Macroeconomics Essay Example | Topics and Well Written Essays - 2000 words - 3

Macroeconomics - Essay Example They are growing fast which leads to the proposition that they will soon catch up with the western nations. The economic growth of India and China is bound to take the world in storm, making it easier to utilize their structural reforms and economic growth to structure a new model for the world to adopt. For the better part of the twentieth century, the west knew that the only way of gaining any advantage over them is by creating a platform that the rest of the world could only copy. Any country that copied the western prescriptions would prosper and stabilize, yet this obscured way of thinking did not hold any ground when the world needed to rise above the recessions that came thereafter (Levi 115). The western model seen as the most important part of civilization in the past was nothing more than a mere wish for the rest of the world. It was slowly fading away and new giant economies arose to fill in the gap and present new ideologies that work for the betterment of the society as a whole. The west was no longer an important force in the world economy based on their achievements. New economies were making them seem as if the past years were all inconsequential in meeting their immediate goals (Levi 116). India and China have set a mark that many countries see as the next determinant of what to expect in the economic world. These two countries are some of the largest economies in the world today, and China already surpassed the US as the largest economy in the world. India, on the other hand, is a great competitor for the ever-growing Chinese economy, and economists argue that it is going to beat China in the race to the top of the largest growing economy in the world (Levi 117). The one thing that will make it easier to rise to the top for the countries across the world to make it to the top of the growing economies is the amount of time they place in

FIN 370 Week 3 Learning Team Assignment Essay Example for Free

FIN 370 Week 3 Learning Team Assignment Essay Learning Team: Current Market Conditions Competitive Analysis This paper will give a short history and descriptions of Apple’s I Pad minicomputer. It will also give factors that affect demand, supply, and equilibrium prices in the market. Issues that Apple faces that affect its competitiveness will also be addressed. Lastly, this paper will identify the long term profitability of the iPad including, price elasticity of demand, technological innovation, and cost structure. Steven Jobs and Steven Wozniak were friends in high school, which shared like interested in electronics. They designed what would become the Apple and on April 1, 1976, Apple Computer was born. This is an American based company located in California. Apple specializes in design advancing, and the sales electronics, computer software, and computers. Apple is accredited for some of the most popular products of the modern world of technology such as: iPod, iPhone, iPad, and iTunes. Apple has expanded its retail stores to fourteen countries worldwide with 408 retail store not to mention their online stores, Apple Store and iTunes. Apple’s value as of March 2013 is $415 million, and it is the largest most publicly traded companies. The iPad is a tablet designed minicomputer that was released in 2010 by Apple. This device has equipped with Wi-Fi and has a multi- touch screen. There are five different versions of this particular tablet. Each has the capability to play music, record videos, a camera function, browsing the web, e-mailing. Games, GPS navigation system, and social networking can also be downloaded to the device. A market is as a collection of consumers and retailers of a specific merchandise or service. Demand is the actual volume that consumers are prepared and able to obtain. Quantity necessitated is the demand at a specific amount and is symbolized as the demand curve. The supply of a product is the quantity that manufacturers are prepared an d capable to convey to the market the sale of  the product. The market can be analyzed by matching the supply and demand curve. Equilibrium is the connection of supply and demand curves. The equilibrium amount is the amount where the number demanded matches the number supplied. A change in price does not necessarily mean that the demand will change. It is more likely for the quantity demanded will affect the price. If the price is changed the curve will move along the demand curve. When the price is reduced the quantity demand will be increased. When the IPad was released, it was the only product in that market at that time. Therefore, at that time it absolutely controlled the tablet division. Some corporations tried to contend with Apple, but recognized their position just could not compete. The competition combated Apple by creating smaller tablet that is an unfamiliar place for Apple. This creation worked and caused Apple to lose sales. The competitors rapidly established their place in the market. Price elasticity of demand is an issue th at our organization, Apple faces that affects our competitiveness and long-term profitability with regards to the iPad. â€Å"Price elasticity of demand and supply tells us exactly how quantity responds to a change in price. As elasticity increases, quantity responds more to price changes. Demand or supply is elastic, if the percentage change in quantity is greater than the percentage change in price†(University Of Phoenix, 2010, pp. 154-157). After reviewing data, specifically targeted to the three types of iPads; their pricing, capabilities and memory storage, it was determined that if the price of the iPads increased; then the consumers may not purchase them (What Is An Apple Ipad’s Elasticity Of Demand?, 2012). The price elasticity of demand tells us that although apple is very technological innovative, but as it relates to price elasticity of demand; the quantity does not matter (all the changes, modifications, additions, advancements, etc.) consumers will still purchase the cheaper iPad (cost efficient) Apple should not invest in making more iPads. Consumer(s) can’t readily identify / understand the importance /significance of having more capabilities, memory, storage, etc. The consumer(s) would ultimately shop for and purchase the iPad that’s more conducive to their needs. Although apple has is very technological innovative, but as it relates to price elasticity of demand; the quantity does not matter (all the changes, modifications, additions, advancements, etc.) consumers will still purchase the cheaper iPad (cost efficient)  Technological innovation is an opportunity for our organization, (Apple) to face that affects our competitiveness and long-term profitability with regards to the iPad. Through technological innovation our organization will be able to make improvements to something that already exists; such as the Apple iPad. Is the improvement to something that already exists. Technological innovation will always have a huge impact on Apple Corporation. As it directly relates to the iPad, with the technological innovation, we are able to re-invest and re-invent the iPad. As with any product of this magnitude, the cost will increase, more features will be added, more storage, more variability, etc. As long as we are innovative and have a willingness to be creative we will consistently bring new items to the market that will steady intrigue the consumers and adapts to their technological needs. â€Å"Cost Structure (TC = FC + VC) is the costs of production, the identification of how costs associated with the production of a good or service are distributed throughout the process The cost structure consists of fixed costs, variable costs and total cost â€Å" (University Of Phoenix, 2010, pp. 283-285). According to Internal Factors: Costs (n.d.), When analyzing cost, the marketer will consider all costs needed to get the product to market including those associated with production, marketing, distribution and company administration (e.g., office expense). These costs can be divided into two main categories: fixed costs and variable costs†. Fixed costs are costs that are spent and cannot be recovered (rent, credit interest, maintenance costs, security and administrative expenses, often salary). The major factors affecting fixed costs are (1) Changes in business organization, (2) Changes in technology applied, (3) Sale of manufacturing equipment and (3) Decisions to undertake advertising activities, etc. Variable costs are costs that vary with production. Factors affecting variable costs, including productivity and others that change the supply of and demand for labor (internal factors), (1) Involve costs of items that are either components of the product (parts/packaging), (2) Directly associated with creating the product (electricity to run an assembly line), (3) Coupons and (4) Variable costs, especially for tangible products tend to decline as more units are produced. This is due to the producing company’s ability to pu rchase product components for lower prices since component suppliers often provide  discounted pricing for large quantity purchases (). Total cost the sum of all costs of inputs used by a firm in production TC = FC + VC Apple is one of the world’s most admired brands. Every year, as rumors about Apple’s products start to emerge web sites begin to speculate which suppliers are likely to win Apple’s business. Getting a contract from Apple can lift a company’s value by millions of dollars. On October 22 Apple released a variety of new hardware and software. Apple’s new iPad is clearly focusing on improving the iPad product profit margin, while also maintaining it strong market share. One of the ways Apple can maximize their profit is by reducing the price of the original iPad mini. Another recommendation that can maximize the profit for Apple is to also make radical improvements to the full-size iPad and the mini. Apple has four products in the iPad lineup. While Apple decided to keep the price of the iPad 2 at $399 Apple dropped the price of the IPad mini to $299. The newest iPad, the new full-size iPad Air is thinner and lighter than the previous full-size iPads and much more powerful. The new iPad Air will sell at $499, while the second new iPad tablet the iPad mini with Retina display will sale for $399. By Apple dropping the price on the iPad mini this move should help A pple maintain market share with it strong competition. Strong competitors like Google and Amazon have recently dropped the prices on their popular tablets. Android tablets such as Google and the Kindle Fire have been gaining on Apple over the past year with the lower prices and higher performance. The Kindle Fire HD sold for $139, this alone affected Apple’s revenue. The price decrease put Apple’s base iPad mini closer to the price of Google and Amazon’s top of the line tablets. Apple chose to drop the price of the original iPad mini tablets to maximize their profits with the competition. Overall by dropping the price, this will draw more individuals to the Apple iPad mini and increase Apple’s marginal revenues and profitability. This will keep Apple’s market share in competition with Google and Amazon without sacrificing too much profitability. Although, there are several competitors in this market; such as The Kindle Fire, The Windows Tablet, Galaxy Table, etc. none are able to uphold the standards that the iPad will carry. With all of our advancements in technology, research, investments, etc. we continue to be in high demand. If our corporation continues to be technological innovative and productive; then we will continue to grow and  c onsistently re-invent. We will be more profitable, growing and will remain cost efficient; when it comes to manufacturing and producing the iPad. Based on the current market conditions, our competitive market analysis concluded that the Apple iPad will be an extremely productive and very successful. References: Duhigg, C., Barboza, D. (2012, January 25). In, China, Human Cost Are Built Into an IPad, p. The iEconomy. Internal Factors: Costs . (n.d.). Retrieved from http://www.knowthis.com/pricing-decisions/internal- factors-costs Reisinger, D. (2013, October 22). IPad 2 Survives iPad Air, Still cost $399. CNET, p. . University Of Phoenix. (2010). Economics, Eight Edition. Retrieved from University Of Phoenix, ECO365 website. What is an Apple iPad’s Elasticity of Demand?. (2012). Retrieved from http://applecoeconomics.wordpress.com/2012/05/17/what-is-an-apple-ipads-elasticity-of-demand-9/

Getting The Most From Our Education :: essays research papers

Getting The Most From Our Education My goodness Captain, you ask some hard questions! I think some of the responsibility could fall into the family's lap. Are people helping their kids with their homework? Are we checking to see if there is anything we can do to help? Are we praising thier accomplishments, and encouraging them, instead of critizing. Do we still check to see who their friends are? These were some of the things my parents did. As with most parents they made mistakes, as did I, but they did their best. And I did my best to make amends to them when I drifted. I think, I know I could have done better in school, I'm not sure if my study habits would change today. (one of the reasons I'm alittle reluctant to go back to college) But the values I learned young seem to be the ones that stick. And I feel the worst when I fall short of keeping them. That doesn't mean that the new values I'm learning aren't just as important, it just seems like it takes longer for me to incorperate them in my daily life. But, just like everything else, it takes alot of practise to get things right. Maybe we do need to do more to create civic pride, do have something that people can say, "I'm involved with this". For me everytime I check out and explore something new I always learn something. And whenever I reach out and help someone, I fell good. It was great to see the students of General Brown help out in the community with the Thanksgiving dinner for the seniors (I know there was another school that helped out too, I forgot who, if someone else remembers, please jump in and add their thanks to the list). If we want our kids to be less self-centered, we have to show them the example. If they don't follow, it won't be from lack of exposure. This is a transient world nowadays. The kids that grow up and get educated here

Utilitarianism or God, do we have to choose? Essay -- essays research

Utilitarianism or God, do we have to choose? During many years that question is being formulated and many scholars had a very difficult time to decide if it was possible to follow God’s will and the principle of utility maximization. The principle of utility maximization was a theory created by John Stuart Mill and presented in his book Utilitarianism (1863). Societies throughout the years have argued that those theories are hard to combine, since Utilitarianism seeks for self-development and God’s teachings seek for community growth. This paper will start with a context on actuality of society, then it will try to clarify what is the Bible view of Utilitarianism by explaining the principle of Utilitarianism, what society has to change to avoid to forget God’s principles and only base their behavior on Mill’s theory, how society should accept both theories and combine them into one in order to create a better society. An important part of this discussion is based on understanding what is happening with society nowadays. Societies all around the world are becoming more and more individualists, what is causing problems that can affect the whole world, problems such as terrorists attacks, war or even in a lower but maybe more important scale hunger. This is basically happening because every single member of every society is only looking after themselves instead of the group, they are only trying to progress individually, but most of these individuals forget that to really achieve the top you need help, and that help comes from other individuals. The following part of the paper will try to clarify the biblical view of Mill’s theory, the Utilitarianism. Utilitarianism has always been seen as an opposite theory from God’s teachings. That is not absolutely correct. Jesus gave us the major example of understanding Mill’s principle by dying on the cross. Of course it is simple to say that Jesus died for every human being and that is a proof of community spirit instead of individualism, however Jesus showed that He was following actually not His will but God’s will, what is showed on the passage before Jesus is captured by the roman soldiers: â€Å"O my Father, if it be possible, let this cup pass from me: nevertheless not as I will, but as thou wilt† (Matthew 26:39). What Jesus was showing is that every single human has the principle of utilitarianism inside themselve... ...s Consulted †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Rose, John T., â€Å"Utility Versus Self-Sacrificing Love† Christian Scholar’s Review Fall 2004 †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Leightner, Jonathan, â€Å"‘Not my Will†¦Ã¢â‚¬â„¢:Further Thoughts on Utility Versus Self-Sacrificing Love† Christian Scholar’s Review Fall 2004 †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  NRSV Bible †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"FAO unveils global anti-hunger program† http://www.fao.org/english/newsroom/news/2002/5500-en.html †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Mill, John Stuart, Utilitarianism, Hackett Publishing Company Inc., Indianapolis, Indiana, 1979, Original Publication, 1861 †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Harcourt, Edward, â€Å"Mill’s ‘Sanctions’, Internalization and the Self† European Journal of Philosophy; Oct98, Vol. 6 Issue 3, p318, 17p †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Kant Immanuel, Grounding For The Metaphysics Of Morals, Third Edition, Hackett Publishing Company Inc., Indianapolis, Indiana, 1993, Original Publication, 1785 †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Smart, and Bernard Williams. Utilitarianism: For and Against. Trowbridge: Redwood Burn, 1973 †¢Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Lewis, C.S., â€Å"Mere Christianity† Harper Collins Edition 2001

Alberto Ginastera

Alberto Ginastera was an Argentinean music composer born in 1916 to an Italian mother and Catalian father in Buenos Aires and died in 1983. He is a legendary classical music composer in the Latin America whose artistic skills cannot be matched with that of other artists of his time.He is known for setting up a dance and music conservatory at Buenos Aires and forming an organization, the International Society for Contemporary music where he became its secretary general. He is also credited for his ability to integrate current music composing techniques into the old Argentinean folk music. This research paper is going to specifically focus on the life of Ginastera and will in-depth discuss about his career achievements and why he is popular.Ginastera developed his interest in music at quite a tender age and achieved much while he was still a child for example, he entered the conservatory when he was twelve but this was not without some influence from other artists such as Schoenberg, B artok and Stravinsky (Sadie 231).He made significant artistic work that was capable of making him a winner of various awards such as the Argentine School Song Award, three municipal prizes, National Fund for the Arts Annual Award, Bicentennial Cinzano Award and the three municipal prizes. He composed all genres of music be it operas, orchestra, violin concerto, piano work, choir works among others something that made him a true representative of Argentinean musical nationalism.In 1941, Ginastera was able to secure himself a job in Buenos Aires at the National Conservatory and the Liceo Militar. In 1942 he received funds to go to the United States from Guggenheim fellowship but his plan was impeded by the Second World War but nevertheless, he was able to produce a lot of great works like the Twelve American Preludes which was played in 1944 and another one which was a dedication to all those who perished in the fight for freedom called Elegiac Symphony that was played in 1944 (Way, J oseph).In 1945, he entered into politics and together with other Argentine intellectuals signed a manifesto aimed at protecting human rights and democratic principles but because of his involvement in anti fascism politics, he was fired as the conservatory’s director in 1952.After Peron regime was overthrown in 1955, he was reinstated as the director but resigned in 1958 to become a director of the Catholic University’s Facultad de Ciencias y Artes Musicale something that helped him to revisit the United States where he performed his second quartet in 1958 (Sadie 228)One of his works to come to the public domain was known as the score for the ballet Panambi which was conducted by Juan Jose Castro and was a five movement orchestral suite that was first introduced in Buenos Aires on 27th November 1937. The second widely recognized and an award prize winning (Association Wagneriana) piece of work was the ballet with choreography produced in 1940s (Sadie 228).In this piece of work, Ginastera tried to harmonize his primitive rhythm with modern technology something that skyrocketed his prominence long before he would graduate but the one that gave him an international recognition was the first Quartet which was played in Frankfurt’s International Society for Contemporary Music and the 1958’s outstanding work as a German critic termed it entitled the Second String Quartet that was performed in Washington DC by Juilliard Quartet (Sadie 227-229).According to Elena Dabul, he classified his classical music into three categories that were determined by the use of the music he composed. The three categories were; Objective nationalism which was a period between 1934 and 1948 where he dealt with music concerning Argentinean cultures and produced works like the 1941’s wheat dance, the land workers and ballet Estancia which was all about Cattle ranch’s life. In making Estancia dances, Gisele Ben-Dor preferred the second thoughts expre ssed in Ginastera’s Panambi suites to Andrei Borejko’s Largo Label.Her performances were different fro that of other artiste as they would last a minute longer. The other category was Subjective nationalism which started from 1948 to1958 where he detached himself from traditional popular elements and took no revolutionary moves or position. It is during this period that he produced his masterpiece, the first String Quartet where he would use rhythms to create folk-like songs.The third and last category is the Neo-expressionism that is from 1958 all the way to1983 where he performed works like the second String Quartet which was done in 1958, the 1961’s Concerto for Piano and Orchestra, operas, Don Rodrigo and Bomarzo operas of 1967 (Compositores and Interpretes).Ginastera in an interview in 1962 referred himself as a slow composer because he would take quite some time to think about his music before he would compose it, a period he referred to as gestation and t he one according to him the moment which was the most trying is when it came to translate the intellectual ideas into something tangible which he likened to a child birth. Unfortunately, not all music that he composed was released to the public for example the Duke of Bormazo because of its provocative nature was banned.The Argentinean president banned the opera on grounds that it portrayed sexual obsession however, the opera was reproduced in 1968 in New York. Contrary to the expectations of many, the same work would make him an international figure for example the opera Bormarzo (Sadie 229).Alberto Ginastera an Argentinean music composer was a prominent figure in his days and was able to make music with a difference something that made him to be known internationally. He composed music of all genres thereby becoming a representative of Argentinean music nationalism. Though his music moved with times, not all of his recordings were made public as some were considered extreme and un fit for the public. Some of his work of art includes the Bomarzo operas, the Piano concertos and the First and the second string quartet.Works cited:Elena Dabul. Alberto Ginastero. Accessed at   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   http://members.tripod.com/~ostinato/ginas.htmlCompositores and Interpretes. Alberto Ginastero. 2004. Accessed from http://www.ciweb.com.ar/Ginastera/index2.phpSadie, Stanley Ed. The New Grove Dictionary of Music and Musicians. 7th Edition,    Macmillan Publishers Limited.1980.Way, Joseph. Alberto Ginastero (1916-1983). Sierra Chamber Society Program Notes. 2000. Available at http://www.fuguemasters.com/ginaster.html  

Dare to Be Bold

Dare to Be Bold For the last couple of months, Ive been very bold. I finally managed to shut down the part of my brain that says, Who do you think you are? and allowed myself to ask for the work I wanted and the money I deserved. Heres what I did: First, I changed the way I communicate with magazine and book editors. Up to now, I had dealt with silence from my pitches I also sent out 20 letters of introductions to various toy companies in the US and Canada to offer them content writing and translating. I underlined my expertise and strengths then tweaked my letter to match each companys style. After receiving several enthusiastic well-keep-your-name-on-file, I finally found a taker. The one major difference between the taker and the maybes? I pinpointed exactly how I could help them. Looking over their website, I noticed flaws in the content and brought it to their attention. Voil- instant interest! When asked for my rates, all of my self-doubts resurfaced, cautioning me to ask for less. I knew from past experience that if I asked for my regular rate, I risked being turned down. Then again, did I really want to cheapen myself and my work? I finally chose to keep my regular rate and replied with For this type of work, Im usually paid $X. which I felt opened the door for negotiation. It worked so well that they accepted my price. While I was busy churning out LOIs and sending out pitches and follow-ups, I unexpectedly received an offer through a former colleague to do content revision and translation for a childrens book publisher in France. This time I was offered a flat fee. Although I was extremely flattered and the project really appealed to me, the fee was quite low. After mulling it over, I took my courage in both hands and sent back a message saying that Id love to work on the project but the fee seemed a bit on the low side. Would they consider raising it? And they did! All of this might not have been possible had I not believed deep down that I possessed the qualifications and ability to do the work. In her book, Making a Living Without a Job: Winning Ways for Creating Work That You Love, Barbara J. Winter stresses the importance of working on raising our self-esteem. As she says, The link between self-esteem and successful self-bossing is so strong that it deserves to be a top priority for anyone who aspires to be joyfully jobless. Low self-esteem can affect anyone, but perhaps part-time writers even more so, especially if you introduce what you do So be bold. Go after the writing you want, keep yourself at the forefront of editors minds, ask for fair compensation, and see what happens!

Intentism - The Resurrection of the Author

Intentism - The Resurrection of the Author Free Online Research Papers Since the 1920s, a certain view regarding meaning in art has dominated the Anglo-American universities and became almost dogma. This viewpoint insists that works of art should primarily be understood by how minds receive them rather than by the psychology that created them. Such an understanding of meaning in art essentially relegates the artist to just another interpreter of his or her own artwork. For this reason Roland Barthes famously proclaimed ‘the death of the author’. To refer to the artist’s intention was to naively refer to the unknowable and to place unnecessary limitations on the wealth of possible readings of the artwork. Intention was seen to stifle the work. Adrian Searle in the Guardian once referred to Tony Cragg’s sculptures by enthusing, ‘Finally freed from the artist’s ideas and fantasies of intention, all the conceits that made its existence possible, including the fundamental act of making, the work floats freely, emerging from a kind of blindness’ (1). In contrast, a group of artists have surfaced who share the belief that the author is alive and well and able to communicate their intended meaning to their intended audience with a degree of accuracy sufficient for them to be pioneers in society, helping to shape what will be, rather than merely documenters of society, recording what is and was. We believe that to consider the artist’s role as anything less is to effectively gag the artist, or simply drown the artist’s intended meaning in a cacophony of conflicting interpretations. We have become known as Intentists and we claim that ‘All meaning is simply the imperfect outworking of intention.’ What follows is a brief outline of this position and its importance. A: What is intention? At the heart of Intentism lies a particular understanding of the role of ‘intention’ in the process and understanding of art and literature. In fact, for Intentists, artwork cannot have any meaning divorced from realised or accomplished intention. In order to better understand the role of intention we shall first seek to define it according to what it is and is not, beginning with the latter. So firstly, what is intention not? 1. Intention is not always conscious. For example, when the phone rings my intention to answer it is not always a conscious one. 2. Intention is not simply belief. I may believe I will fail my driving test without intending to. 3. Intention is not a plan. I can think of a plan without intending on using it. 4. Intention is not wishing or longing since these things may be out of reach and not intended. So then, what is intention? Donald Davidson speaks of the ‘primary reason’ of intention; that the intender has a ‘performance expectation’ (2). If Davidson’s performance meets his expectations then the work would have the aforementioned realised intention. It is the interplay between an artist’s expectation and performance that characterises artistic creativity from conception to the finished work. The stages of intention within the creative and critical process can be summarised in the following five headings: 1. The artist intends something. By this we mean that the artist has a creative mental ‘surge’ with a performance expectation which can be sometimes so fast that it can feel instinctive, for example when playing free-form jazz, or can seem to evolve in a measured logical way. Either way this creative mental surge contains the seeds of meaning for all meaning in art or anything else is simply the imperfect outworking of intention. Our intentions, as stated above, can be conscious, subconscious and even unconscious. Therefore, an artist’s work may include many unconscious influences such as instinct and habit. If the influences were permitted into the art-making process, then they are bound up in intention. The opposite of an intended action is not an unconscious action, but an accident. Even artistic accidents, when allowed to remain, have been intentionally incorporated into the end product and so have their meaning governed by the artist’s intention (3). 2. The artist acts on his/her intention modifying it as he works. The artist, seeking to realise the intention, will continually alter their performance expectation where it seems fit. Even if the artist begins by free association, there normally will follow an intentional time of evaluation and editing. 3. The artist finishes when he/her intends to. If intention has no place in the termination of works of art, how is it possible to know when a work is finished? Surely a work is only finished when the artist decides it is so. The artist chooses to refrain from doing any more, either by quitting and leaving the work unfinished and intention unrealised or because the work has fulfilled his/her intentions. When an artist dies in the midst of some creative purpose it is normally assumed that the work is unfinished, since the action of creativity was not terminated by the artist’s intention. 4. The critic seeks to understand the meaning of the work through the ‘realised’ intentions of the artist. The meaning of the work relates only to the artist’s realised intentions, which is the finished work. Yet in order to understand the realised intention, the intention process of the artist needs to be recognised. 5. The critic assesses the appropriateness of the intention. The merit of an artwork is to be found both in the value of the intention when realised, and how well the intention was realised. In 1878, Whistler took John Ruskin to court over a review that his ‘Nocturnes’ were ‘slapdash, unfinished, they look like work in progress rather than finished paintings’ (4). One of Whistler’s defenders, William Michael Rossetti (the brother of Dante Gabriel Rossetti), took notes on the trial and said that the art critic should always bear in mind the artist’s intentions. Whether the artist successfully fulfils these intentions may be difficult to ascertain but is the domain of the critic. However, Rossetti continued that Whistler’s work was ‘justified to itself by adequately and exquisitely fulfilling its own condition†¦Whistler produces the exact result he is aiming at’ (5). Rossetti was right in reminding Ruskin that any appraisal of artwork that fails to take into account artistic intent ion can be validly accused of ‘missing the point’. He does, however, provide a ‘get out clause’ for the artist if the chief test of the merit of an artwork were how well the intention was realised, since the artist can simply form his intention around what he has already done. It is the job of the critic to critique the artwork as realised intention with a bias towards ambition. A meagre intention almost perfectly realised ought never to outweigh a majestic intention sketchily realised. B: Three Models for understanding intention and meaning in art In order to better understand the relationships between artist and artwork and intention and meaning we shall consider three models: the traditional model, the postmodern model and the Intentist model. The models can be viewed in terms of a chronological evolution in how art is understood. Brief explanation of the Traditional model : The traditional model represents a linear understanding of how the meaning of artwork is conveyed and understood. The artist thinks of an idea (intention), goes to work and makes his idea a reality (artwork = realised intention) and the meaning of the artwork can be ‘passively received’ and understood by the interpreter by studying the artwork and to a lesser degree the artist. This model dominated our understanding of art for thousands of years until the last two centuries and because it is linear and almost mathematical, it differs little from the Modernist model. Brief explanation of the Postmodern model : The traditional model seemed inadequate once Post-modernist thought explored how individuals and communities engage differently with the ‘vocabulary’ of signs and the structural ‘grammar’ of the artwork. There are three key issues in the Postmodern understanding of meaning in art. Firstly, advocates of this model believe it is impossible to discover the artist’s intention via the artwork. The author is dead because it is the artwork that speaks to us rather than the artist. A broken bridge between artist intention and artwork illustrates this concept. Secondly, the process of finding meaning is found through dialogue between the artwork and the interpreter. Thirdly, the artist becomes simply another interpreter of his/her own work since the meaning of the artwork is not connected to intention. For Intentists, the Postmodern conclusion that it is impossible to discover the artist’s intention via the artwork is right at the heart of the problem with this model. Of course, there are complications in viewing a work through the intentions of the artist but artistic intent is not as elusive as some would suggest and especially not to the intended audience. When we are in everyday conversation we habitually know our interlocutor’s intention without asking for clarification, indeed we become so adept at recognising what others intend their words to mean that misunderstanding surprises us. Historians often consider the bias of the author when analysing written accounts. In order to do so, they need to be able to recognise the intended meaning of phrases sometimes written in the distant past, however imperfectly interpreted. Richard Wollheim, Chairman of the Department of Philosophy, University of California puts it this way ‘why if in our everyday lives we belie ve we can grasp the intentions of others, why should we think†¦the intentions of artists, the psychological factors that motivate them, have a peculiar elusiveness†¦people have no hesitation in writing military history, in which they talk about the intentions of generals, when of course generals, by their very nature, are totally committed to concealment of their intentions. But nevertheless, the idea persists about artists’ (6). There are several ways an observer can seek an artist’s intention. These include: A. Interpreting the work through sketches that preceded it. B. Reading any notes or communication on the work C. Placing the work in the artist’s oeuvre and using this to compare ideas and artistic progression. D. Seeing the work in the setting of its genre. In sum, artist intention is not elusive. Even if it were sometimes difficult, a critic would be irresponsible to conclude that artist’s intention is irrelevant in interpreting a work. As we shall see from the Intentist model below, intention is both integral to meaning and key to appraisal. Brief explanation of Intentist model : Although the phrase ‘intended meaning’ has been used above in order to differentiate between the Post-modern view of ‘meaning through dialogue’ and the what the artist intended the work to mean, Intentists believe that all meaning is intended meaning. Sever the connection between intention and meaning and all meaning is lost. In the past, ancient hieroglyphics were meaningless forms until their intended purpose was discovered. The intention journey that took the artist from an idea to finished artwork was across a bridge that must remain unbreakable. Meaning and significance It is the belief of Intentists that there has been a serious misunderstanding of the terms ‘meaning’ and ‘significance’ in art criticism. Director of the National Gallery Nicholas Penny, in conversation with Jonathon Jones of the Guardian (27 March 2008) said paintings that survive for centuries change their meaning again and again. This is a common understanding, but can this use of ‘meaning’ stand up to rigorous analysis? A Case Study In 1960 the photographer Alberto Korda took a photo of Marxist revolutionary Che Guevara. Korda had an original intention for the artwork and realised it in the photograph. Since then, the photo has reached iconographic status and has come to represent many different things such as ‘revolution’, ‘justice’ and even ‘coolness’ amongst teenage students. Are these associations new meanings of the original photograph unintended by the original artist? In the case of the Che Guevara image two different processes have taken place, graphically represented at the top left (1) and top right (2) of the Intentism model. Firstly, as we see from the top left of the diagram, people can appropriate an artwork and thereby give the artwork a new ‘significance’ (not a new meaning). The distinction between ‘significance’ and ‘meaning’ is an important one and it is a misunderstanding of the difference between the two that led to the erroneous Post-modern concept of ‘meaning through dialogue’. The person who creates the artwork is responsible for the meaning, not the one who ‘receives’ it. Yet the receiver can choose to attribute a certain significance to the artwork. This significance can be personal, one of many ‘significances’ and can even be in conflict with the meaning, but should never be termed a ‘new meaning’. In this way individuals and communities chose to give Korda’s photograph a new significance. Secondly (as represented in the top right of the diagram) the original photograph was adapted by Jim Fitzpatrick in 1967 in order to create the heavily stylised posters with the red background that often featured on teenage students’ bedroom walls in the 1970s. Fitzpatrick took the artwork and used it to realise a new artistic intention, thereby creating a new artwork based upon a previous artwork. Another similar example is the alteration of the Mona Lisa by Duchamp. The intention of the new artwork is different and therefore the meaning is different. There can be no new meaning without a new realised intention such as Fitzpatrick’s. Note also that the artwork is not the meaning, but rather the vehicle for the meaning. The artwork only means something because the artist intended it to. Equally words are not the meaning but can be used by an intender to carry meaning. This applies also to individual words. Swiss linguist Saussure believed that a word and its meaning is arbitrary. For example, the word ‘pen’ has no intrinsic relevance to a pen. We understand a word by understanding the intention of the speaker’s choice of sounds. When a dictionary states that a particular word has five meanings it reads as though the word itself has five intrinsic meanings without needing an intender. In fact, the writers of the dictionary are stating that people generally intend this combination of letters to mean five different things. Dictionaries are only as accurate in as far as their definitions conform to the use of the words within a context and by an intender with a specific intention. When a dictionary states that a word has five meanings, it is similar to when a journalist states that ‘a criminal has been captured.’ The journalist uses the verb in the passive voice so that person who did the capturing is not mentioned. They could instead state that someone captured a criminal but we all know that someone had to do the capturing. In the same way when a dictionary writer gives a meaning there is an implicit intender that is not mentioned, probably the English speaking public (see part 3 of the diagram). To avoid confusion it would be more accurate if dictionaries stated that one spelling represents five words rather than one word has five meanings. Homonyms like ‘nail’ (a metal fastener or fingernail) have two totally different meanings even though the spelling and pronunciation are identical and ought not to be considered the same word. The implicit intender is used when archaeologists find ancient drawings in a cave. How do we know that crude scratches are not arbitrary marks made by the weather or accidental? How do we know that they are intentional? The observer perceives a meaning and therefore an implicit intender. Often the implicit intender is simply ourselves and we interpret the intender to have the same intentions we would have if we had created the same end result. Summary of the Key points of the Intentist model 1. It is an evolution of the Post-modern model, not its rejection. 2. It restores the unbreakable link between meaning and artist intention: all meaning is realised intent, meaning is the imperfect outworking of intention 3. It replaces ‘finding meaning through dialogue’ (from the post-modern model) with ‘loading significance’ 4. It sees the interpreter’s role of understanding the meaning as to recreate the intention journey, however imperfectly. 5. It states that the artist is able to communicate their intended meaning to their intended audience with a degree of accuracy sufficient for them to be a pioneer in society and to have a certain degree of responsibility for the effect of the artwork on society. C: Beardsley’s Three Objections Beardsley and Wimsatt wrote the seminal paper on the subject of intention ‘The intentional Fallacy’. (1946 rev. 1954) Beardsley’s key arguments against a link between intention and meaning are set out in an essay published in the book ‘Intention and Interpretation’ (7). They represent three important objections that Beardsley believed proved the link to be a fallacy. Let us deal with them one at a time. 1. ‘Some texts that have been formed without the agency of an author, and hence, without authorial meaning, nevertheless have a meaning and can be interpreted. For example, certain kinds of verbal mistake.’(8) He uses the example of when Hart Crane wrote’ Thy Nazarene and tender eyes,’ a printer’s error transformed it into ‘Thy Nazarene and tinder eyes’, but Crane let the accidental version stand. Here Crane simply preferred the serendipity of the printer error. (The very fact that Beardsley can label it a ‘mistake’ means that the text is judged by the author’s original intention.) It is similar to the printer suggesting a word change and Crane considering what people would intend the altered phrase to mean and liking it enough to keep it. The only difference in this case is that the word change is accidental. When Crane decides to let the accidental version stand he is intentionally incorporating the phrase into his work and therefore intending it to mean something. 2. ‘The meaning of a text can change after its author has died. But the author cannot change his meaning after he has died. Therefore, the textual meaning is not identical to the authorial meaning. The OED furnishes abundant evidence that individual words and idioms acquire new meanings and lose old meanings as time passes.’ (9) Here Beardsley wrongly assumes that the meaning of a text can change. Once the writer’s intention is realised and the text finished then the meaning of the text cannot change and it does not matter whether the author is alive of dead. The author cannot alter the meaning of the text without altering the text. The authorial meaning and the textual meaning are one and the same. Furthermore, Beardlsey displays a serious misunderstanding of how words develop by suggesting that words acquire new meanings independent of their use. Surely, the only reason words acquire new meanings is if they are used by people in a new way with a new intention. Words would never acquire new meanings in a vacuum. The OED is simply recording how one word has been used with different intentions over the years. This is the same problem that was addressed earlier regarding National Gallery Director, Nicholas Penny and art. German philosopher Gadamer spoke of this as ‘eine Wirkungsgeschichte’ or ‘effective history’ (10); how a painting might be involved in all sorts of events that change people‘s associations of it. Yet, surely, when the artist finishes the work, the work has all of its determinate artistic properties at that time? As philosopher Livingston points out ‘an event, once past, cannot acquire new non-epistemic properties’ (11). If a painting is constantly changing its meaning, then we can never really know what a painting ever means. Furthermore, a later work does not change an earlier one. One reads later paintings in the light of earlier ones, not the other way round. What can change, is a person’s associations with a work. Intentism agrees with ED Hirsch who speaks of this as the work changing significance (12). Our conditioning and socio-political environment can make us perceive some aspects of an artwork more sensitively yet be unaware of other aspects but it cannot alter the artwork itself. When the Nazis attributed degeneracy to certain modernist pictures they effectively attributed a degenerate significance to the art without changing the meaning of the work. If a painting can endlessly change its meaning then we cannot argue against Nazi art criticism. Our art could become defenseless against future art critics imposing their own meanings then being both judge and executioner. 3. ‘A text can have meanings that its author is not aware of. Therefore, it can have meanings that its author did not intend. Therefore, textual meaning is not identical to authorial meaning’ (13) Here we find a further example of the common misunderstanding of the difference between ‘meaning’ and ‘significance’. Texts cannot have meanings that its author is not aware of, but texts can have a number of significances to different individuals and communities. The meaning of a text is limited to the magnitude of the author’s intentions, but the significance of the text is potentially unlimited. When Martin Luther King said, ‘I have a dream’, his intended meaning, the only meaning for those words, majestic though they are, was limited to the context and purpose of his speech. The significance of those words to African Americans, to oppressed people with aspirations everywhere, in fact to many who have never read the speech and so are unaware of the context is far greater than the meaning. In practice academics almost always refer to the link between the author’s intention and the meaning of a text when they disagree with a critic. Logically, it is impossible to disagree with written viewpoint of a critic unless you believe that the intention of the author is linked to the meaning of his or her writing. Such a critic should not write, ‘Johnson is incorrect in his view of†¦Ã¢â‚¬â„¢ or even ‘Johnson in his book is incorrect’ but should write, ‘the book is incorrect and of the author I have no idea’. D: Conclusion- Intentism is a force for good When someone speaks, or when an artist creates, who decides what he or she means? Is the speaker able to communicate or is the listener free to interpret what is said in other ways? Intentism is a movement that deals with such a fundamental issue. Should we be content to let our words and actions be interpreted as a listener sees fit? It is hoped that a reader of this essay would first understand the intention of the arguments before deciding to accept of reject them. Conversely, Intentists believe that removing the centrality of intention from communication invariably leads to the break down of accountability. Can an artist, for example, the Jamaican reggae singer ‘Bounty Killer’, known for including death threats to homosexuals in his lyrics, be accountable for the impact of his work on society? Are the critics reading homophobia into the work or is there discernable intent that is morally obnoxious? Intentism grew from like-minded artists who knew that the author and artist are alive and well and can act as pioneers, creating art that stretches human imagination and initiates aesthetic and moral debate of social benefit. They believe that far from being a regressive reaction to postmodernism, Intentism is a small part of what happens next. Intentism passionately believes in freedom in debate without fear of our intentions being censored. Log on to www.intentism.com to view our manifesto. If you agree or disagree with anything in this article please join in the debates on the site. (You would need to log on but need not join as an Intentist). Note: The first Intentist art exhibition will be held in London in 2009. Recommended reading Livingston, Paisley. 2005. Art and Intention (Oxford: Oxford University Press) Notes 1) Furlon, William (editor). 1995. The Dynamics of Now, (Tate Gallery Pub Ltd), 108 2) Mele, Alfred R. 1992. Springs of Action (Oxford: Oxford University Press), 141 3) See Sextus Empiricus’ story of the happy accident of the artist Apelles of Kolophon in the Preface of Livingston, Paisley. 2005. Art and Intention (Oxford: Oxford University Press), vii 4) Furlon, William (editor). 1995. The Dynamics of Now, (Tate Gallery Pub Ltd) 95 5) Ibid 6) Ibid, 152 7) Iseminger, Gary (editor). 1992. Intention and Interpretation (Temple University Press), 25-27 8) Ibid 25 9) Ibid 26 10) Gadamer, Hand-Georg. 1960. Truth and Method (Tubingen), 299-300 11) Livingston, Paisley. 2005. Art and Intention (Oxford: Oxford University Press), 93 12) Hirsch, Edward D Jr. 1967. Validity in Interpretation (New Haven: Yale University Press) 13) Iseminger, Gary (editor). 1992. Intention and Interpretation (Temple University Press), 26-27 Research Papers on Intentism - The Resurrection of the AuthorThe Gnostic JesusAmerican Central Banking and OilThe Mechanics of Grading Grading SystemsMr. Obama and IranDefinition of Export QuotasDeontological Teleological TheoriesStandardized TestingThe Story of Beatrix PotterThree Concepts of PsychodynamicDistance Learning Survival Guide

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Apology versus Crito Essay Example | Topics and Well Written Essays - 1500 words

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Issues in Financial Reporting Analysis Semester Essay Word length Maximum word limit: 1,000 (Typed, double-spaced, minimum 12 point Times New Roman font, all margins 2.5cm minimum). The word limit includes tables, appendices and footnotes (if any), but excludes references. Do not use endnote. State the word count at the beginning of the essay. All material over 1,000 words will be disregarded. References must follow the Harvard style referencing. Submission Instructions Students must lodge the essay by 5pm Friday 20 September 2013 electronically to Turn-It-in software through Blackboard and submit a copy in Blackboard through the â€Å"Essay† tab. Turn-It-In will be made available closer to the due date. Your electronic copy should be in Microsoft Word format and named using your SID (e.g., z1234567.doc). The â€Å"Individual Assignment Cover Sheet† on the course Blackboard site must be attached to both submissions. Please ensure that you know how to submit this assessment correctly by reviewing these instructions. Penalties apply for non-compliance. Penalties ï‚ · Presentation and organisation of the essay: students should write up their answers in an essay format which must consist of an introduction, body of discussion and conclusion. Headings must be used when answering the questions. The introduction and conclusion should be directly related to the findings students identified in the body. 3 marks penalty applies to essays that fail to follow this structure. ï‚ · Plagiarism: Refer to the University policy for possible penalties; http://www.lc.unsw.edu.au/plagiarism/index.html ï‚ · Late submissions will be penalised at the rate of 5% (1 mark) per day or part thereof. The penalty applies to Saturday and Sunday as well as weekdays. No essay will be accepted for submission after 10 October 2013. ï‚ · Submissions that do not follow the â€Å"Submission Instructions† will attract a penalty of 3 marks. ï‚ · Small or incorrect font: Penalty of 2 marks will be deducted for a font below 12 or the use of a font other than Times New Roman. ï‚ · Inappropriate margins: Penalty of 2 marks will be deduced if any margin is less than 2.5cm. ï‚ · An essay presented in handwriting: Hand-written essays will not be marked; late penalties apply to re-submission in WORD. Feedback and marking of the essay will be done by the online marking and feedback system called ReView. Self-assessment of performance for your own essay can also be conducted using ReView. Further details about access ReView (including a link to access ReView) are available on Blackboard. 2 MARKING CRITERIA Ethical Analysis Criteria (7 marks): Criteria 1. Identify key ethical issues or implications of business decisions / practice (2 MARKS) Analyse and assess ethical impacts / implications (2 MARKS) ï‚ · ï‚ · Proposes a feasible ï‚ · strategy / recommendation to address issues / impacts. Provides some justification for ï‚ · recommendation, based on analysis and relevant ethical frameworks / principles. 3 Cultural Analysis Criteria (7 marks): Criteria 1. Identify cultural dimensions / characteristics of a business situation (2 MARKS) 3. Evaluate the extent to which the HofstedeGray framework explains the problems and propose a strategy to address cultural implications (3 MARKS) ï‚ · Does not make feasible culturally appropriate recommendations in light of relevant theory or frameworks. ï‚ · Identifies and analyses key cultural impacts (intended and unintended) or implications of business choices or practice, using appropriate theory or frameworks. ï‚ · Makes feasible culturally appropriate recommendations which are aligned with appropriate frameworks and principles. ï‚ · Convincingly justifies recommendations and considers their impact and implications (and evaluates alternative responses if appropriate). 4 Written communication criteria (6 marks): Criteria 1. Communicates clearly and concisely (2 MARKS) as possible). ï‚ · Uses fluent, accurate ï‚ · Uses generally accurate expression / grammar (or expression / grammar, but with negligible errors meaning occasionally which do not interfere needs to be clearer. with clarity). 2. Structures text logically and coherently (2 MARKS) ï‚ · Generally presents main ï‚ · Presents all ideas / ï‚ · Does not present main argument, ideas and arguments / information argument, ideas and information logically and logically and information logically or structures text coherently persuasively, and structure text coherently to achieve aim e.g.,: structures text coherently to achieve aim, e.g.,: ï‚ § Text has a generally and effectively to achieve ï‚ § Text has an unclear clear focus, with little aim: focus and possibly or no irrelevant ï‚ § Text has a clear focus, irrelevant or repetitive material; ideas are with no irrelevant or material; ideas are not generally developed repetitive material, and sequentially or sequentially and a logical development logically developed logically, but this could and sequence of main ï‚ § Text is not structured be more consistent ideas and supporting to effectively achieve ï‚ § Text has an adequate material aim structure ï‚ § Text has a clear, coherent structure ï‚ · Presents document at a ï‚ · Presents document very ï‚ · Does not present professional standard, professionally, e.g.,: document at a e.g.,: ï‚ § Evidence of thorough professional standard, ï‚ § Some evidence of editing (e.g., no / e.g., editing (only minor negligible spelling / ï‚ § Little evidence of spelling / punctuation punctuation errors) editing (frequent errors) ï‚ § Accurately and spelling / punctuation ï‚ § Uses appropriate effectively uses errors) format (e.g., essay) and appropriate format ï‚ § Does not accurately use follows formatting (e.g., essay) and meets appropriate format requirements requirements (e.g., essay) or follow ï‚ § Style and presentation ï‚ § Style and presentation requirements are appropriate and are highly appropriate ï‚ § Style and presentation sufficiently formal for for the specific business are not appropriate for the specific business / / academic context the specific business / academic context academic con text ï‚ · References sources ï‚ · References sources in-text accurately (in Harvard ï‚ · Does not reference and  in reference list style) in-text and in sources appropriately / mainly accurately and in reference list. accurately in-text, or in correct style (e.g., reference list. ï‚ · Integrates sources Harvard). effectively into text. 3. Presents text professionally and references sources accurately (2 MARKS) 5

The extinction of the dinosaurs

The extinction of the dinosaurs Was it an asteroid that killed the dinosaurs? The extinction of the dinosaurs started in the cretaceous period, around 65 million years ago, and caused the loss of up to 70% of all life on earth. The way in which the dinosaurs died is a much argued topic which can be explained by a lot of theories one of which is the Asteroid theory. The Asteroid theory There are a lot of reasons to suggest that an asteroid did hit the earth but there are much less reasons to suggest that it did kill the dinosaurs. Walter Alvarez and colleagues brought the asteroid collision theory to attention in 1980 which links the extinction event to a Bolide (an object that cannot be described as a comet, asteroid or meteorite) hitting the earth at just the right speed to cause cataclysmic damage to the Earth. Much of the evidence now suggests that a 5 to 15kilometer wide bolide hit in the vicinity of the Yucatan Peninsula, forming the Chicxulub Crater and started the mass extinction. Some scientists propose that the bolide caused a long drop in Earths atmospheric temperature (Causing the ice age); while others claim that it would have instead created an unusual heat wave. Scientists are not certain whether dinosaurs were thriving or declining before the impact event. Before the asteroid hit, the earth was on a straight axis, it had to be at some point, so this shows that the asteroid hit the earth at such a speed and at a certain angle to knock it off its axis to how it is now, which may show that the dinosaurs could then not cope with the earths new position and died because of it. Also the asteroid hitting the earth would cause a chain reaction of volcano explosions, earthquakes and other storms which may have spanned thousands of years and we may still be suffering the effects of these today. The soot and debris from the impact would have blocked out the suns rays. This would eventually kill the dinosaurs through lack of vitamin D. Agree? The asteroid theory is the most accepted one because there is more evidence that proves it than evidence that disproves the theory. Like the tilt the world is on at the moment couldnt be the same tilt the word was on at first, it must have been thrown off its tilt some time, and this asteroid is the perfect example of this. Another thing that agrees with that theory is dinosaurs died out in the cretaceous period, the same year the asteroid hit the earth. A crater can be found in the Gulf of Mexico on the Yucatan peninsula which dates back 65 million years ago, to the cretaceous period of time. Disagree? The one thing I would disagree with is the fact that scientists have found out that dinosaurs have died out over a long period of time after it would have hit and the asteroid would have wiped out the dinosaurs and most life on earth over a short period of time. Effects on marine life As a result of the asteroid hitting the levels of oxygen in the sea would have decreased as deep sea water was dragged to the surface by huge under water currents. Plankton would have died because of this sudden change in environment and temperature, as a consequence there was a huge collapse of the food chain, and certain animals would have died because of this collapse. Acid rain may also have increased the acidity of the sea, killing vulnerable species. Problems with the theory The asteroid theory is the most popular one although problems with this still puzzle scientists. There are still dinosaur fossils from the time of the asteroid impact that palaeontologists have not yet found, and there is no evidence to prove that the dinosaurs didnt die out before the impact. In fact, before the Chicxulub asteroid impacted, dinosaurs had been steadily declining for tens of thousands of years. During the life of the earth, many mass extinction events have taken place, and a large number of asteroids have hit the planet. There is no hard evidence that would suggest that the impacts have caused mass extinctions. Some species are climate sensitive, such as frogs, and these survived the cretaceous extinction event, we still have them today. This brings into question what effect in the long term does an asteroid impact actually have on the environment? The asteroid theory still remains the strongest one, in spite of the problems, for the extinction of the dinosaurs. Why the dinosaurs became extinct may not lie with one explanation but with a series of events, asteroid impacts and mass volcanic eruptions all combining together causing the climate to be unbearable to most living creatures. Was this a case of the creatures being in the wrong place at the wrong time in history? Conclusion My conclusion on this subject is that I side with those that believe it was an asteroid that wiped out the dinosaurs because the evidence points more towards the asteroid than other theories. However as there is yet any real hard evidence to prove this I cannot say defiantly that this is the case. The reason that the dinosaurs became extinct is an argument that scientists will disagree on for many, many years to come. No doubt one day in the future, a scientist doing some routine research will accidentally stumble across the missing piece of this long time puzzle. Website list/Preferences http://ezinearticles.com/?How-Did-Dinosaurs-Become-Extinct?id=2230230 http://www.newuniverse.co.uk/Dinosaur.html http://en.wikipedia.org/wiki/Dinosaur

Exploring Cultural Identity in Shakespeares Hamlet Essay -- Shakespea

Exploring Cultural Identity in Shakespeare's Hamlet In William Shakespeare's play Hamlet, the concept of cultural identity is explored through Hamlet's isolation which is created by the conflict between his duty to his father, and his duties to the monarchy and society. Hamlet is isolated from his society due to his turbulent emotions which result from his indecision on how to respond to his father's murder. Hamlet's duty as a son is to avenge his father's death and he would be supported in his actions by society if the murderer was believed to be guilty. Hamlet's duty as a citizen and a Prince is to protect the King and to ensure stability in the monarchy. In order for Hamlet to revenge his father he would have to kill the King which creates a conflict between his two primary duties. Because of this, Hamlet finds it difficult to decide how to proceed and which duty takes precedence, and Hamlet decides to gather evidence as proof of Claudius' guilt so that his revenge is justified to society and to himself. The 'unholiness' of murderi ng a king who is also a close relative is highlighted by Claudius and this allows the audience to better understand the conflict and the indecision facing Hamlet. Hamlet's duty as a son, in his social context and circumstances, is one which encourages him to seek revenge for his murdered father. For Hamlet to be perceived as a noble and worthy son, he would have to kill his father's murderer, and his actions would be supported by society as long as the murderer was believed to be guilty. In Hamlet's first soliloquy after the encounter with the ghost early in the play, when the ghost tells him that he must seek revenge, Hamlet quickly acknowledges his duty as a son. Hamlet: I'll wipe a... ...come to terms with his revenge. The 'unholiness' of killing a king and a close relative is highlighted by Claudius when he reflects on his own crime of killing King Hamlet. Through this, a deeper understanding of the conflict facing Hamlet and of his turbulent emotions occurs. Hamlet dies at the end, fulfilling his duty as a son and his duty to society, by purging the corrupt from the monarchy and avenging his father's death. Works Cited and Consulted Greenblatt, Stephen. Social Energy and Identity in Shakespeare. Oxford: Clarendon Press, 1998. Kreiger, Elliot. "Malvolio and Class Ideology". Bloom (19-26). Nevo, Ruth. Identity Transformation in Shakespeare. London: Methuen & Co., 1980. Shakespeare, William. Hamlet. Global Shakespeare Theatre Series. 1996 Thatcher, David. Discrepancy in Cultural Identity in Shakespeare. New York: Peter Lang, 1999.

Chechnya Essay -- essays research papers

The National Anthem Of Chechnya Death or Freedom came onto this earth when the wolf cubs began to whine under the she-wolf’s feet. Our names were picked for us at day-break while the lion roared. Our gentle mothers nurtured us in our eagle nests. And our fathers taught us to tame the oxen of the forests. Our mothers dedicated us to our Nation and our Homeland. And we shall rise up to the last one if our nation needs us. We grew up free as the eagles, princes of the mountains. There is no threshold from which we shall shy away. Sooner shall cliffs of granite begin to melt like molten lead than any one of us shall lose in battle the honor of our noble nature. Sooner shall the earth begin to crack in silence from the heat than we shall lie under the earth, having lost our honor. Never to bow our heads to anyone, we give our sacred pledge. To die or to live in freedom is our fate. Our sisters heal our brothers’ bloody wounds with their songs. Our loving women see us off on our campaigns. If we shall be forced to starve from famine, we shall gnaw the roots of trees. If we shall be deprived of water, we shall drink from the dew of the grass. We came onto this earth when the wolf cubs began to whine under the she-wolf’s feet. We pledge our lives to God, our Nation and our Homeland.   Ã‚  Ã‚  Ã‚  Ã‚  The methods that Russia has used to deal with the break-away Republic of Chechnya has caught the eye of the world media, and not without good cause. This dynamic portion of the former Soviet Union is seen as a predecessor of things to come from other pieces of the dead communist giant. So many different peoples and cultures were pulled into the grasp of Russia for economic or tactical reasons. Now that Russia is waning in power, these peoples may chose to seize the opportunity to regain their independence, hundreds of years lost in some cases, and reestablish their own ethnic identity.   Ã‚  Ã‚  Ã‚  Ã‚  As we will see, Chechnya’s history with Russia and the Soviet Union is a long and checkered past. The Chechen people suffered numerous degradations and humiliations at the hands of their conquerors. Throughout their history the Chechens have attempted in some form to resist the Russians, but time and time again, the Russians held them down to have access to what they perceived as a key piece of land. It would be absurd to say that the sol... ...rude oil to be processed into fuels. Oil continually flowed in from Russia, allowing the Chechens to process it and usually turn around and sell it as their own. Whether oil was legally acquired or not, the Chechens had little difficulty selling it back to the Russians, proving that Russians had a hand in criminal activity in Chechnya as well. Literally millions of tons of military grade firepower and ammunition, as well as tanks, planes, and other vehicles were hijacked from Russian trains during this time. What the press failed to point out at this time was that Yeltsin never rerouted the trains, and no investigation went into discovering how the information of train manifests and cargo was being released to the Chechens. The Chechen airport also operated without law at this time. Russia proclaims that planeloads of narcotics flew in and out of Groznyi each day, providing money to fuel other criminal operations. This all went on for quite awhile, and while criminal activity was rampant in Chechnya, many say that it was no worse than in Russia herself. By the spring of 1994 though, Dudayev was being formally challenged for his power. Since one of the candidates against Dudayev wa

Happy Endings by Margaret Atwoods Essay

Every literature tries to make a specific point. A good writer always associates her opinion, ideas and thoughts in her or his masterpiece. Some produce literature are purely for entertainment stressing that life is funny and humorous, some include many ironies highlighting that life is complicated and hard to understand, some literature especially those classics are for the purpose of political movement portraying the kind of values and morality the society has, some are for the purpose of religion and spirituality and some literature was made to emphasize creativity or unconventional way of creating a literature. Happy Ending by Margaret Atwoods  was used by her to portray what makes a literature genius, more authentic and interesting. Most readers consider a literature ‘nice’ if the ending satisfies them and satisfaction is always in connection to happy ending, giving a social justice to the characters’ predicaments especially of those protagonists. However Margaret Atwoods illustrates in her short story that it is not the end of the story that is important but how well the beginning especially the middle were structured. How and the characters’ circumstances happened are more significant than what happened in the end. The creation of â€Å"Happy Endings† by Margaret Atwoods is not so much about the how the story ends. The writers give different options on how the story might end and the various possibilities of John and Mary’s love story. The story is divided into six possible life scenarios of John and Mary’s love story. Atwood sums it up in her concluding remarks. â€Å"John and Mary die. John and Mary die. John and Mary die. † On plot A, it offers the classic boy meets girl story that demonstrates the usual â€Å"live happily ever after† ending. This is the type of story that most readers wanted to believe in. However the succeeding version breaks away from the cliche of fairy tales, introducing a more realistic perspective in the midst of dominance, tragedy and cynicism. The point is that the writer compels and reminds us to the basic reality of life, that every body dies and that everybody fades away- that is the real and ultimate ending for every human being. Margaret Atwoods is particularly stressing that the readers should not seek the satisfaction on the ending because the ending will not help them to relate about life because all lives has the same ending. In order to fully embrace the importance of literature, one must critically meditate on how and why the characters commit a particular action and decision. The story is not found in the ending but it’s in what we do while we are alive that gives meaning to our existence. Literature for Atwoods has no ending if the characters did not die. The author’s belief that fiction has many beginnings and middles, but only one eventual ending. Margaret Atwoods suggests that we can do nothing about our mortality but we can precisely do something about the quality of our lives. Atwoods says that life is a continuous and never ending journey that there is no concept of happy ending as long as you live in this world. You might end up marrying your dream person but that doesn’t already mean and guarantee that your life is a happy ending; no one knows what will happen next. Every existing being has only one ending and that is death. This story also takes us through our childhood preconception about how love and life is supposed to turn out based on what has been written in fables and fairy tales. As human being grows older, they slowly realize through experience that most fiction fairy tales ending is unattainable. Obviously Atwoods opens up with various settings, different versions and opportunities that are grounded to reality. Atwoods may also want to redefine the stereotypical characterization of men and women and to the readers who readily accepts such gender typing. Most love stories always employ women as a weaker sex who is incapable of themselves most of the time. But in this story, Atwoods introduces the different facets of women who are both capable of vulnerability, unselfish love and extraordinary strength just like men. Atwoods employ both the weaknesses and strengths of Mary and John from those various possible plots. It challenges the writers on where to proceed next from the typical and conventional creation of love story with a more realistic endings and scenarios. Writers must not stay to those predictable stories that will not help the readers much. Writers must be more realistic in portraying themes so that the readers’ life will not lead to destruction. Typical fairy tales as we all know has been destructive, it makes the readers detach to reality, hoping unreasonably that everybody has a happy ending. Hoping of something unattainable will corrupt one person and eventually the society.

Lord of the Flies- Leadership Analysis on Ralph

A leader is someone who directs or guides a group. However, good leadership is the ability to set priorities and accomplish what needs to be done with the feelings of the group in mind. In Lord of the Flies, Ralph demonstrates many traits that would be considered good leadership. At times he also lacks them, and if he had demonstrated them he could have helped the situation greatly. Ralph understands how people feel and has the ability to respect that and make decisions based off of people’s feelings. He also has the ability to be very serious, which is a good leadership trait if you want to accomplish something.Ralph was also very wise and always made the decisions that he thought were best for the group. In addition, Ralph is very hard working, once he knows what needs to be done he will work very hard to accomplish that task. Throughout the book Ralph demonstrates he is empathetic towards other people’s feelings, he is serious towards his goal, he makes wise decision s, and he is hardworking towards the task at hand. In the book, Ralph was empathetic and showed understanding towards the boys’ feelings. â€Å"‘Trouble is, we haven’t got enough people for a fire. You got to treat Samneric as one turn.They do everything together-’† (138) This shows that, even in a time of crisis, Ralph will consider everyone’s feelings before he acts. This trait also hinders Ralph because he does not realize how unproductive it would be to treat the twins as one boy until Piggy explains it to Ralph. This is an example of how he may understand the boy’s feelings, but he must use his wisdom to make the best decision for the whole group. Dwight D. Eisenhower once said, â€Å"You do not lead by hitting people over the head — that's assault, not leadership. † This is a perfect example of the difference between Ralph and Jack.Jack lacks the quality of empathy, which is what divides Ralph from Jack and leads Ja ck’s group to chaos while Ralph’s still holds onto some civilization. Ralph also cared about Jack’s feelings in the beginning because he felt bad that he had all the power so he told the boys, â€Å"‘Jack’s in charge of the choir. They can be- what do you want them to be? ’† (23) This shows that he is willing to share his power, while Jack will later want it all for himself. In the book Ralph is also very serious most of the time. Ralph is serious because he knows what must be done and how to accomplish it.Ralph’s main goal is to keep the fire going and to get rescued. Ralph often sticks to this idea and prioritizes what they must do, while the other boys just focus on having fun. â€Å"‘You hunters! You can laugh! But I tell you smoke is more important than the pig, however often you kill one. Do all of you see? ’ He spread his arms wide and turned to the whole triangle. ‘We’ve got to make smoke up th ere – or die. ’† (69) This shows that Ralph can be serious, while the other boys do not try to be. In being serious, Ralph is able to focus on the main task at hand and make practical decisions, which in turn makes him a good leader.However, at first Ralph had fun with Jack and Simon when they all went to see if the island they were on was truly an island. This shows that he may have developed leadership qualities once he needed to. Being serious did not always help Ralph, the other boys joined Jack’s group because they thought it would be more fun. Had Ralph been able to have fun while trying to accomplish his important tasks (like keeping the fire going), he may have been able to have more boys stay with him. At the beginning of the book Ralph says, â€Å"‘This is our island. It’s a good island. Until the grown-ups come to fetch us we’ll have fun. † (33) While Ralph was more open to fun, the group of boys held together tighter; the more and more Ralph tries to keep the fire going the more and more nobody listens. Ralph is also very wise for his age. He knows what needs to be a priority for the group, he says, â€Å"‘The fire is the most important thing on the island. How can we ever be rescued except by luck, if we don't keep a fire going? ’† (80) and he continues on to say that they should die before they let the fire go out because Ralph knows that if the fire goes out they are as good as dead, and have no hopes for ever being rescued.He was always wise to try to keep order because he knew if it was lost there would be no way to regain it, he always insisted on sticking to the rules and everyone doing an equal part. Also, once order was almost lost Ralph knew not to call the boys back to the meeting, when they went with Jack, because he knew if he blew the conch then and it failed the power of it would be lost forever to the boys on the island. In the beginning of the book Ralph also knew that building huts should have been the priority over hunting. Ralph says, â€Å"‘If it rains like when we dropped in we’ll need shelters all right.And then another thing. We need shelters because of the-’† (52) At the end of the quote Ralph is referring to the beast all of the children are afraid of. This shows he is wise because he knows what needs to be the group’s priorities. Throughout the book, Ralph was also hardworking. He always knew what had to be done and was willing to put in the work to do it. He knew that it was more necessary to build the huts rather than to hunt and he worked hard, with only Simon’s help, to complete the shelters. Ralph says in an argument with Jack, â€Å"‘People don’t help much†¦ Simon. He helps. He pointed at the shelters. ‘All the rest rushed off. He’s done as much as I have. ’† (54) This shows that even with very little help from the rest Ralph will work hard to accomplish his goal, even if it makes him angry to do so. Ralph also works hard on trying to get the boys to make sure the fire keeps going. He insists on multiple occasions that it is the priority and tries very hard to get that idea ingrained into the boys’ heads. However, towards the beginning and the end of the book Ralph is not as hard working because he doesn’t have the goal of keeping the fire going.Towards the end of the book he gets confused and slightly confused by the savagery, which causes him to forget about the fire at times. Ralph says to the group of children, â€Å"‘The fire’s the most important thing. Without the fire we can’t be rescued. I’d like to put on war-paint and be a savage, But we must keep the fire burning. The fire’s the most important thing on the island, because, because-’† (142) Towards the end of Ralph’s speech he starts to forget the main importance of the fire. He doesnâ €™t recall until Piggy reminds him.Towards the beginning of the book Ralph says, â€Å"This is our island. It’s a good island. Until the grown-ups come to fetch us we’ll have fun. † (33) This shows that Ralph is not as hardworking at first towards the goal of being rescued and takes the idea of being rescued for granted. He does not realize how hard he actually has to work to be rescued until he stayed on the island for longer and realized they must keep the fire going and cannot just rely on luck. Ralph demonstrated many leadership qualities throughout the course of the book.However, in some cases he lacks some of the same traits that would be necessary towards the situation. Throughout the course of the book his leadership skills develop because, at first, the only reason he was leader was because he found the conch. He had to develop some of his leadership traits afterwards to rise to the occasion. He was also not hungry for power; he developed the idea t o remain leader once he was elected. Jack wanted the power to begin with and came with most of the traits he displayed throughout the book, while Ralph develops a lot throughout the course of it.