The Definition of Power :: Definition Essays Power Authority

The Definition of Power   Ã‚  Ã‚  Ã‚  Ã‚  Power is many things. It is the ability to control people in their sayings and/or actions. It is the ability to get whatever you want. Power is a necessary component in any society, otherwise all pandemonium would break loose; leaders must be established. But, when taken to an extreme, power is not good, and pandemonium will break loose.   Ã‚  Ã‚  Ã‚  Ã‚  As Lord Acton said, "Power tends to corrupt and absolute power corrupts absolutely." A good example of this is Adolph Hitler in Nazi Germany. He believed he could not be stopped and that rules did not apply to him. By being given absolute power, he corrupted the government. No attempt was made to stop this by the Germans, because of the control he had. People were either scared to stop this, or were brainwashed into believing it. Finally the U.S. had to step in and try to stop Hitler, and World War II broke out.   Ã‚  Ã‚  Ã‚  Ã‚  But power is not all bad though. As was stated earlier, it is necessary in any group of people, and there will be struggle to achieve it--be it a country, a business, or a sports team. Athletics is a good example of where there is a constant power struggle. In every league, every player wants control. They want what they think should happen (during games), to happen. Recently, in the NBA, Dennis Rodman took this struggle to an extreme. In disagreement with an official's call, Rodman head-butted the official, and through a temper- tantrum on his way off the court. Quite obviously, this is bad. Every player in the league agrees to the rules set by the NBA from the beginning. The rules are made to keep control, and the officials have power to enforce these rules. If there were no regulations, players would be doing whatever they wanted whenever they wanted. If Rodman's antics would have taken place somewhere other than a basketball court he probably would be in trouble with the law. If he were to argue with a police officer, for example, the same way he did with the referee, he probably would be put in jail or at very least heavily fined. Well, the NBA is not going to put anyone in jail for this, but they did fine him and suspend him for a couple of games. Basically Rodman is as bad as any street bully who picks on or beats up little kids. Only he does it on a basketball court, so generally it is considered "part of the game." In nine out of ten cases, a fine is levied, and all is forgotten.

Sight and Blindness in Shakespeares King Lear - Lack of Vision Essay

Sight and Blindness in King Lear      Ã‚  Ã‚   In King Lear, the recurring images of sight and blindness associated with the characters of Lear and Gloucester illustrate the theme of self-knowledge and consciousness that exist in the play.    These classic tropes are inverted in King Lear, producing a situation in which those with healthy eyes are ignorant of what is going on around them, and those without vision appear to "see" the clearest. While Lear's "blindness" is one which is metaphorical, the blindness of Gloucester, who carries the parallel plot of the play, is literal. Nevertheless, both characters suffer from an inability to see the true nature of their children, an ability only gained once the two patriarchs have plummeted to the utter depths of depravity. Through a close reading of the text, I will argue that Shakespeare employs the plot of Gloucester to explicate Lear's plot, and, in effect, contextualizes Lear's metaphorical blindness with Gloucester's physical loss of vision.    When the audience is first introduced to Lear, he is portrayed as a raging, vain old man who can not see the purity of his daughter Cordelia's love for him from the insincerity of her sisters Goneril and Regan. In his fiery rage after disowning Cordelia, Lear commands to Kent, "Out of my sight!" (1.1.156). Kent fittingly implores the aging king to "See better, Lear; and let me still remain / The true blank of thine eye" (1.1.157-8). Kent recognizes love in its most noble form in the person of Cordelia, and is able to see through the hypocrisy of Lear's other two daughters. In beseeching Lear to "[s]ee better," Kent is, in effect, asking Lear to look beyond his vanity and inward pride to see the honesty of Cordelia, who refuses... ... Consulted:    Bevington, David, "Introduction to King Lear."   The Complete Works of William   Shakespeare.   New York:   HarperCollins, 1992.    Elton, William R. King Lear and the Gods.   San Marino, California: The Huntington Library, 1966.    Halio, Jay.   " King Lear's Blinding." Shakespeare Quarterly 67 (1999):   221-3.      Hoover, Claudette.   "Women, Centaurs, and Devils in King Lear."   Women's Studies 16 (1989):   349-59.    Jackson, Ken. "Review of Judy Kronenfeld, King Lear and the Naked Truth." Early Modern Literary Studies 6.2 (September, 2002): 10.1-5 Available: http://purl.oclc.org/emls/06-2/jackrev.htm>.    Leggattt, Alexander.   King Lear.   Boston: Twayne Publishers, 1988.    Shakespeare, William.   King Lear.   The Complete Works of Shakespeare. Ed. David   Bevington.   New York:   HarperCollins, 1999    Sight and Blindness in Shakespeare's King Lear - Lack of Vision Essay Sight and Blindness in King Lear      Ã‚  Ã‚   In King Lear, the recurring images of sight and blindness associated with the characters of Lear and Gloucester illustrate the theme of self-knowledge and consciousness that exist in the play.    These classic tropes are inverted in King Lear, producing a situation in which those with healthy eyes are ignorant of what is going on around them, and those without vision appear to "see" the clearest. While Lear's "blindness" is one which is metaphorical, the blindness of Gloucester, who carries the parallel plot of the play, is literal. Nevertheless, both characters suffer from an inability to see the true nature of their children, an ability only gained once the two patriarchs have plummeted to the utter depths of depravity. Through a close reading of the text, I will argue that Shakespeare employs the plot of Gloucester to explicate Lear's plot, and, in effect, contextualizes Lear's metaphorical blindness with Gloucester's physical loss of vision.    When the audience is first introduced to Lear, he is portrayed as a raging, vain old man who can not see the purity of his daughter Cordelia's love for him from the insincerity of her sisters Goneril and Regan. In his fiery rage after disowning Cordelia, Lear commands to Kent, "Out of my sight!" (1.1.156). Kent fittingly implores the aging king to "See better, Lear; and let me still remain / The true blank of thine eye" (1.1.157-8). Kent recognizes love in its most noble form in the person of Cordelia, and is able to see through the hypocrisy of Lear's other two daughters. In beseeching Lear to "[s]ee better," Kent is, in effect, asking Lear to look beyond his vanity and inward pride to see the honesty of Cordelia, who refuses... ... Consulted:    Bevington, David, "Introduction to King Lear."   The Complete Works of William   Shakespeare.   New York:   HarperCollins, 1992.    Elton, William R. King Lear and the Gods.   San Marino, California: The Huntington Library, 1966.    Halio, Jay.   " King Lear's Blinding." Shakespeare Quarterly 67 (1999):   221-3.      Hoover, Claudette.   "Women, Centaurs, and Devils in King Lear."   Women's Studies 16 (1989):   349-59.    Jackson, Ken. "Review of Judy Kronenfeld, King Lear and the Naked Truth." Early Modern Literary Studies 6.2 (September, 2002): 10.1-5 Available: http://purl.oclc.org/emls/06-2/jackrev.htm>.    Leggattt, Alexander.   King Lear.   Boston: Twayne Publishers, 1988.    Shakespeare, William.   King Lear.   The Complete Works of Shakespeare. Ed. David   Bevington.   New York:   HarperCollins, 1999   

Hidden messages of objects of African art Essay

In our modern world works of art play a role which is quite different from the role they used to play in the past. Indeed, in ancient times the craftsmanship of masters who produced utensils necessary for daily needs was already the source of art, because their products were among few vehicles of self-expression. As the result, many of the objects of the ancient art were simultaneously the objects of use, like vessels for liquids, different decorated tools, etc. However, with time and along with the social developments at least since Hellenistic culture art in the Western world was becoming more a means of self-expression of man and of our human striving for beauty. This process, while preserving the attraction to objects of practical utilization endowed with artistic qualities, also led to the separation of decorative art into a means to achieve aesthetic satisfaction. At a certain moment, art began to be integrated into the approaches towards creation of living spaces of human beings, and, importantly, the works of art began to be valued for their own sake. Since the industrial revolution, when technologies enabled mass production of products, the role of art in the Western world underwent further transformation art because capitalism initiated â€Å". . . the bringing of art . . . into subordinate relation . . .†[1] Since those times there appeared a tendency to perceive works of art as a kind of modern icons enclosed in museums for public viewing. Thus, â€Å"the religion of art . . . was born†[2], and art as a consecrated phenomenon has been by now somewhat isolated from our everyday lives. In this regard, one of the most important tasks of museums is to find the most effective ways to immerse people into artistic environment and to teach them not only to contemplate objects with their eyes, but as well to feel them with all their senses, as if reliving experiences of those human beings who created artistic objects. This task becomes especially challenging when it comes to the presentation of artifacts of cultures that significantly differ from our own. To see such challenges we may turn our attention to art of Africa, which contains a lot of exotic elements for modern viewers. One of the most important qualities of art in African cultures is its focus on immediate human experiences. In addition to racial differences among the ethnic groups of Africa that are reflected in their approach towards depiction of human beings, works of African art in most cases also look so strange for modern viewers because they represent world views and unique experiences (already fixed by addition of â€Å"and unique experiences†) of their creators which are really different from ours. Indeed, African art builds upon heritage of several millennia of various cultural traditions embodied in such diverse artistic artifacts as sculptures created for ritual purposes, wooden and golden monuments, ornaments made of silver and gold, unique garments, masks, and other artifacts. On grounds of this diversity, it is very hard to make generalizations about the African culture. However, there are some common elements that can be viewed as main motives and themes of African art. For example, it is a well known fact that African natural environment is very harsh in comparison to other regions of the world. Consequently, for African denizens the answer to the need to maintain population has traditionally been the bearing of numerous children. Therefore, African women are primarily associated with the symbol of life, because the existence and integrity of families and clans depends on one hand upon ability of woman to give birth to children, and on other hand upon her role as supporter of old parents and upon her mission in many African societies of contacting with spirits of the ancestors through prayers and ritual offerings. On ground of this, many themes in African art are in one way or another linked with symbols of fertility of women, of soil as another source of life, and of animals and plants. For example, many African shrines are dedicated to spirits that are believed to provide fertility, and they often contain some sculptures or other art forms that symbolize fertility. In a more direct fashion, in many African cultures there is an abundance of art objects that directly depict pregnant women. In this way we can see that African art has traditionally been influenced by specifics of its environment. However, one of the Western approaches to African art lies in our attempts to find out whether Africans make art for its own sake, and this approach may be somewhat misleading. At this point we may recall our considerations of the development of art in the Western world when until relatively recent times art was not meant to be placed in museums as it is often the case today, but rather was integrated in the life of society, for instance in religious and even political practices. In this connection, African art seems to have retained the ability to keep itself close to everyday concerns of people as far as it aims to reflect upon the most urgent concerns of African people. The objects of African art bristle with expressive emotions of their masters who with the help of objects of art try to investigate their relation with the world, and who through art communicate their striving to survive in a tough environment. Therefore, African art can hardly be separated from the lives of people who created it, and this unity seems to be stronger than in the Western artistic tradition.[3] One of the very exciting exhibitions where we can find beautiful exemplars of African art is the exhibition devoted to Arts of Africa, Oceania, and the Americas in the Metropolitan Museum of Art in New York. Let us with the help of this exhibition explore how modern viewers perceive objects of quite a different culture, and whether this exhibition manages to make the displayed objects of art speak to spectators in their native language. For this task we may pick several objects representative of the African culture as far as they reflect upon the main traditional themes of past and present African art. It must be pointed out from the outset that very often there are no firm dates for many of objects of African art. This is because African artists neither signed nor dated their creations. However, as many pieces of African art are made of wood, which is not a very long-lasting material, especially in African environment, it is thought that most of the wooden pieces of African art can probably be dated as belonging to the end of the nineteenth or the beginning of the twentieth century. Of course, aside from wood many objects are made of stone, clay, bronze, silver, gold, ivory, and terracotta. Such objects are long-lasting and those of them that have been found in known archeological contexts and in properly investigated archaeological locations have more or less fixed dates attributed to them. I propose to choose the following objects for the further research: A seated figure of a male from the thirteenth century, which offers an impressive image of anxiety that speaks directly to viewers` emotions (figure 1 in Appendix). This object originates from Inland Niger Delta region, the site named Jenne-jeno, which is the most ancient known city of sub-Saharan Africa. The Metropolitan Museum of Art acquired this object in 1981 as a bequest from Joseph Pulitzer, Harris Brisbane Dick, and Rogers Funds. (already fixed) A memorial head of a ruler of the Akan ethnic group from Western Africa from the seventeenth century that reflects idealized notions of African people (figure 2 in Appendix). This object`s origin was Hemang city in the Twifo region of Ghana, the land of the Akan ethnic group. It was initially a part of Michael C. Rockefeller Memorial Collection and was given to museum by Nelson A. Rockefeller in 1967. A pendant mask dated of the sixteenth century, which has an interesting history and therefore can enhance our understanding of the role of art in African cultures (figure 3 in Appendix). This object originates from Benin, a culturally important region populated by Edo speaking people that is a part of southern and northern The mask has a rich history of ownership, as it belonged to Brenda Z. Seligman, Prof. C. G. Seligman, and Sir Ralph Moor. In the end, it also became a part of Michael C. Rockefeller Memorial Collection and was gifted to museum by Nelson A. Rockefeller in 1972. (I`m afraid that if more detailed info is needed on provenance, the only way to get it is to visit the museum and find out, because officially Metropolitan Museum states only what we have mentioned above, i.e. that â€Å"it belonged to Brenda Z. Seligman, Prof. C. G. Seligman, and Sir Ralph Moor. In the end, it also became a part of Michael C. Rockefeller Memorial Collection and was gifted to museum by Nelso n A. Rockefeller in 1972†) Of course, there exists a diverse and comprehensive body of research dedicated to such a complex phenomenon as African art. Most of the books dedicated to this topic attempt to integrate African art with social and ethnographic peculiarities of African cultures. I believe that this is a rightful path to follow, because if we try to comprehend the meaning of African objects of art while ignoring their context we risk not grasping their true meaning that was assigned to them by their creators. Among books that provide such an integrated approach to the research of African art we may highlight several. One of them is the work History of Art in Africa by Monica Blackmun Visona and numerous co-authors. This book is not that much a strictly formal research but rather a detailed guide that increases our understanding of artistic forms created in different regions of Africa by different peoples and cultures, especially those of the Sub-Saharan areas. From the academic point of view, by means of a combination of modern research of various forms of African arts and their attempts to apply those findings to different geographic regions and different times of African history authors had made a significant contribution to the literature devoted to the history of art. Another relevant work that deals with African art is the book edited by Tom Phillips Africa: The Art of a Continent. It is one of the most thorough general works on African art that provides detailed overview of art forms and styles, and at the same time gives extensive description of African tribes and their influence on regionalized art forms. In this way, this book is helpful as a reference for those who would like to systemize the knowledge of African art that one already has, and to localize cultural centers of African art. In addition to the mentioned books, the work of Sidney Littlefield Kasfir Contemporary African Art is the worthy piece of reasearch that treats the transformations in African art in the latter half of the 20th century. It is a very helpful direction of research because, among other things, it shows how the traditional forms of African art are reevaluated by contemporary African artists themselves. The high level of scholarship of the author and his masterful ability to tie modernity with history co-operate to paradoxically make this book relevant for those who aim to better understand not only modern African art, but its traditional forms as well, which is the important achievement for this author. Each of the mentioned books contains some outstanding points, but at the same time none of them can pretend to be a fully comprehensive guide to African art, if it is at all possible to make a such a guide. But as all those books cover somewhat different aspects of African art, I believe that our task is to try to combine their findings with our immediate impressions from the contemplation of the objects of African art from the Metropolitan Museum of Art in order to achieve the highest possible level of comprehension of the uniqueness of African cultural heritage. This aim leads me to a more general task which I will try to accomplish, namely to see whether it is possible for a museum as a kind of â€Å"modern cultural church† of our society to present objects of an unfamiliar culture in such a way as to enable viewers to really penetrate beyond the objects` material form and recreate in their minds experiences similar to those of artists who embodied their feelings in artistic creations. This task presupposes some psychological research, of which my own impressions from the exhibition will be the object, and also considerations about the general level of successfulness of the exhibit as measured by visible impressions of its other visitors. The first object of our analysis is a seated figure of a male. Due to the age of this piece of art and the fact that African artists did not inscribe their names on their creations it is impossible to know who exactly was the author of this object. However, we know that this sculpture originates from a location known as Jenne-jeno, which was the most ancient known city of sub-Saharan Africa. This was a center that thrived around the ninth century AD, but declined by the beginning of the fifteenth century leaving numerous artifacts made of forged iron, cast brass, and clay. While performed archaeological digs give only a vague glimpse of the true role of art in that region, the available heritage of the old culture of Jenne-jeno definitely shows that artists of the urban society of that time possessed highly sophisticated artistic skills. For example, this particularly impressive figure, with its legs crossed, its chest almost pressed against a leg, and its head touching its knee, transmits the sensation of anxiety and stress, or, alternatively, of a full immersion in a prayer. This frozen emotional load of the sculpture bespeaks the motives of a creator of this piece of art that apparently were aimed at expressing intense emotional experiences that could arise from such events as ritual commemoration of the death of loved people. The method of direct portrayal of emotions as if written on the face of the figure serves to actually dissolve boundaries of time and make this object universally understood. (well, sometimes we have to defend our position, and in this case it actually could be both that the figure is tense or relaxed in prayer, and it`s not a contradiction. In fact, I checked the website of the Metropolitan and, ironically, there it is also said that this figure â€Å"simultaneously suggests the knotted tension of anxiety and the sublime absorption of deep prayer†) At the same time, sculptures like this one despite their concreteness of representation could simultaneously serve as a symbolic image of ancestors or mythic heroes, in this way existing in realms of both the material and spiritual, and therefore most probably were employed in ritual ceremonies. Indeed, the shaved head of this figure and its state of self-immersion are somewhat symbolized and remind of mourning practices that are still used by many cultures of sub-Saharan Africa.[4] In this way, this object enables us to suppose that such practices were as well common 700 years ago among peoples of the Inland Niger Delta. But, of course, due to the mentioned scarcity of our knowledge of the true role of art in the region of Jenne-jeno we cannot convincingly limit the role of this figure exclusively to mourning practices. In terms of materials used, this object is made of terracotta, a brownish baked earth clay that is a durable and easily workable substance. Usually, found terracotta figures have a lot of detail, because this material was widely used in African art for production of bodily ornaments and jewelry. This sculpture is not an exception as can be seen from its physical appearance and its surface qualities. For example, the technique used for the creation of this object enabled the author to make the parallel lines of knobs and dots on the back of the figure in such a way as to give it a heightened sense of relief. By the way, such knobs and dots were employed in African art quite often, sometimes covering the whole space of human figures. It is thought that this element in art was supposed to stand for signs of some kind of sicknesses that abound in African environment. [5] Combining the mentioned aspects of this object of art, I have to admit that I was greatly impressed by its overall look, and I noticed that the general response of other museum visitors was similar as people were apparently staying near this object for a longer time than on average. I believe the reason for this is the skillful work of the artist who managed to embody in the material shape a lot of emotional load, and therefore reached a powerful effect. But what made me especially excited about this object was the realization of the fact that for the author of this work its message was most probably personally experienced, and therefore this object conforms to one of the most important tasks of art, which lies in the creation of universal space of communication that transcends bounds of time and cultures. The second object of our research is a memorial head of a ruler dated of the seventeenth century, and for which we also do not know the author. This terracotta object is a decorated portrait that depicts a serene man with accurately balanced facial features and striped long neck. This form of African art belongs to what is called in some West-African cultures as â€Å"mma†, an idealized image that depicts the positive qualities that were expected from a ruler. Therefore, one of the main motives for the creation of this object was its involvement in ritual procedures. In fact, it is known that such portraits were crafted posthumously and were left along with similar images of preceding rulers in special sacred cemeteries and shrines called â€Å"mmaso† that had to keep the memory and the history of lineage of noble members of African societies. Additionally, this practice of posthumous pictorial commemoration of rulers also extended to members of his court and his servants, who were supposed to continue their service for their ruler after his death as well. â€Å"Mmaso† cemeteries were the places of regular offerings and prayers aimed at the constant support of the deceased ancestors.[6] On these grounds, it stands to reason that artists who created portraits such as the one we are studying were adding a great deal of symbolism to their creations. Indeed, the general appearance of this object is such that for me it was hard to imagine the person who it was intended to copy, and I suspect that the exact physical resemblance might not have been the main concern of the author of this memorial portrait. This head is also made from terracotta, and is decorated with fragments of quartz. But in contrast to the previous terracotta object that depicts a figure in a very plastic and emotional way, this object looks as if it was consciously processed by the artist without excessive modification of the original terracotta sphere. It seems that the facial features of the man float above the rough material they are inscribed on, and radiate a kind and positive irony, which to my judgement testifies to a very subtle technique used by the artist that is on a par with the best recognized masterpieces of fine arts. At the same time, it seems to me that this object of art retains some mystery, as if the closed eyes of the man say that we cannot see the world that his eyes had seen, and that we might have to become one of his contemporaries to fully perceive the world view of this ancient ruler and the artist who immortalized him. (Hm, it`s really hard to say what the professor meant by putting â€Å"!† along this portion of the text. . . Do you know exactly?) Interestingly, many people in the museum behaved as if feeling in some subconscious way the ultimate futility of efforts to fully comprehend the message of this object, because I noticed that in most cases visitors did not spend much time near this memorial head. But I believe that with this work the artist reached perhaps the most important artistic effect, that of its ability to intrigue truly attentive viewers, and therefore make them wonder about the hidden aspects of the culture that gave birth to this object. The last target of our research is a mask, the object strongly associated with African art. And, indeed, this mask had a special meaning for its creators. It is dated of the sixteenth century, and in contrast to previous anonymous works this artifact can give us some hints as to its artistic origin. In fact, this mask is thought to have been created in the beginning of the sixteenth century for the king of Benin Esigie. The mask depicts the elaborated and thoughtful portrait of the mother of the king, and it was probably used in rites that honored the king`s mother. From this we can guess that this mask was created by some court artist specifically for the ritual purposes, moreover that even today in many African cultures similar pendant masks are always involved in yearly rituals of spiritual purification. To reinforce this assumption we should point out that this mask is primarily made of ivory, the material that in Benin is associated with the white color that symbolizes ritual purity of the god of the sea named Olokun. This god was also viewed as a spiritual guard of kings, so this mask could bear several meanings.[7] In addition to ivory as a primary material, this mask is decorated with metal mosaic, has carved superficial incisions in the skin of its forehead, and holds below the chin beads made of coral. Interestingly, the collar and the diadem of the mask contain images of mudfish and bearded Portuguese. Mudfish live both in the water and on land, and thus it stands for the dual nature of the king who is simultaneously human and divine. On the other hand, Portuguese, who arrived from the sea, were perceived as coming from the spiritual realm. In this way, this mask integrates in it numerous symbols of the African culture. In general, this object of art conveys a somewhat different impression than previous ones. First of all, its high level of detail draws attention and begs for an especially careful inspection from the side of a viewer. On the other hand, despite having many types of decorations this mask nevertheless looks very integral and thematically complete. Moreover, among the objects of our research this mask is the most realistic one in terms of its resemblance to an actual human being. But at the same time it seemed to me that maybe because of its portrait-like look many people fail to notice the depth of its symbolical meaning of which the facial form of the mask is merely a small part. Thus, we can see that African artists already long time ago fully possessed the skill of integration of multilayered symbolical messages in a work of art, which uncovers the richness of their world views. On ground of our observations, we may conclude that museum exhibits can really give visitors a chance to relive experiences of cultures as different from ours as African ones are. However, the expansion of our cultural awareness is a task that perhaps to a larger degree depends on a viewer himself. Indeed, if a viewer just walks by the exhibit, she may get only a very limited impression of African art which may only confirm some formulaic notions that many of us have about it, like that there are a lot of masks, that objects of African art are of a strange look, etc. Even I must admit that without the deeper investigation of the history and hidden messages of the objects of African art that we had researched I would most probably also fail to see the true meaning of the works of African art, because a superficiality of judgement reduces the artistic creations merely to their material form and ignores their spiritual connotation. On a more practical side, I would recommend that in relation to exhibits devoted to exotic forms of art, of which African art is a good example, museums should not merely provide a passive presentation of artistic objects, but rather should take more proactive steps in terms of attraction of visitors` attention towards hidden aspects of art that may defy superficial attitude. For example, this purpose may be achieved through organization of publicly open regular thematic seminars on new historical, ethnographic and iconographic research devoted to African and other exotic forms of art, and through advertised presentations of new objects obtained by museum. All of this would help put what otherwise might be perceived as isolated individual objects of art into a larger cultural context, and therefore might increase public awareness of the specifics and values of art of different regions of the world.    Bibliography: â€Å"Arts of Africa, Oceania, and the Americas†. The Metropolitan Museum of Art, 2006. Bacquart, Jean-Baptiste. The Tribal Arts of Africa. Thames & Hudson, 2002. Brettell, Richard R. Modern Art 1851-1929 : Capitalism and Representation. Oxford University Press, 1999. Drewal, Henry John, Pemberton, John III, Abiodun, Rowland, and Wardwell, Allen, (Ed.). Yoruba: Nine Centuries of African Art and Thought. Harry N Abrams, 1990. Ezra, Kate. Royal Art of Benin: The Perls Collection. Metropolitan Museum of Art, 1992. Hahner-Herzog, Iris, Kecskesi, Maria, and Vajda, Lazlo. African Masks: The Barbier- Mueller Collection. Prestel Publishing, 1998. Kasfir, Sidney Littlefield. Contemporary African Art. Thames & Hudson, 2000. Mills, C. Wright. Power, Politics, and People: The Collected Essays of C. Wright Mills Oxford University Press, 1967. Phillips, Tom, (Ed.). Africa: The Art of a Continent. Prestel Publishing, 1999. Thompson, Robert Farris. African Art in Motion: Icon and Act in the Collection of Katherine Coryton White. University of California Press, 1974. Turner, Victor Witter. Revelation and divination in Ndembu ritual (Symbol, myth, and ritual). Cornell University Press, 1975. Visona, Monica Blackmun, Poynor, Robin, Cole, Herbert M., Harris, Michael D., Abiodun, Rowland, and Blier, Suzanne Preston. History of Art in Africa. Prentice Hall, 2003. Willett, Frank. African Art. Thames & Hudson, 2002. Works Cited: Hahner-Herzog, Iris, Kecskesi, Maria, and Vajda, Lazlo. African Masks: The Barbier- Mueller Collection. Prestel Publishing, 1998. Kasfir, Sidney Littlefield. Contemporary African Art. Thames & Hudson, 2000. Mills, C. Wright. Power, Politics, and People: The Collected Essays of C. Wright Mills. Oxford University Press, 1967. Paz, Octavio. Convergences: Essays on Art and Literature. Harvest/HBJ Book, 1991. Phillips, Tom, (Ed.). Africa: The Art of a Continent. Prestel Publishing, 1999. Visona, Monica Blackmun, Poynor, Robin, Cole, Herbert M., Harris, Michael D., Abiodun, Rowland, and Blier, Suzanne Preston. History of Art in Africa. Prentice Hall, 2003. (As you could see, I already have removed Paz from Bibliography)

Problem Solution Essay

The issue concentrates on the environment and its problems. Nature is fighting back against the abuses we have inflicted on it! Due to human carelessness that damaged the environment, many communities are now suffering from environmental crisis. Food, air and water needed for life’s processes which the environment provides unfortunately contain many harmful substances called pollutants. The presence in the environment—air, water and soil—of waste materials or pollutants which the environment cannot handle, degrade, disperse or diffuse so that it becomes unclean and unhealthy is called pollution. Most pollution is caused by man. Pollutants will increase as population grows, hence, minimizing the production of pollutants and managing its proper disposal must be the goal of every human being. Air pollution that is an undesirable change in the physical and chemical characteristics of air: industrial plants, motor vehicles, indiscriminate throwing and burning of refuse everywhere make the air polluted. Prolonged exposure to air pollution may cause respiratory and other diseases as well as irritation of the eyes, nose and throat. Water pollution that contains more harmful substances such harmful bacteria and poisonous chemicals, are likely to cause gastro-intestinal diseases, cholera, typhoid fever, dysentery, infectious hepatitis, food poisoning and even death. Land pollution is when harmful substances are introduced into the soil making it unable to sustain plant life; toxic residues from the accumulation of chemicals in the land can cause cancer and other diseases. And noise pollution that refers to the presence of too loud, too sudden or very unpleasant sounds that becomes an assault to the body causing mental or physical harm, it affects not only the ears but also directly or indirectly impairs the mind and the whole body. There is a way out of this trap. In a word, it is sacrifice. The fact is that there is no way to both clean up the environment and conserve natural resources without changing the life-style of people in the industrialized nations. The challenge is that of motivating people to make the necessary changes now, before a worldwide disaster forces, much more difficult adjustments upon us.   There is no doubt that our existing resources can be used far more efficiently. It is possible for a large-scale, multiple stage recycling program to be introduced in imitation of natural ecosystems. Just as necessities of life are used by one organism after another in various ecological cycles, so human could reuse many of its essential raw materials over and over. To take a simple example, garbage could be used as fuel to run the mills to make recycled paper, the wastes from which could be burned as fuel. Similarly, it is possible that community water districts will some day become closed systems, meaning that the water would be used again and again, never being discharged into an ocean or river. Some factories already have such closed systems. It is possible to envision larger closed systems designed so that no industrial material would ever be discarded as either waste or pollution. Keeping a clean environment is the responsibility of the government, society and each individual. Today, environmental problems must be given extra attention to protect people from this danger. While it is true that the government has passed laws to make our atmosphere safer, the success of these laws depends largely on the cooperation of the populace. All of us must have knowledge of this environmental menace. Yes, there is still a gleaming hope to save our Mother Earth from total destruction. There is still a chance to regain the lost paradise we unscrupulously abused. We must do our part to make this world a safer place to live in, not just for ourselves and our neighbors but our future generations. People of the industrialized nations learned to accept a more leisurely life-style and a lower standard of living, while encouraging economic growth in the Third World. Works Cited: Barrow, C.J. Environmental Management and Development. Routledge, 2005. Caldwell, Lynton K. Environmental Policy: Transnational Issues and   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   National Trends. Quorum Books, 1997. Kemp, David D. Global Environmental Issues: A Climatological   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Approach. Routledge, 1994.

Tuition Is Necessarily for All Students, What Do You Think?

Nowadays, tuition has become indispensable for the new generation. There are many tuition centres in our country. Tuition has also become common among students nowadays. Many of them are attending tuition classes after school. Some of them have to attend tuition classes every day even during public holidays. I agree that tuition is necessary for students. It is needed in order to achieve the optimum academic performance. Tuition is an effective extra coaching for all students. Some of them are unable to catch up in school due to too much work load give to them in school. As a tuition class is smaller compare to a class in the school, the tutors can give their students more individual attention. Tutors can also target students’ weaknesses and try to improve their academic performance in school. Normally, students who attend tuition will be able to catch up and have some improvement in their studies. Besides that, the tutors can get more freedom in tuition. They do not need to follow and stick to the syllabus in school strictly. There is more variety in tuition and this can make the students gain more extra knowledge. Tutors can also set the exercises according to the students’ needs. The exercises according to their needs are very effective to help them to score good marks in the exam. Tutors can give the weaker students more remedial work to help them to catch up. On the other hand, they can give the brighter students some enrichment exercise to help them score better in the exams. Tuition is a necessity to achieve the optimum performance. It helps students to have a good preparation for the exam. Tutors specifically teacher students on how to score well in exams. The tutors will give them plenty of exam oriented questions so that they will know how to answer the questions and score good marks in the exams. Tuition has good track records. It helps students to pass their tests or exams in flying colours. Students can achieve good results by attending tuition classes. In addition, tuition is essential to balance the students’ studies and recreation. It can prevent them from wasting their time doing recreation activities such as watching movies, playing computer games, shopping and others. It can help them to utilize their time efficiently but not wasting their time for recreation or just doing revision at home. It is important in balancing their free time. Lastly, students can get many benefits from tuition. Students can deepen or enrich their knowledge about the topics on core subjects. Tuition also gives extra knowledge that is useful in the future. The students who attend the tuition classes have the edge over the others. This can make them perform well in class and score well in exams. In the nutshell, attending tuition classes I necessary to all students. It gives an edge to students who attend the classes. They are able to perform better in exams and score good results. It is important to balance studies and recreation as students will not waste their time doing something unbeneficial. Thus, I agree that tuition is a necessity for all students as it gives lots of benefits to them.

The concept of Gods redemptive plan Essay Example | Topics and Well Written Essays - 4000 words

The concept of Gods redemptive plan - Essay Example The Exodus narrative refers to the journey undertaken by Israelites from Egypt to their motherland. Similarly, the gospel narratives refer to the Christian teachings wherein Jesus’ elects twelve men, known as the apostles, to reach the nations and act as agents for providing salvation to others. The Pauline narrative herewith refers to Paul’s teachings in the Bible and helps to develop an understanding of Paul’s own redemptive, and the manner in which Jesus selects and calls him for his fissional agenda. Again, God elected Israel in order to ensure that Israel acts as the agent of redemptive for missio Dei to all other nations. The story of Israel, as outlined in the Bible, from Abraham’s redemptive to the Exodus event, and later in the New Testament, is written in such a manner that requires one to remember the past about the journey of appointment that Israel had made. Moreover, the same acted as a reminder regarding the manner in which God, in his grace , rescued and re-established Israel, such that all nations would ultimately enjoy the same redemptive grace. The Exodus narrative depicts the journey of Israelites from Egypt to Canaan. It unravels the painful story of the Israelites, who were then attributed as slaves. The Exodus narrative comprises of two main genres, namely, laws, along with the narrative history. Its main personalities encompassed Moses, Aaron, Joshua, and Miriam. These personalities acted as leaders for the Israelites in their path of relocating from Egypt to Canaan.

Logistics Management and Transportation System Dissertation

Logistics Management and Transportation System - Dissertation Example In this scenario, several facets of an organisation such as leadership, production, transportation, strategy, management, logistics, human resource, and other similar elements are being studied by scholars in order to further clarify and understand how developments of these factors contribute to the achievement of the goals of the organisation. Recognising the broad spectrum of concerns in organisations and its management, this research will delve on the connection between logistics and transportation management. In the global economic market, the role of transportation is critical. Since, aside from being a sector on its own, it is an integral section of the organisation that is tasked with the ‘actual’ physical distribution of the finished product to the client or to the warehouse (Samanarayanake and Toncich, 2007). Within the organisation, transportation management falls within the broad functions of logistics management (Langevin and Riopel, 2005, p. 2). Since, logis tics is â€Å"that part of the supply chain process that plans, implements and controls the efficient and effective forward and reverse flow of storage of goods, services and related information between the point of origin and the point of consumption in order to meet customers’ requirements† (Council of Logistics Management, 2003). Meanwhile, transportation system is the scheme used to reach the point of origin to the point of consumption and vice-versa. In this sense, it is essential that the transportation system be aligned with logistics management in order to minimise costs and satisfy the requirements of the clients. 1.1. Background of the Study Transportation is crucial in logistics because, it is the lifeblood of logistics. Since without proper transit, materials... In this chapter, the analysis of the concepts necessary for clarifying and understanding the connection between logistics and transportation will be carried out. Likewise, in this chapter, various organizational processes and the developments in ICT will also be looked into as logistics, transportation, and their relationship is clarified. In order to achieve this ends, a library research has been conducted to search for scholarly materials that have dealt with the same topic. Through this approach, the literature review presents not only the current discourses relevant to the subject matter of the research, but it also serves as the foundation in which the concepts of the topic are to be clarified and comprehended. In this regard, the discussion and elucidation in this chapter are all drawn from the gathered secondary materials. The literature review will be divided into four parts. The first section will be dealing with the notion of the relationship between logistics and transportation and on how it adds value to the company. This question is important because it zeroes in on the apparent benefits and advantages that are resulting from the ‘connection between logistics and transportation’. Furthermore, it seeks to provide concrete evidence that will assist in determining the clearer perspective of these concepts. The second section of the literature review will tackle the effect of some organizational activities that have an impact on the productivity in the logistics department and transportation system.