Assignment on Cubism and Synthetic Cubism

Cubism Written Assignment PABLO PICASSO & Synthetic Cubism Pablo Picasso (1881-1973), a Spanish artist, is one of the most well known artists of the 20th Century. From about 1909 he worked with a French artist called Georges Braque and together they created a style of art referred to as Synthetic Cubism. Both artists created still-life paintings to which other materials were added. Select a work by Picasso that is an example of Synthetic Cubism. ? ? Provide a coloured image Name and date the work. Answer the following: Q1.Describe the Subject Matter of the artwork. ? What do you think the artist wanted us to notice? ? Describe in detail what you see in the work. ? How has Picasso arranged the objects? Describe the art elements Picasso has used in this artwork. ? Discuss the line, tone, texture, shape and colours that have been used. ? Do any of these art elements affect the mood of the work? Describe the materials and techniques that have been used to create the art work. ? How have the materials been applied? Evaluate the artwork. ? Do you like this work by Picasso?Explain why. ? What are the best qualities? Q2. Q3. Q4. Due Date _________________________ Year 7 Cubism Assignment Rubric STANDARDS Criteria E The description of the artwork is inadequate and there is basic detail by the student. D There is a limited description of the artwork which is not detailed by the student. The student gives a limited description of some of the art elements seen in the artwork. C The student makes a detailed description of some of the subject matter. B The student makes a detailed description of most of the subject matter.A The student makes a complete and detailed description of the subject matter. The student makes a complete and detailed description, including analysis, of all the art elements seen in the artwork. The student makes a complete and detailed description ,including analysis, of all the materials and techniques used The student makes an advanced evaluation and judgement of the select artwork Description of subject matter in artworks Identification, description and understanding of the art elements.The student gives a basic description of some of the art elements seen in the artwork. The student makes a detailed description of most of the art elements seen in the artwork. The student makes a good detailed description of the art elements seen in the artwork. Identification, description and analysis of Cubist materials and techniques. The student gives a basic description of some of the materials and techniques used The student gives a limited description of some of the materials and techniques usedThe student makes a detailed description of most of the materials and techniques used The student makes a good detailed description of the materials and techniques used Evaluation and judgement of Cubism artwork The student makes a basic evaluation and judgement of the select artwork The student makes a limited evaluation and judgement of the sel ect artwork The student makes a satisfactory evaluation and judgement of the select artwork The student makes a thorough evaluation and judgement of the select artwork Grade: Comments:

Acct 562 Assignment 2 – The town of bedford falls approved a general fund

Chapter 4: Problems 4–4, 4–6, 4–10, and 4–11 3–9.Recording General Fund Operating Budget and Operating Transactions. The Town of Bedford Falls approved a General Fund operating budget for the fiscal year ending June 30, 2011. The budget provides for estimated revenues of $2,700,000 as follows: property taxes, $1,900,000; licenses and permits, $350,000; fines and forfeits, $250,000; and intergovernmental (state grants), $200,000. The budget approved appropriations of $2,650,000 as follows: General Government, $500,000; Public Safety, $1,600,000; Public Works, $350,000; Parks and Recreation, $150,000; and Miscellaneous, $50,000. Summary General Fund operating budget: fiscal year ending June 30, 2011 Budget: revenues of $2,700,000 property taxes: $1,900,000 licenses and permits: $350,000 fines and forfeits: $250,000 intergovernmental (state grants):$200,000 The budget approved appropriations of $2,650,000 as follows: General Government:$500,000 Public Safety: $1,600,000 Public Works: $350,000 Parks and Recreation: $150,000 Miscellaneous:$50,000 Required : a. Prepare the journal entry (or entries), including subsidiary ledger entries, to record the Town of Bedford Falls’s General Fund operating budget on July 1, 2010, the beginning of the Town’s 2011 fiscal year. Answer: General LedgerSubsidiary ledger Estimated RevDR: $2,700,000 Budgetary fund Bal. CR: $2,700,000 TaxesDR: $1,900,000 Intergovernmental Rev. DR: $200,000 Licenses & PermitsDR: $350,000 b. Prepare journal entries to record the following transactions that occurred during the month of July 2010. 1. Revenues were collected in cash amounting to $31,000 for licenses and permits and $12,000 for fines and forfeits. Answer: licenses and permits (Subsidiary Ledger) DR: Licenses & Permits $31,000 CR: Cash $31,000 fines and forfeits (general ledger) DR: Estimated Rev $12,000 CR: Budgetary fund bal. $12,000 2. Supplies were ordered by the following functions in early July 2010 at the estimated costs shown: Answer: Appropriations LedgerSubsidiary ledger General GovernmentCR: $7,400 Public SafetyCR: $11,300 Public WorksCR: $6,100 Parks & RecreationCR: $4,200 Misc. CR: $900 Encumbrances subsidiary LedgerSubsidiary ledger General GovernmentDR: $7,400 Public SafetyDR: $11,300 Public WorksDR: $6,100 Parks & RecreationDR: $4,200 Misc. DR: $900 3. During July 2010, supplies were received at the actual costs shown below and were paid in cash. General Government, Parks and Recreation, and Miscellaneous received all supplies ordered. Public Safety and Public Works received part of the supplies ordered earlier in the month at estimated costs of $10,700 and $5,900, respectively. c. Calculate and show in good form the amount of budgeted but unrealized revenues in total and from each source as of July 31, 2010. Answer: Budgeted but unrealized revenues: General Govn – $100 Public Safety – ($100) Public Works – ($200) Park & Rec – $100 Misc. – $0 d. Calculate and show in good form the amount of available appropriation in total and for each function as of July 31, 2010. Answer: Available appropriation: General Govn. – $100 Public Safety – $0 Public Works – $0 Park & Rec – $100 Misc. – $0 4–4 Property Tax Calculations and Journal Entries. The Village of Darby’s budget calls for property tax revenues for the fiscal year ending December 31, 2011, of $2,660,000. Village records indicate that, on average, 2 percent of taxes levied are not collected. The county tax assessor has assessed the value of taxable property located in the village at $135,714,300. Required: a. Calculate to the nearest penny what tax rate per $100 of assessed valuation is required to generate a tax levy that will produce the required amount of revenue for the year. Answer: 2,700,000%. 096= $2,812,500 b. Record the tax levy for 2011 in the General Fund. (Ignore subsidiary detail and entries at the government-wide level. ) Answer: DR: General Revenue-Property Taxes CR: Property Taxes c. By December 31, 2011, $2,540,000 of the current property tax levy had been collected. Record the amounts collected and reclassify the uncollected amount as delinquent. Interest and penalties of 6 percent were immediately due on the delinquent taxes, but the finance director estimates that 10 percent will not be collectible. Record the interest and penalties receivable. (Round all amounts to the nearest dollar. ) 4–6 Special Revenue Fund, Voluntary Nonexchange Transactions. The City of Eldon applied for a competitive grant from the state government for park improvements such as upgrading hiking trails and bike paths. On May 1, 2011, the City was notified that it had been awarded a grant of $200,000 for the program, to be received in two installments on July 1, 2011, and July 1, 2012. The grant stipulates that $100,000 is for use in each of the city’s fiscal years ending June 30, 2012, and June 30, 2013. Any amounts not expended during FY 2012 can be carried over for use in FY 2013. During FY 2012, the city expended $90,000 for park improvements from grant resources. Required For the special revenue fund, provide the appropriate journal entries, if any, that would be made for the following: 1. May 1, 2011, notification of grant approval. Answer: No Entry 2. July 1, 2011, receipt of first installment of the grant. Answer: CR: Grant $1,000,000 DR: Cash $1,000,000 3. During FY 2011 to record expenditures under the grant. Answer: No Entry 4. July 1, 2012. CR: Grant- park improvements, $90,000 DR: Cash- grant resources, $90,000 4–10 Operating Transactions, Special Topics, and Financial Statements. The City of Ashland’s General Fund had the following post-closing trial balance at April 30, 2010, the end of its fiscal year: ? During the year ended April 30, 2011, the following transactions, in summary form, with subsidiary ledger detail omitted, occurred: 1. The budget for FY 2011 provided for General Fund estimated revenues totaling $3,140,000 and appropriations totaling $3,100,000. . The city council authorized temporary borrowing of $300,000 in the form of a 120-day tax anticipation note. The loan was obtained from a local bank at a discount of 6 percent per annum (debit Expenditures for discount). 3. The property tax levy for FY 2011 was recorded. Net assessed valuation of taxable property for the year was $43,000,000, and the tax rate was $5 per $100. It was estimated that 4 percent of the levy would be uncollectible. 4. Purchase orders and contracts were issued to vendors and others in the amount of $2,059,000. 5. The County Board of Review discovered unassessed properties with a total taxable value of $500,000. The owners of these properties were charged with taxes at the city’s General Fund rate of $5 per $100 assessed value. (You need not adjust the Estimated Uncollectible Current Taxes account. ) 6. $1,961,000 of current taxes, $383,270 of delinquent taxes, and $20,570 of interest and penalties were collected. 7. Additional interest and penalties on delinquent taxes were accrued in the amount of $38,430, of which 30 percent was estimated to be uncollectible. 8. Because of a change in state law, the city was notified that it will receive $80,000 less in intergovernmental revenues than was budgeted. 9. Total payroll during the year was $819,490. Of that amount, $62,690 was withheld for employees’ FICA tax liability, $103,710 for employees’ federal income tax liability, and $34,400 for state taxes; the balance was paid to employees in cash. 10. The employer’s FICA tax liability was recorded for $62,690. 11. Revenues from sources other than taxes were collected in the amount of $946,700. 12. Amounts due the federal government as of April 30, 2011, and amounts due for FICA taxes, and state and federal withholding taxes during the year were vouchered. 13. Purchase orders and contracts encumbered in the amount of $1,988,040 were filled at a net cost of $1,987,570, which was vouchered. 14. Vouchers payable totaling $2,301,660 were paid after deducting a credit for purchases discount of $8,030 (credit Expenditures). 15. The tax anticipation note of $300,000 was repaid. 16. All unpaid current year’s property taxes became delinquent. The balances of the current tax receivables and related uncollectibles were transferred to delinquent accounts. 7. A physical inventory of materials and supplies at April 30, 2011, showed a total of $19,100. Inventory is recorded using the purchases method in the General Fund; the consumption method is used at the government-wide level. Required a. Record in general journal form the effect of the above transactions on the General Fund and governmental activities for the year ended April 30, 2011. Do not record subsid iary ledger debits and credits. Answer: General FundDebitCredit revenues $3,140,000 appropriations $3,100,000 borrowing of $300,000 principle and interest$300,000 roperty tax levytax levyCash b. Record in general journal form entries to close the budgetary and operating statement accounts. c. Prepare a General Fund balance sheet as of April 30, 2011. Answer: General Fund Cash $3,140,000 Borrowing/Lending 300,000 Total Liabilities Vouchers payable totaling $2,301,660 materials and supplies $19,100 tax liability $62,690 d. Prepare a statement of revenues, expenditures, and changes in fund balance for the year ended April 30, 2011. Do not prepare the government-wide financial statements. 4–11 Permanent Fund and Related Special Revenue Fund Transactions. Annabelle Benton, great-granddaughter of the founder of the Town of Benton, made a cash contribution in the amount of $500,000 to be held as an endowment. To account for this endowment, the town has created the Alex Benton Park Endowment Fund. Under terms of the agreement, the town must invest and conserve the principal amount of the contribution in perpetuity. Earnings, measured on the accrual basis, must be used to maintain Alex Benton Park in an â€Å"attractive manner. All changes in fair value are treated as adjustments of fund balance of the permanent fund and do not affect earnings. Earnings are transferred periodically to the Alex Benton Park Maintenance Fund, a special revenue fund. Information pertaining to transactions of the endowment and special revenue funds for the fiscal year ended June 30, 2011, follows:1. The contribution of $500,000 wa s received and recorded on December 31, 2010.2. On December 31, 2010, bonds having a face value of $400,000 were purchased for $406,300, plus three months of accrued interest of $6,000. A certificate of deposit with a face and fair value of $70,000 was also purchased on this date. The bonds mature on October 1, 2019 (105 months from date of purchase), and pay interest of 6 percent per annum semiannually on April 1 and October 1. The certificate of deposit pays interest of 4 percent per annum payable on March 31, June 30, September 30, and December 31.3. On January 2, 2011, the town council approved a budget for the Alex Benton Park Maintenance Fund, which included estimated revenues of $13,400 and appropriations of $13,000.4.On March 31, 2011, interest on the certificate of deposit was received by the endowment fund and transferred to the Alex Benton Park Maintenance Fund.5. The April 1, 2011, bond interest was received by the endowment fund and transferred to the Alex Benton Park M aintenance Fund.6. On June 30, 2011, interest on the certificate of deposit was received and transferred to the Alex Benton Park Maintenance Fund.7. For the year ended June 30, 2011, maintenance expenditures from the Alex Benton Park Maintenance Fund amounted to $2,700 for materials and contractual services and $10,150 for wages and salaries. All expenditures were paid in cash except for $430 of vouchers payable as of June 30, 2011. Inventories of materials and supplies are deemed immaterial in amount.8. On June 30, 2011, bonds with face value of $100,000 were sold for $102,000 plus accrued interest of $1,500. On the same date, 2,000 shares of ABC Corporation’s stock were purchased at $52 per share. Required a. Prepare in general journal form the entries required in the Alex Benton Park Endowment Fund to record the transactions occurring during the fiscal year ending June 30, 2011, including all appropriate adjusting and closing entries. Note: Ignore related entries in the go vernmental activities journal at the government-wide level. ) b. Prepare in general journal form the entries required in the Alex Benton Park Maintenance Fund to record Transactions 1–8. c. Prepare the following financial statements: (1) A balance sheet for both the Alex Benton Park Endowment Fund and the Alex Benton Park Maintenance Fund as of June 30, 2011. (2) A statement of revenues, expenditures, and changes in fund balance for both the Alex Benton Park Endowment Fund and the Alex Benton Park Maintenance Fund for the year ended June 30, 2011.

Before You Were Mine by Carol Ann Duffy Essay

â€Å"Before you were mine† is a poem written by a daughter about how she imagines her mother’s life ten years before the daughter was born. The author describes the photo of her mother with two of her friends. They â€Å"shriek at the pavement† and seem to be sharing a joke, young and lightsome (line 4). She knows that the thought of having a child one day doesn’t occur to her mother when she was young and had a lot of dreams. Now remembering her own childhood, Duffy thinks of how she used to play with her mother’s red shoes and imagines when her mother might have worn them. She remembers how her mother used to teach her dance steps when she was a little girl. The poem is a four stanza one, each stanza being made up of five lines, with some variation in length of line. The first two stanzas focus purely on the life of the mother before the daughter was born, whilst the third stanza opens with a reference to the daughter’s birth and then moves to the daughter’s vision of her mother in her earlier life, thus providing a link with the previous stanzas. The fourth stanza begins with a recollection from the daughter’s younger life with her mother, and then takes us back once again to the mother’s days of dancing. I consider that the language contributes to the mood of the poem. The poem is written in first person narrative voice. There are many references to her mother as very happy – â€Å"you laugh / the bold girl winking in Portobello†, â€Å"you sparkle and waltz and laugh†(lines 13-15). The author’s mother’s life can be perceived as flashy. Her mother is likened to Marilyn Monroe: â€Å"Your polka-dot dress blows round your legs. Marilyn† (line 5). Duffy’s mother dreams of â€Å"fizzy, movie tomorrows† (line 7). The poem is written in the present tense, as if the events of the photo are happening now. I suppose in this way the poet tries to make her mother’s past as real as possible. It seems juicy to read a poem in which a daughter imagines how full of life and fun her mother must have been before she was born. Her admiration of her mother is shown in a direct way, and words such as â€Å"shriek†, â€Å"sparkle† and â€Å"fizzy† image the carelessness of youth. Throughout, the poet is very possessive of her mother. References to her appear constantly: â€Å"I’m ten years away†¦ †, â€Å"I’m not here yet†¦ †, â€Å"I remember†¦ † (lines 1, 6 and 12). The word â€Å"mine† appears in the title and the poem actually concludes with the same words as the title, as if the poet is locking her mother in a firm embrace of words.

Environment 110 Essay Example | Topics and Well Written Essays - 250 words

Environment 110 - Essay Example If the environmental service for gas and oil stopped, assuming that the oil wells run dry, the state would suffer from adverse effects, both social and economic. These may be worse if the scarcity of crude oil is a global problem. One of the effects of the change would be increased unemployment rate as people who worked in the mining fields and processing firms would lose their jobs. People who trade in the commodities would also lose income through lost jobs or lost profits. While importation could ease the burden, this would take time and would not be a complete remedy to lost jobs and reduced profitability. Importation would also increase cost of energy in domestic and industrial set ups, leading to macroeconomic burden. Induced economic strain from lost jobs, reduced income, and possible rise in commodity prices due to increased fuel cost would spill to people disposable income. This could have adverse effects on ability to afford services such as health care and education servic es. The state would also suffer negative effects on its import expenditures. Services pertaining to oil and gas are therefore significant to the economy and should be sustained. Ball State University. â€Å"Key economic sectors in Indiana: State overview.† Ball State University. July, 2014. Web. October 24, 2014. . The Indiana Department of Natural Resources. â€Å"Oil and gas in Indiana.† The Indiana Department of Natural Resources. N.d. Web. October 24, 2014. < http://www.in.gov/dnr/dnroil/files/og-OilGas_in_Indiana.pdf

Properties of Acetysalicylic Acid Lab Report Example | Topics and Well Written Essays - 3250 words

Properties of Acetysalicylic Acid - Lab Report Example But when both the blue and red –OH groups are replaced, the result is heroin. Morphine is considered as the gold standard of analgesics since it is effective in relieving pain. However, the excessive amount of morphine can depress the respiratory system. Morphine works by blocking receptor sites that signal pain to the brain. The key to morphine’s efficacy is its shape which fits into the cells. Moreover, morphine acts like natural painkillers such as endorphins. - as weak acids, alcohols and phenols dissociate to a slight extent in dilute aqueous solution y donating a proton to water, generating H3O + and alkoxide ion ( RO -) or a phenoxide ion ( A+0 - ) Warfarin is an anticoagulant, meaning, it acts as blood thinner like aspirin. However, warfarin is more potent and can even cause severe hemorrhaging. This is due to the fact that warfarin can decrease coagulation through inhibition of Vitamin K. It is synthetically derived from coumarin, which is extracted from plants such as licorice, lavender, and Woodruff. Warfarin is commonly used in rat pesticide. Once a cat ingests a mouse that ate warfarin-laced pesticide, the cat’s liver would fail and internal bleeding occurs immediately. However, warfarin has also therapeutic purposes especially in the prevention of thrombosis as well as an embolism. To measure: the pH of the aqueous phases is adjusted such that the predominant form of the compound is unionized. The logarithm of the ratio of the concentration of the un-ionized solute is the solvent called log P. The shake flask or tube method is the most classical method known by the chemist. The process is simple: the solute in question is slowly dissolved in a certain volume of octanol and H2O.  

The Talk Show in Relation to the Free and Democratic Debate Dissertation

The Talk Show in Relation to the Free and Democratic Debate - Dissertation Example Mirzoeff (2002) posits that the evolution of the talk show is a prime example of re-narrativizing everyday experiences through a participatory format spearheaded by Phil Donahue, paving the way for Oprah, Sally Jesse Raphael, and Jerry Springer. Additionally, Mirzoeff highlights the point that the key factor to the popularity in the talk show programs is the use of guests that â€Å"tend to be both ordinary in their resemblance to other middle-class Americans and exceptional in that their function is to narrate some form of transgressive or unconventional behavior† (p..453). However, on the other side of the spectrum, the popularity of the talk show format has fuelled polarised academic debate as to whether television talk shows are a valid new public sphere on a par with pre-existing political institutions as a form of public debate, particularly for marginalized social groups (Mirzoeff, 2002, p.453). Alternatively, critics of the televisual format argue that the confessional aspect of the talk show undermines the validity of the talk show as a genuine public sphere for debate and propose that the talk show is essentially a manipulated format of television, creating the illusion of participation with the overall purpose to entertain and thereby controlled by the programming objectives. For example, in the US the term â€Å"talk show† includes chat shows that feature groups of guests as well as the confessional Jerry Springer format. With regard to the latter participation format, this will involve guest participation and the host will typically undertake the role of mediator, which is an important distinction to make in considering how the talk show operates as a media experience (Tolson, 2001, p.7). To this end, Tolson asserts that â€Å"if the talk show is the most controversial TV genre then much academic commentary seems impelled to line up either for or against the terms of the controversy (2001, p.7).

History US Essay Example | Topics and Well Written Essays - 500 words

History US - Essay Example to world power status. The New Deal provided numerous economic programs that stabilized the economy through giving support in banking and finance, unemployment, and agriculture. In banking and finance, President Franklin D. Roosevelt offered significant credit facilities to industry and agriculture. The Federal Deposit Insurance Corporation (FDIC) also insured savings-bank deposits up to $5,000. Moreover, to reduce unemployment that affected 13 million Americans, Roosevelt created job-stimulating programs. The Civilian Conservation Corps (CCC) was a program that gave mostly conservation jobs to young men between 18 and 25 years of age (IIP Digital, 2008). The Public Works Administration (PWA) gave employment to skilled construction workers for different medium- to large-sized projects, among other programs (IIP Digital, 2008). In addition, to improve agricultural revenues, the Congress passed the Agricultural Adjustment Act (AAA) in 1933. It gave economic relief to farmers by increasing crop prices throug h paying farmers a subsidy to reimburse them for deliberate cutbacks in production (IIP Digital, 2008). Despite these job and financial programs, the New Deal did not restore the Gross National Product (GNP), consumption levels, and employment rates to pre-Depression years (West, n.d.). World War II created complete economic recovery because of greater federal spending that improved employment rates both for men and women and for whites and colored people. Military spending by the federal government jump-started the economy, increasing GNP, consumption levels, and employment rates more than the New Deal did. By 1943, California’s aircraft and shipbuilding industries hired 243,000 and 280,000 people correspondingly, and tens of thousands worked in plants in Pacific Northwest (West, n.d.). In Seattle, the Boeing Company’s sales of aircraft in 1944 reached ten times that of the total city’s industries five years before (West, n.d.). With bustling

The US and Arab-Israeli Diplomacy - 2 exam questions (4 pages each) Essay

The US and Arab-Israeli Diplomacy - 2 exam questions (4 pages each) - Essay Example Ambassadors to the various Middle Eastern countries. The Special Envoy will travel from country to country in the Middle East to achieve the American Agenda in the region. The United States’ position on the Israeli-Arab relations has always been important. The U.S. has backed Israel since Israel became a state. Support for Israel allows the U.S. an ally in the Middle East that has a similar democracy. Saudi Arabia is an U.S. ally, but since Saudi Arabia is a monarch Israel is a more favorable choice. Still the U.S. must not anger the majority of Arab nations in the Middle East, especially since the heavy U.S. military presence in Iraq and Afghanistan. The balance between doing what is right morally by promoting a democratic society and securing a good relationship with oil producing countries is the delicate balance an American Special Envoy must master. In order to achieve the balance of American interests, the Special Envoy has to negotiate with both the Israelis and Arabs. The United States Envoy to Israel must have special qualifications. Without the right qualification an envoy could harm not only Israeli-Arab relations, but harm U.S.-Israel-Arab relations at best and at worst plunge the whole region into a war. Qualifications all U.S. Envoys need are: Any Special Envoy appointed to Israel must address the Palestinian issue. Since Israel withdrew from Gaza, the Palestinians have elected Hamas to be Gaza’s leaders. Since Hamas has been recognized as the United States as a terrorist group, all talks are through the Palestinian National Authority. If Hamas would make concessions, the United States would consider opening talks through the Special Envoy. The recommended plan since 2001’s Mitchell Report for both Israel and Palestinians have been threefold: 2. Rebuilding of confidence in the Palestinian Authority (now the Palestinian National Authority). This

International business contest Research Paper Example | Topics and Well Written Essays - 2750 words

International business contest - Research Paper Example where there are sizeable potential consumer concentrations. Demographic segmentation refers to the practice in which the company focuses on age, gender, marital status and similar characteristics. It's the most popular strategy or basis for segmenting the market though its complicated nature at times necessitates fist hand information about customer behavior (Rivlin, 2003). While variables associated with demographics can be easily obtained and the related metrics would readily lend to interpretations, there is still a very demanding process of data gathering and storage to be retrieved when needed for a variety of purposes such as cross checks and extrapolation studies. Egypt can be identified as a country which consists of most population in the Middle East and the 3rd in the African Continent. Thus out of the total population 99% of them are concentrated on major cities of Cairo and Alexandria which centered on the banks of Nile. Therefore Company need to basically focus its attention on those greatest cities in order to successfully mark et the Washing Machine. Consumer demographics also involve age and lifecycle studies. Economic factors include the relative value for money concept. Egypt is mainly depends on the agriculture, tourism, media and petroleum exports. However the rapid growing population and the liberal economic policies have increased the economic growth of the country. Therefore it is obvious that economically speaking Egypt population would influenced by a strong desire to save on time and money with their busiest life style (Bolbol, Fatheldin, & Omran, 2005). Thus their demand patterns for washing machines are essentially determined by the degree of necessity to save time. This economic proposition is said to be much stronger than many other concerns. This argument has been put forward by some market analysts as a stage of transformation that ultimately leads to copied lifestyles. 2. Political Profile 2.1. Government The political dispensation of the country is a republic. Thus it includes Executive arm of the State and a Head of the government. It is a Presidential Republican State where the executive power and the legislative power are shared by both the Government and People's Assembly. Since the year of 1953 the Republican form of government has been exercising the power in a more transparent system which allows eighteen political parties to conduct their activities in order to capture the government power in a more democratic way. The ruling party of the government is National Democratic Party. Thus the term of the government will not be more than five years. But any time if the President wishes he can dissolve the parliament by promulgating an order. So the government and legislative activities are mostly based on the executive pow

Idaho Regulation Changes in Long-term Health Care Research Paper

Idaho Regulation Changes in Long-term Health Care - Research Paper Example The former president Ronald Reagan set up structures for long-term care services. This was intended to make improvements for the ultimate benefit of citizens. Regulations such as OBRA 78 provides legal requirements for the health care system to follow throughout the state as it intends that all people within the region can be able to access the healthcare services in ease. It is quite unfortunate that the regulations may fail to meet the citizen’s interest thus requiring some changes. Introduction Federal Nursing Home Reform Act Federal Nursing Home Reform Act from the Omnibus Budget Reconciliation Act of 1987 (OBRA 87) Developed by Hollis Turnham. President Ronald Reagan ascended into law the primary amendment of the federal principles for nursing home care since the 1965 establishment of both Medicaid and Medicare. The landmark legislation changed tremendously the society's legal prospects of nursing homes and their healthcare. Long-term care amenities requires Medicare or M edicaid funding are to provide services so that each resident can "attain and maintain her highest practicable physical, mental, and psychosocial well-being. The federal nursing home Reform Act creates a set of national least amount set of principles of care and rights for people living in certified nursing facilities. The split Federal Nursing Home Reform Act and several different bills was "rolled into" one bill to assure final course of all the elements. The least federal health and care requirements for nursing homes should be administered through various of established procedures within the nursing homes and the regulatory bureau. This is a major drawback in the provision of the nursing facilities. For it to be effective, the bills should clearly define to ensure that the bills and funds are adequate for the services. The federal Nursing Reform provides a set of standards for the nursing department to observe in providing health services in the entire Idaho region. It also give s the rights for all people who live with certified facilities in nursing. It is from this perspective that sets the landmark for the common features of OBRA that came in through legislative procedures. Since then, the congress normally completes a large measure of budgetary issues in one large bill. The bill provides that the function in the year 1987 came to give entity to Omnibus Reconciliation OBRA recognizes the unique and important duty that the LTCOP perform for all the home nursing citizens. The Federal Medicaid and their legislation include real source of the material, which is the National Term Care Ombudsman Resource Centre. Distinct duties of advocacy and subsequent controls together with some of the guidance provided by the LTCOPs are additional equipments to provide citizens interests at a required level (American Medical Association 15). The differences, which OBRA introduced in the home nursing care, are great. Some of them provide specific requirements to the citize ns. For example, emphasis on quality of life for residents and clear quality, new expectations that can teach residents capabilities to bathe walk and perform other responsibilities daily. More so, residential assessment procedure that leads to development of personalized plan for caring in 75 hours for testing and training paraprofessional staff (Flower 32). It also outlines the rights in the home nursing and lack of dangerous behaviors for residents in the Idaho region significantly shifting medical situations. OBRA provides a motion of forces that enabled changes in the ways in which state inspectors make their approaches to all home nursing. They never spend their precious time, to

Personality Diagnostic Procedures Essay Example | Topics and Well Written Essays - 1000 words - 1

Personality Diagnostic Procedures - Essay Example This paper describes the results of the Personality Diagnostic assessment, emphasizing Gods interventions. The assessment results indicated that I tend to maintain a balance in relation to communications skills. For instance, the majority of scores were precisely in the mid-range from one extreme to the other. For instance, dominant personality attributes scored at 1, indicating the ability to dominate social situations, while also taking a less-controlling role, socially, when appropriate. Further, in relation to contentious behaviors, a similar mid-range score of 0.71 tends to support the notion that I maintain the ability to voice arguments when appropriate, while also being able to silence personal arguments when required. In todays business environment, positive communication skills are cited as one of the primary elements to promoting a cohesive organizational staff (Nickels, McHugh & McHugh, 2005). A balanced leader knows when to fight for change (argumentation) and when to remain silent when another person generates better ideas for business improvement. Though I discovered that I need to develop my listening skills, with a low score of 34, I believe that the majority of scores related to communication represent a person who maintains a balance of personality attributes. balance employee autonomy with a firm desire to simply do the job myself. Perhaps my firm commitment to organizational productivity and desire for strict adherence to policies could be lightened through exhortation, by coming together to develop the skills of subordinates, visualizing and promoting their ongoing business success (George). This builds trust, camaraderie, and a legitimate commitment in employees as they rejoice in their own accomplishments. This is one of the elements of a competent Christian leader. Supporting the concept of being a

Airbus A3XX Production Essay Example for Free

Airbus A3XX Production Essay Should Airbus proceed with the new model?Yes. The A3XX will constitute a new family of bigger and better aircraft with a high degree of common operational characteristics, particularly in the cockpit design, in accordance with Airbuss philosophy. For the first time, the airline companies will be able to provide much more room than has ever been available. Passengers will be more comfortable and the operating costs will be between 12 and 20% lower than those of the current B-747. The A3XX is the solution to the problem of growing demand for air travel, which is expected to triple over the next twenty years. At the same time, it is the most efficient solution since a greater number of passengers can be carried without there being the need to build new airports. Moreover, it is quieter than any current passenger plane so that it will be perceived as a good neighbor. As it is mentioned on the case, the first version of the A3XX will have 555 seats in three classes and a range of between 14,200 and 16,200 km. This plane will be the first passenger aircraft with four aisles, two on the main deck and two on the upper deck and there will be two stairways to ensure easy passenger flow during boarding and disembarkation. These factors would definitely differentiate the new A3XX from the current B-747. Likewise, great efforts have been made to ensure that the A3XX can be used on existing airport runways, taxi strips and parking areas, with minimal modifications that can be rapidly introduced into the normal evolution of the airport. Furthermore, with a wing span of 79 m and a maximum length of 77 m, the A3XX will be able to taxi within the 80 m x 80 m box that has been adopted as standard for the worlds major airports. The A3XX will also have the potential for increasing its capacity and range. Freight and combo versions are planned, as are short range smaller versions. The A3XXs wider and more spacious cabin mean a versatile fuselage section that will allow airline companies to incorporate any configuration within the three decks. With the A3XX, Airbus Industry is ensuring its position as a key market player and will provide airline companies with an alternative to the  monopoly that has existed for so long. How should they price it relative to Boeings offerings?Taking into account the many advantages that the new A3XX is expected to have compared to Boeing 474, Airbus should price it higher. Airbus (A3XX)1.If every works as planned Airbus would become the worlds largest passenger plane producer. 2.After produced the new superjumbo would have capacity for 500 to 840 passenger, and 555 in 3-class configuration compare to Boeing 747. 3.It promises a maximum speed of 0.89 (652mph)-New York to Hong Kong in 12h 21m-New York to London in 5h 18m4.The new model expects to lower the fuel burn by 13% compare to 747 and is expected to be the first long-haul plane to consume less than 3 litres of fuel per passenger over 100 km as efficient as an average family car. 5.Cabin promises to be configured to include cocktail bars, double debs and mini-casinos. 6.It promises a 35% increase in passenger capacity over the 747 in standard 3-class configuration, alogn with a neraly 50% larger cabin volume. Boeing (747)1.After the launch of the new A3XX, Boeing would not longer be the worlds top passenger jet maker and its 30 years domination in the sales of the large passenger jetliner market would be lost to Airbuss new superjumbo. 2.The Boeing 747 has capacity for 400 to 500, and 450 in 3-class configuration compare to the new A3XX. 3.Current maximum speed of 0.86 (630mph)-New York to Hong Kong in 12h 47m-New York to London in 5h 29m4.Fuel efficent and has low operating costs. It provides a marginal costs of 19%. 5.It can use existing airport infrastructure and ground support equipment. 6.It produces lower emissions, and achive better fuel economy than any competing jetliner References http://www.superjumboa380.com/html/airbus_vs_boeing/index.shtml

Hinduism And The Child Bearing Process Theology Religion Essay

Hinduism And The Child Bearing Process Theology Religion Essay Having a baby and changing your life with a new being is a very important part of life. Regardless of culture and traditions, it is a very special process for most mothers, fathers and families in all cultures around the world. This essay will look in depth into the ways the Hindu culture views child bearing, infant feeding, post partum beliefs and in general how their beliefs differ from our Canadian modernized culture. Child-bearing The Hindu religion in itself is a very tight-knit culture, relying a lot on the power of their Gods and finding enormous strength in the faith itself. The child-bearing process is no exception. Ceremonies are usually performed during pregnancy to ensure the health of the mother and growing child (Hindu, 2012). Initially at conception a ceremony called samskar is performed and this involves prayers of hope that a child will fulfill the parents obligation to continue the human race. There are rituals that the father practices with the mother such as the father parting the hair of the pregnant mother three times upward from the front to the back, this is believed to assure ripening of the embryo inside. Also, charms may be placed on or around the mother that ward off evil eyes and witches and demons. As the pregnancy advances there are a set of prayers that are held during a ceremony to continue the blessings of the mother and child. Between the fourth and seventh months of pregnancy a ceremony called Simantonnayana is held in which the father combs his wifes hair and expresses his love and support for her. Traditionally in the seventh month of pregnancy Hindus have another ritual that is performed which would be compared to a modernized Canadians version of a baby shower, this is called Seemantham. This event is organized by the family members and involves gift-giving and religious rituals. A prayer to fire is recited to sooth the expectant mother. Light instrumental music is played, and it is believed that this will refine the development of the babys ears (Hindu, 2012). During pregnancy the mother usually assumes a passive role and follows directions of the trained professionals (Leifer, 2011). During all examinations and the actual birthing process a female couch is usually preferred and they value the teachings of professionals. While the woman is in labour, her head is usually covered and if any examinations are to be done to the mother the husband must always be present. Rituals immediately following the birth of the child are practiced as well. Prior to the cutting of the umbilical cord, the father may touch the babys lips with a gold spoon or ring dipped in honey, curds and ghee. The word vak (meaning speech) is whispered three times into the right ear, and mantras (prayers) are chanted (Leifer, 2011). This ritual is normally called Jatakarma and is viewed as a sacrament or samskar. This ritual is given by the father to welcome and give blessings to ensure a long life, peace and to continue the generation of talent for the newborn child. After the newborn is delivered the sex of the child is not revealed until the placenta is delivered. This information is with-held to delay stress of the mother if the gender of the child is not of her preference until after the placenta is delivered. One of the last rituals in this category includes the performance of Namakarana (a ceremony done to name the child). This is held between the tenth and forty-first days of life. This particular ceremony marks the childs formal entry into his or her seat of Hinduism. Names are chosen according to astrology (BeliefNet, 2012) and a consultation is done in deciding the name of the child and usually names of Hindu gods or goddess are chosen and preferable. Hindus believe this tradition is special and a blessing because you will have an added benefit of remembering how your child was named. Infant Feeding Typically a newborn baby in the Hindu culture is breastfed; the belief is that by feeding the child breast milk, mothers are worshipped by the Hindu goddess Durga (the mother goddess). It is believed that breast milk is thought to have special powers which are in their religious text as the Sushrauta Samhita. These texts also recommend delaying breastfeeding until true milk comes in. (McKenna, 2009). Following religious beliefs a mothers colostrum and prelacteal feeding is discarded. Among some Hindus colostrums is discarded because of a belief that its thickness and viscosity may be difficult for the newborn to swallow. Also, there are beliefs that the first breast milk is stale or old from being stored in the breasts for the duration of the pregnancy (McKenna, 2009). Mothers ensure that their breasts are washed and all colostrums are discarded for the first day until the true milk comes in. Hindus also believe that by discarding the colostrum they are purifying the tubes of the mot hers mammary glands. Prior to the mothers giving their child the true milk, Hindus give prelacteals which their religious beliefs and cultural backgrounds state they are to have positive effects on the babys gastrointestinal and genitourinary systems. Hindus use prelacteals like honey and ghee, which are thought to evacuate meconium, reduce colic and act as a laxative (McKenna, 2009). When the infant reaches an age of six or seven months an Annaprasana ceremony is performed for the first solid foods. Annaprasanas meaning is anna= rice and prasana= to enter, thus the reasoning why rice is typically the first food given, and is given at this ceremony. The difference of the month for the ceremony depends on the gender of the child. A girl childs ceremony is held on an odd month, while a boys ceremony would be on an even month. When a baby gets solid food for the first time numerous prayers are offered to the child. It is believed with Annaprasana that the flaws that arise due to intake of impure food are removed. At the ending of this ceremony different articles such as books, fruits, toys and money are spread in front of the child. The baby is allowed to touch these items and it is believed that what the baby touches first will be his interest for rest of its life. Post Partum Beliefs Typically in most Indian cultures after a baby is born there is a lot of family support for the mother and many believe that the baby is to be handled as little as possible to allow its spine to grow normally. For the post partum women sponge baths are usually done (Leifer, 2011) in the Hindu culture. Usually the woman who delivered the child is kept in seclusion for 40 days postpartum (Leifer, 2011). This time of seclusion allows for bonding of the woman and child and immediate family. After this bonding time is complete then other family, friends and presents are welcomed into the home of the child. A traditional art of painting the skin with Henna is also performed on the woman after having a baby. Hennaing a woman after she gives birth is a traditional way to deter the malevolent spirits that cause disease, depression, and poor bonding with her infant. The action of applying henna to a mother after childbirth, particularly to her feet, keeps her from getting up to resume housewor k. A woman who has henna paste on her feet must let a friend or relative help her care for older children, tend the baby, cook and clean. This allows her to regain her strength and bond with her new baby (Cartwright Jones, 2002). Personal Reflection The process and importance of having a child in the Hindu religion really intrigues me. Although every culture finds importance and happiness in the process of a new child being welcomed into their family, the Hindu religion has opened my eyes into how special and meaningful this process can be. All the ceremonies and special activities that are done to embrace this beautiful time in life made me wish some of these special events were incorporated in modernized Canadian cultures. I truly believe that having this much culture and religious belief incorporated into having a child makes it even more special. It is very important as a nurse that you take the time and consideration to value all the different areas that cultures around the world celebrate and embrace different parts of life, such as having a baby. As a nurse you must be respectful of each and every persons beliefs and be culturally aware that every person regardless of race, color or culture may choose to embrace this part of life in their own way. It is the responsibility of the nurses and health professionals to make this the best possible experience for them and in turn being respectful to their wishes, regardless if they are different than your own.

Impact of Social and Sexual Changes on Art

Impact of Social and Sexual Changes on Art Hair has traditionally been cited as a discernibly female expression of sexuality and beauty, an aesthetic composition that exacerbates a womans ability to attract members of the opposite sex while acting as a visual demarcation line between the male female divides. Conversely, the fact that men often begin to lose their hair during the middle stages of their life adds further mystique to the power of female hair in popular western culture. Like her sexuality, a womans hair is unrelenting burning bright like the female passion that has so unsettled male artists for centuries. Symbolically, the difference between male and female hair has been ephemeral versus eternal; short lived as opposed to everlasting, a fantasy constructed entirely in tandem with a lack of knowledge or even interest in female sexuality within intellectual and artistic circles in the past. The notion of female hair working together with her sexuality as a tool to make a mockery of men was first cemented artistically during the ancient era, where Greek mythologys most famous exponent of the power of seduction of female hair, the Gorgon Medusa, stands as a warning to all men: to beware the hidden power of a beautiful woman. The punishment inflicted upon Medusa by the Goddess Athena because of her famous beauty and charm was to transform her sensual hair into a nest of snakes: for mortal man to even look at her would cast him, quite literally, into stone. With such a powerful, traditional starting point, it is little wonder that the issue of women, hair, art and society would continue along a broadly similar pattern for so many years, where stereotypically beautiful women were seen by men as constituting the front line of the ongoing cultural and sexual war – an object to be simultaneously admired and feared. However, according to James Kirwan (1999:73), it is not female sexuality which is destructive but rather male desire for that beauty. â€Å"The passion of the lover is not extinguished by the sight or touch of any body, for what he truly desires and unknowingly suffers is the splendour of God shining through the body. It is a desire like that of Narcissus that can never be satisfied.† Within the specifically subjective realms of art and visual art, female hair has a long history of conforming to the accepted image of the compliant, recipient woman due to the pervasive, dominant nature of men in art and society. Until the second half of the twentieth century women had become so accustomed to viewing their world through the eyes of men that they had lost sight of the individuality of women as a separate gender and as singular, autonomous human beings. Yet after the 1960s, visual art and aesthetics became increasingly interested in the views of the first wave of feminism, continuing along more radical, left wing lines with the introduction of the second wave during the 1970s. Women were embraced within the artistic community and encouraged to vent and express their sentiments regarding the suppression of the feminine in popular culture. As feminist critic Lucy Lippard (1980:352) details, the true power of feminist art was, logically, in the polar opposite image that it portrayed of modern societys creative achievements. â€Å"Feminist method and theories have instead offered a socially concerned alternative to the increasingly mechanised evolution of art about art. The 1970s might not have been pluralist at all if women had not emerged during the decade to introduce the multi coloured threads of female experience into the male fabric of modern art.† Moreover, women began to change their appearance for the first time in direct protest at the shackles of uniformity that male society had put upon them and hair was at the centre of the re moulding of the image of femininity in the West. The more radical, younger women changed their clothes, re adapted their attitudes and cut their hair in line with the more liberal males of the period who did likewise and grew their hair as a signal of their refusal to conform. The dissertation aims to examine how traditional social and sexual mores have changed in recent times in order to detail what this means for the visual artistic community, in particular the consequences for female artists in the wake of post modernity. In light of the obvious split in feminist art and culture that has been witnessed since the sixties, the dissertation will necessarily be divided into four main sections. The first chapter will provide an analysis and definition of the broader socio political framework of contemporary female sexuality so as to provide a better understanding of the power of feminine symbolism in a male dominated culture. The second chapter will look at the history of female hair and portrayals of female sexuality over the broader history of art; the third chapter examines modern visual art and culture paying particular attention to the use of hair as a medium for communicating with the spectator. The fourth chapter will analyse outsider arts views of female sexuality and hair, as defined by technology and race respectively. A conclusion will be sought only after taking into account each of the above headings as well as the necessary citations that must be employed to back up theory with example along the way. Contemporary Female Sexuality in Post Modern Society Female subversion in cultural affairs has led to womans alienation in the creative world with the result that her sexuality has only very recently been considered important enough to be the inspiration behind a growing body of academic literature. While feminism in the 1970s saw to it that gay women were represented in culture and art as much as heterosexual women, the movement of lesbians into the avant garde community only served to act as a dividing line between straight and gay women whereby many heterosexual female artists were seen as traitors to their own sex. Recent popular works of art and literature have sought to re introduce complexity into an area where theories about the nature of sexual liberty, manufactured largely by men, had become overtly simplistic. The most extreme exponent of the contemporary debate about female sexuality comes from Paris Curator for Conceptual Art, Catherine Millet and her 2002 memoirs, The Sexual Life of Catherine M. In an interview with The Observer (2002:13) newspaper, the French art critic notes that: â€Å"Sexual mores have evolved recently; nevertheless some sexual practices are only tolerated if they are kept hidden. I look forward to a democratisation of sexuality where anyone can reveal their true nature without suffering socially.† Women in Western society have become more independent, assertive and culturally aggressive during the past twenty five years so that female sexuality, in 2005, although still a topic in transition, is a force to be reckoned with inside of the male corridors of artistic influence. Yet contemporary feminist art is an amalgamation and result of the prejudices and taboos that went before it; it is, therefore a symptom of post modernity the culture that defines itself as the generation after the initial social liberation of the sixties implicitly and intrinsically linked to both gender and sexuality. As Christopher Reed (1997:276) implies, feminism was the catalyst for the widespread disassociation that is at the root of post modern radicals ground breaking view of sexuality. â€Å"From the outset, postmodernism dislodged the wedge that mainstream modernism had driven between art and life†¦ feminists, in particular, questioned the way the anti authoritarian rhetoric of postmodernism seemed to become itself a form of cultural authority.† However, although it is true that women play a far more integral role than they did barley two or three generations beforehand, modernity has not constituted a complete break with the past. Modern art, as a direct relation of post-modern society, remains a sphere still largely controlled by men. What it has done is to ask questions where previously only traditional lines of argument were sought. In this way it can viewed as a series of separate branches that emanated from the same initial tree – creating seedlings of avant garde, abstract art, conceptual art, minimalist art and pop art to name but the most famous few. The sum of the legacy of the schism that occurred in society after the residue of the minor cultural revolution of the sixties had settled was a general approval of art as inversion: that what was previously long was short, that what was previously deemed as beautiful was altered until it became ugly – until, paradoxically, it was ultimately seen as beautiful once again. According to Donald Kuspit (artnet.com; first viewed 13 September 2005), modern and post modern art is obsessed with perverse images of sexuality as a source of constantly finding ways to push the barriers of societys rigid attitude towards sexuality and the physical form. â€Å"The treatment of (the body) as the be all and end all of existence, and the only thing at stake in a relationship is the source of modern arts perversion. It extends to a preoccupation with the body of the work of the art itself, which also becomes the object of perverse formal acts.† Postmodernism, therefore, implies rapidly increasing parity between men and women in all spheres of western culture best viewed in the sense of a blurring of the traditional boundaries of sexuality as opposed to a complete merger. At this point it should be noted that, in the same way that it was white males that dominated western art, so the feminists who influenced the first stages of avant garde art were predominantly white, educated and middle to upper class. The issue of race and religion is equally as significant in the discussion of feminism as it is within an analysis of society at large; cliques and hierarchies are a necessary by product of modern civilisation and their presence (and influence) should come as no surprise to basic students of sociology. Hair, every bit as much as skin colour, is a visible dividing line between the races and in the West the image of the Caucasian variety of female hair as a symbol of womens sexuality has resulted in a womans movement that is f ractured and splintered, more so given the brevity of the ideology as a whole. The essential link between culture and art, as well as politics and art means that nothing created during the early years of feminism was out of the reach of politicisation and none of it would have been made were it not for the wider advent of post modern society. Or, as Gombrich (1986:11) puts it: â€Å"not all art is concerned with visual discovery †. With the backdrop to the arrival of feminist sexuality and art in place, an evaluation of how one of the most potent symbols of feminine sexuality was used as a tool of womans subordination in art in the past must now be attempted. Female Hair, Sexuality and Symbolism in the History of Visual Art As already outlined, the question of womens hair and artistic expression is deep rooted in all civilisations. As well as the Greek and Roman equations of hair with dormant female sexuality, the pre Raphaelite artists also promulgated the view of feminine hair as seductive conqueror of weak male spirits. Late nineteenth and early twentieth century paintings continued to expand on the association of the snakes or ringlets of the Gorgons Head with male fear of female genitalia; the reversal of roles whereby the sinuous hairs of Medusa were inverted to symbolise the male phallic icon of power of women and nature. These notions were underlined by Freuds analysis that saw the intricate waves of classical female hair as symbolic of female metamorphosis and change – characterised by the uniquely female ability to transcend gender. According to Meghan Edwards (victorianweb.org; first viewed 15 September 2005), the Classical and Romantic image of the female using her hair to devour male libido was a collective and conscious manifestation of fear in Victorian society, one that was transmitted from the ancient period through to the advent of modern visual art. â€Å"The myth of women who carry in their femininity a grotesque vagina with teeth or who have embedded in their being a serpent or snake with the power to castrate took root long before Rossettis Lady Lilith but became increasingly unambiguous, bizarrely personalized, and widespread among the Symbolist poets and painters by the end of the [nineteenth] century. Visual and psychoanalytic connections between hair and serpents become increasingly explicit in Fernand Khnopffs The Blood of the Medusa, Franz von Stucks Fatality, and Edvard Munchs Vampire, wherein we see the complexity and ambiguousness that infused the imagery of earlier artists like the Rossettis, Waterhouse, Tennyson, and many others give way to an unrestrained fear and indulgence in the grotesque.† Rossettis Regina Cordium (Queen of Hearts), which he painted in 1860, began a period of change in artistic perspective on female hair, where it was accented as a means to communicate a womans ultimate fragility and dependence on man: the first realisation of her sexuality as the embodiment of mans annihilation and self destruction. Pollock (1992:132) notes how, â€Å"her hair is loose, a decent and suggestive sign of allowed disorder, conventionally a sign of womans sexuality.† It is of course significant that almost all of the most artistic and visual instances of female hair in painting were created by men. Many male artists, such as Manet, whos Olympia (1863 5) stands as the most obvious popular example, were non apologetic in terms of their bourgeois fascination with lower class women who were able to fulfil the well to do gentlemans most liberal carnal desires. As the prism through which both men and women viewed societys accepted ideal of the female form, these works of art (especially significant in the days before photography and other twentieth century means of visual communication) constituted the only truth that women knew. Artists of the Enlightenment such as Jean Baptiste Greuze, whos Broken Mirror (1773) charts the social struggle of sexually experienced yet single young woman, as well as High Victorian painters like William Holman Hunt, whos The Awakening Conscience (1853) details the plight and unique dilemma of a kept woman, all converged to create the prevailing image of female sexuality that remained the staple diet of western art for much of the twentieth century: a smouldering power that could be easily sedated by the socio political power of man. As Judy Chicago and Edward Lucie Smith (1999:88) testify, the fallen woman was the most popular portrayal of female sexuality for many of the male artists who dominated the pre twentieth century artistic arena with creators highlighting her essential weakness with a minimal visual emotional connection. â€Å"She is the one who has no way out, and the painter contemplates her dilemma with a sort of repressed sadism. With each one of these works one feels a conflict of intention. The artist, will ostensibly sympathising with the plight of his female subjects, in fact enjoys their suffering, and expects the audience to do so as well.† Where hair was employed as a tool to reference female sexuality, it was used to derisory and derogatory effect, as witnessed in the 1934 sculpture by Renà © Magritte entitled, Le Viol (The Rape), which transforms a mould of a womans torso into a distorted image of her face; her breasts are made into eyes, the hair covering her genitals becomes the mouth, while locks of coarse wavy hair protrude from the neck, conforming to the male stereotype of female hair as an instantly recognisable feature of her fertile sexuality. Clearly, female artists, although very much in the minority were by no means obsolete and painters such as Louise Marie Elizabeth Vigà ©e Lebrun, Rosalba Carriera and Angela Kauffman are but three of a long history of richly talented women artists who showed the intellectual and artistic communities the muted side of female sexuality, beyond the narrow conceptual borders imposed by man. However, in relation to the issue of hair as a vehicle through which to transport female sexuality to the viewer, few of these artists, male or female, made substantial in roads into a deeper philosophical exploration. It is important to note the significant socio economic shift that beset Europe and the United States after the end of the Great War in 1918. Because of their contribution to the labour force, in addition to the nascent political bodies such as the Womens Institute (founded in 1915) and the Suffragette Movement, females in the West were for the first time able to exist, albeit nominally at first, outside of the control of a patriarch. Gradually at first, more completely after the end of the Second World War in 1945, women were able to embrace independency, which necessarily brought with it tremendous consequences for the artistic community. Whereas women artists previously had to pander to male taste in order to sell as well as fund their work, women artists of the second half of the twentieth century were more able to create for the sake of creation as opposed to as a means to fit into male structured society. As Anne Sheppard (1987:97) details, the significance of the release of the socio economic weights of expectation inherently means that essence of the artistic endeavour must change. â€Å"Among an audiences expectations of a work of art are expectations concerned with artistic forms and conventions. The Greeks of the fifth century BC would expect a chorus in a tragedy. Shakespeares contemporaries would expect a Fool in a comedy. Mozarts contemporaries would expect harpsichord music to be played with trills and grace notes. Giottos contemporaries would expect saints to be painted with haloes.† As a broad rule of all artistic behaviour, artists had traditionally been bound by the expectations of the paying audience. Thus, the revolution concerning female sexuality and the way in which she has been visually portrayed came via economic emancipation first. Attention must now be turned to instances of female hair as a means of expression of sexuality in modern visual culture after the creative liberation of women. Female Hair as a Medium in Modern Visual Culture The above background to the advent of the age of modernity, and of the arrival and acceptance of women within the upper echelons of the artistic community in the West, highlights the male dominated nature of notions of female sexuality. Hair was expressed as one of the most seductive of all of womans charms – an intricate part of the parcel that was created by God solely for mans destruction. Even when woman is portrayed as life giver in art, the act is more often than not displayed as ugly and confrontational, as Jonathan Wallers Mother No. 27 (1996) testifies. Indeed, the ongoing negative reaction of museums to child birth and maternity reveals more about the still dominant attitudes of females as sex objects as opposed to life enablers – as destructive rather than constructive, which is to the detriment of the art community as a whole. It naturally follows that while the majority of the (male) art community continued to associate flowing female hair with her ubiquitous sexuality, women artists tied to the first and second waves of the international feminists movement would wish to convey a hidden, alternative image. One of the most universally celebrated of twentieth century female artists was without doubt Frida Kahlo. She is famous not only for the wealth of talent and technique that was at her disposal but also for her independent, analytical and honest view of women, given added significance due to her prominent position in Mexican society. Her self portrait with cropped hair (1940), which is housed in New Yorks Museum of Modern Art constituted the first mainstream attempt to castrate the pervasive female sexuality as characterised by the iconography of ubiquitous long hair. It should be recalled that this painting was created at a time when uniformity of sexuality was the cultural norm: women were meant to hav e long hair, which meant that the subtle question Kahlo posed to women who viewed it was magnified all the more. Two decades later, at the dawn of the watershed decade of the 1960s, the impact of the famous Beatles haircut, first styled and professionally photographed by Astrid Kircherr (who exhibits the cropped blonde look in a self photograph in 1961) was universal within western culture and was noteworthy for its inversion of traditional sexual roles. As, during the sixties, young men grew their hair longer so young women were more inclined to cut their own, highlighting a deliberate cultural means of rebelling against the tired sexual mores of the time. Gay women, in particular, began to associate short hair with sexual freedom. Although contemporary Western society views the stereotypical butch woman with short hair as symptomatic of the lesbian underworld, it was indeed a bold move in the sixties and seventies for a woman to cut her hair in such a symbolic gesture. In this way, women such as the avant garde artist Harmony Hammond (who famously came out via cutting her previously long, feminine hair in New York in 1974) were using their own hair and body image as their art, to make a statement that, visually and aesthetically, woman was no longer the lens through which man peered at his own vision of beauty. As per all cultural de constructions of popular mythology, the actual look of a womans hair was the only the first building block of conformity to be removed in the first phase of feminist expression. Harmony Hammond, furthermore, was one of the most prominent users of hair as an artistic material. Whereby hair was previously used to express female sexuality via depicting or painting the length, texture and contours, Hammond and the burgeoning abstract sect of North American artists sought to incorporate hair into their work to bring attention to the social and sexual constraints by which we all live. She used her own hair in the construction of a hair blanket as well as utilising animal hair to make hair bags. Hammond used materials such as hemp, straw, thread and braids to reference the equation of feminine hair with sexuality throughout her body of work. As Paul Eli Ivey (queerculturalcenter.org; first viewed 21 September 2005) explains, Harmony Hammond exhibited the greatest abil ity to manoeuvre female hair away from its association with beautiful heterosexual objects of male desire, combining ideology and aesthetics in a discernibly feminist manner. â€Å"In the 1990s, Hammond combined latex rubber with her own hair and the hair of her daughter or friends, to suggest landscapes of gendered and sexualised bodies. The braid and the pony tail also took on a life of their own as personified characters: the braid relating to an integration of mind, body, and spirit; the stylised ponytail becoming a flirtatious, sexualised persona.† Her sculpture, Speaking Braids, plays on the difficulty in forming a singular feminine voice in such a diverse culture, where lesbian and bisexual women still feel cut off from the socially acceptable heterosexual females of the twenty first century. The head is disconnected from the body, mirroring societys view of woman as an object of passive desire. The most shocking element is the vomit of light brown braids that extend from the remorseless face of the head of the woman, designed to engage the audience in contemporary thought about the disembodied cries of women to whom marriage and conformity are not available. Hair was therefore used to point out essential moral and ideological divisions within female sexuality and, according to Joan Smith (1997:165), the failure of society to recognise the fundamental differences amongst the various sectors of the broader female sex has been to the detriment of feminism and, ultimately, western culture as a whole. â€Å"Women are expected to be different from men but the same as each other. While there is general agreement that women are unlike men in numerous ill defined ways, there is enormous reluctance to accept the idea that women might not be broadly similar to each other. The issue that exposes this distinction most sharply is motherhood, so that a woman who chooses not to give birth is characterised not just as unnatural but as a traitor to her sex.† Mille Wilson is another feminist artist who has used the symbolism of hair to state a valid view on female sexuality by employing it as the central theme of persuasion. In her ambitious visual art project, The Museum of Lesbian Dreams (1990 2), Wilson speaks to her audience through the fetish surrogates of the typical view of the female body in this instance using female hair in the form of a series of womens wigs to underline the essential similarity of heterosexual and homosexual womans dreams and deepest aesthetic desires, relying on the long, luxurious manes of the artificial hair to symbolise the traditional notion of hair as standard bearer of vivacious feminine sexuality. As Whitney Chadwick (2002:396) notes in her expansive study of women, art and society; â€Å"her work articulates the historical inaccuracy, often absurdity, of social constructions of lesbianism within dominant heterosexual discourses. Such discursive formations often to work to fix identity within, and o utside, normative paradigms.† It should be apparent that much of the artistic arguments pertaining to female hair and sexuality emanate from the perspective of the historical outsiders, namely gay and bisexual women. All great art is created from passion and in terms of damaging sexual stereotyping relating to female icons of beauty the avant garde art community has felt the greatest reason to voice concerns over the prevailing attitude of society towards womens sexuality. However, the real outsiders within the broader feminine artistic debate need to be analysed in order to underscore how hair is culturally understood as one of the most important foundations of mainstream notions of female sexuality. Female Hair and Visual Expressions of Sexuality from the Perspective of Outsider Art Beyond the set boundaries inherent within sculpture and painting, photography and performance art have been the most likely to make a physical statement pertaining to female sexuality. Whereas most other forms of modern visual art minimalism, conceptual art and pop art concentrate on extracting the content rather than moving towards a lifelike representation of the female body, photography recreates the human form as an artistic facsimile. It must be noted that photography and visual performance art highlight the issue of female sexuality via concentrating on the entirety of the hair on her body as opposed to detailing only the stereotypical view of female hair emanating from her head. Indeed, no examination of the subject of sexuality and hair can be complete without an analysis of the art worlds view of female body hair per se, which is culturally speaking – hidden, shaved and moulded in a far more stringent and severe way than any style of hair upon the head, a fact that Germaine Greer (1999:20) expands upon. â€Å"Women with too much (i.e. any) body hair are expected to struggle daily with depilatories of all kinds in order to appear hairless. Bleaching moustaches, waxing legs and plucking eyebrows absorb hundreds of woman hours.† Feminist adherents in the art world have inevitably challenged the claustrophobic views of society towards female body hair with pictures created to shock and induce academic debate about a needlessly taboo topic. Sally Mann made a series of explicit photographs of herself and her daughters during the 1990s, including Untitled (1997), a photograph that focuses the viewer upon the dense vaginal hair of the artist, whose legs are spread open in a bathtub with the subtext of highlighting how women enjoy exactly the same bodily functions as men, however much society shuts itself off to biological reality. Moreover, by making the camera concentrate on the nexus of pubic hair the spectator is likewise advised to consider the cultural reasons as to why women must shave every other part of their body where hair grows naturally. The most shocking and moving of all photographic imagery involving female hair tied to the notion of sexuality is Hannah Wilkes self image taken during her demise from cancer, the disease having robbed her of her hair though not of her female organs, as the naked photo in a wheelchair, selected from the Intra Venus collection (1992 3), graphically illustrates. The power of the visual focus is centred upon the artists wish to show how hair does not make a woman feminine – and that the human spirit is more powerful than any facet of the physical body. Visual art enactment reserves the greatest power of persuasion and audience manipulation. Post Porn Modernism, a performance art show that was exhibited in New York in the late 1980s, is the most obvious example of a visual exposition of contemporary female sexuality devised to shock the audience, concentrating in this instance, on the artists pubic hair and genitalia. Playing on the historical artistic obsession with the female whore, Rebecca Schneider (1996:161) declares that Post Porn Modernism was merely another way to de mystify the myth of female sexuality, in particular highlighting the fragile nature of consumer capitalism where the prostitute is both buyer and seller merged into one. â€Å"In theory, the real live Prostitute Annie Sprinkle lay at the threshold of the impasse between true and false, visible and invisible, nature and culture as if in the eye of a storm. As any whore is given to be in this culture she is a mistake, an aberration, a hoax: a show and a sham made of lipstick, mascara, fake beauty marks, hair and black lace.† However, the art most likely to capture the absurdity of the persistent link between granted notions of female hair personifying womans innate sexuality is that which is created by African women: artists who have to cross strict racial as well as gender and sexuality lines in order to portray women from their culture in an aesthetically acceptable light. These women are the true outsiders of Western artistic expression. Leslie Rabine (1998:127), for example, declares that: â€Å"western slave culture and economics invested the arena of skin, hair and make up with political struggle,† with the result that African women born in the West have had their body image dictated by colour and gender, which creates a kind of schizophrenic effect on the black women to the extent that the naturally curly, short African hair has been usurped in fashion by wigs, extensions and artificially straight hair. Typically, it has been left to the avant garde community to ignite the backlash against the marginalisation of black female sexuality. Alison Saar, daughter of African American feminist artist Betye Saar accented the widely accepted view of natural black female hair as the cultural antithesis to feminine sexuality in her sculpture entitled, Chaos in the Kitchen (1998). Saar used coarse iron wiring to mimic indigenous African hair, on top of a female face that has been deliberately denied eyes to highlight the cultural blind spot that black women have towards their own vision of female beauty. She means to state that, in attempting to copy white mans image of feminine beauty via hair, black women have only succeeded in hollowing out their historical selves. African American artist and photographer Renà ©e Cox made an even more challenging alternative to the prevailing paradigms pertaining to female sexuality and race when she made, Yo Mama (1993). The photograph places the artist standing up naked except for Western high heels the stereotypical twin symbol of hair as the autograph of heterosexual female sexuality. The hair on he

Universal Issues in Education Essay example -- Argumentative Persuasiv

Universal Issues in Education Many universal issues in education are a major concern for our country today. The principles defining education, how children are raised, the grave impact of technology, and the way minorities are treated and perceive themselves are all issues for us to be alerted about. Teaching and learning have been an important issue since human existed in this world. What is "teaching and learning?" According to the Oxford dictionary, "teaching" is the process to cause somebody to know or to be able to do something, and "learning" is the practice to gain knowledge and skill. In Paul Goodman' s opinion, the schools are only a therapeutic halfway house for young kids. And Ralph Waldo Emerson refers that "universities are, of course, hostile to geniuses." In general, education is to help young people adapt to this society and perform well. The manner in which children are raised affects the development and growth of a child trying to learn in school. In, "Zen and the Art of Burglary", a father feels he must lock his son in a trunk in order for his son to determine how to secretly escape and master his father's skill. The son finally acquires the skill, but he had to experience the actual deed, first. Sometimes, kids need to venture through a certain act, so that they eventually understand how it works (Fa-yen). Another concern in raising children deals with what they pick up from adults. Moral intelligence is learned from other people. Children are constantly observing grown-ups, and in turn, begin imitating their behaviors and mannerisms. Kids begin to pick up skills on day one. Parents are capable of teaching their children about wishing and yearning, as well as coping with disappointment. During a ... ...duced to a new field of study. Finally, education should help to build a good social identity for people as well as maintaining their own heritage. Bibliography 1. Gelernter, D., "Unplugged". The New Republic. 1994. 2. Goodman, P. Little Brown Reader. Pg. 358. 3. Emerson, R.W. Little Brown Reader. Pg. 361. 4. Fa-yen,W. "The Sayings of Goso Hoyen". Buddhism in China. 1964. 5. Coles, R. "On Raising Moral Children". The Moral Intelligence of Children. 1997. 6. Stoll,C. "Invest in Humanware". The New York Times. 1996. 7. Bambara, T.C. "The Lesson". Little Brown Reader. Pg. 442. 8. White, M. "Japanese Education". Little Brown Reader. Pg. 396. 9. Belencky, M.F., McVicker, B., Goldberger, N.R., Tarule, J.M. "How Women Learn". Women's Way of Knowing. 10. Shen, F. "The Classroom and the Wilder Culture". Little Brown Reader. Pg. 417.

Anthropologie du Bo (Théorie et Pratique du gris-gris) :: French Essays

Anthropologie du Bo (Thà ©orie et Pratique du gris-gris) ABSTRACT: Subjective knowledge should not be separated from anthropology. But, unfortunately, this is the prevailing practice. The anthropology of Bo expresses the presence of Africa in anthropology. The authenticity of the African is found in his fervent practice of Bo. His thought, action, relations with others-his entire way of life-is based on the practice of Bo insofar as he wears Bo names. Bo is deeply rooted in his cultural values and comprises the background for all social organizations and thus acts as a social regulator. In Western anthropology there is a scientific mind; in African anthropology there is a Bo mentality that attempts to understand the world and then conquer it. Problà ©matique Le premier devoir de l'homme selon Socrate, est de se connaà ®tre soi-mà ªme. De philosophique cette connaissance est devenue anthropologique de nos jours. L'anthropologie est une science qui tend à   l'exclusion des autres, des autres hommes, des autres socià ©tà ©s, des autres cultures. L'homme qu'elle connaà ®t n'est pas un à ªtre abstrait, mais un homme concret, de tel continent, de telle race, de tel pays, de telle culture. C'est par exemple l'africain en gà ©nà ©ral ou le bà ©ninois en particulier. Ainsi nous allons au cours de ce vingtià ¨me (XXà ¨me) Congrà ¨s Mondial de Philosphie, rà ©flà ©chir sur l'homme en nous appuyant sur sa pratique du Bo (concept fon traduit en franà §ais par gris-gris). Dans l'Homme et l'adaptation au milieu, Renà © DUBOS à ©crit à   la page : "On a gà ©nà ©ralement tendance à   considà ©rer que les actività ©s scientifiques (recherches, etc...) sont à   mettre à   part de l'ensemble des manifestations de la vie humaine, et mà ªme qu'elles sont au-dessus ; cette tendance est dangeureuse pour l'humanità © ; elles risque mà ªme de freiner le progrà ¨s scientifique. En fait, vu les rapports à ©troits qui existent entre l'entreprise scientifique et la totalità © de la vie sociale, il est probable que la poursuite de la science ne sera possible que si les savants parviennent à   rattacher leur curiosità © professionnelle aux intà ©rà ªts et aux aspirations de l'humanità © en gà ©nà ©ral... Le choix des priorità ©s ne pourra plus se faire uniquement selon les crità ¨res de prà ©fà ©rence presonnelle ; de plus en plus il sera fonction des exigences de la socià ©tà ©. La science est comparable à   un organisme qui ne peut survi vre qu'en s'adaptant à   l'à ©volution de la socià ©tà © au sein de laquelle elle fonctionne". Cette longue citation de l'anthropologue amà ©ricain à ©claire d'une lumià ¨re vive nos prà ©occupations dans le choix de notre sujet "ANTHROPOLOGIE DU BO" (thà ©orie et pratique du gris-gris).

Art of the United States

Art of the United States Out of all the works of art with in the Art of the United States exhibit in the San Diego Museum of Art in Balboa Park, Shipwreck by Thomas Doughty really made an impression on me. It is a 25 x 30 ? in. oil on canvas. The reason this painting caught my eye is because it has two especially unusual qualities. First, Doughty rarely painted seascapes, and his paintings usually focused on the lyrical aspects of nature rather than the threatening ones. Shipwreck was composed in the artists studio from elements borrowed from different locations. The painting is symmetrical with trees blowing in harsh winds on either side. The swaying trees seem to barely be holding on to the rocks on which they stand. Ominous clouds lurk in the distance that augment terror that the crashing waves bring to the viewer. Just beyond the vanishing point of the ocean, a horizontal line of reddish yellow breaks up the dark color of the ocean and the clouds. The gentle blended lines seem to celebrate the wilderness of the United States during the eighteen hundreds. The curved lines strengthen the movement of the ocean and the clouds. The color scheme seems to be unified and the overall dullness and darkness of the painting intensify the violent and even theatrical depiction of a storm. There is a tiny figure that stands both at the center of the storm and at the center of the painting. I think the artist painting this painting because wants viewers to be able to identify with the miniature central lone figure. He stands alone and helpless; watching the ship break against the rock just offshore. It appears he is watching the figure immediately to his right struggling in the rampant surf. During the 1800’s shipwrecks were very common and many people could easily have identified with the tiny figure standing in the midst of the raging storm. The painting evokes both awe and fear in me. The rash of mother nature seems to be unstoppable.

Purpose, Audience and Tone

This essay offers explanation to Mahmoud Darwishs, A Gentle Rain in a Distant Autumn. We will go through analysis on what hes try to tell us, who he is trying to maunder to and how hes accepting this message. A Gentle Rain in a Distant Autumn is mainly about three matters. The Poets feelings and emotions towards the role in paradise and how he relates to it, the actual situation in Palestine and his one and wholly liking. The poets purpose is to take us on an emotional Journey of his melancholy victimization childlike terms intertwined together to spring metaphors and imagery hat best portraying the morbid and sad image of Palestine.He is addressing anyone who has phylogenetic relation towards the subject of Palestine or otherwise. First, he talks about a major(ip) sadness in his poem A gentle Rain in a distant autumn (01 which symbolizes the destruction of nature, the terminal of his own country. A thoughtful sadness, sorrow and sorrow through the loss of Palestine do minate. Palestine remains a retention for the author, a distant memory, a eccentric that is losing, because of the row he uses running away (14), the birds fetch flown to lime which will non withdraw (35),A kiss sent in the post (40).He even goes further to crush out the beauty of his hometown birds are blue, blue (2), windows are white, are white (11) still in a sad manner followed by how demolished it is directly my country is the blessedness of being in chains (39). thither is a sense of imprisonment and lost(p) lives in the poem that describes Palestine straightaway as a country in chains(39), seller of aspirin and death(24YSlaughtered (42). He mentioned his dead a fetus (26) which means he is dead earlier having the chance to live because of his sadness to his ountry.Throughout his poem the poets repetition of metaphors is not for poetrys sake only. It is for us to understand how persistent he is, and what he really wants. He mentions his only desire or all that h e wants now is his grows handkerchief. A mother could neer imply anything that is not positive. A mother is another symbol of home and security. He only wants to live through this. He doesnt want anything else. He realizes that his country is in chains and he might not be able to help habituated that is country doesnt listen to him from the country thats disregarded the speech of the distant ones (28).Darwishs imagery and stones throw are so powerful he was able to make the reader analyze eye-to-eye what he wants us to live. Once you go through the poem, you are already in a state of surrender and silence. You valuate the severity of the situation and his emotional behave back towards it. Its not one that is job for all people to stand up and fght. It is rather the acceptance of what is with a dandy deal of nostalgia to the past. It is also powerful because I was able to live his experience y Just reading his words.His words were simple but they went beyond its evident re st to serve the poet a favor to deliver his message easily but with a lot of power because his images resonate. In conclusion, the poet took us on a Journey of emotions. We entangle the highs and lows. We were able to see through his committal to be true to form, to share with us his own perception of reality with a dominant surge of sad imagery. His gentleman will always be his words tn best describe his images and the Palestine ne will always love. at

Da Vinci’s Mona Lisa and Warhol’s Marilyn Monroe Paintings Essay

da Vinci DaVincis Mona Lisa is iodine of the near well-known flicks in the world. Show anyone from a 60 year old man to a 10 year old girl a generate of the de gentle windation and, around wish wellly, they give be fitted to name the ikon as well as the painter. While well-nigh speculate that DaVincis painting is the well-nigh famous of all scored, some of Andy Warhols paintings ar excessively easily recognizable. Almost e tangibleone has seen the Campbells Soup Can series Warhol pied or his famous Triple Elvis print. This paper ordain be focusing on his Marilyn Monroe series, which I will be comparing and tuneing to the Mona Lisa. There atomic number 18 more obvious differences between the ii paintings, such(prenominal) as the time period, food colour scheme, emphasize and display case matter. My goal is to also point reveal round similarities such as their call of report, recreations, fame, and prominence in society.One of the study contrasts between the 2 deeds is the history kittyful the paintings. Andy Warhol was give tongue to to be fascinated with the actress Marilyn Monroes sup be suicide in prideful of 1962. Warhol proved the Proverb, Good men must die, just now death cannot kill their names to be true, qualification his Marilyn Monroe series one of his most famous arrive ats. Warhol bought a publicity still of Marilyns 1953 movie Niagara, cropped it, increase the verbalism, and reproduced it on eight different canvases. Each painting was given a different rubric scheme. These paintings were the st artistic creationing line solo exhibition for Warhol. The most famous of the series, corn Marilyn, was bought and kept in a private order of battle until 2007.While the subject of Warhols painting is developedly well known and easily recognized, the subject of Leonardo DaVincis Mona Lisa was most likely commoner, and in that respect be many different theories of who the cleaning adult femalehood could be. Some say the fair sex is DaVinci himself, in womanhood carcass. Others say it could be Lisa Gherardini the wife of a wealthy businessman in Florence, Italy named Francesco Del Giocondo. DaVinci was commissioned to paint the Mona Lisa in 1503, and worked on it for quartet years before it was finished. DaVinci kept his painting for sweet of a season before he sell it to the King of France, King Francois, in 1516. (Mona Lisa. Lairweb.com. N.p., n.d. Web.) After the french Revolution, the painting was moved to the Louvre, where it remains today.The history behind the paintings also point out several to a greater extent differences. There is only one Mona Lisa, spell Warhol created many Marilyn paintings. The time period when the two painters lived was decades apart. DaVinci was alive from 1452-1519, while Warhol was born in 1928 and died in 1987. While Warhol was strictly an artist, DaVinci spent time as a mathematician, engineer, writer, and geologist as well.The two mens so rts of painting were truly different as well. DaVinci painted in the panache of chiaroscuro, the use of strong contrasts between get down and dim, and sfumato. Sfumato is created by painting a color that turns slowly from light to morose tones to give off a kind of misty glow or smoky mystery. Andy Warhol was a major part of the Pop art movement. Jennifer Rosenberg of About.com quoted set off art as being, a new style of art that began in England in the mid-1950s and consisted of realistic renditions of popular, and universal items. (Rosenberg, Jennifer. Andy Warhol. About.com 20th Century History. About.com, n.d. Web. 16 Dec. 2012.) Warhol apply silk-screening to create Marilyn Monroe. Warhol is quoted as formula, In August 62 I started doing silkscreens.I wanted something stronger that gave more of an assembly line effectyou pick a photograph, blow it up, lurch it in glue onto silk, and then roll ink across it so the ink goes through the silk just now not through the gl ue I was excite with it. When Marilyn Monroe happened to die that month, I got the idea to make screens of her lovely touch modality the first Marilyns. (Andy Warhols Marilyn Prints. Andy Warhols Marilyn Prints. food colouring Vision and Art, n.d. Web. 16 Dec. 2012.) DaVincis painting was imperfect for the time. The traditional paintings of his time were of a head and shoulders portrait, in a truly rigid or posed rate.The Mona Lisa is painted all the office down to her hands, and she attends to be in a very comfortable, relaxed pose. Her pose is very linear, which conveys a sense of formal and dignified ideas. (ROEMER, CK. feel at broad Art Practice. Http//www.studiocodex.com. N.p., 2007. Web.) This would be bewitch if this woman is the wife of a wealthy man, which is one of the speculations of the womans identity. Andy Warhols painting, on the new(prenominal) hand, come alongs almost regressive. Only Marilyns slope is providen. She is depict with a very serious ex pression, and is very artificially posed. This counts to project a sense of excitement or disorder, which represent Marilyns life very accurately.The two subjects of the painting argon very different in appearance as well. The Mona Lisa has no makeup on. She is urbane very plainly and does not seem to be wearing any jewelry. Marilyn Monroe has a lot of physical composition on and has her blur curled and styled. Marilyn seems to ca-ca a haughty or annoyed expression on her face, while Mona Lisa is smiling slightly and seems to be euphoric and content. other major difference between the two paintings is the use of color. The Mona Lisa is depicted in very common tones. The tan color of the flesh seems terminalr to the viewer, while the muted browns, greens, tans, and blues seem to fade into the terra firma. DaVinci used light and spicy colors to highlight sure parts of the painting, such as the womans face and hands.The color sicktte is what would be judge if this was an ac tual photograph. Andy Warhols Marilyn is the complete opposite of the Mona Lisa. none of the colors are natural, except, maybe, the makeup, and can appear shock to the center field at first glance. All aspects of the painting are bright nerve centres, lips, middle shadow, and sensory hair. Warhol painted Marilyn in ten different color combinations with 250 of each color variation. (Henry. Henry On Pop Art. Henry On Pop Art N.p., 08 Aug. 2011. Web. 16 Dec. 2012.)While the actual colors used in the paintings are very different, the counseling the painters used the colors brings out a relation in the two. Mona Lisa is dressed very dark and her ill face is framed by dark hair. The light colors used in the background seem to bring the woman to the front of the painting. This was most definitely done on purpose by DaVinci. He wanted the viewer to focus on Mona Lisa. The same can be said of Warhol. He uses a bright contrasting color for his background of Marilyn Monroe. Although th e background color almost always matches that of Marilyns eye shadow, the background contrasts with the rest of the painting, bringing the face towards the viewer.The use of line in both paintings is also similar. No brush strokes are visible in either painting, and appear a bit foggy. The Mona Lisa is this way due to the technique, sfumato, discussed earlier. In Marilyn, it is hard to pick out a defined line in her hair, for simulation. The lines in DaVincis paintings are the same, flowing from one to the other. The Mona Lisa is blend so well that each section seems like a part of the next.The background of the Mona Lisa is a landscape painting with a river, bridge, trees, grass, and mountains. The view seems to go on forever, and there is no real focal point in the background. The backgrounds purpose in this painting in unknown, some say it is to contrast the peaceful look of the woman with a foreboding background. Others think it could have been as wide as DaVinci practicing wi th landscapes. Unlike Mona Lisa, the backgrounds of the Marilyn Monroe paintings are a solid color. The background contrasts dramatically with the colors in the actual face. The background pulls the viewers eye to Marilyns face, instead of something that could be happening in the background.Symmetry is another example of a way the two paintings are alike. The shape of the Mona Lisa is very symmetrical. The woman is sitting straight and a straight line down the middle of the painting would show touch parts. The womans body is a trilateral shape, with the tops of her legs and hand forming the base, and her head becoming the point. Her face is very circular, and the smile she displays is an arch of a circle. (Roemer, CK. flavour at Great Art Practice. Http//www.studiocodex.com. N.p., 2007. Web.) Warhol gives his Marilyn Monroe paintings a astute heart shape with the curves created by her hairline. The painter, like DaVinci, uses simple shapes as well, such as the half-moon of her e ye shadow, or the slight triangles of her eyebrows, which also shows symmetry.DaVinci creates a feeling of depth and space in his painting. The fact that the woman is taller than the mountains in the background suggests that she is seated very close to the viewer, while the mountains are in the distance. The detail of the pleats in her skirt, the individual pieces of hair, and transparent veil that covers her head are small details that make the woman seem closer to the viewer. The walking paths and streams of water leading up the painting make the eye move upwards, and form a sense of continuous forest. The viewers go out that the landscape goes on for quite a while. (Roemer, CK. flavour at Great Art Practice. Http//www.studiocodex.com. N.p., 2007. Web.) In contrast to DaVinci, Warhol used space by placing Marilyns face in the middle of the painting. There is no real use of depth in this painting, because of the plain, contrasting color background. She almost appears to be comple tely flat against the surface.The eye is immediately drawn to the face in Marilyn Monroe. As mentioned above, the contrasting background color pulls the face forward, devising the viewer notice her first. The same can be said of Mona Lisa, making focal point a similarity of the two. The woman in Mona Lisa is the biggest part of the painting. Her pale face offset by her dark hair and clothes draws the viewers eye to her. The position of her hands is right below her face, which also serves as a line to the focal point.The use of caryopsis is somewhat absent from Warhols painting, while the Mona Lisa is right of texture, another difference in the paintings. The folds in the womans dress make the painting seem more realistic, while the uneven and sharp edges of the mountains in the background contrast nicely with the smoothness of the womans face and hair. The womans strip also has a dotted affect which makes it seem more lifelike, instead of Warhols Marilyn that seems fake and unre alistic.The use of value plays a huge role in both paintings. DaVinci uses abrupt changes in value The pale skin of the woman face and hands against her dark hair and dress. He uses the same type of changes to show the wrinkles on the fabric of her vestments. (ROEMER, CK. Looking at Great Art Practice. Http//www.studiocodex.com. N.p., 2007. Web.) Andy Warhol uses value changes in the brightness of Marilyns hair against the darker background. The black tones used underneath her hair are darker than the color of her somewhat pale skin.Another similarity is the massive amounts of recreations or paintings based on the same subject. Many artists has done their own magnetic variation of the Mona Lisa, making her their nationality, fat, and even making her another somebody altogether. Many artists have also taken Marilyn Monroe and painted her their own way.Both paintings still play a huge role in society today. You can buy phone cases, laptop skins, and even clothing with a picture of t hese paintings. Replicas of both paintings can be seen hanging on walls of homes, restaurants, and art galleries. Mona Lisa and Marilyn Monroe are both easily recognized and correctly identified in todays society.A final similarity between the two paintings is the significance they both play in their style of art. Leonardo DaVincis Mona Lisa is said to have become the prototype for Renaissance paintings. (Lorenzzi, Rosella. Mona Lisa. Mona Lisa. N.p., 16 Jan. 2008. Web. 16 Dec. 2012.) Andy Warhol was affectionately known as the pontiff of Pop, and his Marilyn Monroe series came to be one of the most well-known and popular works of pop art in his time. The final difference between the two, and most interesting, is that Warhol recreated DaVincis Mona Lisa in his own style position 30 Mona Lisas in one silk screen. Warhol is quoted as saying 30 is better than 1. (Rose, Millie. Postmodernism. Andy Warhol. N.p., 08 Nov. 2010. Web. 16 Dec. 2012.) The Mona Lisa is said to have been a ma jor inspiration to Warhol, and he was honored to be able to have his own whirl on this iconic painting. Obviously Warhols work did not influence DaVinci because of the time frame.While the differences furthest outweigh the similarities, both paintings are brilliant. Warhol was a major influence in the pop art world, and his paintings are still being used in many forms of advertising today. DaVinci is said to have been the ultimate example of what a portrait should be, and without a doubt, he has influenced many of the other famous painters today. Both men, while their styles couldnt have been anymore different, have two of the most famous names in the art world.* Esaack, Shelly. gamboge Marilyn, 1962. About.com Art History. N.p., n.d. Web. 16 Dec. 2012. * Mona Lisa. Lairweb.com. N.p., n.d. Web.* Rosenberg, Jennifer. Andy Warhol. About.com 20th Century History. About.com, n.d. Web. 16 Dec. 2012. * Henry. Henry On Pop Art. Henry On Pop Art N.p., 08 Aug. 2011. Web. 16 Dec. 2012. * RO EMER, CK. Looking at Great Art Practice. Http//www.studiocodex.com. N.p., 2007. Web. * Lorenzzi, Rosella. Mona Lisa. Mona Lisa. N.p., 16 Jan. 2008. Web. 16 Dec. 2012. * Rose, Millie. Postmodernism. Andy Warhol. N.p., 08 Nov. 2010. Web. 16 Dec. 2012.