A Biography of US Senator Rand Paul

A Biography of US Senator Rand Paul Rand Paul is a Republican United States Senator from Kentucky with conservative-libertarian view points, and the son of former Congressman and regular presidential candidate Ron Paul. An eye doctor by trade, Paul has been married to his wife, Kelly, since 1990 and together they have three sons. While Paul has limited political history, he was a frequent campaigner for his father and also the founder of a pro-taxpayer group in Kentucky, Kentucky Taxpayers United. Electoral History: Rand Paul has a very limited political history and did not make a run for political office until 2010. Although he started as a double-digit underdog to Trey Grayson in the GOP primary, Paul took advantage of the anti-establishment sentiment within the Republican Party and was one of many long-shot outsiders to oust GOP-backed candidates. With the backing of the tea party, Paul went on to defeat Grayson 59-35%. Democrats believed they had a decent chance in the general election against Paul due to his lack of political experience. They party picked the fairly popular state Attorney General, Jack Conway. Though Conway led in early polling, Paul went on to win by a fairly comfortable 12 points. Paul was backed by most conservatives and tea party groups, including Jim DeMint and Sarah Palin. Political Positions: Rand Paul is a conservative-libertarian who is ideologically-aligned with his father, Ron Paul, on most issues. Paul is staunchly in favor of states rights on most issues and he believes that the federal government should only legislate where it is constitutionally authorized to do so. He believes hot-button issues such as gay marriage and marijuana legalization should be up for each state to decide, which also seems to be an emerging opinion within the conservative movement. Paul has also been a major figure in minority outreach and a major proponent of criminal justice reform. Rand Paul is pro-life, which is perhaps where he deviates most from the larger libertarian movement. He opposes federal funding of almost everything, including abortion, education, healthcare and other extra-constitutional issues that are meant to be handled by each individual state. The main area of concern for conservatives regarding Paul is on foreign policy. While Paul is clearly on the less interventionist and less activist scale of foreign policy, he is not quite the extremist his father was on the issue. He is strongly opposed to NSA spying programs. 2016 Presidential Run: Picking up where his father left off, Rand Paul announced a run for the 2016 GOP nomination for President. While he started off with decent numbers, his popularity took a dip as he suffered a handful of poor debate performances. While his father often occupied the wild outcast role in presidential elections, Rand Pauls more measured approach actually seems to have hurt him. The anti-establishment crowd drifted away from the Ron Paul/Rand Paul side and over to Donald Trump and Ted Cruz, both who have out-maneuvered Paul. His foreign policy views have also become a liability as the Republican Party has shifted back to a more hawkish stance following the off-hands approach of the Obama White House. This has led to the occasional back-and-forth between Paul and fellow contender Marco Rubio, who has typically came out for the better. Financially, the Paul campaign has struggled and it has remained in the bottom rung of candidates. His polling has also lagged, and he has constantly struggled to remain above the debate threshold. Some Republicans have called for Paul to give up on the race and instead focus on his 2016 Senate run as they fear he is wasting valuable resources while damaging his personal popularity.

Programming and Developer Certifications

Programming and Developer Certifications As a professional programmer or developer, you can advance your career by earning professional certifications in your field. A certification from one of the big names in the business verifies your skills to current and future employers, so check out some of the many certifications available. Brainbench Certified Internet Professional (BCPIP) Brainbench offers certifications in three areas: Web Developer. Requires instruction and tests on HTML, Programming Concepts, RDBMS Concepts and Web Development Concepts plus four electives are chosen from more than 70 areas of specialization.  Web Administrator. Requires instruction and tests on Internet Security, Network Monitoring, Networking Concepts and Web Server Administration plus two electives chosen from 25 areas of specialization.Web Designer. Requires instruction and tests on HTML 4 and HTML 5, Web Design Concepts and Web Design for Accessibility plus two electives chosen from more than 35 areas of specialization. The certifications are structured to allow participants to choose a certification program based on their job requirements and skill sets. The program is offered online. CIW Certified Internet Webmaster Certifications The CIW Web Development Professional Certification includes front-end scripting language, back-end programming language, and database skills. CIW Web Foundations Associate Certification fosters an understanding of internet business, website design, and data networking.   Microsoft Certifications Microsoft revamped its popular Microsoft Certified Solutions Developer certification in early 2017. At that time, its five credentials- Web Applications, SharePoint Applications, Azure Solutions Architect, Application Lifecycle Management and Universal Windows Platform- were condensed to two new certifications: MCSE: Cloud and Platform Infrastructure. This certification  verifies that the recipient has the skills to run an efficient and modern data center. The training includes cloud technologies, identity management, systems management, virtualization, storage, and networking. Prerequisite: MCSA certification in Windows Server 2016, Cloud Platform, Linux on Azure or Windows Server 2012.MCSD: App Builder. This certification verifies the recipient has the skills needed to build mobile and web applications and services. Prerequisite: MCSA certification in Universal Windows Platform or Web Application. In addition to these certifications, Microsoft offers many other certifications in the fields of mobility, productivity, data, business, and databases.   Learning Tree International  Certifications Learning Tree International offers Specialist and Expert Certifications- each of which requires completion of several courses- in areas that include: Cloud ComputingCyber SecurityJava ProgrammingPython ProgrammingMobile App Development.NET/Visual Studio DevelopmentNetworking and VirtualizationSQL ServerWeb Development Each class lasts four or more days. Participants can attend the live, instructor-led course online. Each topic  has its own specific requirements, which are viewable online at the companys website. Oracle Certifications The list of Oracle certifications is immense and broken into categories of  Applications, Database, Expertise Management, Foundation, Industries, Java and Middleware, Operating Systems, Oracle Cloud, Systems, and Virtualization. Each of the many options has its own set of prerequisites, which is viewable on the Oracle website.   IBM Certifications The IBM list of certifications is lengthy. Among the certifications of interest to developers are: IBM Certified Developer - Apache Spark 1.6IBM Certified Developer - Cognos Real-Time MonitoringIBM Certified Developer - InfoSphere MDM Server v9.0 SAS Certifications Most of the SAS certification tests are earned online. Each one has specific requirements that can be viewed at the training website. Among the many certifications offered by SAS are: SAS Certified Base Programmer for SAS 9SAS Certified Advanced Programmer for SAS 9SAS Certified Data Integration Developer for SAS 9SAS Certified Big Data Professional Using SAS 9

The Chapter Reactions Essay Example | Topics and Well Written Essays - 500 words

The Chapter Reactions - Essay Example The ideas presented in Chapter 2 are indeed very helpful in my own life because it has somehow made me more aware of the need to understand and respect the cultural differences among people with varying backgrounds. Just like anybody, I have my own world views of the world. It is important that I realize that my world views may be different from other people because of the differences in our backgrounds. For example, I realized that I tend to be very individualistic in terms of dealing with certain tasks or in terms of dealing with people. I personally do not feel the need to be extra friendly with other people if I do not feel like it. In fact, I could very well tell somebody up front that I do not like him or her and I expect other people to be straightforward with me too. However, I have to realize that there are indeed some people who would rather preserve their existing relationships rather than be straightforward and labeled rude or tactless. In addition, the chapter has also m ade me realize that while I personally may have a strong sense of achievement, other people are more inclined towards ascription and are more inclined to be confined within the roles or classes that they are oriented into.

Summary the artical Assignment Example | Topics and Well Written Essays - 500 words

Summary the artical - Assignment Example There are special circumstances in which stakeholders are forced to elect new directors mid-term. For instance, if one of the directors passes away, stakeholders can consult state law while seeking to appoint a new director. For formal meetings to be held there has to be a quorum of officials before the conducting of any transactions. In any corporation, the members of the board of directors have different rights. They have the right to participate in all business meetings and operations, carry out inspections, indemnification, and compensation. They serve the stakeholders by furnishing them with corporate dividends, ratifying major organizational policies, overseeing the process of hiring and firing corporate personnel, and determining financial decisions. Below the board of directors in a company’s hierarchical structure are the corporate executives and officers. Corporate officers are expected to be familiar with the rules and regulations of their corporation as they are often tasked with delegating different tasks to other corporate workers. Their responsibilities are quite serious as they can be penalized for mistakes that they or their workers commit. Shareholders are the individuals who own the corporation. They do not take part in running the daily operations of the corporations they invest in but can effect serious changes in terms of the hierarchical structure as well as executive appointments. They exercise their powers by voting for their preferred candidates. Shareholders may hold certificates that outline their ownership status, and are usually awarded stock warrants, pre-emptive rights, dividends, and inspection rights. Professional boards serve a distinct purpose when they are included in different organizations. The collapse of respected financial business establishments triggered a global recession that adversely affect many global citizens and underscored the need for more stringent

Dominant designs Essay Example for Free

Dominant designs Essay Dominant designs tend to help everybody. Good ones reduce production costs, benefiting suppliers and competitors as research and development costs are reduced to near-zero. They also greatly improve the situation for complementors, who are able to produce a wide variety of easily standardized, low-cost complementary products. Consumers benefit too, as costs are driven down by fierce competition to produce the dominant design at lowest cost. The process at its best can be seen in one of the most commonly used and least commonly thought-about products in the world: the lightbulb. There are thousands of brands of lightbulbs produced using a standard design, yet they are entirely indistinguishable. Lightbulbs from China, from Korea, Vietnam, and even America are all produced at roughly the same cost to exactly the same standards. The main variability between them, wattage, is clearly marked and well-understood. Costs are low, and innovation survives. The dominant design in the lightbulb consists of the screwing-in part and the wattages. However, lightbulbs can be developed at all shapes and sizes, and with different color filters. Key innovations, like compact florescent bulbs and floodlights, were seamlessly integrated into the existing system. Even exotic designs, including LEDs and blacklights, were developed using the dominant design. And, of course, the number of available lamps to house them is enormous and standardized. You can even get one with a fan. Computer operating systems, on the other hand, represent a failure of the dominant design. Because each OS behaves differently, a dominant platform like Windows forces programmers to develop their programs either exclusively for Windows or invest lots of time and effort rewriting the program. But since the platform is proprietary, it leads to a powerful monopoly on operating-system technology that creates excessive costs and relatively poor performance, since there are no direct competitors. However, I believe this situation is rare.

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

The Individual’s Characteristic Reactions To Social Stimuli

According to Gordon Allport, an American psychologist, personality was â€Å"the individual's characteristic reactions to social stimuli, and the quality of his adaptation to the social features of his environment.† Throughout different literature, the fact remained true as shown in the pieces of works like Sinclair Ross’s â€Å"The Painted Door†, and the novel The Secret Lives of Sgt. John by Lois Simmie. In both of these literary works, a character’s personality showed that it was directly affected by their disposition and temperament towards the society they’re with, or their peers and the community around them. A character’s personality is based on his/her perspective of things around them.In Sinclair Ross’s short story, â€Å"The Painted Door†, Ann showed loneliness and isolation throughout the whole flow of the story as attested by the line, â€Å"All famers’ wives have to stay alone. I mustn’t give in this way. I mustn’t brood. A few hours now and they’ll be here,† (Ross, pg.3). Although they had their moments like, â€Å"once she had danced with Steven six or seven times in the evening, and they had talked about it as many months† (pg.4), she felt disconnected because she felt left behind. â€Å"Year after year their lives went on the same little groove.†Living in a farmland where the neighbours are distant, to whom could she tell how she felt inside than those she’d share a house with? Ann was reluctant to tell her husband what was really going on inside her head and eventually caved in to her isolation. Her dreams for something lively, cost her something that was dear to her, her husband.In any event, an individual’s personality was always apparent to those who were around them. In Lois Simmie’s novel, The Secret Lives of Sgt. John Wilson, Elizabeth Craig described Mary Wilson as â€Å"†¦bright and cheery and brave,† (Simmie, pg. 7). She later wrote to Commissioner Perry about her sister saying, â€Å"She was always brave and would’ve laughed at what would made me weep†¦Ã¢â‚¬ (pg. 171).However, amidst Mary Wilson’s brave and strong-willed disposition, she remained mostly oblivious about her husband, John Wilson, what he does and how acts during some circumstances as stated in page 8. After searching for her husband in a different country, being left behind and treated as a stranger by John, she ought to see the good in him as she always does during their marriage. Later, failing to do so, she became a  victim of her husband’s manipulation and infidelity. She still remained inconceivably blind from these acts and kept on going for her children.Concurrently, John Wilson was portrayed a â€Å"liar† (pg.9) who usually lied about things if it was in his favour. A concise description of his personality was an excerpt from James Hutchison’s letter to Commis sioner Perry. â€Å"†¦I found him out to be a liar, a rogue, and a soulless scoundrel† (pg. 171). This description of him was further gratified in many different events. One of these events was when Conrad Read found the service revolver that went missing in John’s possession, even though John claimed that one of the officers had it.During a few incidences with car salesperson, he also portrayed his roguishness and untrustworthiness when the salesperson asked him for the payments for the two cars that Wilson bought. The salesperson later found out that he was off by $600 from his dealings with John Wilson. He enacted one of the most gruesome things possible when he killed his first wife, Mary Wilson, just to marry another woman at the same day! Later, as every act he displayed throughout his effort to have a new and better life backfired, he saw no hope; and foolishly imperiled himself.Therefore, as every person goes through with their own lives, there would be co untless challenges that will change their personality, temperament and perspective. Through social, psycho-emotional, or even environmental disturbances, an individual’s personality could provide hints as to what they were going through or experienced. Their disposition to their current situation was exactly parallel to their personality. And in accordance to the rule, their personality is based on they perceive around them, and by how they react to circumstances.Further notes:Your teacher might require you to do a different topic. The topic for this essay is, â€Å"Does the environment affect an individuals personality?† And they might also require a different number of books or quotes to back up your thesis statement.

How Did the 19th Amendment Change the United States

Period : History Ashley Stanton Subject: How did the 19th amendment change the United States 4-23-2013 The 19 th amendment gave women the right to vote. It was proposed on June 4, 1919 and ratified on August 18, 1920. The impact of the 19 th amendment was enormous it gave women the same power that men had.It created a strong influence and created a huge cultural impact. It gave the women of the era more confidence and a sense that they could accomplish and do more. The life style changes in the 1920's showed how big and important the impact of the nineteenth amendment was. Women had become much more confident and wanted to use this â€Å"power† in other areas, too.They gave up a lot of the † controlling† aspects of the Victorian age, from the long and buttoned up clothes to new outlooks of personal freedom they started to live outside the confines of being a house wife and home maker women got job outside the home, they started playing sports, they shortened their dresses and bobbed their hair and had fun !! The Roaring Twenties was a new age, and an age where women first started enjoying more freedom and influence. This has continued on to this very day and in my opinion there is still work needed to do to level the space between men and women.Mr. Barack Obama president of the United States signed the Lilly LedBetter Fair Pay Act, which would guarantee the right of women to sue for equal pay for doing the same job as men. Even though women are still underpaid , they get paid 77 cents to every dollar made by men. Women hold a value of 17 percent of the seats in Congress. There are only 6 U. S governors as women. No major party has nominated a women as president. Today after 90 years have passed women still lag behind men.

Gran Torino Essays

Gran Torino Essays Gran Torino Paper Gran Torino Paper The movie GranTorino demonstrates that the casualties of war are not Just those on the front line. Nearly all of the characters have experiences the impact of war even though most of the have never been near the front line. This essay will explore the way that war has Impact on different character. Walt Kowalskis family directly experience the negative ways of war. When Walk the maln character comes back from was hes a changed person who doesnt really Ilke other people and finds It really hard to communicate with others even his children, he finds it hard to shows that he cares. Throughout the movie he indicates that he doesnt understand his children or grandchildren. I have more common with these gooks than my own spoilt, rotten family. In terms, it can be seen that his children dont know how to show respect to him an example of this is they talking throughout at Walts wife Funeral. He grandchildren are disrespectful and give the impression that the only thing they see Walt is good for his Gran Torino and his money. It is sad to see that Walt has not been able to have a good relationship with his family and he prefer to spend time with his dog. : Rather than a loving relationship It seems that Walts children sees him as a Burden and they try to make him to the nursing home because they do not want to being worrying about him. The end result Is that after Walks death he loses much of his prized possession Including his Gran Torino to the Hmong people. It Is clear that despite having never been near a war that Walts family continues to feel like the casualties of war. Other casualties of war are those that have lost loved one during the war. The Hmong teenager Sue and Thao who lived next door to Walt lost their father in the Vietnam War. Leaving then without a father figure. This seems to affect Thao more than Sue. At the start of the movie we see Thao being told of by his family for doing tasks that normally done by a woman in the Hmong in the culture. For example he is seen gardening. Thao does not have a father to teach how to fix things, how to stick up for himself and to lead him In a positive direction. Thao is bullied by Hmong gang members. It Is not until Walt takes Thao under his wing that Thao begun to learn to suck up for himself, learn some practical skills and hes able to get a Job. Thao and Sue are clearly casualties of war growing up In America without a father to ive them through life. All the Hmong people in the movie Grand Torino are Casualties of war because they had to move from their home to America after the Vietnam War. They have to leave Laos following persecution because they fought alongside the America during the war. This means the Hmong people have lost their culture, their homes, and their traditions and in many cases their ability to work. This leads to many challenges, particularly for the youth who are growing up in two different cultures. They are many scenes within the movie where the youth are involved in gang violence. The male Hmong youth are casualties of was as a growing up without direction, Jobs, and in conflicted culture. As sue says The Hmong girls over here fit In better. The girls go to college and the boy goes to Jail. In Gran Torino, everyone had experience of war even though they have not fought on the front line. Grand Torino demonstrates how war affects not Just those who fought on the front line but it also affected the soldier family if they came back a different person. It also different country because of a war. This movie clearly shows that the causalities wars are those who are not only on the front line.

A Comparison Of Luhrmans and Zeffirellis film Versions Of Romeo And Juliet Essays

A Comparison Of Luhrmans and Zeffirellis film Versions Of Romeo And Juliet Essays A Comparison Of Luhrmans and Zeffirellis film Versions Of Romeo And Juliet Essay A Comparison Of Luhrmans and Zeffirellis film Versions Of Romeo And Juliet Essay Essay Topic: To Build a Fire I am comparing Franco Zeffirellis version of Romeo and Juliet, which was produced in 1968 and has won several academy awards. One critic stated His film has become the definitive version in high school classrooms across the country.I am also reviewing Baz Luhrmans Romeo + Juliet. This was produced in 1995. What can you say about a version of Shakespeare that ends with a helicopter chase? As you would imagine it is a much more modern version than Zeffirellis. I am going to review 2 parts of each of the films and try and come to a conclusion to show which is better and why. The scenes I will be reviewing are the opening scenes and the party scenes.Both films are based on Shakespeares Romeo and Juliet but each portrays the play in a completely different way. Zeffirellis version was rated a PG although there are scenes including nudity. Luhrmans was rated a 12. I imagine this is because so of the violence throughout and the fact that guns were often used and scene s such as Mercutios death scene which is gory and gruesome.Luhrmans opening scene starts with a television in the middle of the screen. The television is showing a black American woman saying the original Shakespeare prologue as if it was a news report. As the camera zooms in the audience can see in the background there is a broken ring with Star Crossed Lovers below it. The dialogue is fast and quite a high tone. A narrator then repeats the prologue. This time the voice is a deeper tone and slightly slower. It is spoken in a way that is slightly threatening and hints at the fact there will be evil in the film.As the scene moves on there is also text on the screen as the prologue is being read. It is certain parts of the prologue such as A pair of star-crossed lovers take their life which really emphasises certain things that become a lot more obvious in the play. The characters also appear on screen with their name next to them. There is also text to tell the audience how each char acter is related to either Romeo or Juliet. The camera is constantly panning from side to side. As soon as you see the title you get a hint of religion and race from the cross between Romeo and Juliet. The same cross also appears on the screen when the words Take Their Lives. The T on Take is shown as a cross, which again emphasises the religion and race throughout the film.The camera zooms in on a crowded city, gradually slowing down and flowing into quick flashes of important parts of the play across the screen, making a big montage of hint giving shots. In the background is some very dramatic, loud, and exciting music as shots of flames, chaos, helicopters, fireworks, police, and guns shoot onto screen. There are also shots of two tall office buildings, one with Montague on it and the other with Capulet on it and shots of newspaper articles with titles such as Capulat vs. Montague and Star crossed lovers.The shots of the buildings and newspapers are an extremely strong hint of co nflict between Capulet and Montague and a story of love and hate. Each frame lasts less than a second. This fast editing and use of dramatic music really gets your heart beating and makes you want to watch on and find out why all these images were included in the opening scene. Luhrman also uses bright lighting to really get the film going. The images show that there is going to be police involved and the flames and the chaos hint at some traumatic events. The fireworks also hint at the fact there may be a party and that it is going to be a lively and exiting film.Zeffirellis opening scene is very different from Luhrmans. It starts with a male narrator speaking slowly at a constant tone with little emotion in his voice. The words spoken are exactly the same as Shakespeares original prologue. The dialogue sounds quite sad and romantic, which gives a hint of romance in the film. The camera is paused on a birds eye view of a foggy village. There is lots of natural light as the sun slow ly breaks through the fog. The camera editing is much slower than Luhrmans.It then breaks into a long shot of the historic looking city with slow classical music in the background. The music has no lyrics and hints at a romantic film. The city looks very old and historic. This gives the impression of how a city would have looked in Shakespeares time. Unlike Luhrmans, Zeffirellis has no sound effects or people in the opening scene. The lighting is also a lot dimmer and less modern than Luhrmans. The text in Zeffirellis is in an old fashioned style and it just states the name of the play and characters. This has a much lesser effect than Luhrmans text does.The camera shots are a lot longer and therefore show a slow, romantic, and love filled film. The slow constant tone of the narrator and slow editing techniques are a lot less exciting and intriguing than Luhrmans.Both Luhrmans and Zeffirellis techniques are used throughout each of their films, each giving a strong impression of the directors style.Luhrmans party scene, like his opening scene is modern, bright, loud, and very entertaining with use of fast editing mixed with slow, long shots and fast modern music.The party scene starts with a big display of fireworks that gets the audiences attention and shows them that the scene to come is going to be lively and entertaining. It then moves on to quick moving party lights flashing throughout the Capulets house. Then we see Mercutio, in the middle of some huge stairs, dressed in womens clothes. Dancers surround him and loud party music is playing in the background. This shows modernism in the film. Zeffirelli wouldnt have dreamt of putting this in his film. Purely because peoples attitudes to sexuality, cross-dressing etc. has changed a lot since 1968. The carpet on the stairs is bright purple and there are bits of strong reds all around the room. Again, this is one of the many things that makes this film modern and relates it to a modern audience.The camera is c onstantly closing in on Romeo and then quickly panning to a close up of Juliet, showing their facial expressions and hinting at their feelings. The camera is mainly level with the actors heads. This makes the audience feel as if they were in the room with the characters.The party is set in a big house with large, bright stairs in the centre of the back wall. The room where the characters are dancing is brightly decorated with flowers. There are also lots of mirrors and a very large window. The mirrors and decoration show that the Capulets are wealthy. The characters are wearing shiny, brightly coloured, modern outfits. It is actually fancy dress. Juliet is dressed as a fairy, which shows she is a soft, caring, and loving character.The music in the background is slow and repetitive. It is by Desiray, which are a modern group and is perfect music to show love in the film because the lyrics state about love. The music pauses and the camera stays in a fixed position when Romeo and Julie t stop and stare at each other. This shows strongly the fact that something significant is going to happen between the two characters.The lighting in Luhrmans party scene is extremely technical. There are spotlights, spinning lights, neon lights, and fairground lights. Each one giving its own effect. The spotlight highlights Mercutio when he is dancing. There are also fireworks going on outside the house, which give the setting a more romantic feel.Overall Luhrmans party scene is a lot different to Zeffirellis because it is more lively, modern and wild. In Luhrmans the audience see passionate kissing, excessive drinking and hints of drug use. This plays a big part in relating the play to a modern audience.Again, Zeffirellis party scene is very different from Luhrmans. It is a lot more traditional and historic. The whole scene is much slower and more romantic than Luhrmans.In Zeffirellis there is a lot of singing. Especially near the end. Like Luhrmans there are a lot of close ups on Romeo and Juliet and the camera is at the same level as the characters heads. This, again, makes the audience feel more like they are at the party. The editing is a lot slower than Luhrmans and the shots tend to be a lot longer, giving the audience a sense of love. There are a few faster scenes to highlight the conflict between the Capulets and the Montagues.Like Luhrmans the party is set in a big mansion that had big stone walls and huge stone pillars. The pillars give focal points for the party. There are beautiful mosaics on the floor. Towards the end of the scene a man is singing with a circle of people around him. He is stood in the centre of one of the mosaics and it, again, gives a sense of love and romance. This is also given by the fact that there are lots of large candles spread around the roomThe characters are all wearing old costumes to represent Shakespeares time and all the men are wearing hats. Romeo is wearing a mask so that the Capulets will not see that he is a M ontague. The colours are all quite soft and more elegant than in Luhrmans. All the Montagues are wearing dark colours and all the guests at the party are wearing soft oranges and crà ¯Ã‚ ¿Ã‚ ½mes. This is a sneaky little hint of conflict between the two households. That hint is needed in this scene because the audience could forget about the conflict because both households are at the same party.The music is mostly slow but when there is a long shot of the guests dancing the music becomes a lot faster and livelier. This change gets the full attention of the audience. There are no sound effects in Zeffirellis party scene.The lighting in the scene is a lot more modest than in Luhrmans but still creates good images and hints at important things. One of the walls of the castle has a blue light shone onto it and it really gives a calm, relaxed atmosphere. Instead of having a spot light like in Luhrmans, Zeffirelli has used the natural light from outside the window to shine on the man si nging. This again shows love and romance and still keeps the film as if it were set in Shakespearian times.After having seen both versions of Shakespeares Romeo and Juliet I think that each film was made for a very different reason. I think that Zeffirellis film was made to be as accurate to the original as possible but I think that Luhrman wanted to modernise the play for a modern audience. I think both directors achieved this.Zeffirellis version was much more about love, romance, and conflict between two families. He made the audience feel this by constantly using slow camera techniques and classical music with modest lighting. He also gave lots of hints about the conflict such as using different costumes for the Capulets and Montagues. Zeffirelli also made his film as much like the original as possible. He did this by using settings, lighting, music and costume that would have been around in Shakespeares day. He didnt use many modern effects because these would not have been avai lable when Shakespeare wrote his play.Luhrmans film was a lot more modern. He has turned a historic play into a modern film for the people of today. His fast editing and constantly panning camera angles along with his fantastic sound and visual effects made this film an amazing version of a fantastic play. He modernises the play so well by doing things such as making the character Paris into Dave Paris and Prince into Captain Prince. He uses guns instead of swords, which not only modernises the film but also makes it a lot more interesting and fast moving. A sword-fighting scene could go on forever but by using guns the fight is over with one shot.I think that the only things these films have in common are their titles and the language used in them and even that is spoken in completely different ways.I think that Luhrmans film is a lot better than Zeffirellis purely because I can relate to it. Its modernisation makes it fast and exciting. It is a completely enjoyable film and I woul d certainly recommend it.

Innovation and Change Essay Example | Topics and Well Written Essays - 750 words

Innovation and Change - Essay Example Often, it is realized that most organizations fail to drive their innovation strategies in a proper manner. Recognizing the imperative need for innovation in the organization, most executives miscalculate in terms of their desire to innovate and the ability of the organization to innovate. In the face of such a dilemma, it only leads to a situation where the organization ultimately fails to achieve anything. It is therefore quite important that the desire of the organization to innovate is effectively synchronized with the capability of innovation. In such a case, it becomes easier to manage the innovation process in the organization. Several instances normally abound where disconnects are realized in terms of the missions and goals of innovation. Most often these challenges arise in the face of growing competition which forces organizations to adopt innovation as an option for improved productivity or performance. In the computer industry across the world, such leading innovation ex perts like Apple might always make other smaller market players to imagine that they could also innovate to that capacity. In the end, the smaller organizations end up out of the market owing to failed innovative strategies. This arises because innovation is generally a program that requires a lot of resource allocation and sufficient consideration in the organization. It calls for a proper innovation culture within the organization in order to effectively succeed (Porter, 2008). Most organizations fail in their innovation strategies because they normally expect to realize many returns from little allocation. In other cases, the size and resources of the organization cannot just enable them to implement any meaningful innovation strategy within the organization. There is often a disconnection between an organization’s goals and mission and its innovation process. For instance, an organization might aspire to realize a particular profit in the year at a given level of revenue. However, with innovation in mind, it might become difficult to realize the profit since innovation is normally an expensive affair in the organization whose cost cannot easily be foretold. Such a disconnect might therefore pose a challenge to the organization. In order to prevent this disconnect, it is important to set aside particular funds in the organization in order to address the issues of innovation without affecting other operational areas of the organization. This would be imperative to bridge the disconnection between the mission of the organization in terms of innovation and the operational aspects of the organization. It therefore boils down to the adoption of an effective innovation strategy in the organization that takes into account all the important aspects pertaining to the organization which include the resources, size of the organization and the position of the organization in the market. In this regard, it would be possible to develop or adopt an innovation strat egy that exactly specifies what the organization should pursue which should be in tandem with the ability of the organization. From the outset, it is important to institute a culture of innovation within the organi

King Lear #1 Essay Example | Topics and Well Written Essays - 500 words

King Lear #1 - Essay Example The cad! My heart went out to the beautiful girl. So little, so young, standing there; dishonored only for having been honest, it was just too unfair! I could not stand to see her insulted that way. After all, even the most poor of my people was more gallant than this knave. When Lear asked me my opinion on the matter, going so far as to suggest my refusing her: I spoke my mind. I told him that now that Cordelia was alone, penniless and wronged, I found myself loving her, wanting to protect her even more. I told him that it mattered not to me if Lear disowned her, she was more than enough dower all by herself. These men astound me. Are they no better than cattle, to be bought and sold like this? And what of the King himself? Blinded by flattery? Well, â€Å"No fool like an old fool†, as they say in France. I shall turn in for the night now, but my heart is glad. From now, my nights and days shall be shared with a maiden as fair as she is virtuous. This evening at King Lear’s court I was amazed to find the love of my life Cordelia silently weeping in a corner while the King berated her. As he began to explain his reason for calling me and Burgundy there, I understood that it was because he had decided to disinherit his youngest daughter. The news verily made me reel. Was she not his most precious? Did he not only yesterday speak to me about how dearly he loved the girl? And yet today, only because she refused to flatter him, he was banishing her. Burgundy, that dishonorable excuse of a Duke, turned down her hand. Now that she was without a dower, he said he could not accept her to be his bride. Well, too bad for him! I could not have been gladder. Now that they were insulting the girl and she was left all alone, I felt even more tenderly toward her. And I made my opinion quite clear too! I said to Lear that I should be honored to have his daughter for my bride. It was not important to me whether she had a fat sum of mon ey following her or whether it was