The story of The Yellow Wallpaper - Free Essay Example

Sample details Pages: 7 Words: 2002 Downloads: 1 Date added: 2019/05/18 Category Literature Essay Level High school Tags: The Yellow Wallpaper Essay Did you like this example? Charlotte Perkins Gilman once said There is no female mind. The brain is not an organ of sex. Might as well speak of a female liver. In short story The Yellow Wallpaper written in 1982 by Gilman from the first person perspective of an unnamed woman who is suffering from postpartum depression. Don’t waste time! Our writers will create an original "The story of The Yellow Wallpaper" essay for you Create order The style of writing is gothic because the story is about dread, horror, the supernatural, and suspense. The woman and her husband, a physician, stay at a summer house, and he has decided that she must have a rest cure because she is suffering from a nervous disorder. In the The Yellow Wallpaper Charlotte Perkins Gilman shows through characterization an unequal relationship between a man and woman in which the woman is infantilized. The story of The Yellow Wallpaper reflects the period where men dominated women. In the beginning of story Gilman shows issues that deal with gender roles as well as male dominance. If a physician of high standing, and ones own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression what is one to do? My brother is also a physician and also of high standing and he says the same thing (Gilman, 519). This quote from the narrator shows how high standard careers like physicians/doctors were held by men and not women. The role of women in society shown as occupation of housewife when Johns sister entrance. The woman writes, There comes Johns sister. Such a dear girl as she is, and so careful of me! I must not let her find me writing. She is a perfectionist and enthusiastic housekeeper, and hopes for no better profession. I verily believe she thinks it is the writing which makes me sick! (Gilman, 522). This statement shows a typical representative of woman and who is happy with her life as it is. During the 19th century women had not been allowed to speak their own minds because they had to follow or do what their husband wants. The marriages had been primarily based on the husbands perspective. According to article Monumental Feminism and Literatures Ancestral House: Another Look at the Yellow Wallpaper by Janice Haney-Peritz said that The Yellow Wallpaper this story is disturbing, feminists such as Elaine Hedges claim that this is one of the rare pieces of literature we have by a nineteenth- century woman which directly confronts the sexual politics of the male-female, husband-wife relationship (Haney-Peritz, 114). This evidenc e shows Gilman used the narrator husband as a representative of society and to reveal how mans dominance over woman though characterization. The narrator is under her husbands control, where the man can say or do anything and women have to listen. For example, the narrator uses verbal irony in reference to her husband: John laughs at me, of course, but one expects that in marriage (Gilman, 519). Gilman is trying to show that their marriage is unequal and the fact that her husband laughs at the narrator shows he doesnt respect her feelings. Furthermore, The Yellow Wallpaper presents male dominance where the narrator must deal with isolation and lack of control. When the narrator is diagnosed with depression by her husband he prescribes the rest cure. His decision about the rest cure shows how he dominates and controls his wifes life. The process of rest cure keeps the narrator isolated, from her work, herself, and from outside world interaction. She is treated like infant where the narrator husband tries to oppress her by refusing her thoughts. After spending time in her room, she started to dislike the yellow wallpaper and requested her husband to change since she doesnt like its had unusual pattern. Her husband replied, nothing was worse for a nervous patient than to give way to that fancies. (Shumaker, 591). Her husband who reject her requested by saying, you are gaining flesh and color, your appetite is better, I feel better about you (Shumaker, 591). This demonstrates that he is not paying attention to his wife emotional needs. The story shows the patriarchal society of the time and her husband doesnt want to take order from his wife. This is evident through the masculine husband who tries to oppress his wife and shatter her ability of thinking. The color yellow is a symbol which often associated with sickness or weakness and this had been proven true when the narrator gets sick instated of getting well from rest cure. Male domination had been changed in form of pressure on the narrator to get well. In The Yellow Wallpaper the women feel pressure to get well soon. John, her husband takes her to a summer house. John says if I dont pick up faster he shall send me to Weir Mitchell in the fall(Gilman, 523). The description of Weir Mitchell uses imagery to create he is a physician of neurasthenia which the woman need for rest cure. If the woman need to get well soon otherwise she will be send to doctor. Her husband use emotional pressure to her My darling, said he, I beg of you, for my sake and for our childs sake, as well as for your own, that you will never for one instant let that idea enter your mind! There is nothing so dangerous, so fascinating, to a temperament like yours. It is a false and foolish fancy. Can you not trust me as a physician when I tell you so? (Gilman, 525) This shows how her husband treat her like she is mentally ill. Also, the pressure from her husband shows male domination because of the forces and being control means she have get well soon. Controlling th e narrator is another form male domination because her husband was making decisions for her which shows she had no freedom. In The Yellow Wallpaper the husband control her by not let her write and she felt isolated because she is locked into room. The husband hate when she write a single word. There comes John, and I must put this away,he hates to have me write a word(Gilman, 520). What this quote is trying to say that John her husband did not want her to write and control her life like when she need take rest. Also by not letting her do a thing she likes. This is a literary technique of irony because writing make the women feels happy but her husband john making her being more sick. Because of control make her feels isolation I sometimes fancy that in my condition if I had less opposition and more society and stimulus but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad (Gilman, 519). This shows she is cut off and isolated from the rest of the society. His domination make the narrator to believes she is failure. She cannot be a perfect wife or mother because she need to be rest. Of course it is only nervousness. It does weigh on me so not to do my duty in any way! I meant to be such a help to John, such comparative burden already( Gilman, 521). She explains because of her nervousness she can not do her duty to the family. The author she is an allusion because she is thinking in her mind without mentioning. She failed how she want to live her life Life is very much more exciting now than it used to be.You see I have something more to expect, to look forward to, to watch. I really do eat better, and am more quiet than I was (Gilman, 526). This shows how she has truly lost her sanity and make her feel like a failure. The narrator was living in a room like nursery and which seems to infantilize her during rest cure treatment. The narrator had been treated like a child by her husband throughout the story. She remains in a room locked staring at the wallpapers and the ceiling. Her husband refers to her as his little goose which refers to a dumb animal and to shows the husband thinks she is not enough intelligence. This is shown in the line where The he took me in his arms and called me a blessed little goose, and said he would go down to the cellar, if I wished , and have it Whitewashed into the bargain (Gilman, 521). The key phrase in the quote is little goose, the husband treats his wife like a child and speaks to her as such. Also, he refers to her as a little girl, and with an huge he says things like,Bless her little heart! (Gilman, 525). At one point, when the narrator breaks down crying in front of her husband, he gathered her up in his arms, just carried her up the stairs and laid her on the bed to read to her until it tired her head (Gilman, 524). Author Gilman present an image of a father gatherin g up his child and comfort them into sleep. Throughout the story her husband constantly reminding her, He said I was his darling and his comfort and all he had, and that I must take care of myself for his sake, and keep well. He says no one but me can help myself out of it, that I must use my will and self-control and not let any silly fancies run away with me ( Gilman, 524). This quote clearly shows her state of mind is dependent on her husband because she believes that it is up to her to get well soon. Moreover, the narrator believes her room was once a nursery, It was nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children (Gilman, 520). This all evidence shows he degrades his wife by using terms that typically use to speak to little children. Gilman clearly demonstrates she uses these details to depict how the narrator live in confinement. Also, to shows how oppressed women were during this specific time period from men perspective. One of the symbolism the author uses is barred windows to show emotional, psychological, and social isolation from outside world where men dominated women life. Furthermore, mens expectations of women were infantilizing to the point of insanity instead of treating the narrator as an adult might be more beneficial in terms of getting well. In second of the story the author chose Independence Day to show the narrators lack of freedom,Well, the Fourth of July is over! (Gilman, 522). This quote reveal that the celebration of freedom this day represents the narrator no longer is free. By the end, the narrator is hopelessly insane and convinced that there are many creeping women around and that she has come out of the wallpaper. She feels that she is the trapped woman, creeps around aimlessly in the room, mark the wallpaper as she goes. When the husband breaks into the room and sees the full horror of the situation, he faints in the doorway, so that the narrator has to creep over him every time (Gilman, 530). This scene is represent now she is free from her husband controlled and laying on floor shows now there are no male dominator. In Conclusion, the narrator of the story The Yellow Wallpaper the author Charlotte Perkins Gilman represents woman at those times because she cannot express herself and also cannot do what she wants to and treated inferior to men. The infantilization of the narrator as well as the rest cure treatment of her nervous disorder, is what I believe leads to her obsession with the yellow wallpaper essentially lead to losing her mind in the process. Furthermore, Gilman wants to give a message to audience that rest cure is a harmful treatment which can lead to be insane. The Yellow Wallpaper brings numerous social issues to light and helping women to free themselves from unhappy marriage. Finally, the narrator break free from the oppressive society and male dominated world.

The Teacher Will Ask The Students - 981 Words

A. Hook/Launch: Estimated Time = 5-10 1. The teacher will begin by telling students that February is Black History Month. The teacher will explain that there are a variety of â€Å"heritage months†: Irish-American, Jewish, Puerto Rican, Women’s, etc. The teacher will ask the students â€Å"Why is it important to have these observances?† The expected response is that it provides cultural diversity. 2. The teacher will ask â€Å"Why is it important to know about other culture?† The teacher will bring up the concept of â€Å"Ethnocentrism.† The teacher will write the word on the whiteboard and ask students what it means. If necessary, the teacher will ask the students â€Å"What does ethno mean?† and â€Å"What does centrism mean?† The teacher will explain that†¦show more content†¦There are many who argue correctly that Black history is American history. 5. The teacher will then explain that he or she wishes to tie Black History Month to the topic that the class has been covering: World War II. The teacher will say â€Å"A lot of Black History Month has to do with remembering the movement from slavery to have an African-American president; it is about civil rights. The teacher will then ask â€Å"When we think of World War II, what’s the first thing that comes to mind?† The intended answer is the Holocaust (the teacher will guide answers, if necessary). The teacher will ask what the Holocaust was, who it affected, etc. The teacher will then point out that the Holocaust had some underlying themes that were similar to the culture of discrimination and racism in American at the time of World War II. At this point the teacher will move to the â€Å"Teaching† section outlined below. B. Teaching: Estimated Time = 25-30 Minute 1. The teacher will distribute copies of â€Å"Civil Rights during World War II Timeline† handout. 2. The teacher will present the â€Å"Civil Rights during World War II† PowerPoint via projector. a. Slide 1 – This slide can be displayed while the teacher is distributing the handouts. b. Slide 2 – The teacher will begin by asking about societal values pre-1983. Expected responses include discrimination and segregation. i. Jim Crow Laws – The teacher will point

Personal Helicon by Samuel Heaney Essay Example For Students

Personal Helicon by Samuel Heaney Essay Personal Helicon by Samuel Heaney is a descriptive poem of a child and his fascination of wells. The subject matter of wells is not very typical in poetry although the author, using stylistic devices, has developed the poem so that works on two levels. One level being of a very simple poem and on another level, the use of sounds and powerful images makes an instant impact on the readers senses. The five stanzas of poetry give a very personal and emotional insight into the authors experiences on the farm. The diction and sentence structure used is typical of a child, and the simple language promotes the feeling of innocence and the sense of enjoyment. The poem contains vivid although often grotesque imagery and helps add to a childlike outlook on life. In my opinion the purpose of this poem is to see how much enjoyment a child can have from such innate objects and therefore reflect on his innocence. The poem is very accessible to all readers since the language used is simple and symbolic of a child discovering a new toy. The child is portrayed as being very innocent, gaining enjoyment from wells and crashes when a bucket plummets down the end of a rope. We find many amusing childish ideas in the opening paragraphs, like trapped sky, because it seems as if he thinks that the sky is trapped within the well. In the latter part of the poem it seems as if the child has grown up, is beneath all adult dignity. This last line suggests that this poem has him recollecting childhood memories. In one sense he is discovering an exciting game but in another he can be seen to be discovering who his identity, as he progresses from child to man. The change in age and pursuit of indentify can evidently be seen through his writing in the last paragraph. I rhyme to see myself, to set the darkness echoing. The line, A white face hovered over the bottom, seems unusual in the way that the reflected face is surely his although he describes it very distantly as if he is not sure who is staring back at him. In my opinion it is him looking though a well as a grown man, and whilst recollecting childhood memories through the poem, he is taken back by his aged appearance now. The poem which on the front seems very childlike is actually deeper than imagined, containing devices such as paradoxes between the roots that he is digging in the well and the roots of his happy childhood past. The language used in the early paragraphs gives the distinct expression that he misses being on the farm and even years latter can still remember all the minute details that he experiences, such as the smells of waterweed. An indication of his change in age can be seen through his more complex use of language n the latter paragraphs with words like fructified replace more simple words like, bucket and rope. Helicon is a mountain in Greece, and in mythological times was sacred to Apollo and Muses because it contained fountains of inspiration. The poem, Personal Helicon therefore may infer that Healey is creating his own helicon in the poem as a source for inspiration, which is in fact the farmyard. The reflection of a well is typically implemented so that a character can reflect on what has happened and allows him to attempt to discover himself, and I feel it is used here to highlight the change from boy to man. Dank moss, and soft mulch are both examples of the unpleasant imagery used by Heaney in this poem. .u26706f4e1c50e4a337ea7eccc86d56b6 , .u26706f4e1c50e4a337ea7eccc86d56b6 .postImageUrl , .u26706f4e1c50e4a337ea7eccc86d56b6 .centered-text-area { min-height: 80px; position: relative; } .u26706f4e1c50e4a337ea7eccc86d56b6 , .u26706f4e1c50e4a337ea7eccc86d56b6:hover , .u26706f4e1c50e4a337ea7eccc86d56b6:visited , .u26706f4e1c50e4a337ea7eccc86d56b6:active { border:0!important; } .u26706f4e1c50e4a337ea7eccc86d56b6 .clearfix:after { content: ""; display: table; clear: both; } .u26706f4e1c50e4a337ea7eccc86d56b6 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u26706f4e1c50e4a337ea7eccc86d56b6:active , .u26706f4e1c50e4a337ea7eccc86d56b6:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u26706f4e1c50e4a337ea7eccc86d56b6 .centered-text-area { width: 100%; position: relative ; } .u26706f4e1c50e4a337ea7eccc86d56b6 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u26706f4e1c50e4a337ea7eccc86d56b6 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u26706f4e1c50e4a337ea7eccc86d56b6 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u26706f4e1c50e4a337ea7eccc86d56b6:hover .ctaButton { background-color: #34495E!important; } .u26706f4e1c50e4a337ea7eccc86d56b6 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u26706f4e1c50e4a337ea7eccc86d56b6 .u26706f4e1c50e4a337ea7eccc86d56b6-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u26706f4e1c50e4a337ea7eccc86d56b6:after { content: ""; display: block; clear: both; } READ: Consider the representation of gender roles in Rowling's text EssayThe combination of this imagery with the use of senses like sounds and smells is effective in creating a detailed description of the well, so that we can truly experience what he is feeling. Others had echoes give back your call, with a clean new music in it. I believe this line is symbolic because it represents the man calling but only hearing his on voice in return which might suggest that he is lonesome. I believe that the clean new music in the voice that replied to be his more deeper grown up voice and he was just surprised how he had changed from a child.

Influence of increased use of electronic and other technologies on the travel and tourism industry

Tourism is arguably one of the most productive sectors in the UK, estimated to account for about 9 percent of the country’s GDP (Papatheodorou, Rossell Xiao 2010). The industry encompasses various areas that would directly tend to impact human life. For instance, with tourism and travel come things such as car rental agencies, tour agents, and hotels, among other facilities known to trigger significant impact on a country’s productivity.Advertising We will write a custom essay sample on Influence of increased use of electronic and other technologies on the travel and tourism industry specifically for you for only $16.05 $11/page Learn More In this regard, this dynamic sector has continued to play a key role in diversifying the global economy through investment and employment (Mihali et al. 2002). All these benefits have changed tremendously over the last several years, as a result of various contemporary issues currently witnessed by the h uman race. For instance, increased application of electronic and other technologies on the sector is arguably one of the major contemporary issues that have brought greater impact on the hospitality industry. The purpose of this essay is to identify some of the emerging perspectives of the concept of photography as it is applied in tourism and travel sector. In other words, this essay critically analyses the impact of photography as one of the commonly applied technologies in the sector. The characteristics as well as the consequences of photography as applied in the sector are also observed in this report. Other issues highlighted in the report include recommendation on the possible resolutions that can be used to address various problems associated with the contemporary issue addressed in the essay. The increased use of modern technologies in the tourism and travel sector is a contemporary issue because the trend is pertinent in almost all social organisations of the modern world (Williams 2006). The incorporation of new age technology in tourism is characterized by the use of sophisticated tools and equipment in transforming the nature of the tourism sector (Buhalis 1998). As it would be observed, business activities in this dynamic sector are no longer conducted in a conservative style, but this traditional element is rapidly being eradicated from the face of the earth, following the development of new technological systems (Subrahmanyam Greenfield 2008). Information and communication are pivotal in today’s tourism and travel sector, and there is no doubt about that. In this regard, sophisticated cameras have completely dominated the tourism sector over the years, as a result of global advancements (Garrod 2009).Advertising Looking for essay on communications media? Let's see if we can help you! Get your first paper with 15% OFF Learn More Today, the camera has become an integral part of the modern revolution in photography (Harper 2 000: 718). Wilhelm et al (2004) observes modern aspects of technology to have revolutionised the tourism industry in a number of ways. Constant application of modern electronics in the tourism sector has triggered both transformative and negative impacts (Buhalis Law 2008). In this context, there are mixed arguments on the impact resulting from the application of modern technology in the identified sector. Modern technology may have played a significant role in promoting the tourism sector, but there are other people who are totally convinced that the trend does not necessarily guarantee the tourism sector a competitive advantage anymore (Doswell 2012). In this regard, excessive dependence on technology in the industry has been both a threat and an opportunity to the players within (Buckley 2012). Key travel intermediaries such tour operators, agents, and conference organisers booking agents are among those who have benefitted from various modern technologies, considering the natur e of their work which involves reaching the masses to inform them about various aspects associated with tourism and travel (Rayman-Bacchus Molina 2001) The concept of photography is applied in the tourism industry around the world in performing various tasks that are crucial for the success of the sector (Buckley 2012). Some of these important tasks include product development and marketing of tourism products (Doswell 2012). The use of modern technology in the tourism sector has also been effective in ensuring that tourism clients receive a wider range of products and services that suit their needs (Sheungting, McKercher Cheung 2010). These approaches have been made easy through the use of photographs and other forms of communication (Valkenburg, Schouten, Peter 2005). The advancement of digital cameras and other sophisticated digital media capture devices has tremendously transformed the advertising and attraction department of many tourism facilities (Rost, Jacobsson Holmquis t 2006). Image sharing between intermediaries to customer communications have proved to play an increasingly significant task in the marketing of tourism products. Through these options, tourism agents are able to pass information regarding their products and services to potential customers via various mediums of communication. This way, potential customers and clients are able to access information regarding their choice of tourism treatment easily before setting off for the journey (Easterling 2005).Advertising We will write a custom essay sample on Influence of increased use of electronic and other technologies on the travel and tourism industry specifically for you for only $16.05 $11/page Learn More These approaches benefit both the tourism intermediaries and the customers in that; the intermediaries have the opportunity of accessing their customers directly, while the customers have the advantage of comparing various tourism facilities before they make up their minds. (Stockdale 2007). In other words, this direct interaction helps to improve the efficiency and effectiveness consumer services in the sector (Buckley 2012). The advance of mobile phone technology has played a key role in improving the interaction between tourism intermediaries and their potential customers through photography (Doswell 2012). The possibilities presented by the modern technological era have improved our lives abundantly, in a manner no one could have anticipated over a century ago (Beirne Curry 1999). Most modern mobile handsets come with high resolution cameras, which are essential for effective interaction among people (Van House 2006). As a matter of fact, digital cameras have in the recent years been outsold by the cameraphones, (Van House et al. 2004). The mobile phone culture is that, it brings the world to the fingertips of the users, thus enabling them to access the internet and chat directly with their friends and loved ones, no matter t he distance separating them (Buckley 2012). These gadgets are known to offer standard operating systems on top of the in-built special features, thus providing much convenience in image processing and sharing (Davis et al. 2005). The wealth of visual information accessible on the internet offers immense learning opportunities to potential tourists (Feighey 2003). People can easily access photography information about all tourism destinations in the world with just a click of a button on their mobile devices, and this enables them make more informed decisions on their tourism and travel plans (Stockdale 2007). More importantly, fast and convenient e-Commerce opportunities are provided online to facilitate business activities in the sector (Law, Leung Wong 2004). This way, customers can now book, pay for, and even make travel and hotel reservations over the internet, thanks to the rapid developments in modern technology (Chiam, Soutar Yeo 2009). Anyone in perception of getting the b est hospitality facility does not necessarily need the services of a tourism agent, but they can just scroll their 3G phones to search the internet for tourism and/or travel-themed pictures and information which may guide them to the kind of services they require (Beirne Curry 1999).Advertising Looking for essay on communications media? Let's see if we can help you! Get your first paper with 15% OFF Learn More Online media usage has become popular nowadays, with the introduction of social network sites such as MySpace, Facebook, and Twitter, which have attracted overwhelming numbers of users all over the world (Cho et al. 2007). Other significant platforms that have emerged over the last several years include Flicker and the Digital Darkroom, all of which are popular for their ability to offer reliable online photo services (Litvin, Goldsmith Pan 2010). Picture processing sites such as Flicker are accessible in the new generation of mobile phones, and this enhances interactions among people (Subrahmanyam Greenfield 2008). These social networking sites have demonstrated a dramatic increase in the popularity of the tourism industry (Nov, Naaman Ye 2009). The photography technology has turned out to be an integral part of human life through which people can interact freely (Golder 2008). Online photo sharing through various social networking sites and platforms is turning out to be a comm on practice for many people across the world (Stockdale 2007). As it would be observed, the internet happens to be the largest source of travel information used by the three topmost players of tourism affairs in the world: the United Kingdom, Germany and the U.S (Guill Surez 2005). Internet users all over the world can easily upload and share photos through these social platforms. For instance, people are used of seeing elegant snapshots of tourists in holidays making rounds on the internet, after their owners have willingly displayed them for others to view and be able to comment on them where necessary (Brennen Hardt 1999). Photographs are intended to serve as souvenirs of historic moments in the past which people may like to remember for the rest of their lives (Thurlow Jaworski 2010). In that respect, photos taken during a leisure tour to an exotic place are meant to help people tell their beautiful travel stories to others through the above thresholds of sociability, thus mo tivating them to have their own experiences on the well-trodden destinations (Chiam, Soutar Yeo 2009). This communication through photography has greatly helped in enhancing tourism activities and plans in the world (Mitchell 2005). The trend also comes with diverse benefits to various players and stakeholders in the industry (Van House 2006). For example, investors are able to save a lot of money in promotional activities and materials, since the management of marketing platforms over the internet are offered at a relatively low cost (Easterling 2005). However, these interactions through the emerging culture of photography technology does not only make things easier and more enticing to the players in the tourism industry, but they also play a significant role in saving time for both consumers and tourism intermediaries (Law, Leung Wong 2004). Despite these benefits and opportunities, there are also challenges that are directly associated with the increased use of the photography in the tourism sector. For instance, the development of new technologies has encouraged a different kind of competition, whereby investors in the industry have started seeing acquisition of highly sophisticated tools as the only option that can guarantee them a sustainable competitive advantage in the market (Bonn, Furr Susskind 1998). Besides, modern photography has become more common that it is the starting point of every other new investor who wishes to try their luck in the hospitality sector (Buckley 2012) This has significantly increased the competition tension within the industry, thus turning it into an economical battle field, where only the strong survive (Beirne Curry 1999). Another concern here is that, internet-based photograph sharing has constantly raised many questions about privacy matters, which is viewed by many as a way of exposing one’s life (Miller Edwards 2007). More importantly, photographs are said to speak more than words (Brennen Hardt 1999) an d in that case, their circulation on the internet has killed the spirit of adventure for some people who don’t see the value of visiting what they have already seen on pictures. Different people have different tastes for life, and in that case, not all would like everything about a particular tourism destination, no matter its popularity (Dyer et al. 2007). This can be a serious blow on tourism facilities, since it is obvious that crucial tourism images and information must be made available on the internet from where it could be accessed freely by potential tourism consumers and clients (Law, Leung Wong 2004). Based on the above observations, the use of photography in the tourism sector is defined by both threats and opportunities. However, players in this competitive sector will need to apply various managerial strategies, to be able to stand out successfully as strong competitors in the market (Litvin, Goldsmith Pan 2010). This can be achieved through effective utilisati on of the emerging information technology systems, coupled with innovative management strategies (Buhalis 1998). More importantly, investors in the sector will need to approach things in an innovative and creative manner, to be able to make wise business decisions based on the existing threats and opportunities (Doswell 2012). Finally, re-engineering is also likely to play a significant role in helping investors in the industry deal with the consequences of modern technology (Buckley 2012). Through this idea, players in the tourism sector are able to see useful prerequisites that would enable them make full use of the many unexpected business opportunities presented by the use of modern photography technologies (Doswell 2012). Tourism is a dynamic sector which has emerged a winner in the adoption and development of modern technological applications. The sector is constantly changing to fit in the demands of the ever-changing trends of life, such as the diverse economic as well as va rious social factors currently affecting the global populations. The main section of this essay has extensively expounded on the influence of increased use of photography technology on the tourism sector, and the overwhelming impact of this contemporary issue on humanity. Competing arguments on the addressed issue of concern as drawn from past literature have also been discussed extensively in the paper to identify, highlight, and define the perception of different people regarding the issue. The art of capturing, processing, and sharing information and photography over various social networking platforms has been observed in this essay, as one of the integral characteristics associated with the overwhelming developments in modern informational age. The impact of the trend on tourism suppliers, on one hand, and consumers, on the other hand, is also observed here. The report concludes with a critical discussion on the possible outcomes arising from the issue, the course of action whi ch has been generated to address it, and a deep account of the possible resolutions that needs to be applied in dealing with the issue. Based on the arguments presented on this essay, it is clear that photography really plays a significant role in transforming the tourism industry over the last few years. References Beirne, E Curry, P 1999, ‘The impact of the Internet on the information search process and tourism decision making’, Information and Communication Technologies in Tourism, vol. 12 no. 25, pp. 88-97. Bonn, M, Furr, H, Susskind, A 1998, ‘Using the Internet as a Pleasure Travel Planning Tool: an Examination of the Sociodemographic and Behavioral Characteristics among Internet Users and Nonusers’, Journal of Hospitality Tourism Research, Vol. 22 No 3, pp. 303- 317. Brennen, B Hardt, H 1999, Picturing the past: Media, history, and photography, University of Illinois Press, Illinois, USA. Buckley, R 2012, Sustainable tourism: Research and reality: Annals of Tourism Research, Elsevier, Amsterdam. Buhalis, D 1998, ‘Strategic use of information technology in the tourism industry’, Tourism Management, vol. 19 no. 5, pp. 409-421. Buhalis, D Law, R 2008, ‘Progress in information technology and tourism management: 20 years on and 10 years after the Internet—The state of eTourism research’, Tourism Management, vol. 29 no. 4, pp. 609-623. Chen, C 2006 ‘Identifying significant factors influencing consumer trust in an online travel site’, Information Technology Tourism, vol. 8 no. 2, pp. 197- 214. Chiam, M, Soutar, G, Yeo, A 2009, ‘Online and Off-line Travel Packages Preferences: A Conjoint Analysis’, International Journal of Tourism Research, vol. 11 no. 8, pp. 31- 40. Cho, H, Gay, G, Davidson, B Ingraffea, A 2007, ‘Social networks, communication styles, and learning performance in a CSCL community’, Computers Education, vol. 49 no. 2, pp. 309-329. Davis, M, V an House, N, Towle, J, King, S, Ahern, S, Burgener, C, Perkel, D, Finn, M, Viswanathan, V, Rothenberg, M 2005, MMM2: mobile media metadata for media sharing: CHI’05 extended abstracts on Human factors in computing systems, ACM, New York. Doswell, R 2012, Tourism: How effective management makes the difference, Routledge, United Kingdom, Elsevier. Dyer, P, Gursoy, D, Sharma, B, Carter, J 2007, ‘Structural modeling of resident perceptions of tourism and associated development on the Sunshine Coast, Australia’, Tourism Management, vol. 28 no. 2, pp. 409-422. Easterling, D 2005, â€Å"The Residents’ Perspective in Tourism Research†, Journal of Travel Tourism Marketing, vol. 17 no. 4}, pp. 45-62. Feighey, W 2003, ‘Negative Image? Developing the Visual in Tourism Research’, Current Issues in Tourism, vol. 6 no. 1, pp. 76-85. Garrod, B 2009, ‘Understanding the relationship between tourism destination imagery and tourist photographyâ₠¬â„¢, Journal of Travel Research, vol. 47 no. 3, pp. 346-358. Golder, S 2008, Measuring social networks with digital photograph collections: Proceedings of the nineteenth ACM conference on Hypertext and hypermedia’, ACM, New York. Guill, M Surez, S 2005, ‘Explaining the global digital divide: Economic, political and sociological drivers of cross-national Internet use’, Social Forces, vol. 84 no. 2, pp. 681-708. Harper, D 2000, Reimagining visual methods: Galileo to Neuromancer, Handbook of Qualitative Research, Sage, London. Law, R, Leung, K Wong, R 2004, ‘The impact of the Internet on travel agencies’, International Journal of Contemporary Hospitality Management, vol. 16 no. 2, pp. 100-107. Litvin, S, Goldsmith, R, Pan, B 2010, ‘Electronic word-of-mouth in hospitality and tourism management’, Tourism Management, vol. 29 no. 3, pp. 458-468. Mihali et al. 2002, Tourism and economic development issues, Channel View Publications, United Kingdom. Miller, A Edwards, W 2007, Give and take: a study of consumer photo-sharing culture and practice: Proceedings of the SIGCHI conference on Human factors in computing systems, ACM, New York. Mitchell, W 2005, What Pictures Want: The Lives and Loves of Images, University of Chicago Press, Chicago. Nov, O, Naaman, M Ye, C 2009, Motivational, structural and tenure factors that impact online community photo sharing: Proceedings of the 3rd Int’l AAAI Conference on Weblogs and Social Media, San Jose, USA. Papatheodorou, A, Rossell, J Xiao, H 2010, ‘Global economic crisis and tourism: Consequences and perspectives’, Journal of Travel Research, vol. 49 no. 1, pp. 39-45. Rayman-Bacchus, L Molina, A 2001, ‘Internet-based tourism services: business issues and trends’, Futures, vol. 33 no. 7, pp. 589-605. Rost, M, Jacobsson, M, Holmquist, L 2006, Push! photo: Informal photo sharing in ad-hoc networks: Extended abstracts of UbiComp, Citeseer, New Jers ey. Sheungting, L, McKercher, B, Cheung, C 2010, ‘Tourism and online photography’, Tourism Management, vol. 32 no. 4, pp. 725-731. Soper, A 2007, ‘Developing Mauritianness: National identity, cultural heritage values and tourism’, Journal of Heritage Tourism, vol. 2 no. 2, pp. 94-109. Stockdale, R 2007, ‘Managing customer relationships in the self-service environment of e-tourism’, Journal of Vacation Marketing, vol. 13 no. 3, pp. 205-219. Subrahmanyam, K Greenfield, P 2008, ‘Online communication and adolescent relationships’, The Future of Children, vol. 18 no. 1, pp. 119-146. Thurlow, C Jaworski, A 2010, Tourism Discourse: Language and Global Mobility, Palgrave MacMillan, London. Van House, N 2006, UBICOMP’06 PICS Workshop, Distant closeness: Camera phones and public image sharing, University Of California, Berkeley. Valkenburg, P, Schouten, A, Peter, J 2005, â€Å"Adolescents’ Identity Experiments on the Inter net†, New Media Society, vol. 7, no.3, pp. 383-402. Van House, N, Davis, M, Takhteyev, Y, Good, N, Wilhelm, A, Finn, M 2004, From â€Å"what?† to â€Å"why?† the social uses of personal photos: Proc. of CSCW 2004, Citeseer, New Jersey. Wilhelm, A, Takhteyev, Y, Sarvas, R, Van House, N Davis, M 2004, CHI’04 extended abstracts on Human factors in computing systems, ACM, New York. Williams, A 2006, ‘Tourism and hospitality marketing: fantasy, feeling and fun’, International Journal of Contemporary Hospitality Management, vol. 18 no. 6, pp. 482-495. This essay on Influence of increased use of electronic and other technologies on the travel and tourism industry was written and submitted by user Hayden Villarreal to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

The Different Periods of Ancient Greek Art

The Different Periods of Ancient Greek Art As it happened centuries later with a handful of Renaissance painters, ancient Greek art tends to be thought of in vague terms- vases, statues and architecture produced a long (unspecified) time ago. Indeed, a long time has passed between us and ancient Greece, and thinking like this is a good starting point, really. The vases, sculpture and architecture were huge innovations, and artists forever afterward owed an enormous debt to the ancient Greeks. Because so many centuries and different phases encompass ancient Greek art what well try to do rather briefly is to break it down into some manageable chunks, thus giving each period its due. Its important to know that ancient Greek art was mainly comprised of vases, sculpture and architecture, lasted around 1,600 years, and covered a number of of different periods. The Different Phases of Ancient Greek Art There were many phases from the 16th century BC until the Greeks suffered defeat at the hands of the Romans at the Battle of Actium in 31 BC. The phases are roughly as follows: Mycenaean Art occurred from roughly 1550-1200 BC on the Greek mainland. Although the Mycenaean and Greek cultures were two separate entities, they occupied the same lands successively. The latter learned a few thing from the former, including how to build gates and tombs. Besides architectural explorations including Cyclopean masonry and beehive tombs, the Mycenaeans were awesome goldsmiths and potters. They raised pottery from merely functional to beautifully decorative, and segued right out of the Bronze Age into their own insatiable appetite for gold. One suspects that that the Mycenaeans were so wealthy they werent satisfied with a humble alloy.Around 1200 and the Homeric fall of Troy, the Mycenaean culture dwindled and died, followed by an artistic phase known both as Sub-Mycenaean and/or the Dark Ages. This phase, lasting from c. 1100-1025 BC, saw a bit of continuity with the previous artistic doings, but no innovation.From c. 1025-900 BC, the Proto-Geometric phase saw pottery beginning to be decorated with simple shapes, black bands, and wavy lines. Additionally, technique in the shaping of pots was being refined as well. Geometric Art has been assigned the years of 900-700 BC. Its name is utterly descriptive of the art created during this phase. Pottery decoration moved beyond simple shapes to also include animals and humans. Everything, however, was rendered with the use of simple geometric shapes.Archaic Art, from c. 700-480 BC, began with an Orientalizing Phase (735-650 BC). In this, elements from other civilizations began to creep into Greek art. The elements were those of the Near East (not exactly what we think of as the Orient now, but remember the world was a lot smaller in those days).The Archaic phase is best known for the beginnings of realistic depictions of humans and monumental stone sculptures. It was during the Archaic period that the limestone kouros (male) and kore (female) statues were created, always depicting young, nude, smiling persons. Note: The Archaic and subsequent Classical and Hellenistic periods each contained separate Early, High, and Late phases just like the Italian R enaissance would further on down the road. Classical Art (480-323 BC) was created during a golden age, from the time Athens rose to prominence to Greek expansion and right up until the death of Alexander the Great. It was during this period that human statues became so heroically proportioned. Of course, they were reflective of Greek Humanistic belief in the nobility of man and, perhaps, a desire to look a bit like gods. They were also the result of the invention of metal chisels finally capable of working marble.Hellenistic Art (323-31 BC)- quite like Mannerism- went a wee bit over the top. By the time Alexander had died and things got chaotic in Greece as his empire broke apart, Greek sculptors had mastered carving marble. They were so technically perfect that they began to sculpt impossibly heroic humans. People simply do not look as flawlessly symmetrical or beautiful in real life as those sculptures portray, which may explain why the sculptures remain so popular after all these years.

Not All Epithets are Insults

Not All Epithets are Insults Not All Epithets are Insults Not All Epithets are Insults By Maeve Maddox Judging by the words common use in todays media, one might imagine epithet to be no more than a synonym for insult. Some epithets are insults, but the word has a wider application. For example, look at all these epithets Handel applied to the Baby Jesus in The Messiah: Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace. Here are some Homeric epithets: many minded Achilles, swift-footed Odysseus, the ox-eyed lady (Hera) epithet 1. An adjective indicating some quality or attribute which the speaker or writer regards as characteristic of the person or thing described; 2. A significant appellation. OED 2nd edition. In 1993 this definition was added: An offensive or derogatory expression used of a person; an abusive term; a profanity. Leaving aside the literary uses of epithets, heres a look at some ways journalists use them. Some epithets, first used by one particular writer, become so attached to persons and things that it becomes rare to see one without the other: powerful Ways and Means committee embattled Governor Rod Blagojevich worlds largest retailer Wal-Mart Sometimes epithets may be used to predispose readers to a positive or negative frame of mind without seeming to editorialize: Motorist Rodney King Troubled pop star Brittany Spears NFL star Michael Vick semi-repentant zillionaire Mel Gibson greedy Wall Street bankers Some thoughts on epithets 1. Cliched epithets are not intrinsically bad. They can be useful shorthand devices for writers and readers in a hurry. 2. The epithet is a respectable rhetorical device. Writers with more time at their disposal might revise for cliched epithets and come up with fresher epithets of their own. 3. If one is writing about someone hurling epithets it might be helpful to specify what kind of epithets were hurled. Were they racial epithets? Did they attack the target in terms of gender, politics, occupation, or morality? Its conceivable that a speaker could be showered with complimentary epithets by his listeners. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:Comparative Forms of AdjectivesConnotations of 35 Words for Funny Peopleâ€Å"Least,† â€Å"Less,† â€Å"More,† and â€Å"Most†

POVERTY AND STUDENT ACHIEVEMENTS Article Example | Topics and Well Written Essays - 750 words

POVERTY AND STUDENT ACHIEVEMENTS - Article Example This article looks at very important issues which are important to note in every way. The paper also tackles some issues which are very pertinent in the issue of poverty and education. It looks on the issue of social services, the definition of poverty and the need to protect families from indigenisation arising from depending on social services. This paper was written in the knowledge that of all the issues which affect the students such as race and ethnicity, poverty is the most difficult to understand because it is not discreet. In this regard, it becomes very difficult to know exactly when a child requires help in order to help them to not be affected by poverty. One of the major and most important factors which come out from this paper is the fact that it was revealed that the issue of poverty cannot be solved by money alone. In the Gift of Education Project, it become apparent that just giving the students financial aid did not help in making the students to be able to overcome the challenges poverty was giving them. This is a very important finding as it has very far reaching implications and to which solutions must be developed on order to make sure that it is possible to develop good solutions about the issue of poverty. ... r shows that it is necessary to understand that poverty is not just the absence of money of economic necessities, but rather that poverty is something that goes way beyond the issue money. This is important for policy makers in government in order to help them develop better ways of addressing the issue of poverty in schools. The authors also look at the relationship between poverty and race as well as locale. This is an important element and may be a good platform to create solutions to deal with the issue of poverty. The paper defined and determines some very strong links relating the economic abilities of families and their race as well as the location of a school or the students. This brings a new element to the issue of race and it is necessary to identify the need deal with poverty in a different manner. This study took a quantitative way of looking at the issue of poverty. Although 17% of all children under the age of 18 were in poverty, the study broke the numbers down to ind icate that children from African-American families were the most affected by poverty with as much as 33% of them being from families in poverty. While it is good to identify race related numbers with regard to student poverty, the authors however have not clearly indicated why these numbers are necessary and how why these numbers cna be utilised to punch out these issues. More importantly, the article tackles the issue of the difficulty of identifying big academic talent from poor families. The authors indicate that it is not easy for authorities to be able to identify those students with high academic potential who would then be given the support they need in order to prevent the academic talent from going to waste. While this is true in some ways, the authors have not been able to be

Personal Branding and Social Media Literature review

Personal Branding and Social Media - Literature review Example ‘A personal brand is a perception in the minds of others’ which the brand owner creates and controls, and sends the message that nobody else exists in the marketplace who is quite like you (Vitberg, 2009, p. 10). While the brand is a perception, however, this does not mean that the perception is a contrived or false one (Banet-Weiser, 2012). Every person has his or her good and bad qualities; like any brand for a good or service, the personal brand highlights the best attributes of a person (Reddick, 2012a & 2012b) which must be grounded in truth (Canada, 2012; Madden & Smith, 2010; Millman, 2010). Necessity of personal branding Like Arruda, Rampersad (2008) does not see personal branding as an alternative, but as a vital asset in today’s ‘online, virtual and individual age’ (p. 34). He observed that the common misconception is that popular and successful people like Tiger Woods and Oprah Winfrey are those who can lay claim to having a personal brand. In truth, everyone has a personal brand, but because they are not aware of it, they are unable to use their personal brands strategically (Shepherd, 2005). Rampersad proposes the personal branding model which is shown below: Authentic personal branding model (Rampersad, 2008, p. 35) Rampersad’s model, though it may appear complicated, is built on what he describes as a four-step evolutionary and organic process: (1) Define and formulate your personal ambition; (2) Define and formulate your personal brand on the basis of your personal SWOT; (3) Formulate your personal balanced scorecard, which is the action plan into which your personal ambition and personal brand are translated; and (4) Implement and cultivate your personal ambition, personal brand, and personal balance scorecard (Rampersad, 2008). A personal brand is of little use, however, unless it is communicated to the target market (Martin, 2009). Jerry Wilson, senior vice-president of the Coca-Cola Company and preside nt of the Global McDonald’s Division, concurs that personal branding is crucial, and proposes that if one finds himself stuck in a certain job or position, that he/she should try to rebrand or reinvent himself (Jacques, 2009). This does not mean that people should make themselves into somebody else (Chase, 2011), but they may change their image and how people perceive them by highlighting those qualities they possess which have not been given much attention to (Colmerauer, 2012). This may be achieved by doing a brand audit, an assessment of where one is and what one has to offer. Wilson calls these attributes ‘transferable equities’ (Jacques, 2009, p 32) that a person may put forward to redefine him/herself. Personal branding and authenticity The key to success is having ‘an organic, holistic, and authentic personal branding model’ (Rampersad, 2008, p. 35). Arruda also perceives people as having the wrong view that personal branding is made up and ar tificial (Martin, 2009), and stresses that it must be honest and authentic. Morton (2012) likewise emphasizes the importance of authenticity, observing that a personal brand grows over time. This is significant, because if a personal brand is not solidly rooted in authenticity, then the

Comparative Analysis of Islamic and Conventional Bank Risk Essay Example for Free

Comparative Analysis of Islamic and Conventional Bank Risk Essay The decline of the religion has been attributed into modern times with a materialistic culture by the popular wisdom of today, the understanding of religion has embedded this view, as nature having only spiritual limits, and the worldly well being of an individual is very detached in this relation. However, this understanding of Islam religion has been misguided by many of among us in the past, as well as in the present. A critical role has been played by every religion regarding the guidance to survive in a society communally, and in the characterization of different markets of that time. In the religious regards, equal distribution of wealth and debt annulment was preached and emphasized by every religion in the past. The enforcement of the debt bond has been strongly rejected by all the beliefs and the concept of canceling the debt have been upheld by them. In the past, in order to satisfy and fulfill the financial needs of devout and pious Muslims, a concept of money depository was introduced in the Islamic civilization, which has now become a growing phenomenon of the world, that is, around 1. 6 billion Muslims in the world. The macro-economic properties of banking institution have been studies by many economists with relation to an ideal and isolated Islamic economy framework. In modern days, the working of this pioneering financial system is going on very effectively in various parts of the world. In many developed and under-developed countries, the other conventional banking systems are having this unique financing system besides them in every sector of the economy. In this regard, the comparative analysis has been done in this study, which will try to differentiate the Islamic banking system with the Conventional ones. In this study, we will try to understand and clarify the demarcation between the Islamic and Conventional Banking and the risks that are borne by these methods of banking. A financial intermediary having the aims and objectives related to the principles of Islamic law or ‘Shariah’ may be defined as an Islamic Banking System. Consequently, the zero-interest activities and operations are the key features of this distinctive banking system. However, eliminating the transactions based on interest is not the only objective of Islamic banking. The abolishment of all kinds of exploitation is also another aspect of Islamic banking system. In result, a balanced and unbiased social order is established by the system in this regard. Only the role of financier is not played by an Islamic bank. It also works as a partner in the business of an individual. Due to this, the risk between the capital owner and the entrepreneurs is involved by this system. However, the positive result of the collective efforts is also shared by the Islamic banking. Thus, the other conventional banking and interest-based system differs from the Islamic banking, as only the entrepreneur or the owner of the capital bears the risk in the conventional banking, and vice versa. However, the individual and bank shares the abovementioned with each other, which provides the entrepreneur to develop as a whole. In other way, participatory banking name can be given to the Islamic banking in this regard. In the Islamic economics, zero return on capital is not meant by the eliminating process of the interest in this unique banking system, as the pre-determination of a fixed return is forbidden for a certain amount of production in the Islamic laws. The equity based investment principle is followed by the Islamic banks. The contraction of the resources based on deals relating to the sharing of risks, and the ventures of capital is also proposed by the Islamic banking. It has been noted by the economists that economic growth and development of an individual becomes applicable and easy with the vital role that is played by the Islamic banks around the world. We can say that a relationship between finance, commerce, and industry is tried and developed by this exclusive banking system, which differs from the other conventional banking due to these characteristics of its system. The Islamic banking plays its role as an equity-based system, where the pre-determined interest rate is excluded, and the nominal value of deposits is not guaranteed. In result, changing values of the share deposits absorbs the shock to asset position immediately. Therefore, in such system, the assets and liabilities of bank will carry the same real value at all the points. However, in the more traditional and conventional banking system, a diversion can be caused between the real assets and liabilities by such shocks in the process of fixed nominal value of deposits. Therefore, the abovementioned features of this Islamic banking differs it from the traditional and conventional banking system, and so, various levels of risks are borne by these systems. Nowadays, many countries are trying to examine the possibilities of the introduction of an interest-free banking system based on the Islamic laws and principles. It has also been argued and discussed that if the Islamic financial system will be established in the various countries, it will be feasible, but also profitable for the individuals, as well as, the companies as a whole. These days, the truth of interest as an unbearable burden is being realized by the Western countries, as well as, the developing countries around the world. In this regard, all the interests have been waived by the Canada. A similar move has been made by the Australia. The suggestion of waiving off the 30 to 35% of the present interests of the debt has been officially given by the President of France. Therefore, it may be generalized that Islamic Banking and Financing System is a unique and distinctive system, which differs from the conventional banking systems around the world. In order to make a more detailed comparative view of the working and risks borne by the Islamic and Conventional Banking Systems, we will try to analyze with the help of data that represents the comparison between these two financial systems that are applied and practiced around the world. There are some different and diverse characteristics of the abovementioned two banking systems, which should be discussed in order to clarify the comparison between them. In the Islamic Financing system, the number of customers is less than the Marketing-based financing system. The ownership of the Islamic Banking is usually taken by the local or foreign individuals. However, only the local shareholders enjoy the ownership in the conventional banking system. In the Islamic banking, the integration of different activities is very high as compared to the traditional banking system. Lastly, the Islamic financing system has the high intensity of managing and bearing the risk internally, as well as externally. However, the risk is managed and borne by the Marketing-based financing system less internally and externally. Risk sharing is closely related to the risk management; no matter it may be external or internal in its nature. Development of close ties between the customers, and other interest groups may bring the risk externalization by an organization. It has also been indicated by various economists that one contributing factor that is related to the risk management is the long-term relations, which are made on the mutual dependence in an organization. From the different studies related to the Islamic Financing System, the responsibilities are shared by the junior and the senior staff jointly in organizations. In this case, the higher and lower level of management shares the risk. However, in the Marketing-based and Conventional Banking system, the internal risk is shared on a lower basis due to the centralization of power and authority, as compared to the Islamic Banking System. Conclusively, a high degree of the sharing of internal risk is characterized during managing the risk management in the Islamic Banking system as compared to the other conventional financing systems. Therefore, there are many differentiation between the Islamic and Traditional Banking systems around the world. Regarding the risk externalization, in the Islamic Banking system, the close lender-borrower relationships are characterized during the lending activities of organizations. The borrowers are also guided by the Islamic bankers apart from lending funds to them. In result, efficient network relationships create the increment of the externalization of risks relating to the partners who exchange in this regard. Therefore, in the Islamic Financing System, the degree of external risk is observed to be high. However, the formal lenders-borrowers relationships are characterized within the Conventional and Marketing-based financing system. In the result, it is a low degree of externalization of risks in this traditional banking system. In this regard, the extent of success of a banking organization is determined by the lender-borrower relationships, where the customers are given credit in this regard. Direct contacts with the various customers are maintained within the Islamic, as well as, the Conventional Financing Systems. The differentiation is observed in the Islamic Banking System while dealing with the financial activities, as the borrowed funds are monitored closely by these bankers, which results in the higher intensity of the lender-borrower relationships. In this regard, the risks are borne on a higher extent by the Islamic Banking system as compared to the conventional ones. However, the bank gets the higher profit as we have tried to discuss it in the abovementioned matter. Conclusively, the issues of fairness and justice are concerned in the Islamic principles that are related to the interest, rather than defining the efficiency narrowly. The focus is placed on the necessity of sharing the risk in a stable condition with the help of these principles, as well as, at the time of exploitation of the markets. We have also clarified that the Islamic Financing System works on the equity-based projects. However, the conventional ones prefer the debit-based schemes for the lenders and individuals. In an Islamic financing situation, the ownership is shared by the both bank and the client, and in the Conventional banking, all the equity is owned by the client, and the property value plays as a security to the bank loan. We hope that this study will help the scholars and the economists in understanding the role and differentiation of the Islamic Conventional Banking around the world. Works Cited Ahmad, S. (1992). Towards Interest-Free Banking. New Delhi: International Islamic Publishers. Chapra, M. (2000). The Future of Economics: An Islamic Perspective. Leicester, UK: The Islamic Foundation. Dar, A. H. , and Presley, J. R. (1999). Islamic Finance: A Western Perspective. International Journal of Islamic Financial Services. Dar, A. (2002). Islamic House Financing in the United Kingdom: Problems, Challenges, and Prospects. Ahmad, K. (1994). Elimination of Riba: Concepts and Problems, Response to the Supreme Court Questionnaire. Institute of Policy Studies, Islamabad, Pakistan.

Humanities’ Irrational and its Effects on a Utopian Society Essay

The human psyche is divided into rational and irrational drives. Courtesy of Sigmund Freud, it is divided into the id, ego, and super-ego. According to Freud, although the super-ego controls the other two to present ourselves in a rational state within society, the id often tends to be out of complete control by the conscious, making it an unconscious action. For Freud, it’s the recognition that the irrational is there, that it must be controlled to take over. Man’s aggressive nature does tend to overpower the mind, leading to irrational actions. Both Freud’s Civilization and its Discontents and Dostoyevsky’s Notes from Underground show how humans are controlled by their irrational drives and that, as a result, the attempts to create a utopian society are futile. To take a different view of the irrational actions in humans, a cinematic frame of reference was introduced, Joss Whedon’s sci-fi film, Serenity tells of a civilization that has become cont rolled by aggressive groups, the Alliance and the Reavers. Both factions take the form of an antagonistic society, maintaining a sense in fear in all those who go against or stand in their way. Actions to make a civilized society utopian leads to the creation of a dystopia due to human’s irrational drives. Through his writing and research, Freud outlined that man was initially driven by his irrational impulses, specifically, his aggression. The aggression he was referring to pertained to man’s primitive instincts. Freud’s views and established philosophies shifted away from the previous Enlightenment ideologies of rationality of the mind. Freud’s ideas contradicted â€Å"the individual’s essential goodness and rationality† and sided with the notion that the human mind was driven by â€Å"irrati... ...id, and symbolizes the universe in its entirety of being a dystopian society. Thus concluding that actions to make a civilized society utopian leads to dystopian reactions due to man’s irrational drives. This claim being supported based on examples in the film Serenity, as well as theoretical support analysis from Freud and Dostoyevsky. Works Cited Dostoyevsky, Fyodor. Notes from Underground. Lawall 1250-1327. Freud, Sigmund. Civilzation and Its Discontents. Lawall 1693-1699. Lawall, Sarah, ed. The Norton Anthology of Western Literature. 8th ed. Vol. 2. New York: Norton, 2006. Print. Perry, Marvin, ed. Western Civilization: Ideas, Politics, and Society. 9th ed. Boston: Houghton Mifflin, 2009. Print. Serenity. Dir. Joss Whedon. Perf. Nathan Fillion, Gina Torres, Alan Tudyk, Morena Baccarin, and Adam Baldwin. Universal, 2005. DVD.

Gaudi’s vision

IntroductionIn order to appreciate Antoni Gaudi ‘s originative vision we must look at the context in which he worked. It seems that old surveies of Gaudi have non researched extensively into puting him within this cultural context ; and have instead preferred to sketch him as a alone recluse figure or concentrated on his luxuriant architectural signifiers. This thesis will research whether political, societal and economic developments in the late 19th and 20th Centuries in Catalonia and Spain proved standards for the designer, his work and his immediate circle ; and whether these factors influenced his originative determinations and have been overlooked throughout his life. The work is composed of three inter-related subdivisions. The first subdivision will discourse Gaudi ‘s Catalan roots, and early societal influences. Park G? ell will be used to exemplify this. The 2nd subdivision explores Catalan patriotism, societal categories and the rise of Catalan industrial capitalist economy. It will besides analyze the political struggle and tensenesss between Castile and Catalonia, including the three Carlist wars, which were fought out on Catalan district, the black effects after Spain ‘s loss of her imperium in 1898, and the impact of Tragic Week in 1909. It will see how these may hold affected Gaudi and his working principle. This subdivision will be analysed through the illustration of the Casa Mila. The 3rd subdivision will analyze Gaudi ‘s displacement in religion and the impact that this had on his architecture. This will be shown through the illustration of the Sagrada Familia ( Holy household ) Cathedral. This treatment starts by sing the position expressed by Clara Gari of the Catalan designer ‘s attack: Possibly what makes a speedy apprehension hard in Gaudi ‘s work is its dare and absorbing uncertainness, that scope which slips between architectural ‘code ‘ and ‘structure ‘ . Such ambiguity is accentuated much more when the matrixes from which Gaudi extracts a determined stylistic ‘code ‘ are non ever clearly evidenced. But instead they appear, as frequently happens, equivocally confused as a effect of a kind of intercession, prior to the acceptance of the chosen ‘code ‘ , which by manner of a deformed lens, varies the aspects and the coloring material in it, flim-flaming us with a free all encompassing behavior, and with an underlying energy straight emanated from the cultural heritage which is hard to simplify ‘ Gari seems to be noticing that, despite Gaudi ‘s classical instruction and preparation as an designer, he could put on the line being really extremist in his usage of the recognized architectural codifications and constructions of his clip. In Gaudi ‘s work, codifications and constructions seem to be passed through the filter of his imaginativeness and his Catalan individuality, and are transformed into something which may look distorted but can hold a powerful consequence upon us as perceivers.Gaudi ‘s Catalan roots and early societal influencesAntoni Placid Guillem Gaudi I Cornet was born in Tarragona, Catalonia, Spain on June 25, 1852, into a household which had come from a long line of Catalan merchandisers, mineworkers, husbandmans, weavers, boilermakers and coppersmiths. Gaudi was introduced to the household trade tradition at an early age when watching his male parent in his workshop. He was proud of this heritage and one time said: ‘I have the quality of spacial apprehensiveness because I am the boy, grandson, and the great grandson of coppersmiths†¦ All these coevalss of people gave me readying. ‘ Gaudi ‘s predecessors came from a cross-Pyrenean civilization that bordered the Mediterranean Sea and were accustomed to absorbing influences from different civilizations, while someway retaining their ain Catalan individuality. The Catalan linguistic communication, for illustration, is closer to the lingua of Languedoc in France than it is to Castilian which is spoken in most of Spain. Joan Bergos explains in his book, Gaudi the adult male and his plants, that: ‘Gaudi ‘s line of descent therefore has deep, if distant roots in cardinal Europe, assorted with the virtuousnesss traditionally found among the people of Tarragona, a typically Mediterranean people, passionate, hardworking, brave in the face of hardship and slightly inclined to irony. ‘ The Mediterranean part of Tarragona, with its natural mi lieus and quality of visible radiation, are elements of the rural universe that Gaudi seems to supply as mentions to his architectural signifiers. His love of nature began as a little kid, when rheumatoid arthritis, made physical geographic expedition and drama painful and hard and he was restricted to siting about on the dorsum of a donkey, harmonizing to household narratives, he was able to analyze his natural milieus and to make his ain fanciful universe. Possibly because of his hard start in life Gaudi may hold developed an interior universe of phantasy, form, construction and coloring material, produced by his cognition of the craftsman ‘s trade and the natural signifiers found in his environment. Gaudi came from a profoundly spiritual household and received a thorough Catholic spiritual instruction generated from the continuance of mediaeval Guilds. This would hold included obligatory supplication to the Virgin, Christian philosophy, spiritual ethical motives and spiritual history. By 1874, at the age of 22, Gaudi had moved to Barcelona with his brother Francesc ; and here he began his readying to develop as an designer at the Escuela T & A ; eacute ; cnica Superior de Arquitectura ( Upper Technical School of Architecture ) . Here he studied Spanish architecture which would hold focused upon its many cultural traditions, including: Phoenician, Roman, Greek, Visigothic, Celtic, Arab, Berber and Jewish. These would hold been wholly absorbed into the thought of modern-day design so that there was no bias against the acceptance of Islamic motives and symbols. One could conceive of how of import this multi-faceted cultural heritage of Spain would hold been for the development of G audi ‘s ain attack to architecture. Gaudi besides seemed to portion the concerns and ideals that surrounded the dynamic and rational ambiance during his young person, and would hold been influenced by the celebrated intellectuals of the clip: Pugin, Ruskin and Viollet-le-Duc. The latter was responsible for the Gothic resurgence in France and as a student of Le Grand Durand he had influenced France ‘s acceptance of Renaissance theoretical accounts and ‘rationalist ‘ attack to metropolis planning, which had put the state at the head of European artistic and architectural argument. One could besides assume that Gaudi had read the work of the English author Ruskin, in which he states, in his book: The seven lamps of Architecture: ‘ I say that if work forces truly lived like work forces, their houses would be like temples which we would non make bold to go against so easy and in which it would be a privilege to populate. There must be some unusual disintegration of household fondness, a unusual ungratefulness towards everything that our houses have given us and that our parents have taught us, a unusual consciousness of our unfaithfulness with regard and love for our male parent, or possibly an consciousness that our life is non for doing our house sacred in the eyes of our kids, which induces each one of us to desire to construct for ourselves, and to construct merely for the small revolution of our personal life. I see these suffering concretions of clay and limestone that shoot up like mushrooms in the boggy Fieldss around our capital†¦ I look at them non merely with the repulsive force of the pained position, non merely with the hurting that is caused by a disfigured landscape, non with the pain ful foreboding that the roots of our national grandeza must hold infected with sphacelus right down to their tips from the minute that they were planted in such an unstable mode in out native dirt. ‘ It seems that Ruskin ‘s moral and aesthetic quandary was one that Gaudi would besides see as a immature professional designer, and he would travel between his support of socialist ideals and assorted privileged connexions with the nobility and upper center categories ( his possible clients ) throughout his life. Gaudi was discovered by the middle class without whom his architecture would non stand today. However it seems he was non apathetic to the societal life of his age and its contradictions. Other coevalss working towards these ideals, were: Elies Rogent ( 1821-1897 ) , whose design of Barcelona ‘s University edifice was influenced by the German Rundbogenstil, which was a Neo-classical rounded arch ; Joan Martorell ( 1833-1906 ) who designed the Neo-gothic brick and glazed-tiled church of Saint Francesc de Gross saless ( 1885 ) ; Josep Vilaseca who collaborated with Lluis Dom & A ; egrave ; nech i Montaner ( 1850-1923 ) on the Batlo grave ( 1885 ) . As his former pro fessor at the Escuela T & A ; eacute ; cnica Superior de Arquitectura, Lluis Dom & A ; egrave ; nech i Montaner was at the head of the Catalan Modernist motion, besides known as the ‘Renaixenca ‘ ( or Rebirth ) , which encouraged art, theater and literature in the Catalan linguistic communication. He was besides responsible for planing the Palau de la Musica Catalana which symbolises the coming together of the Catalan nationalist sentiment and international civilization. It besides shows a peculiar connexion to Gaudi ‘s Colonia Guell, Casa Vicens and Park Guell, though its luxuriant ornamentation, sculptures and colorful ceramic mosaics, all of which seem to mention to a deep connexion with Catalan nature and patriotism that were evident at the clip. This connexion can be seen in the foliage and flower forms on the frontage of the Palau de la Musica Catalana which are inspired by Moresque architecture and followed the curvilinear design seen in Art Nouveau. At the same clip, the civil applied scientist Ildefons Cerda ( 1815-1876 ) had been given the committee to spread out Barcelona ‘s boundaries by pulverizing its walls and supplying land for new residential countries. It seems that his programs were influenced by Haussmann ‘s redesign of Paris, and were based on a similar grid system. Cerda was shocked that the working categories were paying proportionally more in rent for their confined life adjustment than the wealthy paid for their epicurean lodging. The design for metropolis, although Neo-classical, was besides considered ‘realist ‘ because of Cerda ‘s apprehension of modern urban sociology and life conditions. It seems that this enlargement signalled to other designers that it was acceptable to research new ways of planing public and private infinites. This new sociological attitude towards urban infinites can be seen as the accelerator for the creative activity of the thought of the Garden City. The construct of puting up communities outside metropoliss was started by enlightened industrial altruists such as Robert Owen, Titus Salt and George Cadbury, making little lodging undertakings for their workers in England as far back as 1800. However, the most of import of the Garden City motion was Ebenezer Howard whose book ‘Tomorrow: A Peaceful Way to Real Reform ‘ , published in 1898, was to go extremely influential in town planning throughout the twentieth century. The Garden City motion is a good illustration of the altering societal attitude towards the built environment and can be seen in the ulterior be aftering texts of Tony Garnier and of Le Corbusier ‘s ASCORAL, foremost published as ‘Les Trois Establissements Humains ‘ in 1945. In a short text called Notes on the household house ( Casa Pairal ) written by Gaudi between 1878 and 1881, he reflects on the relationship between house and household: The house is a little state of the household†¦ The in private owned house has been given the name of Casa Parial ( household place ) who among us does non remember, on hearing this look, some beautiful illustration in the countryside or in the metropolis? The chase of boodle and alterations in imposts have caused most of these household places to vanish from the metropolis, and those that remain are in such a awful province that they can non last long. The demand for a household house is non merely limited to one age and one household in peculiar but is an digesting demand for all households. The text seems to be mentioning to the integrity of a state and of its people, it reflects the apprehension of an designer who strives for sanitation and good being, every bit good as the anti-urban feeling which had arisen in England and spread throughout Europe. One could assume that it besides reflects Gaudi ‘s deep-seated connexion with the rural universe, that of provincial and craftsman, a universe from which he had come. Maria Antonietta Crippa explains in her book, Populating Gaudi that: Gaudi ‘s attending was non directed instantly to the businessperson house, but to the â€Å" demands of everyone † . She goes on to state that ‘He does non conceal his malaise at the inordinate, over accelerated growing of metropoliss, which uproot many people from the land of their birth and coerce them to populate in rented houses in the â€Å" land of out-migration. † And he applauds the determination to abandon engorged metropolis centres for the broad, light-filled, leafy suburbs. Possibly this sociological attack is what allowed Gaudi to believe up the inventive design that he created for Park G? ell in 1900. This was a garden metropolis which captured the spirit of the twentieth century and followed the stylish tendency in Europe for making big cosmetic infinites. It was a public infinite which would make a haven off from industrialization, where the common adult male, both affluent and hapless, could exert and see public events during their new-found leisure hours. It was besides designed as a infinite where upstart households could populate comfortably off from the crowded metropolis Centre. The park seems to uncover Gaudi ‘s extraordinary imaginativeness in what could be seen as an optimistic stage of his life. Maria Antoietta Crippa explains that: ‘Gaudi ‘s gardens are evocative of â€Å" The Rose Garden, † evoked in the first of T.S Eliot ‘s Four Fours: a topographic point that arouses memories of childhood, but which is b esides a symbol of a past and a hereafter that are alive in our present: â€Å" Humankind can non bear excessively much world. / Time yesteryear and clip future / what might hold been and what has been / point to one terminal, which is ever present. ‘ She goes on to explicate that the garden is a metaphor non merely for an earthly Eden, but besides of the power of human memory, another enlargement of Gaudi ‘s interior universe. The park draws together urban sociology, his early childhood involvement in nature and his strong sense of Mediterranean Catalan patriotism and symbolism. Gaudi uses the Moresque art of ‘trencadis ‘ , a method of intentionally interrupting tiles and re-arranging them into intricate forms. He uses this technique on the long serpentine bench-balustrade where broken ceramic pieces have been arranged into words and symbols with spiritual and Catalan nationalist intensions. Some historiographers have besides suggested that the Doric column s which consist of fluted shafts made of unsmooth rock, covered at the base with white ceramics, and joined to the ceiling by domes which are supported by gently swerving beams, non merely evoke the gesture of Mediterranean moving ridges but are besides evocative of the Temple of Delphos and reflect the civilization of Greece and the Mediterranean. They believed the construction of these columns existed as a testimonial to Greece, which had won its independency from the Turkish Empire, pulling analogues with the political state of affairs of Catalonia and the Catalans ‘ desire for independency. Gaudi arrived in Barcelona at a clip of of import alteration in architectural thought and it seems that he benefited from meeting and taking designers of his twenty-four hours, who were involved in the regeneration of Catalan civilization, in which, the re-birth of the linguistic communication had a critical part in Catalan ‘s rediscovering their heritage and their common individualities. In the diary: Tongue tied: The function of linguistics in Basque and Catalan Nationalism, Ryan Barnes explains how of import the metempsychosis of the Catalan linguistic communication was: Language has ever been an indispensable component of patriotism, supplying a typical characteristic and beginning of pride for a corporate people. The ability to pass on with one another is indispensable to constructing Bridgess between aliens and hammering the thought of a ‘nation ‘ , which instils the thought of integrity among a people that have ne'er met†¦ Furthermore, communicating brings cognition with it. Language conveys the thoughts of a people or state through literacy plants such as verse forms or novels, which nationalists can look back on with pride. It seems that Catalan subjects were comparing themselves, non to the intellectuals in the Spanish capital, Madrid, but to creative persons and interior decorators of other states in Europe who were more technologically advanced, such as: England, France and Germany. The Catalan linguistic communication had been suppressed for many old ages by Spain ‘s cardinal authorities but now Catalans seemed to take pride in self-expression, while being cognizant of developments from the other side of the Pyrenees, including the renovation of Paris and the creative activity of the London squares with their cosmetic gardens. They besides seemed cognizant of the Neo-gothic architecture which was encouraged by intellectuals such as Pugin, the designer of the Houses of Parliament and John Ruskin ‘s thoughts on workers ‘ instruction and benefits. It seems that Gaudi excessively was cognizant of these thoughts, and although Catalonia was insulating itself from the diminution of Spain, it was besides maintaining up with new and of import influences from abroad. Catalonia was going a developed part within an undeveloped state.The history of Catalan patriotism, societal categories and the rise of Catalan industrial capitalist economy and political tensenesss in Catalonia and Spain.Catalonia had become the industrial Centre for the remainder of Spain during the nineteenth century, a period when there was increasing unrest in the whole state. During the eighteenth century Catalonia had evolved from an economic system based on goods for local ingestion to an economic system with broad commercial aspirations. This industrialization took topographic point in a state of untapped natural stuffs and really low buying power. Catalonia ‘s fabrication enlargement depended upon its beginning of energy generated from hydraulic turbines on its irregularly flowing rivers, but in the twentieth century the hydroelectric potency of the Pyrenees was finally secured for progress ing industrial production. The category system of Catalan society was mostly the consequence of three consecutive long moving ridges of industrialization and capital accretion, with the attendant growing of new factory-linked Centres, the monolithic importance of the work force, the consolidation of a skilled on the job category and a big in-between category, together with farther progresss in the way of secularization and urbanization. These three long moving ridges entailed the undermentioned developments: the growing of the businessperson category, the rise of an industrial society based, at first, as in so many other topographic points, on the fabric industry, and the constitution of great household lucks. Karl Marx was composing in Das Kapital at this period of clip about the enlargement of the middle class in Europe: Changeless revolutionising of production, uninterrupted perturbation of all societal conditions, everlasting uncertainness and agitation distinguish the middle class era from all earlier 1s. All fixed, fast frozen dealingss, with their train of antediluvian and venerable biass and sentiments, are swept off, all new formed 1s become antiquated before they can ossify†¦ The middle class has subjected the state to the regulation of the towns. It has created tremendous citations, has greatly increased the urban population as compared with the rural, and therefore rescued a considerable portion of the population from rural amentia. In common with the middle class across Europe there was an increasing figure of freshly rich Catalan industrialists such as Eusebi G? ell and Pere Mila I Camps who were seeking the outward look of their fortunate place in society. The metropolis civilization of Barcelona attracted them because it offered them a manner of life that was tantamount to what they witnessed in other European industrialised societies. To show their power, and their love of the new, as Marx discusses, they needed modern stylish designers who could take advantage of the tendencies in design that were current in those other states. Most of the designers at this clip were drawn into the Capitalist desire to utilize infinite as a trade good that could be built on and sold. Gaudi, although willing to offer his considerable endowment to industrialists who were geting land for edifice undertakings, finally rejected this attack to architecture in favour of a return to the traditional architectural signifiers, such as church edifice, as a symbolic representation of Catalan nationhood. Harmonizing to Maria Antonietta Crippa, Gaudi was already puting out on a different way in footings of the secularization of modern architecture, as will be demonstrated in the illustration of the Casa Mila. In her book, Living Gaudi, The designer ‘s complete vision, she suggests that: †¦ ( Gaudi ‘s ) buildings were built at a clip when a Utopian, secularizing tendency was developing in the universe of European architecture. This tendency, which was radically different from the way taken by the Catalan designer, proposed the creative activity of the new urban and residential infinites that would decide the instabilities caused by the violent growing of metropoliss and by the technological revolution that took topographic point in the 2nd half of the 19th century and the beginning of the twentieth. Despite the seemingly epicurean life of Barcelona ‘s middle class, the political state of affairs in the whole of Spain was progressively unstable throughout the nineteenth century. Alternatively of developing a system of political parties Spain had been confronted by a series of military putschs ; and alternatively of political argument there were efforts to alter the written fundamental law. Between 1822 and 1875, resistance to broad capitalist economy led to five civil wars, which were fought out on Catalan district. The last three were to be known as the Carlist wars, in which monarchists and the armed forces opposed the progressives and Republicans, and this struggle continued into the twentieth century with increasing ferociousness and bloodshed. The Third Carlist war ended in 1876 when Gaudi was 24. Gaudi believed that: ‘war, offering force as a solution to any job, is necessarily corrupting. The Crusades were a failure and many reasonable Carlists abandoned that c ause in the face of the behavior of the Carlist forces. ‘ It seems that Gaudi was interested in public personal businesss and followed developments on the political scene. He one time said: I am really like my male parent. At one point, non long before he died, there had merely been elections, and he still had adequate enthusiasm for the topic to inquire me to state him which campaigners had been elected ‘ He railed against segregation and he defended energetically the thoughts of rationalism and a strong and united Spain. Gaudi was one of a big group of intellectuals known as the coevals of '98. In 1898 the political diminution of Spain worsened when it entered a war with the USA, which it could non afford to contend. America supported the minority of plantation owners in the settlement of Cuba, who were doing demands for emancipation from Spain. Following Spanish reprisals against these Rebels, and supported by fabricated claims in the US imperativeness, America launched an onslaught on Spanish forces which caused tremendous loss of life and led to Cuba being ‘liberated ‘ into an American domain of influence. The daze of licking in Spain was overpowering, as Gabriel Tortella explains inThe Development of Modern Spain, an Economic History of the Nineteenth and Twentieth Centuries: †¦ the loss of markets for industry and agribusiness, the loss of human life, of physical and military resources and income to the Treasury, the disappearing of assorted transit and communicating webs, and possibly the most of import, a widespread sense of repugnance and demoralisation. For Spanish swayers and people, it seems that such a national humiliation inflicted by a comparatively immature democratic province would tag their state out as deeply flawed and unstable in the modern age of the early twentieth century, and would be linked to worsen, political pandemonium and eventual barbarous civil war in 1936-1939. A few old ages after this calamity, Gaudi began work on the Casa Mila, a edifice six narratives high, with eight flats on each floor grouped around two internal courtyards, one handbill and the other ellipse. It is designed so that light inundations in through the two inner courtyards which are unfastened to the sky. Gaudi ‘s thought was that the edifice should be a base for an tremendous statue of the Virgin Mary accompanied by two angels, which he had hoped would stand 25m above the roof of the edifice and would hold dominated the metropolis. The edifice seems to reflect Gaudi ‘s repugnance at the anti-clerical force in Spain and loss of religious significance in modern twenty-four hours society. Possibly he would hold agreed with Kandinsky ‘s position that: the incubus of philistinism, which has turned the life of the existence into an evil, useless game, is non yet past: it holds the waking up psyche still in its clasp. It seems that Mila I Camps was uneasy about the visual aspect of the proposed huge statue of the Madonna on the roof of his belongings, as harmonizing to art historian Robert Hughes: †¦ given the turbulency of 1904 it would likely take to the devastation of his edifice by angered anti-clerical rabble. It seemed that Gaudi was obliged to convey the importance and luxury of the life of this new entrepreneurial category, who: did non look to the past, but merely desired one thing: to contrive their ain hereafter. Alternatively of the statue of the Virgin Mary, Gaudi was compelled to replace it with airing towers, chimneys and sculptures. The step units are topped with crosses with four equal weaponries and the chimneys are surmounted by little domes similar to warrior caputs. Harmonizing to Maria Antonietta Crippa the ensuing sculptures on the roof: ‘ ( carry ) a powerful affectional charge ‘ . She goes on to state ‘ consider, for illustration, that manner that he uses catenary constructions and fluted surfaces, or the characteristics that appear in his unreal landscapes and rock gardens ; these elements all work to make a fantasy universe, as in the instance of the multitextured, rippling fa & A ; ccedil ; fruit drink of Casa Batllo, or the cryptic shade universe of the roof patio of Casa Mila. ‘ Could these anguished, distorted forms express Gaudi ‘s interior fantasy universe? Or so his mental province at the clip? Could they perchance convey the force of his times and his personal mournings? It is sensible to see that the designer ‘s originative procedure is strongly influenced by his unconscious head, as Karl Jung argues: Originals are numinous structural elements of the mind which have a grade of liberty and energy of their ain, which allows them to pull whatever contents of the consciousness that suit them. These are non familial word pictures, but instead certain unconditioned sensitivities to organize parallel repre sentations, which I called the corporate unconscious. One could presume that these distorted signifiers were connected with his hurt at the loss of his preferable sacred symbol, the Mother of Christ, but may besides hold held a more personal significance as a representation of his ain female parent, who had died 30 old ages antecedently along with his brother Francesc. The period following their deceases, in 1876, had caused an all ‘enveloping depression ‘ for Gaudi. Reflecting on the Casa Mila it was likely a good thought that Gaudi had non used the edifice as a life shrine, as violent protests once more erupted in the metropolis, and saw the combustion of 40 spiritual schools, convents and monasteries, and 12 Parish churches in 1909, the rioters sing the Church to organize portion of the corrupt businessperson construction. The alleged Tragic Week seemed to impact Gaudi profoundly ; possibly this is why everything he produced afterwards seemed to be built in the Catholic spirit of somehow devising damagess for the devastation. Could it be that he was transporting the load of unconscious guilt for his ain losingss and for those that had devastated the Mother Church? At the same clip as covering with this religious crisis, it seems that he was get bying with neglecting physical wellness. The decease of Gaudi ‘s frequenter Don Eusebi G? ell in 1918 land him to a complete arrest, after which it is presumed that he had a psychological dislocat ion. During his last eight old ages of increasing isolation, possibly he turned his dorsum on the helter-skelter events in his state and withdrew into a life of abstention and religionism. Upon these painful tragic loses, after his male parent ‘s decease and the decease of his sister ‘s girl Rosa, his sense of uncertainness about life and on enduring from turns of Mediterranean febrility. He began his descent into a rigorous life of religionism. My closest friends are dead ; I have no household, no clients, no luck, nil. Now I can give myself entirely to my church. Gijs Van Hensbergen summarises the crisis for Gaudi ‘s coevals when he explains in his book: Gaudi the Biography: †¦ Spain ‘s loss of her imperium in 1898 and the Tragic Week of 1909 in which convents and churches were burned down ; both had strong effects on Gaudi, his friends, frequenters and wholly changed his working forms. The political state of affairs in Catalonia was a complex, potentially explosive 1. Catalonia ‘s confederation with Spain ( Castile ) was one of huge tenseness†¦ Before the civil war, some Spanish intellectuals and politicians recognised the dangers, but tragically they did n't hold the power to hold the impulse of the nearing crisis. Few coevalss have of all time been so viciously self analytical as Gaudi ‘s. Few have put themselves through such painful find†¦ These political and societal tensenesss between reform and reaction provide the subtext and concealed constructions of Gaudi ‘s work.Shift in religion and its impact on Gaudi ‘s architectureThe wish to organize something unambiguously powerful and symbolic in a clip of u npredictable political and societal events may be at the bosom of Gaudi ‘s most celebrated design, the cathedral. A personal history of Gaudi is given by one of his close friends Joan Bergos who remarked on the transmutation in Gaudi during the latter old ages of his life, when he became wholly consumed by his originative chef-d'oeuvre. Bergos said:Faith changed the passionate, hotheaded, choleric young person into a serene, balanced, model adult male, who merely on rare occasions gave blowhole to any temperamental effusion and who radiated such a beneficent aura that he sometimes inspired transition and even epic forfeit in those lives he touched. Furthermore, Mark Burry suggests in his book Expiatory Church of the Sagrada Familia: Architecture in item: The Sagrada Familia is a life of a remarkable designer ‘s coming to footings with his clip, his personality and, finally, his exposure. Besides one could besides see that Gaudi had been influenced by Viollet-le-Duc ‘s statement that:We must happen creativeness through an accurate cognition of the plants of our ascendants. Not that such cognition must take us to copy them slavishly, but instead it will uncover and do available all the secret accomplishments of our predecessors.Possibly what was of import for Gaudi was that a interior decorator must take from the traditional what he has absorbed into his ain cognition and re-interpret and re-work it so that it can look innovatory and familiar, every bit good as inspirational. When Gaudi moved to Barcelona as a immature adult male, it seems that he had been impressed with its wealth of historical architecture, which dated back to the Middle Ages. He had visited the Basilica Church of Santa Maria del Mar in the Ribera territory which has three aisles organizing a individual infinite with no transepts and no architectural boundary between nave and presbytery. The simple ribbed vault is supported on slender octangular columns, and daylight watercourses in through the tall clearstory Windowss. The foundation rock was laid by King Alfonso IV in 1329 and the whole edifice was carried out by local people including stevedores, who collected the big rock slabs from nearby preies. The undertaking, which brought the full community together within the vision of a Christian household, was an architectural doctrine that Gaudi admired and that would back up the thought for the Sagrada Familia. The Virgin Mary holds a peculiar importance within the Catholic religion as she is seen as non merely the Mother of God, but besides as the Mother of the Church. Gaudi ‘s household were devout Catholics, and it seems made regular visits to the Churches of Sant Pere and Sant Jaume. Religious pattern in Catholic Europe in the nineteenth Century was multifaceted and influenced by factors such as category, gender and part. Industrialization and urbanization presented the greatest challenges to the Church as they forced it to redefine its function in the community. Barcelona and Catalonia seem to hold embraced the Sagrada Familia as a symbol of Catalan Catholic individuality. Gaudi was besides familiar with the black Madonna of Montserrat, which was a statue of the Virgin Mary and the infant Christ carved in wood in the early yearss of the Christian Church. Montserrat symbolises Catalan spiritual life, and is a celebrated topographic point of Catholic pilgrim's journey throughout Europe. He was besides familiar with the thirteenth century monastery of Poblet in Tarragona, which he explored as a immature school male child. This was the burial land and Palace of Catalan Kings. The Cistercian monastery was founded in 1153 to honour the third Century Egyptian anchorite St. Anthony the Great and to convey back the Christian cloistered life of pureness, obeisance, poorness and celibacy, after release from 400 old ages of Muslim regulation. In the nineteenth Century, during and after the Carlist wars, the monastery was on a regular basis looted during anti-clerical rioting and left in a province of ruin. Because of Gaudi ‘s life-long involvement in such sacred edifices, the building of the Sagrada Familia seemed to supply Gaudi with an architectural signifier for spiritual resurgence. It was a cathedral dedicated to Jesus Christ, and his parents, Joseph and Mary. The thought of the cathedral was to typify the theoretical account of Catholic Christian household values, which seemed to hold had been eroded by rampant philistinism. It was to appeal to the working categories who might place with Joseph as an ideal working male parent. It is sensible to presume that this undertaking may hold besides appealed to Gaudi because he felt indebted to his ain male parent for the support he had given him as an designer. At this clip Antoni and his male parent Francesc shared their place together until his male parent died in 1906. Gaudi imagined the church in the form of a Latin cross surrounded by seven chapels. The full cathedral seems to depict Gaudi ‘s position on religion with the seven towers stand foring the seven yearss of creative activity, seven central virtuousnesss and seven opposing wickednesss. The 12 towers are dedicated to the 12 apostles, and the tallest 1 at 170 metres is dedicated to Jesus Christ. Each tower begins in the form of a square and at a certain tallness becomes a tapering cylinder. They are each finished off with a mosaic appliqu & A ; eacute ; . The mosaic ends represent the staff of a bishop. The Nativity Facade is inspired by the New Testament history of the birth, childhood and young person of Jesus. Plaster dramatis personaes were made from human topics, chosen to stand for the true character, instead than an idealized position of society ; the scope of topics included healthy persons, handicapped people and still born babes. The latter represented the kids slaughtered by Herod. Other sculptures included word pictures of Christ among the physicians, and the mature Jesus rehearsing his male parent ‘s trade, every bit good as birds in flight, the star of Bethlehem and natural zoology and vegetation. Gaudi said that‘Everybody will happen something in the church, husbandmans see pricks and biddies, scientists see the marks of the zodiac, theologians the family tree of Jesus, but the account, the ground behind it all, merely the erudite will cognize it, and it must non be divulged.‘DecisionThere will ever be elements of Gaudi ‘s architecture and life that we will ne'er to the full understand. Although there have been many diaries and books written about him, he is still a adult male of many concealed aspects, some of which are yet to be discovered. Yet it seems that the unseeable, is what was most of import for Gaudi ‘s architecture with the concealed symbolism and mentions to Catalonia and to the problems of his clip. His earliest influences seem to be his love of nature, closely linked to the landscape of his childhood Tarragona ; and 2nd, his artisanal background, which encouraged him to unite the basic techniques of building with the ability to get down visualizing in three dimensions. Teamed with his classical instruction and early influences from celebrated intellectuals, such as Pugin, Ruskin and Viollet-le-Duc, it seems that he was able to believe about architecture within its societal context in a modern industrialized economic system. It besides seems that the resurgence of art, theater and the Catalan linguistic communication, appealed to person such as Gaudi, who opted merely to talk his native lingua instead than Castilian, and who had a strong sense of patriotism towards his ain part. Park G? ell seems to reflect Gaudi ‘s patriotism at an optimistic and inventive phase of his life and seems to capture the spirit of the twentieth century. The park was merely made possible by Gaudi ‘s frequenter Eusebi G? ell who made his wealth from the fabric industry and was, like many, looking for new ways to put. One could propose that Gaudi was fortunate to happen person to fund his many undertakings, most of which would non hold been made possible without G? ell ‘s fundss. As a consequence of rapid alterations in industrial society and the growing of the businessperson category, every bit good as an progressively unstable political state of affairs, including the Carlist wars, Spain ‘s loss of settlements and Tragic Week, it seems that there was a major displacement in Gaudi ‘s working principle at the tallness of his calling. The Casa Mila shows Gaudi both compromising with capitalist economy and finally turning his dorsum on it, demoing repugnance for the philistinism of his clip. Here we see a adult male who is altering from an adventuresome immature designer into an single carrying unconscious guilt for individual calamity and a turning relig ious committedness to mend the destructiveness of his age. One could possibly propose that this was non surprising behaviour as Gaudi ‘s coevals, besides known as the coevals of 98 ‘ , who had witnessed so much desolation and bloodshed in their life clip. Possibly it is besides non unreasonable to anticipate work forces involved within the humanistic disciplines and of this coevals to show their interior feelings through their endowments, utilizing concealed codifications and symbols to show this. One could state that Gaudi has used his architecture to research the enigma of life and effort to re-create through his ain eyes. Gaudi one time said: ‘men may be divided into two types: work forces of words and work forces of action. The first speak ; the latter act. I am of the 2nd group. I lack the agencies to show myself adequately. I would non yet concretised them. I have ne'er had clip to reflect on them. My hours have been spent on my work. In the latter phase of G audi ‘s calling it seems that he became to a great extent involved with the Church and dedicated the remainder of his life to the Sagrada Familia. Could it be that in the Sagrada Familia Gaudi had found refuge from the political and societal pandemonium and from his personal tragic losingss? Could it besides be that he created an inspirational infinite in which God, and non modern adult male, was the maestro? It seems that he has been able to encompass people into his interior universe, into his vision as 1000s of tourers flock to see his iconic architecture every twelvemonth. Not merely did he reform the life of Barcelona through his architecture, but he sought influence in his times, and in return influenced the life of an full community.BibliographySecondary Beginnings:Nonell, Juan, Antonio Gaudi: Maestro designer, ( New York and London: Abbeville Press Publishers, 2000 )Crippa, Maria, Populating Gaudi: The Architects Complete Vision, ( New York: Rizzoli International Publi cation, INC, 2002 )Crippa, Maria, Gaudi 1852-1926, From Nature to Architecture, ( Hong Kong, Koln, London, Los Angeles, Madrid, Paris, Tokyo: Taschen, 2007 )Gari, Clara, Gaudi and the path of Modernism in Barcelona, ( Barcelona: Emege Industrias Graficas, 1998 )Hensbergen, Gijs, Gaudi: The Biography, ( London: HarperCollinsPublishers,2001 )Coad, Emma, Spanish Design and Architecture, London: Studio Vista, 1990 )Rossi, Aldo, The Architecture of the City, ( Cambridge, Massachusetts and London, The MIT Press, 1992 )Derek, Avery, Antoni Gaudi, ( London: Chaucer, 2003 )Mackay, David, Modern Architecture in Barcelona ( 1854-1939 ) , ( The Anglo-Catalan Society Occasional Publications, 1985Giner, Salvador, The Social Structure of Catalonia, ( The Anglo-Catalan Society Occasional Publications, 1985 )Tolosa, Lluis, Barcelona. 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