Parts of a Newspaper Essay

A .Headline- the words are printed in a large type across the top or a news paper article to catch the reader’s attention B. Dateline- the words at the beginning of a news article that tell when and where the story was written. C. News article- in a news paper, a story about an event that has just taken place. D. Feature Article – a detailed report on a person, an issue, or an event. E. Editor – one of the people who run a newspaper F. Editorial – an article in which the Editors give their opinion on an important issue. G. International – tells you about the news across the continents. H. Business – tells you the things that are happening business-wise. (media and advertising, world business, economy, stock markets, mutual funds, etc. I. Technology – contains things that are going in and out of style in the technology world. J. Science – contains things that are happening in medical world. (e.g. outer space, environment, etc.) K. Health – talks about modern day human health and health problems. I. Sports – talks about games. (ball games, Olympic games, SEA games, etc.) M. Education – contains the trend n the world of education. (students’ Achievement, schools, etc.) N. Weather – contains the weather for the day O. Obituaries – contains people who passed away and their death should be mentioned to the community. P. Classified Ads – contains open jobs and job description plus job requirements. Other parts include: Cover Page Story, Table of Contents, Editors Pool, Entertainment, etc. Commentary is a series of giving explanations and interpretations Guidelines in Writing a Commentary: There is no recipe for doing commentaries. The elements that make up a successful commentary tend to vary and will depend on the nature of the text and on particular approaches to it. Nor is there a single ‘right answer’ to any passage for commentary. A good commentary may well consist of a number of pertinent questions raised by the passage. However, certain tendencies should be avoided: 1. A commentary should not be prà ©cis of the passage. Summary and description are not commentary. 2. A commentary should not dwell on the context of the passage and should in general avoid venturing into other parts of the work from which the extract is taken. IT should likewise avoid excursions into the wider oeuvre of the author 3. It is not necessary to write out quotations from the passage this can waste valuable time. The following points should be considered: 1. A commentary benefits by paying close attention to the use of language. 2. 2. IT is important to pay attention to the means of representation and to address not only the quest of WHAT is said but of HOW it is said. 3. There is no need to ascribe to the text a definitive meaning or structure. It is fine to problematize the text. Critique – is a method of disciplined systematic analysis of a written or oral discourse. Critique is commonly understood as fault finding and negative judgement, but I can also involve merit recognition, and in the philosophical tradition. It also means a methodical practice of doubt. The contemporary sense of critique has been largely influenced by the enlightenment critique of prejudice and authority, which championed the emancipation and autonomy from religion and political authorities. Critique is an accepted format of written or oral debate. Stating a Purpose: * It is important to state your purpose clearly at the beginning of your talk. Here are some ways to do this: * *talk about – to speak about a subject Example: I’d like to talk about our plans for the new site. * *report on – to tell you about what has been dine. * Example: I’ll be reporting on the progress we have made since last meeting. * *take a look at – examine * Example: First, let’s take a loo at what we have achieved so far. * *tell you about – to give someone information or instruction. * Example: Our reporters will tell you about what is happening in Visayas. * *show – to explain something by doing * Example: The object of the orientation is to show you how to put the theory into practice. * Outline – to give the main facts or information * Example: Give me an outline of the new policy. * *Fill you in on – to give extra or missing information * Example: I will fill you in on the details you just missed during the meeting. * *Give an overview of – to give a short description with general information but with no details. * *highlight – draw attention to or emphasize important facts. * *discuss – to talk about ideas or opinions on subject in more detail

Nike †Social and Ethical Issues Essay

Nike has become one of those global companies targeted by a broad range of campaigning pressure groups and journalists as a symbolic representation of the business in society. In Nike’s case, the issues are those of human rights and conditions for workers in factories in developing countries. In the face of constant accusations, Nike has developed a considered response but the criticism of Nike still continues. Nike produces footwear, clothing, equipment and accessory products for the sports and athletic market. It is the largest seller of such garments in the world. It sells to approximately 19,000 retail accounts in the US, and then in approximately 140 countries around the world. Just about all of its products are manufactured by independent contractors with footwear products in particular being manufactured in developing countries. The company manufactures in China, Taiwan, Korea, and Mexico as well as in the US and in Italy. The Global Alliance report on the factories in Indonesia gave the following workforce profile: 58% of them are young adults between 20 and 24 years old, and 83% are women. Few have work-related skills when they arrive at the factory. Nike has around 700 contract factories, within which around 20% of the workers are creating Nike products. Conditions for these workers have been a source of heated debate, with allegations made by campaigns of poor conditions, with harassment and abuse. Nike has sought to respond to these allegations by putting into place a code of conduct for all of its suppliers, and working with the Global Alliance to review around 21 of these factories, and to pick up and respond to issues. The main concerns expressed by workers relate to their physical working environment. A further report has been produced relating to a site in Mexico, which has experienced serious problems leading to labour disputes. In both cases, Nike responded to the audit reports with a detailed remediation plan. Naomi Klein, in her widely read book â€Å"No Logo† deals quite extensively with Nike, accusing them of abandoning countries as they developed better pay and employment rights in favour of countries like China, where these are less of a cost. She points to a photo published in 1996 showing children in Pakistan stitching Nike footballs as an example of the use of child labour. Other critics have suggested that Nike should publicise all of its factories, and allow independent inspection to verify conditions there. Any auditing carried out by Nike should be made public. Nike accuses Naomi Klein of peddling inaccurate and old information. They point out that they have not abandoned countries as she claims, and remain in Taiwan and Korea despite the higher wages and labour rights. They admit that the 1996 photo documented what they describe as a â€Å"large mistake† when they began to order soccer balls for the first time from a supplier in Pakistan. They now operate stitching centres where the non-use of child labour can be verified. The Global Alliance was quite complimentary. It said â€Å"Upon due consideration, members of the Operating Council unanimously expressed their judgement that upon learning of the alleged violations surfaced through the Global Alliance assessment process, that Nike had acted in good faith, and developed a serious and reasonable remediation plan.† Bibliography The Economist (1999), US Edition, Sweatshop wars, 14th February, pp. 62Wheelen, T. L. & Hunger, J. D., (1995), Strategic Management & Business Policy, Addison-Wesley Publishing Company Inc. Zaino, J., (2001), Companies Give Back to Their Communities, Information Week, 12th March, pp. 163.

Armani

ARMANI INTRODUCTION: Giorgio Armani, 74, is the President and Chief Executive Officer of the Armani Group and sole share holder of Giorgio Armani, one of the world’s leading fashion and lifestyle design houses, with 5,000 direct employees, 13 factories, and a direct network of 500 exclusive retail stores in 46 countries worldwide. Under Mr. Armani’s direction, Giorgio Armani, today stands as one of the few remaining independent, privately-owned companies in its sector, with a proven business strategy that has capitalised on the worldwide power and potential of the Armani brand name. Born on July 11, 1934, Giorgio Armani grew up with his sister and brother in the northern Italian town of Piacenza. In 1957, following two years of study in medicine at the University of Piacenza, Giorgio Armani decided to leave in order to pursue his interest in fashion, accepting a job as a merchandiser at Milan’s well-known department store, La Rinascente. Thereafter, Mr. Armani worked as a fashion designer for Nino Cerruti, and then as a freelance designer for various companies, an experience that resulted in an exceptionally rich and varied evolution of his style. After several years of working as a freelance designer, Mr. Armani was ready to devote his energy to his own label and followed his partner Sergio Galeotti’s suggestion that they open a company together. On July 24, 1975, the two business partners founded Giorgio Armani S. p. A. and launched a men’s and women’s ready-to-wear line. There are many products under the name of Armani such as Giorgio Armani, Giorgio Armani Prive, Armani Collezioni, Emporio Armani, AJ | Armani Jeans, A/X Armani Exchange, Armani Teen, Armani Junior, Armani Baby, and Armani Casa home interiors, offering a choice of lifestyles to the marketplace. In beginning the products were sold under the name of Giorgio Armani i. e. (GA) and later on the company diversified it business in Armani Jeans, Emporio Armani. The company’s product range includes women’s and men’s Clothing, Shoes and Bags, Watches, Eyewear, Jewellery, Fragrances and Cosmetics, Home Furnishings, Cell Phones. The Armani Group now also come with the Armani Hotels and Resorts under an agreement with Emaar Properties in May 2005. Recently Armani is also sponsoring for England Football team with their sports and casual dresses which is also a part of their marketing. SWOT ANALYSIS OF ARMANI Strengths: ?Topmost brand in the fashion industry ?Range of products are sold under the brand name which has been created over the years ? Commitment to customer satisfaction and comfort. Weakness: ?Price is on the higher side which caters only to the elite class. ?They are losing customers who are price conscious and opt for the competitors products Opportunities: ?A large part of the Asian continent where Armani can penetrate into. ?Brand name created can be used to diversify into different sectors of business one of such initiative taken is to enter the hospitality industry. Threats: ?Entry barriers in certain countries have stopped Armani from entering into a potential market which can act as cash cows for the company. ?Competitors like FCUK, Christian Dior, Diesel, Gucci etc are entering the fashion market in a great way. MARKETING MIX PRODUCT: Product is anything that can be offered to market for attention, acquisition, use or consumption that can satisfy wants or needs. Armani is one of the well known brands in the world with various products under its name. Different products are sold under different name. Because of the high earnings from Clothing sector (i. e. STAR) it has become possible for them to invest capital in different sectors. The group has such high standard brand name that all products in which ever they have invested have proved Stars for them. The Company now produces not only clothes but shoes, sunglasses, under garments, other accessories etc. And recently they have also signed agreement with Emaar properties for Armani Hotels & Resorts and their 1st hotel will be available for Public from year 2009 in Dubai and almost all the rooms are booked till May 2010. The current name and fame for brand was possible only because of Giorgio Armani marketing and promotional strategy. PRICE Price is the amount money charged o the product or service or the sum of values that consumers exchange for the benefits of having or using the product or service. Armani has always catered to high class consumers who are fashion savvy. Their price range has always been on the higher side creating a niche in the fashion industry. They have not compromised on the price in their business tenure and always have been a status symbol for the consumers using them PLACE It is a network made up of the company, supplier, distributors and customers who â€Å"partner† with each other to improve the performance of the entire system. Armani has concentrated on its channel partners to sell their products. They have their stores in almost all the major shopping malls across in more than 46 countries. PROMOTION Promotional Mix is one of the activities to promote the goods in the market and attracting the customers to buy his brand products. The key functions of promotion of goods is through Advertising, Sales promotion, Visual merchandising, Public relations. Armani adopted various strategies to make his brand famous. In 1980’s there was sudden change in fashion industry. The demand for fashionable goods was high. And this was the time when this brand came into existence with various varieties of products. Armani used the reputed personalities or super stars and model to promote his goods. He made promotional schemes offers to get his products well known. Armani also arranged campaigns to promote his products and make it well known in peoples eyes. Advertising: Giorgio Armani uses the cognitive consistency approach to its advertising. The idea that things should be simple and consistent is the reasoning behind this theory. The need for Ego Gratification comes out in the advertisement – where it is directed at consumers whom have the need to go beyond a high self-worth and into the highest form of egocentrism. Additionally, the need for a Sense of Power comes through in the imagery used and the rough looking style of the product. The sense of mysteriousness can be associated with power. Armani deeply concentrated on the Advertising media for his brand promotion. He kept on giving ads in Newspapers, Television, Radio, Magazines etc. This is done to create awareness about their new range of products that are launched in the market. He used Superstars like David & Victoria Beckham, Tom Cruise have been roped in to promote his brands. Sales Promotion: Armani also used Sales promotion strategy; they gave huge discounts on their products the goods were sold at lower rates. Offers like buy 1 get 1 free. Lucky Draw system. E. g. If you buy for more than ? 200 you can meet your favourite celebrities or free trips, because of which customers were attracted more. Public Relations: Public relation is concerned with company’s various publics by obtaining favourable publicity building up a good corporate image and handling and heading off unfavourable rumours, stories and events. Giorgio Armani is going to dress the England football team. The prominent designer was picked for the job by team captain David Beckham and coach Sven-Goran Eriksson. Armani is going to create two separate outfits each – one formal, the other smart-casual – for the squad of 26. The outfits cost GBP 3,500 for each player but Armani will reportedly do it for free as he will benefit from the publicity. Direct Marketing Direct marketing is direct communications with carefully targeted individual customers to both obtain and immediate response and cultivate lasting customer relationship. Armani promotes its products online and you can even buy various products through the internet. You can buy the products from anywhere in the world and the products are delivered at your doorstep. This helps in keeping contact with their loyal consumers. Personal Selling This is the personal presentation by the firm’s sales force for the purpose of making sales and building customer relationship. Personal selling comes in form of Fashion shows to Armani where a range of their products is displayed and sold. BCG Matrix for Armani Armani falls into the STAR category of the BCG Matrix. Over a period of time Armani enjoys high growth and high market share. Being in this category they can invest their profits generated into their subsidiary business units who are the cash cows. The best example would be Armani venturing into the hospitality industry and coming up with a hotel and simply the hotel being booked till 2010. COMPETITION: Though Armani has established itself into the fashion world and other range of products sold under their brand name, there is a lot of competition coming up. French Connection, Gucci, Christian Dior are storming the market with different range of products with variety of price range. With the current economic crisis, retail outlets like Marks & Spencers, Debenhams are offering their products at a discount as never seen before. Armani will have to review their strategy, to maintain their competitive advantage over the competitors. CONCLUSION Today as Armani business is spread all over the world it is diversifying its business in different sectors also. There are many promotions made by Armani today like Seasonal goods to attract new customers and old customers in every seasonal change. Gifts for small children on purchasing of Armani Junior are specially produced for them. Variety of clothes for men’s and women’s with new latest designs. Overall the image of luxury of the brand is maintained and becomes more persuasive by using language, which promotes feelings and emotions of masculinity and mysteriousness. The colors of the advertisements already do an excellent job of keeping mystery in the minds of the readers by using black/white photos and rich, and bold colors. Reasoning from comparison is used throughout these advertisements. The message is: if you use our products or wear our clothing, you will be popular, beautiful, successful, etc. http://ezinearticles. com/? Giorgio-Armani:-A-Persuasive-Campaign&id=24792 Giorgio Armani: A Persuasive Campaign By Scott Fish

Mixed Higher Education is not as Effective for Those Female Students Research Paper

Mixed Higher Education is not as Effective for Those Female Students Who Come From Single Sex Schools in Middle East - Research Paper Example Traditions in the Middle East are strictly observed. The Sharia law upholds morals and values of women in a strict manner. Girls are supposed to behave in such manners as dictated by the Sharia law. The law requires women to cover their faces. Girls going to a single-gender school interact with other girls of their age-set. For girls attending primary school education becomes cheap to comprehend and follow. According to Hill traditions are the basis of the Arab culture, and at no time will leverage be used to measure the value of people (Hill, 1993, p. 201). The Islam religion makes it easy for students to uphold values in an appropriate manner. The culture practiced in the Arab countries conforms to their traditions based on the Sharia law. The Muslim sorority is always keened on defending values, morals and the integrity of the society. In perchance, the best that girls achieve in primary schools is proactive in their day-to-day lives. The veracity with which decent is sustained go es a long way in advocating for the education rights of the girl child. The system of education in Middle East has been formed with an aim of integrating all genders. The students are given an opportunity to learn together and socialize. The primary education is made up of kindergarten schools, nursery and primary schools. Single-sex school system boosts intellectual attainment. Girls do not feel repressed or constrained in this environment. Gender bias and lack of attention to girls by teachers are not evident in single-gender schools, unlike in a mixed school. Girls in this school get motivated and receive broad experiences (Hill, 1993, p. 156). There is implementation of culture-centered models in the single-sex system. The system centers on the... This essay approves that the effectiveness of a girl child from a single-sex school going to a mixed-sex higher school is slow and often leads to a poor showing of performance by the girl child. Girls who come from Middle East and attended primary education in their native country will have a lot of difficult in class. For one to be effective in any field, experience and habits are very essential to such people. Being used to a scenario will promote the behavior of a person. Mixed-sex higher school is effective to the girl child from the single-sex school. This is because there is no close correlation between gender and performance. Girls have the ability to perform well in any system no matter the environment. Mixed higher learning will give the girl child the strength to compete favorably well with the boy child. Since, the system is in the higher level it does not have any bearing in the performance of the girls. Studies show that the coeducational system is the most efficient as it gives both gender the opportunity to engage and find solve the problems facing them as members of different gender. This report makes a conclusion that the disadvantages outweigh the advantages. Girls from the single sex schools will not be effective in their studies when they are taken to mixed higher learning in the Middle East. The traditions, values and the environment they are used to form a big base of their success. It does not matter the essence of gender, girls will do and perform normally whether in single-sex schools or the mixed-gender schools.

Sacred Time Essay Example | Topics and Well Written Essays - 250 words

Sacred Time - Essay Example tice, and the art and clearly marked sacred spaces.†1 Many times people have relied on their dreams in order to make predictions or help them in their daily lives by providing them guidance. Dreams can be very helpful to people who are looking for answers in their lives, and dreams were used in several different religions to make sense of the world around the people who were dreaming. My most sacred space in my own personal life is in my room in the house. I always make sure to close the door whenever I come in, so that I don’t let in â€Å"bad airs,† also called malos aires in Spanish. Of course, I’m sure that sounds a little bit superstitious, but I am always careful about things which I see as sacred in my personal life. I regard and take care of stones which have power, and I don’t see anything New-Agey about that at all†¦it is just my way of belief. I believe in the power of stones. Their energies can subsequently help or hurt someone. The truth is, all of life and the entire earth is sacred. We must learn how to use these spaces every

Love and Morality Essay Example | Topics and Well Written Essays - 1000 words

Love and Morality - Essay Example The story is based on two individuals who have different and separate lives but who have not experienced true love until they meet one another while on vacation in Yalta; this puts them in a state where they are obligated to choose between continuing their lives as they were before they met when they separate or find a means of exploring their love further, which leads to the development of an affair as both characters are married. It is through the decision to continue the affair that the story shows that true love cannot be ignored by those affected by it. The story brings to light the characteristic that true love is unexpected and cannot be planned ahead of time. This is seen in various parts of the story whereby neither Gurov nor Anna expect to fall so deeply for one another as shown in statements such as â€Å"A month or so would pass and the image of Anna Sergeyevna, it seemed to him, would become misty in his memory, and only from time to time he would dream of her with her touching smile as he dreamed of others† (146.) Gurov assumed that he would be able to easily forget the woman he met while on vacation once he got back to his normal routine but soon found out that this was not possible and to his surprise as time passed on he found he was still not able to stop thinking about Anna. This is seen in the statement, Both characters had gone to Yalta on vacation with no expectations of finding love but as a result of circumstantial meeting ended up finding an individual that they could see themselves spending their entire lives with. The correlation between love and morality also plays a part in the story as well; both Anna and Gustov married young and were in a relationship for a number of years before they met, but this fact does not stop them from falling in love. It is also seen that they are in fact not in love with their spouses when Chekhov states that

Indian Ocean Tsunami Essay Example | Topics and Well Written Essays - 250 words

Indian Ocean Tsunami - Essay Example Proper building strategies should have promoted buildings with escape routes, cautionary system and safe places. Construction of physical barriers or dykes around the sea could have greatly reduced the effects of tsunami. Mitigation approaches could also have been applied to correct the situation. Such measures involve analysis of possible destructions from other similar occurrences. Such measures would also involve an analysis of seismic triggers to establish areas prone to an earthquake. Communication between the authority, seismologists, and the society could have helped to improve the situation as well. Such communication would be followed by recommendations and possible correction measures for any possible occurrence. Authorities in the affected areas could also have applied early warnings to the people. Such warnings would encourage the people to vacate the affected areas for safer grounds. This required the region to have a well-established transport and communication system. Physical developments on the land could also have reduced the effects of tsunami. Physical elevation of the ground, building barriers in high risk areas, drainage systems and onshore and offshore barriers might have helped to prevent damages and reduce a number of victims

Planning Group Policy Software Deployments Term Paper

Planning Group Policy Software Deployments - Term Paper Example By having in place a recycle pin for active directory, the whole process of deleting an object is changed by eliminating the features or the attributes that are the process can do without. The objects that are deleted are kept in recycling pin for the rest of the server's lifetime so that any time that the user needs he or she can get it. This process is equivalent to the status of pre-AD recycle bin delete. The object remains in that location until the lifetime expires that is where it will be restored using garbage collection mechanism. To recover a container which has objects and sub-containers, the best method is authoritative restore though recycle bin is also able to perform it. For the s3econd case, the whole restoring procedure is initiated from the deleted hierarchy. There two options that can be used to recover an item that has been lost in the active directory. The first option is where the restoring process is done authoritatively from the backup that had been created. To carry out this process, you restart the domain controller that is in the restore state of directory service. Basically, the state of the system is brought back to the previous state at which it was before the disaster strikes. To make sure that the item that had been lost regains the previous state, you need to make use of ntd.exe command-line properties to label the item that was restored. This will enable the restored item to have a structure resembling all the other domain controllers in that particular domain.... This also has to be outlined. The security concern that is given emphasis is that concerning risk that can accrue and affect the business functionality of the system. An example is, is the economical risk that might accrue when an attacker cause denial of service by preventing the employees from using the system to carry out the business transaction. This can lead to lose of customers by the company The primary security tasks that can be incorporated in this level are ensuring that the confidentiality, integrity and availability of the company’s data and information is maximized. This can be ensured by using Microsoft group policy object to come up with groups of information that are supposed to be accessed by a particular group of people. This will make it easy to single out the person who has had an access to information at a particular time and also delegate the individual responsible for transfer, keeping and creation of information. The second phase of system development life cycle is analysis which entails collecting the system’s requirement. Examination of the business requirement is done so that the business activities are accomplished faster. This stage concentrates on the functional requirement of the in ensuring that all the system user requirements are attained The group policy that is implemented in this phase is provided after doing a detailed evaluation of the risk involved them assistance is provided to the previous policy measures. Examination of the requirement policy is done then a test of both functional and security features is conducted. This will give a basis for the creating a document that will be used to certify and accredit the system. However the to analyze a complex system requires that the

Bob Dylan Essay Example | Topics and Well Written Essays - 2500 words

Bob Dylan - Essay Example Kennedy in 1963. It was the January of 1961 when 19-year-old Bob Dylan set off towards New York City to perform and to visit his music idol Woody Guthrie. The trip was to change the course of his life. Born Robert Allen Zimmerman (1941), Dylan spent much of his youth listening to the radio, first to the powerful blues and country music stations and, later, early rock and roll. By the time he was seventeen, he started getting more interested in the subtler, Gaelic-inflected American folk music. The traditional ballads of the common folk, which were mostly vocals accompanied by an acoustic guitar. "Folk song (was) usually seen as the authentic expression of a way of life now, past or about to disappear (or in some cases, to be preserved or somehow revived). " (Middleton 1990, p.127). Folksongs fascinated the young Bob Dylan. His early influences included Joe Hill, a Swedish-American labor activist who protested through his political songs, satirical poems and speeches. Joe, executed for murder after a controversial trial, became the subject of a folksong, and an inspiration to Dylan. His other hero was folksinger Woody Guthrie, of the 'This Land is Your Land', fame. Fired up by Guthrie's passion, Dylan was in total, awestruck emulation of him. John Steinbeck commented on Guthrie, writer, poet and philosopher, "there is nothing sweet about Woody, and there is nothing sweet about the songs he sings. But there is something more important for those who will listen. There is the will of the people to endure and fight against oppression. I think we call this the American spirit." (quoted in Klein 1981) Once in New York, Dylan was swept into the maelstrom of Greenwich Village's thriving folk scene. According to Dylan, "New York was a dream.... It was a dream of the cosmopolitan riches of the mind. It was a great place for me to learn and to meet others who were on similar journeys." (Westwood One Radio, 1985). Dylan started singing in the small 'basket' clubs, where performers were paid the proceeds of a passed around basket., and soon caught the attention of critics and the public. Not long after, he signed up for his first album, which consisted mainly of familiar folk, blues and gospel material, peppered with a few of his own songs. In the meantime, the political scenario all around him was changing. Youth rebellion mainly originated on college campuses, with many emerging directly from the American Civil Rights Movement. People were questioning America's materialistic attitude, and its cultural and political norms. They were protesting racial

The Evil Dead Essay Example | Topics and Well Written Essays - 1000 words

The Evil Dead - Essay Example The film released in the year 1981, under the direction of Sam Raimi, who created this masterpiece on a very low-budget; which becomes quite obvious with the screenplay and special effects. However, the plotline was quite novel, which caused the original release to quickly rise to fame and it was also dubbed as one of the ‘best cult movie’. Besides the plotline and the eerie scenario that the film was shot, other reasons for its success included outstanding monster design and its subtle and witty sense of humor in the script. The Evil Dead was originally meant to have only two films, but with the ever-expanding fan base, the number of movie installments was increased as well. With the fan following increasing at such a rapid pace even in the face of contemporary horror movies, it was only a matter of time before a contemporary remake was on its way. The remake was not entirely based on the original series and considering the bigger budget, the special effects were far more superior to the previous one. The original release included scare tactics that turned out to be more comical in nature than scary for the contemporary audience, which can only be explained through the lack of funds for the first film. Even the plotline was slightly different, as in the original plot the group of friends head there for leisure activities during spring break, the remake includes a group of friends trying to help one of their friends recover from a drug addiction. There a number of factors that can be taken against this entire franchise; for instance, there is no consistency between of the remake with the original film, which can be quite boggling at times. The original has strict acting with the use of humor from time to time and the lack of sophisticated CGI effects can be attributed to obsolete technology and low budget. The remake follows the same storyline, except for the fact that the beginning involves a vague reference to the back-story of the demonic possession. Similar to the original, the movie has a number of twists and constantly shows the possessed characters going back and forth between their normal forms to their possessed form. However, the characters have more depth than the origina l release as the characters seem to have a valid reason for not believing Mia, which was quite obscure when Cheryl claimed that there was a supernatural presence in their midst. Besides the extremely eerie premise of the movie, there are plenty of parts in the movie that is quite terrifying, but sometimes the excessive use of blood makes one cringe in disgust rather than scream with fear. The displaying and exaggeration of wounds and cuts is an over-used scare tactic throughout the movie. For instance, when one of the characters licks a box cutter and cuts her tongue in half, and there is one another scene where the character’s eyes are stabbed with needles and limbs are detached with an electric carving knife (Evil Dead, 2012). On the more positive note the action choreography was outstanding. The effects seemed real and animate enough to be believable that gave the movie a much-needed advantage at the box-office. For once, the directors did not simply rely on the tried and tested techniques used by Hollywood, which involved frivolous college students, who find themselves trapped in a haunted cabin. The characters were all quite believable and their reactions were that of serious adults; which showed that the vacation was not simply a pretext for their sexual trysts, but they had gone to the cabin in order to help their friend, which enabled the audience to sympathize with them as well. The actors were able to

Marketing transportation Essay Example | Topics and Well Written Essays - 250 words - 3

Marketing transportation - Essay Example However, cross-docking is even faster than this. Cross-docking is a process that receives a product and then ships it straightaway, without the need for storage. For space, even though things may look neat and tidy with a spacious design, it actually means that takes longer to retrieve and store items. The best scenario is to follow the example of PDI Logistics. This company maximized the use of space by providing very cramped aisles. Money was saved from using existing space available, and these savings were used to pay for specialized trucks to track and store goods. Because technology was utilized, labor costs subsequently went down. Warehousing security can be improved by carefully selecting security guards that have previous experience of the job. For facilities, a mix of fences and cameras should do the job. For processes, the handling process should be as quick and efficient as possible so that the chance for damaged goods is

Art History Essay Example for Free

Art History Essay Jose De Ribera, Martydom of Saint Bartholomew, ca. 1639. Oil on canvas * Ribera uses this piece to scorn idealization of any kind. * The drama and brutality expresses the harsh times of the Counter-Reformation. * We notice Caravaggio’s influence on Ribera through the naturalism and drama used in Martydom of Saint Bartholomew and Caravaggio’s many works. Francisco De Zurbaran, Saint Serapion, 1628. Oil on canvas * Serapion was a British martyr who was supposed to fight the Moors in Spain, who ended up being butchered in Algeria. * What makes this piece different is a complete lack of violence. There is no blood or any sign of a wound, as we can see his white robe is spotless. * Unlike most martyr paintings that make the subject seem heroic and brave, Zurbaran captures the true helplessness of the saint, winning the viewer’s emotions. Diego Velazquez, Water Carrier of Seville, ca. 1619. Oil on canvas * This piece captures the social issue of the rich and poor of Spain during the time. * The contrast of dark and light shows elements of Caravaggio, who Velaquez had studied. * Although this scene shows everyday life, the care it conveys suggests a deeper meaning. Diego Velazquez, Surrender of Breda, 1634-1635. Oil on canvas * Velazquez aided Philip IV in regaining power by using Surrender of Breda as propaganda. * This piece was not only a symbol of Spanish nationalism, but a tribute to Ambrogio Spinola, the Spanish general of this war. * Velazquez’s relationship with Spinola made Surrender of Breda especially historically accurate. Diego Velazquez, King Philip IV of Spain (Fraga Philip), 1644. Oil on canvas * Velazquez portrays Philip as a military leader by focusing attention on his marvelous red and silver campaign dress. * The painting is also known as Fraga Philip, because it was painted in the town of Fraga in Aragon. * This portrait was just another example of Velazquez’s propagandistic images used for King Philip IV. Diego Velazquez, Las Meninas, 1656. Oil on canvas * The use of depth and content in this piece helped prove Las Meninas as Velazquez’s masterpiece. * The mirror on the back wall seems to be the reflection of the king and queen, meaning they are being painted on the other side of the room. * Velazquez actually painted himself as the artist in the room. Peter Paul Rubens, Elevation of the Cross, 1610. Oil on panel * Rubens used elements both from the Renaissance and of the Italian Baroque to create the first Pan-European style, as seen in Elevation of the Cross. * The tension is emotional and physical, as seen in Christ’s face and the grief of his followers. * The drama is intensified by the strong use of light and dark. Peter Paul Rubens, drawing of Laocoon, ca. 1600-1608. Black-and-white chalk drawing with bistre wash * The predominantly black chalk drawing shows Rubens’ study of classical representation of the human form. * This piece is obviously a revisit of the marble sculpture that depicted Laocoon and his sons breaking free from serpents. * Rubens had a big focus on mastering the human body, which led him to copy classical works of earlier master artists, such as this piece. Peter Paul Rubens, Arrival of Marie de’ Medici at Marseilles, 1622-1625. Oil on canvas * The painting depicts Marie arriving in France after a long voyage from Italy. * The women waiting for her is an allegory personified to represent France, and the goddesses, Neptune and the Nereids (daughters of the sea god Nereus), represent the sky and the sea rejoicing her safe arrival. * The surfaces are enriched with decoration to further bring the painting together. Peter Paul Rubens, Allegory of the Outbreak of War, 1638. Oil on canvas * The beautiful human forms and energy that take away attention from the chaos of this piece is a recurrent theme in Rubens’ other works. * The Thirty Years’ War was Rubens’ reason to create Allegory. * The woman clothed in black, deprived of her jewels and ornaments is an unhappy Europe. Anthony Van Dyck, Charles I Dismounted, ca. 1635. Oil on canvas * Charles I turns his back on his attendants as he looks over his domain. * His location on higher ground gives us the idea he is higher than all of his observers and followers. * The king impersonates as a noble man for a casual walk in the park, but no one can take their eyes off his regal poise. Hendrick Ter Brugghen, Calling of Saint Matthew, 1621. Oil on canvas * The naturalistic presentation of the subjects echoes the work of Caravaggio. * This piece differs from work of Caravaggio because the use of color, rather than extreme contrast of light and dark. * There is a definite claustrophobic effect as noticed by the figures being crammed into a well-lit room. Gerrit Van Honthorst, Supper Party, 1620. Oil on canvas * In this painting, Honthorst portrays the darker side of humanity. * The man on the right being fed by the woman is sometimes interpreted as a warning by Honthorst to avoid the sin of gluttony. * Honthorst frequently placed a hidden light source in his paintings, such as Supper Party, to work with violent dark and light effects. Frans Hals, Archers of Saint Hadrian, ca. 1633. Oil on canvas * The Archers were one of many militia groups that helped in liberating the Dutch Republic from Spain. * In this portrait, each man is a troop member yet individually different from the next. * The troop members’ attire further helps create a certain rhythm to the piece. Frans Hals, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas * This piece captures the details of each sitter and their cultural characteristics. * The women seem to have different emotions all around, from complete disinterest to concern of their environment. * The monochromatic theme of this painting further adds to the painting’s restraint. Rembrandt Van Rijn, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas * The students’ individual faces tell us each has different feelings and thoughts about the man being dissected. * Van Rijn diagonally placed the body to break away from the strict horizontal orientation found in traditional paintings. * Rembrandt chose to have the students all on the left side to highlight Dr. Tulp and the body.

Importance of Exercise for the Elderly: Literature Review

Importance of Exercise for the Elderly: Literature Review Sports studies with business Chapter 1 Introduction The importance of physical activity and physical fitness in terms of â€Å"†¦ health and longevity †¦Ã¢â‚¬  have been linked since the â€Å"†¦ earliest records of organized exercise used in health promotion †¦ (which were) †¦ found in China around 2500 B.C†¦.† (Hardman et al, 2003, p. 3). Hippocrates, who is â€Å"†¦ often called the Father of Modern Medicine, wrote †¦Ã¢â‚¬ : â€Å"†¦ all parts of the body which have a function, if used in moderation and exercised in labours in which each is accustomed, become thereby healthy, well-developed and age more slowly, but if unused and left idle they become liable to disease, defective in growth and age quickly† (Hardman et al, 2003, p. 3). The link between exercise and health has been a long established fact in medicine that also traces back to â€Å"Cicero in 44 BC (who was himself echoing Aristotle) †¦Ã¢â‚¬  who believed that health as one ages is improved by having a good diet along with exercise and mental stimulation (Harlow, 2006). In fact, Cicero â€Å"†¦ saw old age as something yet to happen to him †¦Ã¢â‚¬  when he was in his sixties and writing his treatise in an period when less than â€Å"†¦ seven percent of the population reached sixty† (Harlow, 2006). The preceding three factors of diet, exercise and mental stimulation as mentioned by Cicero are ingredients that are present in when one participates in sports. The subject of elderly participation in sporting activities in the United Kingdom represents one of considerable importance as the percentage of older adults increases in proportion to the UK’s total population. This examination shall seek to equate the participation rates for sports in the United Kingdom, delving into how, and if social class represents a contributing factor concerning the potential of this group participating in sporting activities in later life. The prospect of sport participation in later life shall also be undertaken along with whether social class enters into this facet as well concerning participation rates. The importance of age is impacting the population in the United Kingdom whereby the number of people over the age of 65 has increased to 16 percent, with the age group 85 and older comprising 12 percent of the total population (National Statistics, 2007). The significance of the foregoing is that people are living longer as a result of better nutrition, health care, and living conditions as well as life styles (Quanten, 2004). Interestingly, Quanten (2004) makes the observation that medical science has determined that our basis for calculating the longevity of ancient civilizations is faulty in that the technique utilized in estimating age was based upon bone density. The bone samples generally belonged to middle aged men and women, thus the formula utilized to determine age was based upon the weakening of said density which was slower then than it is now (Quanten, 2004). Thus it was found that the estimation of age has been seriously under represented, putting the average life span of early man in the range of somewhere between 80 and 100 years, meaning that in modern terms civilization has lost ground in aging as opposed to gaining, as was the consensus of thought (Quanten, 2004). Evidence supporting the preceding in today’s world can be found in the fact that there are many examples of individuals living to 120 to 130 years, with the vast majority of them living in extreme conditions where a high degree of physical labour is required for survival, as represented by jungles untouched by modern society, and harsh climates as found in Northern Russia (Quanten, 2004). The common fact linking the ancient study and present day examples of individuals living 120 to 130 years is that their environments were and are more physical in their demands, with the lifestyles requiring more exercise. Kligman and Pepin (1992, pp. 33-34, 37-44. 47), the American College of Sports Medicine (1998, pp. 992-1008), Dishman (1994, pp. 1087-1094) and Nelson et al (1991, pp. 1304-1311) along with numerous other sources all attest to the benefits of exercise in early life as well as throughout life as beneficial in staving off disease as well as prolonging life. Studies as undertaking by Shepard (1993, pp. 61-64) and, Paffenbarger et al (1989, pp. 605-613) for example, cite incidences in Finland as well as Harvard University in the United States where those who consistently exercised lived on average 2 to 3 years longer that their more sedentary counterparts. The foregoing brief examples and analysis of age and exercise has been conducted to provide an initial foundation for understanding the framework of this examination which shall delve into elderly sports participation rates in the United Kingdom. The topic of this study is to attempt to determine, if possible, how social class affects the likelihood of doing sporting activities in later life, with its aim to see if social class does have an influence on people taking/carrying on sporting activity in this context. In conducting this examination, the foregoing also seek to compare individuals in the age group representing 55 years of age and above who participate in sporting activities against those who do not through a comparison of their social class backgrounds as represented by working middle class and upper middle class classifications to determine if any correlation exists. Chapter 2 – Literature Review Resnick et al (2006, p. 174), in â€Å"Screening for and Prescribing Exercise for Older Adults† advise that there is substantial scientific evidence that supports the benefits of exercise in maintaining â€Å"†¦ function, health, and overall quality of life for older adults. The article advises that physical activity represents â€Å"†¦ one of the greatest opportunities to extend †¦Ã¢â‚¬  an individual’s active as well as independent life and reduce the incidence of disability, and that regular physical activity by older adults are more likely to have better health (Resnick et al, 2006, pp. 174-182). In spite of the clear evidence of the preceding, most adults do not participate or engage in either sport or physical activity, and unfortunately the prescription of a regular physical regime is not yet a routine clinical practice (Resnick et al, 2006, pp. 174-182). The article went on to state that the best methodology via which to engage in a sport or ph ysical exercise is to first seek the aid of a physician to reach a determination of one’s present medical and physical state in order for a person to understand the types of activities they should / can engage in, as well as seeking help with a program to ease them into a proper regime. The Council of Europe (1993) defines sport as encompassing â€Å"†¦ all forms of physical activity †¦Ã¢â‚¬  which includes casual participation for which the aim of the activity is to improve â€Å"†¦ physical fitness and mental well-being †¦Ã¢â‚¬  along with the formation of social relationships and or obtaining competitive results. As such, the foregoing expands what one traditionally understands as the defintion of sport into a broader context that includes individual sport as well as fitness activities that include certain dance activities, and aerobics along with walking and cycling (Rowe et al, 2004). The Council of Europe’s (1993) definition includes informal and casual participation, along with the more serious club and professional pursuits (Rowe et al, 2004). The study conducted by Rowe et al (2004) defined participation as at least once a week in the activity, and found that the evidence collected indicated that the United Kingdom had moved t owards stagnation with regard to participation levels. The following chart reflects these findings: Table 1 – Sport, Game and Phyisical Activity Participation in the United Kingdom (Rowe et al, 2004) The preceding indicates the fluctuating levels of particpation occuring at the rate of at least one time a week over a four week period for the indicated periods. The following Table shows the foregoing, but excludes walking. Table 2 – Participation in Sports, Games and Physical Activity (Excludes walking) (Rowe et al, 2004) Social class differences explored in the study by Rowe et al (2004) showed a marked difference in sport participation between the highest and lowest social classifications, as one would expect owing to differences in the ability to spend time on pursuits as a result of disposable income and time, in addition to living closer to facilities and or having the transportation and or a circle of friends who also participate, thus making sport an increased part of their lifestyle. Table 3 – Differences in Social Class, Sport Participation 1987 – 1996 (Rowe et al, 2004) Table 4 – Projected Chanages in Number of Sport Participants between 1996 – 2026, Based on Trends Established 1990 – 1996 (Rowe et al, 2004) The total number of estimated particpants in varied sports activity is shown projected into the year 2026 in the above Table. The increased number is due to the rise of the number of people in these age groups as opposed to actual increased participation (Rowe et al, 2004). Older aged individuals, as shown by Tables 1 and 2 have significantly lower sport activity participation rates which to a large degree, as expressed in the study conducted by Rowe et al (2004), is due to reduced participation in their social group, aliments, lack of income, non-inclusion in their lifestyle as well as being uninformed that sport and exercise represent a healthful benefit that should be continued throughout an individual’s life. Thurston and Green (2004, pp. 379-387) support the previous contention of the development of more active lifestyles for older individuals, as does the Department of Health (1995) in their document â€Å"More People, More Active, More Often. Physical Activity in England†, and Department of Health douments in the years 1999, 2000, 2001 and 2002 that all make references to the overwhelming evidence that indicates that frequent and regular physical activity is beneficial to health. The foregoing includes an increased life expectancy, diabetes, control over obesity, reduction in coronary heart disease, positive health outcomes, increased mobility and coordination as well as other benefits (Thurston and Green, 2004, pp. 379-387). Studies have shown that even if an adult begins sport and exercise programs as late as 60 years of age they can improve their life expectancy by 1 to 2 years, however 40% of adults in the above 60 year age group do not partake in such a regime even if they were aware of the benefits (Thurston and Green, 2004, pp. 379-387). The understanding of the importance of the older generation as a part of the overall national profile as well as economic, health, medical and social system, the House of Lords published is document titled â€Å"Aging: Scientific Aspects†, in 2005 (House of Lords, 2005). The Report stated that the â€Å"†¦ economic implications of changing life expectancy are †¦ of great importance †¦Ã¢â‚¬ , with the â€Å"†¦ urgency of these matters †¦ â€Å"made plain from statistics that point out â€Å"†¦ for the first time the number of people in England and Wales aged 60 and over was greater than the number aged under 16† (House of Lords, 2005). When the figures for what is termed the ‘oldest old’, meaning individuals above the age of 85 are included, the implications are even more striking: Table 5 – Oldest Old Comparisons, UK and the World (House of Lords, 2005) The growth rate of the aging population in the United Kingdom is outstripping the global rate to the point whereby the UK is projected to reach a figure of 20% of its total population in 2020, fully thirty years before the global population will reach that figure, thus making the prospect of old age health an important one for the country. Table 6 – Life Expectancy, United Kingdom (House of Lords, 2005) The above Table indicates that the life expectancy in England is higher when counted alone. In examining the elderly sports participation rate for the older population in the United Kingdom utilizing social class distinctions, it is important equate the defining aspects of these groups. The following defines the preceding as found in the House of Lords document â€Å"Aging: Scientific Aspects†: Table 7 – Social Class Segments (House of Lords, 2005) Table 8 – Life Expectancy by Social Class (House of Lords, 2005) The preceding Table represented an aid in the later determination of social class and if this factor has any bearing, and or influence upon participation in carrying on sporting activities in later life. The House of Lord’s report on â€Å"Aging: Scientific Aspects† did indicate through the study of varied reports as well as consultations that it came to the conclusion, which is a consensus view, â€Å"†¦ that aging is caused by lifelong accumulation of molecular and cellular damage †¦Ã¢â‚¬  as opposed to the theory of a â€Å"†¦ rigid inner clock †¦Ã¢â‚¬  (House of Lords, 2005). Importantly, the ‘Report’ indicated that the process of aging â€Å"†¦ is more malleable than has been generally appreciated †¦Ã¢â‚¬  and that the â€Å"†¦ mechanisms governing health in old age †¦Ã¢â‚¬  are processes that are ongoing throughout the lives of individuals (House of Lords, 2005). In reference to the implications of this examination, the ‘Report’ â€Å"†¦ summarized what appears to be a consensus view †¦Ã¢â‚¬  regarding the key factors promoting good health as well as slowing down the ageing process as (House of Lords, 2005): physical activity; having a social role and function; good nutrition; absence of risk factors such as smoking and drinking to excess; and good mental health and well-being The ‘Report’ stressed that physical activity represents a ‘key’ facet of good health and â€Å"†¦ is the major modifiable influence on health in old age† (House of Lords, 2005). In making such a statement the ‘Report’ referred to ‘The Royal Society of Edinburgh’ which stated that exercise has been shown as being a critical factor in maintaining as well as modestly increasing bone density of adults, and more importantly can aid in the minimization of bone loss in older individuals (House of Lords, 2005). The overall ‘Report’ on â€Å"Aging: Scientific Aspects† provided key background information that proved helpful, with regard to general information, and indispensable with regard to demographic groups, exercise, and the government’s recognition of the importance of the issue as well as the specific and key identification of key points. With regard to sport, the Department for Culture, Media and Sport (2007a) aims to encourage wider sports participation, and in regard to the focus of this examination, to promote sport at the grassroots level, which has implications concerning facilities that the older generation either has available, and or needs (Department for Culture, Media and Sport, 2007b). In its Report â€Å"Where are we Now: The State of Sport Today†, it clarifies that the government does not run sport, but recognizes it as an important factor in the health, and well being of children, adults, and the older generation (Department for Culture, Media and Sport, 2007b). Overall, across all age and demographic groups, the United Kingdom ranks in the middle of the European Union in sports participation by the general public, as shown by the following: Table 9 – European Union General Population Sport Participation (In Percent) (Department for Culture, Media and Sport, 2007b) In terms of intensity, individuals in the United Kingdom participate in sports on a less regular basis, and with less intensity (Department for Culture, Media and Sport, 2007b). The last aspect does not have applicability with regard to older adults, however the former is a telling statistics concerning its bearing on older sports participation. Table 10 – UK Sport Participation (In percent) (Department for Culture, Media and Sport, 2007b) Rate of Intensity The following table indicates the rates of participation of residents in the UK. Table 11 – Competitive and Organized Sport Participation in the UK (Department for Culture, Media and Sport, 2007b) The ‘Report’ indicates participation rates among social economic groups varies, however it does not break out these statistics into age groups. Table 12 – UK General Population Sports Participation by Social Economic Group (Department for Culture, Media and Sport, 2007b) Table 13 – UK Sport Participation by Ethnic Minority (Department for Culture, Media and Sport, 2007b) Sport England (2005) undertook a study that systematically reviewed published and unpublished research studies regarding children, and adult reasons concerning participation as well as non-participation in sport, which this examination utilized to add to the other research and literature sources. An important facet that was identified in the study was one representing an individual’s personal appearance and proficiency levels. The preceding two aspects are generally overlooked factors that are a part of a person’s sport participation consideration. The very real concern of having an unfit body, being out of shape, not able to conduct certain aspects of sport participation performance on a level that could potentially lead to personal embarrassment, are very real concerns that could and do enter into dissuading individuals from participating in a sporting activity (Sport England, 2005). Facilities and availability are also factors that enter into the participation equation, along with costs. For example, the incidence of parks, walkways, golf, tennis, cricket, bicycle paths, gym facilities and the like are more likely to be located near to upper income neighbourhoods than lower income

Conceptual Art Movement Characteristics

Conceptual Art Movement Characteristics Conceptual art is based on the concept that art may exist solely as an idea and not in the physical realm. For supporters of this movement, the idea of a work matters more than its physical identity. While having its roots in the European Dada movement of the early 20th century and from the writings of philosopher Ludwig Wittgenstein, conceptual art emerged as a recognised art movement by the 1960s. When the expression concept art was coined in 1961 by Henry Flynt in a Fluxus publication, it was also adapted by Joseph Kosuth and the Art and Language group (Terry Atkinson, David Bainbridge, Michael Baldwin, Harold Hurrell, Ian Burn, Mel Ramsden, Philip Pilkington, and David Rushton) in England, in which the term took on a different meaning. This group saw conceptual art as a reaction against formalism and commodification and believed that art was created when the analysis of an art object succeeded the object itself and saw artistic knowledge as equal to artistic production. The term gained public recognition in 1967, after journalist Sol LeWitt used it to define that specific art movement. Conceptual artists began the theory by stating that the knowledge and thought gained in artistic production was more important than the finished product. Conceptual art then became an international movement, spreading from North America and Western Europe to South America, Eastern Europe, Russia, China, and Japan. All these movements came to a major turning point in 20th century art, when the theory that art is idea was reaching a summit debate, challenging notions about art, society, politics, and the media with the theory that art is ideas. Specifically, it was argued that this form of art can be written, published, performed, fabricated, or simply an idea. By the mid 1970s many publications about the new art trend were being written and a loose collection of related practices began to emerge. In 1970, the first exhibition exclusively devoted to Conceptual Art took place at the New York Cultural Centre. It was called Conceptual Art and Conceptual Aspects. Eventually the term conceptual art came to encapsulate all forms of contemporary art that did not utilize the traditional skills of painting and sculpture. Conceptual art also had roots in the works of the father of Dadaism, Marcel Duchamp, the creator of the ready-made. Duchamp had a key influence on the conceptualists for the way he provided examples of artworks in which the concept takes precedence. For example, Duchamps most famous work, Fountain (1917) shows a urinal basin signed by the artist under the pseudonym R.Mutt. When it was submitted to the annual exhibition of the Society of Independent Artists in New York it was rejected under the argument that traditional qualities of art making were not being reflected. It was a commonplace object and therefore exceedingly ordinary and not unique. Duchamps focus on the concept of his art work was later defended by the American artist Joseph Kosuth in his 1969 essay Art after Philosophy when he wrote All art (after Duchamp) is conceptual (in nature) because art only exists conceptually. Between 1967 and 1978 Conceptual art rose to its golden age, enabling distinguished conceptualists such as Henry Flynt, Ray Johnson, Robert Morris and Dan Graham to emerge on the art scene. During the influential period of conceptual art, other conceptualists such as Michael Asher, Allan Bridge, Mark Divo, Jenny Holzer, Yves Klein and Yoko Ono also established names for themselves. Conceptual art was intended to convey a concept to the viewer, rejecting the importance of the creator or a talent in the traditional art forms such as painting and sculpture. Works were strongly based on text, which was used just as much if not more often than imagined. Not only had the movement challenged the importance of art traditions and discredited the significance of the materials and finished product, it also brought up the question at the nature of the art form whether art works were also meant to be proactive. Conceptual art was the forerunner for installation, digital, and performance art, more generally art that can be experienced. In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. Sol Lewitt, Paragraphs on Conceptual Art (1967) Conceptual art is art formed by ideas. It is a form of modern art of which the idea or ideas that a work conveys are considered its crucial point, with its visual appearance being of minor importance. As Sol Lewitt says, What the work of art looks isnt too important. No matter what form it finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned. Sol Lewitt Paragraphs on Conceptual Art (1967) Conceptual art challenges the validity of traditional art, the existing structures for making, publicizing and viewing art. Moreover it claims that the materials used and the product of the process is unnecessary. As the idea or ideas are of major significance, conceptual art consists of information, including perhaps photographs, written texts or displayed objects. It has come to include all art forms outside traditional painting or sculpture, such as installation art, video art and performance art. Because the work does not follow a traditional form it demands a more active response from the viewer is made to engage the mind of the viewer rather than his eye or emotions., in other words it Marcel Duchamp Fountain 1917 could be argued that the Conceptual work of art in fact only exists in the viewers mental participation. It doesnt really matter if the viewer understands the concepts of the artist by seeing the art. Once out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way. Sol Lewitt, Paragraphs on Conceptual Art (1967) Conceptual artists deliberately produced works that were difficult if not impossible to classify according to the old traditional format. Some consciously produced work that could not be placed in a museum or gallery, or perhaps resulted in no actual art object which hence emphasize that the idea is more important than the artifact. Conceptual art is not necessarily logical. The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable. In terms of idea the artist is free to even surprise himself. Ideas are discovered by intuition. . Sol Lewitt, Paragraphs on Conceptual Art (1967) Echoing the difficulty in classification as mentioned above, conceptual art cannot be defined in terms of any medium or style. Rather, it can be defined in the way it questions what art truly is, a piece of conceptual art is recognized in one of the four forms: a readymade, a term devised by Duchamp through his piece Fountain. (photo) Joseph Kosuths One and Three Chairs 1965 Traditionally, an ordinary object such as a urinal cannot be thought to be art because it is not created by an artist or possesses any meaning of art, it is not unique, and it possesses hardly any probable visual properties of the traditional, hand-crafted art object; an intervention, in which image, text or object is positioned in an unpredicted context, hence rousing awareness to that context: e.g. the museum or a public space; written text, where the concept, intention or exploration is presented in the form of language; documentation, where the actual work, concept or action, can only be presented by the evidence of videos, maps, charts, notes or, most often, photographs. Joseph Kosuths One and Three Chairs (photo) is an example of documentation, where the real work is the concept What is a chair? How do we represent a chair? And hence What is art? and What does it represent?. The three elements that we can actually see (a photograph of a chair, an actual chair and the definition of a chair) are secondary to it. They are of no account in themselves. It is a very ordinary chair, the definition is photostatted from a dictionary and the photograph was not even taken by Kosuth it was untouched by the hand of the artist. If a work of conceptual art begins with the question What is art? rather than a particular style or medium, one could argue that it is completed by the intention This could be art: this being presented as object, image, performance or idea revealed in some other way. Conceptual art is therefore reflexive: the object refers back to the subject, it represents a state of continual self-critique. Being an artist now means to question the nature of art The function of art as a question, was first raised by Marcel Duchamp The event that made conceivable the realization that it was possible to speak another language and still make sense in art was Marcel Duchamps first unassisted readymade. With the unassisted readymade, art changed its focus from the form of the language to what was being said. Which means that it changed the nature of art form from a question of morphology to a question of function. This change one from appearance to conception was the beginning of modern art and the beginning of conceptual art. All art (after Duchamp) is conceptual (in nature) because art only exists conceptually Artists question the nature of art by presenting new propositions as to arts nature. Kosuth, Art After Philosophy (1969) Hence runs the famous passage of the serial essay first published in Studio International in 1969 in Art After Philosophy, in which Kosuth set out his stall for purely conceptual art. In it we find transition from the negative questioning inherent in the aesthetic indifference of Duchamps readymades to the positive investigations of Kosuths distinct brand of Conceptual art: a transition from the wide-eyed surprise of This is art? to a new way of claiming This is art. Before standing a chance of entering into the general vernacular, art first must be conceived, then executed and lastly presented to a public, however small. In the 19th century, in France, the Impressionists were all innovative artists imposing themselves on reluctant audience. The same applies to the great art movements of this era. They consisted of artists producing works that the public for art neither wanted or anticipated, but were forced to gulp down because it posed issues of innovation which could not be avoided. The reluctant audience included collectors and critics, and even older artists, who inevitably feel their own pre-eminence being threatened. Who, after all, is not made to feel uncomfortable by the unknown art form, as for the matter in all things? It is normal and effortless to fall in love with what is preconceived to be good, beautiful, right and proper. We now all love the Impressionists because we have come to acknowledge and therefore feel comfortable with th em. But the first and foremost task of the new art is to instigate a sense of comfort. In autumn 1997, the show Sensation subtitled Young British Artists from the Saatchi Collection was mounted at the Royal Academy. It was one of the first to focus on shock art. According to the publicity leaflet, Sensation was both an attempt to define generation and to present Charles Saatchis singular vision in an established public forum. On display were 100 works by 42 artists selected from the Saatchi collection. Works that evoked powerful visual and emotional reactions were selected. With the figure of attendance going over 285,000 Sensation undoubtedly created sensation. Among all the artists shown, Damien Hirst was undoubtedly the most successful and sought after at present. Having several records of the highest ever paid living artist, Hirsts works creates a phenomenon in the current art market. Hirsts work falls into seven categories. The first group are his Natural History series, the tank pieces which he calls incorporates dead and sometimes dissected creatures such as, cows and sheep as well as sharks preserved in formaldehyde. Hirst describes these as suspended in death and as the joy of life and inevitability of death. A pickled sheep, said to have sold for 2.1 million, followed by the first shark. The second group is Hirsts long-running cabinet series, where he displays collections of surgical tools or pill bottles usually found in pharmacy medicine cabinets. The Blood of Christ, was paid $3 million, consists of a medicine cabinet installation of paracetamol tablets. In June 2007 a record was set at Sothebys London for the highest price paid at auction for a work by any living artist, $19.1 million for Hirsts Lullaby Spring, a cabinet containing 6136 handcrafted pills mounted on razor blades. Spot paintings were Hirsts third long-running production. Usually named after pharmaceutical compounds, these paintings consist of fifty or more multicoloured circles painted onto a white background, in a grid of rows and columns. The reference to drugs refers to the interaction between diverse elements to create a powerful effect. The spot paintings were produced by assistants. Hirst tells them what colours to use and where to paint the spots, and he does not touch the final art, only to affirm it as a finished product of art with his signature. In May 2007 at Sothebys New York, a 76 x 60in spot painting sold for $1.5 million. The fourth category, spin paintings, are painted on a spinning potters wheel. One account of the painting process has Hirst throwing paint at a revolving canvas or wood base, wearing a protective suit and goggles, standing on a stepladder, shouting turpentine or more red to an assistant. Each spin painting represents the energy of random. The fifth category is butterfly paintings. In one version, tropical butterflies mounted on canvas which has been painted with monochrome household gloss paint. In another version, collages are made from thousands of mutilated wings. The mounted butterflies are intended as another comment on the theme of life and death. Some of Hirsts art incorporates several categories; together with publicity-producing titles, like Isolated Elements Swimming in the Same Direction for the Purposes of Understanding, a cabinet of individual fish in a formaldehyde solution combines stuffed creatures with the cabinet series, but has the same intention as the spot paintings, to arrange colour, shape and form. The sixth category was a collection of 31 photorealist paintings, first shown at the Gagosian Gallery in New York in March 2005. Most canvases depicted violent death. Hirst pointed out that the artworks were, like the shark and the spot and butterfly paintings, produced by a team of assistants. Each painting was done by several people, so no one is ever responsible for a whole work of art. Hirst added a few brushstrokes and his signature. The seventh category was the much-publicized project a life-size cast of a human skull in platinum, with human teeth, from an eighteenth-century skull. Encrusted with 8,601 pave-set industrial diamonds with a total weigh of 1100 carats, the cast is titled For the Love of God, the words supposedly uttered by Hirsts mother on hearing the subject of the project. It was sold for  £50 million. Hirst says that For the Love of God is presented in the tradition of memento mori, the skull depicted in classical paintings to remind us of death and mortality. And most recently, the collection of 25 works, known as The Blue Paintings, are predominantly white images painted on dark blue and black backgrounds, with pictures featuring iguanas, shells, beetles and a still life of a vase of roses, entitled Requiem, White Roses and Butterflies. The collection also includes two self-portraits, two triptychs and several paintings featuring skulls, one of Hirsts favourite motifs. All the paintings were produced by Hirst himself, without the help of assistants who created some of his most famous pieces. The illustrious Australian art critic Robert Hughes, however, isnt buying the hype. This is partly because Hughes who presents The Mona Lisa Curse, a one-off polemic broadcast on Channel 4 this Sunday considers Hirsts work flashy and fatuous. Indeed he has described Hirsts formaldehyde tiger shark, The Physical Impossibility of Death in the Mind of Someone Living, a tacky commodity, and the worlds most over-rated marine organism. The critic said commercial pieces with large price tags mean art as spectacle loses its meaning and identified the British artists work as a cause of that loss. The idea that there is some special magic attached to Hirsts work that shoves it into the multimillion pound realm is ludicrous, Hughes says. [The price] has to do with promotion and publicity and not with the quality of the works themselves. It is not the first time that Hughes has made public his contempt for Hirsts art. Four years ago making a speech at the Royal Academy of Arts annual dinner, he said: A string of brush marks on a lace collar in a Velazquez can be as radical as a shark that an Australian caught for a couple of Englishmen some years ago and is now murkily disintegrating in its tank on the other side of the Thames. Brian Sewell, art critic of the London Evening Standard, was appalled by Hirsts Turner prize-winning work. I dont think of it as art, he said. I dont think pickling something and putting it into a glass case makes it a work of art It is no more interesting than a stuffed pike over a pub door. Indeed there may well be more art in a stuffed pike than a dead sheep. I really cannot accept the idiocy that the thing is the thing is the thing, which is really the best argument they can produce. Its contemptible. Even at his most recent show of his Blue Paintings at the Wallace Collection early reviews for the show were not good. The Guardian said that at its worst, Hirsts drawing just looks amateurish and adolescent, and The Independent dismissed the paintings as not worth looking at. Hirsts work has drawn criticism from all quarters. Predictably, his work has been ridiculed in the tabloid press. When Hirst won the Turner prize in 1995 with Some Went Mad, Some Ran Away, an exhibition he curated and which featured many of his works including Mother and Child Divided (cow in formaldehyde) and Away from the Flock (sheep in formaldehyde) the Conservative politician Norman Tebbit wrote in the Sun: Have they gone stark raving mad? The works of the artist are lumps of dead animals. There are thousands of young artists who didnt get a look in, presumably because their work was too attractive to sane people. Modern art experts never learn. The Daily Mails verdict on the 1999 Turner Prize also referred to Hirsts work: For 1,000 years art has been one of our great civilising forces, the newspaper commented. Today, pickled sheep and soiled beds threaten to make barbarians of us all. Reviewing Hirsts works and the criticisms made on them engage us in discussion about whether the art work he produced command the power and high prices deserved because it is good, or because it is branded? Is the artist famous because of his work, because the public was awed by the shock value of his work, because Charles Saatchi first made him famous with the high price reported in Physically Impossibility, or is he famous for being famous? Another question is perhaps if Hirst is famous because he, as an artist, or took on the role as a social commentator, who offers a profound meditation on death and decay? All these questions clearly imply that Hirsts work and his talent for marketing and branding cannot be ignored. His brand creates publicity, and his art attracts people who would never otherwise view contemporary art. What must not be overlooked is the originality of Hirsts concept. He shaped shared ideas and interests quickly and easily, his work developing during the decade to reflect changes in contemporary life. He made important art that contained little mystery in its construction by relying on the straightforward appeal of colours and forms. His work is striking at a distance and physically surprising close up. Hirst understood art in its most simple and in its most complex. He eliminated abstractions mystery by reducing painting to its basic elements. During the time when art was a commodity, he made spot paintings saucer-sized, coloured circles on white ground that became luxury designer goods. His art was direct but never empty. In the later spin paintings, Hirst emphasized a renewed interest in hands-on process of making, which is referred as the hobby-art technique, drawing attention to the accidental and expressive energy of the haphazard. Like the spot paintings, the cabinet of ind ividual fish suspended in formaldehyde worked as an arrangement of colour, shape and form. Overcoming an initial distrust of its ease of assembly, the work came to be seen in the popular mind as a symbol of advanced art, people were mesmerized by how stunning and beautiful ordinary things of the world could be created and seen. Hirst creating paintings brought together the joy of life and the inevitability of death. A scene of pastoral beauty became one of languid death: in A Thousand Years, flies emerged from maggots, ate and died being zapped by the insect-o-cutor; in In and Out of Love, newly emerged butterflies stuck to freshly painted monochromes. Soon the emphasis changed from an observation of creatures dying to the presentation of dead animals. A shark in a tank of formaldehyde presented a once life-threatening beast as a carcass: it looks alive when its dead and dead when its alive. Hirst was at his most inventive by elevating the ordinary, the typical and the everyday with his fascination. Art is about experimenting and ideas, but it is also about excellence and exclusion. In a society where everyone is looking for a little distinction, its an intoxicating combination. The contemporary art world is what Tom Wolfe would call a statusphere. Its structured around nebulous and often contradictory hierarchies of fame, credibility, imagined historical importance, institutional affiliation, education, perceived intelligence, wealth, and attributes such as the size of ones collection. Great works do not just arise; they are created not just by artists and their assistants but also by the dealers, curators, critics, and collectors who support the work. Todays rapid pace of [artistic] innovation encourages short-term speculation, and speculation, in turn, enables the market to absorb new directions in art. Artistic innovation feeds speculation and vice versa. Moulin, The French Art Market Why has art become so popular? In the first place, we are more educated than before, and weve developed appetites for more culturally complex goods. Ironically, another reason why art has become so popular is that it is so expensive. High prices command media headlines, and they have in turn popularized the notion of art as luxury goods and status symbols. In a digital world of cloneable cultural goods, unique art objects are compared to real estate. They are positioned as solid assets that wont melt into air. Auction houses have also courted people who might previously felt excluded from buying art. And their visible promise of resale has endangered the relatively new idea that contemporary art is a good investment and brought greater liquidity to the market. But the art market also affects perception. Many worry that the validation of a market price has come to overshadow other forms of reaction, like positive criticism, art prizes, and museum shows. Art needs motives that are more profound than profit if it is to maintain its difference from and position above other cultural forms. Nevertheless, collectors demand for new, fresh and young art is at an all-time high. But as Burge (Christopher Burge, Christies chief auctioneer) explains, it is also a question of supply: We are running out of earlier material, so our market is being pushed closer to the present day. We are turning from being a wholesale secondhand shop to something that is effectively retail. The shortage of older goods is thrusting newer work into the limelight. Another Sothebys specialist explains, Our lives are constantly changing. Different things become relevant at different times in our lives. We are motivated by our changing sensibilities. Why can that not be applied to art as well? Art used to embody something meaningful enough to be relevant beyond the time at which it was made, but collectors today attracted to art that holds up a mirror to our times and are too impatient to hang on to the work long enough to see if it contains any timeless rewards. Experts say that the art that wells mos t easily at auction has a kind of immediate appeal or wow factor. On one level, the art market is understood as the supply and demand of art, but on another, it is an economy of belief. Art is only worth what someone is willing to pay for it is the operating clichà ©. Although this may suggest the relationship between a con artist and his mark, the people who do well believe every word they say at least at the moment they say it. The auction process is about managing confidence on all levels confidence that the artist is and will continue to be culturally significant, confidence that the work is a good one, confidence that others will not withdraw their financial support. Amy Cappellazzo from Christies explains what kind of art does well at auctions. Firstly, people have a litmus test with colour. Brown paintings dont sell as well as blue or red paintings. A glum painting is not going to go as well as a painting that makes people feel happy. Second, certain subject matters are more commercial than others: A male nude doesnt usually go over as well as buxom female. Third, painting tends to fare better than other media. Collectors get confused and concerned about things that plug in. Then they shy away from art that looks complicated to install. Finally, size makes a difference. Anything larger than the standard dimension of a Park Avenue elevator generally cuts out a certain sector of the market. These are just basic commercial benchmarks that have nothing to do with artistic merit. With such constraints from the art market, artists would tend to make art that fulfills the criteria to appeal in order to do well in auctions. Collecting is a powerful tactic for making sense out of the material world, of establishing trails of similarity through fields of otherwise undifferentiated material. The drive to acquire more things contains, orders and arranges peoples desires, creating an illusion of mastery through delineating a knowable space within that apparently endless universe of materiality. At whatever scale, collecting is informed by the desire to insure the owner against the inevitability of loss, forgetting and incompletion. (Cummings, N. Lewandowska, M., The Value of Things) Works of art, which represent the highest level of spiritual production will find favour in the eyes of the bourgeois only if they are presented as being liable to directly generate material wealth. Karl Marx on the notion of surplus value in Book IV of Captial When a branded collector like Charles Saatchi purchases an artists work in bulk, displays the work in his gallery, loans the work for display in other museums, or exhibits it in Sensation, the cumulative effect is to validate both the work and the artist. Each stage serves to increase the value of Saatchis own art holdings. Being described both as a supercollector and as the most successful art dealer of our times, Charles Saatchi himself responded, Art collectors are pretty insignificant in the scheme of things. What matters and survives is the art. I buy art that I like. I buy it to show it off in exhibitions. Then, if I feel like it, I sell it and buy more art. As I have been doing this for 30 years, I think most people in the art world get the idea by now. It doesnt mean Ive changed my mind about the art that I end up selling. It just means that I dont want to hoard everything forever. Nevertheless, his practice of buying emerging artists work has proved highly contagious and is arguably the single greatest influence on the current market because so many others, both veteran collectors and new investors, are following his lead, vying to snap up the work of young, and relatively unknown artists. He was also said to be capable of making or breaking an artist. However, his passion for art is not to be overlooked. In pursuit of established and new artists, Saatchi makes a point of visiting both mainstream and alternative galleries, artists studios, and art schools. Moreover, he did fall in love with works that were not saleable but still purchased them, for example, Hirsts A Thousand Years big glass vitrine holding a rotting cows head covered by maggots and swarms of buzzing flies and installation art like Richard Wilsons oil room [both purchased by Saatchi in 1990]. Perhaps Saatchis greatest legacy will be that he, more than any other, have been responsible for pitching modern and contemporary art into the British cultur al mainstream which he set out to achieve from the start. In 2005, British Artist Damien Hirsts work titled The Physical Impossibility of Death in the Mind of Someone living(photo) sold for $12 million dollars. People were asking the same question Why would anyone even consider paying this much money for a shark? Another concern was that while the shark was certainly a novel artistic concept, many in the art world were uncertain as to whether it qualified as art. The problem with conceptual art is that everyone has their own way of imagining it, based on their own fantasies, but perhaps it is not what they thought it is, it is relevant as long as it escapes the strict rules of painting, sculpture, and photography as they prevailed in the past. It thus takes paths that have no rules, where the principle of valorization is not or is only very slightly, based on art history. (Benhamou-Huet, The worth of art, 2008, p.95) But why so much money? What drives these collectors to invest astronomical sums of money as much or more than a working-class man earns in a lifetime in order to possess objects of intrinsic, nonmaterial value? American psychoanalyst Werner Muensterberger explored this quandary in his book Collecting: An Unruly Passion, in which he hints that these avidly amassed objects are like security blankets for grown-ups. The collector, not unlike the religious believer, assigns power and value to these objects because their presence and possession seem to have a modifying usually pleasure-giving function in the owners mental state. The unconscious reasons, then, for what we might call collectors security blankets are manifold. For some, the idea may be that the value of objects they buy will rub off on them. In this way, they may convince themselves that they can be somebody. Money itself is meaningless in the upper classes of the art world everyone has it. What impresses others is the o wnership of precious work. What the rich seemed to want to acquire is what economists call positional goods; possessions that prove to the world that they are really rich. And above all, art distinguishes you. Another part of the answer is that in the world of contemporary art, branding can substitute for critical judgment, and lots of branding was involved here. You are nobody in contemporary art until you have been branded. Saatchi Saatchi believes in global marketing, i.e., the use of a single strate

Schizophrenia: The Disease and Treatment Options :: Exploratory Essays Research Papers

Schizophrenia: The Disease and Treatment Options Leann was a beautiful 17-year- old with a great future ahead of her. She was the star of TV commercials, and sang in the high school choir. She was the envy of all the schoolgirls and the teachers' favorite. She lived in Crawford, Colorado and helped her family on the farm. She had high hopes of becoming a beautician and hairdresser and going on to college or technical school to develop her talent. Now, at age 45 she lives in an apartment in an assisted living center in Grand Junction, where she has lived for the last 23 years of her life. She endures the multitude of medications. She sits in her room, writes songs and sends them to famous country singers, like Toby Keith, hoping to hear her song on the radio someday. She walks downtown to the swimming pool and goes for a swim every once in a while during the hot summer days. She tries to live as normally as she can. About every night we get a call at our house around 6:00 every evening. On good nights she talks about her day and asks us how we are, and what we are going to do the next day. She talks about how she sent her song to some singer and sent something else to the White House. She tells me that I should go to Mesa State College and study to be a hairdresser. On bad nights, however, it is a totally different story. During one of her bad night conversations, she talks about off the wall things that none of my family can understand. She talks about how she thinks my sister can "call events" (tell the future) and how somebody told her that it was true. We try to tell her that my sister can't tell the future, but she doesn't believe us. She talks about how people just come into her apartment and harass her. She thinks that everything she sees is connected with some big plan or conspiracy against her. Often, she will be talking about one thing, and then giggle and just jump to something totally different. All the random changes in subjects and crazy ideas are typical to those who suffer from paranoid schizophrenia, a disorder that affects over 2 million Americans (Mayo Clinic, 1998). Often Leann hears voices and sees people who do not exist and that is how she gets all her ideas about her or others reading minds and telling the future.

Solutions in Higher Education Essay -- Education, Training Faculty

Senge’s (1990) characterization of controlling versus learning organizations helps illustrate the challenge Medtech faces in making the shift to a learner-centered college with outcome-based classroom practices. When new and expansive patterns of thinking are nurtured, collective aspiration is set free (1990); however, Harris and Cullen (2008) state that the work environment at many colleges is quite to the contrary. So our questions are the same as stated by Boyer (1987) nearly three decades ago, â€Å"Is it possible for students to become independent, self-directed learners, as well as, how can faculty improve their teaching so as to encourage creativity and critique? For the purpose of this project, I will make the assumption that the answer to the first question is yes, and therefore, deal primarily with the second. â€Å"If we accept the premise that the learner-centered class is a microcosm of the learning organization, then it follows that the professional development of leadership should reflect professional development of teachers (Harris & Cullen, 2008). This can only be accomplished through concrete mechanisms for effecting change. The problem identified for this project stems from Dr. Terry O’Banion’s (2010) statement, â€Å"we cannot assume students are learning†. I identified that existing teaching and assessment often does not achieve the learning objectives required for the courses due to the hiring of faculty who are experts in their field; however, are not trained educators. In the past, tradition dictated that knowledge of the discipline was sufficient for the transmission of knowledge to students; however, this can no longer be taken for granted. The recommended solution is to implement a process for the shift from traditiona... ...the communication to the students will be through the updated syllabi and implementation of new practices in the classroom. Finally, the campus will host an open house on-site for all affiliate partners that include classroom demonstrations that will highlight the new practices. In addition, the presentation will include an explanation on how the new practices benefit the partners with externs and potential employees who have the critical thinking skills required for on the job success. Welsh (n.d.) reflected on a higher education that was static in the mid-twentieth century as he admits that is not so anymore. His charge is that change is necessary today for higher education to remain vibrant. The entire institution must become learner-centered and by initiating incremental steps, immediate rewards, and links to intrinsic motivation we will achieve that vision.

Importance of Setting in A Rose for Emily :: A Rose for Emily, William Faulkner

Importance of Setting in A Rose for Emily In William Faulkner's "A Rose for Emily," Faulkner's details about setting and atmosphere give the reader background as to the values and beliefs of the characters, helping the reader to understand the motivations, actions and reactions of Miss Emily and the rest of the town, and changing the mood or tone in the story. The setting in "A Rose for Emily" is Faulkner's fictitious post- civil war Jefferson, a small town in the deep south of the United States. Faulkner's use of this particular time-period or genre, is successful in giving the reader an understanding or background to the values and beliefs of the characters in the story. The town of Jefferson is a fallen legacy. The hierarchical regime of the Griersons and the class system of the time where by ordinance of the mayor- Colonel Sartoris, a Negro women could not even walk the street without an apron, had changed into a place where even the street on which Miss Emily lived, that had once been the most select, had now been encroached and obliterated, her house an eyesore among eyesores. Both the town and Miss Emily herself, now looked upon Miss Emily as the only remnant of that greater time. This fact gives the reader an understanding of the mindset of the "town," who is narrating Miss Emily's story to us in a form resembling a gossip circle, where stories of various townspeople are pieced together and of Miss Emily, the protagonist who lived alone except for her lone servant. The actions of Miss Emily range from eccentric to absurd but it is the readers understanding of the setting that keep the story believable. Miss Emily becomes reclusive and introverted after the death of her father and the estrangement from the Yankee- Homer Barron. It is also revealed at the end of the story that she went as far as poisoning Homer, keeping his dead body in his house, and sleeping next to him as well. She is doing what she feels necessary in response to the pressure placed on her by the town.