History, and Problem â€Å"Art speaks of originality, individuality, a creative process, graphic materials, colors, textures, spontaneity, risk, alternatives, and imagination†¦ Therapy implies taking care of, waiting, listening, healing, moving towards wholeness, growth provoking medicine, human exchange, sympathetic understanding† (Fleshman and Fryrear, 1981, p.75), quoting from a research paper of Dr. Carol Lark of The Art Center in Missouri. So what then truly is Art Therapy? Art therapy is a form of psychological therapy that employs artistic media, not verbal communication, as its principal means of communication to help and cure patients, who are suffering from traumatic experiences, mental or physical problems, and behavioral imbalance. Art media includes painting or drawing, photo image, sculpture, clay art, color art and other forms that showcase their feelings, moods, and maybe even show hidden talents or abilities that they are not aware of. But clients who are in need of this therapy do not have to be skilled in the arts, for the main concern is not the aesthetics of the creation but to cause change and growth in the life of the client. Art therapy is a procedure administered by an art therapist in a designated art therapy room to bring about a successful result of the practice. The art therapist is a highly-trained and experienced professional whose skills are tested by a patient in a complex and difficult task to improve his/her well-being. They are well educated about human nature and development, psychological theories, clinical practice, spiritual, multicultural and artistic language and traditions, and the healing probabilities of art. Art therapist convenes with people of all ages and social standing either in individual or group settings. The art therapy room or â€Å"creative arena† (Case, 1992, p.19) is the place where a â€Å"triangular relationship† (Case, 1992, p.19) is formed by the art work created, the patient or client, and the therapist. This kind of relationship is what makes art therapy different form other clinical practices of therapy. This arena is expected to be a place of security and of peace so that the right therapeutic process is administered thoroughly and far better results are achieved. Art therapy was first coined by an artist named Adrian Hill who was practicing it with his tuberculosis patients at the King Edward VII Sanatorium in Sussex to recover from their illness. In its formative years in the United States, from the early 1930s through the middle 1950s, art therapy was practiced by fine artists and art educators in medical, psychiatric and educational centers and facilities. Although the first post was established in 1946, early stages of the profession of art therapy were seen in the 1950s. There were debates and discussions whether it is to be considered a profession or an acceptable mode of therapy in psychology. Through the other disciplines, these are psychology, sociology, anthropology, physiology, aesthetics, and education, it later became known as a profession and was officially recognized in the health service in 1981. It became extensively distinguished from then on and is continuously expanding. Since art therapy is practiced by different therapists, it is rather a diverse career or clinical practice. However, despite the diversity of work, I believe that art therapy improves/changes attitude of people who have psychological problems. II. Function/Significance of Research This research is designed to further address the argument within this kind of profession: whether it is the art creation itself that serves as a healing mediator, whether it is the existence of the therapist that uplifts the distraught, whether it is the art therapy place that serves as a temporary haven, or is it the overall components of art therapy-the art, the therapist, and the therapy room- working together as a team to improve the condition of the patient. It aims to present an understanding of art therapy as an effective psychotherapeutic approach to patients and give them an idea of the progress of this clinical practice. The discussion in the rationale page is an extensive talk about the real claims of art therapy as a healing process to psychologically-impaired individuals. It talks about the factors that comprise a sound art therapy session and the affirmation seen by therapists on their clients after the artistic experience is explored. This paper intends to introduce to the readers both the theory, applications, and practices of art therapy and gives them the imagination to discover the value of it through different work settings. There is also the attempt to summarize the most important points and features of this kind of practice for understanding of new readers to this field. Although, the foremost objective of this paper is to make people believe what they think is unbelievable in the arts and its purpose. To let them realize that healing is not just a personal struggle if you let other people come into your life and show you the way to personal redemption. III. Rationale (explore the hypothesis) When Hill started to practice art therapy, he discovered that painting has two purposes for the patient: it became a way to kill the time and it also provided them a medium to release anxiety and trauma. Even in the most serious or aggravating situations in our lives, through artistic expressions we experience a sense of power and liberation; our dignity and self-respect are stimulated by this creative activity as opposed to those who say that creative expression is a shallow approach to good health and well-being. History shows that self-repair and total transformation is achieved through the dominant force of art expression. Victims of disaster, tragedy, despair, or the daily dangers of life respond to these kinds of cases with affirmations of care and love for each other due to the healing process of art therapy conducted in peaceful and safe places of free expression. Take for example the case of 9/11 terrorist attacks. During their time of grief, people gathered together to release the negative emotions and commemorate the loss of their loved ones. Despite the hatred and anger, compassion among them superseded everything. Within the area of attacks, people offered flowers, prayers, songs, and presented memorabilia such as drawings, sketches, photo images of the victims. These are true examples of artistic expression, both the verbal and nonverbal medium that help the families and friends of the victims overcome the pain and trauma of losing a loved one. â€Å"Psychological safety is a primary element of the healing environment† (Kalmanowitz, 2005, p.xiv) because they are afraid to reveal themselves in places where they believe their artworks and actions will be misunderstood and shamed. In this tragedy, even though the towers were the targets of attacks, these people felt secure expressing their grief because mainly of the overflow of emotions encompassing the area. They felt that it was okay to pour out their pain, and they were not alone. Volunteer groups, either professional or non-professional clinicians, stood by them and comforted the down-trodden. But the process did not end there because survivors were involved in support group therapy that uses art as the basis of healing. Any creation or image presented by the client signifies an emotion or thought, even the past, present, or future phases of his/her life. Inner experience and feelings surface through the art process in a chaotic raw form. These art materials provide a concrete way through which the conscious and unconscious aspects of a person can be revealed. Art or expressive therapy grants an opportunity for the individual to discern the bad habits that generate conflicts within himself and conflicts with other people. â€Å"Making the invisible visible is a major function of the art in art therapy† (Lark, 2001, p.1). The object appears to the therapist as an extension of the client’s self with a symbolic meaning yet to be understood by both of them. The object or image is telling us a story. It opens opportunities to enter and read the human psyche. The making of an artwork encourages discipline and self-esteem, and requires socialization within the confinements of the therapeutic sessions. The judgment and comprehension of the therapist is based on how the object is made and what art materials are used to complete the image. Therapists are expected to learn the underlying meanings of it since this was part of their education and practice. Therapists are expected to be sensitive people on matters of sensitivity of the client’s mind and soul. Let’s take another example designed by art therapy practitioners. The â€Å"House-Tree-Person technique† (Hammer, 1964, p.9) is one of the popular and widely-used psychoanalytic tasks used as an approach in art therapy. The House-Tree-Person technique requires the client to draw a house, a tree and a person on a white paper. This drawing or image evaluates how the client sees himself or herself in the world through the comprehension of the therapist. The branches of the Tree overextended upward or outward are interpreted by the therapist as the subject’s over striving for success. Windows situated against the wall of the House, so the side of the House also serves as one side of the windows, represent feelings of lack of self-confidence. If in profile view, only one part of the person-for example, head or body- is shown, an elusive attitude in social affairs is projected. For deeply depressed patients, lack of complete details and use of very faint lines are a combination found in their works. A feeling of isolation, exposure, and helplessness in the face of environmental pressures is, on the other hand, seen in a line sloping downwards and away from the drawn whole. Meanwhile, art therapy with individual clients and groups should also be considered as to the client’s presentation of his art. Individual client setting is requested when he/she feels more comfortable in creative expression if it is a direct one on one approach. Group therapy setting is rather joined by an individual if she feels profited by another person’s warmth and physical closeness, which is based on the philosophy that man is a social being. However, group clients still break away from each other at some points and that has to be understood and patiently addressed by the therapist. IV. Methodology of Research The methodology of research I used is mainly through the inductive technique or the collection of data and evaluation of results. Definition, background, historical context and other useful data were collated from resource books on art therapy and from the suppositions of clinical practitioners of art therapy. Data collected were also taken from some research and background academic papers of art therapy professionals. The case sample on the 9/11 attacks were based on newspaper and television accounts, audio-visual and printed memories and notes of the tragedy by journalists. The concrete sample of House-Tree-Person technique was taken from an author’s description. Most research details were gathered from the books and resource papers of authors Lark, Case, Kalmanowitz, and Hammer, carefully examined and understood. Although interviews were not taken, personal notes of motivation and daily observation on people around were also bases on this research. Motivational quotations were also extracted from the resources to define the drama of the whole healing process. V. Conclusion of Research Art therapy can be used with children, adolescents and adults in a wide variety of settings and applications. As an integrative therapy, it offers a necessary option for clients who may need an experiential, less verbally-driven approach. People in all walks of life turn to creative expressions, some may not even be aware that they are already exposed to this activity, because of the lack of knowledge and help from professionals. There are national organizations in and outside America looking after the improvement or development of standards and training in art therapies. One is seen in private offices or corporations, outpatient clinics and hospitals, community and rehabilitation centers, prisons, and schools or universities. They work with individual or group to paint, draw, or do other artwork and derive the importance of imagery used in their creations. These professionals and organizations work hand in hand with each other to bring about a better quality of service in art therapy for their craft and for the benefit of their clients. It has to be realized by the people around psychologically-problematic cases that healing does not only come from the successful art therapy sessions, but their support also contributes to the whole process that they want to achieve for themselves or for other people. Lest they forget that some of the causes of their depression, stress, trauma, and tensions come from their family and society. The successful interpretation of the art object by the therapist, the willingness of the client to open up to the therapist and to other people as well, the comfortable and secure setting of the therapy room, and the artwork itself be it aesthetically balanced or not, all of these components of art therapy are relevant to the client’s well being. The absence of one component means the incomplete and ineffective process of art therapy. Kalmanowitz (2005) also believed that â€Å"the healing qualities of art relate to the total spectrum of the soul’s experience and that art therapy’s relevance is dependent upon its willingness to meet new challenges and go to places where troubles in the human condition exist† (p.xii). Friedrich Nietzsche also once said that unless we deal with our pain, we are truly lost. So much has been said to validate the real nature of art therapy in personal and communal perspectives then and now. But one thing is for sure, art therapy and its relations with other disciplines will continue to develop in the future. Art therapy really changes/improves the attitude of people with psychological problems. We just have to look within ourselves and we might find the urge to help them; we have to look again within ourselves and we might find ourselves needing the therapy for our own conscious and unconscious demons tearing us apart. In these difficult times, we are everyday faced with disconcerting situations where we are left in the middle of the struggle and we do not know how to fight back. These kinds of situations when treated with neglect, thrown away in the air as if it is nothing, are the ones that are dangerous to the human psyche. Do you want to see yourself dancing in the streets naked? Can you see one of your family members killing herself or himself? Would you like to see a world of deranged men acting as beasts? That is why God created us in his own image and likeness, for us to realize that we are made human beings to love and be loved just like he did. References Case, C. and Tessa Dalley. (1992). The Handbook of Art Therapy. New York: Tavistock/Routledge. Fleshman, B. and Jerry L. Fryrear. (1981). The Arts in Therapy. Chicago: Nelson-Hall. Hammer, E. (1964). The House-Tree-Person (H-T-P) Clinical Research Manual. New York: Western Psychological Services. Hill, A. (1941). Art versus Illness. London: George Allen & Unwin. Kalmanowitz, D. and Bobby Lloyd. (2005). Art Therapy and Political Violence: With Art, Without Illusion. London: Bruner-Routledge. Killick, K. and Joy Schaverien. (1997). Art, Psychotherapy and Psychosis. London: Routledge. Lark, C. (2001). Art Therapy Overview: An Informal Background Paper. Retrieved from http://www.art-therapy.com/ArtTherapyOverview.htm. Waller, D. (1993). Group Interactive Art Therapy: Its Use in Training and Treatment. London: Routledge

Alexander the Great: The Invisible Enemy Essay

Alexander the Great Introduction   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Fighting has been an unavoidable part of human history since humans evolved. Regardless of the aim, no battle can be successful without a good leader. In history, among the best military leaders was Alexander the Great. He was born in Pella, 20th July 356BC. As a young person, Alexander was a strong and fearless boy and brought up as a warrior (Farmer, 216).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Alexander fought for twelve years in the Pearsian Gulf, Egypt and in the Middle East whereby his conquests left a legacy that had a positive and lasting impacts in the way of life of the peoples. Besides his conquests, Alexander inherited his father’skingdom of Macedonia at the age of twenty years, becoming one of the youngest king ever to be in the world. He worn many wars because of his ability to inspire, lead and motivate his armies. His intention was on constructing a united kingdom, which was not easy during his time, but he succeeded in building a united kingdom. It is for this reason that the development of ancient Macedonia is associated with Alexander the Great because he built cities along the trade routes through the wealth he obtained from the Persian treasury, whereby the economic system remained unchanged till the industrial revolution.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Being a great leader, his legacy is still remembered for his ability to conquer many empires. He started his fighting campaign with 37000 men, of which 5000 were calvary. He used this army to fight his first war against the Persian Empire, which almost cost his life. After winning this war, he was able to control half of western Asia. Afterward, he also attacked Syria, Palestine and Egypt and conquered them and acquired the title of Pharaoh of Egypt. He was such a strong leader in the world history who never turned back against his enemies. His conquests still remain in the world history as the most successful leader in fighting and winning wars.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Moreover, regardless of his motives, ideas or views, Alexander enabled the extension of the Greek ideas and language to the non-Greek world of Asia. His destruction of the Persian created chances for Greek authorities, intellectuals, soldiers, engineers, merchants and his successors participate in the new political unity grounded on the principle of the monarch. His successors utilized force to introduce military monarchies, which dominated the Hellenistic monarchies world after his death. Furthermore, Autocratic authority became a regular characteristic of the Hellenistic monarchies, which was a section of Alexander’s political legacy (Heckel, 89). Nevertheless, it is clear that the Romans were inspired by Alexander’s vision because they were the real inheritors of his legacy. Not only did Alexander left a political legacy, but a cultural legacy that ended up in the Greek Language, architecture, literature and art that sprea ds into other regions of Asia. Moreover, the new cities that were created by Alexander becamethe spring board for the spread of the Greek culture. His legacy built the clash and fusion of distinct cultures that formed the basic features of the Hellenistic world.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As a king, Alexander proved his leadership qualities through obtaining massive empires and leaving behind a legacy that had a lasting impact in future evolutions. Though his empires disintegrated after his death, he had already built a multi-cultural empire, which would ultimately have a significant effect on the Roman civilization. Besides, from the period of antiquity till to the present, he is demonstrated as a military genius. His achievements in the art of war are still shocking. Peoples such as Napoleon, Caesar, and Hannibal studied about Alexander military approaches and acknowledged that without the knowledge they acquired from Alexander, they would have not been capable of achieving what they did (Shecter, 410). It is clear that his achievement was a base for others to follow his footsteps. His armies usually counted on him to lead them in times of battle and he never failed them. As a matter of fact, he had a unique character whe reby when he usually arrived before his enemies anticipated.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In conclusion, Alexander the Great was a great leader and still one of the most bewildering great figures in history. Most of the historical figures do not stand out in similar level as Alexander. He was a warrior at the age of sixteen, a commander in chief at the age of eighteen and a king at the age of twenty. He solely handily altered the ancient world in just over a decade and looking at his childhood in the acquiring of the throne, conquests, marriage and death, it is clear that as the name great suggest, Alexander the Great was and is still one of the greatest historical and political figures of the world. Moreover, as a leader, he showed uncommon resourcefulness both in the combination of using distinct arms and acclimating a tactic to meet the problems of his powerful and strong adversaries. Besides, though he had a short time in authority, he marks an important period in world history. References Farmer, Henry George. â€Å"â€Å" The Horn of Alexander the Great †.† Journal of the Royal Asiatic Society of Great Britain & Ireland: 500-03. Print. Heckel, Waldemar. â€Å"Alexander the Great: The Invisible Enemy.† Canadian Journal of History 1 Aug. 1993. Print. Shecter, Vicky Alvear. Alexander the Great Rocks the World. Plain City, OH: Darby Creek Pub., 2006. Print. Source document

Blackrock Essay

The Portfolio Analytics Group or (PAG) within Blackrock Solutions utilises Blackrock’s proprietary analytics tools and models, such as the Green Package reporting suite, to measure risk on both a security and portfolio level. This area immediately attracts me as this is exactly the roles and responsibilities that i am looking for with regards to an internship Summer Internship with yourselves. The PAG Analyst role is central in supporting Blackrock’s investment process, producing reports and analytics utilised by all areas of the firm, giving rise to a unique opportunity to see how all functional areas operate and link together. The role is also central in supporting BlackRock Solutions external clients across their investment process and risk management oversight. Therefore this does not only fulfil and provide insight into all the areas that i am so very interested and intrigued by, but also gives a much broader perspective to the wider functions of BlackRock. BlackRock is widely recognized for its disciplined investment process and rigorous risk management. Since its inception, we have focused on the assessment of security and portfolio-level risks for investment decision making as well as for efficient transaction execution. As a result, BlackRock developed an integrated suite of investment management tools that provide solutions to these many varied facets of the business model. All these points help to culminate together in understanding what attracts me personally to an internship with an industry leader such as yourselves. The way you operate as a firm, your corporate culture and identity, plus your track record and that fact that you are so highly regarded within your respective industry fields, all help to see why exactly i am attracted to an internship opportunity at BlackRock, a firm that truly encapsulates everything i am looking for with regards to my future and further professional learning, development, and career prospects.

Criminal Activity and Education in The UK Statistics Project

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Economics of Sport - Essay Example Without this sports excitement, the league and the events would be dull and would not attract fans and customers. The uniqueness of the sports world lies in the fact that they develop their business on selling competition. One of the key features of the economics of sports is that the demand for its product is related to the uncertainty of the outcome (Garland, Malcom & Rowe, 2000). The league attempts to restrict competition so that no one team is able to gain too much market power or excessive dominance. If any team of professional team sports gains monopoly, it would cause the revenue to disappear altogether (Garland, Malcom & Rowe, 2000). There are many ways to measure competitive balances, the most frequently used metrics are standard deviation and win percentages of the teams for a given year, ratio of the actual to idealized standardized standard deviation of win percentages, ratio of top to bottom win percentages, the range of win percentages, the gini coefficient of win percentages and the excess tail frequencies (Zimbalist, 2004). It is assumed that fans have a strong preference of uncertainty of outcomes for the purpose of hopes and expectations. The best measure to use would be one to which consumers show most sensitivity (Zimbalist, 2004). In his book â€Å"Handbook of sports economics† (2006) Fizel explains that there are many measures of competitive balance, but their efficacy is still argued over. However the arguments over the relative efficacy are due to the inability to understand the distinction between the three main elements of competitive balance. remain at the top and those which are not remain at the bottom for long periods of time. Although it is widely agree that competitive balance is essential for keeping fans interested, it has also been viewed that in certain cases the home team’s performance has a significant impact on the attendance. This is in contrast to the hypotheses of uncertainty of outcome. This probability

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Editing my answer papres Essay Example | Topics and Well Written Essays - 1250 words

Editing my answer papres - Essay Example The warehouse was burgled and the company suffered a loss of $30,000. The insurance company claimed that the insurance policy did not cover burglary and therefore refused to pay. Duty of care was breached when Daniel failed to check the content of the insurance policy. When Quality Sofa expected to collect insurance it was faced the losses of 30,000 $ which affected its financial state, because he did not carefully check the statement and should be held liable for it. If Daniel is unaware of nature of insurance policies, because he is an accountant, it is no excuse to just sign the policy. He should have spent time and even requested legal advice if necessary not to be held liable in this particular case. As for his liability in duty of loyalty, he is liable for getting personal benefit by offering a client of Quality Sofa Bed a discount that not the company’s interest, but rather his own interest. If the client had approached Daniel as an individual, then he would not be held liable. Although Daniel should have disclosed that the warehouse that Quality Sofa and Bed purchased was his, he saved for Sofa and Bed 5,000 $ because the fair value was valued +5,000 $. In the specific incident he kept his self-interest aside and put the company’s benefit on the first place. Although Daniel did not technically breech his duty of loyalty in the warehouse incident, he definitely breeched his duty of care with the insurance contract and his duty of loyalty with the personal gain he benefited from. There were two violations of duties. I think that although he sold his warehouse for less than fair value and since he insisted on the directors to purchase his warehouse, he should have at least disclosed that he owned the warehouse or even restrained from voting. Since he already breached one duty of care and one duty of loyalty he can’t be considered a reliable director. Corporate governance has failed miserably to alert of send signals to everyone that

Jain Architecture Essay Example for Free

Jain Architecture Essay Summary Jainism is a religion, based on ‘non violence’ and ‘self control of the human senses’. It has its origins in India. Jains are idol worshippers, and a temple is a place where this worship is carried out. Jain places of worship in India are unique in many respects. Temple cities are built atop hills at a considerable height from the sea level. Palitana, Delvada and Sametshikhar are classic examples of cluster of temples built on the top of hills. These were built during the times when the only technology available was hand work. Ranakpur and Shramanbelgoda are other classic examples of architectural masterpieces emerging out of devotion to idol worship. A photographic exhibition on these five sites is proposed. It will try to explain the uniqueness of temples at each of the sites. It would be an effort to demonstrate to the world, the marvelous results faith can bring. Attention would also be paid to the extensive use of marble as a material of faith ( the idols) construction ( the structures) and decoration ( the pillars and the domes) of Jain temples. The team will visit each of the sites and shoot the required still pictures. Specialists on each of sites will be personally interviewed to understand the architecture of each site as a form of art. So far, much work is not done on documentation of Jain architecture. Nor is there any authentic analysis available to see them as a form of art. For examples the basic geometric principles of Jain temples are hardly documented. The final form of the exhibition will be a series of still photographs, sketches or drawings or maps supplemented by text. This will make a comprehensive presentation of Jain temples as a form of art. Scope: The scope of this exhibition is to communicate the uniqueness of Jain architecture, mainly the five most popular sites in India, namely, Sametshikhar, Palitana, Delvada, Ranakpur and Shramanbelgoda. The medium used is still photography, supported by drawings, sketches and written text. All the photographs will be shot on 35 mm format. All the information will be displayed on panel size 4 ft X 3 ft. Each site will be allotted 10 panels, making it 50 panels in total. Each temple site will be documented as an independent module, to facilitate erection at any place in future. Leaving proper space between two modules will ensure a smooth human flow, while the exhibition is on. The exhibition is not to be viewed from a religious or a philosophical point of views, but as a form of art. It will expose the onlooker to how Jains incorporated the element of art into their ‘places of worship’. All the five sites chosen for this exhibition are in India. Sametshikhar, in the state of Bihar, can be compared to Mecca of Jains. This is the place where most of the 24 ‘tirthankars’ of Jains, attained their ‘nirvan- freedom from the cycle of rebirth’. Temples are built on the top of an array of hills as a mark of respect to each of them. Palitana, in the state of Gujarat, is a city of temples on the top of a hill, where the first ‘ tirthankar’, prayed. Delvada, at Mt. Abu in Rajasthan is well known for its intricate hand carving of large marble columns and the domes. Ranakpur, at the foot of Aravalli hills in Rajasthan, is again a rare piece of architectural marvel. It is a four sided temple, with 1,444 hand carved marble columns, in its interior. No art symbols on any of the columns are duplicated. The ceilings and the domes are also carved with symbols representing Jain beliefs. Shramanbelgoda, in the state of Karnataka in South India, is not a closed temple, but a single, huge idol of Bahubali. This idol is believed to be carved out of single piece marble. Temple complex at Palitana ( clipart ) ( ref. No. 1 ) Close up view of column carving at Delavada Dome carving at Delavada ( clipart ) ( clipart) ( ref.No. 2) ( Ref. No. 3 ). Temple complex- Delwada ( clipart) ( Ref. No. 4) Temple complex – Ranakpur ( Clipart) ( Ref. No. 5) Few of the 1444 pillars at Ranakpur ( Clipart)(ref6) Dome carving at Ranakpur(Clipart) ( Ref 7) Pillar carvings – Ranakpur ( Clipart ) ( re no. 8) Idol of Bahubali, Sramanbelgoda ( Clipart )(ref 7) A team consisting of experts in still photography, freehand sketching, documentation will be visiting these sites personally in India. They will also interview and talk to people who are experts on each of the sites. The same team on return, will edit the visual and the text material and prepare the final panels. This team will also be present at the site wherever this exhibition is held, to personally brief the visitors on the subject. This exhibition must happen, because of the uniqueness of its subject. Perhaps there is no such collective documentation existing, as yet. It would surely enlighten the onlooker. Works-cited page 1. Clipart , Clip Arts from Jain temples/Pilgrimage places, Retrieved on 1 May 07 from: http://www. jainworld. org/pictures/temples .

Life And Work Of Barbara Baer Capitman History Essay

Life And Work Of Barbara Baer Capitman History Essay Barbara Baer Capitman, whose vision and persistence helped to turn a rundown area of Miami Beach into a vibrant Art Deco historic district, died of congestive heart failure on Thursday at Mount Sinai Medical Center in Miami Beach. She was 69 years old and suffered from diabetes and heart tremors. Ms. Capitman, who had lived in Miami since 1973, applied her talents to arouse renewed interest in 1920s and 1930s buildings throughout the country. Radio City Music Hall and the Chrysler Building are among the best examples of Art Deco. My whole life had been Art Deco, she once said. I was born at the beginning of the period and grew up during the height of it. Its a thing of fate. Headed a Preservation League In 1976 she helped to found the Miami Design Preservation League, which in 1979 won Federal historic designation for the South Beach district of Miami Beach. Her outspoken, unorthodox manner later led to her ouster from the group. She would push and agitate and cause trouble until people wouldnt speak to her, said Michael Kinerk, chairman of the Art Deco Weekend festival. She was interested in results, not social sensitivities. The South Beach district is now on the National Register of Historic Places, the only 20th-century district on the register. That status brought Federal tax relief to what had been a depressed area. It is now enjoying an economic and cultural rebirth. Chapters in Other Towns Mrs. Capitman, president of the Art Deco Society of America, helped found chapters of the society in several cities, including New York, Washington, Chicago, San Francisco and Los Angeles. She was the author of Deco Delights (1989; E. P. Dutton). She was born in Chicago and attended New York University. She later wrote advertising copy and was a reporter for The Atlantic City Daily World, which has ceased publication. Her husband, William Capitman, died in 1975. He was a market researcher and economist and in later years a teacher at Florida International University. Mrs. Capitman leaves two sons, Andrew W., who lives in London, and John A., who lives in Cambridge, Mass., and four grandchildren. Barbara Baer Capitman, the intrepid little old lady credited with saving Miami Beachs colorful Art Deco district made famous on the hit television series Miami Vice, has died in the city she sought to preserve. She was 69. Mrs. Capitman, who suffered from diabetes and heart problems, died Thursday at Mt. Sinai Medical Center in Miami Beach, according to hospital spokesman Arthur Ehrlich. She was president of the Art Deco Society of America and had organized chapters in cities around the country, including Los Angeles, to preserve the decorative arts style of architecture popular between the two world wars. Although somewhat more whimsical in Miami, the style is exemplified by the Chrysler Building and Radio City Music Hall in New York City and the old Pan Pacific Auditorium and the Times building in Los Angeles. At the time of her death, Mrs. Capitman was putting together the first World Congress on Art Deco and working on a book, Art Deco U.S.A. Last year she published a book about Miami Beachs 1930s hotels and other Art Deco buildings called Deco Delights. Mrs. Capitman became a preservationist in 1975 as a means of making new friends after the death of her husband, William, at 53. She attributed her quavery voice, which her detractors frequently mimicked, to the shock of his death. Within four years, despite opposition by the Miami Beach city manager and Chamber of Commerce, Mrs. Capitman and her Design Preservation League won listing of the mile-square district on the National Register of Historic Places, providing federal tax incentives for restoration. The area is the only district with 20th-Century architecture in the register. It was a tremendous achievement by one personone little old lady, said her son Andrew. Barbara Capitman deserves her reputation as the indomitable champion of the Art Deco treasures of Miami Beach, said billionaire investor Robert Bass, chairman of the National Trust for Historic Preservation. The districts 800 or so buildings, designed in the 30s to look like ocean liners or rocket ships or even bonbons to take vacationing Americans minds off the Depression, are the focus of Miami Beachs annual Art Deco Weekend festival, which draws about 400,000 people. In Saving South Beach, historic preservation clashes with development as each side vies for control of South Beach. A spectrum of characters are present, from Barbara Baer Capitman, the ailing middle-aged widow who became an evangelist for the Miami Beach Art Deco district, to Abe Resnick, the millionaire Holocaust survivor determined to stop her. From pioneers to volunteers, from Jewish retirees to Cuban exiles, from residents and business owners to developers and city leaders, each adds another piece to the puzzle, another view of the intense conflict that ensued. Although a number of the areas iconic buildings were demolished, the Miami Design Preservation League succeeded in entering almost half of the neighborhood into the National Register of Historic Places, kicking off a revitalization effort that spread throughout South Beach. Preservationist M. Barron Stofik lived in Miami during this turmoil-ridden period and, through hundreds of interviews and extensive investigation, weaves together dramatic themes of civic heroism, preservation, and cultural change in the passionate human story behind the pastelfacades and neon lights. Barbara Capitman is our 2010 Woman In History Honoree She was born in Chicago and attended New York University.   In her early years she was a reporter for The Atlantic City Daily World and was an advertising copywriter.   When she moved to Miami in 1973, she used her literary skills to help stimulate interest in 1920à ¢Ã¢â€š ¬Ã‚ ²s and 1930à ¢Ã¢â€š ¬Ã‚ ²s Art Deco buildings throughout the country. Much of South Beachs buildings were neglected and abandoned at the time, but Barbara Capitman was a visionary thinker and was greatly inspired by finding the worlds largest concentration of Art Deco architecture. In 1976 she helped found Miami Design Preservation League (MDPL) and led a highly criticized fight to save Miami Beachs Art Deco architectural buildings.   Miami Design Preservation League finally won its landmark battle on May 14, 1979, and the Art Deco District was added to the National Register of Historic Places.   It was the first time a 20th century district was recognized as Historic by the U.S. government. This act brought federal tax relief to the depressed area, and South Beach began to show signs of economic and cultural growth.   One by one, the abandoned buildings were restored into vibrantly colored Art Deco works of art which almost immediately became backdrops for International fashion catalogues, films and television shows; and suddenly models, celebrities, and photographers began to flock to the new pastel playground. Art Deco is the heart and soul of South Beach, and Miami Design Preservation League carries forth its spirit, says Miami Beach Mayor Matti Herrera Bower. Our communitys success story is a tribute to MDPLs championing our historic district. Preserving the communitys architecture, character and integrity led the way to the  economic and cultural revival we all benefit from today. The League was the worlds first Art Deco Society and Capitmans efforts led to the formation of Art Deco preservation groups throughout the United States, Europe, Latin America, Australia and New Zealand. Barbara also hosted a radio show and authored the books Art Deco Trademarks, Rediscovering Art Deco U.S.A. and   Deco Delights Preserving Miami Beach Architecture. Barabara Capitman died twenty years ago in March 1990 but her indelible mark on South Beach history will never be forgotten.   WE are proud to name Barbara Baer Capitman our 2010 Womens History Honoree and have asked early preservationist to come and share a few memories about her and the preservation of the Art Deco District. Perhaps the next time you walk down Ocean Drive you will think of Barbara.   WE invite you to visit the new Miami Design Preservation Leagues ART DECO WELCOME CENTER located on Ocean Drive at the corner of Barbara Capitman Way (10th St) and we hope it inspires you to join in the Preservation Movement that continues in South Beach and surrounding communities.   Click the link below if you would like to make a $50 Donation to MDPL help preserve the memory of the woman who led the fight to preserve our community.   Your donation will include a 1 Year Membership to MDPL and a contribution to The Barbara Capitman archives. August 1976 The Miami Design Preservation League (MDPL) was formed through the efforts of Barbara Baer Capitman and her son John Capitman. The initial impetus was to find a project to honor the United States bicentennial; the Capitmans worked with designers Leonard Horowitz and Lillian Barber to identify a concentration of 1930s buildings in South Miami Beach that the group felt could be a historic district of 20th century architecture. December 1976 MDPL held its first large-scale public meeting, dubbed the Design Forum. May 6, 1977 MDPL was incorporated by the State of Florida. Officers were: Barbara Baer Captiman, President; David Gell, Secretary; Jerry Peters, Treasurer; and Howard M. Neu, Vice President. September 1977 Art Deco Number of Night and Day magazine highlights the goals and accomplishments of MDPL. October 13-19, 1978 Art Deco Week organized by MDPL. The festival was held at and around the Cardozo Hotel on Ocean Drive. Barbara Capitman created the event as a showcase for the Art Deco section of Miami Beach hoping to attract both locals and tourists to the area which was comprised of an elderly population living on fixed income, many living at the poverty level. December 12, 1978 By-laws of MDPL were amended and submitted to State of Florida. Barbara Baer Capitman, David J. Gell and Carl Weinhardt, Jr. were authorized to execute the Articles as subscribers and Andres Fabergas and Michael Kinerk, president and secretary, respectively, were authorized to execute the declaration. Chairperson, Barbara Baer Capitman; President, Andres Fabregas; Vice President, Leonard Horowitz; Secretary, Michael D. Kinerk; Treasurer, Jose Madrazo; Board members besides officers: Jerald Goodman, Claire Major, Joy Moos, Karolyn Robinson, Sol Schreiber, Landon Thorne III, Carl J Weinhardt, Jr., Mitchell Wolfson, Jr. May 14, 1979 The Miami Beach Architectural Historic District (popularly known as the Art Deco District and Old Miami Beach) was listed on the National Register of Historic Places. It was the nations first 20th century Historic District. July 1979 Portfolio of the Art Deco Historic District was published by MDPL with funding from the National Endowment for the Arts (NEA.) Barbara Capitman, editor; Diane Camber, Assistant Editor; Bill Bucolo, Managing Editor; photographic essay by David Kaminsky; articles by Carl J. Weinhardt, Jr., Karalyn Robinson, Barbara Capitman and Andrew Capitman. September 1979 The Art Deco District: Time Present Time Past, a magazine with articles on various aspects of Art Deco, was published by MDPL. March, 1980 Andy Warhol, world-famous artist and one of the pioneering Art Deco collectors, called the MDPL office in March 1980 and asked if someone would show him the Art Deco buildings in Miami Beach. An appointment was made, Warhol arrived from New York and he was given a top to bottom tour led by MDPL founder, Barbara Baer Capitman and Diana Camber the Executive Director of MDPL, now Director of the Bass Museum of Art. This event was widely covered by the news media and gave our new historic district a stamp of approval from an art-world celebrity. April 1980 The Boulevard Hotel, at 775 Dade Boulevard, was demolished. January 1981 The Anderson-Notter-Finegold plan for the Miami Beach Architectural Historic District was completed (the plan was never adopted). January 7, 1981 The New Yorker Hotel (Henry Hohauser, 1939), at 1611 Collins Avenue, was demolished. Despite sustained protests from preservationists, the hotel was destroyed by owners Abe Resnik, Dov Dunaesvsky, and Isaac Fryd. The hotel, which many consider to be Hohausers most successful design, awakened the community to the need to enact local legislation to protect properties listed on the National Register. The hotels faà §ade was later used in the new logo of the Miami Design Preservation League; the New Yorkers lot stood vacant for many years and is now occupied by the northern-most portion of the Loews convention center hotel. February 1981 Adoption of the first Dade County Historic Preservation Ordinance, which required municipalities to adopt Historic Preservation Ordinances by July 1982. February 4, 1981 City Commission adopted Resolution No. 81-16551 requesting exemption from County Historic Preservation ordinances. 1981 MDPL founders Barbara Baer Capitman and Leonard Horowitz took a cross-country trip to discover Art Deco architecture in major U.S. cities. The trip spurred the development of Art Deco societies in many of the cities, and Capitman began to be referred to as the Johnny Appleseed of Art Deco. 1981-1982 MDPL worked to protect historic buildings by encouraging local historic designation on the National Register District. April 2, 1982 First meeting of Mayors Ad Hoc Committee to draft and review a Historic Preservation Ordinance for Miami Beach. June, 1982 Miami Beach Art Deco District: Time Future was published by Community Action and Research under the auspices of MDPL. The booklet, edited by Paul A. Rothman and Barbara Capitman with graphic design by Woody Vondracek, summarized the Anderson Notter Finegold plan for the Art Deco Historic District and lobbied for its adoption by the City of Miami Beach. June 16, 1982 The first Miami Beach Historic Preservation Ordinance, No. 82-2318, was adopted; it contained 100 percent owner consent provision. September 23, 1982 The Dade County Historic Preservation Board found the Miami Beach Ordinance not in compliance with county requirements. October 20, 1982 The City Commission appointed the first Historic Preservation Board. January 31, 1983 The U.S. Department of the Interior found the Miami Beach Ordinance to be in compliance with National Register standards for local governments. April 20, 1983 Ordinance No. 83-2367 amended Historic Preservation Ordinance No. 82-2318, changing owner consent from 100 percent to 51 percent required for designation. May 4-7, 1983 The Art Deco District came to the attention of the art world as a result of Surrounded Islands, an installation by artists Christo and Jeanne-Claude in which a series of 11 islands in Biscayne Bay were wrapped in pink fabric. During the installation, the artists established their headquarters in the Art Deco District. August 15, 1983 Dade County and others filed a lawsuit to invalidate the Miami Beach Historic Preservation Ordinance. October 5, 1983 The City Commission adopted Ordinance No. 83-2388 designating the Old City Hall building as the citys first Historic Preservation Site. February 1, 1984 The City Commission adopted Ordinance No. 84-2402 designating the 21st Street Community Center a Historic Preservation Site. April 4, 1984 The City Commission adopted Ordinance No. 84-2405 creating a Design Review Board. 1984-1989 The Art Deco District achieved worldwide recognition as a result of the hit television show Miami Vice, starring Don Johnson and Philip Michael Thomas. The show used the Art Deco District as a backdrop in many of the episodes. February 6, 1985 The City Commission adopted the Ocean Drive plan containing recommendations for local Historic District designation. March 20, 1985 The City Commission adopted Ordinance No. 85-2470 eliminating the owner consent provision from Historic Preservation ordinances. October 16, 1985 The City Commission adopted the Espanola Way plan containing a recommendation for local Historic District designation. 1985 Renowned fashion photographer Bruce Weber chose Miami Beachs Breakwater Hotel for a photo shoot for an ad for Calvin Kleins Obsession, spurring an onslaught of fashion photography shoots in the Art Deco District. July 23, 1986 The City Commission adopted Ordinance No. 86-2511 designating the Espanola Way District and the Ocean Drive/Collins Avenue District as Miami Beachs first Historic Preservation districts. These ordinances were adopted after significant grassroots efforts by MDPL. 1986 Our Driveà ¢Ã¢â€š ¬Ã‚ ¦Ocean Drive was a joint campaign by MDPL and its sister organization, the Miami Beach Development Corporation (MBDC), now renamed the Miami Beach Community Development Corporation (MBCDC). As a result, a $3 million bond package was approved to fund the widening of the sidewalk on the west side of Ocean Drive, allowing hotels to establish sidewalk cafes. On the east side of the street, a wide promenade was created along the wall separating Lummus Park from the beach. 1986-1988 MDPL campaigned for local designation of the entire National Register District and revisions to the zoning codes to make them more compatible with historic preservation. MDPL started the SOS (Save Our Senator) campaign to prevent demolition of the Senator Hotel. Although the hotel was demolished (see May 3, 1988), MDPLs efforts delayed demolition for more than a year. The public outcry that MDPL created resulted in the City Commission passing a strengthened local preservation ordinance that could prevent demolition. 1987 The Biscaya Hotel (1925), at 650 West Avenue, was demolished. MDPL mounted an unsuccessful campaign to save the hotel, originally the Floridian Hotel and the last remaining example of the grand bayside hotels. May 6, 1987 The City Commission adopted Ordinance No. 87-2665 designating Altos del Mar a Historic Preservation District. January 1988 The Poinciana Hotel (Albert Anis, 1939), at 1555 Collins Avenue, was demolished. February 3, 1988 The City Commission adopted Ordinance No. 88-2598, strengthening the demolition section of the Historic Preservation Ordinance. May 1988 Miami Beach Art Deco Guide was published by MDPL. The guidebook, written by Keith Root with editorial assistance by Dr. Ernest Martin and Michael Kinerk, contained six self-guided walking tours of the Art Deco District. May 3, 1988 The Senator Hotel (L. Murray Dixon, 1939), at 1201 Collins Avenue, was demolished. June 1988 Deco Delights: Preserving the Beauty and Joy of Miami Beach Architecture, written by MDPL founder Barbara Baer Capitman, was published by E.P. Dutton. June 1, 1988 The City Commission adopted Ordinance No. 88-2616 placing the Architectural District under Design Review jurisdiction. April 5, 1989 The City Commission adopted Ordinance No. 89-2637 designating the Venetian Causeway (1926) a Historic Preservation Site. September 7 21, 1989 The City Commission nominated the Flamingo and Museum neighborhoods for Historic Preservation Districts designation. The Museum area was nominated as a local historic district or collection of historic sites depending on the findings of the Historic Preservation Board. March 30, 1990 Barbara Baer Captiman dies of congestive heart failure. An advocacy program attempts to influence public policy and public actions in a direction consistent with a groups mission. MDPLs advocacy program is guided by its advocates aim to act consistently with MDPLs mission statement: Miami Design Preservation League (MDPL) is a non-profit organization devoted to preserving, protecting, and promoting the cultural, social, economic, environmental and architectural integrity of the Miami Beach Architectural Historic District and all other areas of the City of Miami Beach where historic preservation is a concern. The MDPL Advocacy Committee suggests these priorities for MDPL advocacy activities: Preserve and protect the historical and architectural integrity of the Miami Beach Architectural District, both of its individual buildings and of the district as a whole; Support the historic preservation process put in place by the City of Miami Beach and the Citys enforcement of the outcomes of that process in any area where historic preservation is a concern. Propose and support changes in the Citys historic preservation process and land use policies when necessary to carry out and fulfill the mission statement; Propose and support changes in Florida and national policy when necessary to carry out and fulfill the mission statement; Preserve and protect historical, architectural, and environmental resources in other areas of Miami Beach, especially when designated as local historic districts by the City of Miami Beach, but including any area where historic preservation is a concern. Act to support residents and property owners, in current and potential historic districts, when citizens act to preserve, protect and promote the historic, architectural, cultural, social, economic, and environmental integrity of any area where historic preservation is a concern. Miami Beachs building boom came during the second phase of Art Deco known as Streamline Moderne, which began with the stock market crash and ended in most cases with the outbreak of World War II. It was less decorative-a more sober reflection of the Great Depression. It relied more on machine-inspired forms, and American ideas in industrial design. It was buttressed by the belief that times would get better and was infused with the optimistic futurism extolled at Americas Worlds Fairs of the 1930s. Stripped Classic or Depression Moderne was a sub-style often used for governmental buildings, the U.S. Post Office being the best example in Miami Beach. Miami Beach architects used local imagery to create what we now call Tropical Deco. These buildings feature relief ornamentation featuring whimsical flora, fauna and ocean-liner motifs to reinforce the image of Miami Beach as a seaside resort. Art Deco What to look for Over-all symmetry, ziggurat (stepped) rooflines, glass block, decorative sculptural panels, eyebrows, round porthole windows, terrazzo floors, curved edges and corners, elements in groups of three, neon lighting (used in both exteriors as well as interior spaces). However, there really are three predominate architectural styles found in the Art Deco District: When our tour guide revealed yesterday that the person most responsible for saving Miami Beach Art Deco buildings from the wrecking ball of capitalist progress was a Communist Jew from New York, my first reaction was surprise and delight. But after a moment it sunk in that this was just what I might have suspected. When it comes to looking after the long-term interests of society, whether it is cultural heritage or climate change, you have to rise above the profit motive and who better to assume this role than the Red. In 1948 the 28 year old Barbara Capitman met her future husband Will at a May Day party sponsored by the Young Communist League in N.Y. She was the only child of a sweater-importing father and a mother who was a sculptor and painter. When Will graduated from NYU law school in 1951, he was blocked from passing the bar because of his YCL past. So instead he made a living teaching business and marketing at Harvard and Yale. In 1973 he got a tenure track position at the Florida International University business school and the two moved to Coconut Grove, Miamis version of Greenwich Village. Two years later he died from pancreatic cancer and Barbara was on her own. After moving to Miami Beach, Barbara ran into Leonard Horowitz, a doorman at a luxury condo who was gay and an aspiring artist/designer. They became close friends after meeting and soon discovered a shared commitment to the preservation of Art Deco buildings. The two formed a committee to save the old buildings now falling into disrepair that relied heavily on donations from gay people and senior citizens. Within 3 years, they managed to have over half of South Beachs Art Deco hotels covered by landmark preservation laws. Leonard Horowitz died of AIDS in 1988. The hotel we are staying at is between 10th and 11th streets on Ocean Drive and 11th street has been renamed Leonard Horowitz Drive. Barbara Capitman died two years later. The NY Times obit noted: In 1976 she helped to found the Miami Design Preservation League, which in 1979 won Federal historic designation for the South Beach district of Miami Beach. Her outspoken, unorthodox manner later led to her ouster from the group. She would push and agitate and cause trouble until people wouldnt speak to her, said Michael Kinerk, chairman of the Art Deco Weekend festival. She was interested in results, not social sensitivities. I would say that no social change takes place without people who are outspoken and unorthodox. The fact that she was interested in results rather than social sensitivities should not be lost on those leftists who are reluctant to take on the status quo. In the April 27 1982 Village Voice, Alexander Cockburn hailed Capitman as a true heroine. He quoted her on the Art Deco district: At night when the full moon is overhead, the residential streets of the Art Deco district take on that stagey, solemn simplicity of another era. Moonlight and neon articulate the stripes and circles of the small apartments on Euclid or Jefferson and the swaying palms cast shadows on the curving walls. This is the night world that Thomas Wolfe wrote of in the 1930s-the decade of our districts revival-nights filled with the far-hooting of trains, the nearer sounding of great vessels moving into port, the mysterious rustling of treesà ¢Ã¢â€š ¬Ã‚ ¦ Cockburn noted that Capitman was not able to defend all of Miami Beach from the assault of real estate developers. The South Beach area remains unsullied but the middle and northern parts of the island have succumbed to the forces Cockburn describes as follows: The forces of darkness gathered their nerve, and finally, in 1981 tore off their whiskers and pounced. Anyone who wants to see what might happen to the Deco Square Mile need only glance north of 23rd Street, where architectural barbarism is on the rampage and the condomaniac, behemothic tide marches down via the Fountainbleau and other signposts of Babylon. Cockburn concludes his article by saying that if the real estate developers had their way, the northern sector of South Beach would succumb and the result would be equivalent to the permanent submersion of substantial portions of Venice. Ironically, Art Deco was an attempt to apply the aesthetic of Russian Constructivism and Italian Futurism to architecture. These art movements were in themselves attempts to approximate the forms of machinery to fine art in the spirit of a modernization stripped of nostalgia for the past. The products of that age now are threatened by the relentless march of capitalist modernization which will result in the leveling of all that is beautiful and its replacement by shopping malls and Walmarts. It is to the credit of people like Barbara Capitman, someone who presumably would have read the Communist Manifesto at some point in her life and who would have absorbed Marxs breathless evocation of the bourgeoisies most revolutionary role, to draw a line in the sand and tell this bourgeoisie to get fucked. Anyone who knew the late Barbara Capitman was bowled over by her undying devotion to Art Deco Miami Beach. A founder of the Miami Design Preservation League, Capitman led the battle to have a large swatch of the Beach listed as an historic district in the National Register of Historic Places the first such district made up of 20th-century buildings. This book is her memorial. Tropical Deco: the Architecture and Design of Old Miami Beach, by Laura Cerwinske, David Kaminsky (Photographer). (Rizzoli, 1982.) Barbara Baer Capitman, born in 1920, founded the Miami Design Preservation League (MDPL) which started the Miami Beach Art Deco preservation movement. She led in the formation of the Miami Beach Architectural Historic District, the nations only Art Deco district to be listed in the National Register of Historic Places. Her efforts to protect Art Deco architecture led to the founding of Art Deco societies in San Francisco, Chicago, Washington, D.C., Boston and New York. Capitman was also the founder of the World Congress on Art Deco. She was the author of three books: American Trademarks, Deco Delights and Rediscovering Art Deco U.S.A. In 1993 The Miami Herald named her one of the 100 most important people in the history of South Florida. Barbara Baer Capitman died in 1990. Her Great Floridian plaque is located at the Cardozo Hotel, 1300 Ocean Drive, Miami Beach. http://www.flheritage.com/services/sites/floridians/?section=m

Themes of Desirees Baby Essay -- essays research papers

â€Å"Dà ©sirà ©e’s Baby† is a story of love, prejudice and rejection, a story with noble beginnings that slowly turns to reveal an uglier side of human relations. Armand, a wealthy landowner of the plantation L’Abri in the ante-bellum south of Louisiana, is confronted by a family secret that has been hidden from him, even into adulthood. The secret is scandalous for its day, and its consequences run deep into the fabric of society. No one told Armand of this secret. He discovers it by chance at the end of the story, when he finds the remnants of an old letter written by his mother to his father, the significance of which, and its revelations, makes us focus on the many tragic and ironic decisions made by him during this story. In the old south, bloodlines are very important to the status of a family and their social placement, so the â€Å"purity† of the family must be kept. This â€Å"purity† does not accommodate marriages of mixed race. Knowing this, Armand marries an old friend who he had known since he was eight when he moved to Louisiana from France with his father after his mother had died. She was a girl of no distinction, who had no history or reputation of family name like that of Armand, but despite this he fell in love â€Å"as if struck by a pistol shot†.(317). Others had warned Arman d against marrying her, but he did not care for he was so swept away by her beauty. â€Å"He was reminded that she was nameless. What did it matter about a name when he could give her one of the oldest and proudest in Louisiana.† (316). Tragedy comes early in the marriage with the birth of their first child. Although no one seemed to notice at first, by the time the child was three months old, neighbors and Armand himself noticed a change in the child. â€Å"W... ...loved and so easily discarded to protect his family name, were innocent of his animosity and accusations. We can only imagine the heart wrenching turmoil he must have felt at that moment. Too, was the undeniable fact that his father had overcome similar odds and accepted the love of his mother even though she was black. Armand’s father had escaped from tradition and its shackles to stay with the woman he loved and yet still kept the family’s good name, where Armand had failed to do so. The finding of this letter reveals to the reader the deeper consequences of decisions made based on prejudice and what others may think. All that Armand had done, giving up his marriage and condemning their child, burning all that reminded him of her and the baby, cursing God for his misfortune, had all come crashing in upon him by finding a simple letter with tragic â€Å"significance

Present the way in which imprisonment is presented in The Bell Jar Essa

Present the way in which imprisonment is presented in The Bell Jar The bell jar is an inverted glass jar, generally used to display an object of scientific curiosity. Present the way in which imprisonment is presented in ‘The Bell Jar’ The bell jar is an inverted glass jar, generally used to display an object of scientific curiosity, contain a certain kind of gas, or maintain a vacuum. For Esther, the bell jar symbolizes madness. When gripped by insanity, she feels as if she is inside an airless jar that distorts her perspective on the world and prevents her from connecting with the people around her. At the end of the novel, the bell jar has lifted, but she can sense that it still hovers over her, waiting to drop at any moment. The narrative technique used in The Bell Jar is a first person narrative. Straight away we get the idea of imprisonment through elements of the unhappy narrative voice in the early chapters. The first sentence of Sylvia Plath's The Bell Jar alerts the reader to the conflicts that will be dealt with in this semi-autobiographical novel: "It was a queer, sultry summer, the summer they electrocuted the Rosenberg’s, and I didn't know what I was doing in New York." The speaker will tell us in the next few sentences that she is "stupid" and that she feels "sick," and that she is preoccupied with death. Like Holden Caulfield in Catcher in the Rye, this young, college age, girl-woman is experiencing an adolescent crisis. When Esther Greenwood tells us in the first sentence that this is "the summer they electrocuted the Rosenberg’s," we get a picture not only of that summer's being nauseating, sultry, and death-oriented, but that this young girl's attitudes and life experiences are ... ...e Plath uses characters such as buddy Willard, using a clever writing technique to show his relationship with others, how people viewed him, his actions and physical description. Through Buddy we can have a better understanding of Esther’s situation. Plath uses the technique of flashback for suspense and to delay the plot. A lot of similes and metaphors are used to contribute to imprisonment. For example similes reflecting the 1950’s ‘yellow as cinnamon’. Overall, I think that Plath is trying to convey the idea that women were being placed in a constricted role in society live as if in a bell jar, able to see the outside world of exciting work and self-determined men, but unable to live it. People suffering from emotional illness are also living as if under a bell jar, isolated from others and unable to escape the distortions of their view of the world.

Free Essays On Shakespeares Sonnet 14 :: Sonnet essays

Analysis of Sonnet 14 Not from the stars do i my judgement pluck, And yet methinks I have astronomy- But not to tell of good or evil luck, Of plagues, of dearths, or season's quality: Nor can I fortune to Brief minutes tell, Pointing to each his thunder, rain, and wind, Or say with princes if it shall go well By oft predict that I in heaven find: But from thine eyes my knowledge I derive, And, constant stars, in them I read suck art As truth and beauty shall together thrive If from thy self to store thou wouldst convert: Or else of thee this I prognosticate:- Thy end is truth's and beauty's doom and date. 1-2: 'I do not draw my conclusions from the stars, and yet I think I understand astrology; 3-4: 'but (astrology) has never forecasted (to me) good or bad luck, or of plagues, or of dearths, or of the quality of the forecoming seasons:' 5-6: 'Nor can I prognosticate (from the stars) every single minute, assigning to each minute [that is, whether or not it will] thunder or rain or wind,' 7-8: 'Or say that all will be well by signs (of the stars), which looking to the sky (for answers) is my habit:' 9-10: 'only from your eyes do I form my knowledge, and, in your eyes (which are constant stars), do I see such art' 11-12: 'As truth or beauty thriving together, if you would convert from yourself to store [as in store cattle]:' The paraphrase for the three quatrains may not seem necessary, as it is fairly straightfoward in its meaning; however, the couplet provides ambiguity. The couplet is where Shakespeare usually makes an antithesis of the three quatrains or presents some ambiguity, the latter of which is this one. I have found

Pathophysiology of admitting diagnosis

Syncope (fainting) is a loss of consciousness due to the sudden decline of blood flow to the brain. There are several types of syncope, such as vasovagal syncope, carotid sinus syncope, and situational syncope. Vasovagal syncope is triggered by emotional stress, pain, the sight of blood, trauma or prolonged standing. Carotid sinus syncope occurs when there is constriction of the carotid artery. Situational syncope happens during urination, defecation, coughing, or gastrointestinal stimulation. Textbook signs and symptoms include dizziness, lightheaded, nauseous, cold, and clammy. Syncope can also be a symptom of heart disease, abnormalities, and neurological disorders. Complications that occur due to syncope include: reduced level of consciousness and falls. If an older adult falls, complications such as, broken hips or limbs may result. Precaution should be taken for a person with syncope to decrease the risk of injury to the individual. Assessment priorities include: monitoring vital signs, fluid and electrolyte balance, and blood work. Nursing Diagnosis/ Interventions: Risk for Falls * Complete a fall-risk assessment for older adults in acute care. Recognize that risk factors for falling include recent history of falls, confusion, depression, altered elimination patterns, cardiovascular and respiratory disease, hypotension, dizziness, and altered mobility. * Assess the client for the ability to supine to sit, sit supported and unsupported, standing, walking and turning around, and transferring. * Assess lab results and signs and symptoms of infection, dehydration and hypotension. If the client has hypertension, anti-hypertensives may be the result. * Encourage the client to wear glasses and use walking aids when ambulating. * Make sure the client has a fall risk hand band on while under care in the hospital facility. * Teach the client the importance of using her prosthetic limb. * Refer her to physical therapy for the correct usage of her prosthetic limb. * Teach the client the importance of living in a home free of clutter such as slippery floors, scattered rugs, unleveled stairs or furniture.

Final Exam Review Notes Essay

1: Strategic Management: set of managerial decisions and actions that determines the long-run performance of a corporation. It includes environmental scanning (both external and internal), strategy formulation (strategic or long-range planning), strategy implementation and evaluation and control. Emphasize the monitoring and evaluating of external opportunities and threats in light of a corporations strengths and weaknesses. 2: 4 phases of strategic management: Phase 1- basic financial management- managers initiate serious planning when they are requested to propose the following years budget. Projects are proposed on the basis of very little analysis, with most information coming from within the firm. The sales force usually provides the small amount of environmental information. Phase 2: forecast- based planning- as annual budgets become less useful at stimulating long-term planning, managers attempt to propose five-year plans. At this point they consider projects that they may take more than one year. In addition to internal information managers gather any available environmental data- usually on an ad hoc basis and extrapolate current trends five years into the future. This phase is also time consuming, often involving a full month of managerial activity to make sure all the proposed budgets fit together. Phase 3: externally oriented planning- frustrated with highly political yet ineffectual five-year plans, top management takes contr9ol of the planning process by initiating strategic planning. The company seeks to increase its responsiveness to changing markets and competition by thinking strategically. Planning is taken out of the hands of lower-level managers and concentrated in a planning staff whose task is to develop strategic plans for the corporation. Phase 4: strategic management- realizing that even the best plans are worthless without input and commitment of lower-level managers, top management forms planning groups of managers and key employees at many levels, from various departments and work groups. They develop and integrate a series of strategic plans aimed at achieving the company’s primary objectives. 3: 4 basic elements of strategic management- 1: environmental scanning: the monitoring, evaluating and disseminating of information from the external and internal environments to key people within the corporation. Its purpose is to identify strategic factors- those external and internal elements that will determine the future of the corporation. 2: strategy formulation- is the development of long-range plans for the effective management of th4e environment opportunities and threats in light of corporate strengths and weaknesses (SWOT). It includes defining the corporate mission, specifying achievable objectives, developing strategies and setting policy guidelines. 3: strategy implementation- is a process by which strategies and policies are put into action through the development of programs, budgets and procedures. This process might involve changes within the overall culture, structure and/or the entire organization. 4: evaluation and control- is a process in which corporate activities and performance results are monitored so that actual performance can be compared with desired performance managers at all levels use the resulting information to take corrective action and resolve problems. 4: Define strategy: a corporation forms a comprehensive master plan that states how the corporation will achieve its mission and objectives. 5: 5 forces that shape competitions as described by Porter- Threat of new entrants: industry typically bring to it new capacity a desire to gain market share, and substantial resources. Rivalry among existing firms – corporations are mutually dependent. A competitive move by one firm can be expected to have a noticeable effect on on it competitors and thus may cause retaliation. Threat of substitution products or service- a product that appears to be different but can satisfy the same need as another product Bargaining power of buyers – affect an industry through their ability to force down prices, bargain for higher quality or more services and play competitors against each other Bargaining power of suppliers- can affect an industry through their ability to raise prices or reduce the quality of purchased good and services. 6: competitive advantage- a firm uses it resources, capabilities and competencies to develop a competitive advantage 7: 3 directional strategies- Growth strategies- designed to achieve growth in sales, assets, profits ot some combination. Most widely pursued. Continuing growth means increasing sales and a chance to take advantage of the experience curve to reduce the per-unit cost of products sold, thereby increasing profits. Stability strategies- corporation may choose stability over growth by continuing its current activities without any significant change in direction Retrenchment strategies – a company may pursue retrenchment strategies when it a weal competitive position in some or all its product lines resulting in poor performance- sales are down and profits are becoming losses. 8: 5 stages of international development: Stage 1: (domestic company) the primary domestic company exports some of its products through local dealers and distributors in the foreign countries. The impact on the organization’s structure is minimal because an export department at corporate headquarters handles everything Stage 2: (domestic company with export division) success in stage 1 leads the company to establish it’s own sales company with offices in other countries to eliminate the middle man and to better control marketing. Because exports have now become more important the company establishes an export division to oversee foreign sales office. Stage 3-(Primarily domestic company with international division) success in earlier stages its own sales company to establish manufacturing facilities in addition to sales and service offices in key countries. The company now adds an international division with responsibilities for most of the business functions conducted in other countries Stage 4: (multinational corporation with multidomestic emphasis)- now a full-fledged MNC, the company increases its investment in other countries. The company establishes a local operating division or company in the host country such as Ford of Britain, to better serve the market. The product line is expanded and local manufacturing capacity is established. Managerial functions (product development, finance, marketing and so on) are organizes locally. Stage 5: (MNC with global emphasis) – the most successful MNC move into a fifth stage in which they have worldwide human resources, R&D and financing strategies. Typically operating in a global industry, the MNC denationalizes its operations and plans product design, manufacturing and marketing around worldwide consideration.

Gross Domestic Product

Lecture Notes on Measuring the Economy By: Melcah T. Pascua National Income Accounting The primary measure of the economy’s performance is its annual total output of goods and services or, as it is called, its aggregate output. Aggregate output is labeled Gross Domestic Product (GDP): the total market value of all final goods and services produced in a given year. Three approaches of computing GDP. 1. The Expenditure Approach (Output Approach) Personal Consumption Expenditure (C)†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ xxxxx Gross Private Domestic Investment (Ig)†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦. xxxxx Government Spending (G)†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ xxxxx Net Exports (Xn)†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦.. †¦. xxxxx Gross Domestic Product †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ xxxxxxx (C + Ig + G + Xn) 2. The Income Approach (Allocation or Earnings Approach) Compensation of Employees†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxxxx Rents†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. xxxxx Interest†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ xxxxx Proprietor’s Income†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ xxxxx Corporate Profits†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxxxx Corporate Income Taxes†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ . xxxxx Dividends†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. xxxxx Undistributed Corporate Profits†¦. xxxx National Income†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. xxxxx Indirect Business Taxes†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. xxxxx Consumption of Fixed Capital†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxxxx Net Foreign Factor Income Earned in home country†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxxxx Gross Domestic Product †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxxxx 3. The Industry-Origin Approach (Value-Added Approach) Agriculture, hunting, forestry, and fishing†¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦.. xxxx Agriculture and forestry†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxxx Fishing†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦ xxxx Industry†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. xxxx   Mining and quarrying†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxx Manufacturing†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxxx Construction†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxxx Electricity, gas, and water†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. xxxx Service sector†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxxx Transport, storage  Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. xxxx Trade and repair of motor vehicles, motorcycles, personal and  household goods and communication†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. xxxx Financial intermediation Real estate, renting and  business activities†¦. xxxx Public administration  and defense; compulsory social security†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. xxxx Other services†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦. xxxxGross Domestic Product †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Xxxx Other National Accounts: Net Domestic Product (NDP) NDP = GDP – Consumption of fixed capital (depreciation) National Income (NI) NI = NDP â €“ Net foreign factor income – Indirect Business Taxes Personal Income (PI) PI = NI – Corporate Income Taxes –Undistributed Corporate Profits – Social Security contributions + Transfer Payments Disposable Income (DI) = C+S DI = PI – Personal Taxes Where: C = Consumption S = Savings Nominal GDP vs. Real GDP Hypothetical Data of an Economy Year |Units of |Price per |Price |Unadjusted / |Adjusted / | | |Output |unit of |index |Nominal GDP |Real GDP | | | |output | | | | |1 |5 |10 | | | | |2 |7 |20 | | | | |3 |8 |25 | | | | |4 |10 |30 | | | | |5 |11 |28 | | | |Price of the current year Price Index = X 100 Price of the base year Nominal GDP =Price X Quantity Nominal GDP Real GDP = X 100 Price Index

Overcoming Adversity

Overcoming adversity means overcoming a hard time or circumstance and moving forward in a positive way. The novel, Parvana’s Journey was written by Deborah Ellis and published in 2002 and the film, Rabbit Proof Fence was directed by Phillip Noyce and released in 2002. Parvana’s Journey is fiction yet based in reality and it’s about a young Afghani girl who walks across war torn Afghanistan searching for her family. Rabbit Proof Fence is non-fiction and it’s about three young half caste girls who escaped from a settlement camp and walk over 2000km to go back to their home.In both texts, children face many adversities but they overcome adversities through determination and the sheer will to survive to meet their family. Parvana’s Journey, is set at war time in Afghanistan where a group of children wander through the country trying to survive the horror of their situation and they overcome huge difficulties to reach the end of their journey. The war in Afghanistan is between Taliban and U. S. A and this war affects civilians and children . Afghan people live with the fear of death and there is not enough food and other necessaries that they need.Children can’t go to school during the war so they can’t be educated and the Taliban is constantly on the search for boys to make them fight for the Taliban. Parvana’s Journey focuses on the protagonist, and her search for her family. In her quest for shelter and food as she makes her way across the Afghan countryside, she meets other children who are displaced due to war. Parvana continues her trip with three others; Asif Hassan and Leila. Parvana is very clever but still a child. Asif is a legless boy, he is very cruel to Parvana because he doesn’t know how to treat a girl.Leila is a naive girl Parvana comes across who scavenges food from a mine field. In this story, the children face lots of adversities during their journey. In the novel, Parvana faces many difficult situations; she is almost sold to the Taliban(P. 20 â€Å"I heard the old men talking. They are going to turn you over to the Taliban†), they also struggle to find food to eat (P. 156 she bit into the page, tearing a chunk off with her teeth) and water to drink. (P. 152 the water was muddy, but that didn’t matter) Furthermore, there is always the possibility of being hit by a bomb. P. 167 he planes were bombing in the daytime now, as well as at night) Rabbit Proof Fence is an Australian film about a young half caste girl who leads her younger sister and cousin in an escape from a settlement camp which endeavours to train them as domestic workers and educate them. They walk over 2000km to go back to their home. They can’t speak their own language in the settlement camp. They also struggle to find food to eat and water to drink. Furthermore, there is always the possibility of being caught by tracker.These girls are part of the Stolen Generations. The Sto len Generation is a dark part of Australian history. Half caste children, (most under the age of 18) were taken from their families because the government believed that the children would be better if raised by white families. Because of this policy, aborigines lost their culture, language, spirituality and self- esteem. In this film, there are three aboriginal protagonists, Molly, Daisy and Gracie. Molly is a mature girl who is very clever and has the leadership skills to lead her sister and cousin.Graice is a naive girl, she believes other people very easily and doesn’t want to do difficult tasks. Daisy is just a young girl and does whatever Molly says. You haven’t developed your ideas – what adversities do they face? What are the difficulties? Use quotes Bo, check your notes Both texts are about overcoming adversity but quite different in their subject matter, time and place. There are some similarities between Parvana’s Journey and Rabbit Proof Fence. In both stories, children determined to survive to see their family.In Rabbit Proof Fence, an adult tricks Daisy and she gets caught by the police In Parvana’s Journey, an adult tries to sell Parvana to the Taliban to get money. Both stories’ protagonists have no food, water and nowhere to sleep during the journey. Some differences between the texts are, In Parvana’s Journey the children are threatened by bombs; however, , in Rabbit Proof Fence the children are threatened by capture by police. Parvana’s Journey is fictitious but based on reality. Rabbit Proof Fence is a true story. Both stories happened in different time and place.In the film, Rabbit Proof Fence, the children choose to run away from the settlement camp but in Parvana’s Journey the children have no choice. In conclusion, the main characters in both Rabbit Proof Fence and Parvana’s Journey face lots of adversities however they don’t give up, they overcome the adversiti es and achieve their goals. Facing adversity might be initially difficult but when people overcome them, they are ofent stronger than previously. If you know yourself and your enemy, you win hundred battles out of 100 a hundred.

Catholics opposing views on abortion over History Research Paper

Catholics opposing views on abortion over History - Research Paper Example The early Christians were opposed to abortion because it exposed the unborn babies thus making them die. Abortion was condemned with disregarding to what stage of the pregnancy it was carried out in the first three centuries of Christianity. This can be captured in Tertullian writings in 197AD that† it does not matter whether you take away life that is born or destroy one that is coming to birth. In both instances, destruction is murder.† The council of Ancyra (314) is said to have referred to an ancient law that excommunicated women that aborted their children deliberately. (life.org.nz, 2011) The second mention of abortion is in a theological tract known as the Epistle of the pseudo-Barnabas which was written in about 138 and highly regarded by the theologians of Alexandria. The author of this publication treats abortion as corollary to the law of fraternal charity which was in existence. This can be captured in the written statements that, â€Å"You shall love your ne ighbor more than your own life. You shall not slay the child by abortion.† (catholicculture.org, 2011) Athenagoras who was an Athenian philosopher states in a letter he writes to Marcus Aurelius (177) that â€Å"All those who use abortifacients are homicides and they will have to account to God for their abortions as well as the killing of men†. ... arly church councils established strong precedents in history in relation to matters of abortion which were later ratified and strengthened by the council of Chalcendon in 415 and Consillium Quinisextum in 692. During the early period of foundation of Christianity, there were many writers who condemned abortion as a gravel evil. These include Christians writer like Hippolytus (235), Cyprian (258), St Ambrose, Bishop of Milan (375), St Jerome (d. 420), St Augustine(d. 430), Caesarius, the Bishop of Arles(d. 543), and St Martin of Braga(580). The first collection of church laws that were promulgated with the authority of pope for the universal church was The Decretals of Pope Gregory IX in 1324. These laws list one canon that describes a murderer as one who procures an abortion. The decrials emphasized the idea of formed and unformed so as to determine the kind of penalties that applied for this type of crime. From the 13 century and the other succeeding centuries, the council of churc hes in existence continued to condemn abortion. (catholicculture.org, 2011) In 1588, the first papal legislation that was meant to bring into play penal sanction against abortion came into existence and was referred to EFFRAENATAM of Pope Sixtus V who reigned in the period 1585-1590. In 1591, Pope Gregory XIV altered slightly the constitution of Sixtus V so as to apply harsher punishments among those that caused abortion of animated fetus (a fetus whose movement could be felt). In spite of the changes to the constitution, the seriousness of abortion offences were emphasized (Haney, 2008, p 24). Not until in the 18th century when Martin Luther king led a reformation from the Catholic Church, most Catholics were united and accepted the Magisterium authority and condemnation of abortion. In