WEAK ANTHROPOCENTRIC INTRINSIC VALUE Essay Example | Topics and Well Written Essays - 250 words

WEAK ANTHROPOCENTRIC INTRINSIC VALUE - Essay Example vation made by Hargrove, the subject of discussion that he appears to have failed in, is disputing the concept of subjectivist nonanthropocentric intrinsic value. The theory of subjective nonathropocentric value theory, as presented by J. Baird Callicott observes that nature has no value of its own, unless it is given to it by human beings, since values depend entirely on human judgment (Hargrove, 194). While Hargrove tends to dispute this argument by arguing that nature has its intrinsic value, there is a reason to disagree with his argument, since without the judgment conferred upon nature by human beings to determine its value, there is no way that nature on its own can possess value. In disputing Hargrove’s argument against subjective nonathropocentric value theory, I contend with J. Baird Callicott, that something becomes valuable only because somebody values it (Hargrove, 195). It is apparent that all value depends on the subjective feelings of human observers, and that value will hardly exist in nature, unless it is given to it by human value judgment (Hargrove,

Brave New World Critical Lens Essay Example for Free

Brave New World Critical Lens Essay â€Å"I have freedom,† you say? Do you really? Perhaps, in some ways, you do. But in the end, you’re just another puppet being controlled by invisible strings whether you know it or not. â€Å"Man is born free, and everywhere he is in chains,† Jean-Jacques Rousseau once said. In society, man is â€Å"chained† and controlled by the government, by pressure of conforming to the social norms, by wealth and social class, and by one’s desires and emotions. Prior to birth, man is not restricted by such factors but that is merely a fleeting moment as he is slowly exposed to more and more of the world. I agree that â€Å"everywhere [man] is in chains,† but on the contrary, I believe man is already chained from the start—that man is never free. In the novel, Brave New World, by Aldous Huxley, babies are â€Å"decanted† and conditioned to play out their predestined roles in the World State. As early as the embryonic stage, babies-to-be already have their fates determined for them. In addition to conditioning, a drug called soma that induces a false sense of happiness dominates these people’s lives. As long as there is society, there will be shackles. Subjects of the World State were pre-separated into specific caste levels through processes such as the Bokanovsky Process, hypnopaedia, and Pavlovian conditioning. As mere embryos, they were already being trained for their predestined fates. By the time they reached the end of the â€Å"assembly line,† freedom did not exist anymore. They were enslaved to society. They were conditioned to strictly love and enjoy the aspects of their own castes and dislike the aspects of other castes. â€Å"We also predestine and condition. We decant our babies as socialized human beings, as Alphas or Epsilons, as future sewage workers†¦ (13)† stated the Director of Hatcheries matter-of-factly. How can man be born—or in this case, decanted ¬Ã¢â‚¬â€free if he can’t even make his own major life decisions or think for himself? Aside from conditioning, World State citizens so easily obeyed the government because they lived in such a â€Å"perfect† world that there just wasn’t anything to complain about. Generally, they didn’t have any problems in regards to sickness, death, desires, old age, passion, relationships and other issues that were often associated with an â€Å"unstable† society. â€Å"People are happy; they get what they want, and they never want what they can’t get.  (220)† If anything â€Å"bad† happened, all they had to do was take a tablet. â€Å"And do remember that a gramme is better than a damn. (55)† The World State government kept their people in â€Å"bottles.† â€Å"’Each one of us, of course†¦goes through life inside a bottle,’ stated Mustapha Mond. (222-223)† The government expected everyone to act according to the standard of infantile behavior—of simple satisfaction, ignorance, and lack of self-restraint and they condemned anyone who acted otherwise. Citizens of the society were encouraged to take soma when distressed and attend social events and activities and so on. It was through such ways that the people were kept distracted and obliviously controlled. These â€Å"socialized human beings† were so ignorant of the shackles around their limbs that they didn’t even try or think to take them off. When a man is born with chains—metaphorically speaking, of course—he is unaware of them. And if he is unaware of them, then there is no way for him to escape them. Such is the case with the people of the World State. They are conditioned to accept and even enjoy whatever path that is laid out in front of them. In this illusion of a perfect world, everyone is happy and without a care as the government does all the thinking for them. Ultimately, people of the World State are permanently trapped in a stage of â€Å"infancy†Ã¢â‚¬â€even upon their deathbeds.

Emily Dickinson :: essays research papers

Emily Dickinson is one of the most well known poets of her time. Though her life was outwardly uneventful, what went on inside her house behind closed doors is unbelievable. After her father died she met Reverend Charles Wadsworth. She soon came to regard him as one of her most trusted friends, and she created in his image the “lover'; whom she was never to know except in her imagination. It is also said that it was around 1812 when he was removed to San Fransico that she began her withdrawal from society. During this time she began to write many of her poems. She wrote mainly in private, guarding all of her poems from all but a few select friends. She did not write for fame, but instead as a way of expressing her feelings. In her lifetime only six of her poems were even printed; none of which had her consent. It was not until her death of Brights Disease in May of 1862, that many of her poems were even read (Chelsea House of Library Criticism 2837). Thus proving that the analy sis on Emily Dickinson’s poetry is some of the most emotionally felt works of the nineteenth century.   Ã‚  Ã‚  Ã‚  Ã‚  Miss Dickinson is often compared with other poets and writers, but “like Shakespeare, Miss Dickinson is without opinions'; (Tate 86). “Her verses and technical license often seem mysterious and can confuse critics, but after all is said, it is realized that like most poets Miss Dickinson is no more mysterious than a banker. It is said that Miss Dickinson’s life was starved and unfulfilled and yet all pity is misdirected. She lived one of the richest and deepest lives ever on this continent. It was her own conscious choice to deliberately withdraw from society into her upstairs room…'; (Tate 83). She kept to “only a few select friends and the storm, wind, wild March sky, sunsets, dawns, birds, bees, and butterflies were sufficient companionship for Miss Dickinson'; (Loomis 79). She dealt with a lot both physically and psychologically and in the end she still came out on the top. So as Allen Tate best said it “in her own historica l setting Miss Dickinson is nevertheless remarkable and special'; (82).   Ã‚  Ã‚  Ã‚  Ã‚  Thomas Higginson said that “the main quality of her poems is that of extraordinary grasp and insight, uttered with an uneven vigor, which was all her own'; (78).

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AMERICAN CULTURE Visual and performing arts 3. Arts and letters The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popular music, from those—such as classical orchestral music—normally available to the elite of learning and taste.Popular art forms are usually seen as more representative American products. In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American peopl e. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous.Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II.But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals.What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future.While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, a re less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers.In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on critics and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms.These critics often relied less on aesthetic judgments than on social measures and wer e eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artistic heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were established in the past.In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded mate rials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts.The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence.American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administra tion, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances.Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, many painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism.Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the inn ovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women).Color, shape, and movement dominated the canvases of abstract expressionists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock â€Å"painted† by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each art ist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity.The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of the abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement.Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American M idwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp.Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement and an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence.Cornell's boxes exemplify th e modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art movement that began in the 1950s.Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtens tein's large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art.These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and popular art.Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhol's pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break fre e of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship.Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative process. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products. Photography.Photography is probably the most democratic modern art form because it can be, and is, practiced by most Ameri cans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters. They also published a magazine called Camera Work to increase awareness about photographic art.In the United States, photographic art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man. Throughout the 20th century, most professional photogra phers earned their living as portraitists or photojournalists, not as artists.One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Institute). He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique.Adams's elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photo graphed urban conditions and workers, including child laborers. Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a hotographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of the period. In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of documentary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power.Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied i n the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph. Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish.The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazines. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography. Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially.The decora tive arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. 4. Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of American culture in the first half of the 20th century.These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama. The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country.Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country. The American performing arts also blended Latin American influences beginning in the 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States.In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent. Noted Russian-born choreographer George Balanchine e stablished the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well.By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using innovative musical styles, moved to the United States in 1939. German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras.Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples. Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935).Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans. He even invented a new kind of piano.During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a m ovie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera.By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of America's greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse.In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting.He brought the art of classical music to the public, especially through his â€Å"Young People's Concerts,† television shows that were seen around the world. Bernstein used the many facets of the musical tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences.New York City, the American center for art performances, experienced an artistic expl osion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet.As the variety of performances expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional p roductions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s.Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico.American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably America's most durable music form. Starting in the 1960 s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme.This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds have become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold.At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts. . Arts and letters The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popular music, from those—such as classical orchestral music—normally available to the elite of learning and taste. Popular art forms are usually seen as more representative American products.In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American people. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous.Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II.But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals.What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future.While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, are less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers.In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on criti cs and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms. These critics ften relied less on aesthetic judgments than on social measures and were eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artistic heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were establis hed in the past.In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded materials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts.The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence.American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administration, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances.Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, man y painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism.Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the innovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women).Color, shape, and movement dominated the canvases of abstract expressio nists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock â€Å"painted† by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each artist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity.The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of t he abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement.Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American Midwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp.Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement an d an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence.Cornell's boxes exemplify the modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art move ment that began in the 1950s.Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtenstein's large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art.These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and opular art. Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhol's pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break free of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship.Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative proces s. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products.Photography. Photography is probably the most democratic modern art form because it can be, and is, practiced by most Americans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters.They also published a magazine called Camera Work to increase awareness about photographic art. In the United States, photographi c art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man.Throughout the 20th century, most professional photographers earned their living as portraitists or photojournalists, not as artists. One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Instit ute).He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique. Adams's elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photographed urban conditions and workers, including child laborers.Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a photographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of th e period.In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of documentary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power. Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied in the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph.Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish. The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazi nes. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography.Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially. The decorative arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. . Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of America n culture in the first half of the 20th century. These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama.The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country. Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country.The American performing arts also blended Latin American influences beginning in th e 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States. In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent.Noted Russian-born choreographer George Balanchine established the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well. By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using i nnovative musical styles, moved to the United States in 1939.German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras. Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples.Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans.He even invented a new kind of piano. During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a movie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera.By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of America's greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse.In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting.He brought the art of classical music to the public, especially through his â€Å"Young People's Concerts,† television shows that were seen around the world. Bernstein used the many facets of the musi cal tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences.New York City, the American center for art performances, experienced an artistic explosion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet.As the variety of performanc es expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional productions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s.Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensi ve knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico.American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably America's most durable music form. Starting in the 1960s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme.This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds ha ve become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold.At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts.

Associate Degree in Nursing Essay

Healthcare systems and the way safe, quality health care is delivered are continually changing to better serve patients and communities. Professional nursing practice is a large component in the healthcare system today. Back in the 1960s, professional nursing leaders tried to adopt the bachelor degree programs as the only educational track to become a registered nurse (Creasia & Friberg, 2011). Due to nursing shortages and demands this motive did not hold fast. Individuals entering the nursing profession today must first decide which educational pathway to take to become a Registered Nurse (RN). Although there are studies that suggest nurses with a higher level of education have better overall outcomes, there still exist different educational pathways one can take to become a registered nurse. The two most popular educational programs today are the Associate Degree in Nursing (ADN) and the Bachelor of Science in Nursing (BSN). Both programs prepare students to sit for the state’s NCLEX exam and obtain a registered nurse license. Each educational pathway poses different advantages and disadvantages. The associate level degree can be obtained in two to three years and offered through community colleges and technical schools. Because the length of the program is shorter than the BSN program, this can be viewed as an advantage, saving both time and money. ADN nurses are typically educated to be direct care providers, usually employed by hospitals and long term care facilities. The course of study includes general education and clinical nursing classes (Creasia & Friberg, 2011). Technical skills are emphasized in the ADN programs, leaving little time for critical thinking skills. According to the American Association of College of Nursing (AACN), ADN nurses are better suited to work at the bedside in less complicated plans of care (Baccalaureate Degree, 2000). The associate degree nurse does possess good technical skills. The bachelor level degree can be obtained in four years by attending a college or university. Obviously, the BSN program will take more time and money over the ADN program. Although most colleges and universities offer traditional four year nursing programs, some offer accelerated programs. It will usually cost the same, however you are able to enter the nursing profession sooner. Unlike the ADN program, â€Å"the BSN nurse is better prepared to practice in all health care settings – critical care, outpatient, public health, and mental health† (Baccalaureate Degree, 2000, para. 8). In addition to the content taught in ADN programs, the humanistic BSN education encompasses more of the physical and social sciences (Impact of Education, 2011). The BSN nurse is better prepared to work more independently, therefore is well qualified to practice in healthcare systems outside of the hospital. Bachelor programs â€Å"prepare professional nurse generalists for acute care settings, community-based practice, and beginning leadership /management positions† (Creasia & Friberg, 2011, p. 32). This course of study is crucial to the delivery of good, safe, quality patient care. There have been several research studies completed to see if there is a correlation between higher RN education level and better patient outcomes. Several studies concluded there is decrease in mortality rates within hospitals that employee a greater percentage of bachelor prepared nurses (Creating a More, 2011). There are several patient care situations within hospitals in which a BSN nurse would be better qualified to create and manage a patient’s plan of care. Suppose a 28 year old American Indian female was admitted for preterm labor at 32 works gestation with a history of non-compliant diabetes since age 15. Both the ADN and BSN nurse could clinically perform a thorough assessment of the patient, monitor fetal condition and uterine activity, and administer medications. This patient needs more than just acute clinical care; she needs education and resources on how to maintain a healthy lifestyle for her and for the child she will soon be raising. A BSN practitioner has extensive training in cultural, social, and economic areas and would be a much better provider of care than the ADN nurse. Both ADN and BSN nurses will usually start at the same salary in the hospital or long term care facility, the ADN nurse will be limited to career advancements and opportunities. Charge nurse positions may be available in some organizations; however any position of higher level will almost always require an advanced education. Years of experience will sometimes be of relevance for a higher level position, but ultimately, these positions go to individuals who hold a bachelors and/or masters degree. As healthcare settings and delivery of care change, more nursing positions require the Bachelors of Science degree to be hired (Baccalaureate Degree, 2000). Overall, studies and research have proven the BSN nurse to be better prepared professionally for the ever changing healthcare systems of our world today and tomorrow. There have been great strides by nursing leaders and organizations around the nation to increase the number of bachelor degree nurses from 50% to 80% by the year 2020 (Employment of New Nurse, 2011). Even though deciding which educational pathway to take now is still up to the individual, research points to the BSN program. Choosing the BSN educational pathway over the ADN not only provides a broader spectrum of education to better serve patients and communities, but also opens many doors of opportunity for growth and advancement.

[WATCH] How to change your life according to Michael Strahan

[WATCH] How to change your life according to Michael Strahan Michael Strahan sat down with Daily Fuel to talk about a major (and early) inflection point in his life. Listen to how the Good Morning America co-host came to the conclusion that he was largely responsible for his fate, and how Jane Fonda workout videos (of all things) helped propel him to be the world class athlete he’d soon become.   The result not only concluded with his election to the NFL Hall of Fame, but the mindset he developed has guided him throughout his remarkable and unparalleled career.  While there’s an undeniable randomness to life in general, we all must eventually decide for ourselves to what extent we determine our own destiny.Source: [DailyFuel]

Reconsidering the History Holocaust Denial. The XXI Century Prospects

Reconsidering the History Holocaust Denial. The XXI Century Prospects Introduction: The Price of Holocaust. When a Murder Is Justified Whenever one thinks of the most dreadful events of the past, the history stages at which the humankind became so cruel and unreasonable that from the retrospective of our times it seems almost unbelievable, such event as the Holocaust is bound to come to one’s mind.Advertising We will write a custom essay sample on Reconsidering the History: Holocaust Denial. The XXI Century Prospects specifically for you for only $16.05 $11/page Learn More Because of the scale and the violence of the event, it cannot be erased from the memory of the world, ad is never to be forgotten as one of the most dreadful acts of segregation against the other race. However, according to the recent statements, the denial of the Holocaust events is currently one of the world major tendencies, which offers certain arguments concerning the reasonability of the movement and its controversy. Despite the fact that Holoca ust was one of the hideous crimes against the humanity that is never to occur again, some tend to represent the tragic event as the stage of the history that people should not pay such attention to, which creates the air of considerable controversy and presupposes debates concerning the significance of the event and its meaning for the modern humankind. Therefore, it cannot be doubted that such phenomenon as Holocaust denial is to be discussed and its absurdity must be proven. The Wind of Changes Is Blowing: When Holocaust Is not a Crime There is no doubt that Holocaust is one of the most dreadful events in the world history. However, once trying to find a suitable definition for the event, one inevitably faces certain problem – as a matter of fact, there is no actual definition of the issue, as the phenomenon cannot be classified according to the existing standards. As Landau (1998) says, â€Å"What was the Nazi Holocaust? So uncomprehended and incomprehensible is the dread event still, a whole generation after, that in this brief space we can answer this question only with a series of negations† (p. 13). According to the author, Holocaust was not a war, neither was it a war crime or a part of the war, or a case of genocide, or racism. Therefore, in the light of the abovementioned, one should agree that Holocaust as it is does not have a suitable definition. However, one can supposedly explain the given issue by the uniqueness of the phenomenon. It is quite peculiar, though, that the Holocaust denial does have certain definition, which can be interpreted as â€Å"an Anti-Semitic propaganda movement active in the United States, Canada, and Western Europe that seeks to deny the reality of the Nazi regimes systematic mass murder of six million Jews during World War II,† according to Anti-Defamation League (2001). Hence, it can be concluded that, generally, the Holocaust denial is posed as a negative concept.Advertising Looking for es say on history? Let's see if we can help you! Get your first paper with 15% OFF Learn More The Reasons to Reconsider the History: Mayer’s Case Since the outcomes of the World War II were unanimously considered by all states of the world as the act of utter inhumanity, the roots of Holocaust denial mood are rather essential issue which offers plunging into the complexity of the interracial and international relationships. Despite the fact that the origins of the given movement are rather vague, one still can spot the starting point of the Holocaust denial ideas development. According to the recent statement of historians, the Holocaust denial originated from the assumptions of Mayer, which were further on critiqued by Browning (2011), which means that the ideas of the latter are to be reconsidered. It is important that Browning dies give credit to Mayer’s assumptions. According to browning, Holocaust does not need reassessment, since Mayer’s attem pt to reconsider the course of history seems rather futile: Mayer does indeed attempt to set the ‘Judocide’ (a term he prefers to Holocaust) within various comparative frameworks, as the subtitle promises. But as the book progresses, the real thrust of Mayer’s argument becomes apparent. He is not so much placing the ‘Final Solution’ in a wider historical context as he is redefining it. (p. 77) Therefore, it should be admitted that the idea of Holocaust as the event that did to have the significance that people believed it to have first originated due to Mayer. However, despite the fact that Mayer’s objections to the significance of Holocaust are quite debatable and were offered quite a while ago, the Holocaust denial movement is currently gaining momentum. Reinventing People’s Perception of Truth It is evident that there is considerable change of people’s perception of the Holocaust all over the world, as Jewish Virtual Library s ays. The latter belittles the importance of the fact that millions of Jews were killed in the course of the WWII, thus, diminishing the role of Jews in the WWII; on the other hand, reinforcing the idea of Holocaust denial and offering it to the population, the latter make people think carefully over the events of the tragedy and, hence, spurs the discussion. According to what Holocaust Denial (2011) claims, the phenomenon of Holocaust denial is supposed to diminish the role of Jews in the WWII and spread anti-Semitic ideas all over the world: One of the most notable anti-Semitic propaganda movements [†¦] has been known in recent years primarily through the publication of editorial-style advertisements in college campus newspapers. The first of these ads claimed to call for open debate on the Holocaust; it purported to question not the fact of Nazi anti-Semitism, but merely whether this hatred resulted in an organized killing program. (Holocaust Denial, 2011)Advertising We will write a custom essay sample on Reconsidering the History: Holocaust Denial. The XXI Century Prospects specifically for you for only $16.05 $11/page Learn More Hence, it should be concluded that the Holocaust Denial movement is aimed at belittling the Jews’ assistance and suffer in the WWII, as well as convince the world in the necessity to follow the anti-Semitic ideas. However, Holocaust denial movement is rather efficient. Therefore, it is necessary to consider the Holocaust denial ideas and compare them to the ones that support the fact of Holocaust. Hence, one will be able to see if the Holocaust denial ideas have some grounds to base on. Consider the Ideas of Anti-Holocaust: Lost in†¦ Interpretation However, even though most people might consider the ideas of anti-Holocaust movement hideous, it is necessary to consider the major points of the Holocaust Denial theory. Once envisioning the main concepts of the Holocaust denial theory, one is most likely to confront it successfully. Therefore, the major ideas concerning the Holocaust denial are to be viewed. According to what Raul Hilberg says, Jones Icke (2009) claim, one of the greatest mistakes of the people who learn the issue of Holocaust is the attempt to see the entire picture from the every beginning, skipping a number of essential details, and, thus, being an easy prey for those who can lure the public into believing the futility of Holocaust.. According to the researcher, it is important to consider the niceties of the Holocaust first before trying to see the whole picture: In all of my work I have never begun by asking the big question, because I was always afraid that I would come up with small answers, and I have preferred, therefore, to address these things which are minutiae, or detail, in order that I might then be able to put together in detail a picture which, if not an explanation, is at least a description, a more full description [†¦] (Jones, Icke, 2009). Thus, it is necessary to consider the details of the event without trying to embrace the whole concept of Holocaust, the scientist claims. However, the given idea offers considerable complexities as well, since it does not allow to consider the entire concept if Holocaust and, thus, leaves much room for the Holocaust Denial ideas, which is quite undesirable. Once the Holocaust denial supporters are able to manipulate the concept of Holocaust and people’s vision of the latter, the change of the attitudes towards the historical event is inevitable. Concerning the Motifs and the Ideas: The New Concept It is essential to mark that in the given case, when the ideas of tolerance and the political correctness can intertwine to be used a shield for the Nazi-like behavior, one should consider the concept of the Holocaust denial movement closer. According to the recent news, the issue is currently getting out of control. As Sandy Allan (2011) report, Friends of a high-fly ing Tory MP are facing prosecution for chanting offensive Nazi slogans in a crowded restaurant at a French ski resort where one of the party dressed in an SS uniform.Advertising Looking for essay on history? Let's see if we can help you! Get your first paper with 15% OFF Learn More Aidan Burley, MP for Cannock Chase in Staffordshire, was with 12 friends, some of whom chanted ‘Hitler, Hitler, Hitler’. One toasted the ‘Third Reich’ and one taunted a waiter for being French. (Sandy Allan, 2011) Judging by the above-mentioned example, the motifs of the movement adepts can be hardly viewed as another attempt at restoring the Nazi regime. The given trend is rather a tendency to conduct the policy of political correctness and forgiveness. However, it is worth mentioning that the given policy allows and actually promotes the idea that the tortures of millions of people were insignificant. Hence, the Holocaust denial is the concept that does not have the right to exist. The Argumentation of the Holocaust Rejecters: Lame Excuses Among the most essential proofs that support the fact that Holocaust could not have taken place the way in which it is described nowadays, the ideas offered by the U.S. forensic expert concern the opposite side of the conflict, namely, the way in which the mass extermination of Jews took place. As a result of the research conducted by Fred A. Leuchter, it became evident that the capital punishment tools used in the WWII by the Nazi were not designed for conducting mass executions and, hence, could not be used as the weapons of the Holocaust as it was depicted in a number of sources. As Leuchter explained, his discovery was an utter surprise for him as well: One by one I determined that this state equipment was not functional, this state equipment was not functional; and suddenly, one day I said, â€Å"None of the equipment is functional!† Many of the electric chairs were built by inmates and electricians who had no idea of what they were building. They took a picture of another state’s electric chair and they made something that was looked like it. (Leuchter, 2006) Therefore, it can be suggested that in some of the cases, mass manslaughter did not take place in the course of the Hol ocaust. Though the fact that the data concerning the Holocaust victims was imprecise or exaggerated has not been stated yet, there are certain reasons to think that the number of Jews who have suffered death for their nationality I the course of the WWII and the Holocaust is much smaller than it is estimated, Leuchter thinks. However, it still must be admitted that the observations offered by Leuchter are not precise calculations, but merely suppositions and the researcher does not have the sufficient evidence to prove his point, having only the circumstantial one at his disposal. Bringing Back the Ideas of the Past: No More Misunderstandings Despite the fact that the ideas offered by Leuchter do contain certain evidence which can be used as a proof for the reasonability of the Holocaust Denial, it is still obvious that denying the fact of mass slaughter of the Jews is completely absurd. Taking into account the existing evidence concerning the concentration camps, the anti-Semitic i deas that the Nazi proclaimed, and the attitude towards the Jewish people in the epoch of the WWII, one can still observe the violent treatment of Jews, which confirms the fact that Holocaust did take place. As Lipstad (1999) explained, the fact that the fact of the Holocaust can be denied is one of the most outrageous ideas of the XXI century. According to the author’s own words, When I turned to the topic of Holocaust denial, I knew that I was dealing with extremist anti-Semites who have increasingly managed, under the guide of scholarship, to camouflage their hateful ideology. However, I did not then fully grasp the degree to which I would be dealing with a phenomenon far more unbelievable than was my previous topic. (p. 12) Hence, there can be no possible doubt that the idea of Holocaust denial is absurd. Defying the Jewish people several years of fighting for justice and the acknowledgement of their nationality is one of the crimes of the XXI century. With the help of ef ficient evidence, one can easily prove that the Holocaust did take place in the distant 1939-1745. The Analysis: When the Obvious Needs to Be Proven Comparing the two existing viewpoints, one must admit that, no matter how absurd the fact that the Holocaust did not take place could seem to the humankind, there are certain proofs that the theory offered by Raul Hilberg is quite worth believing. Since restoring the historical facts does not seem possible, one is supposed to rely on the evidence remaining since the end of the WWII, which might have failed to pass the time testing. Therefore, there are certain concerns as for the veracity of both theories. It is worth mentioning that the Holocaust denial theory offers sufficient proofs that can be considered worth taking a closer look at. Providing profound scientific basis for the ideas that Raul Hilberg conveyed with his observations of the German weapons of mass destruction and the Nazi concentration camps, the followers of the theor y create the environment that favors the development of the Holocaust denial ideas. It is essential to emphasize that at present, specific techniques of Holocaust denial are suggested for faking the results of the independent researches concerning the Holocaust issue. As Stein (n.d.) explains, these are aimed at creating the impression that the Jews were not as oppressed in the WWII as they claim and, hence, undermine the trust in the Jewish nationality: One thing scientific Holocaust deniers like Berg and Fred Leuchter count on is the fact that many non-scientists cant follow scientific debates, and assume that if it is dressed up in scientific terms, it must be right. But there are many other scientific debates we see today pollution, cancer, global warming, etc. which enter into the political arena. Some of these arguments are made to support a hidden ideological agenda, and the science is dishonest. Therefore, it cannot be doubted that the research results are faked. Noting th e tiniest discrepancies in Berg’s conclusions, Stein (n.d.) explains that the Holocaust denial is actually another attempt at conducting anti-Semitic policy. Be Upstanding in Court: Passing the Judgement Even with the evidence presented so far on the issue of Holocaust denial, there can be no possible doubt that the Holocaust did take place, taking away the lives of millions of Jews. Taking into account the stories that have been told, the things that have been seen and the issues that were documented on the subject of the Nazi concentration camps, one must admit that the Holocaust as a phenomenon of utter violence and incredible cruelty did take place, which means that the assumptions of those who support the Holocaust denial are completely wrong. Even though there is a considerable lack of the documented evidence of the genocide of the Jews, as Shermer Grobman (2009) explain, it is still worth keeping in mind that the facts of tortures and murders are still evident. Thus, it can be deduced that the Holocaust denial does not have enough sufficient ground to base on and is an abuse for the Jewish people. Conclusion: When There Is Nothing to Find. The Holocaust as It Is Judging from the afore-mentioned facts, it can be concluded that the Holocaust did exist. Moreover, it I necessary to admit that people must not forget the Holocaust; nor may they pretend that the given event had no significance in the course of the WWII. Hence, the situation concerning the attitude towards the Holocaust is slowly getting out of control and becoming increasingly controversial. However, the situation can still be changed. Once offering sufficient proof of the inconsistency of the Holocaust denial ideas, one is likely to restore the self-esteem of the Jewish nation and the relationship of the latter with the rest of the states. In the given situation, it is crucial that people should not follow the false leads and be confused into misconceptions by the half-baked claims. O nly with the help of the mutual respect and careful consideration of the historical facts, one is likely to find out the truth. Reference List Anti-Defamation League (2001). What is Holocaust denial. ADL. Retrieved from adl.org/hate-patrol/holocaust.asp Browning, C. R. (1995).The path to genocide: Essays on launching the final solution. Cambridge, UK: Cambridge University Press. Holocaust denial (2011). Jewish Virtual Library. Retrieved from jewishvirtuallibrary.org/jsource/Holocaust/denial.html Jones, A., Icke, D. (2009). One third of the Holocaust – conspiracy. Nazi, Hitler, Israel, Zionism, Jews. Google Video. Retrieved from http://video.google.com/videoplay?docid=-9174186302325317179# Landau, R. S. (1998). Studying the Holocaust : Issues, readings, and documents.  New York City, NY: Routledge. Leuchter, F. A. Jr., et al. (2006). Mr. Death. The rise and fall of Fred A. Leuchter Jr.  Google Video. Retrieved from http://video.google.com/videoplay?docid=65417828115193937 8# Lipstad, D. E. (1999). The growing assault of truth and memory. With a new preface  by the author. New York City, NY: Plume. Sandy, M., Allen, P. (2011). ‘A toast to the Third Reich!’ Oxford-educated louts ‘face prosecution’ for dressing as Nazi and taunting French waiter while Tory MP looked on. Daily Mail. Retrieved from dailymail.co.uk/news/article-2072639/Tory-MP-Aiden-Burley-Nazi-stag-night-French-ski-resort.html Shermer, M., Grobman, A. (2009). Denying history: Who says the Holocaust never  happened and why they say that? Berkeley, CA: University of California Press. Stein, M. P. (n.d.) Deceit misrepresentation. The techniques of holocaust denial.  The Nizkor Project. Retrieved from nizkor.org/features/techniques-of-denial/diesel-01.html

Ways of Successful Collaboration

Ways of Successful Collaboration Assignments that are set up well at the beginning tend to be the most successful. Our studies show that most problems occur because of incomplete or poorly worded instructions. Our writers are very talented but they arent exactly mind-readers. Its better to be overly specific with your requirements instead of assuming the writer will know exactly what research you need them to do. Its always a good idea to confirm with the writer before they start writing that they are confident they know what you need. That way you can clear up any confusion before it impacts the assignment. Â  HOW TO GET GOOD GRADES? Be prepared to routinely follow up with the writer as they work on your assignment. Dont expect the writer to do all the work for you. Our services are not for cheating in your classes. Rather, they are meant to help you learn and understand your topic. Like a video game walkthrough, our writers are there to help you navigate especially hard levels with instructions and guidance. They arent going to play the game for you. So make sure you understand what the writer is developing for you and reach out to them immediately if you find something is confusing or unclear. Responding promptly to your writers questions is another key to successful collaboration. When a writer has a question for you try to get back to them as soon as you see their message. The same goes for staff. If you bring an issue to us, try to maintain open, timely communication while we work to fix the problem. Here is a short summary of quick and dirty tips: Be precise about what you want, prepare your assignment description; Maintain contact with your writer at all times; Do let us know in case your writer is not responding do your messages; Keep track of the order progress as your paper is being written; Ask for drafts of your paper so that you can make sure your paper is on the right track. We will always prosecute unprofessional or unsatisfactory behavior from our writers. However, this process will not fix a missed deadline or a ruined grade for you. So taking steps to prevent problems from arising will benefit you in the long run. Immediately let a staff member know if your writer is not responsive, does not provide a rough draft after committing to the project or is in any other way showing signs that they dont intend to complete your assignment. Our staff can smooth out misunderstandings or assign you a new writer if needed.

International Business Essay Example | Topics and Well Written Essays - 2500 words - 12

International Business - Essay Example Additionally, this part will attempt to explain why comprehending the local religious practices and beliefs are significant to the success of a business. Dreher (46) defined globalization as both a process and worldwide condition in which the globe is becoming more interconnected while communication has become instantaneous as each day passes. Technology is the key driver to globalization. On the other hand, cultural individuality is the opposite of collectivism. Therefore, in an individualistic culture, concepts and views are based on the self and thus they are independent instead of relying on the group. As a result, they often value their personal goals more than the group’s goals. In most instances, cultural individualistic societies are made up of a diverse population exhibiting low communication and low power distance characteristics. Countries such as Canada, Australia ,and New Zealand are said to possess a highly individualistic culture. People in countries such as Singapore used to eat fried rice at the time McDonalds was opening in America. That is in 1955. During this period, most people had not heard of the term cheeseburger. Little people from Singapore expected that McDonald would soon be a big hit there within a very short time. Currently, McDonald is an enterprise operating in many countries worldwide. A recent survey conducted in about six countries revealed that many more people are familiar with the McDonald symbol than they are with the Christian cross. This example signifies the importance of globalization in enhancing or promoting cultural sameness. Thus, through globalization, multinational corporations and companies have promoted and designed a specific type of consumerist culture where standard commodities which are often promoted by worldwide marketing campaigns create same lifestyles globally. Through globalization, multinational corporations influence the values of its employees and customers.

Field Trip # 1 Market Segmentation - Cereal and Toothpast Essay

Field Trip # 1 Market Segmentation - Cereal and Toothpast - Essay Example o Apple Cinnamon Cereal, Total Cereal, Sunbelt Fruit and Nut Granola Cereal, Wheaties Cereals, ShopRite Scrunch Crunchy cereals-16Oz, Fiber One Original Bran Cereal and Erew Rice Twice (Athanassopoulos 15). There are two market segments targeted by the supermarket. They are looking at their customers on two segmentations. The first is done according to demographic such as gender, age, and social class and the second is based on lifestyles such as retired couples, urban professionals, and singles among others. Market segmentation helps the management of the supermarket to identify target customers and to know what motivates them to purchase the cereals. By undertaking market segmentation, it is possible for the supermarket to ensure every single detail of the product, including the size, taste, and price will appeal the target market. The cereals have been strategically positioned over the counter in three levels, the top, middle, and bottom. The lower level cereals are targeted for children, the middle for the youth and other adults, but the top level is strategically poisoned for adults. The store has two-market segmentation strategy that it is using to meet the needs and demands of the clients. The first is geographic segmentation. This is done based on urban, population factor and region. In order to meet the target population the store has a mobile van that takes the products from a house-to-house basis. The second segmentation is demographic segmentation. This is done based on age, sex, gender, and social status. There are several reasons for taking part in the segmentation process. The main reason the store takes this step is to ensure its clients get quality product in the right form and time. For this to be possible, it has segmented the market according to region and urban factor. The other reason is that the Drug Store wishes to meet the preferences and demands of the clients according to their demographics and taste of the product. Both toothpaste

Educational Loans Essay Example | Topics and Well Written Essays - 750 words

Educational Loans - Essay Example To support my college expenses my plan is to obtain influx of cash to cover my educational expenses. The influx of cash to support all expenses include savings, work income, scholarships, and student loans. My college fund entering college is $20,000 from savings and family contributions. The $20,000 will be divided into $5,000 for each college year to cover expenses. My expected net income from work on a 20 hour part time job at $8 is $7,482 yearly. My scholarships are expected to be $7,500 per year. I plan on mortgaging my future by requesting student loans. My student loan debt will be $18,500 per year. The total yearly influx of cash towards my college education is $38,482.Tuition costs are the largest cost factor of the educational budget. The yearly tuition cost is $23,000 per year. For the four year term of the bachelor's the total tuition is $92,000. Each year I will spend about $1,000 on books and supplies. After four years my total costs on books will amount to $4,000. Room & Board will account to $6,000 per year for a grand total of $24,000 after four years. To reduce transportation costs instead of paying a for a new car I will purchase a $3,000 used car. Insurance costs amount to $1,000 per year. Flight time, exams, and certificates total $2,000. My total yearly expenses on my college education are $37,000. Since my inflows of cash total $38,482 my yearly budget has a surplus of $1,482. The total costs of my education to complete the bachelor's degree is $139,000.

How the Railway Labor Act Affected Bargaining in the Aviation Industry Essay

How the Railway Labor Act Affected Bargaining in the Aviation Industry - Essay Example ("United Airlines CEO," 2000) In the airline industry, bargaining is administered by the National Mediation Board (NMB) under the RLA. In the last half century the RLA, as applies to the airline industry, has resulted in strikes in less than 3 percent of all cases. In spite of this, most airline management views the process required by the RLA as antiquated and broken ("Ex-Gov. Goldschmidt," 2003) The railway labor act of 1926 was the first major labor legislation passed by the U.S. Congress. Instead of forming rules that applied to the whole of U.S. Industry, it targeted the railroad business, then the most important part of the transportation business in U.S. ("Bargaining Under the Railway Labor Act"). The act's purpose was essentially to replace strikes with bargaining, arbitration, and mediation as a way to resolve labor disputes. The act also disallowed employers from forcing workers to bargain through company-dominated unions. ("Collective Bargaining") There are two ways in which the RLA delays or eliminates strikes altogether: the act prolongs the process of collective bargaining; as the act requires that the parties have been released by the NMB 30 days before a strike can take place, where the date of release is the sole discretion of the NMB. ("Collective Bargaining") Second, the RLA requires mandatory arbi... ("Collective Bargaining") Both labor unions and employers benefited from the RLA. Workers, who wanted to have the opportunity to organize themselves and to obtain the proper attention from employers to negotiate new agreements and enforce existing ones, got what they wanted. So did the railroad companies. The Congress had decided that commerce had to be kept moving in the interest of the public, and thus mandated that workers, in spite of any disputes, must "work now" and "grieve later." Thus employers won the right to keep business going in spite of ongoing labor disputes. ("Railway Labor Act," 2005) There are some exceptions to the "work now, grieve later" rule, however. Workers are allowed to refuse to work when they have a reasonable belief that the work is unsafe, and when work being asked for is in clear violation of the contract. However, if the company can make a "reasonable" claim that the contract justifies the work being requested, then the employee is expected to work, and report any grievances later. ("Bargaining Under the Railway Labor Act") Under the RLA, the first step in contract negotiations are "direct negotiations," which are negotiations without the mediation of the NMB. Agreements also do not have inherent expiration dates under the RLA-expiration dates must be set within the agreement itself. Hence the agreement remains enforceable, and is the status quo, until any change is agreed upon by both parties. ("Bargaining Under the Railway Labor Act") The RLA allows strikes over major disputes (or disputes that concern the creation or modification of the collective bargaining agreement) only if all of the RLA's negotiation

Sexist language represents men and women unequally. Explain the many Essay

Sexist language represents men and women unequally. Explain the many ways in which the English language is sexist, using examples from the text - Essay Example It asserts that males and females choose their words differently only because they are their genders. Women are soft spoken and mostly formal. They care about what people say about them and so they choose their words with caution. They do not use obscene words every quite often and always aspire for decency. Men, on the other hand, are bolder in expressing themselves. Their authoritative nature dictates that they are free to say anything without accountability. Therefore, unlike women, men are more obscene (Berlin, 2003). Views of gender reveal imbalance and some aspects of bias. From this, it is evident that while males are made to exist independently, females do not. It is after the construction of the noun man that a prefix ‘wo’ is added. It is after creating the noun male that the prefix ‘fe’ is added. Insulting terms present similar inconsistencies; the most common abusive words that women use against men are dogs and bastards. A dog is the most faithful animal on earth. In fact, in most cases, it is said to be man’s best friend. It is therefore possible that the two share some traits. A bastard, on the other hand, is a human in all rights. The two abusive terms in closer look do not insult but simply refer to some aspects of being male. Men, on the other hand, occasionally use derogative words against women. Such insults as bitch, whore, and slut have been used. A bitch is a female dog and is completely unrelated to a woman. Comparing the two is thus insulting. A whore and a slut are two synonyms that imply that a woman is a prostitute. These abuses simply reduce women to their sexuality which is demeaning; women are more than that. However, the choice of insulting terms used by the two is related to the fact that women are not as abusive as men. Men are rough and authori tative in nature; they thus use abusive terms that show this. Women are weak and soft. The terms they thus use are similar. Some

International Relations politics Essay Example | Topics and Well Written Essays - 1750 words

International Relations politics - Essay Example My purpose is only to highlight the importance of the existence of these schools of thoughts in the field of IR as a disciple and science. The last part of this paper, I address the purpose of IR and conclude that the IR as a discipline attempts to depict the picture of world affairs. I end this paper with a brief conclusion. The study of IR as a discipline significantly evolved after the First World War. However, many scholars and theorists use historical data for their analysis of IR.1 In the centuries before the First World War, one can perceive IR more as a combination of several disciplines such as Law, History and Philosophy rather than discipline on itself (Hollis & Smith 1990: p. 16). Some prominent historical philosophers who are often referred to in IR are Plato, Paine and Hobbes. These historical philosophers each addressed the study of IR in their own way. However, it was in the twentieth-century that the field of IR significantly evolved as many scholars diversified. The contribution of American and British scholars was significant and thus, American and British scholars dominated the field of IR for decades. ... f thoughts or whatever one prefers to name it, that one can identify in the field of IR were notable developed as scholars provided more empirical and epistemological data to the field of IR. However, this intensified the debate between these schools of thoughts and opened the door for new debates between scholars of IR. I agree with Walt that for the case of contemporary IR, the most crucial question is which school of thought sheds the most light on IR. Although IR might be perceived as a discipline or a science on itself, it is obvious that the nature of IR can be traced back to time of the Ancient Greek with the work of Thucydides and Plato and IR developed throughout the course of history. Several theories in International Relations In the nineteenth and especially in the twentieth century, the development of IR as a social science discipline has led to many theories that attempt to provide a theoretical and empirical framework to analyze the field of IR. Each of these schools of thoughts that were developed by theorists and scholars provide basic principles on which each framework is based upon. It is crucial to understand the basic principles of some of these schools of thoughts in order to understand the complexity of the study of IR. For this reason, in the following sector I will briefly discuss the basic principles of Realism, Liberalism and IO. Realism One of the most imperative schools of thought in the field of IR is Realism. Within this school of thought, one can identify several strands of realism such as classical realism, liberal realism and neo-realism.2 Among scholars and social scientist, Realism is perceived as the leading theory in the field of IR. Gilpin even argues that one should perceive realism as "a philosophical disposition"