Black People and Young Black Man Essay Example for Free

Black People and Young Black Man Essay The narrator 1. Who is the narrator and what is the narrator’s attitude towards white Afrikaner ruling party, to blacks, and to Europeans? 2. What do these attitudes tell us about why people are divided in South Africa and in our larger world, maybe regardless of race? Van der Vyver 1. What does the action of his crying in the police station suggest to us? Are you surprised by this reaction—why or why not? Does this make him more likable—why or why not? 2. What do we learn about him by his action at the funeral? 3. What does it show us in the description â€Å"he does not let her clothing, or that of anyone else gathered closely make contact with him’ (2578). How does this moment contrast with â€Å"The farmer carried him in his arms, to the truck. He was sure, sure he could not be dead. But the young black man’s blood was all over the farmer’s clothes, soaking against his flesh as he drove† (2578)? What do we learn about Van der Vyver? The moment 1. What exactly was the moment like for Lucas and Van der Vyver before the gun went off? What does this say about their relationship? (2578) 2. Why is this moment compared to the moment that he and Lucas’s mom share at the funeral? What does it suggest to us about their relationship? (2577) To close: 1. In what way is this story about difference? About misconception? 2. What is the more tragic element of this short story in your mind?

Impact of Technology on Graphic Design

Impact of Technology on Graphic Design In our society technology is the dominant industry. In this essay I plan to look at how technology has impacted not only western society but in particularly graphic design since the digital revolution. We in the field of graphic design are particularly affected by technology although the digital age has increased possibilities for designers; it has also had a number of possible negative effects. I plan to look at both sides of the argument in detail and give examples of how they contrast with one another and yet in the right hands can be used together to create visually engaging pieces. In western society, we are in the middle of a technological revolution. As the world has become increasingly digital, there has been a change in the way people communicate, the way that they purchase items and the way that they socialize. This digital revolution has also contributed ti changes in graphic design over the last decade. Before the amalgamation of programs such as Adobe Photoshop, Quark Express and Autodesk Maya, we would never be able to see digital pieces of the complexity that we can currently see today. Not only has technology altered the way that work is created, it has also completely changed the way that we present our work. Today most designers have at least one form of online presence; be it a Facebook fan page, a twitter feed, a blog where they share their thoughts or even just a portfolio site where their work is showcased, many designers use the internet as their main source of publicity. It is due to the ability to show things, such as moving animation work or interactive multimedia pieces and the fact that designers can share a higher percentage of their work without limitations of size or quality makes using digital technology so appealing. With a traditional paper portfolio, it is rarely possible to accommodate all our workà ¢Ã¢â€š ¬Ã‚ ¦.with a laptop we can take everything (Shaughnessy 2010) The use of portfolio sites has gained a great deal of attention in the world of graphic design. Although on one hand they are responsible for many artists gaining helpful critiques and exposure to a new audience, there is also a huge problem of plagiarism in the online community. One example of how websites like DeviantArt.com are abused is the case of Lara Jade. A photographer who published a selection of her work online, for others to enjoy. This was all very well until a viewer of her work messaged her to tell her that one of her self-portraits, taken at the age of fourteen was being used on the cover of a pornographic DVD.  [1]  actual refeerence It took three years of legal action for the distributers of the DVD to stop using her image as the cover, even after they were made aware of the copyright and the age of the cover star. Sites such as DeviantArt.COM are facing a backlash from their loyal supporters who have got to a stage where the amount of plagiarism has taken away the joy of uploading work. Many designers are simply not willing to let their work be stolen in exchange for a brief exposure to a website with 37% of their members being between 18-24. With so many members, DA is destined not only to be a target of plagiarists, but also a home for them. (Bailey 2007) Technology is also used predominately in the designing and creation of work in the graphic design field. Since the digital revolution, we have seen a massive change in the way that, for example, motion graphics is created. Programs such as Adobe After Effects have increased productivity in the motion industry as it allows designers to create animations in an extremely short amount of time compared to when they were traditionally analogue created. An example of this are the classic Disney animations such as Snow White and the Seven Dwarfs, Beauty and the Beast or The Lion King, all of which were created using traditional stocks cell animation,  [2]  with each frame having to be individually drawn. [Need to Expand] Looking further afield than at motion graphics specifically, we also see how other digital programs have increased workflow for many designers. Whereas before the digital revolution, many hours were spent with pencils arranging compositions, design mocks can now be creat ed in a very short amount of time by sketching straight onto a computer using a tablet input alongside an image program like Adobe Photoshop. By drawing straight onto the computer, cutting out the paper stage, we also see how sketches can be sent directly to our clients through e-mail or FTP  [3]  this allows our clients to see work in progress and for any changes to be made instantaneously. Look at eco benefits -you dont waste paper! The success of the Internet has also changed the way that designers find inspiration for their work. Where before the digital age designers scanned through history books for inspiration they now can type the theme that they are searching for straight into Google and instantly be given a wide selection of results. This has also led to an increase in the aforementioned plagiarism cases as search engines allow ideas to be easily seen by many, increasing the opportunity for them to be stolen with no concept of ownership. Another aspect of graphic design, which has changed with the increase in technology, is the way designers publicize pieces. Where before success relied heavily on word-of-mouth for designs to become popular and to be seen by people, nowadays there is the use of websites such as DeviantArt.COM, Linkdin.COM or Behance.NET instead. Websites like these have allowed artists on the other side of the world to view our work, which in turn has led to more commissions. QUESTOINAIRE EVIDENCE these websites have also incorporated people not usually associated with a particular field to become integrated within design. EXPLAIN we are seeing, even outside of design, an increase in sharing sites such as Flickr and stumbleupon. These websites load pages whose contents are rated by the viewers, who are given this information randomly. If your page is rated highly enough you will get more views from people interested in the same genres is that you are. Even in todays digital age the process of creating design usually still starts with pencil. QUESTIONNAIRE as proof these pencil sketches are primarily used to create compositions usually to be reworked each time to experiment with new ideas. From there the pencil sketches are usually scanned into the computer then moved to Photoshop to clean up lines. Using brush tools, the image is occasionally coloured from the Pantone selection then it is transferred to the printer where finishes can be applied to the piece. We have seen many designers who have incorporated both traditional and digital mediums into their work. The first designer to truly utilise a computer in terms of layout was April Greiman. Eskilson (2007) stated that Greiman was one of the first graphic designers make use of the powerful tools in a computer. He notes that Greiman did not view the computer as simply a functional tool but as something that had led her to experiment in a way that opened up new avenues of design. Expand As she started to gain popularity we started to see the origins of the techniques that we still used today. In her work she uses techniques in a way that creates chaos on our screens. The images look slightly intentionally like they purposely contain mistakes as a way of creating a sense of energy that was not seen in the other work of that time. Anaylse a piece of work, unpack moe layering of information enabled by the computer Today we are seeing an uprising against the over digitalized style work. We are seeing a rise in the popularity of traditional print-based media as designers are striving for the type of imperfection that was commonplace before the digital revolution. This can be seen today in many sources. Just one look at designs from todays creative area gives you the opportunity to see an abundance of textures and overlays used to create the implied use of traditional media. The problem of doing this is that creative directors can then why would a designer not just create traditionally? Instead of overlaying texture that leaves the viewer to believe that the image was screen printed why not just screen-print the image in the first place? EVIDENCE Dont let your perceptions of the what seems to be a tradition in the design community (or any other community for that matter) dictate how you go about your work (Ward 2010) In graphic design today people do not want to see lifeless art that looks digitalised. No longer does Western society want to see photorealism in design. QUOTE the creative industry is actively looking for a personal touch in each bit of design that is viewed which can be seenà ¢Ã¢â€š ¬Ã‚ ¦ Products are also seen gaining popularity in the design world, this is due to the unique hand rendered quality that gives the ability to touch the product that is paid for, rather than just being sent a digital imitation of the original file. With work in the digital age, there is no essence of work. It is lost with the lack of physical hard copy of each piece. In other words, the unique value of the authentic work of art has its basis in ritual, the location of its original use value. This ritualistic basis, however remote, is still recognizable as secularized ritual even in the most profane forms of the cult of beauty. (Benjamin 2008) With work created in a digital environment there is no such thing as an original. We can never be in ownership of an original copy of the digital piece of work, as it does not technically exist, but is simply a digital file. Replicas can be made extremely cheaply with digitally created work, all it takes is a printer connected to a computer to create a copy of any print that you create. The fact that work can be made quickly and cheaply makes art open to the masses. It leads to a less hieracial and more democratic art ownership. An example of this is Andy Warhol and his work with the portraits of Marilyn Monroe. He used a famous image of Monroe, by Gene Korman for the film Niagara, as the basis for a series of silkscreened images. Although Warhol did create his own work, he used the language of repetition to show how art can be mass produced. Although his work is produced on a huge scale, the work he creates is very rare and expensive. EXPAND- can print on many materials One of the most important developments of the digital age is communication. As designers we receive most of our work through electronic means be that e-mail, portfolio websites or just through forums. The use of e-mail has completely changed the way that designers communicate. WHY? Before the popularity of e-mail grew, designers were completely at the mercey of their clients. If clients telephoned, with regards to work, a company and no one answered the phone they would probably lose the commission. This contrasts today where a client can just send an e-mail to the company and it will be read, maybe not instantaneously but it means that the company had not missed work. With emails, we have the options for things like Out of office auto replies, which makes the client aware that it may not be responded to straight away but has been noted. One contrast about e-mails is that in this age they are not considered as a personal way of communication. We have lost the interaction with the cli ent as it is hard sometimes to portray your point or opinion through text. This could lead to confusion due to a piece of work not being to the specifications that the client could not express through typing. In Western society, many artists have utilised both traditional and digital mediums. These ideas show people how both mediums can come together in harmony to create an exciting pieces. One such artist is look at positives and negatives When we look at the digital revolution and consider how it has affected technology, we must look at the impact change has had on the digital side of graphic design. One area that shall be focused on, that is actively changed, is the area of motion graphics and animation. We have seen the art of the title sequence change over time. From its humble beginnings as a way of simply crediting the people who have been involved in the project, all the way through Saul Basss reinvention of titles being a way to introduce the story, to Kyle Cooper today creating visually stunning pieces that both incorporate and link to the main story. One title sequence that specifically stands out is that of the HBO TV series The Pacific. This title sequence takes us through charcoal drawings of the main characters, which in turn visually transform into live-action sequences of the character. This represents the change that the characters face throughout the series but also from a visual point, shows how trad itional and digital mediums can come together to create exciting visual experiments. Typography has also been reinvented with the use of motion graphics, we are now seeing static images of text being thrown across a screen in TV adverts and information broadcasts. The example of The Pacific is used so that the viewer can be taken through a journey from the chalk drawings to the live-action sequence. This may subliminally give the audience a connection between the past and present. The design of a title sequence such as The Pacific couldnt use digitalized work due to the context of the piece. The area of 3D graphics is another part of graphic design that has been reinvented by the emersion of digital technologies. From the very beginning of that change creativity and design was infused with the power of technology. (Hession 2010) Before the digital revolution 3D models were sculpted by hand and in films we had the use of puppets in place of what is today created by computer aided design. In films such as the original Star Wars, all the aliens and creatures were hand held puppets. These puppets were then held by different animators in the position the director wanted. Today it can be seen how the models have changed. Now it is common to see, in different companies across the film world, several designers in front of their computers using software such as 3DS Max or Maya to create the type of artefacts that would have never have been possible if created by hand. QUOTE although some hand created designs are exceptional pieces, by utilizing 3D software designers are able to m anipulate the character in ways never before possible. Models bigger than ever before-> Pixar work In other areas like computer game art, we see the necessity of 3D modelling software. To create interactive worlds and destructible environments designers rely on computer technology. WHY? Objects created with digital programs are a lot easier to create and control. Finding a location in real life where you can control the elements and lighting to create an atmosphere would be an impossible task. In computer games, designers need to create a whole world for the player to interact with By using 3-D software that designers can repeat visual items to save time and space on the disc. EXAMPLE The video game market is one of our societys highest grossing industries. Video games, once thought to be a fad, have worked their way into the fabric of international culture. At present, Sony has shipped more than 80 million PlayStations worldwide and Nintendo have sold more than 110 million game boys. When you look at the humble beginnings of the video game, from its Japanese playing cards roots to todays multi-million dollar industry we see how the digital revolution has changed the way millions of people interact with their computers. This is another example of the way the digital age has inadvertently changed the thinking of humanity forever. No longer are we restrained by our 9-to-5 jobs, when we can take on a second life in virtual reality. If a person has had a bad day at the office they can now load up the PlayStation3 and use it to take their anger out on people around the world by playing a first person shooter game. The area of illustration is one that although touched by the digital revolution, hasnt been changed completely by it. Quote it is still viewed as a traditional medium by artists due to the fact that most images are still hand rendered using inks and pencils. We do see digital illustrations but these make up a much smaller percentage of illustration when compared to the traditional illustration styles. One example is in the area of concept art. Here drawings are created loose and freely, by hand, as it easier for other artists to develop their own ideas onto a hand drawn image than it is to draw, scan and then email digital files. They can be jotted down on paper and simply handed over to another designer. It is after many changes and redrafts that concept art is then placed onto a computer and developed digitally from there. We see this technique with animated film from picture houses such as DreamWorks and Pixar and to an extent Disney animations. Images are drawn during brainstormi ng and if they are approved they are developed further by hand until they are passed onto the 3D development team. By using this process designers can make little changes to animations quickly and easier than it would be to render a whole scene using 3-D software. Even in this digital age there are many specialised traditional mediums in the forefront of design. In the area of print, such as mono-printing or silkscreen printing, there is currently an uprising in popularity in both traditional and hand rendered designs. By using techniques such as collaging we are seeing designers using a hands-on style of working. By working by hand, it allows designers to create one-off pieces or to create many individual unique pieces that add value when being resold. Example. The physical ownership is one of the main factors in purchasing of art. Mediums such as sculpture or paint still cannot be accurately replicated in the digital world, even with the recent advancements; there is no way for designers to be hands on with the medium they are using to create their piece. Interactivity is one of, if not the main benefactor of the digital revolution. We are now able to create pieces where people interact with the things they see on screen. This has opened up a whole range of ways that designers can involve the viewer in the piece. For example on a website now people can be made to click on the specific area that they want to see, if you want to see football results you could click on the football on a webpage and be taken straight to that specific site. Not only are people looking at work online, now they are actively involved in the piece. Saffer (2006) states that the reason for interactive design is to enable connections between people, that interactivity has made easier communications between themselves and the world. By looking at the sales figures of software like Adobe Flash we can see how popular interactivity has become. There are many websites and tutorials dedicated to flash-based gaming, as well as applications and advertisements and with their popularity we can see exactly how interactivity has become a pivotal part of graphic design. We are also seeing interactivity being spread to our mobile phones with the Android Marketplace, the Apple App store as well as brand specific mobile applications shops. It has been another source of revenue for interactive designers. Most interaction designers work on software, websites, and other technology like mobile devices. But interaction designers can also design services which have little to no technology in them. By services, I mean processes and ways of doing activities. (Saffer 2006)Talk about change Today, designers still look at illustration as a traditional aspect of design. It hasnt changed much over the last few years and more specifically since the digital revolution as much as other mediums of design have. We still see designers using traditional mediums such as paints and pencils to create their work where in the digital age it is all mouse and keyboard. There are good points to both traditional and digital illustrationà ¢Ã¢â€š ¬Ã‚ ¦ In the area of illustration, in one instance being comic art we are still seeing traditional illustrators and colourist being hired to produce their work on an international scale. One such artist is Sean Phillips, an illustrator and colourist who has worked for Marvel as well as his own independent books, which have been sold worldwide. Phillips still uses traditional mediums, such as watercolour paints, in his work this being unusual for a colourist. This gives him a unique selling point as many comic book colourists strictly stick to digital mediums due to a wide range of colours availability. Also ease of reproduction previously mentioned As a viewer of todays digitalised graphic design medium a question could be asked. Could design go back to a traditional media? Would todays illustrators be able to make a name for themselves without the digital media? Could designers who solely use e-mail as a source of communication be able to survive? Instead of using Adobe illustrator pen tool, would designers be able to manually trace objects before putting them on the final piece? Would designers be able to survive without the undo command? answer these questions One aspect of the digital age that is usually overlooked is the opportunity for designers to work anywhere in the world. No longer are designers stuck behind their desks working. With the growing popularity of laptops, and to a smaller extent notebooks, we are seeing designers being able to work anywhere in the world and still communicate with their home office. There are a number of freelance designers working on beaches or in the park without losing any commissions. This greater level of opportunity for designers to work in their own space has meant that no longer do companies need to hire in-house designers. This in turn has had a good effect on the industry as it means less money is being paid out to temporary workers who work in house at the company (quote) One question that must be asked with the arrival of the digital age in relation to graphic design is, has the Internet made a universal style of graphic design through the world? Whilst looking at digitally created work on the Internet, it is extremely hard to see the national style of the designer. When we look, for example, at architecture there is a difference between buildings made in Spain against those made in the UK. We see the different building materials available to the region at the time of construction play an important part in the building process. That is how we define individual buildings in one town from another; and in succession creates regional differences. This is not seen in graphic design as throughout the world everyone has the same tools. If a graphic designer in Argentina wants to create a piece using Adobe Illustrator they will have access to the same tools that a designer would have here. This means that although the actual idea may be involved in the desig ners culture its tools may not necessarily be so. Maybe as designers we have to look past the tools that are used. Builders create their style not only in the materials they use but the designs that building adhere to. A builder uses bricks but can create many different outcomes. Do designers use the constraights of software to cover the lack of originality in their ideas?Quote this is also due to postmodernism We are seeing a universal style throughout many areas of design not just limited to illustration. As Adobe has become the worldwide industry standard in design software, everyone is using the same programs to create their work, a question must be asked Are we restricted to the software limitations whilst creating? Have we lost individual artistic flair, as designers are unable to replicate the styles they use in digital software? Although we are starting to see traditional brush tools being produced in software such as Corel Painter since CS5 Photoshop, they are nowhere close to being able to create the same textures and brushstrokes that we can when using real brushes. In graphic design we see styles come and go like fashion. Every few years we see a cycle of designers coming from art school re-inventing certain styles. Recently design has left the photorealistic style of images replaced with a retro style bringing aspects from the 1980s with designers utilizing neon colours and strong polygon shapes. Todays illustrators wear their respective styles like an overcoat, and unless major changes in fashion occur overnight, they tend to keep that coat for many seasons, while adding accessories that keep you up-to-date. (Wiedemann 2010) We often see video game style art in this cycle. where the smoothed elements of the piece replicate a perfect world. It is in instances like this that digital arts is often seen as similar to traditional art where styles gain and lose popularity over time. These stylesin art are also a theoretical approach to understanding culture of a particular time. Individual styles can become movements, with each one developing and advanceing our understanding, not just visually but also the context of a piece. In western society use technology in everything we do. Listening to music at a train station on the way to work, checking the news on your phone in case anything interesting has happened. If we do not know something, we Google straightaway Wikipedia has replaced the encyclopaedia due to its instant results, which can be updated by the user. As technology advances we replace the old things with improvements. MySpace is not used due to the popularity of Facebook. Images are not held in photo books like they used to be but will be uploaded to Facebook profiles. The same with music now we download instead of buying physical items these are then stored on a hard-drive but what happens if a computer is broken down or stolen. We lose our paths, our memories and personal identities all are on the hardware that we have on our desks at home. Have we given our computers our personalities? Have they become more than just a storage solution? do we depend on technology to match? Kids cant even spe nd a day without their mobile phones.tv show evidence psychologists are saying that Next Generation has addiction to technology quote surely it doesnt help stress levels in our society to be able to be spoken to at any point in time. When do we get a chance to turn our brains off? With companies requesting their workers to use blackberrys it means that we have no time to ourselves as we are in contact with work 24 seven. It is not that we leave work at 6 PM anymore; it follows us on the way to our homes. Your boss will not hesitate to call you because you are on holiday. If you are sick you are still expected to work from just because you sneeze does not mean you cannot type on a spreadsheet!

Essay example --

Monique Kuwahara Professor Skoniezcy, IR 309 The Future of Free Trade and Women For more than two hundred years, free trade has been the reliable solution put forth by most prominent economists. If protectionist measures were done away with completely, theoretically each sovereign nation could rise to their highest capacity according to the theory of comparative advantage, thus leading to mass output, higher living standards for citizens and a net gain for society. The 2003 Economic Report of the President reported that free trade: â€Å"... Brings greater specialization according to comparative advantage, lower prices, and a wider selection of products and services for both consumers and firms. Openness to trade allows exporters to sell their output in a larger market; workers in export industries benefit as the resulting higher prices for the goods they make translate into higher wages and incomes.† (CEA). However, the history of free trade has also been a tenuous one fraught with high sentiments of nationalism and high tariffs. Since Ricardo and Smith first wrote on comparative advantage in the 1700s, many states have been in a race to climb the ladder of success and increase profits. But, free trade has consistently ignored women as it spread from developed nations to developing, leaving women to crawl and scratch their way to equal wages and basic workers rights. Especially in this time when more women hold degrees than men and refuse to conform to the patriarchal system, free trade cannot afford to ignore women now in this global economy. Now, comparative advantage in free trade is calling loudly for the inclusion of women in the workforce and executive decisions rather than being pushed down by tradi... ...agricultural industry, this opens up opportunities for more affordable housing (more land opened up) for newly married couples that live at home with parents, reducing household grocery costs, and more liquid cash to spend on luxury goods. Japan is now in a unique position to culturally set an international precedent and simultaneously boost their economy. If more incentives were given to women to come back after raising children, or not being passed up for promotion, this would give incentive to more women to stay in the workforce and not force them between a career or a family. By reconstructing traditional women’s gender roles for women to successfully integrate in the notoriously male-dominated workplace, and negotiations with the TPP countries, Japan can successfully overcome their low birth rate and finally overcome the effects of the Asian Financial crisis. Essay example -- Monique Kuwahara Professor Skoniezcy, IR 309 The Future of Free Trade and Women For more than two hundred years, free trade has been the reliable solution put forth by most prominent economists. If protectionist measures were done away with completely, theoretically each sovereign nation could rise to their highest capacity according to the theory of comparative advantage, thus leading to mass output, higher living standards for citizens and a net gain for society. The 2003 Economic Report of the President reported that free trade: â€Å"... Brings greater specialization according to comparative advantage, lower prices, and a wider selection of products and services for both consumers and firms. Openness to trade allows exporters to sell their output in a larger market; workers in export industries benefit as the resulting higher prices for the goods they make translate into higher wages and incomes.† (CEA). However, the history of free trade has also been a tenuous one fraught with high sentiments of nationalism and high tariffs. Since Ricardo and Smith first wrote on comparative advantage in the 1700s, many states have been in a race to climb the ladder of success and increase profits. But, free trade has consistently ignored women as it spread from developed nations to developing, leaving women to crawl and scratch their way to equal wages and basic workers rights. Especially in this time when more women hold degrees than men and refuse to conform to the patriarchal system, free trade cannot afford to ignore women now in this global economy. Now, comparative advantage in free trade is calling loudly for the inclusion of women in the workforce and executive decisions rather than being pushed down by tradi... ...agricultural industry, this opens up opportunities for more affordable housing (more land opened up) for newly married couples that live at home with parents, reducing household grocery costs, and more liquid cash to spend on luxury goods. Japan is now in a unique position to culturally set an international precedent and simultaneously boost their economy. If more incentives were given to women to come back after raising children, or not being passed up for promotion, this would give incentive to more women to stay in the workforce and not force them between a career or a family. By reconstructing traditional women’s gender roles for women to successfully integrate in the notoriously male-dominated workplace, and negotiations with the TPP countries, Japan can successfully overcome their low birth rate and finally overcome the effects of the Asian Financial crisis.

Sylvia Plath’s Mourning and Creativity Essay -- Sylvia Plath

Sylvia Plath’s Mourning and Creativity Abstract In this article, I concentrate on the connection between mourning and creativity in Sylvia Plath’s work. Melanie Klein postulates that the pain of mourning and the reparation experienced in the depressive position is the basis of creative activity. Through creative activity, one can restore lost internal and external objects and lost happiness. I argue that Plath’s work is an example of Klein’s idea that artists’ creative products represent the process of mourning. For Plath, art -- in her case, writing -- was a compensation for loss, especially the loss of her father. She seems to have continued writing as her exercise in mourning and reparation trying to regain not only her bereaved father but also her internal good object which was lost when her father died. Through her writing, Plath attempted to enrich her ego with the father-object. Keywords: Sylvia Plath, Melanie Klein, mourning, creativity, reparation In her paper, â€Å"Mourning and its Relation to Manic-Depressive States,† Melanie Klein claims that the work of mourning is a reliving of the early depressive position. I would like to quote Klein's account: My experience leads me to conclude that, while it is true that the characteristic feature of normal mourning is the individual's setting up the lost loved object inside himself, he is not doing so for the first time but, through the work of mourning, is reinstating that object as well as all his loved internal objects which he feels he has lost. He is therefore recovering what he had already attained in childhood. (Klein, 1988a, p. 362) According to Klein's hypothesis, the loss of the present object in the external world brings with it the mourner's unc... ...lath, 2000, p. 300). Works Cited Arnold, Matthew, The Poems of Matthew Arnold, ed. by Kenneth Allott, 2nd ed. by Miriam Allott (London: Longman, 1979). Ellmann, Maud, ed., Psychoanalytic Literary Criticism (London/ New York: Longman, 1994). Melanie Klein, Love, Guilt and Reparation (London: Virago, 1988a). ---, Envy and Gratitude (London: Virago, 1988b). Plath, Sylvia, Letters Home: Correspondence 1950-1963, ed. by Aurelia Schober Plath (London: Faber, 1976). ---, Johnny Panic and the Bible of Dreams and Other Prose Writings (London: Faber, 1979). ---, Collected Poems of Sylvia Plath, ed. by Ted Hughes (New York: Harper & Row, 1981). ---, The Unabridged Journals of Sylvia Plath, ed. by Karen V. Kukil (New York: Random House, 2000). Segal, Hanna, â€Å"A Psycho-Analytical Approach to Aesthetics,† International Journal of Psycho-Analysis vol. 33 (1952).

Biography of Psychologist Alfred Binet :: essays research papers

Alfred Binet The following essay offers both a short biography of Psychologist Alfred Binet and a present day practical application using the theory from which Binet developed his Intelligence test. Alfred Binet, born in Nice, France, on the eleventh of July, whose mother was an artist and whose father was a physician, became one of the most prominent psychologists in French history. Having received his formal education in both Nice and later, in Paris, at the renowned Lycee Louis -le-Grand, Binet went on to become a lawyer. This profession, however, was not suited to him, and he found himself immersed in the works of J.S. Mill, Bain and Sully at the Bibliotheque Nationale in Paris. He identified strongly with the associationism theory in following that his mentor was J.S. Mill. Binet began working with Charcot and Fere at the Salpetriere, a famous Parisian hospital, where he absorbed the theories of his teachers in regards to hypnosis, hysteria and abnormal psychology. During the following seven years, he continuously demonstrated his loyalty in defending Charcot's doctrines on hypnotic transfer and polarization until he was forced to accept the counterattacks of Delboeuf and the Nancy School, which eventually caused a split between student and teacher. Having been married in 1884 to Laure Balbiani, whose father was E.G. Balbiani, an embryologist at the College de France, Binet was given the opportunity to work in his lab where his interest in 'comparative psychology' was piqued and in which he eventually wrote his thesis for his doctorate in natural science, focusing his research on the "the behavior, physiology, histology and anatomy of insects"(Wolfe, p.7). It was while working in Dr. Balbiani's lab, that Binet wrote 'Animal Magnetism', an obvious breaking away from associationism, showing Binet's ability to adapt and learn with every opportunity. Binet's next area of interest could be considered a precursor to some of Piaget's work with child psychology and began with the systematic observation of his two daughters, to whom he devoted much of his time, studying and writing about. It was at this point, that Binet "came to realize that individual differences had to be systematically explored before one could determine laws which would apply to all people"(Pollack,p.xii). Soon after, Binet was nominated co-director and one year later, became director of the Laboratory of Physiological Psychology at the Sorbonne. He and Beaunis, also co-director, initiated and edited the first French psychological journal 'L'Annee Psychologique', which remains in press today. Although never having attained a professorship in his own country (a bitter disappointment for the proud nationalist) Binet did spend one spring in Bucharest where his knowledge in experimental psychology was fully appreciated Biography of Psychologist Alfred Binet :: essays research papers Alfred Binet The following essay offers both a short biography of Psychologist Alfred Binet and a present day practical application using the theory from which Binet developed his Intelligence test. Alfred Binet, born in Nice, France, on the eleventh of July, whose mother was an artist and whose father was a physician, became one of the most prominent psychologists in French history. Having received his formal education in both Nice and later, in Paris, at the renowned Lycee Louis -le-Grand, Binet went on to become a lawyer. This profession, however, was not suited to him, and he found himself immersed in the works of J.S. Mill, Bain and Sully at the Bibliotheque Nationale in Paris. He identified strongly with the associationism theory in following that his mentor was J.S. Mill. Binet began working with Charcot and Fere at the Salpetriere, a famous Parisian hospital, where he absorbed the theories of his teachers in regards to hypnosis, hysteria and abnormal psychology. During the following seven years, he continuously demonstrated his loyalty in defending Charcot's doctrines on hypnotic transfer and polarization until he was forced to accept the counterattacks of Delboeuf and the Nancy School, which eventually caused a split between student and teacher. Having been married in 1884 to Laure Balbiani, whose father was E.G. Balbiani, an embryologist at the College de France, Binet was given the opportunity to work in his lab where his interest in 'comparative psychology' was piqued and in which he eventually wrote his thesis for his doctorate in natural science, focusing his research on the "the behavior, physiology, histology and anatomy of insects"(Wolfe, p.7). It was while working in Dr. Balbiani's lab, that Binet wrote 'Animal Magnetism', an obvious breaking away from associationism, showing Binet's ability to adapt and learn with every opportunity. Binet's next area of interest could be considered a precursor to some of Piaget's work with child psychology and began with the systematic observation of his two daughters, to whom he devoted much of his time, studying and writing about. It was at this point, that Binet "came to realize that individual differences had to be systematically explored before one could determine laws which would apply to all people"(Pollack,p.xii). Soon after, Binet was nominated co-director and one year later, became director of the Laboratory of Physiological Psychology at the Sorbonne. He and Beaunis, also co-director, initiated and edited the first French psychological journal 'L'Annee Psychologique', which remains in press today. Although never having attained a professorship in his own country (a bitter disappointment for the proud nationalist) Binet did spend one spring in Bucharest where his knowledge in experimental psychology was fully appreciated

Reasoning Behind U.S. Decision to Enter the Korean War Essay

Introduction What determined the United States to enter the one of the costliest wars in the twentieth-century is a good topic for foreign policy study. There are several possible explanations as to why the United States participated in the war. The most important explanation is that the western world would be in a greater threat if North Korea won the war. Communist was considered as expansionism by the White House; hence, occupying South Korea might be a move of Communists to expand the Communist territory in the world. To prevent this, the United States needed to deter this possible threat. Another one is the United States is afraid of communist expansion. If North Korea won the war, it might cause countries swinging between Communist and Democratic to become Communist. Moreover, the domestic political situation for the Truman administration at that time was crucial in analyzing why the United States entered the war. These are the most important factors motivating America to enter the war. Des pite the profits of the entry in the war, there were some reasons preventing the United States involved in the war. Because North Korea’s invasion was likely backed by the USSR, if the United States failed to handle the situation properly, a World War III might happen; this would lead to huge loss of U.S. personal and substantial financial costs. Other than that, because China borders North Korea and China was another major Communist country, the United States intervention could lead to war with China. In this paper, I would first analyze each major reason individually for entering the war or not intervening. After that, I would put the picture together to explain why the United States eventually chose to participate in the war. Reasons the United States entered the Korean War Fear of Communist Expansion The most important factor that influenced U.S. entry into the Korean War was the USSR’s and other Communist countries’ ambitions to expand. After WWII, the White House had started to consider the Soviet Union as imperialist. The report â€Å"the Truth of Korea† implied that the United States was a free nation and the Soviet Union was intended to build a Soviet empire around the world. By considering the Soviet Union as imperialist, the United States was afraid that if the United States stood aside in the Korean War, Communist countries would take further actions to expand. For instances, China would attack Taiwan, IndoChina would overthrow France and become Communist countries, and the Soviet Union would even build communist regimes in Middle East or West Europe. The worries were likely to become reality unless U.S. intervened. After WWII, the Soviet Union consolidated their power by setting up puppet communist governments in all countries they had liberated, except Yugoslavia. Both force and politics were used to keep East European countries following commands from Moscow. Based on these behaviors of the USSR on other countries, it was reasonable that the United States labeled the Soviet Union as imperialism. Facing a country with desires to control other countries, punishment was a better choice than appeasement according to the deterrence model. If the United States entered the war and secured independence of South Korea, Communist power would be contained. Consequently, when Communist countries were making decisions of territorial expansion, they had to consider the cost and consequence of a war with the United States. Therefore, the intervention could contain Communist power and prevent potential wars from happening. Fear of Bandwagoning The second important reason U.S. entered the Korean War was fear of bandwagoning. It was less important than fear of Communist expansion is because bandwagoning would not directly harm U.S. interests, but would impair the global political leadership of the United States. In the setting of post-World War II, the world was separated as two major political spheres, one Soviet-led and the other U.S.-led. The Korean Peninsula was one of the several places two the major political powers conflicting each other. Other than that, the political landscape in East Asia was towards Communist. In China, the Communist party led by Mao Zedong just won the civil war against Jiang Jieshi’s government supported by the United States. Countries like Vietnam and Laos inclined to join the family of Communist at that time, abd overthrow French colonists. Therefore, if Communist North Korea unified the Korean Peninsula, it would make countries like Vietnam and Laos align with the USSR without hesitati on. The United States was not willing to let that happen. According to historical documents, when the war just started, Truman and his advisors believed that to falter would forfeit world leadership because of bandwagoning and Communist expansion. Moreover, in official reports about Korea situation, concerns about Democratic power weakened if South Korea fell were raised often. In 1948’s report â€Å"Prospects for Survival of the Republic of Korea,† the result of South Korea lost to North Korea would constitute a severe blow to the prestige and influence of the United States. As a result, the defeat of South Korea would encourage more countries to align with the Soviet Union. The report was before the war, the United States already considered the bandwagoning a severe threat to UN’s influence in the world. From this perspective, in order to maintain the democratic as a stronger power in the world, the United States had strong interests in entering the Korean War. Consolidation for the Truman Administration The domestic political situation for the Truman Administration was not positive before the Korean War. In 1949, the Communists in China won the civil war against the Nationalists backed by the United States. It was painful that White House lost an important country, China, to Communism because the United States had invested tons of resources in the country, but in the end, the United States did not have the expected return. It stirred a debate of â€Å"Who lost China† in the United States. The public was more in favor of McCarthy’s opinion. McCarthyism indicated that losing China to communism was the government’s fault. Based on his analysis of the civil war in China, he believed â€Å"China hands† — China specialists at White House — plotted Jiang’s defeat, who was the top leader of the Nationalist. Therefore, at the time before the Korean War, the Truman Administration had a lot of pressure from the public due to losing China. If Sou th Korea was defeated by North Korea, the public would strengthen their belief that losing China was a government’s blunder. Hence, losing South Korea would be catastrophic to Truman’s presidency. From the view of domestic political situation, the United States entered the Korean War because the Truman Administration needed to prove its ability in protecting democratic power before losing all trust in the public. This point was less strong than the above two was because it was hard to collect evidence to support the point. Factors preventing the United States from entering the war War with China Entering the Korean War was likely to start a war with China, one of the greatest powers in the world. From the perspective of geography, the Korean Peninsula adjoins China. If a foreign military power of the United States was close to the border of China, China would feel threatened. The worry was validated after the United States joined in the war. On June 27th, 1950, after the Seventh Fleet of the United States was sent to neutralize Formosa, Mao, the chairman of China at that time vowed â€Å"Year after year unsure of when the enemy will attack us. We must repair the house before it rains.† Not a long time after the vow, Mao sent his army to the Korean Peninsula. Moreover, although China just ended its civil war and badly needed time to recover from the war, China was actively looking for a chance to consolidate its status in the world stage. In 1950, most countries in the world only recognized Republic of China led by Jiang and disputed the legitimacy of People’s Republic of China led by Mao. Therefore, Mao was eager to have a war with a strong world power to gain international recognition. The Korean War against the United States was a good opportunity for the communists to show the Mao’s China’s power to the world. For this reason, China was likely to enter the Korean War if U.S. intervened. Regarding the negative results of the war, people in the United States just gained peace; nobody would like to see a war between China and the United States. A war with China would lose many the United States soldiers, breakup thousands of American families and halt U.S. economy growth, hence lowering people’s living standards. Additionally, a war with China was also meaningless because at that time the United States did not want to defeat China, but defend South Korea. The war between China and the United States was predicable if the United States entered the Korean War. A war between China and the United states was undesirable for the reasons listed in this section. Therefore, a war with China was a big factor in not entering the Korean War. Start of World War III The entry into the Korean War might lead to World War III. A possible war with China might drag the Soviet Union into the war. If the Soviet Union entered the war against the United States, the Eastern Europe under control of the Soviet Union would also claim war against the United States. As a result, Western Europe would likely align with the United States to contain the Communist power in the world. People all around the world just tried to recover from the aftermath of World War II. If World War III happened right after World War II, the world would be in chaos again, creating another tragedy in human beings history. The big picture When the benefits outweigh the costs of a decision, one would put that decision into action. The three major benefits Unites States would have from entering the war were preventing domino effect of countries joining in Communist, constraining the ambitions of expansions/ invasions from Communist countries, and securing the domestic administration. The two major costs were an undesirable war with China and a possible start of World War III. It was hard to determine whether the benefits outweighed the costs. However, the listed costs were unavoidable if the United States did nothing in the Korean War. If the United States let South Korea fall, there would still be a war between Communist power and democratic power in the future. As analyzed in the section of fear of Communist expansion, Communist countries led by the Soviet Union inclined to expand their territories if their ambitions were not constrained. Therefore, appeasement to Communist countries was not going to stop them from behaving aggressively. Even though the United States would not participate in the Korean War, finally it was possible to be a day that the Soviet Union would eventually declare a war on the United States for further expansion. The costs would only become more significant than the costs of entering the war at that time. Hence, in order to prevent that from happening, the United States took the initiative to contain Communist power in the world. Additionally, human pride played a factor. Truman might recklessly enter the war in order to secure his status in White House. To him, protecting his reputation and his presidency might be much more important than starting World War III or fighting an undesired war with China. Hence, because of personal emotions, Truman would order the United States to enter the war. Conclusion There are three major reasons encouraging the United States to enter the Korean War. From the perspective of bandwagoning, defending South Korea could win credibility for democracy power and possibly win countries swaying between Communism and Democracy. In the view of the deterrence model, entering the war could constrain the ambition of imperialism of Communism countries. Considering the domestic political condition, intervention in the Korean Peninsula could make the public turn attention to the war instead of the administration’s failure in China and relieve the public pressure from the administration. On the other side, there were two important costs preventing the United States from entering the war. The first cost was an unnecessary war with China. The United States would not benefit directly from fighting against China and U.S. would consume numerous resources and human power in the war. The other cost was starting World War III. The Soviet Union could declare a war on Unites States if the condition in Korea got worse. U.S. decision to entry into the Korea War was made because of two logics. First, the costs were unavoidable if the United States just watched and did nothing in the war. Communist would continue to expand and finally encounter the United States for a war in the future. At that time, the cost would only exaggerate, not minimize. Second, Truman would more likely send U.S. troops to the war field. In order to secure his administration, he needed to turn the public attention away from China and prove his ability in foreign policy. The result of the war was peace between South Korea and North Korea. Judging from the result, U.S. entry into the war had a positive impact on the peninsula. However, whether the peace in the Korean Peninsula could be achieved through other ways at lower cost is worth further discussion.

Benvenuto Cellini: The Man Who Made Art More Interesting

It seems that all of us are convinced by easy things, like how often people tell us that we can't have it all. It is always easier to believe that it is acceptable not to be able to draw because at least, we can sing. It is fine to not possess the skill for theater acting as long as we can dance. It is always easier not to have it all. Such idea can be counterattacked by not exactly mastering two art forms at a time. Disproving such claim is not achieved by trying to dance while singing even when singing just does not show in the blood and in the heart.To disprove such idea is simple: review history, especially the people who made it interesting. No one may ever be convinced with such argument – not until they meet a hooligan, a soldier, an author, a goldsmith, a sculptor, a musician and a painter rolled into one by the name of Benvenuto Cellini. Before introducing Benvenuto Cellini, it is best to pay tribute to his parents by recognizing them first. An artificer of musical in struments named Giovanni Cellini married a woman named Maria Granacci and settled in the Val d’Ambra.This couple had stayed together for a very long time, although it was only 18 years after their marriage when they were gifted with a child. Giovanni and Maria welcomed their third child Benvenuto in the family by giving him a name that, when translated in English, means â€Å"welcome. † As their child Benvenuto grew, the life of the Cellini family became more ideal for all of its members (Insecula, 2007). Born in Florence, Italy in November 1, 1500, Benvenuto’s family was also popular for being landowners in the Val d'Ambra.Three generations of Benvenuto’s family had settled in the Val d’Ambra. He was known for many different things. He was recognized for being a musician, soldier, painter and goldsmith (among his many other talents and skills) in the Renaissance Period (Insecula, 2007). Before Benvenuto was known as a sculptor, a musician or a wri ter, he was first inclined with his first love: metal works. Benvenuto was reluctant about being a musician because his heart feels for the arts of metal working even when his father, who had a strong inclination to music, wanted him to be a musician.Aside from being an artificer of musical instruments, music was also his father's talent. He wanted Benvenuto to develop this skill and kept his son away from metal works and design. Then again, Benvenuto stood up to follow his dreams and passion. His passion for metal work has indeed brought him to places and to more pedestals which his father, Giovanni, never expected (Insecula, 2007). Youthful likings got the better of Benvenuto. At fifteen, he grew up to be too ablazed by silver plates, vases and other decorative and significant elements produced from metal works.Giovanni, on the other hand, gave in because of the way Benvenuto had displayed his fondness for metal works. A goldsmith named Antonio di Sandro, who was more popularly kn own as Marcone, was where Giovanni sent his son for apprenticeship (NNDB, 2007). Benvenuto had definitely been successful with his craft. The place where he was native to recognized his skills as s goldsmith. However, Benvenuto was sent to Siena for six months for being involved in a fight with one of his colleagues. In Siena, he worked as a goldsmith for Fracastoro, also known as Francesco Castoro.As a goldsmith, he was also learning to play music at the same time. While mastering the art of playing the flute, Benvenuto moved to Bologna to be more successful in the goldsmith’s art. In Bologna, he was also recognized as a musician, specifically a flute player (NNDB, 2007). Benvenuto had been to many places. He had visited Pisa and resettled in Florence twice. At the early age of 19, he moved to Rome. He first tried and tested his skills on a silver casket. It was indeed successful and the people liked the way he worked.Because of this, he also produced silver candlesticks and made something for a living. Before Benvenuto knew it, he was also recognized by Pope Clement VII and made a vase for him. Today, one of his works can be seen in Vienna Museum called the â€Å"Leda and the Swan† where the said art was carried over for the Gonfaloniere Gabbriello Cesarino. The Leda of the Swan was famous for its being an artwork in a hard stone taking the wondrous image of Leda's torso and head (Gable, 2004). Undeniably, Benvenuto has established a name as a goldsmith not only in Italy but in history as well.On the other hand, Benvenuto, no matter how reluctant he was towards concentrating on a musical career, tried everything in his power to avoid making his father Giovanni feel bad and all the more frustrated. Since Benvenuto's father, Giovanni Cellini, was a musician, too, it can not be denied where Benvenuto got his skills in music from. Aside from being a goldsmith, Benvenuto had been known for being a musician even if it was not exactly his dream. Music , being his father's first passion, was also the art form his father encouraged him to study about all the time.The years where Giovanni had been trying to keep Benvenuto away from his family were also the same years when he tried to convince Benvenuto to concentrate music. He wanted Benvenuto to be known as a musician (The Harvard Classics, 2005). While Benvenuto loved metal crafts and art works, it never meant that he didn't have a space for music in his heart. Benvenuto did not deepen and worsen that frustratration of his father by focusing only on metal work and ignoring music and all its charms.However, Benvenuto was not as interested in music as he was in metal work and paintings. He was a man who knew how to play the flute and cornet but never fully concentrated on these skills. Benvenuto says that he would only play flute or cornet everytime his father was around, or simply because he wanted to please his father. Sometimes, he would play music and pretend to like what he was doing just so he would see his father happy. His father, on the other hand, would always cry in tears of joy everytime he hears the music Benvenuto played (Symonds, 2003).The reason why Benvenuto chose not to aggravate his father's frustration when it comes to music was because he was already frustrated with the other son. Benvenuto's brother, Cecchino, became a man destined to the profession of arms when Giovanni, their father, wanted him to become a jurist. Benvenuto was the son who pursued his own dreams and his father's, too, even when they were two different careers, two different talents, two totally different things. As a goldsmith, Benvenuto concentrated and learned two art forms at a time. When he was 15, he started learning about music, too.When he moved to places like Siena and Bologna, he spends his days as a goldsmith by playing flute at the same. In the said places, Benvenuto was recognized as a local flute-player. However, his inclinations towards music compared to h is inclination towards metal works are extremely different when it comes to the level of interest. Benvenuto had been taught by teachers, or what he regarded as â€Å"masters† about the basic things in metal works. He went through rigorous training and workshops to learn even the most complex and delicate side of the said craft.Benvenuto was recognized as a musician even when he did not undergo the trainings and workshops he had been through as a goldsmith. By watching people play, self-teaching and of course by accepting what such trait which he got from his father Giovanni, Benvenuto was able to succeed in this form of art, too (Insecula, 2007). He practiced playing the flute everyday and never skipped a day without practicing it even without the constant insistence of his father towards his learning of the said skill.It was not too long a wait when Benvenuto was recognized by the pope again. Benvenuto became one of the court-musicians of the pope (Panse, 2004). While some of uses are deeply convinced that still, we can't have most of it all, such idea was not something that Benvenuto bought. To Benvenuto, metal works was passion, music was a favor and sculpture was progress. His skills as a goldsmith later on developed to his interest in statues. Benvenuto did not grow up to have two careers. His talent as a goldsmith had later on evolved into a more serious craft: sculpture.As a sculptor, Benvenuto was able to come up with Mars, Vulcan and Jupiter silver statues which were famous for their large sizes. Jupiter can now be seen at the Detroit Institute of Arts (AARF, 2007). Benvenuto became more serious with this new craft and he paid great attention to this in the next years. He was able to come up with new statues in the 1540s. His great statues include Perseus with the head of Medua which he sculpted in 1545 to 1553 and The Nymph of Fontainebleau in 1542. Benvenuto had been very successful in his career as a sculptor that his works are displayed al l over the world.Some of the many world-renowned museums, institutions and art galleries that keep Benvenuto's statues are the following: State Museums of Florence and Palazzo Ruspoli both in Italy, Frick Collection and Metropolitan Museum of Art both in New York, Drawings from the Biblioteca Ambrosiana, Courtlauld Institute of Art in London, United Kingdom, National gallery of Austrialia in Canberra, Buenvenuto Cellini at the National Gallery Art in Washington D. C. , Benvenuto Cellini at the Louvre Musem in Paris, Kunsthistorisches Museum in Vienna and J. Paul Getty Museum in Los Angeles, California (Malyon, 2007)All these, Benvenuto definitely owes to a number of people. All his skills and talents and all the things he was recognized for – he owes it to his influences. Without his influences, he may not have known that such talents existed. He needed other people to help him realize his dreams. He needed his father's challenge to realize that he would rather be a goldsmith than a musician. He needed his teachers to train him and make him better with his talents and skills. He needed other great artists, too, and even the simple and most local ones, to give him an idea about other styles and techniques.