A Brief History of Chinese Opera

Since the time of the Tang Dynastys Emperor Xuanzong from 712 to 755—who created the first national opera troupe called the Pear Garden—Chinese opera has been one of the most popular forms of entertainment in the country, but it actually started nearly a millennium before in the Yellow River Valley during the Qin Dynasty.   Now, more than a millennium after Xuanzongs death, it is enjoyed by political leaders and commoners alike in many fascinating and innovative ways, and Chinese opera performers are still referred to as Disciples of the Pear Garden, continuing to perform an astonishing 368 different forms of Chinese opera. Early Development Many of the features that characterize modern Chinese opera developed in northern China, particularly in the Shanxi and Gansu Provinces, including the use of certain set characters like Sheng (the man), Dan (the woman), Hua (the painted face) and Chou (the clown). In Yuan Dynasty times—from 1279 to 1368—opera performers began to use the vernacular language of the common people rather than Classical Chinese. During the Ming Dynasty—from 1368 to 1644—and the Qing Dynasty—from 1644 to 1911—the northern traditional singing and drama style from Shanxi was combined with melodies from a southern form of Chinese opera called Kunqu. This form was created in the Wu region, along the Yangtze River. Kunqu Opera revolves around the Kunshan melody, created in the coastal city of Kunshan. Many of the most famous operas that are still performed today are from the Kunqu repertoire, including The Peony Pavilion, The Peach Blossom Fan, and adaptations of the older Romance of the Three Kingdoms and Journey to the West. However, the stories have been rendered into various local dialects, including Mandarin for audiences in Beijing and other northern cities. The acting and singing techniques, as well as costumes and makeup conventions, also owe much to the northern Qinqiang or Shanxi tradition. Hundred Flowers Campaign This rich operatic heritage was almost lost during Chinas dark days in the mid-twentieth century. The Communist regime of the Peoples Republic of China—from 1949 to present—initially encouraged the production and performance of operas old and new. During the Hundred Flowers Campaign in 1956 and 57—in which the authorities under Mao encouraged intellectualism, the arts and even criticism of the government—Chinese opera blossomed anew. However, the Hundred Flowers Campaign may have been a trap. Beginning in July of 1957, the intellectuals and artists who had put themselves forward during Hundred Flowers period were purged. By December of that same year, a stunning 300,000 people had been  labeled  rightists and were subjected to punishments from informal criticism to internment in labor camps or even execution. This was a preview of the horrors of the Cultural Revolution of 1966 through 1976, which would imperil the very existence of Chinese opera and other traditional arts. Cultural Revolution The Cultural Revolution was the regimes attempt to destroy old ways of thinking by outlawing such traditions as fortune telling, paper-making, traditional Chinese dress and the study of classic literature and arts. An attack on one Beijing opera piece and its composer signaled the start of the Cultural Revolution. In 1960, Maos government had commissioned Professor Wu Han to write an opera about Hai Rui, a minister of the Ming Dynasty who was fired for criticizing the Emperor to his face. Audiences saw the play as a critique of the Emperor—and thus Mao—rather than of Hai Rui representing disgraced Minister of Defense Peng Dehuai. In reaction, Mao performed an about-face in 1965, publishing harsh criticism of the opera and of composer Wu Han, who was eventually fired. This was the opening salvo of the Cultural Revolution. For the next decade, opera troupes were disbanded, other composers and scriptwriters were purged and performances were banned. Until the fall of the Gang of Four in 1976, only eight model operas were allowed. These model operas were personally vetted by Madame Jiang Qing and were entirely politically innocuous. In essence, Chinese opera was dead. Modern Chinese Opera After 1976, Beijing opera and the other forms were revived, and once more placed within the national repertoire. Older performers who had survived the purges were allowed to pass on their knowledge to new students again. Traditional operas have been freely performed since 1976, though some newer works have been censored and new composers criticized as the political winds have shifted over the intervening decades. Chinese opera makeup is particularly fascinating and rich in meaning. A character with mostly red makeup or a red mask is brave and loyal. Black symbolizes boldness and impartiality. Yellow denotes ambition, while pink stands for sophistication and cool-headedness. Characters with primarily blue faces are fierce and far-seeing, while green faces show wild and impulsive behaviors. Those with white faces are treacherous and cunning—the villains of the show. Finally, an actor with only a small section of makeup in the center of the face, connecting the eyes and nose, is a clown. This is called xiaohualian, or the little  painted  face. Today, more than thirty forms of Chinese opera continue to be performed regularly throughout the country. Some of the most prominent of which are the Peking opera of Beijing, Huju opera of Shanghai, the Qinqiang of Shanxi, and Cantonese opera.   Beijing (Peking) Opera The dramatic art form known as Beijing opera—or Peking opera—has been a staple of Chinese entertainment for more than two centuries. It was founded in  1790 when the Four Great Anhui Troupes went to Beijing to perform for the Imperial Court. Some 40 years later, well-known opera troupes from Hubei joined the Anhui performers, melding their regional styles. Both the Hubei and Anhui opera troupes used two primary melodies adapted from the Shanxi musical tradition: Xipi and Erhuang. From this amalgam of local styles, the new Peking or Beijing opera developed. Today, Beijing Opera is considered  Chinas  national art form. Beijing Opera is famous for convoluted plots, vivid makeup, beautiful costumes and sets and the unique vocal style used by performers. Many of the 1,000 plots—perhaps not surprisingly—revolve around political and military strife, rather than romance. The basic stories are often hundreds or even thousands of years old involving historic and even supernatural beings.   Many fans of Beijing Opera are worried about the fate of this art form. The traditional plays make reference to many facts of pre-Cultural Revolution  life and history that are unfamiliar to young people. Furthermore, many of the stylized movements have particular meanings that can be lost on uninitiated audiences. Most troubling of all, operas must now compete with films, TV shows, computer games, and the internet for attention. The Chinese government is using grants and contests to encourage young artists to participate in Beijing Opera. Shanghai (Huju) Opera Shanghai opera (Huju) originated at about the same time as Beijing opera, around 200 years ago. However, the Shanghai version of opera is based on local folk-songs of the Huangpu River region rather than deriving from Anhui and Shanxi.  Huju  is performed in the Shanghainese dialect of Wu Chinese, which is not mutually intelligible with  Mandarin. In other words, a person from Beijing would not understand the lyrics of a  Huju  piece. Due to the relatively recent nature of the stories and songs that make up  Huju, the costumes and makeup are comparatively simple and modern. Shanghai opera performers wear costumes that resemble the street clothing of ordinary people from the pre-communist era. Their makeup is not much more elaborate than that worn by western stage actors, in stark contrast to the heavy and significant grease-paint used in the other Chinese Opera forms. Huju  had its heyday in the 1920s and 1930s. Many of the stories and songs of the Shanghai region show a definite western influence. This is not surprising, given that the major European powers maintained trading concessions and consular offices in the thriving port city, prior to World War II. Like many of the other regional opera styles,  Huju  is in danger of disappearing forever. Few young actors take up the art form since there is much greater fame and fortune to be had in movies, TV, or even Beijing Opera. Unlike Beijing Opera, which is now considered a national art form, Shanghai Opera is performed in a local dialect and thus does not translate well to other provinces. Nevertheless, the city of Shanghai has millions of residents, with tens of millions more in the near vicinity. If a concerted effort is made to introduce younger audiences to this interesting art form,  Huju  may survive to delight theater-goers for centuries to come. Shanxi Opera (Qinqiang) Most forms of Chinese opera owe their singing and acting styles, some of their melodies, and their plot-lines to the musically fertile Shanxi province, with its thousand-year-old Qinqiang  or  Luantan  folk melodies. This ancient form of art first appeared in the  Yellow River  Valley during the  Qin Dynasty  from B.C. 221 to 206 and was popularized at the Imperial Court at modern-day  Xian during the  Tang Era, which spanned from 618 to 907 A.D. The repertoire and symbolic movements continued to develop in Shanxi Province throughout the  Yuan Era  (1271-1368) and the Ming Era (1368-1644). During the Qing Dynasty (1644-1911), Shanxi Opera was introduced to the court at Beijing. The Imperial audiences so enjoyed Shanxi singing that the form was incorporated into Beijing Opera, which is now a national artistic style. At one time, the repertoire of Qinqiang included over 10,000 operas; today, only about 4,700 of them are remembered. The  arias  in Qinqiang Opera are divided into two types:  huan  yin, or joyous tune, and  ku  yin, or sorrowful tune. Plots in Shanxi Opera often deal with fighting oppression, wars against the northern barbarians, and issues of loyalty. Some Shanxi Opera productions include special effects such as fire-breathing or acrobatic twirling, in addition to the standard operatic acting and singing. Cantonese Opera Cantonese Opera, based in southern China and overseas ethnic Chinese communities, is a very formalized operatic form that emphasizes gymnastic and martial arts skills. This form of Chinese Opera predominates in Guangdong,  Hong Kong, Macau,  Singapore,  Malaysia, and in Chinese-influenced areas in western countries. Cantonese Opera was first performed during the reign of the Ming Dynasty Jiajing Emperor from 152 to 1567. Originally based on the older forms of Chinese Opera, Cantonese Opera began to add local folk melodies, Cantonese instrumentation, and eventually even Western popular tunes. In addition to traditional Chinese instruments such as the  pipa,  erhu, and percussion, modern Cantonese Opera productions may include such Western instruments as the violin, cello, or even saxophone. Two different types of plays make up the Cantonese Opera repertoire—Mo, meaning martial arts, and  Mun, or intellectual—wherein the melodies are entirely secondary to the lyrics.  Mo performances are fast-paced, involving stories of warfare,  bravery  and betrayal. The actors often carry weapons as props, and the elaborate costumes may be as heavy as actual armor. Mun, on the other hand, tends to be a slower, more polite art form. The actors use their vocal tones, facial expressions, and long flowing water sleeves to express complex emotions. Most of the Mun stories are romances, morality tales, ghost stories, or famous Chinese classic tales or myths. One notable feature of Cantonese Opera is the makeup. It is among the most elaborate makeup systems in all of Chinese Opera, with different shades of color and shapes, particularly on the forehead, indicating the mental state, trustworthiness, and physical health of the characters. For example, sickly characters have a thin red line drawn between the eyebrows, while comic or clownish characters have a large white spot  on  the bridge of the nose. Some Cantonese Operas also involve actors in open face makeup, which is so intricate and complicated that it resembles a painted mask more than a living face. Today, Hong Kong is at the center of efforts to keep Cantonese Opera alive and thriving. The Hong Kong Academy for the Performing Arts offers two-year degrees in Cantonese Opera performance, and the Arts Development Council sponsors opera classes for the citys children. Through such concerted effort, this unique and intricate form of Chinese Opera may continue to find an audience for decades to come.

Power in The Handmaids Tale Essay example - 1133 Words

Power in The Handmaids Tale As you read through the handmaid’s tale you see the relationships of the characters develop and the fight for power, however small that glimpse of power may be. The images of power can be seen through out the novel, but there are major parts that stand out to the reader from the aunt’s in the training centre to the secret meetings between the Commander and Offred. The first we see of the struggles of power between people is when the novel opens and we first see the aunts of the red centre with their electric cattle prods and their stern moral teaching and their stern looks. The aunts are given small amounts of power by the male dominated regime, like the ability to carry the cattle prods but no other†¦show more content†¦this is Atwood showing the power of the aunts at their most dangerous as they can control a group of people at blow of a whistle and therefore have total power over the handmaids and if they wanted to they may be able to turn on the male oppressors. The next example of power within the regime is when we first meet Serena Joy at the front door of the Commanders house. Serena Joy displays her power by the way she looks at Offred when she arrives and then does not move aside to let Offred into the house. This is a display of power showing that this house is Serena Joy’s domain and everyone in the house must obey h er and that she will not take any disobedience. Serena Joy is also able to beat her handmaid, but with out any implements, Offred tells us of how it is the wives right to beat the handmaids and yet if they kill or seriously injure them the wives can be put to death just as the handmaids or the other men can be; this can also be seen in the chapters on the salvaging as the first people who are executed are two handmaids for murdering or harming their Commanders or his family and the third person to be executed was a wife, Offred tells us that the only reason for her execution would be that she must of harmed her handmaid or her husband. For the wives there is not much power and therefore the affect of it on them is very little, the only affect is that they know they are better thanShow MoreRelatedHandmaids Tale - Manipulation of Power Essay1257 Words   |  6 PagesTHE HANDMAID’S TALE Grade 11 English Analytical Essay Words: 1 245 Margaret Atwood’s The Handmaid’s Tale is a disturbing novel that displays the presence and manipulation of power. This is displayed throughout the novel and is represented significantly in three ways. As the book takes place in the republic of Gilead, the elite in society are placed above every other individual who are not included in their level. Secondly, men are placed at the top of the chain and they significantly overpowerRead MorePower Struggle In The Handmaids Tale By Margaret Atwood1373 Words   |  6 PagesMargaret Atwood both explore power struggle from a feminist perspective. 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In Blade Runner, the human race is seen to have abused an outstanding amount of power over the natural world, as seen by the environmentalRead MoreThoughts on Feminism and Dystopia in the Handmaid’s Tale Essay1044 Words   |  5 PagesXXXXXXXXXX XXXXXXXXXX ENGL 252-01 28 November 2012 Thoughts on Feminism and Dystopia in The Handmaid’s Tale The Annotated Bibliography Dopp, Jamie. Subject-Position as Victim-Position in The Handmaids Tale. Studies in Canadian Literature / Études en littà ©rature canadienne [Online], 19.1 (1994): n. page. Web. 27 Nov. 2012 Dopp believes that Dopp believes that the goal of The Handmaid’s Tale is to work against the oppression of women, While he feels that is actually does the opposite.Read MoreLiterary Analysis of the Handmaids Tale1068 Words   |  5 PagesOffred, in Margaret Atwood’s disturbing novel The Handmaid’s Tale says, â€Å"But who can remember pain once it’s over? All that remains of it is a shadow, not in the mind even, in the flesh. Pain marks you, but too deep to see. Out of sight, out of mind.† The society of Gilead causes the aforementioned pain and demoralization by using women’s bodies as political instruments. Similar to Atwood’s novel, today’s men put immense pressure on women to be a certain way, give them children, and take care ofRead MoreThe Handmaids Tale Essay1591 Words   |  7 PagesUpon reading The Handmaid’s Tale by Margaret Atwood, one notices the tragedy of women losing rights. Imagine the feelings of losin g all rights and freedoms; how hard the transition would be from an American society, centered on freedoms, to the society where Offred lives in The Handmaid’s Tale. Thankfully for all Americans, Atwood’s prediction of what society would become in the future was inaccurate. 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Discussion on Organ Donation Shortage Free Essays

Medicine has evolved since the days of bloodletting, but from the perspective of a waiting recipient on the organ donor list, we still live in the dark ages. With a list of 110,941 hopeful candidates for organ transplant, the status of organ donation as a taboo subject in the Intensive Care Unit (ICU) has left an average of 20 people dead each day. (1) The high demand and low supply has led to creative solutions from both medical and government sectors, but what’s the answer? Is government intervention necessary, or should the fed keep their laws off my liver? While the fourth annual National Donor Designation Report Card prepared by Donate Life America shows 94. We will write a custom essay sample on Discussion on Organ Donation Shortage or any similar topic only for you Order Now 7 million people were enrolled in state donor registries at the end of 2010,(2) it still doesn’t address the need that exists today. The shortage of organ donors in the U. S. is a problem. There are many factors that lie behind the reasons for shortage. From socioeconomic and demographic factors to religious beliefs, candidates just aren’t surfacing like they could. (3) â€Å"All the doctors and nurses I know are donors,† says Dr. Joshua Gitter, a practicing M. D. at John Muir Medical Center in Walnut Creek, California. â€Å"We can’t be the only ones providing organs here, ya know? The general public needs to step up. † The reason organs are in chronically short supply is partly due to the U. S. policy that requires voluntary giving. Dr. Gitter says most organs for transplant come from accident victims, who become brain dead after serious head injuries. These victims are typically put on life-support, and the next of kin’s consent is required to turn off the machine and donate the organs. Dr. Gitter says there are usually good chances of receiving donations from the families of accident victims, but each case changes on a family by family basis. Studies have shown the chances of donation from families who had prior knowledge of the patients’ wishes regarding donation have a higher rate of donation from the ICU,(4) but how often does mortality come up in a healthy conversation with family? Craig Gammel, a San Jose resident says he never had a conversation with his family members on the topic of organ donation, so when his father suffered a brain aneurism in the summer of 2009, Mr. Gammel possessed no pre determined ideas of donating his fathers organs during his drive to the ICU where his father waited in a coma. â€Å"You’re never ready for a call like that. † Says Mr. Gammel, reflecting on the day he got the call about his father’s aneurism. â€Å"We didn’t wait long before the doctors confirmed my father was brain dead. † Craig made the decision to take his father off life support after hearing the news, and agreed to donate his fathers hazel eyes to a waiting recipient. When the nurse initially approached Mr. Gammel with the request for eye donation, she did so in a tentative and reserved manner. Craig says he appreciated the way the topic was introduced, and grateful for the opportunity to assist another person in need. â€Å"Of course I wanted his death to at least help someone. † He said. â€Å"The old man would have wanted the same, I think. † Craig says he wouldn’t have thought about organ donation at the time if the nurse hadn’t asked him. Since organ transplant candidates cannot rely solely on these cases, the concept of mandated choice was proposed by the American Medical Association in 1994. 5) Mandated choice would make it so people are required by law to state in advance whether or not they will be an organ donor. The American Medical Association’s Council on Ethical and Judicial Affairs supports mandated choice. In a 1994 report, the council said: â€Å"Requiring a decision regarding donation would overcome a major obstacle to organ donation – the reluctance of individuals to contemplate their own deaths and the disposition of their bodies. †(6) â€Å"Frankly, I’m shocked that people need the government to tell them plan for their mortality. I wouldn’t want to be brain dead and have my family refuse organ donation because I never told them I wanted to donate. It’s tantamount to being buried with your money. Donate it for Christ sakes. † Concluded Craig. However, everyone does not share this belief of Craig’s. â€Å"I would never allow my daughters body to be chopped up and shared like a joint at a doobie brothers concert. † Said Santa Barbara resident David Martin when asked if he would donate the organs of a family member in the unlikely event of their sudden or accidental death. David’s cited his strict belief in Christian Science as support. His decision to abstain from all medical practices and remedies is a cornerstone in the religion, making the concept of organ donation implausible. While David’s beliefs are of a minority opinion, it still reflects a refusal to donate healthy organs to dying people. With factors influencing donation ranging from family or patient attitudes and beliefs to deaths from trauma being the decision factors, it’s hard to come up with a method for determining the right time to approach a family. â€Å"We have been trained to approach the subject with as much care and tact as possible. † Says Hillary Gitter, a practicing nurse at John Muir Medical Center. You’d be surprised how many people are open to the request if you approach them at the right time and in the right tone. † Because Hillary interacts with patients that are waiting for organ transplants, she firmly believes the need trumps any social awkwardness that arises when asking for organ donations. â⠂¬Å"How would you look someone in the eyes and say their chance of finding a donor is slim to none? You’ve sealed their fate and dashed all hope with that fact, so you do what you can to help people get donors. I think even false hope is better than a death sentence. † Said Hilary. How to cite Discussion on Organ Donation Shortage, Papers

A Conglomeration of Many Beliefs free essay sample

A number of fundamental beliefs are held by many but not all New Age followers; individuals are encouraged to shop for the beliefs and practices that they feel most comfortable with: |[pi|Monism: All that exists is derived from a single source of divine energy. Pantheism: All that exists is God; God is all that exists. This leads naturally to the concept of the divinity of the|individual, that we are all Gods. They do not seek God as revealed in a sacred text or as exists in a remote heaven; | | |they seek God within the self and throughout the entire universe.|Panentheism: God is all that exists. God is at once the entire universe, and transcends the universe as well. Reincarnation: After death, we are reborn and live another life as a human. This cycle repeats itself many times. This | |c] |belief is similar to the concept of transmigration of the soul in Hinduism. We will write a custom essay sample on A Conglomeration of Many Beliefs or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The good and bad deeds that we do adds and subtracts from our accumulated record, our karma. At the end of our   life, we are rewarded or punished according to our karma by being reincarnated into either a painful or good new life. This belief is linked to that of reincarnation and is also derived from Hinduism | |[pi|An Aura is believed to be an energy field radiated by the body. Invisible to most people, it can be detected by some as a shimmering, multi-colored field surrounding the body. Those skilled in detecting and interpreting auras can diagnose an individuals state of mind, and their spiritual and physical health. Ecological Responsibility: A belief in the importance of uniting to preserve the health of the earth, which is often looked upon as Gaia, (Mother Earth) a living entity.

James Joyce Araby; practice quiz Essay Example

James Joyce: Araby; practice quiz Paper Which type of irony is represented by the boys disillusionment at the bazaar? Ironic contrast between romance and reality Which statement best summarizes the story? Dreams often end in disillusionment. For the boy in the story, his epiphany brings him — the knowledge that his desires have been vain and foolish In this story the word Araby refers primarily to a — fair or bazaar The story is narrated by — the main character later in his life What does the boy in Araby feel when he hears his uncle talking to himself? anxiety Which detail in this passage from Araby is the strongest indicator of the boys inner feelings? I found myself in a big hall girdled at half its height by a gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. the halls darkness The boys experience at the stall of the young lady adds to the story because the incident — characterizes the bazaar as drab, seedy, and ordinary In literature, the term epiphany refers to __________. a moment of sudden insight After the narrator speaks to Mangans sister about the bazaar, he tells her that if he goes to Araby, he will bring a gift for her. How does the narrators behavior at home and in school show how this decision has affected him? Cite one or two examples from Araby to support your response. Sample answer: The narrator is distracted by his promise to the girl. He cannot concentrate on his schoolwork and is restless at home. The story takes place — in Dublin, Ireland about a hundred years ago At the end of Araby, the boy experiences anger and sadness because his epiphany reveals that he will never be able to satisfy his desires

Free Essays on The Big Random

In the play â€Å"The Big Random† the two main characters Roland and Claire have certain behaviors that they regret at times. The behaviors reflected in the play do relate to particular patterns that students may reflect or demonstrate. In my life I have successfully completed an elementary and junior/senior high school education. Through these years I have developed many habitual behaviors that deal with my school work and classroom performance. Reflecting on the past years of my educational career there are behaviors that I believe have proven to be helpful and essential to my educational success and then there are behaviors that I wish to change for they may limit my ability in the classroom. Through my years of education and classroom performance I can conclude that there are particular behaviors or habits that I believe are aspects that may limit my performance and success. I believe one of my habits that I would like to change would be the fact that I am a procrastinator. I am the type of person that allows the work load to build up and complete the assignment the day before it is to be handed in. It is my belief that completing my assignment at the very last second will limit the thought and knowledge I would put forth in my school work. The most affective way to change my work schedule is to balance the assignments. Spreading the work and projects out on a daily basis where a little time each day is devoted to that one particular project would assure a very strong effort and project completion prior to the due date. A second personal habit that I would like to change for the better would be to expand the topics and subject that I take a strong interest in. I have noticed that through out my educational career I have taken a very strong liking and interest to only a couple particular subjects. With these selected topics it seems as if they become the main priority of my schooling and take away effort towards the... Free Essays on The Big Random Free Essays on The Big Random In the play â€Å"The Big Random† the two main characters Roland and Claire have certain behaviors that they regret at times. The behaviors reflected in the play do relate to particular patterns that students may reflect or demonstrate. In my life I have successfully completed an elementary and junior/senior high school education. Through these years I have developed many habitual behaviors that deal with my school work and classroom performance. Reflecting on the past years of my educational career there are behaviors that I believe have proven to be helpful and essential to my educational success and then there are behaviors that I wish to change for they may limit my ability in the classroom. Through my years of education and classroom performance I can conclude that there are particular behaviors or habits that I believe are aspects that may limit my performance and success. I believe one of my habits that I would like to change would be the fact that I am a procrastinator. I am the type of person that allows the work load to build up and complete the assignment the day before it is to be handed in. It is my belief that completing my assignment at the very last second will limit the thought and knowledge I would put forth in my school work. The most affective way to change my work schedule is to balance the assignments. Spreading the work and projects out on a daily basis where a little time each day is devoted to that one particular project would assure a very strong effort and project completion prior to the due date. A second personal habit that I would like to change for the better would be to expand the topics and subject that I take a strong interest in. I have noticed that through out my educational career I have taken a very strong liking and interest to only a couple particular subjects. With these selected topics it seems as if they become the main priority of my schooling and take away effort towards the...

Adolf hitler Research Paper Example | Topics and Well Written Essays - 1000 words

Adolf hitler - Research Paper Example Hitler was born in a small house near the German border and it is widely speculated that his troubled might have left gigantic psychological impression on his mind which ultimately played a momentous role in how he turned out to be as a leader. His innate dispositions of argumentativeness and hostility have also been widely researched to analyze the extent to which they played a role in developing his personality, especially after he attracted prodigious controversy for incredulously cruel murder of the Jews. He pathologically lacked self-control and incessantly shouted at his subordinates after becoming a prominent German leader. This research paper aims at contemplating the very important historical figure Adolf Hitler by reviewing important historical evidence. It is believed that Adolf Hitler was undeniably one of the most ferocious leaders, but he is also remembered as a talented leader who managed to rise to prominence from a small town of Germany and after establishing control in his homeland went on to influence the entire Europe. Without sheer talent, such accomplishments are impossible which suggests that portraying Hitler as merely evil is a flawed tendency of many scholars (Hyland, Boduszek, and Kielkiewicz 58). But, this stands true too in context of his insane ferociousness and hostility that the genocide of millions of innocent Jews was so much influenced by his dictation that it is impossible to read the name Hitler somewhere and not automatically think of the vicious atrocities in reference to the Holocaust. Extermination camps were established throughout Europe by Nazi Germany under leadership of Hitler to identify Jews which were the principal target and kill then by either forcing them to work strenuously like animals under starvation conditions or dragging them to the gas chambers. History reveals that during all 12 years of Hitler’s dictatorship, more than 400 degrading regulations were designed to restrict the Jews in any way possi ble making their lives miserable (The History Place). It is stressed by Grobman that a historical genocide like the Holocaust has its roots entrenched in many hopelessly negative attitudes and prejudices that Hitler nurtured in his mind against the Jews. The Holocaust is the most researched and studied example of a genocide conducted on a mass level and studies suggest that this incident was a confluence of two streams, negative attitudes and strong prejudices aged by many years. The WWII itself was the not reason behind the Holocaust nor did it contribute to the occurrence of this event. It only played the role of an assistant effectively covering up the incident which involved genocide of as many as six million European Jews. It was actually the contribution made by many toxic and destructive attitudes of Hitler that the Holocaust occurred. Such unfortunate events arise from prejudice based on â€Å"ignorance, fear, and misunderstanding about minority groups† (Grobman) whic h is stereotypical thinking and â€Å"other groups who are different from ourselves† (Grobman) which indicates Hitler’s poisonous attitudes. If history of this man who as an exacting and menacing leader promoted so much violence in the world and destroyed millions of life is scrutinized, it is realized that Adolf Hitler as a child was very weak in studies except art (Trueman). He had no significant interest in school and frequently engaged in hostile arguments with his teachers because since the very beginning, he was not ready to be directed by anyone as it was his tendency to see the matter of direction as his prized prerogative not to be shared with

Medicare, Medicaid, and the Delivery System Case Study

Medicare, Medicaid, and the Delivery System - Case Study Example All these approaches have incentives that seem to motivate a certain trend (Guterman, Davis, Schoenbaum & Shih, w238). However, of the above three, the fee-for-service is the traditional one. The capitation approach is up-to-date and is meant to be a step up concerning creating better incentives for preventive care, efficiency, and cost control in health care. Under this payment system, a hospital, a physician, or a medical group receives a given flat fee per month for caring for a patient registered in a managed health care plan, despite the cost of the patient’s care. In the global capitation mode, whole networks of physicians and hospitals band in unison to obtain single fixed per-month payments for registered health plan individuals. The providers sign one contract with a health plan covering the care group signatories, and then they must establish a way of dividing the capitated check among the members. Flexibility in shared savings symbolizes a major feature of the proposed Medicare ACO rule. As such, even though ACOs will be reimbursed by fee-for-services, CMS are also scheduled to come up with benchmarks designed towards every individual ACO. In case the ACO exceeds its specified standard in Medicare cost savings, it definitely qualifies for shared savings. However, it will as well be held accountable for any incurred losses for failing to meet the set benchmarks. In addition, CMS has proposed creating a minimum sharing rate meant to account for normal differences in expenditure that could determine whether ACO reaches or goes beyond its benchmark (Guterman, Davis, Schoenbaum & Shih, w250). In the proposed rules, CMS has set forth two tracks for ACO reimbursement models. Here, ACOs will be asked to serve at least five thousand Medicare beneficiaries for a period of 3years. This new rule gives ACO an opportunity to follow a one-sided risk approach, where only

CSR- the impact of organizational goals and design Essay

CSR- the impact of organizational goals and design - Essay Example A newer concept but still very similar to social responsibility is social responsiveness, which in simple terms means â€Å"the ability of cooperation to relate its operations and policies to the social environment in ways that are mutually beneficial to the company and to the society (Fredrick, Davis and Post, 1988). Both definitions focus on corporations but these concepts should be expanded: The main differences between social responsibility and social responsiveness is that the latter implies actions and the ‘how’ of enterprise responses. It is not enough to be philanthropic and not think in terms of consumers and other relevant stakeholders. It is not enough to be law abiding and leave matter at that for a business rival round the corner can raise the stakes by introducing commodities and services, as well as conditions of production that are much higher than those required by law. Consumers today are alive to these changes and react to them in a fashion that tells on the bottom line of a firm. Therefore, the fact of corporate social responsibility has to be carefully devised keeping in mind the specifics of the organization and the kinds of demands that can be made upon it as a corporate citizen by all its relevant stakeholders. At the same time, no company can afford to let its profits fall. In fact if that were to happen then it would be letting down i ts stockholders and employees, who are two of its very important stakeholders. The question then is how to devise a system of CSR that is related to business so that both can be sustained in synergy. Defining corporate social responsibility (CSR): In an influential essay entitled ‘social responsibility of business’ Nobel Laureate Milton Friedman argued that the espousal of ‘social responsibilities’ by the corporate sector was not just bad for business, but was tantamount

History of Light Gauge Steel

History of Light Gauge Steel History and Development of Light Gauge Steel Within the Construction Industry At the end of World War Two, many countries, including the United Kingdom, Japan, France and Germany were suffering from an acute housing shortage. It was at this time that the use of light gauge steel was introduced into the construction industry by using it as a cladding system within the building of steel framed pre-fab houses. These pre-fabs were poorly designed with little insulation causing cold bridging and ultimately condensation and dampness within the interior of the buildings. This has led to many of these buildings being demolished and traditional brick homes constructed in their place. Despite this, with improved insulation, light gauge steel has continued to be used as an infill structure on multi storey buildings built from hot rolled steel or concrete frames. Commercial and retail buildings in particular continued to benefit from its diverse capabilities, using it as a cladding system which can be formed into many different shapes. In the USA, since 1990 over 20% of a ll affordable homes are now built using this method and it is still growing year on year (Koones, 2006). However, in the UK, we are not using advances in technology as we should be, meaning the buildings that we construct are responsible for almost half of our carbon emissions, half of our water consumption, around a third of our landfill waste and a quarter of all raw materials used in the UK (Smith R A, et al. 2003). This means that the UKs sustainable development targets cannot be met without a fundamental change to the way in which buildings are constructed. The national targets for greenhouse gas emission reductions and the drive for buildings that generate zero carbon in operation present a huge challenge to the building industry (Corus. Sustainable Steel Construction). These drivers have forced the industry to radically change the way in which it constructs its buildings developing other forms of construction to comply with new building regulations and sustainability issues. Advances in technology have led to improved building designs enabling many of the problems that were associated with light gauge steel in previous buildings to be overcome. Other forms of construction have also evolved, most of which are now capable of being manufactured in a factory and shipped to the site ready for assembly. These are known as Modern Methods of Construction (MMC) and their use has been encouraged by Government and the Building Research Establishment (BRE) due to their impact on the environment and benefits to the end user. In 2006, the MMC market split was: Â £414 million for volumetric (based on manufacturers selling price), 52,797 timber frame units (houses and commercial), Â £61 million for light gauge steel frame (which equates to around 6,100 units), 750 SIPS units (estimate) (BRE 2nd March 09). Today the properties of light gauge steel are being utilised, not only as a cladding system but as a complete building product, replacing bricks and blocks with thin studs of steel fixed together to form non-load bearing or load bearing walls. The studs that are used are formed by folding the strips of galvanised, light gauge steel into the required shape, of which there are many. The most common shape being C sections which are usually formed for use within walls. These vary in size from 40 225 mm and between 0.56 3.2mm in diameter depending on whether or not they are to be used in exterior, interior, load bearing or non-load bearing elements of the building. The steel used is galvanized, providing it with a protective coating for internal applications and has a standard coating of G275 (275 grams/m2). As it is only suitable for interior applications then the entire light gauge steel structure has to be enclosed within a protective covering. This is referred to as the envelope or a warm frame structure and is formed using insulation and a protective vapour barrier. The warm frame structure enables the building to have excellent thermal properties, surpassing the minimum U-Value levels of the Building Regulations 2000. Within the UK the design code for light gauge steel is BS9590 part 5; European design code is Eurocode 3 part 1.3 these are intended to be set of technical rules for the design of buildings using this method of construction. Light gauge steel has the best strength to weight ratio over any other building material and these high strength to weight ratios equate to six tonnes of steel achieving the same performance as 120 tonnes of concrete (SCI, 2007) and as a consequence of its light weight, dependant on ground conditions, less substantial foundations, even the use of prefabricated ground beams assembled to form the foundations may be suitable. Its light weight also inevitably means fewer deliveries to site, in turn causing less disruption to the local community. There are a number of ways in which the elements of a light gauge steel building can be constructed, one of which has taken its name from timber framed buildings where each element of the building is cut to length and fixed together on site. This is referred to as stick building and is a very labour intensive method which, along with a carpenter for timber frames, requires several years of training. This is similar to traditional construction but instead replacing the bricks and mortar with light gauge steel, a good method for one off buildings but it also prevents the benefits gained by off site manufacture to be achieved. The opposite to stick building is the volumetric system. This is the most factory based form of construction and involves the delivery on site of, usually, a complete room fully fitted out with all fixtures and fittings. This minimises on site installation work and only requires the individual pods to be fixed together increasing the rate of construction of the bu ilding. This form of construction is very good for buildings where a repeated style of room is required such as student accommodation blocks or a hospital. When the design of a building is more complex then the cost of producing individual pods significantly rises. The factory based fabrication of the pods ensures a high standard of workmanship with a precision of +0 to -2mm tolerance being achievable and also minimises the traffic, waste, labour, and time spent constructing the buildings resulting in savings for the developer whilst minimising the impact on the environment. The open panel method is another design used with light gauge steel structures. It involves the assembly of the walls, floor or roof within a factory based environment and delivered to the site when needed. All insulation, services, cladding and internal finishes are then fitted on site. The direct factory based savings for the open panel method is reduced due to the fact that the superstructure of a building only amounts to about 15% of the total construction costs. Any savings made using the system would be modest but the reduced time spent on site related to the use of this method would be where the savings would be made. The closed panel method also involves the production of the elements of the building within a factory but will also have the insulation and vapour barrier fixed to it. The services, internal finishes, doors, windows etc may also be in place and the different elements of the building would only require fixing together on site which is usually achieved, as in other methods, by welding, riveting, screwing or crimping. Costs of MMC have been muted as a barrier to the progression of their use and the Barker Review of Housing Supplies (2004) stated that At the present time, traditional brick and block methods of construction remain cheaper, in many cases, than modern methods of construction, including off-site manufacture (OSM). Only four years later a 2008 BRE report (SmartLIFE Lessons Learned), published its findings on a pilot project in the Fenland district of Cambridgeshire. It found that light gauge steel construction was in fact, cheaper than the traditional method of brick and block and also that of other MMC used, including timber framed and insulated concrete formwork. According to the SmartLIFE report the advantage of an ongoing partnership and understanding between the light gauge steel manufacturer and the main contractor was a factor in the methods cost effectiveness. The SmartLIFE project was undertaken to find the best ways the UK can deliver a greater volume of sustainable, affordab le and high quality homes in less time, using both traditional and innovative methods of construction. In comparison to other MMC, light gauge steels long roof and floor span capabilities also add to its diversity. Rooms can be changed around within the building by simply moving interior walls which do not require demolition as opposed to other methods. They can also be disassembled and reused or recycled unlike, for example, insulated concrete formwork walls. Whilst there are benefits to using light gauge steel there are also disadvantages including the metals thermal conductivity. Unlike a timber framed building, heat can quickly conduct across a metal stud and with many studs in a wall this can reduce the temperature within a room ensuring the u value of the wall is reduced. To rectify this additional exterior insulation is required at extra cost to the developer. There are also fears about corrosion problems. If the building is not kept within its warm envelope then deterioration of the metal could be a problem. A counter argument is that timber rots far easier and quicker than me tal and timber can also be a food source for a variety of animals. The electric conduciveness of the frame also means that extra work is needed to ensure the wiring does not come into contact with the frame. In modular and closed panel construction this would be undertaken in factory conditions and would be easily overcome but with on site installation it inevitably means further responsibility falls on to the sub-contractor electrician. Perhaps the most serious of its disadvantages is the thermal conductivity of the metal frame and its ability to cause the structure to collapse. To tackle this problem the fixing of two layers of gypsum plasterboard at staggered joints gives the metal frame a fire resistant time suitable to exceed the minimum fire safety requirements of Part B (Fire Safety) of the Building Regulations 2000. The acoustic performance of light gauge steel has also been questioned but the necessary double layer of plasterboard also takes the level of acoustic performance past the necessary requirements outlined in Part E (Resistance to the passage of sound) of the Building Regulations 2000. The high embodied energy of light gauge steel is also a disadvantage to people who have no knowledge of its reusability and recyclability. To calculate the embodied energy within construction components the World Steel Association uses the system expansion method of lifecycle assessment, which is the preferred approach of the International Organisation for Standardization (ISO) 14040 series of environmental standards. Although it is high in proportion to other MMC it is its ability of indefinite re-use and recycling without its qualities ever decreasing which differentiates it from all other methods of construction. Unlike traditional forms of construction light gauge steel benefits from low waste, adaptability, off site manufacture, re-usability, recyclability and resource efficiency making it one of the most sustainable building methods available within the UK. The buildings that can be produced by this method are light, open and very adaptable meaning old buildings would not have to be demolished when they are deemed unsuitable. The interiors would be simply rearranged to meet the end users requirements thus prolonging the life span of the building. Light gauge steel can and does exceed the requirements of todays low level building requirements and in conjunction with other methods of construction its benefits are also widened to medium and high rise buildings. However, a number of barriers will have to be overcome if light gauge steel is to become a prominent method of construction. Consumer confidence and the stigma of pre-fab buildings will have to be improved upon which can only be achieved by educating the consumer on the benefits of light gauge steel, including its whole life cycle properties. Finally financial aspects will have to be challenged including mortgage lenders and insurers who will essentially become a part of the education system. Their own education in the use of light gauge steel will enable them to encourage the use of and be involved in the progression of Modern Methods of Construction. Bibliography AMA Research Ltd, Current Practices and Future Potential in Modern Methods of Construction, waste and resources action programme. (2007) Barker K, Review of Housing Supply, Delivering Stability: Securing Our Future Housing Needs. Final Report and Recommendations, (2004), HM Treasury. BRE, Assessing the Sustainability of Prefabricated Construction Techniques: Building Research Establishment, (2003) BRE, Designing Quality Buildings, HIS BRE Press, (2007) CABE. Design and Modern Methods of Construction: Commission for the Built Environment, (2004) Communities and Local Government, Code for Sustainable Homes, Technical Guide, Department for Communities and Local Government, (2009) Corus BCSA. Sustainable Steel Construction, Building a sustainable future, (date unknown) Corus. Start Building With Fnished Rooms, Modular Building System, (2006). Currie D M, The use of Light- Gauge Cold Formed Steelwork in Construction, developments in research and design, Bre report, IHS BRE Press, (1989) Davison B Owens G, Steel Designers Manual, Blackwell publishing, Sixth Edition, The Steel Construction Institute, (2003) Dye A et al, Environmental Construction Handbook, RIBA, (2008) GRUBB P J et al, Light Steel Framing in Residential Construction, SCI Publication P301, (date unknown) GVA Grimley, Cities, Commerce Carbon: The Role of Property, (2009) Koones, S. (2006), Steel Frames Enter the Mainstream, Free Press, Smart Home Owner, May/June 2006. ODPM, Sustainable Communities: Building for the Future, Office of the Deputy Prime Minister, (2003) Perkins M Z, The Utilization of Light Gauge Steel In Residetial Construction In The State Of Utah, Thesis, (2009) Ross Keith et al, A Guide to Modern Methods of Construction, NHBC Foundation, HIS BRE Press, (2006) ROSS Keith, Modern Methods of House Construction. Building Research Establishment, (2005) Sir John Egan. Rethinking Construction, Report of the Construction Task Force, Office of the Deputy Prime Minister. (1998) Sir John Egan, Egan Review of Skills for Sustainable Communities: Office of the Deputy Prime Minister, (2004) SmartLIFE Lessons Learned, (2008), HIS BRE Press. BRE Report BR500 Smith R A, et al, The Construction Industry Mass Balance: resource use, wastes and emissions, Viridis Report VR4 (Revised), 2003, ISSN 1478-0143 Steel Construction Sector Sustainability Committee. Sustainable Steel Construction Building a Better Future. (2001) The Steel Construction Institute, Handbook of Structural Steelwork, 4th Edition, The British Constructional Steelwork Association Limited, (2007) TRADA, Manual for the Design of Timber Building Structures to EuroCode 5, (2007) Modern Methods of Construction, Evolution or Revolution? BURA, (2005) Unknown author, http://www.hm-treasury.gov.uk/ (2009), Her Majestys Treasury, accessed 9th December 2009. Unknown author, http://www.planningportal.gov.uk/england/public/ (2009), HMSO, accessed 9th December 2009 Unknown author, http://www.communities.gov.uk/corporate/, (2009), accessed 3rd December 2009 Unknown Author, http://www.hexaport.com/ (2009), Hexaport International, accessed 7th December 2009 Unknown author, http://www.bre.co.uk/ (2000 2009), The Building Research Establishment Trust, accessed 9th December 2009 Unknown author, http://www.azobuild.com/ (2009), AZoM.com Pty Ltd, accessed 8th December 2009

Is There More Than One Message in an Ad? :: essays research papers

Is There More Than One Message In an Ad?   Ã‚  Ã‚  Ã‚  Ã‚  The personal ads can reveal a message about the author that is not intended to be put in the ad through ink. To find this type of information you have to look a little deeper to find these kind of messages. The author might not mean to, but in the form of their writing they send out bits of personal information that is not intended to be noticed. As in the ad of Woman Seeking Man, I find that the woman has been hurt in the past and that is why she is being a little mysterious and vague in her ad.   Ã‚  Ã‚  Ã‚  Ã‚  The woman in the ad crosses me to be hurt. It seems that maybe in some past relationships things might not have gone her way and she ended up with the short end of the stick. She lists so many qualities that the perfect man could have; it seems as if she is talking from things she learned from bad past experiences. For instance, she states that the man cannot have any dependents or baggage from the past. As if in her last relationship, her mate might have been dealing with an ex-girlfriend or wife. It might have even ruined her relationship to the point to where she does not want the guy to even be associated with an ex. She might be talking about children that the man might be committed to. She acts though as if the only children that she wants in her relationships are the ones that belong to her and her partner. She might be trying to suggest that she already have children that she is having to deal with and she does not want anymore to have to handle. She also puts a one-woman man at the beginning of the sentence that follows that sentence that takes up most of the article. As if to apply emphasis to it so that the guy gets the picture that she does not put up with a man that cheats or is a little to friendly with the ladies like a flirt. She could be emphasizing one-woman man because she has dealt with a cheater before and it has ruined a relationship or two in the past. She also keeps referring to the man needing good manners. She states that he should be well-mannered, mature, expert in the art of courtship, and always puts the toilet seat down, but she spreads them through out the passage so that the reader does not forget the point.

Assess the view that the positions of men Essay

Over the past few decades the roles of men and women have changed drastically. These changes occur throughout society, within a family or in a relationship. In the past, the most common relationship between the two genders would have been very different, with the men being viewed as more masculine and of higher authority, whereas the women of a society would have been viewed to have a stay at home role, where they would look after children and participate in household chores. During the 1900’s women were seen a minority, where the slightest amount of freedom would have been frowned upon. Nonetheless over the years, as we have developed, so have the different role for both genders, this now consists of sharing jobs equally in a household and around a workplace. The most obvious change within a family would be the amount of work the couple share, both in the household and outside of it. Since the 1960, where the civil rights act was released, it detailed that women were now able to work and should be offered equal opportunities as men, whereas in the past that would have been forbidden. Due to this seismic change, women are now able to provide for themselves, which in the past would have been extremely difficult as they would have essentially been dependent on their partner’s income. Gershuny, a famous sociologist, said that women who work full time would do less of the domestic labour jobs around the house. However statistics show this is incorrect. Women who work full time tend to still do 73% of the household chores, leavening only 27% to the men, who may or may not work full time. An equally significant aspect of this change would be the commercialisation of society today. Commercialisation of society is defined as the new technologies that have been introduced into today’s world in order to allow basic household chores, which would have takes several hours to do, to be completed within a few hours. The commercialisation of basic household necessities means that couples still have time to work and spend time with each other. For women, supermarket food products; means they don’t have to spend hours cooking and preparing food for the family. This would also mean, washing clothes now has become much easier due to the washing machine appliance. Due to this significant improvement, the hours of domestic labour on a woman has decreased a great deal. In spite of this, the commercialisation of products wouldn’t apply to everyone. Working class families or women would be able to afford such expensive items, however this doesn’t quite apply to poorer women; and hence they would suffer with longer hours of household chores. This also doesn’t take into account who uses these appliances; women still load and unload the dishwasher, or wash clothes. Despite having these appliances, it doesn’t necessarily mean these jobs are equally shared; the majority of women still complete them. Consequently, men and women are now becoming more equal when it comes to making decisions as a family. In the past men were off more authority and hence they were the ones that made the more important decisions. Stephen Edgell did a study in 1980 which showed that very important decisions were usually taken by men, important decisions were usually taken jointly however rarely by the wife alone, and lastly less important decisions were usually made by the wife alone. This has changed considerably over the years since the decisions are now shared equally. Pooling (where the couple have access to income and joint responsibility) has increased from 19% to 50%; on the other hand, allowance system (where men give their wives and allowance as a weekly budget) has decreased significantly from 36% to 12%. This shows a clear indication of how the roles have changed, although the increase for pooling was very little, we can judge that eventually role will get even. Moreover, we can see from the past that men and women were given gender scripts. Men were seen to be masculine and of higher standard thus they would work. This was often referred to as the instrumental role, where men were the providers. Women were viewed as having a role solely in the house where they would do household chores. This was often referred to as the expressive role, where women were the homemakers. Nonetheless this can be argued with the concept of homosexual couples. For example within a lesbian couple, they wouldn’t have suited gender scripts and hence would have to negotiate roles equally. Also the idea that now a day’s men aren’t the only providers within a family, women also work and hence can provide for themselves as well as their family. Having considered those points, there are many things to suggest things still need a lot of time in order to improve and become slightly equal. A concept that could argue the progress over the years would be the idea of dual burden which explains the roles women take upon themselves, or in other words are expected to take. Many feminists believe women are now doing two shifts, one at work which is paid work, and eventually returning home to do unpaid work. They believe men benefit from both works, as they receive a steady income as well as a clean house. Some also claim that women do three shifts, also called the triple shift. This is described as emotional work which is role which is usually related to women. Women have an extra unpaid shift where they return home to take care of the rest of the family, also called as the ‘labour of love’. Subsequently, it seems convincing to me that although roles have changed over the years, the change itself is very little because the roles within a family still aren’t as equal. Despite having the same job opportunities, the job of domestic labour in a household are far from equal. Nonetheless I believe roles will eventually change one day where they will be close to equal. However I think roles will never be fully equal.

Brief History of Art Therapy

A BRIEF HISTORY OF ART THERAPY Randy M. Vick This history of art therapy focuses on the precursory and continuing trends that have shaped the theory and practice and the literature that reflects this development. Scholarship, like history, builds on the foundations laid by others. I am indebted to the authors of four other histories that I found to be particularly useful in the preparation of this chapter. Both Malchiodi (1998) and Rubin (1999) have assembled histories based on contributing trends, as did Junge and Asawa (1994) who have pro-vided extensive details on the personalities and politics involved in the formation of the American Art Therapy Association. My fourth primary source (MacGregor, 1989), while never intended as a book about art therapy, has proven to be an excel-lent â€Å"prehistory† of the field. Each of these references provided information as well as inspiration and I encourage readers to consult them for additional perspectives. Finally, it should be noted here that art therapy was not a phenomenon exclusive to the United States. Readers interested in art therapy's development in Europe should consult Waller's (1991, 1998) two books on this subject. History is like a tapestry with each colored thread contributing not only to the formation of the image but to the strength and structure of the fabric itself. Imagine for a moment a tapestry with bobbins of different-colored threads, each adding a hue that becomes part of a new creation, and we can better understand the history of this field. INFLUENCES FROM THE DISTANT PAST AND NEIGHBORING FIELDS Art therapy is a hybrid discipline based primarily on the fields of art and psychology, drawing characteristics from each parent to evolve a unique new entity. But the inter weaving of the arts and healing is hardly a new phenomenon. It seems clear that this pairing is as old as human society itself, having occurred repeatedly throughout our history across place and time (Malchiodi, 1998). The development of the profession of art therapy can be seen as the formal application of a long-standing human tradi-tion influenced by the intellectual and social trends of the 20th century (Junge & Asawa, 1994). 1 From the Realms or Art Art making is an innate human tendency, so much so it has been argued that, like speech and tool making, this activity could be used to define our species (Dissana-yake, 1992). In his book, The Discovery of the Art of the Insane, MacGregor (1989) presents a history of the interplay of art and psychology spanning the last 300 years. This history covers theories of genius and insanity, biographies of â€Å"mad† artists, depictions of madness by artists, and the various attempts to reach an understanding of the potential art has as an aid to mental health treatment and diagnosis. In 1922, German psychiatrist Hans Prinzhorn (1922/1995) published The Artistry of the Men-tally III, a book that depicted and described the artistic productions of residents of in-sane asylums across Europe. This work challenged both psychiatric and fine arts professionals to reconsider their notions of mental illness and art (MacGregor, 1989). Even today, debate rages within the field variously titled outsider art/art brut/visionary art/folk art as experts struggle to place work by self-taught artists (some of whom have experienced mental illness) within the art historical canon (Borum, 1993/1994; Russell, 2002). Contemporary writers from art therapy and other disciplines continue to explore the notion of art practice for the purpose of personal exploration and growth (Alien, 1995; Cameron & Bryan, 1992; C. Moon, 2002) and to reevaluate the traditional boundaries between personal and public art (Lachman-Chapin et al. , 1999; Sigler, 1993; Spaniol, 1990; Vick, 2000). Medicine, Health, and Rehabilitation Hospitals have long served as important incubators for the field of art therapy. For better or worse, medical model concepts such as diagnosis, disease, and treatment have had a strong influence on the development of most schools of thought within Western psychotherapy, including art therapy. While psychiatry has always been the medical specialty most closely allied with the field, art therapists have worked with patients being treated for AIDS, asthma, burns, cancer, chemical dependency, trauma, tuberculosis, and other medical and rehabilitation needs (Malchiodi 1999a, 1999b). Our understanding of the interplay between biochemistry, mental status, and creativity continues to evolve and a new medical specialty, arts medicine, has recently emerged 2 (Malchiodi, 1998). All this seems to suggest that art therapy will continue to have a role in exploring the connections between body and mind. TRENDS IN 19TH- AND 20TH-CENTURY PSYCHOLOGY For much of human history mental illness was regarded with fear and misunderstanding as a manifestation of either divine or demonic forces. Reformers such as Rush in the United States and Pinel in France made great strides in creating a more humane environment for their patients. Freud, Kris, and others contributed to this rehumanization by theorizing that rather than being random nonsense, the productions of fantasy revealed significant information about the unique inner world of their maker (MacGregor, 1989; Rubin, 1999). Building on these theories, many writers began to examine how a specific sort of creative product—art—could be under-stood as an illustration of mental health or disturbance (Anastasi & Foley, 1941; Arnheim, 1954; Kreitler & Kreitler, 1972). Other authors began recognizing the po-tential art has as a tool within treatment (Winnicott, 1971). Soon enough, the term â€Å"art therapy† began to be used to describe a form of psychotherapy that placed art practices and interventions alongside talk as the central modality of treatment (Naumburg, 1950/1973). The significance psychoanalytic writers placed on early childhood experiences made the crossover of these theories into education an easy one (Junge & Asawa, 1994). Some progressive educators placed particular emphasis on the role art played in the overall development of children (Cane, 1951/1983; Kellogg, 1969; Lowenfeld, 1987; Uhlin, 1972/1984). This trend toward the therapeutic application of art within educational settings continues today (Anderson, 1978/1992; Bush, 1997; Henley, 1992). PSYCHOLOGICAL ASSESSMENT AND RESEARCH In addition to psychoanalysis and the rehumanization of people with mental illness, one of the strongest trends to emerge within modern psychology has been the focus on standardized methods of diagnostic assessment and research. Whether discussing the work of a studio artist or the productions of a mentally ill individual, Kris (1952) argues that they both engage in the same psychic process, that is, â€Å"the placing of an inner experience, an inner image, into the outside world† (p. 115). This â€Å"method of projection† became the conceptual foundation for a dazzling array of so-called projective drawing assessments that evolved in psychology during the 20th century (Hammer, 1958/1980). These simple paper-and-pencil â€Å"tests,† with their formalized procedures and standardized methods of interpretation, became widely used in the evaluation and diagnosis of children and adults and are still employed to a lesser degree tod ay (though often with revamped purpose and procedure). Two parallel themes from this era are the relatively unstructured methods of art assessment (Elkisch, 1948; Shaw, 1934) and the various approaches to interpreting these productions (Machover, 1949/1980). The impact of psychoanalysis on the early development of art therapy was pro-found. Hammer's (1958/1980) classic book on drawing as a projective device illustrates the diversity within this area and the inclusion of two chapters on art therapy by pioneering art therapist Margaret Naumburg demonstrates the crossover of influences. Many of the more common stereotypes about art therapy (specific, assigned drawings; finger painting; and the role of the therapist in divining the â€Å"true meaning† of the drawings) can, in fact, be traced directly to this era. Nearly all the major art therapy writers from this time developed their own methods of assessment consisting of batteries of art tasks with varying levels of structure (Kramer & Schehr, 1983; Kwiatkowska, 1978; Rubin, 1978/1984; Ulman & Dachinger, 1975/1996). Even today, the notion that artworks in some way reflect the psychic experience of the artist is a fundamental concept in art therapy. Despite this common history, there are distinctions between the approach to assessment used in psychology and that found in art therapy. The key difference is the art therapy perspective that the making and viewing of the art have inherent therapeutic potential for the client, a position not necessarily held by psychometricians. In addition, art therapists tend to use more varied and expressive materials and to deemphasize formalized verbal directives and stress the role of clients as interpreters of their own work. Finally, art therapists are also quite likely to improvise on the pro-tocol of standardized assessments to uit a particular clinical purpose (Mills & Goodwin, 1991). An emerging theme in the literature is the unique role the creative arts therapies can play in the assessment and evaluation of clients (Bruscia, 1988; Feder & Feder, 1998). Contemporary developers of art therapy assessments have abandoned ortho-dox psychoanalytic approaches in favor of methods that emphasize the expressive potential 4 of the tasks and materials (Cohen, Hammer, & Singer, 1988; Cox Frame, 1993; Gantt & Tabone, 1997; Landgarten , 1993; Silver, 1978/1989). Early art therapy researchers also looked to psychology and embraced its empiri-cal approach for their research (Kwiatkowska, 1978). More recently, models from the behavioral sciences and other fields have been used as resources in conducting art therapy research (Kaplan, 2000; McNiff, 1998; Wadeson, 1992). THE DEVELOPMENT OF THE ART THERAPY LITERATURE The development of any discipline is best traced through the evolution of that field's literature. The historian's convention of artificially dividing time into segments is employed here to illustrate three phases of growth in the profession of art therapy. Classical Period (1940s to 1970s) In the middle of the 20th century a largely independent assortment of individuals began to use the term â€Å"art therapy† in their writings to describe their work with clients. In doing so, these pioneering individuals began to define a discipline that was distinct from other, older professions. Because there was no formal art therapy training to be had, these early writers were trained in other fields and mentored by psychiatrists, analysts, and other mental health professionals. The four leading writers universally recognized for their contributions to the development of the field during this period are Margaret Naumburg, Edith Kramer, Hanna Kwiatkowska, and Elinor Ulman. The lasting impact of their original works on the field is demonstrated by the fact that their writings continue to be used as original sources in contemporary art therapy literature. More than any other author, Naumburg is seen as the primary founder of American art therapy and is frequently referred to as the â€Å"Mother of Art Therapy† (see Junge & Asawa, 1994, p. 22). Through her early work in the innovative Walden School, which she founded (along with her sister Florence Cane), and later in psychi-atric settings she developed her ideas and, in the 1940s, began to write about what was to become known as art therapy (Detre et al. , 1983). Familiar with the ideas of both Freud and Jung, Naumburg (1966/1987) conceived her â€Å"dynamically oriented art therapy† to be largely analogous to the psychoanalytic practices of the day. The clients' art productions were viewed as symbolic communication of unconscious material in a direct, uncensored, and concrete form that Naumburg (1950/1973) argued would aid in the resolution of the transference. While Naumburg borrowed heavily from the techniques of psychoanalytic practice, Kramer took a different approach by adapting concepts from Freud's personality theory to explain the art therapy process. Her â€Å"art as therapy† approach emphasizes the intrinsic therapeutic potential in the art-making process and the central role the defense mechanism of sublimation plays in this experience (Kramer, 1971/1993). Kramer's (1958, 1971/1993) work in therapeutic schools (as opposed to Naumburg's psychiatric emphasis) allows for more direct application of her ideas to educational settings. Ulman's most outstanding contributions to the field have been as an editor and writer. She founded The Bulletin of Art Therapy in 1961 (The American Journal of Art Therapy after 1970) when no other publication of its kind existed (Junge &c Asawa, 1994). In addition, Ulman (along with her coeditor Dachinger) (1975/1996) published the first book of collected essays on art therapy that served as one of the few texts in the field for many years. Her gift as a writer was to precisely synthesize and articulate complex ideas. In her essay â€Å"Art Therapy: Problems of Definition,† Ulman (1975/1996) compares and contrasts Naumburg's â€Å"art psychotherapy† and Kramer's â€Å"art as therapy† models so clearly that it continues to be the definitive presentation of this core theoretical continuum. The last of these four remarkable women, Kwiatkowska, made her major contributions in the areas of research and family art therapy. She brought together her experiences in various psychiatric settings in a book that became the foundation for working with families through art (Kwiatkowska, 1978). Like Kramer, she had fled Europe at the time of World War II adding to the list of emigre thinkers who influenced the development of mental health disciplines in the United States. She also coauthored a short book that helped introduce the field of art therapy to the general public (Ulman, Kramer, & Kwiatkowska, 1978). Each of these pioneers lectured widely on the topic of art therapy and served as some of the field's first educators. It was also during this period that the first formal programs with degrees in art therapy were offered (Junge Asawa, 1994; Levick, Goldman, & Fink, 1967). Finally, it is important not to forget the other early pioneers working in other parts of the country, such as Mary Huntoon at the Menninger Clinic (Wix, 2000), who made contributions to the developing profession as well. 6 Middle Years: Other Pioneering Writers (1970s to Mid-1980s) The 1970s through the mid-1980s saw the emergence of an increasing number of publications that presented a broader range of applications and conceptual perspectives (Betensky, 1973; Landgarten, 1981; Levick, 1983; McNiff, 1981; Rhyne, 1973/ 1995; Robbins & Sibley, 1976; Rubin, 1978/1984; Wadeson, 1980), although psychoanalysis remained a dominant influence. The development of the literature was also enriched during this period with the introduction of two new journals: Art Psychotherapy in 1973 (called The Arts in Psychotherapy after 1980) and Art Therapy: Journal of the American Art Therapy Association, in 1983 (Rubin, 1999). The in-creasing number of publications, along with the founding of the American Art Therapy Association in 1969, evolved the professional identity of the art therapist, credentials, and the role of art therapists vis-a-vis related professionals (Shoemaker et al. 1976). Contemporary Art Therapy Theories (Mid-1980s to Present) The art therapy literature continues to grow. In 1974, Gantt and Schmal published an annotated bibliography of sources relating to the topic of art therapy from 1940-1973 (1,175 articles, books, and papers), yet Rubin (1999) notes that in that same year there were only 12 books written by art therapists, a number that crawled to 19 some 10 years later. By the mid-1980s this pace began to incre ase so that there are now more than 100 titles available. Rubin (1999) also speculates that art therapists may be more comfortable with an intuitive approach than other mental health practitioners because as artists they â€Å"pride themselves on their innate sensitivities, and tend to be antiauthoritarian and anti-theoretical† (p. 180). Recently, approximately 21% of art therapists surveyed by the American Art Therapy Association described their primary theoretical orientation as â€Å"eclectic,† the single largest percentage reported (Elkins & Stovall, 2000). This position is in keeping with one delineated by Wadeson (in Rubin, 1987/2001) and should not be surprising in a field that itself draws from a variety of disciplines. The next five most frequently reported models: psychodynamic (10. 1%), Jungian (5. 4%), object relations (4. 6%), art as therapy (4. 5%), and psychoanalytic (3. 0%) all place a strong emphasis on intrapsychic dynamics, and this cumulative 27. 6% suggests that much contemporary practice is still informed by generally psychodynamic concepts (Elkins & Stovall, 7 2000). In a landmark book, Approaches to Art Therapy first published in 1987, Rubin (1987/2001) brought together essays by authors representing the diversity of theoretical positions within the field. Perspectives from these and other relevant sources are briefly summarized here. PSYCHODYNAMIC APPROACHES The ideas of Freud and his followers (see Chapter 2, this volume) have been part of art therapy since the earliest days, although contemporary writers are more likely to apply terms such as â€Å"transference† and â€Å"the defense mechanisms† to articulate a position rather than employ classic psychoanalytic techniques ith any degree of orthodoxy. Kramer, Rubin, Ulman, and Wilson (all cited in Rubin, 1987/2001) and Levick (1983) all use psychoanalytic language and concepts. Interpretations of the newer developments in psychoanalysis such as the theories of Klein (Weir, 1990), self psychology (Lachman-Chapin) and object relations theory (Robbins) can also be found in the art t herapy literature (both cited in Rubin, 1987/2001). With his emphasis on images from the unconscious, it was natural for Jung's concepts of analytical and archetypal psychology to cross over into art therapy (see Chapter 2, this volume). Work by Edwards and Wallace (both cited in Rubin, 1987/ 2001), McConeghey (1986), and Schaverian (1992) all reflect this emphasis. HUMANISTIC APPROACHES Elkins and Stovall (2000) suggest that only a small number of art therapists operate from a humanistic position (among humanistic, Gestalt, existential, and client centered; the highest response was to the first category with 2. 9). Yet if these approaches can be defined as sharing â€Å"an optimistic view of human nature and of the human condition, seeing people in a process of growth and development, with the potential to take responsibility for their fate† (Rubin, 1987/2001, p. 119), these figures belie a sentiment held by many art therapists (see Chapter 3, this volume). Garai (cited in Rubin, 1987/2001) has written from a general humanistic position, Rogers (1993) and Silverstone (1997) use a person-centered model, and Dreikurs (1986) and Garlock (cited in Rubin, 1987) have adapted ideas first articulated by Alfred Adier. Other models that fall under the humanistic heading include existential (B. 8 Moon, 1990/1995), phenomenological (Betensky, 1995), and gestalt (Rhyne, 1973/1995) approaches. LEARNING AND DEVELOPMENTAL APPROACHES Perhaps because they are perceived to be mechanistic, those psychological theories that emphasize learning tend to be less popular with art therapists. In the Elkins and Stovall (2000) survey, cognitive-behavioral (see Chapter 6, this volume), cognitive, developmental (Chapter 8, this volume), and behavioral received an ndorsement of over 2%. Yet there are art therapy authors whose work has been informed by these theories. Silver (2000) has written extensively on assessment using a cognitive approach, and the work of Lusebrink (1990) and Nucho (1987) is based in general systems theory. Art therapists working with children with emotional and developmental disabilities have also adapted concepts from developmental (Aach-Feldman & Kunkle-Miller, cited in Rubin, 1987/2001; Willia ms & Wood, 1975) and behavioral psychology (Roth, cited in Rubin, 1987/2001). FAMILY THERAPY AND OTHER APPROACHES A number of writers (Landgarten, 1987; Linesch, 1993; Riley & Malchiodi, 1994; Sobol, 1982) have built on Kwiatkowska's early family work, particularly in California where art therapists become licensed as marriage and family therapists. Riley (1999) also incorporates concepts from narrative therapy into her work (Chapter 5, this volume). Relational (Dalley, Rifkind, & Terry, 1993) and feminist (Hogan, 1997) approaches question the hierarchy in the client/therapist relationship and empower-ing the client and have also shaped contemporary art therapy practice. Publications by Horovitz-Darby (1994), Farrelly-Hansen (2001), and McNiff (1992) reflect an emphasis on spiritual and philosophical concepts over psychological theory. Frank-lin, Farrelly-Hansen, Marek, Swan-Foster, and Wallingford (2000) describe a transpersonal approach to art therapy. Alien (1992) called for a reversal of the perceived trend in overemphasizing the clinical orientation and encouraged art therapists to refocus on their artist identity. Writings by Lachman-Chapin (1983); Knill (1995), who espouses an expressive arts therapies approach (Chapter 8, this volume); and C. Moon (2002) reflect this studio approach to theory and practice. 9 CONCLUSION Every art therapist knows there is much to be learned from the process of making an artwork as well as from standing back and viewing the finished product. The tapes-try that is art therapy is not a dusty relic hung in a museum but a living work in progress. There is pleasure in admiring the work that has already been done and excitement in the weaving. It is my hope that readers can appreciate the processes and the products that have shaped this profession. 10

Free Essays on Recycle Waste

Areas upon areas of our precious land is at risk everyday of becoming consumed with byproduct of our quest to build. From the late 1930’s to our present time man has ultimately flourished our land with mass construction of marvelous structures that safely encompass our lives. As buildings spring into our horizon of our focus, its waste lay in the dark hillside of some once unoccupied land in the outskirts of our regions and minds. Overtime, many efforts have been made to recycle these wastes via finding an alternative use such as wood chips. Wood chips can be used for engineered wood products that proportion to size, are more durable and stronger, though timber must still be processed to create chips. Conversely, advances in technology are helping to shift our focus from simply finding an alternative use for construction waste to creating a useable building product from it. Thus, it is better to find a product that can be manufactured once and reused several times. Materials such as steel have a long history of being successfully extracted from the site and recycled back into a usable product. Other building components though have not had this option until a short time ago. Gypsum board, used mainly for interior sheeting, for many years was recycled for use as a soil amendment. This lay mainly to its paper backing which was problematical in removing. In spite of this, hard work continued in the quest to recycle this product into a material fit for reuse until it was resolved. In 1999, this method of recycling was accomplished allowing gypsum board to be recycled into new gypsum, ready for construction once again. One of the benefits of recycling gypsum board is produced savings in energy used in the mining process. In retrospect to finding an alternative use, finding new uses for materials found in buildings can be just ... Free Essays on Recycle Waste Free Essays on Recycle Waste Areas upon areas of our precious land is at risk everyday of becoming consumed with byproduct of our quest to build. From the late 1930’s to our present time man has ultimately flourished our land with mass construction of marvelous structures that safely encompass our lives. As buildings spring into our horizon of our focus, its waste lay in the dark hillside of some once unoccupied land in the outskirts of our regions and minds. Overtime, many efforts have been made to recycle these wastes via finding an alternative use such as wood chips. Wood chips can be used for engineered wood products that proportion to size, are more durable and stronger, though timber must still be processed to create chips. Conversely, advances in technology are helping to shift our focus from simply finding an alternative use for construction waste to creating a useable building product from it. Thus, it is better to find a product that can be manufactured once and reused several times. Materials such as steel have a long history of being successfully extracted from the site and recycled back into a usable product. Other building components though have not had this option until a short time ago. Gypsum board, used mainly for interior sheeting, for many years was recycled for use as a soil amendment. This lay mainly to its paper backing which was problematical in removing. In spite of this, hard work continued in the quest to recycle this product into a material fit for reuse until it was resolved. In 1999, this method of recycling was accomplished allowing gypsum board to be recycled into new gypsum, ready for construction once again. One of the benefits of recycling gypsum board is produced savings in energy used in the mining process. In retrospect to finding an alternative use, finding new uses for materials found in buildings can be just ...

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Audience Analysis - Essay Example Actually, according to the American Red Cross young people constitute of about 20% of the nation’s blood donation (2014, para. 2). This implies that it is the role of all people to regularly donate blood in a bid to improve the health sector of our country. Every once in while, everyone encounters situations that require blood. This may be personal or someone we know. This implies that blood donation may be viewed as an investment for future use either by our own selves or other people. There are cases where people donate blood for their own future use but it is also important to donate blood freely and leave it open for everyone’s use. Most emergencies needing blood are accident related. Evidence has it that most blood donations are made during times of disasters (Baum, 1997, p.568). However, since we do not have control over accidents and we do not know when they will happen, the only thing we can do is to prepare adequately for when they occur. Donating blood can be considered one of the most effective ways to prepare for accidents. In addition to helping other people, donating blood also has many benefits in our health. For instance, researchers argue that people who donate blood regularly have an extremely low chance of getting heart related complications such as heart attacks (Medical West, 2014, para. 3-6). This implies that donating blood can be advantageous to us not only in cases of accidents or other illnesses but also in our normal daily routines. Reduced chances of getting heart related diseases can be attributed to the fact that regularly donating blood reduces iron levels in the body system. This is important in preventing iron concentration in the arteries hence reducing chances of getting heart attacks. Heart conditions are most prevalent among the older people and therefore blood donation can help reduce the risks even to much older

Improvements of public Assignment Example | Topics and Well Written Essays - 500 words

Improvements of public - Assignment Example In order to provide a safe environment and to meet the unique needs of the aging population the city had started a project regarded as Age Friendly New York City. Under this project a total of 59 initiatives were made to attain the purpose of building a comfortable and livable city for the older adults. One of the major changes made by the New York City is the adoption of swimming hours for the older population. They have allotted a time slot to the senior citizens and during this time slot only the senior citizens are allowed to swim in the Jefferson pool (PBS NewsHour 1). This improvement is very good for the health and the social life of the senior citizens. Another significant change the New York City has made to its public places is of changing the most populated and famous street called Broadway Boulevard. The aim of making these changes was simply to deal with the traffic related issues that were occurring to the ever growing population of New York City. These changes included the addition of street furniture as well as separate lanes for bikers (Ullman 1). Other changes includes the addition of two separate lanes for moving vehicles and two separate lanes for parking purposes and changes were even made to traffic signals to manage congestion. New York City has even worked for the knowledge and learning of its citizens in order to help them in becoming literate individuals. One of the major moves that were made by New York City was the reopening of a reading room in the Bryant Park. The reading room has been there since the period of 1930s and it was later reopened during the period of 2003 (Bryantpark.org 1). Its initial purpose was to help individuals gain knowledge in order to help them in findings jobs. Various changes have been made to the New York City since its inception and all these changes have been guided by the government’s desire to make New York City a livable area for its citizens. In order to help the older