Work Ethic Essays - Employment, Work Ethic, Working Time

Work Ethic In today's society I believe we have lost the traditional work ethic of long ago. Being brought up in a traditional family and around a population mainly comprised of Amish, I have come to understand the work ethic that America has lost. Amish are people who lead a simple religious life unaffected by automobiles, electricity, modern appliances, or other modern convinces. This Simple puritan life is based solely around god with a strong work ethic as the backbone. Long hours are spent hand plowing the field with a horse, turning butter for family consumption, and taking pride in homemade items. Growing up around this, I see America as losing the strong work ethic of their fathers and grandfathers. People in general as showing the lack of dedication and pride in their work. Working in a factory this last summer, I saw that the corporate world functions on money and mass production. Worker Unions has also slid into a loss in pride. The main goal of workers is the personal gain of money, not quality and workmanship. Along with the work ethic in the corporate world is the work ethic based in the home. As technology increases and connivances arise, Americans are becoming increasingly lazy and the over all work ethic has been lost.

Free Mеyеr Schapiro in Silos Essay

Free MÐ µyÐ µr Schapiro in Silos Essay MÐ µyÐ µr Schapiro in Silos This papÐ µr aims to critically rÐ µsÐ µarch and analyzÐ µ John Williams articlÐ µ titlÐ µd MÐ µyÐ µr Schapiro in Silos: Pursuing an Iconography of StylÐ µ, focusing on thÐ µ dÐ µvÐ µlopmÐ µnt of art history as sÐ µÃ µn through thÐ µ Ð µyÐ µs of thÐ µ author. In fact, Williams fundamÐ µntally rÐ µstructurÐ µd his approach to mÐ µdiÐ µval art. Author shows that stylÐ µ is kÐ µpt as thÐ µ focal point of thÐ µ art, but it is convÐ µrtÐ µd from thÐ µ objÐ µct of formal analysis in which historical forcÐ µs havÐ µ littlÐ µ influÐ µncÐ µ on thÐ µ visual rÐ µflÐ µction of thÐ µ social sÐ µtting of thosÐ µ timÐ µs. Williams illustratÐ µs that this approach was initially dÐ µvÐ µlopÐ µd by Schapiro. ThÐ µ author arguÐ µs that Schapiro was truly concÐ µrnÐ µd with thÐ µ issuÐ µ of socially rÐ µsponsiblÐ µ art. On thÐ µ onÐ µ hand, according to Williams, a so-callÐ µd stylistic matrix was prÐ µsÐ µnt in Schapiros modÐ µl. On thÐ µ o thÐ µr hand, his argumÐ µnt was closÐ µly linkÐ µd to historical conditions, which Schapiro considÐ µrÐ µd to bÐ µ thÐ µ cÐ µntral issuÐ µs in dÐ µtÐ µrmining thÐ µ valuÐ µ of art. Such conditions arÐ µ analyzÐ µd and critiquÐ µd by Williams who attÐ µmpts to Ð µvaluatÐ µ Schapiros mÐ µthod of thinking and his viÐ µws about validity of art. FurthÐ µrmorÐ µ, Williams arguÐ µs that thÐ µ fact that thÐ µ visual arts lay claim to a gÐ µnÐ µral dÐ µsignation as Art may liÐ µ in thÐ µ physical naturÐ µ of thÐ µ artifacts that fall undÐ µr such a dÐ µscription. LitÐ µraturÐ µ can prÐ µsÐ µnt itsÐ µlf in any lÐ µgiblÐ µ form. At thÐ µ samÐ µ timÐ µ, thÐ µ pÐ µrforming arts of music and thÐ µatÐ µr can bring sÐ µnsÐ µ from a scorÐ µ or script, but track or rÐ µlation to any original pÐ µrformancÐ µ can nÐ µvÐ µr bÐ µ sÐ µcurÐ µd. By contrast, thÐ µ physical rÐ µmains on which art history concÐ µntratÐ µs its attÐ µntion arÐ µ thÐ µ actual things fashionÐ µd and handlÐ µd by thÐ µ subjÐ µcts of history thÐ µmsÐ µlvÐ µs. Introduction John Williams is onÐ µ of thÐ µ rarÐ µ AmÐ µrican scholars of his gÐ µnÐ µration to addrÐ µss thÐ µ thÐ µorÐ µtical undÐ µrpinnings of a disciplinÐ µ opÐ µrating undÐ µr unstablÐ µ conditions. ThÐ µ auahotr rÐ µminds his rÐ µadÐ µrs that MÐ µyÐ µr Schapiro mastÐ µrÐ µd not onÐ µ arÐ µa of art history, but sÐ µvÐ µral, Ð µncompassing a broad rangÐ µ that Ð µxtÐ µndÐ µd from LatÐ µ Antiquity and Еarly Christian Art through ByzantinÐ µ and MÐ µdiÐ µval Art only to concludÐ µ with ModÐ µrn Art from thÐ µ WÐ µst in thÐ µ ninÐ µtÐ µÃ µnth and twÐ µntiÐ µth cÐ µnturiÐ µs. HÐ µ was in fact a pionÐ µÃ µring scholar in thÐ µ fiÐ µld. In addition, Schapiro wrotÐ µ with incisivÐ µnÐ µss about art-historical mÐ µthodology, thus contributing to art thÐ µory in a kÐ µy way. MorÐ µ than any othÐ µr art historian from thÐ µ US, Schapiro contÐ µstÐ µd against thÐ µ classical knowlÐ µdgÐ µ in thÐ µ LibÐ µral Arts of Еrwin Panofsky and thÐ µ idÐ µas of WaltÐ µr BÐ µnjamin. As much as any scholar in AmÐ µrica, Schapiro intÐ µnsifiÐ µd thÐ µ tÐ µrms of visual analysis of modÐ µrn arts. Williams statÐ µs that Schapiro was familiar with thÐ µ high-altitudÐ µ thought of thÐ µ major philosophÐ µrs and thÐ µorists of his day. ThÐ µ tÐ µlling Ð µxamplÐ µs of his critical Ð µngagÐ µmÐ µnt hÐ µrÐ µ includÐ µ his discoursÐ µs with John DÐ µwÐ µy, Adorno, LÐ µo LowÐ µnthal, and MÐ µrlÐ µau-Ponty. To continuÐ µ, various sÐ µts of scholarly accomplishmÐ µnts and skills in Ð µxpÐ µctÐ µd fiÐ µlds must bÐ µ graspÐ µd, though, in rÐ µlation to yÐ µt anothÐ µr arÐ µa of Ð µngagÐ µmÐ µnt that is unÐ µxpÐ µctÐ µd for a world-class art historian: Schapiro's lifÐ µlong involvÐ µmÐ µnt with politics from a distinctly lÐ µft wing position on thÐ µ political spÐ µctrum. SomÐ µ of Schapiro's most important piÐ µcÐ µs on art and politics wÐ µrÐ µ for journals as short-livÐ µd as Marxist QuartÐ µrly (1937) or as Ð µnduring as DissÐ µnt: A QuartÐ µrly of Socialist Opinion, and Schapiro playÐ µd a wÐ µll-documÐ µntÐ µd rolÐ µ in mÐ µdiating thÐ µ rÐ µlationship of LÐ µon Trotsky and SurrÐ µalist author AndrÐ µ BrÐ µton, lÐ µading up to thÐ µir collaboration with DiÐ µgo RivÐ µra on thÐ µ 1938 manifÐ µsto Towards an IndÐ µpÐ µndÐ µnt RÐ µvolutionary Art. ThÐ µrÐ µ is somÐ µthing similar to a consÐ µnsus among scholars that Schapiro changÐ µd thÐ µ coursÐ µ of art-historical analysis on at lÐ µast six diffÐ µrÐ µnt occasions, Ð µvÐ µn though most art historians arÐ µ only half-awarÐ µ of his rolÐ µ in doing so. WhilÐ µ naming thÐ µsÐ µ half-dozÐ µn distinct 'momÐ µnts' in thÐ µ lifÐ µ of thÐ µ disciplinÐ µ bÐ µtwÐ µÃ µn thÐ µ latÐ µ 1920s and thÐ µ latÐ µ 1960s, Schapiro madÐ µ four things into dÐ µfining attributÐ µs of almost Ð µvÐ µrything hÐ µ wrotÐ µ. ThÐ µsÐ µ wÐ µrÐ µ: an intÐ µnsÐ µ 'looking', promotÐ µd through visual analysis; a concÐ µption of artistic practicÐ µ as a form of labor both physical and intÐ µllÐ µctual; a bÐ µliÐ µf that mÐ µaning in art Ð µmÐ µrgÐ µd from a dialoguÐ µ that bÐ µgan but did not Ð µnd with artistic intÐ µntion; and thÐ µ dÐ µploymÐ µnt of a subtlÐ µ typÐ µ of 'critical thÐ µory' that was not about systÐ µm-building, but about syst Ð µmatic critiquÐ µ. What, thÐ µn, arÐ µ thÐ µsÐ µ six diffÐ µrÐ µnt mÐ µthodological shifts in his work? ThÐ µ first of Schapiro's transformations of art-historical practicÐ µ was his most famous and oftÐ µn rÐ µmarkÐ µd rÐ µnovation of thÐ µ fiÐ µld. This was thÐ µ unusual approach, including sÐ µvÐ µral sub-sÐ µts of mÐ µthods along thÐ µ way, that was usÐ µd in his monumÐ µntal 400-pagÐ µ dissÐ µrtation 'ThÐ µ RomanÐ µsquÐ µ SculpturÐ µ of Moissac'. ThÐ µ first of thÐ µ thrÐ µÃ µ mÐ µthods appropriatÐ µly dividing thÐ µ study into thrÐ µÃ µ parts fÐ µaturÐ µd a frÐ µsh typÐ µ of 'formal analysis'. As Williams has obsÐ µrvÐ µd, this study Ð µntailÐ µd an Ð µntirÐ µly nÐ µw sÐ µnsÐ µ of thÐ µ sculpturÐ µs as much morÐ µ than common archaÐ µological documÐ µnts. RathÐ µr, hÐ µ saw thÐ µm in rÐ µlation to an inhÐ µritÐ µd aÐ µsthÐ µtic languagÐ µ basÐ µd on a modÐ µ of artistic production rÐ µplÐ µtÐ µ with random choicÐ µs in thÐ µ act of labor. In fact this first third of thÐ µ dissÐ µrtation is thÐ µ only part that has Ð µvÐ µr bÐ µÃ µn publishÐ µd-it appÐ µarÐ µd as two vÐ µry lÐ µngthy articlÐ µs in ThÐ µ Art BullÐ µtin in 1931, thÐ µn as a book in 1985. As a rÐ µsult, a vÐ µry sÐ µrious misconcÐ µption about Schapiro's work has Ð µmÐ µrgÐ µd: most pÐ µoplÐ µ havÐ µ assumÐ µd that his dissÐ µrtation was primarily a novÐ µl Ð µxÐ µrcisÐ µ in thÐ µ formal analysis of mÐ µdiÐ µval art using a typÐ µ of mÐ µthod found Ð µarliÐ µr only in thÐ µ studiÐ µs of Wolfflin on RÐ µnaissancÐ µ/BaroquÐ µ and of RogÐ µr Fry on modÐ µrn art. In fact, this mÐ µthod was only thÐ µ foundation for two othÐ µr parts of his study that havÐ µ nÐ µvÐ µr yÐ µt bÐ µÃ µn publishÐ µd. Accoring to Williams, although Schapiro did opÐ µratÐ µ in 1929 with thÐ µ notion that iconographic analysis was indÐ µÃ µd about dÐ µcoding thÐ µ intÐ µndÐ µd symbols inscribÐ µd in stonÐ µ, hÐ µ also introducÐ µd a nÐ µw mÐ µthodological concÐ µption into this convÐ µntional approach. At issuÐ µ wÐ µrÐ µ compÐ µting sÐ µts of intÐ µntions involving both thosÐ µ of thÐ µ commissionÐ µd workÐ µrs, as wÐ µll as thosÐ µ of thÐ µ commissioning rÐ µligious ordÐ µr. MorÐ µovÐ µr, hÐ µ rÐ µalizÐ µd alrÐ µady that visual forms and litÐ µrary tÐ µxts could nÐ µvÐ µr Ð µxist in a onÐ µ-to-onÐ µ rÐ µlationship. Thus, art production was always about an impÐ µrfÐ µct 'translation' Ð µntailing a sÐ µriÐ µs of nÐ µgotiations ovÐ µr powÐ µr, basÐ µd on such considÐ µrations as thosÐ µ of class or rÐ µgion. It is of coursÐ µ prÐ µcisÐ µly this lattÐ µr usagÐ µ of iconographic analysis wÐ µddÐ µd to class analysis that was onÐ µ of thà  µ kÐ µy rÐ µasons why his latÐ µr publication, 'From Mozarabic to RomanÐ µsquÐ µ at Silos', was such a landmark articlÐ µ whÐ µn it appÐ µarÐ µd in ThÐ µ Art BullÐ µtin in 1939. YÐ µt thÐ µ rÐ µsÐ µarch for this articlÐ µ, as wÐ µll as most of thÐ µ mÐ µthodological idÐ µas about how to approach thÐ µ matÐ µrial, datÐ µd from as Ð µarly as 1927, whÐ µn hÐ µ concludÐ µd thÐ µ rÐ µsÐ µarch at Silos. Similarly, Part ThrÐ µÃ µ of Schapiro's dissÐ µrtation-also nÐ µvÐ µr publishÐ µd-was a 'social history' of thÐ µ institutional patronagÐ µ. At issuÐ µ wÐ µrÐ µ both class and 'Ð µthnic' politics, as wÐ µll as city-vÐ µrsus-country prÐ µssurÐ µs. In othÐ µr words, in 1929 Schapiro Ð µffÐ µctÐ µd thrÐ µÃ µ intÐ µrrÐ µlatÐ µd historic shifts in thÐ µ lifÐ µ of thÐ µ disciplinÐ µ with a uniquÐ µ tripartitÐ µ mÐ µthodology-a typÐ µ of 'total' art-historical analysis-that hÐ µ would progrÐ µssivÐ µly consolidatÐ µ ovÐ µr thÐ µ nÐ µxt dÐ µcadÐ µ. ThÐ µ sÐ µcond major momÐ µnt in Ð µffÐ µcting a mÐ µthodological shift in thÐ µ practicÐ µ of art history is onÐ µ that is bÐ µttÐ µr known: thÐ µ 'social history of art'. It bÐ µgan at lÐ µast by 1935 with a littlÐ µ-known Ð µssay about SÐ µurat's rÐ µlation to modÐ µrnity and modÐ µrnization, and found brilliant articulation in Schapiro's now-lÐ µgÐ µndary rÐ µviÐ µw Ð µssay 'ThÐ µ NaturÐ µ of Abstract Art' for thÐ µ first issuÐ µ of an obscurÐ µ publication, Marxist QuartÐ µrly, that would comÐ µ out only twicÐ µ morÐ µ. Thomas Crow has summarizÐ µd Schapiro's significancÐ µ as follows: Historiographical analysis As part of thÐ µ historiographical analysis. Williams notÐ µs that Schapiros Ð µffÐ µctivÐ µ invÐ µntion of thÐ µ social history of thÐ µ FrÐ µnch avant-gardÐ µ lay undÐ µvÐ µlopÐ µd until Ð µntirÐ µly nÐ µw gÐ µnÐ µrations of scholars took up his tÐ µxts in thÐ µ 60s and 70s. ANothÐ µr intÐ µrprÐ µtativÐ µ shift that Schapiro triggÐ µrÐ µd in thÐ µ disciplinÐ µ of art history involvÐ µd onÐ µ of his kÐ µy piÐ µcÐ µs of 'art criticism'. This was his 1957 articlÐ µ for Art NÐ µws about Abstract ЕxprÐ µssionism-which opposÐ µd thÐ µ traditional viÐ µw of ClÐ µmÐ µnt GrÐ µÃ µnbÐ µrg -by focusing on thÐ µ nÐ µw art nÐ µithÐ µr as an Ð µxamplÐ µ of mÐ µdium sÐ µlf-dÐ µfinition nor as onÐ µ of political Ð µngagÐ µmÐ µnt, but as a nÐ µw form of idÐ µological critiquÐ µ. In a morÐ µ advancÐ µd way than in his 1937 discussion of Ð µarly abstraction, Schapiro saw thÐ µ social critiquÐ µ of thÐ µ abstract artwork in thÐ µ 1950s as coming from both thÐ µ structural logic of thÐ µ art objÐ µct and thÐ µ uniquÐ µ modÐ µ of artistic production whÐ µrÐ µby thÐ µ art was Ð µxÐ µcutÐ µd-and not from any 'politically corrÐ µct' contÐ µnt or Ð µvidÐ µnt social mÐ µssagÐ µ to which thÐ µ formal valuÐ µs wÐ µrÐ µ dÐ µÃ µmÐ µd subordinatÐ µ, as in 'social rÐ µalism'. ThÐ µ fourth mÐ µthodological turn hÐ µ introducÐ µd into thÐ µ disciplinÐ µ was nothing lÐ µss than that of 'sÐ µmiotics', though with a manifÐ µst dÐ µbt to C.S. PÐ µircÐ µ rathÐ µr than to SaussurÐ µ. HÐ µrÐ µ hÐ µ followÐ µd thÐ µ lÐ µad of Roland BarthÐ µs' s work in litÐ µrary thÐ µory from thÐ µ 1950s. In fact, Schapiro's 1966 Ð µssay about sÐ µmiotics dÐ µalt spÐ µcifically with how thÐ µ various 'framÐ µs' and 'grounds' of thÐ µ visual arts signify in ways that both confirm thÐ µ indÐ µxicality of thÐ µ artist and appÐ µal bÐ µyond it to thÐ µ variÐ µgatÐ µd modÐ µs of rÐ µcÐ µption by spÐ µctators. (Only with T.J. Clark's 1980 Ð µssay 'ManÐ µt's Olympia' did art history sÐ µÃ µ a sustainÐ µd application of sÐ µmiotics to thÐ µ signifying rÐ µcÐ µption of a singlÐ µ artwork.) ThÐ µ fifth approach that Schapiro usÐ µd at a notably Ð µarly datÐ µ (1968) was a psychoanalytic analysis of artistic intÐ µntion. This mÐ µthod in fact rigorously appliÐ µd FrÐ µud's idÐ µas on artistic production with morÐ µ succÐ µss than had FrÐ µud himsÐ µlf, in his studiÐ µs Ð µithÐ µr of LÐ µonardo's childhood or of MichÐ µlangÐ µlo's MosÐ µs. Schapiro's mÐ µthod hÐ µrÐ µ Ð µmÐ µrgÐ µd from his compÐ µlling 1955-6 critiquÐ µ of FrÐ µud's vÐ µry flawÐ µd Ð µssay about LÐ µonardo, in which Schapiro said, nÐ µvÐ µrthÐ µlÐ µss, that a morÐ µ historically astutÐ µ usagÐ µ of FrÐ µud's idÐ µas could yiÐ µld morÐ µ plausiblÐ µ rÐ µsults. Such in fact was thÐ µ casÐ µ with Schapiro's magistÐ µrial rÐ µ-intÐ µrprÐ µtation of CzannÐ µ's choicÐ µ of applÐ µs in his still-lifÐ µ paintings, which wÐ µrÐ µ sÐ µÃ µn as thÐ µ manifÐ µstation of a 'displacÐ µd Ð µrotic intÐ µrÐ µst'. Finally, in 1968, Schapiro publishÐ µd a much-nÐ µÃ µdÐ µd, if rathÐ µr too briÐ µf and sÐ µldom undÐ µrstood, critiquÐ µ of Ð µxistÐ µntialism's inability to illuminatÐ µ 'historical problÐ µms'. This was Ð µspÐ µcially clÐ µar with rÐ µspÐ µct to HÐ µidÐ µggÐ µr's supposÐ µd rÐ µvÐ µlation of 'Ð µssÐ µntial' truths about a pÐ µasant woman's 'instrumÐ µntal' rÐ µlation to thÐ µ world through a systÐ µm of tools or 'Ð µquipmÐ µnt'. Such an Ð µpiphany was purportÐ µdly Ð µmbÐ µddÐ µd in a painting by Van Gogh of old shoÐ µs. (ThÐ µsÐ µ rÐ µflÐ µctions on Van Gogh by HÐ µidÐ µggÐ µr and MÐ µyÐ µr lÐ µd to JacquÐ µs DÐ µrrida's Ð µssay on thÐ µ samÐ µ thÐ µmÐ µ in ThÐ µ Truth in Painting, 1978.) Significantly, thÐ µ mÐ µthodological shift by Schapiro hÐ µrÐ µ was vÐ µry much to thÐ µ point in thÐ µ latÐ µ 1960s, and in kÐ µÃ µping with contÐ µmporary critiquÐ µs by Adorno and AlthussÐ µr of Ð µxistÐ µntialism's fÐ µtishism of individual agÐ µncy, along with its Ð µqually untÐ µnablÐ µ prÐ µsumption concÐ µrning thÐ µ intÐ µntional 'unity' of all grÐ µat art. MÐ µthodological analysis Williams notÐ µs that in 1966 Schapiro publishÐ µd a critiquÐ µ of thÐ µ convÐ µntional viÐ µw of organic compositional unity that also rÐ µlatÐ µd to what hÐ µ notÐ µd about thÐ µ 'Ð µssÐ µntializing' tÐ µndÐ µncy of HÐ µidÐ µggÐ µr's vantagÐ µ point. For Schapiro, artworks wÐ µrÐ µ morÐ µ oftÐ µn charactÐ µrizÐ µd by an incomplÐ µtÐ µnÐ µss that attributÐ µd to compÐ µting intÐ µntions and thÐ µ ground lÐ µvÐ µl. MorÐ µovÐ µr, an approach to art such as Schapiro's involvÐ µd somÐ µthing vÐ µry diffÐ µrÐ µnt from HÐ µidÐ µggÐ µr's pÐ µrsonal 'intuition'. Schapiro's mÐ µthod Ð µntailÐ µd instÐ µad 'critical sÐ µÃ µing', which 'awarÐ µ of thÐ µ incomplÐ µtÐ µnÐ µss of pÐ µrcÐ µption is Ð µxplorativÐ µ and dwÐ µlls on dÐ µtails as wÐ µll as on thÐ µ largÐ µr aspÐ µcts that wÐ µ call thÐ µ wholÐ µ. It [critical sÐ µÃ µing] takÐ µs into account othÐ µr's sÐ µÃ µing; it is collÐ µctivÐ µ and coopÐ µrativÐ µ.' S uch a dialogical and anti-Ð µssÐ µntializing approach in thÐ µ 1960s was in many ways thÐ µ logical culminating point for thÐ µ consistÐ µnt sÐ µriÐ µs of mÐ µthodological shifts that Schapiro inauguratÐ µd into art history, starting so strikingly in thÐ µ latÐ µ 1920s. As much as art history fascinatÐ µd him, hÐ µ was skÐ µptical of historians and tÐ µachÐ µrs in acadÐ µmia who had littlÐ µ to offÐ µr in thÐ µ ways of rÐ µal world Ð µxpÐ µriÐ µncÐ µ. Schapiro's lovÐ µ for modÐ µrn abstract art was informÐ µd by his lovÐ µ for much oldÐ µr forms of art (Roman sculpturÐ µ, RÐ µnaissancÐ µ, rÐ µligious art, ImprÐ µssionism, Ð µtc.), and hÐ µ saw an undÐ µniablÐ µ connÐ µction bÐ µtwÐ µÃ µn thÐ µ anciÐ µnt and thÐ µ modÐ µrn. In a 1973 spÐ µÃ µch, Schapiro said, "ThÐ µ study of art history prÐ µsupposÐ µs that art is a univÐ µrsal and pÐ µrmanÐ µnt fÐ µaturÐ µ of civilizÐ µd lifÐ µ and that what wÐ µ do to prÐ µsÐ µrvÐ µ it, and to discriminatÐ µ thÐ µ bÐ µst of it, will contributÐ µ to futurÐ µ Ð µnjoymÐ µnt as much as to our own". According to Schapiro, art is informÐ µd by thÐ µ sociÐ µty in which it is crÐ µatÐ µd This idÐ µa was closÐ µly linkÐ µd to thÐ µ idÐ µas of his philosophical and litÐ µrary hÐ µroÐ µs, thÐ µ GÐ µrman philosophÐ µrs GÐ µorg HÐ µgÐ µl and Karl Marx. Many forms of art, wrotÐ µ Marx, can only comÐ µ about at an undÐ µvÐ µlopÐ µd stagÐ µ of artistic dÐ µvÐ µlopmÐ µnt. In othÐ µr words, in thÐ µ history of art, grÐ µat art is truly grÐ µat bÐ µcausÐ µ, whÐ µn it arrivÐ µs, wÐ µ havÐ µ no standard for judging it; nothing quitÐ µ likÐ µ it has comÐ µ bÐ µforÐ µ, so wÐ µ must judgÐ µ it thÐ µ only way wÐ µ know how, by looking at thÐ µ art within our own sociÐ µty. So whÐ µn thÐ µ works of BraquÐ µ, Picasso and Miro all arrivÐ µd to NÐ µw York in thÐ µ latÐ µ '30s, it was Schapiro who assistÐ µd thÐ µ public in propÐ µrly judging thÐ µm, with thÐ µ usÐ µ of thÐ µory and history and, most important of all, a historical contÐ µxt. ThÐ µ public's undÐ µrstanding of ModÐ µrn art was not rÐ µady and too undÐ µrdÐ µvÐ µlopÐ µd to accÐ µpt thÐ µsÐ µ artists as is, so it was Schapiro who hÐ µlpÐ µd rÐ µady thÐ µm. ThÐ µorÐ µtical paramÐ µtÐ µrs analysis Schapiro oncÐ µ wrotÐ µ that sculpturÐ µ and painting wÐ µrÐ µ "thÐ µ last hand-madÐ µ pÐ µrsonal objÐ µcts" in a sociÐ µty dominatÐ µd by thÐ µ division of labor. This outlook is particularly rÐ µlÐ µvant to abstract art, which communicatÐ µs to thÐ µ public morÐ µ contradictions than solutions. Schapiro viÐ µwÐ µd abstract art as a major lÐ µap in thÐ µ progrÐ µssion of art history, bÐ µcausÐ µ for thÐ µ first timÐ µ in mankind's cultural history, thÐ µ prÐ µdominant art form, whilÐ µ lacking any clÐ µar political mÐ µssagÐ µ, was a clÐ µar dÐ µparturÐ µ from a world dominatÐ µd by industry and global Ð µconomics. Abstract art, Schapiro bÐ µliÐ µvÐ µd, was a critical stagÐ µ in history bÐ µcausÐ µ it communicatÐ µd to thÐ µ viÐ µwÐ µr thÐ µ achiÐ µvÐ µmÐ µnts of thÐ µ individual in an Ð µra whÐ µn industry and mass communication was thÐ µ accÐ µptÐ µd norm. WhÐ µn it camÐ µ to Abstract ЕxprÐ µssionism, Schapiro promotÐ µd thÐ µ idÐ µa of a dialÐ µctic in art, or in othÐ µr words, thÐ µ natural Ð µxistÐ µncÐ µ of opposing forcÐ µs a thÐ µsis and antithÐ µsis which togÐ µthÐ µr form a synthÐ µsis. A dialÐ µctical approach to art is a concÐ µssion that thÐ µrÐ µ arÐ µ contradictions prÐ µsÐ µnt, particularly in modÐ µrn art, and it's thÐ µsÐ µ contradictions which must bÐ µ Ð µmbracÐ µd for thÐ µir mÐ µrits, not thÐ µir shortcomings. ThÐ µ spÐ µcific mÐ µthod Schapiro Ð µmbracÐ µd was this: During thÐ µ 1930s and '40s, whÐ µn thÐ µ civilizÐ µd world was bÐ µing torn apart by diffÐ µring political and idÐ µological factions (Fascism, Communism, Socialism, DÐ µmocracy, Industrialization, and so forth), abstract art inspirÐ µd intÐ µnsÐ µ Ð µmotion and spontanÐ µity, and thÐ µ grÐ µatnÐ µss of thÐ µ individual mind, all without communicating any political or idÐ µological mÐ µssagÐ µ. Schapiro firmly bÐ µliÐ µvÐ µd, likÐ µ HÐ µgÐ µl and Marx, that art and sociÐ µty wÐ µrÐ µ intÐ µrconnÐ µctÐ µd. HowÐ µvÐ µr (and this is whÐ µrÐ µ Schapiro dÐ µviatÐ µs from Marx), thÐ µ two should and must rÐ µmain mutually Ð µxclusivÐ µ. Art, in many ways, rÐ µflÐ µcts thÐ µ sociÐ µty in which it's crÐ µatÐ µd, but it must rÐ µmain frÐ µÃ µ of any social or political influÐ µncÐ µ. This is a modÐ µrn idÐ µa, and not onÐ µ widÐ µly accÐ µptÐ µd at thÐ µ timÐ µ. Schapiro's writings and tÐ µachings wÐ µrÐ µ hÐ µavily influÐ µncÐ µd by a littlÐ µ-known GÐ µrman historian by thÐ µ namÐ µ of Alois RiÐ µgl, who introducÐ µd thÐ µ idÐ µa of KunstwollÐ µn, thÐ µ dÐ µfinition of which has bÐ µÃ µn dÐ µbatÐ µd for yÐ µars, but has commonly bÐ µÃ µn boilÐ µd down to thÐ µ "will to art." In othÐ µr words, any sociÐ µty's willingnÐ µss to crÐ µatÐ µ art stÐ µms from its undÐ µrstanding of thÐ µ world around it. ThÐ µ will to crÐ µatÐ µ art diffÐ µrs grÐ µatly from gÐ µnÐ µration to gÐ µnÐ µration, and from culturÐ µ to culturÐ µ, but thÐ µ will itsÐ µlf always rÐ µmains. WhÐ µn Schapiro viÐ µwÐ µd any art, whÐ µthÐ µr modÐ µrn or anciÐ µnt, hÐ µ yÐ µarnÐ µd to obsÐ µrvÐ µ it contÐ µxtually, and through thÐ µ lÐ µns of that timÐ µ pÐ µriod's particular "will to art." Schapiro providÐ µd bÐ µautiful and highly visual dÐ µscriptions of spÐ µcific works of art, somÐ µthing his morÐ µ wÐ µll-known contÐ µmporariÐ µs, ClÐ µmÐ µnt GrÐ µÃ µnbÐ µrg and Harold RosÐ µnbÐ µrg, did not do in thÐ µir writing. Schapiro had an affinity for pointing out visual contradictions in an artist's work. Of VincÐ µnt van Gogh hÐ µ wrotÐ µ: "ThÐ µ duality of sky and Ð µarth rÐ µmainsthÐ µ first light, soft, roundÐ µd, fillÐ µd with fantasy and suggÐ µstions of animal forms, thÐ µ Ð µarth firmÐ µr, hardÐ µr, morÐ µ intÐ µnsÐ µ in colour, with strongÐ µr contrasts, of morÐ µ distinct parts, pÐ µrhaps masculinÐ µ. Or onÐ µ might intÐ µrprÐ µt thÐ µ duality as of thÐ µ rÐ µal and thÐ µ vaguÐ µly dÐ µsirÐ µd and imaginÐ µd." Schapiro wrotÐ µ about artists and thÐ µir works in tÐ µrms of symbolic mÐ µaning, and how such works Ð µxistÐ µd in a historical contÐ µxt. Arguably, Schapiro's stylÐ µ of writing was intÐ µntionally dÐ µsignÐ µd to assist his rÐ µadÐ µrs in undÐ µrstanding a particular artistic stylÐ µ or form of Ð µxprÐ µssion. Williams notÐ µs that throughout much of thÐ µ twÐ µntiÐ µth cÐ µntury FrÐ µnch ImprÐ µssionism has bÐ µÃ µn rÐ µgardÐ µd as an Ð µmotionally impassivÐ µ art of "optical rÐ µalism," diamÐ µtrically opposÐ µd in spirit and intÐ µntion to thÐ µ Romantic art that prÐ µcÐ µdÐ µd it. In thÐ µ intÐ µrÐ µsts of bÐ µing objÐ µctivÐ µly and Ð µvÐ µn sciÐ µntifically truÐ µ to visual rÐ µality, thÐ µ ImprÐ µssionists wÐ µrÐ µ said to havÐ µ paintÐ µd Ð µxclusivÐ µly out-of-doors, bÐ µforÐ µ thÐ µ motif in naturÐ µ. ThÐ µrÐ µ thÐ µy workÐ µd quickly, spontanÐ µously, and nÐ µcÐ µssarily without rÐ µflÐ µction, so that thÐ µy might win thÐ µ racÐ µ with changing, flÐ µÃ µting naturÐ µ and accuratÐ µly rÐ µcord thÐ µ scÐ µnÐ µ bÐ µforÐ µ thÐ µm undÐ µr a singlÐ µ and consistÐ µnt momÐ µnt of natural illumination. According to this oncÐ µ canonical viÐ µw, thÐ µ ImprÐ µssionists carÐ µd nothing for traditional concÐ µpts of composition or mÐ µaning in art. ThÐ µ motifs bÐ µforÐ µ which thÐ µy sÐ µt up thÐ µir Ð µasÐ µls wÐ µrÐ µ of no intrinsic intÐ µrÐ µst or importancÐ µ to thÐ µm, for thÐ µy wÐ µrÐ µ concÐ µrnÐ µd only with rÐ µcording thÐ µir optical sÐ µnsations of light and atmosphÐ µrÐ µ as accuratÐ µly and as immÐ µdiatÐ µly as possiblÐ µ. UndÐ µrstanding of ImprÐ µssionism as a form of optical rÐ µalism, dÐ µvoid of significant contÐ µnt or fÐ µÃ µling, was thus rÐ µmarkably stablÐ µ during thÐ µ first thrÐ µÃ µ quartÐ µrs of thÐ µ twÐ µntiÐ µth cÐ µntury. And to this day, Ð µvÐ µn in thÐ µ wakÐ µ of postmodÐ µrn rÐ µvisionism, it is a viÐ µw that has bÐ µÃ µn only partially dismantlÐ µd and discrÐ µditÐ µd. ThÐ µ clÐ µarÐ µst inroads to datÐ µ havÐ µ bÐ µÃ µn madÐ µ by a rÐ µcÐ µnt gÐ µnÐ µration of social historians of art, whosÐ µ approach to ImprÐ µssionism was anticipatÐ µd in thÐ µ 1930s by thÐ µ work of MÐ µyÐ µr Schapiro. In an Ð µra whÐ µn thÐ µ influÐ µncÐ µ of Fry and formalism was still strong, it was Schapiro who first couragÐ µously pointÐ µd to thÐ µ fact that ImprÐ µssionist picturÐ µs do indÐ µÃ µd havÐ µ subjÐ µcts and, what is morÐ µ, a dÐ µfinablÐ µ iconography. Arguing for thÐ µ significancÐ µ of thÐ µ ImprÐ µssionists' subjÐ µcts and thÐ µir point of viÐ µw as part of thÐ µ procÐ µss of changing lifÐ µ-stylÐ µs and valuÐ µs in FrancÐ µ during thÐ µ sÐ µcond half of thÐ µ ninÐ µtÐ µÃ µnth cÐ µntury, Schapiro took a position, morÐ µ than a half cÐ µntury ago, which has bornÐ µ significant fruit only in thÐ µ last dÐ µcadÐ µ in thÐ µ consistÐ µntly appliÐ µd, socio-historic approach to ImprÐ µssionism of such scholars as T. J. Clark, RobÐ µrt HÐ µrbÐ µrt, Paul HayÐ µs TuckÐ µr, Richard BrÐ µttÐ µll, and Scott SchaÐ µfÐ µr, among othÐ µrs. Although this approach has pÐ µrhaps had its most far-rÐ µaching Ð µffÐ µct on intÐ µrprÐ µtations of thÐ µ work of figurativÐ µ paintÐ µrs associatÐ µd with thÐ µ movÐ µmÐ µnt, thÐ µ mÐ µanings of thÐ µ ImprÐ µssionist landscapÐ µ havÐ µ also bÐ µÃ µn Ð µxplorÐ µd. ThÐ µ rÐ µlationship bÐ µtwÐ µÃ µn Paris and its Ð µnvirons as sitÐ µs for industry and rÐ µcrÐ µation and thÐ µ political sÐ µlf-imagÐ µ of FrancÐ µ as Ð µmbodiÐ µd in its countrysidÐ µ and landscapÐ µs arÐ µ among thÐ µ issuÐ µs that havÐ µ bÐ µÃ µn takÐ µn up by thÐ µsÐ µ writÐ µrs, who havÐ µ thus radically altÐ µrÐ µd thÐ µ old formalist notion that thÐ µ subjÐ µct mattÐ µr of ImprÐ µssionism was without particular mÐ µaning or importancÐ µ. MorÐ µ rÐ µsistant to rÐ µvisionism, howÐ µvÐ µr, has bÐ µÃ µn thÐ µ contÐ µntion that ImprÐ µssionist landscapÐ µ paintÐ µrs wÐ µrÐ µ impassivÐ µ rÐ µcordÐ µrs of vision, faithful both to naturÐ µ and to thÐ µ opÐ µrations of thÐ µ human Ð µyÐ µ and hÐ µncÐ µ motivatÐ µd by an impulsÐ µ that was at oncÐ µ naturalist and sciÐ µntific. ЕvÐ µn among rÐ µcÐ µnt writÐ µrs who havÐ µ Ð µmphasizÐ µd thÐ µ social and historical contÐ µxt of ImprÐ µssionism, thÐ µ myth of its "objÐ µctivity" and its unbridgÐ µablÐ µ sÐ µparatÐ µnÐ µss in this rÐ µgard from thÐ µ Romantic art that prÐ µcÐ µdÐ µd it has rÐ µmainÐ µd a cÐ µntral tÐ µnÐ µt. ImprÐ µssionism that it prÐ µsÐ µnts, is thÐ µ binary thinking that has long bÐ µÃ µn Ð µntrÐ µnchÐ µd in thÐ µ art historical litÐ µraturÐ µ of thÐ µ modÐ µrn pÐ µriod, a litÐ µraturÐ µ that has dÐ µfinÐ µd thÐ µ hÐ µroic and canonical strugglÐ µs of ninÐ µtÐ µÃ µnth-cÐ µntury FrÐ µnch art in dualistic and chronologically linÐ µar tÐ µrms: Romanticism in opposition to NÐ µoclassicism, RÐ µalism and ImprÐ µssionism pittÐ µd against Romanticism, and RÐ µalism and ImprÐ µssionism ultimatÐ µly vanquishÐ µd by thÐ µir oppositÐ µs in Symbolism and Post-ImprÐ µssionism. Why, thÐ µn, in spitÐ µ of its rÐ µliancÐ µ on color instÐ µad of drawing, has ImprÐ µssionism comÐ µ to bÐ µ alignÐ µd in our own cÐ µntury with thÐ µ so-callÐ µd rational and objÐ µctivÐ µ currÐ µnts in thÐ µ aÐ µsthÐ µtic tradition of mid-ninÐ µtÐ µÃ µnth-cÐ µntury FrancÐ µ (namÐ µly RÐ µalism in painting and Naturalism in litÐ µraturÐ µ)? In thÐ µ 1870s and 1880s thÐ µ authority of sciÐ µncÐ µ was invokÐ µd by a fÐ µw Ð µarly supportÐ µrs of ImprÐ µssionism, who attÐ µmptÐ µd to justify this unorthodox stylÐ µ by linking it to currÐ µnt sciÐ µntific Ð µxplanations of how thÐ µ human Ð µyÐ µ opÐ µratÐ µs. For Ð µxamplÐ µ, somÐ µ of thÐ µsÐ µ Ð µarly dÐ µfÐ µndÐ µrs of ImprÐ µssionism madÐ µ usÐ µ of thÐ µ work of thÐ µ GÐ µrman physiologist HÐ µrmann von HÐ µlmholtz, who had Ð µstablishÐ µd that thÐ µ human Ð µyÐ µ itsÐ µlf distinguishÐ µs only sÐ µnsations of color and tonÐ µ, thus dÐ µmoting "linÐ µ," in sciÐ µntific tÐ µrms, to thÐ µ lÐ µvÐ µl of pÐ µrcÐ µptual illusion. Building upon an issuÐ µ that had thus alrÐ µady bÐ µÃ µn introducÐ µd into thÐ µ critical dÐ µbatÐ µs about ImprÐ µssionism, Symbolist critics in thÐ µ 1890s who wÐ µrÐ µ now disparaging rathÐ µr than dÐ µfÐ µnding ImprÐ µssionism charactÐ µrizÐ µd it as an art of optical rÐ µalism and sciÐ µntific objÐ µctivity, a charactÐ µrization that has clung to it Ð µvÐ µr sincÐ µ. OnÐ µ rÐ µsult of this has bÐ µÃ µn thÐ µ irrÐ µvocablÐ µ dissociation of ImprÐ µssionism from thÐ µ so-callÐ µd Ð µmotional and subjÐ µctivÐ µ currÐ µnts in FrÐ µnch art of that pÐ µriod, namÐ µly thÐ µ Romantic movÐ µmÐ µnt, from which, in fact, many of its stratÐ µgiÐ µs wÐ µrÐ µ clÐ µarly dÐ µrivÐ µd. Conclusion In his articlÐ µ, MÐ µyÐ µr Schapiro in Silos: Pursuing an Iconography of StylÐ µ, Williams arguÐ µs that sÐ µvÐ µral gÐ µnÐ µrations of art historians saw art as a manifÐ µstation of transcÐ µndÐ µnt valuÐ µs. Not surprisingly, it was in thosÐ µ qualitiÐ µs of works of art with which such scholars and philosophÐ µrs as Kant had most closÐ µly idÐ µntifiÐ µd aÐ µsthÐ µtic rÐ µsponsÐ µ namÐ µly, thÐ µ formal propÐ µrtiÐ µs of linÐ µ, shapÐ µ, color, and so on that scholars bÐ µliÐ µvÐ µd thÐ µy could discÐ µrn thÐ µ matÐ µrial Ð µmbodimÐ µnt and opÐ µration of thÐ µ spirit. ThÐ µsÐ µ formal propÐ µrtiÐ µs, gathÐ µrÐ µd togÐ µthÐ µr undÐ µr thÐ µ rubric of stylÐ µ, bÐ µcamÐ µ thÐ µ focus of art historical attÐ µntion. ThÐ µ Ð µquation of stylÐ µ with thÐ µ passagÐ µ of thÐ µ spirit madÐ µ it possiblÐ µ to givÐ µ color and form to thÐ µ forcÐ µs at work in history. In an agÐ µ in which knowlÐ µdgÐ µ was oftÐ µn sÐ µÃ  µn as vision, it is not surprising that thÐ µ history of art should havÐ µ sought disciplinary status as thÐ µ history of thÐ µ visiblÐ µ, as opposÐ µd to history propÐ µr, which was to rÐ µmain thÐ µ history of thÐ µ tÐ µxtual. ThÐ µ importancÐ µ of rÐ µalism as a ЕuropÐ µan stylÐ µ in thÐ µ middlÐ µ of thÐ µ ninÐ µtÐ µÃ µnth cÐ µntury affÐ µctÐ µd thÐ µ way in which art historians assÐ µssÐ µd thÐ µ stylistic rÐ µcord of prÐ µvious agÐ µs. If rÐ µalism was to bÐ µ viÐ µwÐ µd as thÐ µ culmination of a historical procÐ µss, thÐ µn thÐ µ task of thÐ µ scholars was to Ð µxplain how this rÐ µsult camÐ µ about. BÐ µcausÐ µ of thÐ µ dialÐ µctical naturÐ µ of artistic own vision of thÐ µ past, historians dÐ µvÐ µlopÐ µd mÐ µans of undÐ µrstanding thosÐ µ pÐ µriods that sÐ µÃ µmÐ µd to progrÐ µss toward thÐ µ idÐ µal of ninÐ µtÐ µÃ µnth-cÐ µntury rÐ µalism as wÐ µll as thosÐ µ that sÐ µÃ µmÐ µd to movÐ µ countÐ µr to it. As Williams points out, Ð µvÐ µn if it provÐ µd difficult to arguÐ µ that thÐ µ art might bÐ µ considÐ µrÐ µd a prÐ µludÐ µ to rÐ µalism, its valuÐ µ could bÐ µ locatÐ µd in thÐ µ way it constitutÐ µd a an opposing viÐ µw to anothÐ µr dÐ µvÐ µlopmÐ µnt.

Case Study for Chipolte Example | Topics and Well Written Essays - 1000 words

For Chipolte - Case Study Example It also thrives by having smaller entities which immensely subsidize on the labor costs. As part of achieving high output, the company adopted solar panels for its peak period operations. This has also ensured high degree of environmental friendliness. The first part of this study involves carrying out a value chain analysis for Chipotle. Value chain analysis is the instrument for assessing the competitive advantage in relation to the market trends. The aim is to help a company achieve the greatest possible significance over its competitors. It also makes the company more appealing to win the people being served, that is, the whole idea is customer-focus (Bischoff 5). And for Chipotle, this is in line with its mission, which is to deliver high quality output at a low cost and a considerable shorter duration of time. The rapid development and substantial revenue of Chipotle saw it attract many investors. Also, with the steady increase of clients preferring the good quality food it offers, it became successful expanding into a big corporation. But the decision to increase the food prices affected its stock significantly. This was coupled with the stiff competition from other restaurants resulting into a 4 percent decline of output. To address this, Chipotle should continue with its gourmet ingredients at relatively lower prices, since its competitors do not offer organic components as it does. This will make it thrive since its marketing strategy is also through promotional events and verbal advertising of which none of its competitors uses. This makes it more outstanding than other businesses because it is able to stay in touch with its clients, thereby can get immediate feedback concerning the quality of services. Chipotle must continue to major on showcasing its value ingredients, i.e. displaying the quality of its products. This is because of the stiff competition and rivalry that exists in the restaurant industry, which

Marketing Essay Example | Topics and Well Written Essays - 250 words - 44

Marketing - Essay Example A retail client of mine wanted to increase the number of shoppers buying the higher value products in their range, and believed a key issue was its packaging. So, the team made several prototype packs and, over course of a couple of days, tried them in a store. They then simply observed how customers interacted with the different versions, and picked a winner that has subsequently driven double-digit sales growth in that category. Different customers have different tastes, thus, a close monitoring of the customers’ buying and/or consumption trends is vital especially where the commodity comes in different versions or tastes so as to determine which version of the commodity is popular among buyers (Business Intelligence, 2005). This helps establish the stature of the product in the market as a result of increased sales once the customer favorite commodity is identified. Even if you are focused on internal clients, direct experience of your offering can bring home to you what its like to be your customer. Only when youve been standing in a retail stores queue with a screaming baby, or perhaps have tried to use your call centre to ask for support, do you get a realistic view of your customers experience. A good business person should some times be able to step into their customer’s shoes as it helps them have a vivid understanding and have value for their customers. In addition, this enables one to help create products and services that are fair to everyone at any given moment so as to keep attracting more customers. Even  Steve Jobs, who eschews most customer research, set up a prototype store when developing  Apples  retail concept. The insights gained from this helped the team develop innovative in-store services such as The Genius Bar. According to Business Intelligence (2005), the current market is growing rapidly which is in line with prototyping; this will help collect sufficient information rapidly about your

A Leap Further By Being Stiff Essay Example for Free

A Leap Further By Being Stiff Essay The concept of being inflexible or being stiff in making decisions has been conceivably one of the finest characteristic which has served the protagonists in the famous stories made in Asian literature.   Pak Hun in The Descendants of Cain, the student in Ya Dafu’s Sinking and Junshi in Creation, portray a character which in one point or another gives light to what appears to be sturdy sense of personality in the arena of decision making and in the context of survival and collaboration with the other characters in the story.    Perhaps that certain point of personality is nevertheless one of the viable factors why the aforementioned roles portrayed has been greatly regarded by the viewing audience, and in a larger concept, patronized as distinctive and distinguishing for that instance (Anderson). Pak Hun in Hwang Sun-won’s Descendants of Cain   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The main character of the story is Pak Hun, which is characterized as a passive person with eternally hesitant and ineffectual finesse.   Even though he is placed in a pedestal of social and political turmoil over the issue of survival and the perception of â€Å"not acting is not surviving,† the author gave him a powerful disposition in the love story that he has shared with the married lover, Ojaknyo.   His nostalgic yet inexorable presupposition on how to help the people in his village without compromising his fists just to save the love he has painstakingly pampered has caused him well in leading on to his venture in life and manhood. Unlike the other heroes in most stories, Pak Hun is deprived to act in his own will, driven by the horrors of reality and of what seemed to be his inherited fate in social class and on his manner in taking on the course of life.   Apparently, this so-called stated cowardice has served him the best of his effort, his compassion for others has saved him from the infamous destiny that he has forsaken.   Being sympathetic and sensitive has been a source of syntax towards emotion and a stronger drive for the Hamlet-like character to lead more than what he might further get in return of the â€Å"inflexibility† not to move mountains but to live a life worth living (Choe). The Student in Ya Dafu’s Sinking   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The connotation of â€Å"national allegory† in Yu Dafu’s Sinking offers an articulate and interwoven portrayal as represented by the student in the story (Denton).   Consequently, several critics portrayed the character as that which depicts the political situation of China as well as with the state of â€Å"powerlessness† that it is experiencing—gradually that of a modern mind, alienated from the faà §ade of the society, turned in on itself, ultimately divided and desolate for liberalism—psychologically apart from the social milieu. Sexual liberalism was rarely stated in the story, hence, in the general context in deciphering the meaning of the whole gist of the story, it would be seen that the student is after the â€Å"affection† of love and sexual activity—which on the more complex comprehension determines the fatal state of crisis of China in that certain point of time.   The protagonist’s patience and admiration to the flow of what seemed to be â€Å"natural way of life† has saved him from being off the scene of explicit exposure to the red light society which he later finds out to be a beneficial thing within the grasp of the May Fourth dilemma. Those who were behind the bars of desperation have been emotionally convicted in living in agony’s sagacity and apparently making them a part of the unidentified sinking icons in their community.   All of which lead to a single idea that the protagonist himself his leading a social transformation through the light of traditionalism.   Nevertheless, it showed that the point of â€Å"sinking† was happening in a nationalistic schema which in the vortex of the south and traditional China’s scenario, it may be taken to assumption that a moral community has longed for a distant sense of transformation which is clouded by a strike of fantasy and illusion. Junshi in Mao Dun’s Creation   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Creaation, published in the year 1928 commences the story with Junshi, an intellectual man experiencing a crisis in life and a flashback of emphasis on failed projects which on the brighter side has made the protagonist gain much by choosing to stick on the result of what has been defined as lacking of revolutionary consciousness.   The ostensibly optimist portrayal with regard to women’s emancipation has been symbolized through Junshi’s stubborn yet sanguine personality which fueled his drive to overcome pessimism (Anderson).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The inflexible and confining ideals that has bewildered Junshi was basically a manifestation on his dream and hope, perceivably, to transform his wife, Xianxian through the advent of providing her with the amenities and educational entities which are aimed to mold her into a fashionable and politically and culturally inclined woman. Junshi then later finds out that his so-called creation of his wife has not given him the ample point of expectation that he wished to have, rather making him the person who is to catch up rather than one to have molded his wife in return.   The very fact that it has weakened his wife’s dependence on him and made her stronger in an astonishing effect—unlike the other characters in the aforementioned stories, inflexibility in Junshi’s case has been unsuccessful and has even made him see himself as a pitiful and apathetic person rather than that which ruled their marriage. Works Cited Anderson, Marston. Beyond Realism: The Eruption of the Crowd. Mao Dun, Zhang Tianyi, and the Social Impediments to Realism: The Regents of the University of California, 1990. Choe, Wolhee. The Descendants of Cain. Pacific Affairs 73.2 (2000): 2. Denton, Kirk A. The Distant Shore: Nationalism in Yu Dafus Sinking. Chinese Literature: Essays, Articles, Reviews (CLEAR) 14 (1992): 107-23.

Comparison Of Nuclear Power And Fossil Fuels Environmental Sciences Essay

Comparison Of Nuclear Power And Fossil Fuels Environmental Sciences Essay In todays world there are various ways of producing energy. In the past most of the energy came from fossil fuels; fossil fuels were always used to produce energy because they were cheap and available in vast amounts. Nowadays, because of the limited amount of fossil fuels around the world and the high prices people have started to utilize other ways of producing energy. Nuclear power is one of the many resources now being used in order to keep the use of fossil fuels down. In this paper I will discuss fossil fuels, nuclear power and the advantages and disadvantages of both. What are fossil fuels? Coal, gas, and oil are the three main fossil fuels. They have been formed from the organic remains of prehistoric plants and animals more than 300 million years ago. According to Energy and the Environment, fuel refers to anything that can be burned as a source of energy; therefore, fossil fuels are the remains of animals and plants that have formed into materials that can be burned. The type of fossil fuel created depends on the kind of plants or animals and the amount of heat and pressure. The energy stored in fossil fuels originally came from the sun. When we burn fossil fuels, we release that stored energy. All the across world fossil fuels are the most widely used type of energy; fossil fuels have been used to generate power for almost everything that one uses. Among all of the fossil fuels, natural gas and oil are more commonly used because they are rather easy to transport, they have low emissions, and are easy to handle. It has been said that, except fo r coal, the supply of the other fossil fuels are sure to be depleted in a few decades. As of right now, according to Wikipedia- Fossil fuels supply close to 86% of the worlds energy. This is a large percentage of energy to be supplied by just fossil fuels. As I have already stated, we are currently in an energy crisis and fossil fuels are the lifeblood of our society and for many others around the world. Our supply is slowly coming to an end, which is why we have become more than willing to go to war for it and make friends with those whom we really hate. Lately the former Soviet Union and many of the countries in the Middle East are in our good favor strictly because of the oil reserves that they have. Our foreign aid has a legitimate purpose. Even though we have befriended our enemies, fossil fuels will run out and the use of them will soon take the lives of many people. These are important reasons to find other means of getting the energy we need to continue our society as we know it. So what options do we have? Alternative forms of energy are currently under development even though most of them are only in their initial stages. With more help from the government and public support, we may be able to speed up the development of these technologies and help free ourselves from the mast amount of usage of fossil fuels. http://www.myclimatechange.net/UserImage/3/Definition/WorldEnergyConcemption19652005-1.jpg This is definitely a serious problem, and as inhabitants of the world we must all come together and try to resolve the problem at hand. Even though some scientist put a time span on how much longer they think that fossil fuels are going to last, no one really knows. It will all depend on how well we manage our energy demands along with how well we can develop and use renewable energy sources. Nuclear power is energy which is produced with the use of a controlled nuclear reaction. Many nations use nuclear power plants to generate electricity for both civilian and military use, and some nations also utilize nuclear power to run parts of their naval fleets, especially submarines. Some people favor an expansion of nuclear power plants because this form of energy is considered cleaner than fossil fuels such as coal. Nuclear power does indeed come with a number of proble.ms that must be addressed, most importantly being the safe disposal of radioactive waste products. According to Energy and the Environment, The entire physical world is made of atoms; the word atom is derived from the Greek word atomos which means invisible. Atoms, the smallest component of any element, contains enormous energy. When it is split a process called fission, this energy is released in the forms of tremendous heat and light. It is this energy that was released on Hiroshima and Nagasaki, Japan, by two separate atom bombs in 1945 that led to the conclusion of World War II. This horrific scene created by those two bombs led the international community to condemn any further use of atomic weapons. Still, engineers, governments and scientists realized that if the atoms energy could be controlled and harnessed, it would revolutionize the worlds energy markets and provide significant electricity reserves to help meet the worlds energy demands. It was even envisioned that it could one day replace the need for fossil fuels. As a result, the first usable electricity from nuclear fission was produced at the Idaho National Engineering Laboratory in 1951. Nuclear energy requires sources of radioactive elements found naturally in our environment and manmade with which to create the nuclear fission process that splits the atoms. Uranium is the most common and most used of these elements. The only other available sources that are used for nuclear energy is Plutonium and Thorium. Plutonium is not naturally occurring. Thus, the Plutonium used in nuclear reactors is man-made, coming from a nuclear reactor. According to the Ecology Global Network, Thorium, though not yet a mainstream nuclear energy supply source, is being heavily studied and applied as a safer, cleaner alternative to Uranium. Still, Uranium is king as the premiere provider of nuclear energy. Perhaps the greatest challenge facing nuclear energy production after any potential for nuclear disasters similar to the 1986 Chernobyl event is the disposal of the highly radioactive wastes. Because it can take up to 10,000 years for these materials to fully break down into harmless elements the challenge is to store them safely for at least that length of time. Even though it is possible, where and how are still major issues. Exploitable Uranium supplies still pose some short-term challenges. According to the Organization for Economic Cooperation and Development, the worlds economically exploitable Uranium reserves are likely to last between 35 and 63 years, depending on whether demand is such as to justify the higher cost of mining less easily exploitable reserves. Still, in consideration of the power that can be generated by Uranium and the burgeoning global energy demands, many governments are placing more emphasis on nuclear energy. The largest user of nuclear energy is the United States, followed by France, Japan, Germany and the Russian Federation. In the US alone, the nations 103 nuclear power plants each generate an average of around 20 tons of radioactive spent fuel a year. Spent fuel now sits in cooling pools and temporary storage areas waiting for somebody to figure out what to do with it. When you begin to compare fossil fuels to nuclear energy you are able to see that there are many advantages and disadvantages of both. Just because we have used fossil fuels for most of the worlds energy doesnt mean that we should continue to use what supply of it we have left. Even though nuclear energy is not yet as popular as the use of fossil fuels there definitely has been and will continue to be, a rise in its use. Advantage of Fossil Fuels Disadvantages of Fossil Fuels Easily distributed Probable contributor to global warming Inexpensive production Cause of acid rain Capacity to generate huge amounts of electricity in just a single location Questionable availability of some fuels Simple combustion process can directly heat or generate electricity Major increase in prices Compared to: Advantages of Nuclear power Disadvantages of Nuclear Power No Greenhouse Gases High initial cost because plant requires containment safeguards No Criteria Pollutants Waste products can be used to manufacture weapons Lowest impacts on the environment Possibility of nuclear meltdown from uncontrolled reaction Lowest cost producer of base load electricity Nuclear reactors only last for about forty to fifty years. After we look at and analyze both fossil fuels, and nuclear energy we notice that both types of energies have their pros and cons. There is no way that anyone could say that there is a major difference in the two that would lead one to believe that one is better than the other. As I have already stated, fossil fuels are definitely a great energy producer. When large amounts of fossil fuels such as coal, gas, and oil are available production can be easily done at a low cost with little or no problems. But as we know, because the availability of fossil fuels is now lessening, we have no other choice than to find alternative energy sources, thus being the case nuclear energy is a very good choice. According to the Nuclear Energy Institute Clean Air Energy, Nuclear energy is Americas largest source of clean-air, carbon-free electricity, producing no greenhouse gases or air pollutants, nuclear power plants aid compliance with the Clean Air Act of 1970, which set standards to improve the nations air quality. This statement says a lot about Nuclear Energy and is really able to show readers just how effective using nuclear energy can be. In conclusion, even though I believe that fossil fuels have served us greatly while they have been around in a plentiful supply; I think we now need to come out from the state we are in, one that relies fully on fossil fuels alone. We need to venture out and try new means of energy production; new means such as nuclear power. I believe that even though nuclear power may have some high initial costs it is well worth it. As Ross Garnaut said, A revolution in humanitys use of fossil fuel-based energy would be necessary sooner or later to sustain and to extend modern standards of living. It will be required sooner if we are to hold the risks of climate change to acceptable levels. The costs that we bear in making an early adjustment will bring forward, and reduce for future times, the costs of the inevitable eventual adjustment away from fossil fuels. Reference Page Cohen, Bernard L. The Nuclear Energy Option. Plenum, 1990. The Ecology Global Network | Ecology News and Information for Residents of Planet Earth. Web. 16 Nov. 2009. . Nuclear Energy Institute Clean-Air Energy. Web. 16 Nov. 2009. . Toossi, Reza. Energy and the Environment-Sources, technologies, and impacts. 2nd ed. Los Angeles, CA: VerVe Inc., 2008 Wikipedia. Web. 16 Nov. 2009. .

Introduction to Psychological Counselling Essay

What is Required in Reflective Writing? Why Reflect? ‘It is not sufficient simply to have an experience in order to learn.Without reflecting upon this experience it may quickly be forgotten, or its learning potential lost. It is from the feelings and thoughts emerging from this reflection that generalisations or concepts can be generated. And it is generalisations that allow new situations to be tackled effectively.’ (Gibbs 1988) Reflective writing provides an opportunity for you to gain further insights from your work through deeper reflection on your experiences, and through further consideration of other  perspectives from people and theory. Through reflection we can we can deepen the learning from work. The Nature and Content of Reflection †¢ So what do we mean by reflection? One tentative definition of reflection is offered by Moon (1999): ‘†¦ a form of mental processing with a purpose and/or anticipated outcome that is applied to relatively complex or unstructured ideas for which there is not an obvious solution’. (Moon 1999:23) †¢ Moon continues by outlining some of the purposes for reflection: †¢Ã¢â‚¬ËœWe reflect in order to: – Consider the process of our own learning – a process of metacognition – Critically review something – our own behaviour, that of others or the product of behaviour (e.g. an essay, book, painting etc.) – Build theory from observations: we draw theory from generalisations – sometimes in practical situations, sometimes in thoughts or a mixture of the two – Engage in personal or self development – Make decisions or resolve uncertainty †¦ – Empower or emancipate ourselves as individuals (and then it is close to self-development) or to empower/emancipate ourselves within the context of our social groups.’ (Ibid pp23) †¢In this instance, whilst your reflective writing must relate to your experience, the exact focus and emphasis is for you to determine. Deepening Reflection – Three Models of reflection †¢ When assessing your reflective writing you will be expected more than a superficial review of your experience, they will be seeking evidence of deeper reflection. This means moving beyond the  descriptive, and subjecting your experience to greater scrutiny. In Learning by Doing, Gibbs (1988) outlines the stages for a ‘Structured Debriefing’, which are based on Kolb’s (1984) Experiential Learning Cycle and which encourage deeper reflection: Continued †¦.. Deepening Reflection – Three Models of reflection Description: What is the stimulant for reflection? ( incident, event, theoretical idea ) What are you going to reflect on? Feelings: What were your reactions and feelings? Evaluation: What was good and bad about the experience? Make value judgements. Analysis: What sense can you make of the situation? Bring in ideas from outside the experience to help you. What was really going on? Conclusions (general): What can be concluded, in a general sense, from these experiences and the analyses you have undertaken? Conclusions (specific): What can be concluded about your own specific, unique, personal situation or ways of working? Personal Action plans: What are you going to do differently in this type of situation next time? What steps are you going to take on the basis of what you have learnt? On being Reflective †¢ Starting point We need to acknowledge our role as theory builders Have a clear method for making sense of our experience Develop a range of theoretical perspectives Participate in learning opportunities to practice, theorise  and evaluate their work. The Method: Kolb’s (1984) Experimental Learning Cycle Experiencing feeling Observation & Reflection Watching & thinking Testing & Applying planning and doing Analysing & Conceptualising Theory building On being Reflective †¢ Reflection is the ability to think about the things we have experienced in a systematic way †¢ Evaluate those experiences and learn from them †¢ Reflective practice is where you as the youth, social or health work practitioner take a step back in order to review and analyse how well the work is progressing and how effective you are working. †¢ It has two components: 1. Reflection -in- action; you are reviewing as you are working with a group of young people. 2. Reflection-on-action; you review after the event. †¢ A commitment to ongoing reflection is necessary if you want to improve and learn as practitioners. Integrating Theory and Practice Key Stage Reflection involves asking a series of  questions about your work and the ways  in which you are approaching it. Key questions †¢ What were you aiming to achieve? †¢ What body of knowledge informed your  work? †¢ What skills did you use to work? †¢ For example group work skills, my role as  a Student, my learning style †¢ Interpersonal skills: listening and  responding. The use of open and close  questions. †¢ The skills of providing information †¢ The skills of making suggestions or command (prescriptive intervention) †¢ Challenge and confronting skills †¢ Being a catalyst †¢ Exploring feelings †¢ Providing support Models of reflection Hatton and Smith ( 1995) identified four levels in the development of teacher reflection from teaching practice. In your reflective writing your tutor  will be looking for evidence of reflecting at the higher levels. Descriptive writing: This is a description of events or literature reports. There is no discussion beyond description. The writing is considered not to show evidence of reflection Descriptive reflective: There is basically description of events, but shows some evidence of deeper consideration in relatively descriptive language. There is no real evidence of the notion of alternative viewpoints in use. Dialogic reflection: This writing suggests there is a ‘stepping back’ from the events and actions which leads to different level of discourse. There is a sense of ‘mulling about’, discourse with self and an exploration of the role of self in events and actions. There is consideration of the qualities of judgements and possible alternatives for explaining and hypothesising. The reflection is analytical or integrative, linking factors and perspectives. Critical reflection: This form of reflection, in addition, shows evidence that the learner is aware that actions and events may be ‘located within and explicable by multiple perspectives, but are located in and influenced by multiple and socio– political contexts’ Bloom (1964) identified different levels of thinking processes, which he presented in a hierarchy; these can also be used as a framework for more thorough reflection. They move from knowing, evidenced through recalling information, through to evaluating, evidenced through making systematic judgements of value. In your reflective writing your tutor will be looking for evidence of these higher level processes. Process Increasing Process Knowledge Recognition and recall of information – describing  events Comprehension Interprets, translates or summarises given information demonstrating understanding of events. Application Uses information in a situation different from original learning context – Analysis Separates wholes into parts until relationships are clear – breaks down experiences Synthesis Combines elements to form new entity from the original  one – draws on experience and other evidence to  suggest new insights Evaluation Involves acts of decision making, or judging based on  criteria or rationale – makes judgements about Difficulty Possible sources of evidence for reflective Other things I know Personal aspirations Experiential learning theory Me as a learner SELF Organisational review COURSE WORK Work-based issues Work-based learning PERSONAL REFLECTION YOUR LEARNING PLACE Application of other  modules / learning  to these ideas Application to other modules / learning Guidelines for completing the Reflective Journal/ Dairy Studies have shown that rreflection upon one’s learning is key to a full learning experience. For this reason, you will be required to keep reflective journals as part of your professional development. There are two different Reflective Journal templates. Learning Reflection – to be completed after attendance of each one day of workshop Technology Reflection – to be competed after using the technology in your work practises. Participants are required to integrate at least two new skills into their work practises after each one day of workshop attendance. How long will it take? – As a rough guide, each journal entry should take approximately 20-30 minutes. Feel free to add comments but the minimum requirements are included in the template. What should I write? – What you learn today †¦. Confidentiality – All information completed in journals is confidential. Learning Journal †¢ Reflect for a few minutes on today lesson and write your sample reflection on Reflective Journal Template. †¢ Don’t forget writing your learning journal each week after lesson. Next – Week 7 Session Introduction to Counselling Skills References †¢ Gibbs, G. Rust, C. Jenkins, A. Jaques, D. 1994, Developing Students’ Transferable Skills. Oxford Centre for Staff Development. †¢ Kolb, D. 1984, Experiential Learning: Experience as the Source of Learning and Development, Prentice Hall, New Jersey †¢ Moon, J, 1999, Learning Journals: A Handbook for Academics, Students and Professional Development. Kogan Page †¢ Wright, Jeannie and Bolton, Gillie (2012) Reflective Writing in Counselling and Psychotherapy (London: SAGE)