Human Resource Learning and Development Essay Example | Topics and Well Written Essays - 2250 words

Human Resource Learning and Development - Essay Example But with time, it was seen that many international managers were facing problems in dealing with the employees, there was high turnover, low job satisfaction and the result was that many international managers were returning to their home country. What the company lacked was the fact that it needed to train its cross cultural managers so that it can manage the hotel in the way it wanted. Thus, a training session was organized, which would tell these managers how to deal with cross cultural customers in a country which is foreign for them as well. This training was done for those international managers who plan to make their careers in any of the three Middle East countries i.e. Saudi Arabia, U.A.E and Egypt. Prior to the workshop, the managers were asked interviewed as to their knowledge of the Middle East countries. The result was that they knew very little about these countries, their working style or their cultures, even though they were well aware of what their job demands of the m. Moreover, the survey was also done which reinforced this point. (Lucas, 1994) Before discussing the specificities of the training program that the international managers will go through, it is necessary to discuss the theories of training that have been presented so that this case can be fit into these theories and it can be said that the literature which has been written on the subject of training is being thoroughly considered before starting a training session of its own. The content theories of training stresses on the vitality of such training which makes the trainee learn things based on the experience of the previous learners and the context in which they have worked. Obviously the context in which various trainees are trained is entirely different. Therefore, the context of the previous learners will not be taken into consideration. Only their knowledge and the experience that they share by the type of training they went through will be important and it will be applied to the new context of the new trainees. (Blake, 2003) The learner will be facilitated in a way which will help him relate the new knowledge being given by the knowledge that is already in his mind and then to have the process of unchanging by processing the old knowledge to become new knowledge and to be stored as such in the memory. There will even be material that the trainee can use even after the training is over and therefore, this will reinforce the learning habits which were taught in the training session and will stay with the trainee for a long time. (Keeps, 2002) The cognitive system that is studied under the content theories of training emphasizes on three factors which should be taken into consideration when a trainee is being trained. Firstly, the individual should be equipped with long term memory about a certain subject that is, he should be able to have a perfect understanding in the long term for a particular subject, in our case, it is slicing films and dealing with films in the projection room. Secondly, the processing skills of each

Risk management in advanced nurse practice Essay

Risk management in advanced nurse practice - Essay Example The management of risk in health institutions is made depending on the code of operation of a specific practice. However, many state governments provide minimum requirements that each patient and practitioner must adhere to. In most cases the patient is given the freedom to agree or disagree with a certain mode of operation. For instance, before any critical operation, a patient should consent to it before it is carried out. If they are not in a position to do it, then the immediate family is given this mandate. However, there are exceptions if there is an emergency situation and there is no member of the immediate family to consult. According to O’Reilly (2009) when a medical practice fails to consider available options, a patient is entitled to compensation in any case of harm. Additionally, medical practitioners are not allowed to act under their own jurisdiction. This means that before any crucial medical step, the management of a medical practice should also be included i n the decision making. ... If the uncertainty was avoidable then the medic in charge should be doubtful. Nevertheless, this does not mean that the medic should be prosecuted for the mistake. Neglect on the part in the part of the nurse should lead to prosecution. However, in many cases on uncertainties the organization takes responsibility of the incident rather than letting a medic be solely judged for it. According to Jasper (2008) in case of any patient incident, a medical practitioner is advised to prepare a full report on the occurrences during the incident. To maintain its credibility, the author further argues that witnesses should be included in all medical reports. Liabilities caused can be fatal to the career of an advanced practice nurse. If it reaches to a point where a medic I challenged to a law suit, the consequences could also portray a negative picture on the medical institution. It is for this reason that medical institutions have in place a proper risk management team. Risk management in med ical institutions is the best way to shield a practitioner from liabilities (Cornelison, 2008). Before enrolling into an institution, medical practitioners should review an organization’s mode of protecting its employees from liabilities. The relationship between an institution and an employee should be based on performance rather than operating conditions. Practitioners should be given the freedom to operate without being intimidated by the rules and regulations formulated by the company. Providing legal counsel to an advanced practice nurse should be based on how well they are protected from uncertainties. Working unions provide another option of cushioning from liabilities. Unions over the years have been referred as the

History of the Feminist Art Movement

History of the Feminist Art Movement Before the twentieth century, women artists struggled to participate in the male-dominated art world. Male domination forbade female learning in general. Women had minimal access to courses in art history, philosophy, and anatomy of the human body. Not gaining any perspective of the human anatomy hindered the women artists from creating realistic portraits or accurate majestic scenes. Along with the educational limitations, female artists were forbidden to sketch from live models because it compromised their integrity. Proper social protocol would suggest that self-expression of a female was limited to bearing children, conforming to proper social etiquette and lace making. Some women artists rejected social protocol of marriage to pursue freedom within their artistic expressions. These female artists laid the foundation for equality of artistic freedom despite the harsh regulations placed on their paintings. These pioneering female artists would discreetly incorporate feminist meanings into their work and wanted to remove the gender label from their artworks. The purpose of de-gendering their art was to compete and find recognition of their talents within the art society. By de-gendering their paintings, female artists started to gain recognition of their talents. During the early nineteenth century, female artists reputations affirmed their talents and they slowly achieved success. The twentieth century marked a major social and cultural movement for them. Female artists insisted equality within society by protesting the gender biases and limited opportunities within the art community. Their disapproval provided a foundation for women artists to fight for equality and justice within museums and art galleries. Along with verbally fighting for equality, these women designed their art to cross gender, sexual, and social norms. Early generation feminist artists inspired future generations o f female artists to break the stereotypes of art. Pioneering female artists had the courage to create artistic masterpieces, expose the gender biases within the art community, and shatter creative boundaries within society. This path for womens equality in art was received with criticism and objectification. Noticeable separation of male to female artists is illustrated in Johann Zoffanys group portrait of the newly founded Royal Academy in 1772. Female artists Kaufmann and Moser are not included among the male artists but their portraits hung on the academys walls (Chadwick 7). Their artistic talents were comparable to the gentlemen within the academy, yet, Zoffany treated these women as objects, not equals. During the fifteenth and sixteenth centuries, women were barred from the study of the nude models that formed the basis for academic training. The lack of academic training provided to these women did not stifle them from succeeding within the art community. Sofonisba Anguissola illustrated in fifteenth century that women could challenge the male artist, even with the limitations placed on their artistic boundaries. Women were confined to paint only self-portraits or respectable landscapes. Sofonisba Self-Portraits exemplifies her techniques in painting by the contrast, lights, and colors used in her portraits. These portraits incorporate her place within society, culture, and her own virtuoso. Sofonisbas father stifled her paintings when she became of age to marry. She refused to stop painting and defied society by continuing to paint when she was married and was bearing children (Chave). Her portraits still astound the art community with her brush techniques. Artemisia Gentileschi challenged society with her portrait of Susanna and the Elders created after the conviction of Artemisias rapist. She lived a horrible life of torture, rape, and deception. Her father was a great artist and ran his own studio for inspiring male artist. Her father taught her how to paint within the boundaries of properly raised females. During one of her fathers sessions a young student lured Artemisia to an outside room and raped her at the age of twelve. The charge of rape was unheard of and the case was taken to the high courts. At the trial, her thumbs were bound and tightened with each question asked by the court. This torture was to ensure the court that she was telling the truth under pain. The young gentleman was convicted, which embarrassed her fathers reputation. Artemisias father disowned her for many years over the judges ruling. She was able to transform her passion and personal pain over the years to create artistic masterpieces. With her success, s he opened a school for women artist at the young age of 14 (Mieke). Womens liberation was still considered absurd through the 1800s, but one woman artist took the world by surprise. Rosa Bonheur was an extraordinary woman that was restricted to drawing and painting wildlife portraits and landscapes. Rosa incorporated messages of empowerment and rebellion in The Horse Fair, which illustrates horses being pulled and shoved by the male handlers. The message of The Horse Fair was translated over the years as the horses represented the womens struggle for equality and freedom. In her personal life, she broke the mold by dressing as a man, having a female companion, and controlled her own money (Madden). Rosas conviction to be a woman artist and self reliant demonstrated early ambitions of womens liberations. The womens liberation movement started to gain momentum in the early 1900s with the Womens Suffrage Movement. This movement involved women uniting for equality within the social and political organizations. These rebellious women uprooted themselves from the daily tasks of cooking and cleaning to picket the White House for equality. The feminist movement for equality did not gain much political ground and many of these organizations disbanded over the inequality frustrations. This movement influenced many women to start exploring their own freedoms within society. This female exploration developed into various feminist organizations that promoted carefree attitudes of dancing, smoking, and enjoying life. Enjoying life was short lived for the early feminist groups due to the Great Depression in the 1930s. During WWII, feminist started to pull out of the depression and began performing masculine rolls within society. Rosie the Riveter was an image of the powerful women supporting their family and the country while at war. The image of Rosie fueled the sense of independence and freedom within women lives. Unfortunately, the war ended and men returning home from war wanted their positions back as the family provider. Women returning to the role of homemaker did not sit well with the feminist organizations because they started to gain social and political freedoms (Nguyen). The early 1900s laid a foundation for women rights and freedom of self-expression and liberation. However, it took another twenty years for the feminist movement to gain any ground within society or the art community. Through the 1960s and 1970s, America was facing the Vietnam War and social changes within the largest social structure, the Catholic Church. Women realized their lack of representation within society and the art community. They began to organize themselves into support groups in order to raise awareness of equal opportunities. A new wave of feminism gained momentum by actively questioning gender norms and tackling stereotypes. The Womens Liberation Movement in the Sixties started with the fight for Civil Rights among blacks, the left-wing political student revolution of 1968, and the demonstrations against the Vietnam War (Humm 132). In addition, these protests included the struggle for abortion-rights, sexual freedom, social, and economical equality. The Womens Liberation and female artists became intimately joined forces in fighting for visualizing the injustices of society. The inequality of women expanded into the artistic community that escorted the first protest on the American art world. These protests focused on racism and sexism within the art community that enraged many feminist. The progress for equality was beginning to become organized and powerful, which allowed for all injustices to be fair game. One of the organizations was the Art Workers Coalition that was formed by artist George Takis. He removed one of his sculptures from the Museum of Modern Art or MoMA in 1969, which drew attention to his disapproval of the treatment of various artists (Gross). However, his protest for women artists equality was not as important to him as other causes. This infuriated the women artists within the group to strike out on their own. The Women Artists in Revolution or WAR was an established as a fragment organization to protest the male dominated Art Worker Coalition. Cindy Nemser is an art historian and critic, who published numerous journals in the 1970s about the liberation of women artists. She attended one of the first meetings of WAR. They gained recognition as artists and not as objects within the art community (Russell and Spencer 112). One of the crucial topics during the first meeting was the debate whether to have an all womens artist exhibition. A few women felt fearful that they would be stigmatized by exhibiting their artwork with only women. Within moments the debate resolved to the resolution to have a exhibit featuring twelve women artists, which they would call X12:X. The intention of this exhibit was to illustrate the power and talents of women artists and it became a milestone for equal artistic rights. These twelve women artists conducted their exhibition on the roof in the East Village, NYC in 1970. Artists were: Iris Crump, Lois DiCosola, Maryann Gillies, Silvianna Goldsmith, Helene Gross, Doloris Holmes, Arline Lederman, Inverna Lockpez, Carolyn Mazzello, Vernita Nemec, Doris OKane, and Alida Walsh (Bock DiCosola). That same year of the X12:X exhibition the A.W.C. and W.A.R. collaborated to protest the actions of the Whitney Museum. The Whitney Museums Annual opening in 1970 featured 143 artists and only 8 of the artist were women (Gross). This lack of women artists representation in the museum piloted demonstrations by the Women Artist in Revolution and the Art Workers Coalition. These organizations advocated equal opportunities by direct open letters, demonstrations, and media interviews. The purpose of these demonstrations was to insist that all the art institutions reorganize the museums exhibition agenda. These demands included topics of feminism, anti-racism, and anti-war movements that needed to be incorporated into the museums exhibitions. In addition, these demands included the participation of the art institutions to exhibit and place minorities and womens artists within society. Due to the intensive fight for equality of female representation at the museums the Whitney Museum raised from 5% in 1970 to 22% in 1971. These protests opened many avenues for social and artistic equality within society (Tobias). Another organization fighting for women artists rights was AIR or Artists in Residence. The AIR Gallery open in 1972 and is the first non-profit gallery that exhibits women artists in America. These female artists would determine what programs and exhibits would be illustrated in the gallery. Also, each female artist would have the opportunity to demonstrate their works by designing and installing their own show. Some of these exhibits would attract some commercial venues but the majority of the exhibits would challenge the view against the stereotypes of women in society (Chave). This artistic evolution opened numerous opportunities for writers to focus on the history of womens equality within the artistic society. Moreover, these writers wanted to expose the tainted past with the historical perception of women artist. Linda Nochlin published an essay in 1971 called, Why Have There Been No Great Women Artists? This essay inspired women artists to reject art history of women because of the injustices within the educational and cultural opportunities. These rejections offered women the authority to reject the customary artistic education, which was held in reserve for male artists. She communicates that the fault for the lack of women artist did not lie within their stars or hormones. Linda explains that women artists do not have the golden nugget of genius and continues to state that women artists were not born with the genes to be a great artist because of the lack of a penis (Nochlin). Lindas publication encouraged many women artist to reject the past and re ach within their soul to find new inspirations within female art. Judy Chicago read Nochlins essay and began to re-educate herself in art history by rejecting the tilted observations of male art history. Judys earlier exhibitions of her work at the Jewish Museum included paintings as the Rainbow Pickets and Primary Structures. These earlier artworks utilized the Minimalists approach (Chave). However, this approach to art was abandoned with the awareness of the fight for womens equality within the artistic community. Nochlins essay inspired women like Judy to move toward the feminist art faction and to usher in aspirations of artistic creativity. The female artists of the revolution went beyond gender bias to create a new generation of stirring and proactive art. This evolution of womens expressionism facilitated the new wave of liberating topics that was incorporated into paintings, sculptures, and education (Lucie-Smith 196). Miriam Schapiro embraced the female experience of crafts and developed a new median of art. She was inspired by this feminist movement to demonstrate and elevate the status of crafts to a fine art through sewing, collage, and painting. The use of embroidery and cross-stitching within art has come to be known as femmage. Femmage was a word that stood for hand sewn art that incorporated different fabrics and textures. This unique use of crafts elevated her work to the high-art of collages, which is seen in the Dolls House at the Womanhouse project (Bock DiCosola). Schapiro wanted to encourage the ordinary housewives to be inspired and made aware that their daily tasks could be turned into beautiful art. Her popularity within the womens community allowed her to challenge the establishments of injustices and encouraged women to emerge from the isolation of the housewifes persona. Schapiros enthusiasm for liberating the housewife included educational projects with Judy Chicago. Judy and Miriam became acquainted by their recognition of each others earlier artistic challenges in the male dominated art society. They first met at a dinner held in the home of Allan Kaprow, where they discussed the possibility of Schapiro lecturing at the university where Judy resided. Both of these women embraced the emancipation of women and women artists. The first advancement of educational programs for women in art was created by Judy at California State University. Judy and Schapiro integrated their talents to design the first Feminist Art Program at the California Institute of Arts (Lucie-Smith 194). It was the intention of this school to create a new generation of artists, who had an expanded knowledge of the feminist self awareness. These challenges and recognition of each others work encouraged Judy and Miriam to have an exhibit that allowed the women artists to express their new femininity. In 1972, Womanhouse project was a brainstorm of Judy Chicago and Miriam Schapiro and integrated the Feminist Art Program at the California Institute of the Arts. This exhibition encouraged students of the Feminist Art Program to participate. The intention of the Womanhouse is to showcase womens performances and art outside of the school environment. Projecting the students into the social community gave a new purpose for their art and a chance to open the minds of the public to liberating womens artistic abilities. This exhibition joined forces with all the students to prepare a dilapidated house in a suburban area of Hollywood. Students that worked several jobs had to prioritize their lives to create new pieces for the exhibit. Beyond their own works of art, the students became laborers in repairing windows, rewiring electric and other carpentry related tasks. Unfortunately, the undertaking of this project became overwhelming for the students and staff. Numerous students were pushed to their limits and suffered sleep deprivation and exhaustion in preparation. Judy became the general of this project by yelling, poking, and pushing students to their limits (Sider). The students and staff managed to convert this house into a month long art exhibition for the public. Each woman was given a room to create whatever they wanted, providing it followed the parameters of the females experiences. The Womanhouse exhibition was received with mixed reactions by the critics. These participating artists were less concerned with the critics and more concerned with raising the conscious awareness in femininity. Each night of the show, the media and spectators filled the exhibition rooms to interact with many talented artists. The general, or Judy, created the Menstruation Bathroom that included a waste basket overflowing with dirty, bloody pads. She also scattered around the bathroom various feminine hygiene projects. Another inventive use of household items is the Linen Closet designed by Sandra Orgel. The Linen Closet illustrates a women trapped inside the closet or incorporated into the closet next to the folded towels. The head of the females appears to have been chopped off and placed on the self. The one leg appears to be outside but also attached to the body, it seems to be that she was stuck inside the boundaries of traditional womens duties. The traditional womens duty was challenged by a room called Waiting at Womanhouse. Waiting at Womanhouse was performed by Faith Wilding, which involves her sitting in a room with her hands folded while she rocks back and forth reciting words that stereotyped women. Faith would mutter words like, waiting for someone to feed me, put me on the toilet, or waiting for menopause. The message provided by this piece demonstrates the outdated suppression of females but also provides a powerful voice to break the cycle of oppression. Nurturant Kitchen was a combined insulation by Susan Frazier, Robin Weltsch and Vicki Hodgetts. The Womanhouse exhibit provided a creative outlet for the artist to explore the feminist view of unequal opportunities in society. Moreover, it illustrates the talents that women possess when they are not muffled by the male dominated society (Sider). During the Womanhouse exhibit, another organization for womens equal rights was beginning to assemble. In 1971, the Women in Arts Foundation or WIA became a structured foundation that addressed the discriminations against women artists. This foundation challenged the unfair practices of jurying female artists for shows. Also, they provided educational and professional information to these artists, so that they could govern their careers with knowledge. A majority of these educational programs tackled topics dealing with various law practices, grants, art dealers, and coping with critics (Morgan). The WIA organization also contributed in protests that took to the streets of New York. They would have television interviews, speeches, and even picketed events that were unjust to the female artist. WIA conducted a protest in front of MoMA, which included numerous open letter campaigns to the New York museums to reorganize their ignorance toward women artists. The result of this protest led to the Women Choose Women exhibition that opened in 1973. This show included only 109 of nearly 500 WIA members (Tobias). Although the percentage of women was low, it still set a precedent for future womens exhibitions. Women Choose Women was essential not only because it was the first womens museum exhibition but it gained recognition by the art community. It was important because it demonstrated that women artists were no longer under the control of the male influences and these males could no longer determine what works of the females would be exhibited. Also these women artists would decide how these exhibitions would be interpreted. Inverna Lockpez was one of the artists featured in this exhibition with an untitled painting. Lockpez was always involved with the womens movement since the early sixties and felt that this show was overdue. Buffie Johnson, Betty Parsons, and Mary Frank were among some of the diverse artists that were featured in this exhibit. This show illustrated various womens artistic abilities and was hosted by the New York Cultural Center (Jolly). The Women Choose Women show set precedence for other women artists to unify and take control of their artwork. The Women Choose Women and the sexual revolution aided in the liberation of homosexual and bisexual female artists. However, the fight for womens freedom was still ongoing and to tackle another issue for female homosexual equality would be challenging. The League for the Advancement of Lesbianism in the Arts was founded in Los Angeles. This foundation provided a safe environment for their members to explore the freedom of sexuality through their art. In New York City lesbian artists protested the lack of support within the art community. Ellen Turner, Maxine Fine, Flavia Rando, Ellen Turner and Fran Winant would target high traffic populated areas and saturate them with copies of their artworks. These artwork flyers would have the female artists drawings, which was stamped with the word lesbian art across the flyer. In 1974, the Lesbian Herstory Archives was founded in New York City by Joan Nestle and Deborah Edel. The undertaking of this foundation was to gather and preserve records of lesbian lives and activities so that future generations will have access to the material. Moreover, lesbian artists were gaining some recognition in 1978 with A Lesbian Show exhibition (Jolly). Harmony Hammond created the A Lesbian Show which was an exhibition that featured lesbian artists. In the early 1970s, she exhibited art pieces that resembled the feminist attitudes of the times. Beyond the confronting of the current feminist agenda, Harmony came out as a lesbian and became a strong voice for future generations of lesbian artists. She is an accomplished artist that incorporates lesbian feminism into her paintings, sculptures, and writings. Her artistic works incorporates the female stereotypical household materials into her sculptures and paintings. Some of these materials included the use of blankets, curtains, and any recycled cloths that were transformed into crocheted painted rugs. Harmony also experimented with latex and rubber materials in her sculptures which are illustrated in her bag collection. Today, this pioneer of womens art is still an accomplished artist, writer, curator, and publisher on the topic of lesbian art (Russell and Spencer 220-221). In the 1970s there were many foundations that supported the feminist fight. However, lets go beyond the organizations or exhibitions and explore a few of these pioneering feminist artists. These women used their artistic creativity to express unique insights within feminist art. It is important to recognize each of these following women as courageous and bold women within their own convictions to broaden the artists awareness to female art and equality. Cindy Sherman established her reputation as an artist by using Untitled Film Stills to provide a different prospective on photography. In the late 1970s, she created a series of black-and-white photographs which the artist depicted herself dressed in the guises of clichà ©d B-movie heroines. Another artist that used film within the artistic community was Joyce Wieland. She was a painter, writer, and director of her own movies, which include The Far Shore. Joyce is called the pioneer of the idea of women working together to create art. She was the first artist to hire outside individual quilters to quilt various pieces for her Reason Over Passion(Chadwick 383). Joyce was considered one of the most important artist figures with the U.S. and Canada. Judy Chicago used other female artists to aid her creation of the 1979 piece called The Dinner Party. She had taken the idea of getting other women to help her from Joyce Wieland, but unlike Wieland, Judy Chicago never paid the people who worked for her. This Dinner Party took five years to complete and she has since received a bad reputation for exploiting the work of other artists by taking the credit for herself (Chadwick 229). Judys efforts and drive helped the feminist movement toward a positive direction but after this show her past accomplishments were over shadowed by her greed. Benglis is the next feminist artist that rocked the artistic community. Her creations are very unusual concepts of the use of latex. During the feminist movement, she poured latex and foam to create sculptures. Benglis angrily created these works of art to represent the male dominated fusion of paintings and sculptures that had taken place within Process Art and Minimalism. Movement of the material was the purpose for creating these sculptures with the foam and latex. Benglis work was met with controversy over the critical awareness of the abstraction of content and the gesture of the mass (Tobias). Her creations of sculptures were very formal but used unique materials that captured the audience imagine. The sculptures during the feminist movement varied from latex to fiberglass. Hesses preferred material was fiberglass, which incorporated organic geometric elements into the sculptures. Most of her sculptures were rigid and contained mechanical shapes and forms. Unfortunately, during her peak of artistic genius, Hesse discovered that she had a brain tumor. It has been said that her unique situation gave her the inspiration to boldly use materials like latex, rubber, and cheesecloths to define movement within the sculptures (Chadwick 340). The last feminist artist that inspired this research for the liberating art movement was Betye Saar. She began creating artworks that incorporated the social injustices arranged within boxes with windows. Saar used mixed media collages, assemblages, and installations to illustrate her message of freedom. Saars work had a methodic element of passage of life, death, and rebirth. Each of her artworks conveyed stories of equalities, her own mixed culture, and the fight for civil liberties. The majority of her art work deals with issues of race and gender equality. The Liberation of Aunt Jemima forces the audience to see the injustices within the social boundaries of life(Barko). In closure, the evolution of the artistic freedom illustrates the level of bias within the education and opportunities offered to the early pioneer women artists. During the late 1960s and early 1970s, female artists began to organize and fight for equal artistic and personal freedoms. These early struggles for equal exhibitions led many female artists to conduct protests and boycotts of various museums to gain recognition. Various female artists that had the opportunity to exhibit their works opened new avenues for future feminist artists. These artistic pioneers illustrated that females are just as talented, bold, and provocative as male artists. The golden egg theory that males had a gift from God to be great artists was trampled by the feminist artistic movement. Moreover, these feminist artists demonstrated that their artworks were just as marketable as the male artists works. The organizations formed by these women were used to provide support and advancement within the artisti c community. Many of these feminists artistic organizations still exist today. They still continue to fight for equality and equal exposure for the female artist and their artworks. Nowadays, women artists are able to benefit from these pioneers of liberation; however, to benefit from the past is to maintain the level of artistic freedom in the future. Work Cited Anguissola, Sofonisba. Self Portrait. 1561. Painting. http://www-english.tamu.edu/pers/fac/phillippy/_women_artists/anguissola/. 30 Nov. 2009. Barko, Cortney Cronberg. Rediscovering Female Voice and Authority: The Revival of Female Artists in Wendy Wassersteins The Heidi Chronicles. Frontiers: A Journal of Women Studies 29.1 (Mar. 2008): 121-138. Academic Search Elite. EBSCO. Westmoreland County Community College Learning Resources Center. 23 Aug. 2009 . Benglis, Lynda. Quartered Meteor. 1969. Photo.http://www.cheimread.com/exhibitions/2002_10_bettina-rheimslynda-benglis/. 30 Nov. 2009. Bock DiCosola, Lois Ann. Feminists Who Changed America 1963-1975 . 2007. 13 September,2009. . Bonheur, Rosa. The Horse Fair. 1853. http://www.shepherd.edu/englweb/artworks/A8.jpg. 30 Nov. 2009. Chave, Anna C. I Object Hannah Wilkes (Feminism). Art in America 97.3 (Mar. 2009): 104. MasterFILE Premier. EBSCO. Westmoreland County Community College Learning Resources Center. 23 Aug. 2009 . Chadwick, Whitney. Women, Art, and Society . 4th Ed. Canada: Thames HudsonWorld of Art, 2007. Chicago, Judy. The Dinner Party. 1974-79. Photo. http://arthistory.about.com/od/from_exhibitions/ig/spring07/sp2007exh_03.htm. 30 Nov. 2009. Chicago, Judy. Menstruation Bathroom. 1973. Photo. http://feministartrevolution.blogspot.com/2007/12/womanhouse-1973.html. 30 Nov.2009. Chicago, Judy. Rainbow Pickett. 1965. Photo.http://www.lewallencontemporary.com/judychicago. 30 Nov. 2009. Frazier, Susan, Hodgetts, Vicki, Weltsch, Robin. Nurturant Kitchen. 1973. Photo. http://feministartrevolution.blogspot.com/2007/12/womanhouse-1973.html. 30 Nov.2009. Gentileschi, Artemisia. Susanna and the Elders. 1610. Painting. http://www.artemisia-gentileschi.com/susanna.html. 30 Nov. 2009. Gross, Alexander. The Artists Branch of the Movement. Inside the Sixties Book. 2009.September 15,2009. . Hammond, Harmony. Bag XI. 1971. 1973. Photo. http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/harmonyhammond.php?i=832. 30 Nov. 2009. Hammond, Harmony. Floorpiece VI. 1973. Photo. http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/harmonyhammond.php?i=832. 30 Nov. 2009. Hesse, Eva. Right After. 1969. Photo. http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/eva_hesse.php?i=1700.30 Nov. 2009. Humm, Maggie. The Dictionary of Feminist Theory. 2nd ed. Columbus: Ohio State University Press, 1995. Lucie-Smith, Edward. Movements in Art Since 1945. 1st Ed. Canada: Thames Hudson World of Art, 2001. Jolly, Margaretta. Lesbian Herstory Archives. 2009. LHEF, Inc..13 September,2009. http://www.lesbianherstoryarchives.org/index.html. Lesbian Herstory Archives. Lesbian Herstory Archives Photo 1974. Photo. http://www.lesbianherstoryarchives.org/index.html. 30 Nov. 2009. Lockpez, Inverna. Untitled. Movements in Art Since 1945. 1st Ed. Canada: Thames Hudson World of Art, 2001. Madden, Gerry. Rosa Bonheur, a Boy in Petticoats. Hopscotch 16.6 (Apr. 2005): 36. MasterFILE Premier. EBSCO. Westmoreland County Community College Learning Resources Center. 22 Aug. 2009 . Mieke, Bal. The Artemisia Files: Artemisia Gentileschi for Feminists and Other Thinking People. 1st ed. Chicago: University of Chicago Press, 2005. Morgan, Ann Lee. Feminist Art. Art Journal 54.3 (Fall95 1995): 102. MasterFILE Premier. Westmoreland County Community

Understanding the the Romantic Imagination with Ramond, Wordsworth and

Understanding the the Romantic Imagination with Ramond, Wordsworth and Shelley Works Cited Not Included "The way to find the 'real' world is not merely to measure and observe what is outside us, but to discover our own inner ground†¦. This 'ground', this 'world' where I am mysteriously present at once to myself and to the freedoms of other men, is not a visible, objective and determined structure†¦It is a living and self creating mystery of which I am myself a part, to which I am myself my own unique door." (Thomas Merton in Finley 45) We have spent a good deal of this semester concentrating on the sublime. We have asked what (in nature) is sublime, how is the sublime described and how do different writers interpret the sublime. A sublime experience is recognizable by key words such as 'awe', 'astonishment' and 'terror', feelings of insignificance, fractured syntax and the general inability to describe what is being experienced. Perception and interpretation of the sublime are directly linked to personal circumstance and suffering, to spiritual beliefs and even expectation (consider Wordsworth's disappointment at Mont Blanc). It has become evident that there is a transition space between what a traveler experiences and what he writes; a place wherein words often fail but the experience is intensified, even understood by the traveler. This space, as I have understood it, is the imagination. In his quest for spiritual identity Thomas Merton offers the above quotation to illustrate what he calls 'interpenetration' bet ween the self and the world. As travel writers engage nature through their imagination, Merton's description of the 'inner ground' is an appropriate one for the Romantic conception of the imagination. ... ...here are similar aspects to each writer's experience. Engaging the imagination, Ramond, Wordsworth and Shelley have experienced a kind of unity; conscious of the self as the soul they are simultaneously aware of 'freedoms of other men'. I suggested in the introduction that the imagination is a transition place wherein words often fail but the experience is intensified, even understood by the traveler. For all three writers the nature of the imagination has, amazingly, been communicable. Ramond and Wordsworth are able to come to an articulate conclusion about the effects imagination has on their perceptions of nature. Shelley, however, remains skeptical about the power of the imaginative process. Nonetheless, Shelley's experience is as real, as intense as that of Ramond and Wordsworth. Notes 1. Duncan Wu's foot note, page 403. 2 "Tintern Abbey". Line 97. Understanding the the Romantic Imagination with Ramond, Wordsworth and Understanding the the Romantic Imagination with Ramond, Wordsworth and Shelley Works Cited Not Included "The way to find the 'real' world is not merely to measure and observe what is outside us, but to discover our own inner ground†¦. This 'ground', this 'world' where I am mysteriously present at once to myself and to the freedoms of other men, is not a visible, objective and determined structure†¦It is a living and self creating mystery of which I am myself a part, to which I am myself my own unique door." (Thomas Merton in Finley 45) We have spent a good deal of this semester concentrating on the sublime. We have asked what (in nature) is sublime, how is the sublime described and how do different writers interpret the sublime. A sublime experience is recognizable by key words such as 'awe', 'astonishment' and 'terror', feelings of insignificance, fractured syntax and the general inability to describe what is being experienced. Perception and interpretation of the sublime are directly linked to personal circumstance and suffering, to spiritual beliefs and even expectation (consider Wordsworth's disappointment at Mont Blanc). It has become evident that there is a transition space between what a traveler experiences and what he writes; a place wherein words often fail but the experience is intensified, even understood by the traveler. This space, as I have understood it, is the imagination. In his quest for spiritual identity Thomas Merton offers the above quotation to illustrate what he calls 'interpenetration' bet ween the self and the world. As travel writers engage nature through their imagination, Merton's description of the 'inner ground' is an appropriate one for the Romantic conception of the imagination. ... ...here are similar aspects to each writer's experience. Engaging the imagination, Ramond, Wordsworth and Shelley have experienced a kind of unity; conscious of the self as the soul they are simultaneously aware of 'freedoms of other men'. I suggested in the introduction that the imagination is a transition place wherein words often fail but the experience is intensified, even understood by the traveler. For all three writers the nature of the imagination has, amazingly, been communicable. Ramond and Wordsworth are able to come to an articulate conclusion about the effects imagination has on their perceptions of nature. Shelley, however, remains skeptical about the power of the imaginative process. Nonetheless, Shelley's experience is as real, as intense as that of Ramond and Wordsworth. Notes 1. Duncan Wu's foot note, page 403. 2 "Tintern Abbey". Line 97.

Angels Demons Chapter 6-8

6 Sixty-four minutes had passed when an incredulous and slightly air-sick Robert Langdon stepped down the gangplank onto the sun-drenched runway. A crisp breeze rustled the lapels of his tweed jacket. The open space felt wonderful. He squinted out at the lush green valley rising to snowcapped peaks all around them. I'm dreaming, he told himself. Any minute now I'll be waking up. â€Å"Welcome to Switzerland,† the pilot said, yelling over the roar of the X-33's misted-fuel HEDM engines winding down behind them. Langdon checked his watch. It read 7:07 A.M. â€Å"You just crossed six time zones,† the pilot offered. â€Å"It's a little past 1 P.M. here.† Langdon reset his watch. â€Å"How do you feel?† He rubbed his stomach. â€Å"Like I've been eating Styrofoam.† The pilot nodded. â€Å"Altitude sickness. We were at sixty thousand feet. You're thirty percent lighter up there. Lucky we only did a puddle jump. If we'd gone to Tokyo I'd have taken her all the way up – a hundred miles. Now that'll get your insides rolling.† Langdon gave a wan nod and counted himself lucky. All things considered, the flight had been remarkably ordinary. Aside from a bone-crushing acceleration during take off, the plane's motion had been fairly typical – occasional minor turbulence, a few pressure changes as they'd climbed, but nothing at all to suggest they had been hurtling through space at the mind-numbing speed of 11,000 miles per hour. A handful of technicians scurried onto the runway to tend to the X-33. The pilot escorted Langdon to a black Peugeot sedan in a parking area beside the control tower. Moments later they were speeding down a paved road that stretched out across the valley floor. A faint cluster of buildings rose in the distance. Outside, the grassy plains tore by in a blur. Langdon watched in disbelief as the pilot pushed the speedometer up around 170 kilometers an hour – over 100 miles per hour. What is it with this guy and speed? he wondered. â€Å"Five kilometers to the lab,† the pilot said. â€Å"I'll have you there in two minutes.† Langdon searched in vain for a seat belt. Why not make it three and get us there alive? The car raced on. â€Å"Do you like Reba?† the pilot asked, jamming a cassette into the tape deck. A woman started singing. It's just the fear of being alone†¦ No fear here, Langdon thought absently. His female colleagues often ribbed him that his collection of museum-quality artifacts was nothing more than a transparent attempt to fill an empty home, a home they insisted would benefit greatly from the presence of a woman. Langdon always laughed it off, reminding them he already had three loves in his life – symbology, water polo, and bachelorhood – the latter being a freedom that enabled him to travel the world, sleep as late as he wanted, and enjoy quiet nights at home with a brandy and a good book. â€Å"We're like a small city,† the pilot said, pulling Langdon from his daydream. â€Å"Not just labs. We've got supermarkets, a hospital, even a cinema.† Langdon nodded blankly and looked out at the sprawling expanse of buildings rising before them. â€Å"In fact,† the pilot added, â€Å"we possess the largest machine on earth.† â€Å"Really?† Langdon scanned the countryside. â€Å"You won't see it out there, sir.† The pilot smiled. â€Å"It's buried six stories below the earth.† Langdon didn't have time to ask. Without warning the pilot jammed on the brakes. The car skidded to a stop outside a reinforced sentry booth. Langdon read the sign before them. Securite. Arretez He suddenly felt a wave of panic, realizing where he was. â€Å"My God! I didn't bring my passport!† â€Å"Passports are unnecessary,† the driver assured. â€Å"We have a standing arrangement with the Swiss government.† Langdon watched dumbfounded as his driver gave the guard an ID. The sentry ran it through an electronic authentication device. The machine flashed green. â€Å"Passenger name?† â€Å"Robert Langdon,† the driver replied. â€Å"Guest of?† â€Å"The director.† The sentry arched his eyebrows. He turned and checked a computer printout, verifying it against the data on his computer screen. Then he returned to the window. â€Å"Enjoy your stay, Mr. Langdon.† The car shot off again, accelerating another 200 yards around a sweeping rotary that led to the facility's main entrance. Looming before them was a rectangular, ultramodern structure of glass and steel. Langdon was amazed by the building's striking transparent design. He had always had a fond love of architecture. â€Å"The Glass Cathedral,† the escort offered. â€Å"A church?† â€Å"Hell, no. A church is the one thing we don't have. Physics is the religion around here. Use the Lord's name in vain all you like,† he laughed, â€Å"just don't slander any quarks or mesons.† Langdon sat bewildered as the driver swung the car around and brought it to a stop in front of the glass building. Quarks and mesons? No border control? Mach 15 jets? Who the hell are these guys? The engraved granite slab in front of the building bore the answer: CERN Conseil Europeen pour la Recherche Nucleaire â€Å"Nuclear Research?† Langdon asked, fairly certain his translation was correct. The driver did not answer. He was leaning forward, busily adjusting the car's cassette player. â€Å"This is your stop. The director will meet you at this entrance.† Langdon noted a man in a wheelchair exiting the building. He looked to be in his early sixties. Gaunt and totally bald with a sternly set jaw, he wore a white lab coat and dress shoes propped firmly on the wheelchair's footrest. Even at a distance his eyes looked lifeless – like two gray stones. â€Å"Is that him?† Langdon asked. The driver looked up. â€Å"Well, I'll be.† He turned and gave Langdon an ominous smile. â€Å"Speak of the devil.† Uncertain what to expect, Langdon stepped from the vehicle. The man in the wheelchair accelerated toward Langdon and offered a clammy hand. â€Å"Mr. Langdon? We spoke on the phone. My name is Maximilian Kohler.† 7 Maximilian Kohler, director general of CERN, was known behind his back as Konig – King. It was a title more of fear than reverence for the figure who ruled over his dominion from a wheelchair throne. Although few knew him personally, the horrific story of how he had been crippled was lore at CERN, and there were few there who blamed him for his bitterness†¦ nor for his sworn dedication to pure science. Langdon had only been in Kohler's presence a few moments and already sensed the director was a man who kept his distance. Langdon found himself practically jogging to keep up with Kohler's electric wheelchair as it sped silently toward the main entrance. The wheelchair was like none Langdon had ever seen – equipped with a bank of electronics including a multiline phone, a paging system, computer screen, even a small, detachable video camera. King Kohler's mobile command center. Langdon followed through a mechanical door into CERN's voluminous main lobby. The Glass Cathedral, Langdon mused, gazing upward toward heaven. Overhead, the bluish glass roof shimmered in the afternoon sun, casting rays of geometric patterns in the air and giving the room a sense of grandeur. Angular shadows fell like veins across the white tiled walls and down to the marble floors. The air smelled clean, sterile. A handful of scientists moved briskly about, their footsteps echoing in the resonant space. â€Å"This way, please, Mr. Langdon.† His voice sounded almost computerized. His accent was rigid and precise, like his stern features. Kohler coughed and wiped his mouth on a white handkerchief as he fixed his dead gray eyes on Langdon. â€Å"Please hurry.† His wheelchair seemed to leap across the tiled floor. Langdon followed past what seemed to be countless hallways branching off the main atrium. Every hallway was alive with activity. The scientists who saw Kohler seemed to stare in surprise, eyeing Langdon as if wondering who he must be to command such company. â€Å"I'm embarrassed to admit,† Langdon ventured, trying to make conversation, â€Å"that I've never heard of CERN.† â€Å"Not surprising,† Kohler replied, his clipped response sounding harshly efficient. â€Å"Most Americans do not see Europe as the world leader in scientific research. They see us as nothing but a quaint shopping district – an odd perception if you consider the nationalities of men like Einstein, Galileo, and Newton.† Langdon was unsure how to respond. He pulled the fax from his pocket. â€Å"This man in the photograph, can you – â€Å" Kohler cut him off with a wave of his hand. â€Å"Please. Not here. I am taking you to him now.† He held out his hand. â€Å"Perhaps I should take that.† Langdon handed over the fax and fell silently into step. Kohler took a sharp left and entered a wide hallway adorned with awards and commendations. A particularly large plaque dominated the entry. Langdon slowed to read the engraved bronze as they passed. ARS ELECTRONICA AWARD For Cultural Innovation in the Digital Age Awarded to Tim Berners Lee and CERN for the invention of the WORLDWIDE WEB Well I'll be damned, Langdon thought, reading the text. This guy wasn't kidding. Langdon had always thought of the Web as an American invention. Then again, his knowledge was limited to the site for his own book and the occasional on-line exploration of the Louvre or El Prado on his old Macintosh. â€Å"The Web,† Kohler said, coughing again and wiping his mouth, â€Å"began here as a network of in-house computer sites. It enabled scientists from different departments to share daily findings with one another. Of course, the entire world is under the impression the Web is U.S. technology.† Langdon followed down the hall. â€Å"Why not set the record straight?† Kohler shrugged, apparently disinterested. â€Å"A petty misconception over a petty technology. CERN is far greater than a global connection of computers. Our scientists produce miracles almost daily.† Langdon gave Kohler a questioning look. â€Å"Miracles?† The word â€Å"miracle† was certainly not part of the vocabulary around Harvard's Fairchild Science Building. Miracles were left for the School of Divinity. â€Å"You sound skeptical,† Kohler said. â€Å"I thought you were a religious symbologist. Do you not believe in miracles?† â€Å"I'm undecided on miracles,† Langdon said. Particularly those that take place in science labs. â€Å"Perhaps miracle is the wrong word. I was simply trying to speak your language.† â€Å"My language?† Langdon was suddenly uncomfortable. â€Å"Not to disappoint you, sir, but I study religious symbology – I'm an academic, not a priest.† Kohler slowed suddenly and turned, his gaze softening a bit. â€Å"Of course. How simple of me. One does not need to have cancer to analyze its symptoms.† Langdon had never heard it put quite that way. As they moved down the hallway, Kohler gave an accepting nod. â€Å"I suspect you and I will understand each other perfectly, Mr. Langdon.† Somehow Langdon doubted it. As the pair hurried on, Langdon began to sense a deep rumbling up ahead. The noise got more and more pronounced with every step, reverberating through the walls. It seemed to be coming from the end of the hallway in front of them. â€Å"What's that?† Langdon finally asked, having to yell. He felt like they were approaching an active volcano. â€Å"Free Fall Tube,† Kohler replied, his hollow voice cutting the air effortlessly. He offered no other explanation. Langdon didn't ask. He was exhausted, and Maximilian Kohler seemed disinterested in winning any hospitality awards. Langdon reminded himself why he was here. Illuminati. He assumed somewhere in this colossal facility was a body†¦ a body branded with a symbol he had just flown 3,000 miles to see. As they approached the end of the hall, the rumble became almost deafening, vibrating up through Langdon's soles. They rounded the bend, and a viewing gallery appeared on the right. Four thick-paned portals were embedded in a curved wall, like windows in a submarine. Langdon stopped and looked through one of the holes. Professor Robert Langdon had seen some strange things in his life, but this was the strangest. He blinked a few times, wondering if he was hallucinating. He was staring into an enormous circular chamber. Inside the chamber, floating as though weightless, were people. Three of them. One waved and did a somersault in midair. My God, he thought. I'm in the land of Oz. The floor of the room was a mesh grid, like a giant sheet of chicken wire. Visible beneath the grid was the metallic blur of a huge propeller. â€Å"Free fall tube,† Kohler said, stopping to wait for him. â€Å"Indoor skydiving. For stress relief. It's a vertical wind tunnel.† Langdon looked on in amazement. One of the free fallers, an obese woman, maneuvered toward the window. She was being buffeted by the air currents but grinned and flashed Langdon the thumbs-up sign. Langdon smiled weakly and returned the gesture, wondering if she knew it was the ancient phallic symbol for masculine virility. The heavyset woman, Langdon noticed, was the only one wearing what appeared to be a miniature parachute. The swathe of fabric billowed over her like a toy. â€Å"What's her little chute for?† Langdon asked Kohler. â€Å"It can't be more than a yard in diameter.† â€Å"Friction,† Kohler said. â€Å"Decreases her aerodynamics so the fan can lift her.† He started down the the corridor again. â€Å"One square yard of drag will slow a falling body almost twenty percent.† Langdon nodded blankly. He never suspected that later that night, in a country hundreds of miles away, the information would save his life. 8 When Kohler and Langdon emerged from the rear of CERN's main complex into the stark Swiss sunlight, Langdon felt as if he'd been transported home. The scene before him looked like an Ivy League campus. A grassy slope cascaded downward onto an expansive lowlands where clusters of sugar maples dotted quadrangles bordered by brick dormitories and footpaths. Scholarly looking individuals with stacks of books hustled in and out of buildings. As if to accentuate the collegiate atmosphere, two longhaired hippies hurled a Frisbee back and forth while enjoying Mahler's Fourth Symphony blaring from a dorm window. â€Å"These are our residential dorms,† Kohler explained as he accelerated his wheelchair down the path toward the buildings. â€Å"We have over three thousand physicists here. CERN single-handedly employs more than half of the world's particle physicists – the brightest minds on earth – Germans, Japanese, Italians, Dutch, you name it. Our physicists represent over five hundred universities and sixty nationalities.† Langdon was amazed. â€Å"How do they all communicate?† â€Å"English, of course. The universal language of science.† Langdon had always heard math was the universal language of science, but he was too tired to argue. He dutifully followed Kohler down the path. Halfway to the bottom, a young man jogged by. His T-shirt proclaimed the message: NO GUT, NO GLORY! Langdon looked after him, mystified. â€Å"Gut?† â€Å"General Unified Theory.† Kohler quipped. â€Å"The theory of everything.† â€Å"I see,† Langdon said, not seeing at all. â€Å"Are you familiar with particle physics, Mr. Langdon?† Langdon shrugged. â€Å"I'm familiar with general physics – falling bodies, that sort of thing.† His years of high-diving experience had given him a profound respect for the awesome power of gravitational acceleration. â€Å"Particle physics is the study of atoms, isn't it?† Kohler shook his head. â€Å"Atoms look like planets compared to what we deal with. Our interests lie with an atom's nucleus – a mere ten-thousandth the size of the whole.† He coughed again, sounding sick. â€Å"The men and women of CERN are here to find answers to the same questions man has been asking since the beginning of time. Where did we come from? What are we made of?† â€Å"And these answers are in a physics lab?† â€Å"You sound surprised.† â€Å"I am. The questions seem spiritual.† â€Å"Mr. Langdon, all questions were once spiritual. Since the beginning of time, spirituality and religion have been called on to fill in the gaps that science did not understand. The rising and setting of the sun was once attributed to Helios and a flaming chariot. Earthquakes and tidal waves were the wrath of Poseidon. Science has now proven those gods to be false idols. Soon all Gods will be proven to be false idols. Science has now provided answers to almost every question man can ask. There are only a few questions left, and they are the esoteric ones. Where do we come from? What are we doing here? What is the meaning of life and the universe?† Langdon was amazed. â€Å"And these are questions CERN is trying to answer?† â€Å"Correction. These are questions we are answering.† Langdon fell silent as the two men wound through the residential quadrangles. As they walked, a Frisbee sailed overhead and skidded to a stop directly in front of them. Kohler ignored it and kept going. A voice called out from across the quad. â€Å"S'il vous plat!† Langdon looked over. An elderly white-haired man in a College Paris sweatshirt waved to him. Langdon picked up the Frisbee and expertly threw it back. The old man caught it on one finger and bounced it a few times before whipping it over his shoulder to his partner. â€Å"Merci!† he called to Langdon. â€Å"Congratulations,† Kohler said when Langdon finally caught up. â€Å"You just played toss with a Noble prize-winner, Georges Charpak, inventor of the multiwire proportional chamber.† Langdon nodded. My lucky day. It took Langdon and Kohler three more minutes to reach their destination – a large, well-kept dormitory sitting in a grove of aspens. Compared to the other dorms, this structure seemed luxurious. The carved stone sign in front read Building C. Imaginative title, Langdon thought. But despite its sterile name, Building C appealed to Langdon's sense of architectural style – conservative and solid. It had a red brick facade, an ornate balustrade, and sat framed by sculpted symmetrical hedges. As the two men ascended the stone path toward the entry, they passed under a gateway formed by a pair of marble columns. Someone had put a sticky-note on one of them. This column is Ionic Physicist graffiti? Langdon mused, eyeing the column and chuckling to himself. â€Å"I'm relieved to see that even brilliant physicists make mistakes.† Kohler looked over. â€Å"What do you mean?† â€Å"Whoever wrote that note made a mistake. That column isn't Ionic. Ionic columns are uniform in width. That one's tapered. It's Doric – the Greek counterpart. A common mistake.† Kohler did not smile. â€Å"The author meant it as a joke, Mr. Langdon. Ionic means containing ions – electrically charged particles. Most objects contain them.† Langdon looked back at the column and groaned. Langdon was still feeling stupid when he stepped from the elevator on the top floor of Building C. He followed Kohler down a well-appointed corridor. The decor was unexpected – traditional colonial French – a cherry divan, porcelain floor vase, and scrolled woodwork. â€Å"We like to keep our tenured scientists comfortable,† Kohler explained. Evidently, Langdon thought. â€Å"So the man in the fax lived up here? One of your upper-level employees?† â€Å"Quite,† Kohler said. â€Å"He missed a meeting with me this morning and did not answer his page. I came up here to locate him and found him dead in his living room.† Langdon felt a sudden chill realizing that he was about to see a dead body. His stomach had never been particularly stalwart. It was a weakness he'd discovered as an art student when the teacher informed the class that Leonardo da Vinci had gained his expertise in the human form by exhuming corpses and dissecting their musculature. Kohler led the way to the far end of the hallway. There was a single door. â€Å"The Penthouse, as you would say,† Kohler announced, dabbing a bead of perspiration from his forehead. Langdon eyed the lone oak door before them. The name plate read: Leonardo Vetra â€Å"Leonardo Vetra,† Kohler said, â€Å"would have been fifty-eight next week. He was one of the most brilliant scientists of our time. His death is a profound loss for science.† For an instant Langdon thought he sensed emotion in Kohler's hardened face. But as quickly as it had come, it was gone. Kohler reached in his pocket and began sifting through a large key ring. An odd thought suddenly occurred to Langdon. The building seemed deserted. â€Å"Where is everyone?† he asked. The lack of activity was hardly what he expected considering they were about to enter a murder scene. â€Å"The residents are in their labs,† Kohler replied, finding the key. â€Å"I mean the police,† Langdon clarified. â€Å"Have they left already?† Kohler paused, his key halfway into the lock. â€Å"Police?† Langdon's eyes met the director's. â€Å"Police. You sent me a fax of a homicide. You must have called the police.† â€Å"I most certainly have not.† â€Å"What?† Kohler's gray eyes sharpened. â€Å"The situation is complex, Mr. Langdon.† Langdon felt a wave of apprehension. â€Å"But†¦ certainly someone else knows about this!† â€Å"Yes. Leonardo's adopted daughter. She is also a physicist here at CERN. She and her father share a lab. They are partners. Ms. Vetra has been away this week doing field research. I have notified her of her father's death, and she is returning as we speak.† â€Å"But a man has been murd – â€Å" â€Å"A formal investigation,† Kohler said, his voice firm, â€Å"will take place. However, it will most certainly involve a search of Vetra's lab, a space he and his daughter hold most private. Therefore, it will wait until Ms. Vetra has arrived. I feel I owe her at least that modicum of discretion.† Kohler turned the key. As the door swung open, a blast of icy air hissed into the hall and hit Langdon in the face. He fell back in bewilderment. He was gazing across the threshold of an alien world. The flat before him was immersed in a thick, white fog. The mist swirled in smoky vortexes around the furniture and shrouded the room in opaque haze. â€Å"What the†¦?† Langdon stammered. â€Å"Freon cooling system,† Kohler replied. â€Å"I chilled the flat to preserve the body.† Langdon buttoned his tweed jacket against the cold. I'm in Oz, he thought. And I forgot my magic slippers.

Susan Steward Essay

Susan McKinney Steward was the first African-American physician in the state of New York and the third in the entire nation. Not only was she a stunningly intelligent doctor, but was also a passionate musician and an accomplished author. She was able to balance her demanding career but still manage to be a caring wife and mother as well as be very involved in her church. Although she faced much ridicule for entering what was considered to be a â€Å"man’s work†, she never stopped proving that she was very qualified and entitled to every accomplishment that she had.Susan was born in Brooklyn to Sylvanus and Anne Smith on March 18th, 1847. She was the seventh out of ten children and was of European, Shinnecock Indian, and African heritage. Her parents were successful porn merchants and were considered to be elite in their black community. As a child she learned how to plan the organ from Henry and John Zundel and preformed at Bridge Street African Methodist Episcopal Chur ch and Brooklyn's Siloam Presbyterian Church. Susan was not the only success story in her family however because her sister, Sarah J.Garrett was the first African-American female principal in the New York City public school system. After finishing high school Susan moved to Washington D. C. to teach so she could save money to pay for medical school. It is believed that her inspiration to enter the medical field was when she nursed her sick niece back to health after the cholera struck New York in 1866 that cause over a thousand people to die. Once she has a sufficient amount of money she enrolled at New York Medical College for Women in 1867.Susan was known for always being one to study assiduously and vigorously even though male medical students from the Bellevue Hospital often harassed her. After specializing in homeopathic medicine she graduated three years later as the class valedictorian. Later she completed grad school Long Island College School. After her graduation in Long I sland, Susan returned to Brooklyn and began accepting clients in her home. She slowly became more popular due to her great skill and once she had a big enough clientele, she opened an office in Manhattan.Susan married William McKinney, a minister, and gave birth to two children soon after. She then wrote two medical papers about a sick pregnant woman and infected infants. Before long, Susan began specializing in children disease. After the death of her husband William in 1892, Susan remarried a soldier named Theophilus Steward two years later and moved around the country with him to different military bases. While at the bases, Susan would treat injured soldiers until Theophilus retired in 1907.Susan began writing many medical papers and reduced her amount of clients as she began to age. She died on March 7th, 1918 and was buried in the Green-Wood Cemetery in Brooklyn. After he death, a Brooklyn school was renamed the Dr. Susan Smith McKinney Junior High School  after he grandson insister in 1975 and in Connecticut, New Jersey, and New York, the Susan Smith McKinney Steward Medical Society  was founded in her honor. Susan Steward was and always will be once of the most inspirational women in history due to her perseverance and remarkable intelligence.During a time when women, especially those of African-American descent, had little importance in society other than serving as wives and mothers, she rose above the prejudice and stereotypes and proved that it matters not where you came from, but where you end up. Her legacy lives not only in New York where she was the first woman physician but also to women all over the world. Bliography â€Å"Susan M. Steward, Pioneer in Medicine. †Ã‚  The Black Box. African American Registry, n. d. Web. 18 Nov. 2012. . â€Å"Susan McKinney Steward Biography. †Ã‚  Susan McKinney Steward Biography. Lakewood Public Library, n. d. Web. 18 Nov. 2012. .

Zombie Spice and Drakulas Blood The Halloween Happening [Interview]

Zombie Spice and Drakulas Blood The Halloween Happening [Interview] Halloween is coming! This year we decided to break the rules of usual Halloween posts and make them in the more interesting format. We want to find out how different people from different universities, even countries, celebrate Halloween. And the best way to find it out is to ask them share their stories. Today the interviewee is Katy Gilroy, a 19-year-old student from University of Chester, UK. She studies Journalism and Creative Writing. Apart from studying, she also has her personal blog, writes and publishes poetry and is a massive fan of Shakespeare. We decided to start from the most general question to find out Katys attitude to Halloween: How do you feel about Halloween and everything related to it? I love Halloween! I think its one of those occasions that everyone can get involved the way they want to, and it brings people together in such a fun way. Even if its something as simple as having a bowl of sweets next to your front door, theres an aspect of Halloween for everyone. Right! Its good to hear that a person from UK loves Halloween, which is considered primarily US holiday. How is Halloween observed in Britain? I do think Halloween is a more American tradition; it is celebrated a lot more over there than it is here in Britain. For example, in US I know people have decorations up right the way through November, whereas in Britain we tend not to put our pumpkins out until a few day before Halloween itself. So you do celebrate Halloween. Could you tell more about your Halloween traditions? Which of them do you find interesting? I think one of the best traditions is trick or treating. When I was younger, my mum would take my brother and I out along with a few friends, all of us dressed in weird and wonderful costumes anything from a princess to a kitten to a pirate, but nothing too terrifying! I loved shouting TRICK OR TREAT at whoever answered the door and seeing them pretend to jump back in horror. Now that Im older I love answering the door and seeing how excited all the kids are. Thats lovely! Youve mentioned weird costumes you had on Halloween celebrations. Which costume was you favourite? Ive dressed up for Halloween almost every year as far as I can remember, and Ive had such a huge range of costumes. Two of my favourites have been dressing as a dead school girl, and as a zombie princess. Theyre simple ideas but with a bit of imagination you can make anything look really extravagant. Now, that you are not a school girl any more, what costume would you like to wear for Halloween party and why? Id love to find a group of friends and dress up as a zombified version of the Spice Girls! Id be Baby Spice because Im blonde. Zombie Spice Girl is an awesome costume idea! You should definitely try that. Now lets move from dressing up to the actual celebration. Can you think of some fun Halloween parties youve been to? When I was younger my aunty and uncle used to have a party to celebrate both Halloween and Bonfire Night we called it Bonoween. There was always fancy dress, fireworks and food so much food. Last year at my university house we had a big Halloween party with all of our friends. There was 18 of us living there, and we each invited a few people. Our house was full of students dressed in really amazing outfits (one of my friends came dressed as Elmo!), all having fun and mingling with people they wouldnt otherwise have met. Speaking about parties.You definitely have organizing skills, as youve organized charity music festival. So, imagine that you have to organize Halloween party for your friends and fellow students. What would you like it to be like? If I was to organise my own Halloween party, Id make it a massive occasion and call it The Halloween Happening. Ideally I would hire out a venue, and cover it in fake cobwebs, paint splatters on the wall to resemble blood, and pumpkins EVERYWHERE. I think I would want to make it a party that both children and adults could enjoy, so that nobody would have to find a baby sitter or miss out on the fun. There would definitely be loads of Halloween themed food: cupcakes decorated to look like eyeballs, green jelly to look like toxic goo, and red punch to look like Draculas blood! There would definitely be no fancy dress no entry rule, and a prize for the scariest costume. Great! I am sure that would be a party of the year. So, costumes - check, party - checkwhat else is associated with Halloween? As for me, several things I associate with Halloween are: pumpkins, trick or treating, fake blood, toffee apples and witches. Pretty spooky combination (especially those of blood and toffee apples). But Halloween is meant to be a spooky fest. Lets add some more horror with your favourite films or horror stories. I absolutely love horror films, and one of my favourites is The Possession, in which a little girl becomes possessed by a demon from inside a wooden box. I also really enjoyed The Hills Run Red, which not many people have heard of! Despite being a book worm, Ive not read any books within the horror genre unless you count Frankenstein, which is a wonderful classic story. And the last question Do you think Eat, drink and be scary is the main idea of Halloween? Or should it be anything else behind the celebration? I think eat, drink and be scary is a perfect way to sum up Halloween; I dont think there is or should be any deeper reason behind the celebrations. If people are having fun and not causing any harm to anyone else then what could be wrong? Thanks for sharing your amazing Halloween story with our readers, Katy! Hopefully, you will have the unforgettable Halloween celebration this year! We wish you to keep inspiring people around with your creative ideas and radiance. Have any questions for Katy? Or want to share your unique Halloween story? Feel free to leave your message in the comments below. Also, read the interview The Secret Life of a Real Halloweener with our next guest, Jonathan Wojcik.

Africa, providing aid.

Africa, providing aid. Free Online Research Papers I believe everyone in the world is entitled to clean air and water and a bill of good health in the pursuit of happiness. America is a first world country that has all of the above that matters in sustaining a good bill of health. Other countries like Kenya and Ethiopia do not have access to the same conditions. Third world countries like India, China and Africa have people who are under nourished and poor that live in an unsanitary environments. We need to govern countries by provided aid to the less fortunate. Sure there are homeless that live on the streets of America that are living in better than the people in third world countries. America plays a good role in protecting our environment from erosion. Helping third world countries by supplying food and health care are established to change the system. America throws away enough food that could feed the needy of poor countries everyday. God made this world for us to take care of it. I feel proposals for an irrigation system to lay pipes and wells to provide clean water should be an effort to provide clean water to Kenya and Ethiopia. I do not know why it is taking so long to cure the deceased water. One thing they say about blacks is that they will never learn how to govern themselves because there is always someone against it. Africa needs to curtail a government that would mandate healthier living conditions by laying out a plan to do it. All over Africa there should be a irrigation system to provide clean water. Sanctions should be made where healthier living conditions are important where they all find a way to work together to have this done. Africans in America are an example of what Africa can become. Leaders should be led by example to help not only themselves but to govern each country in Africa proper and growth. Africans need to educate their people on how to create an economic system where they can build Africa. By securing health care we can secure a nation. There is no excuse that there is places where clean water is not available. Africans in America at one time did not have the resources to survive but we overcame. Africa can do the same to create a government that provides health care to each African. I dream that in Africa an immigration system where pollution is out lowed. I have a dream in Africa people are no longer living in shacks or on the street where housing developments are made to house the poor. I dream in Africa where people are being educated on their health in ways to sustain a community of poor so they do not have to live in poor resources. America has communities where the people have to go outside their area to find jobs and go to school and later come back to the community to help development and advancement. Africa can do the same to endorse programs that will help and not hurt them. All Africans should be computer literate. India as a third world country is computer literate. The African economy would improve with the use and knowledge on computers. This is one way Africans can give back to their community. African citizens should protest for a better Africa. They can prot est for better health. Education is the key to opening a closed mind. Research Papers on Africa, providing aid.Bringing Democracy to AfricaNever Been Kicked Out of a Place This NiceThe Effects of Illegal Immigration19 Century Society: A Deeply Divided EraInfluences of Socio-Economic Status of Married MalesAssess the importance of Nationalism 1815-1850 EuropeDefinition of Export QuotasTwilight of the UAWMarketing of Lifeboy Soap A Unilever ProductHip-Hop is Art

Chad Essays - Chad, Republics, Idriss Dby, NDjamena, Outline Of Chad

County Report Chad is one of the most underdeveloped countries in the world because of its climate, geographic location, and a lack of infrastructure and natural resources. It's main cash crop that is helping it's economy is cotton, which accounts for 48% of exports.1 The industry of Chad is mainly based on processing agricultural products. It is run by a republican government and it's legal system is based on French civil law system and Chadian customary law. The recent president is Idriss Deby and head of government is Prime Minister Joseph Yodoyman Chad had gained its independence from France on August 11, 1960. Its national holiday is held on the same day every year. The geography of Chad is mostly pastures and meadows. Chad is located in Central Africa and is between the Central African Republic and Libya. The total area is 1,259,200 km2, and the land area is 1,259,200 km2.2 The total size in area of Chad is slightly more than three times the size of California. The land boundaries of Chad are; Cameroon (1,094 km), Central African Republic (1,197 km), Libya (1,055 km), Niger (1,175 km), Nigeria (87 km), and Sudan (1,360 km).3 All of these countries total to 5,968 km. Chad is landlocked which has no coastline. It has no marital claims. The disputes between Chad and other countries is that Libya claims and occupies the 100,000 km2 Aozou Strip in the far north. The year around climate is tropical in the south, and desert in the north. The terrain is broad, arid plains in the center, desert in the north, lowlands in the south and mountains in the northwest. The natural resources are petroleum, uranium, natron, kaolin, and fish. The land use consists of arable land (2%), permanent crops (0%), meadows and pastures (36%), forest and woodland (11%), and other (51%).4 The irrigated land used is 100km2. Its environment is hot, dry, dusty harmattan winds occur in the north, drought and desertification affecting much of the south, and subject to plagues of locusts. The people of Chad rely on agriculture for survival. The total population is 5,350,971 people. The growth rate of the population is 2.13%. The birth rate is 42.21 births / 1,000 population. The death rate is 20.93 deaths / 1,000 population. The migration rate is 0% migrants / 1,000 population. Chad's death at infancy is at a great risk at 134 deaths / 1,000 live births. For infants the expectancy rate at birth is 40.41 years. The rate for males is 39.36 years and the rate for females is 41.5 years. Total fertility rate is 5.33 children born/women. The people of Chad are Chadian in nationality. The ethnic divisions in the north are Muslim (Arabs. Toubou, Hadjerai, Fulbe, Kotoko, Kanembou, Baguirmi, Boulala, Zaghawa, and Maba). In the south are non-Muslims (Sara, Ngambaye, Mbaye, Goulaye, Moundang, Moussei, Massa). The religions of Chad are Muslim (44%), Christian (33%), indigenous beliefs, and animism (23%). The common spoken languages in Chad are Sara (spoken in south), Sango (spoken in north). The official languages of Chad are French and Arabic. There are over 100 different languages and dialects spoken in Chad. The literacy rate is at age 15 and over people can read and write French or Arabic. The total population of literacy is 30%. 42% for males and 18% for females. Chad has a republican government. The capital of Chad is N'djamena. It's administrative divisions are 14 prefectures (prefectures, singular - prefecture); Batha, Biltine, Borkou-Ennedi-Tibesti, Chari-Baguirmi, Guera, Kanem, Lac, Logone Occidental, Logone Oriental, Mayo-Kebbi, Moyen-Chari, Ouaddai, Salamat, and Tandjile. Chad had gained its independence on August 11, 1960, from France. They had gained their constitution on December 22, 1989. Chad's legal system is based on French civil law system and Chadian customary law, it has not accepted compulsory ICJ jurisdiction. The national holiday is held on the 11th of August. The political parties and leaders of Chad are the Patriotic Salvation Movement, Idriss Deby, and chairman. There are no other political party or pressure groups. Elections were last held on July 8, 1990 and disbanded on December 3, 1990. The Executive branch in Chad's government consists of the president and the Council of State (cabinet). The Legislative branch cons ists of unicameral National

Rational for the lesson I design by using technology in teaching Assignment - 1

Rational for the lesson I design by using technology in teaching English( power point and Hot potato software) - Assignment Example 276). CALL uses a wide range of technological tools to assist language teachers and learners to achieve an effective learning process (Leakey 2011, p. 56). Technology in Teaching English as a Foreign Language (TEFL) refers to CALL–based teaching methods (Levy and Stockwell 2006, p. 15). There are many technological tools that can be employed as CALL enhancements for TEFL including: computer programs like PowerPoint and Hot Potatoes, online interactive systems like Skype, internet social networks like Twitter and Face book, web blogs and wikis among others (Levy and Stockwell 2006, p. 23; Nadia 2013, p. 3). Although these technological tools are regarded with skepticism by some analysts, they play an important role in improving the overall TEFL process both to the teacher and to the students (Leakey 2011, p. 96). The following essay details a critical analysis on the use of CALL tools for TEFL with specific reference to the tools I used. I chose the Microsoft software, PowerPoint to design materials for my TEFL lesson and Hot Potatoes for student exercises and activities. This lesson was designed for intermediate level students in Saudi Arabia. The class is composed of young children between the ages of 12 years and 16 years (International Bureau of Education 2011, p. 21). These kids have just completed their primary or elementary school level. The class is composed of both girls and boys who have learned Arabic as their first language (International Bureau of Education 2011, p. 22). The class has 25 pupils. The students need CALL resources such as laptops and computers to use for the presentation and subsequent tasks. The internet is also needed for this lesson mainly for the Hot Potatoes testing program. The first strength is that, I am a highly trained professional in the fields of TEFL and in CALL implementation. This ensures that I will execute my responsibilities effectively to impart English skills in the students. I am also armed with suitable

Diversity in Later Life Essay Example | Topics and Well Written Essays - 2500 words

Diversity in Later Life - Essay Example And I do believe that I can do every challenges with a smile on my face, like my career is doing well so far. Expand my business hopefully. Fulfilling and stable job, to have a home to call my very own as well as to acquire enough resources to sustain my family's needs and wants. My family, and Peace in all societies. Better life for my children Studies. Diversity in Later 2 Participant A Participant B Participant C Participant D Participant E Participant F 5. Felt Needs 1 - A stable job, 2 - A better married life; 3 - Own car & house. 1 - A progressive business. 2 - Safety of my family. 3- Peaceful environment. 1 - A fulfilling & stable job, 2 - A home to call my very own, and; 3 - A sufficient resources to sustain family's needs and wants. 1-Stable work. 2-Healthy family. 3-Success of my children. 1-More achievements in work. 2-Better health for my family. 3-Harmonious relationships. 1 - First is to graduate in College soon. 2 - Second is to pass the board exam and; 3 - have a job that can give me bigger salary . 6. Satisfaction 1-Financial Gains 2-Career 3-Health 4-Community Projects 1-Career 2-Health 3-Community Projects 4-Financial Gains 1-Health 2-Career 3-Community Projects 4-Financial Gains 1-Career 2-Financial Gains 3-Health 4-Community Projects 1-Health 2-Community Projects 3-Financial Gains 4-Career 1-Financial Gains 2-Health 3-Career 4-Community Projects 7. General Concern Global Crisis. I'm worried about the economic aspects of every family. Health. It is important. H1N1/Health. It's a serious... This paper highlights the general needs and satisfaction of middle age adults at this point of their lives, as compared to other age groups. Below is a tabular presentation of information regarding the various needs, satisfaction and general concerns of individuals (in different age groups); the sample interview guide employed in data collection is appended (Please see Appendix A). That data of each participants represent the diverse needs, satisfaction and general concerns in the various aspects in life. Middle adulthood seems to be the "prime time" in terms of creating achievements and vast contribution in an individual's life. Most of them are already in the "family life stage". In the above presented table, middle age individuals (highlighted portions) generally depicted a life that goes beyond the need of oneself or which is simply not "self-centered". Middle age individuals (Participants B,C,D & E) verbalized about their responsibilities and obligations which are more focused on their children, families and the society. It can also be noted that as compared with other age groups, their needs are more into the career, family and a little of what they can do for others or the community. Obviously, middle age respondents' diverse needs, satisfaction and general concerns are somehow impacted their socio-economic conditions.

Hook and Eye Coursework Example | Topics and Well Written Essays - 250 words

Hook and Eye - Coursework Example We shall illustrate that customer’s satisfaction is determined by evaluating the value of the hotel brand, using its location and service offered to customers. One Mixed Methods central research question Does the brand value define the customer satisfaction by the feedback we get from customers in relation to location and service at the hotel? Three Mixed Methods sub-questions How does the customer’s feedback posted on hotel website qualitatively, explain the customer satisfaction as the brand value measured quantitatively on the location of the hotel and service by the staffs? Does the customer’s feedback on the hotel portal posted qualitatively, explain the customer satisfaction in the context of brand value? How does the customer feedback relate to the services of the hotel and its location in reference to the brand value? Hook and Eye technique analysis We shall identify the words that connect with a location that either describes it positively or negatively. Examples of this are perfect, ideal, at a central place, or convenient this are positive words; the negative description includes the word ‘is located’ then a description like a dumpsite, or noisy place. For service, we shall identify an active verb like ‘was’, ‘were’ or ‘have been’ in describing words like bad, excellent, fantastic, dismal, or impeccable.

An individual management report analyzing how logistics and supply Essay

An individual management report analyzing how logistics and supply chain management is conceived, supported, delivered and developed in a chosen international organization (McDonalds) - Essay Example Some special tricks of this supply network administration are lean administration of logistics, procurement process, warehousing and capacity management frameworks. For preparing their staff, the organization takes all its measure through serious projects that deal with the supply and dispersion of items. According to the company’s history, the products that individuals needed were not generally created where they needed to expend them; additionally, this merchandise were not open when individuals needed to use them. Sustenance and different items were broadly scattered and were just accessible in wealth populations at certain times of the year. The early people and groups had the decision of expending merchandise in their prompt area or moving the products to a favored site and putting them for later utilization. However, because no decently created transportation and capacity frameworks existed, the development of products was constrained to what an individual could generally move. Items that were highly perishable could only be used for a short period before they went bad due to lack of proper storage facilities. This restricted development-stockpiling framework for the most part obliged individuals to live near the wellsprings of generation and to expend a noticeably thin scope of products. Indeed, today, few zones of the world’s utilization and creation occur just within restricted geographic zones. Striking illustrations can at present be seen in the developing countries of Asia, South America, Australia and Africa, where portions of populations live in little, independent towns and the greater part of the merchandise required by the inhabitants are delivered or obtained in the prompt region. The McDonald’s corporation have been in operation for a long duration and has branches that are spread all over the different continents with exceptions of a few. Due to the numerous stores, they

The Conflict Between the Client and the Building Contractor Research Paper

The Conflict Between the Client and the Building Contractor - Research Paper Example The completion date may be adjusted at the request of the client. In making such a request, however, the client has to give the contractor a twelve-week period to respond to the request. This condition may present either a challenge or advantage for the client, depending on the response obtained from the contractor. The pitfall that is evident in this scenario is; there is no assurance of the contractor being able to make such adjustments. In this particular project, the client desires to take ownership of the third and fifth floors before the indicated completion date. If the floors required were the initial ones, this proposition would seem likely. The client, however, seeks to occupy the middle and top-most floors. The challenge is as to how the building process will proceed once the client occupies these floors. To make it easier, the floors that would increase the feasibility of the proposition would be the bottom floors of the building. On the day scheduled for the building pro ject to commence, the contractors encounter a problem. The client has some materials blocking the main entrance to the site. According to the empowerment clause, the contractor can only issue instructions under his mandate. Going against this is an act indicating a breach of contract. The only way that it is possible for the contractor to order for these materials blocking the main entrance to the site is by consulting the Architect/ Contract Administrator (A/CA). The A/CA then issues instructions in writing allowing for the contractor to execute the instructions.

Advanced Financial Modelling Essay Example | Topics and Well Written Essays - 1000 words

Advanced Financial Modelling - Essay Example For that reason, people, tend to base their decisions on certain perceived elements of gains rather than elements of perceived losses (Back, 2010, pg. 208). In essence, if a person is presented with two equal choices to make, he or she will express one choice in terms of the possible losses and the other choice in term of the possible gains. For that reason, the person will choose the choice with possible gains (Kaustia, 2010, pg. 25). An example can be used to demonstrate the prospect theory as it applies to financial decision making. Two different financial advisors present the same mutual fund to an investor. The first financial advisor tells the investor that the average return of the mutual fund is 7%. The second financial advisor mentions that the mutual fund has realized above average return for the past 15 years but the last 5 years have shown a decline. According to the prospect theory, the investor will choose a mutual fund from the first financial advisor. This is because it is not expressed in a combination of returns and losses as did the second financial advisor (Li and Yan, 2010, pg. 101). The prospect theory was proposed and developed in 1979 by two aristocrats, Amos Tversky and Daniel Kahneman. The theory emerged as a psychologically description of the financial decision making process (Ma, 2011, pg. 428). The theory also makes a comparison to the expected utility theory. According to prospect theory, editing and evaluation are the two central stages that every financial decision making process must pass through. The outcomes of a decision are made and ordered during the editing stage. During this stage, people consider lesser outcomes as losses and greater outcomes as gains. The aim of this stage is to alleviate any possible framing effects (Barberis and Xiong, 2012, pg. 99). In addition, it helps in resolving the isolation effects that stem out from the propensity to isolate concurrent

The Conflict Between the Client and the Building Contractor Research Paper

The Conflict Between the Client and the Building Contractor - Research Paper Example The completion date may be adjusted at the request of the client. In making such a request, however, the client has to give the contractor a twelve-week period to respond to the request. This condition may present either a challenge or advantage for the client, depending on the response obtained from the contractor. The pitfall that is evident in this scenario is; there is no assurance of the contractor being able to make such adjustments. In this particular project, the client desires to take ownership of the third and fifth floors before the indicated completion date. If the floors required were the initial ones, this proposition would seem likely. The client, however, seeks to occupy the middle and top-most floors. The challenge is as to how the building process will proceed once the client occupies these floors. To make it easier, the floors that would increase the feasibility of the proposition would be the bottom floors of the building. On the day scheduled for the building pro ject to commence, the contractors encounter a problem. The client has some materials blocking the main entrance to the site. According to the empowerment clause, the contractor can only issue instructions under his mandate. Going against this is an act indicating a breach of contract. The only way that it is possible for the contractor to order for these materials blocking the main entrance to the site is by consulting the Architect/ Contract Administrator (A/CA). The A/CA then issues instructions in writing allowing for the contractor to execute the instructions.

Form and Structure Essay Example for Free

Form and Structure Essay As an AS drama group, we carried out certain exercises on narrative structure, to identify ourselves with that used in the play. For instance, we each acted out a scene, illustrating an everyday activity such as waking and getting up. We then narrated these scenes first in the first person narrative, then in the third. This enabled us to identify with how Brecht wished his actors to perform, as by narrating our own actions in the third person narrative, we were detaching ourselves from the parts we were playing, and so were not thinking emotionally what should this character think and feel now, but rather thought, how should this character appear. This also enabled us to understand how the process of taking photographs of scenes and trying to identify what was occurring within that scene, helped Brecht decide if his actors were performing correctly. The Verfremdungseffekte were designed to expose the familiar; Brechts actors were to present things in their concrete reality so that the audience would be encouraged to think about what had given rise to situation depicted, in this case Hitlers, or Uis rise to power, and therefore consider ways to change those conditions in the future. * The Resistible Rise of Arturo Ui is divided into 15 scenes, some of which are subdivided into several sections identified by letters. These 15 scenes are then divided almost equally into 2 acts. This symmetry gives the play a degree of continuity, enabling it to flow smoothly. Scene 8 displays a structure unique from that of other scenes throughout the play. It is the scene in which the innocent fish is on trial for potentially burning down Hooks warehouse. He is being tried before a corrupt judge caused by the manipulation of the judicial system by Ui and his underlings. This scene is divided into seven parts, a to g. Each of these parts is shorter in length than that preceding it, hence quickening the pace of the play and building tension within the scene. The shortening sections also highlight Fishs plunge into a prison sentence, that which he is undeserving of.