Simple research paper Example | Topics and Well Written Essays - 750 words

Simple - Research Paper Example Therefore, this essay argues that in order to better solve social problems, we should go beyond the concepts of charity and social responsibility, to a solution that focuses on the diversity of our values, the complexity of our social problems, and a practical approach toward understanding and solving them. Social entrepreneurs possess a powerful combination of clear vision and creativity. Social entrepreneurs view problems as opportunities. Social Entrepreneurship: A Better Solution to Social Problems The market has a very important role in attaining the needs, objectives, values, and interests, which are vital to a well-functioning society. Market processes are vital to the creation and delivery of products/services. However, the government can serve an important function in pricing products/services in a manner that is compatible with social and moral principles, not merely financial concerns. The government should assign value to activities that promote public interest or the gre ater good, and then let the market operate within these values and carry out its own functions (Yunus, 2010, 162). Businesses will always build a strategy to take advantage of the market and generate products/services that will eventually finance the society’s values and interests. Businesses have shown that they can react immediately to market prospects. Once the public begins to put a price on values, such as free education, health care, and sustainable energy, businesses will formulate a strategy to tap on the markets and meet the demand for those social services. Businesses are the source of a society’s wealth; they produce the resources that make social development possible (Light, 2010, 43). The market can be controlled to support and strengthen social values. The market is unprincipled: it values money and ignores social values. Nevertheless, governments, businesses, the society, and individuals can and should perform their duties in a moral way. It is not merel y achievable but essential for the market to exhibit these moral acts if social problems are to be solved (Light, 2010, 30). Because socialism did not succeed and capitalism did, the market is the best instrument society has to solve enormous social problems. The problem with socialism is that it tries to separate the producers from the means of production (Yunus, 2010, 198). But the solution to social problems rests on the unification of capital and labor. Multinationals do not have a choice but to promote corporate social responsibility. The market strongly obliges businesses to act morally and responsibly. Different stakeholders, such as employees and the community, expect businesses to focus not just on financial gains but also on fair workplace practices, responsible corporate governance, and sustainability. Companies that do satisfy these different stakeholder demands have a greater chance of surviving (Bornstein, 2007, 274). Current investors increasingly value environmental sustainability and corporate social responsibility. Investors view CSR as a primary driver of good financial performance, and so they encourage companies to act responsibly (Bornstein, 2007, 276). Businesses, especially those large ones, realized that promoting CSR will certainly increase financial perform

The Gods of Ancient Greece Essay Example | Topics and Well Written Essays - 1250 words

The Gods of Ancient Greece - Essay Example For the Greeks their gods were immortal, omnipresent and adorable. They could control all mortals at every stage of their lives, prescribing their fate and their relationships. Zeus According to the belief of the Ancient Greeks, Zeus was the king of all gods. He got this position after fighting with his father, Kronos who killed his children by swallowing him because he feared that they might kill him when they grow up. However, he was tricked by his wife and Zeus was saved from death. Zeus saved his two sisters and three brothers also from the wicked father (Hansen, 2004). Zeus and his brothers - Poseidon and Hades - decided to rule the world after dividing it amongst themselves. Zeus took charge of all the heavens while Poseidon was responsible for the sea. Hades took over the underworld. The three brothers were quite happy with their choice. Zeus’ wife, Hera, was very jealous because her husband had a number of girlfriends and a whole bunch of children. Zeus loved his child ren and all of them had super powers. The most powerful god was Zeus. He could throw his voice and sound like anybody and change the shape of his body. He could even take the form of an animal. Zeus could throw lightning bolts which were carried by his horse, Pegasus. Zeus was short tempered though his sense of humor was very good. Nothing could scare Zeus but his wife Hera. Zeus’ symbols were the thunderbolt, eagle and oak. Every four years Greeks hold an Olympic Games festival which is dedicated to Zeus and men from all over Greek world participate in the competitions. Hera Hera was the sister and wife of the king of gods, Zeus, and the queen of gods. She was the goddess of motherhood and marriage and their main purpose was to protect women, although usually liked to persecute and punish the many mistresses of her husband and children resulting from these courtships outside of their marriage. She was known as Juno in Ancient Rome. Her parents were Rhea and Cronus (Littleton , 2005). Peacock and cow were sacred to Hera. She was portrayed as a royal and sincere goddess and was often crowned with polos which were worn by several Great Goddesses. Hera was extremely jealous of the women her husband was involved with. When Zeus fell in love with a lady, Alkemene, Hera did not like it. The lady bore Zeus’ child Hercules who Hera many times attempted to kill. She kept two snakes in Hercules cot but he was able to save himself with his superhuman strength. Hera was known for her jealous and vengeful nature against the ladies who were involved with Zeus and their children. She was also offended when she was not chosen as the most beautiful goddess. Samos is believed to be Hera’s birth place. Polos and scepter are the symbols of Hera. Athena Athena was Zeus’ daughter and was born without a mother. Myths say that she was born directly out of Zeus’ brain, holding a spear and shield and wearing a helmet. Athena was her father’s fav orite child. She began as a fully armed goddess of war and then became the patron goddess of Athens and a symbol of wisdom. Athena was a very powerful goddess and was one of the 12 deities who had a seat on Mount Olympus. Athena was the one who invented the bridle, chariot and the built the first ship. Athena was worshipped by the Greeks all over the world and was called as Athena Polias which means â€Å"Athena of the city†

Exploring Surrealism In Fashion Fashion Essay

Exploring Surrealism In Fashion Fashion Essay You only have to take a glance at todays catwalks and fashion magazines to see the unmistakable traits of Surrealism in fashion. How is it then that an art initially composed of concepts and words and subsequently of images generated in the complexities of the intellect and subconscious imagination (Martin 1987, p. 9) would forge such a harmonious relationship with fashion? In a bid to answer this question this thesis will investigate the origins of Surrealism in fashion and its enduring effects on the fashion industry to this day. In order to understand how an ideal founded on political reactions would find its way into the glamour and materialism of fashion, we will firstly begin with a brief analysis of Surrealism and the main ideologies of the movements. This essay will highlight the key steps in the progression of the Surrealist movement from its founding roots through to its manifestation in its most commonly recognised form, art. Upon having completed a review on the key characteristics of Surrealist ideology we will then explore how each of these characteristics has been expressed through fashion. Though surrealisms founding fathers would not have concerned themselves with the attire of their movement, the metaphorical and meaningful attributes of fashion created a natural avenue for the expression of surrealist ideas (Martin 1987). No study on Surrealism in fashion would be complete without mention of its pioneering first lady, Elsa Schiaparelli. This essay will contain a case study on the life and works of Schiaparelli, focusing specifically on how she led the way in merging art with fashion by introducing Surrealist ideas in her designs. Her collaborations with artists such as Salvador Dali, Man Ray and Jean Cocteau shocked the fashion industry with its ingenuity and style. A subsequent case study on Viktor Rolf will examine the contribution of Surrealism in todays fashion industry. Just like their predecessor Schiaparelli, Viktor Rolf are known for their ability to shock, with their extravagant collections and high-concept catwalk shows (Evans Frankel 2008). Though not explicitly billed as Surreal, the flamboyant designs of Viktor Rolf exhibit tell tale characteristics of Surrealist ideas and serve as an ideal example of the height of Surrealisms impact on todays fashion. This study aims to reveal the important role that Surrealism has played on the fashion industry. Both from a historical point of view in the way that it changed the way fashioned was viewed, as well as its continued impact on fashion as a source of inspiration for contemporary designers. The collaboration between artists and designers allowed for fashion to move forward in unprecedented ways, pioneered by the likes of Salvador Dali and Elsa Schiaparelli, and exemplified in todays fashion by the likes of Viktor Rolf. Surrealism Often when we hear the word Surrealism we automatically think of art and conjure up images from Dali and his contemporaries. However, in actual fact there is no such thing as surrealist art. At its true core surrealism is not a matter of aesthetics, but rather a way of thinking, a point of view (Waldberg 1997). It can be summed up quite well by Rimbauds dictum Change life (Levy 1995, p. 5). Surrealism,  through its roots in Dadaism, was a reaction to the philosophy of rationalism, which many felt had caused, through the Industrial Revolution, the disaster of World War I. Tristan Tzara, leader of the  Dada movement, believed that a society that creates the monstrosity of war does not deserve art, so he developed anti-art in a bit to shock society through scandal (Sanchez 2000). Lead by Andre Breton, the participants of the movement were influenced by the works of Sigmund Freund and Carl Jung. The differing interpretations automatism, a term used to describe one of Jungs theories on personal analysis, split the movement into two distinct groups of thought (Sanchez M, 2007, P.49). Some went down the path of abstractionism,  where calligraphy, animation and movement were the key attributes, regardless of the subject. Their belief was that images should not be burdened with meaning. The others however, believed that images could be a link between abstract spiritual realities. Through faithful representation, objects stood as metaphors for an inner reality (Waldberg 1997, p. 9). For the purposes of this thesis, the focus will be on the latter interpretation of automatism in the realm of surrealism as it applies to a subset of artistic expression in the form of fashion design. Surrealism in Fashion Though surrealisms founding fathers would not have concerned themselves with the attire of their movement, the metaphorical and meaningful attributes of fashion created a natural avenue for expression of surrealist ideas (Martin 1987, p. 9). Its appeal to the fashion industry was instantly obvious in the use of ordinary everyday objects and weird landscapes that transferred easily to fabric printing, jewelry,  hats, couture etc, allowing designers the freedom to create art pieces. The amalgamation of surrealism and fashion changed the view of fashion from being disposable and unsubstantial to an art form in its own right (Warburton T, 2008, P. 2). As surrealism evolved into an artistic style through the 1930s and beyond, fashion became one of surrealisms most observable juxtapositions between the ordinary and extraordinary, disfigurement and embellishment, body and concept, pretence and reality. This fascination worked both ways as what covered the body had always been important to the Surrealist  philosophy, in the way that it allowed the imagination to wonder what lay underneath, and this translated easily into wearable garments. The inherent characteristics of fashion offered a natural association to the physical properties of disfigurement that was central to the Surrealist style. Symbolism and Metaphors Fashion and its instruments were at the core of Surrealist metaphor even before Surrealism found its way into fashion. The imaginary of women and beauty has long been a favourite topic for Surrealist artists. Based on the line by French poet Isidore Ducasse, the chance encounter of a sewing machine and an umbrella on a dissecting table, Man Rays photograph of a sewing machine and an umbrella paved the way for the Surrealist study of the sewing machine object as a symbolic metaphor for woman. The sewing machine itself is the primary tool of fashion, and as such came to symbolise women, who at the time were the primary workers in the clothing industry. Therefore since the process is deemed female, so the result fashion is also deemed primarily female. Future Surrealist works would take this idea further such as Joseph Cornells untitled collage depicting a sewing machine producing not only a garment, but the woman within it also (Image 1). The sewing machine was a central metaphor in the Surrealists understanding of beauty within a woman as being composed of clothing and form. Image 1 Joseph Cornell, 1903, Untitled Music was another key imagery in the Surrealists arsenal; in particular musical instruments and their resemblance to the female form. This objectification of women included the idea of women being substitutes for musical instruments. Perhaps one of the most famous of Man Rays photographs Le Violon dIngres (Image 2) fittingly illustrates this concept. This exact imagery has been used many times in fashion from Christian Lacroixs Violin Dress (Image 3) to more recently Viktor Rolfs black violin dress (Image 4). Influenced by Dali and Man Ray themselves, Elsa Schiaparelli also used musical notes and instruments in her designs (Image 5). Image 2 Man Ray, 1924, Le Violon dIngres Image 4 Viktor Rolf, Spring/Summer 2008, Harlequin Collection [Mention mirrors?] Human Form and Parts The mannequins and dress forms of fashion created the ideal playground for the Surrealists appropriation of the human body. The bottle for Elsa Schiaparellis fragrance Shocking adopted the shape of a human torso (Image 6) is a prime example of the Surrealist ideal of the conversion between the living and the inanimate. These surrogates for living figures allowed for greater distortion and display than real models, thus allowing the Surrealist to fully examine the relationship between clothing and the naked body. The Surrealist fascination with parts of the body as symbolic representations is central to the understanding of Surrealist works. To the Surrealist, the eyes represent not only optical vision, but also dreaming, sight, voyeurism, and even blindness. Yves Saint Laurents used this convention in 1980, producing a jacket with emblazoned eyes, Les Yeux dElsa, paying homage to Schiaparelli as the greatest advocate of Surrealist fashion (Image 7). The French designer also used lips, a commonly used decorative device in surreal art, in his Lip Dress; the alignment of the lips with the breasts, creating a distinctive Surrealist touch along with sexual overtones (Image 8). Image 6 Elsa Schiaparelli, 1973, Shocking Perhaps the most imaginative of the abstracted parts are the hands. Used widely by Surrealists in all manner of creative, sexual and functional contexts. Schiaparellis jacket embroidered by Jean Cocteau plays on the functional concept of hands being a natural device for belting around the waist (Image 9). This is also emulated in Francios Lesages Hand Belt (Image 10) and Marc Jacobs lOeil Beaded Dress (Image 11). Likewise, Pierre Cardins leather shoes in the shape of feet draw out the functional characteristics of feet (Image12). Displacement of Objects One of the most common devices of Surrealism is the placement of everyday objects in unusual places. The dysfunction and dislocation of an object allows for a redefining of that object and a friction between the conventional and the subliminal. One obvious method of displacing object is by using it backwards as is the case with the backwards jacket created by Karl Lagerfeld (Image 13), originally pencilled by Elsa Schiaparelli. Viktor Rolf created a similar effect by presenting a whole collection of dresses worn upside down and a show itself that was run completely back to front (Image 14). However, displacement is not confined to within the realm of fashion itself. Objects from one classification can be used within another to create an even more vivid reaction. Dalis fusion of furniture and the human form inspired Schiaparellis design of a desk coat (Image 15) and later on Doline Dritsass Painted-Silk Drawer Dress (Image 16). The use of traditionally non-fashion related objects in fashion is common among contemporary designers. Viktor Rolf have often used objects such as bells, pillows and even spotlights in their designs. Hats have offered some of the most interesting examples of this Surrealist philosophy; from Schiaparellis Dali inspired shoe hat (Image 17), to Karl Lagerfelds mini sofa chair hat (Image 18). The hat is an appropriate agent not only because its function allowed for a seemingly limitless display of dissimilar objects, but it also enabled the ridicule of the hat as a symbolic accessory in culture, ceremony and rank. Image 14 Viktor Rolf, Spring/Summer 2006,Upside Down Collection Nature and Fantasy The natural world itself offered the Surrealist with an array of symbolic objects. Some chose to contort existing symbols and metaphors, such as Rene Magrittes unconventional mermaid (Image 19); while others chose to make up their own eccentric associations, the perfect example being Dalis association of the lobster with female genitalia (Image 20). Dalis obsession with the lobster influenced Schiaparellis legendary lobster dress (Image 21), the painted lobster deliberately placed at the front of the dress over the womans groin area Surrealists had a particular interest in fantasy and the worlds within the imagination They had a fondness of merging things in nature with the human body Looking for objects within nature to symbolise certain things such as sexuality, beauty, metamorphosis Image 19 Rene Magritte, 1934, A Reverse Mermaid Image 20 Salvador Dali Image 21 Elsa Schiaparelli, 1937, Organza Dress with Painted Lobster Surrealism in the Fashion Industry Throughout the 1930s and 40s major Surrealist figures entered the realm of fashion, fashion advertising and shop front displays. Spurned by the first generation of pure Surrealists they sought a channel to continue their exploration into the reconciliation of revolutionary art and everyday realities. By enlisting the talents of notable Surrealists such as Jean-Michel Frank, Jean Cocteau, Cecil Beaton and May Ray, fashion magazines became the method for the propagation of Surrealist style. The partial figure, dislocation of body parts and the placement of these parts in unnatural settings were adopted by new fashion imagery in the 1930s. The Surrealists ability to juxtapose the real and the imaginary made it an ideal form for advertising and media expression. Case Study 1: Elsa Schiaparelli For Elsa Schiaparelli, her works were more about the passion and energy than fashion and design itself. What mattered to her more was that moment of inspiration (Martin 1987, p. 197). Born to an intellectual family in Rome, the would-be French designers work is best known for its Surrealist period in the 1930s, yet her work can be traced back to the 1920s during the earlier Futurism movement. Her marriage to Theosophist Wilhelm Wendt de Kerlor in 1914 encouraged a bohemian existence that led to encounters with a broad circle of international avant-garde artists and thinkers including Dada artist Francis Picabia and surrealist photographer, Man Ray. Through collaborative efforts with Surrealist artists like Jean Cocteau, Man Ray, Salvador Dalà ­ and Marcel Vertà ¨s she was able to bring enthusiasm and spontaneity to her collections. The Modernist characteristics and avant garde style of Schiaparellis work must have reflected their interests. Her simple and sharp design aligned well with their modern lifestyle in tailored suits and evening dresses; and her witty persona esteemed her original designs with embroidery and complementary colors fit for an active clientele (Bryan 2010). Schiaparelli was more an artistic designer than a refined designer, always grasping at ideas but not extracting a style from her garments. In her mind, the objectives of both the designer and artist were equal, and that a garment was a place for artistic expression rather than a medium for the couturiers craft (Martin, P.198). The defining characteristic of Schiaparelli was her daringness to dream, enabling her to bring creations of pure, undiluted inspiration to fashion. A keen interest in unusual materials kept Schiaparelli at the forefront of design innovation. She was persistent in accruing new fabrics for fashion, especially manmade fabrics which were intentionally different from natural fabrics. Her use of cellophane like materials played on the illusions of transparency (The Torso, Picture Book, P.65), and hard rendered soft materials challenged the traditional notions of the properties of materials. In one instance Schiaparelli commissioned the creation of a newspaper-clipping fabric, producing a paradox between the expected ruffle and stiffness of newspaper with the softness of fabric. She also designed a number of accessories to complement her garments; costume jewelry, hand bags as bird cages and even necklaces made of insects (Picture from Elsa picture book, P.43). Most of these were created to make a statement rather than to be worn on the street. Not only was Schiaparelli eager to use unconventional materials in her garments, she was also zealous in adopting new fashion innovations of her time. Invented in 1936, the zipper was already being used by Schiaparelli in imaginative ways. Though we may look at a wool dress with a zipper and contrasting colours and see nothing sublimely Surreal about it now, at the time it was considered novel and daringly inventive. In the 1937-38 season, Schiaparelli shocked the world with her Jean Cocteau jacket (Martin, P.100). The jacket presents an illusion of hands clasping the waste complemented by the profile of a figure and a cascade of hair down the side of the arm. In typical Surrealist style it creates a friction between the figure on the jacket and the wearer, frustrating the viewers attempt to place parts of the body in relationship with the figure. That same year also saw the creation of the iconic, Dali inspired lobster dress (Picture book, P.46). An elegant party dress imprinted with a giant lobster. The lobster was a prime example of the Surrealist vocabulary of forms, Dali using it as a substitute for female genitalia and sexuality. Of all of Schiaparellis artistic collaborations, it is the one with Salvador Dali which produced some of the most imaginative and unusual results. In 1936, Schiaparelli and Dali presented suits and jackets with bureau-drawer pockets reflecting themes prevalent in Dalis Art. In that same year, she and Dali created the Shoe Hat (Martin, P.111), a black felt concoction in the shape of a high-heeled shoe with a shocking pink heel. In these designs, Schiaparelli and Dali used the idea of displacement, where an object is selected and then removed from its usual environment. In doing so, they modify the objects original purpose. The same Surrealist idea of displacement can also be seen on another of their collaborations, the Mutton Hat (Example?). With the desk suit, shoe hat and mutton hat, the artist and the designer altered an objects conventional meaning by transforming it into an item of clothing. The beginning of the Second World War put a halt on Schiaparellis work, which after the war would not return to the same level of exuberance as the past. Her glory was brief, but left a lasting impact on both art and fashion. Perhaps Schiaparellis most important legacy was in bringing to fashion the playfulness and sense of anything goes of the Dada and Surrealist movements. She was an artist in the world of couture, not a designer involved in the evolution of designs. A pioneer, whose inspiration and merger of the arts altered clothing with a capacity to be art, enabling it to be more than just apparel. Case Study 2: Viktor Rolf Viktor Rolf started in 1993 with the pairing of two Dutch graduates, Viktor Horsting and Rolf Snoeren. Ever since then they have endeavoured to blur the line between art and fashion. Through their early instillations at European galleries, Viktor Rolf quickly gained a reputation as high-end conceptual designers who created images and ideas rather than commercial fashion (Evans C. and Frankel S. 2008, P10). Though early on they were known for wowing the fashion press but not selling a stitch Viktor Rolf made a move from haute couture to ready-to-wear in 2000. Similar to conceptual art, conceptual fashion involves works in which concepts and ideas take precedence over traditional aesthetic and material concerns. Aside from the garments themselves, conceptual fashion was marked with radically new retail spaces, experimental fashion shows and adventurous publishing ventures. All of which have been exemplified in the works and methods of Viktor Rolf; their upside down store in Milan, performance piece catwalk shows and designs for miro-zines such as Visionaire. For Viktor Rolf, couture is an artistic medium, and a playground for the expression of ideas. They are innovative designers who make exquisite and technically amazing garments, yet at the same time they are commentators of their own industry. This is probably most evident in their early gallery installations, as many were critiques and commentaries on the difficulty of breaking into the fashion industry. The pairs first collection of over-sized dresses expressed their feelings of minuteness in the threatening world of Paris fashion. The internal referencing of the industry itself can also be seen in Viktor Rolfs use of Yves Saint Laurent emblazoned fabrics and paying homage to the iconic silhouettes of Chanel, Balenciaga and Yves Saint Laurent in their Black Hole collection. More recently their The Fashion Show collection presented their view on the importance of the fashion show itself to the industry. The garments for this collection were draped over scaffolding and spot lights w orn by the model in a surreal juxtaposition of hard metallic frames and soft flowing fabric. Having mostly displayed their work through art gallery instillations for the initial few years of their career, Viktor Rolf had their first fashion show during the 1998 Paris Fashion Week, albeit without the endorsement of the Chambre Syndicale de la Haute Couture, the regulators of haute couture. However, even then, their works hardly existed outside the realm of the fashion show. As one magazine put it their gowns tend to go straight from the catwalks into art museums rather than into wardrobes (Tuner J. 2000).The almost virtual nature of their garments prevented them from initially being granted admittance to the Chambre Syndicale. Despite not conforming to the Chambres requirements, it was their success in the fashion press and magazines that eventually gained them the respect and recognition for membership. Through their simulation of an emergence into the fashion industry via media channels, Viktor Rolf were able to do it for real. In doing so, they had also discovered the rising importance of images in an ever more media rich society. They grappled with the philosophy that our perception of reality is shaped by images and that illusion is now a new form of reality; believing that fashion doesnt have to be something that people wear. Fashion is also an image (Gan S. 2001). This ideology is personified in their Autumn/Winter 2002-03 collection labelled Bluescreen. Models dressed all in blue were recorded via a video camera with the image then being projected onto large screens. On the screen, urban and natural landscapes were transposed onto the blue areas utilizing a movie industry method for creating special effects, thus creating a blur between image and reality. The innovative and often outlandish clothes produced by Viktor Rolf where often complimented by the surreal theatrics of the fashions shows that they were displayed in. In their Autumn/Winter 1998-99 collection Atomic Bomb, the duo fused the silhouette of mushroom clouds with the human form by installing silk padding to inflate the clothes. The apocalypse themed show was followed by models parading the same outfits, however with the implants removed to reveal the graceful draping of the clothes. They used a similar dichotomy in their Spring/Summer 2006 Upside Down collection, showcasing pieces that could be worn bottom up or bottom down; presented on the catwalk one way then the other. Applying the same surreal reasoning, the show itself was presented entirely backwards, with the designers appearing first followed by a procession and then the presentation of each individual piece. Perhaps one of Viktor Rolfs most memorable shows was for their Autumn/Winter 1999-2000 Russian Doll collection. The show was more a performance piece, involving just one model who was dressed one piece at a time in layers of couture dresses by the designers themselves. The resulting effect was that of a reverse Martryoshka doll. This fascination with dolls has been prevalent throughout their career since their Launch instillation of miniatures in 1996 to their latest offering at Londons Barbican Art Gallery. Proving that their move to more commercial markets has not diminished the duos affinity towards Surrealism, the 2008 Barbican display consists of a gigantic dollhouse inhabited by 55 dolls clothed with miniaturised Viktor Rolf outfits showcasing their 15 year career, aptly named The House of Viktor Rolf. In 2004 the duo launched a perfume called Flowerbomb and in fine Surrealist fashion packaged it in a grenade shaped bottle. Complimenting that was a clothing collection featuring the excessive use of oversized bows and ribbons. Viktor Rolfs penchant for the Surrealist ideology of displacement of objects can be further witnessed by their Bells collection of garments, heavily embroidered with brass bells, and the use of pillows and quilting in their intimate Bedtime Story collection. Not only do Viktor Rolf draw on the ideologies of the Surrealism movement, but their works also show inspiration from other Surrealist artists. The ever present trait of medieval carnival was brought out explicitly in their Spring/Summer 2008 Harlequin collection. The garments exhibited references to commedia dellarte, a theme that was once adopted by the queen of Surrealist fashion, Elsa Schiaparelli (Evans C. and Frankel S. 2008, P16). Motifs of violins adorning the dresses paid homage to Surrealist photographer May Ray and his famous image, Le Violon dIngres (Image 2). Though not known specifically as Surrealist designers the characteristics of Surrealism are clearly evident in Viktor Rolfs designs. They have used Surrealist methods such as the displacement of objects, manipulation of the human form and merging of the real and imaginary as tools for their own conceptual ideas. Just like their predecessors, in the likes of Elsa Schiaparelli, they employ these methods to create innovative and shocking garments often more akin to art, than off-the-shelf fashion. The Lasting Impact of Surrealism on Fashion Conclusion When Surrealism came to fashion it was with a passion, engulfing the fashion arts with an enthusiasm that has never left. Over time ideas about fashion presentation in magazines, window displays and apparel have evolved, but Surrealism remains fashions favourite art. The collaboration between artists and designers allowed for fashion to move forward in unprecedented ways, pioneered by the likes of Dali and Elsa Schiaparelli, and exemplified in todays fashion by the likes of Viktor Rolf.

Analysis of Newjack: Guarding Sing Sing Essay -- Ted Conover Prisons S

Analysis of Newjack: Guarding Sing Sing Unable to get official permission to interview and write about correctional officers, Ted Conover, author of the book Newjack: Guarding Sing Sing, â€Å"got in" by applying for a correctional officer position. After training, he and his fellow rookies, known as "newjacks," were randomly assigned to Sing Sing, one of the country's most famous -- and infamous -- prisons. Sing Sing, a maximum-security male prison, was built in 1828 by prisoners themselves, kept at their task by frequent use of the whip. Today, the chaos, the backbiting, the rundown building and equipment, the disrespect and the relentless stress that Conover experienced in his year at Sing Sing show, quite well, how the increase of prisons in the U.S. brutalizes more than just the prisoners. Some of the individuals in Conover's entering "class" of corrections trainees had always wanted to work in law enforcement. Others were ex-military, looking for a civilian job that they thought would reward structure and discipline. But most came looking for a steady job with good benefits. To get it, they were desperate enough to commute hours each way, or even to live apart from their families during the work week. Their job consists of long days locking and unlocking cells, moving prisoners to and from various locations while the prisoners beg, hassle and abuse them. Sometimes, the prisoners' requests are simple, but against the rules: an extra shower, some contraband cigarettes. Other times, they are appropriate, but unbelievably complicated: it can take months to get information about property lost in the transfer from one prison to another. Meanwhile, the orders officers give are ignored. Discipline -- even among the officers themselves -- is non-existent. And with the money and benefits of this "good" job come nightmares and family stress, daily uncertainty about one's job and duties, and pent-up frustration that, every so often, explodes in violence -- instigated by staff as w ell as by prisoners. The picture this book paints would no doubt bother corrections professionals in prisons where prisoner-staff relationships and officer solidarity are more developed. In training, Conover is told that "the most important thing you can learn here is to communicate with inmates." And the Sing Sing staff who enjoy the most success and fulfillment i... ...ing of their feeling about Sing Sing. After reading Newjack, I clearly appreciate the difficulty, the chaos and the stress of an officers' job. I am less sure how they manage to do it, and I wonder at what cost to their sense of self it has on them. By contrast, with a few well-chosen stories, Conover humanizes individual prisoners: one who has lines from Anne Frank's diary tattooed on his back; a prisoner on the serving line who tries to sneak extra food to his friends; a young, emotionally needy prisoner grasping for attention from anyone, even an officer. As a result, the prisoners are often drawn â€Å"with more humanity† than the staff. I feel that this book gives a rough, inspiring and passionate warning that the rush to imprison offenders hurts the guards as well as the guarded. Conover reminds us that when we treat prisoners like the garbage of society, we are bound to treat prison staff as garbage men -- best out of sight, their own dirt surpassed only by the dirt they handle. Conover says in one part of his book, â€Å"Eventually admitting that being in a position of power and danger brings out a side of myself I don’t like.† I feel both prisoners and officers deserve better.

Everyday Use Essay

â€Å"Everyday Use† is a highly symbolic story with manifold themes and interpretations. It not only locates conflict that existed within the Afro-American community and presents life in relation to modern and traditional concept of Afro-American heritage but it further takes into account the feminist themes and agendas. It is a representative story of Black movement of 1960s but it does not manifest the Afro-American quest for socio-cultural identity like other Black Movement literature. The central conflict is symbolized by two main characters; Mrs. Johnson and Dee. Dee is an epitome of shallow materialism and an adherent of prevailing concept of heritage where heritage is revered only for trendiness and aesthetic attraction whereas Mrs. Johnson admires heritage for its practical utility and personal importance. Central conflict is between Maggie and Dee and it is about whether legacy and heritage subsists in belongings or in spirit. Dee’s longing for heritage is for ostentatious reasons. Contemporary periodical necessities make her cherish and celebrate her Afro-American heritage. But Mrs. Johnson and Maggie have learnt to live with their heritage. Dee is captivated by the beauty of â€Å"churn top† and wanted to have it to be used as centerpiece for her alcove table whereas Mrs. Johnson has used it practically for churn butter hitherto. Walker utilizes the butter churn to demonstrate Mrs. Johnson’s intrinsic understanding of heritage. When [Dee] finished wrapping the dasher the handle stuck out. I took it for a moment in my hands. You didn’t even have to look close to see where hands pushing the dasher up and down to make butter had left a kind of sink in the wood. In fact, there were a lot of small sinks; you could see where thumbs and fingers had sunk into the wood. It was a beautiful light yellow wood, from a tree that grew in the yard where Big Dee and Stash had lived. (Walker, â€Å"Everyday Use† use page number from your textbook) The narration of the story is in first-person where everything is reported and understood through the lenses of Mrs. Johnson. Her observation is astute as she provides minute details about the actions of her daughters. Alice Walker has introduced various symbols and figurative language to communicate some thematic expressions. The conflict of heritage becomes more evident as well as critical as the quilts are brought in the story. It signifies the procedure from which the insignificant and worthless may be changed into the valued and functional. The development of Dee into Wangero shows various facets and phases through which black identity passed during late 1960s and 1970s. Predilection for appearance as compared with spirit remained hallmark of this era and this trend is manifested through Dee’s transformation into Wangero. Social standing of females was a favorite subject to the writers at the start of 20th century. Society was dominated by patriarchy, male chauvinism and supremacy whereas women were perceived as fragile and dependant. Every Day Use is a thematic expression of feminism and manifests it at various levels and in various orientations. It also revolves around the same theme which was basically about their feminist struggles. In â€Å"Everyday Use†, Alice juxtaposes the female character against the pathos and miseries of life and demonstrates their strong will and mental capacity to stand against those hardships. They are subservient to any male character and do not needs their companionship. Hence Alice augments their characterization by inculcating a female identity. Although Feminism stands for women to have the same status as men in the society but Alice exhibits another manifestation of Feminism i. e. not a wish to have equal status but a practical demonstration to contribute equally to the socio-cultural milieu of the time. Dee is an epitome of shallow materialistic feminism and an adherent of prevailing concept of feminism that believes in things and materialistic feministic achievements whereas Mrs. Johnson looks at the spirit of feminism and contributes toward it at her own level. She raises up two daughters by her own. This implies she has already taken the position of a father. These kinds of female have the ability to make their own decisions and have independence of thought and actions. The mother even shows how useful and strong a woman is. In the story, Alice Walker pointed out that the mother is â€Å"a large, big-boned woman with rough, man-working hands†. So Everyday Use is not a mere feministic wish to acquire equal status and should be considered and treated on equal terms but it is a practical manifestation of this feminist thought and ideology. Overall, Walker has invited us start living with our heritage instead of merely cherishing it. She further wants us to search our roots in the American soil instead of locating it on other continents. This story has eternalized the Afro-American themes in particular and feminist theme in general. The characteristic that makes the story universal and eternal is symbolic representation f the above-mentioned themes. It can be read and interpreted in various ways and at various levels.

The Lost Symbol Chapter 119-121

CHAPTER 119 In the chamber at the top of the House of the Temple, the one who called himself Mal'akh stood before the great altar and gently massaged the virgin skin atop his head. Verbum significatium, he chanted in preparation. Verbum omnificum. The final ingredient had been found at last. The most precious treasures are often the simplest. Above the altar, wisps of fragrant smoke now swirled, billowing up from the censer. The suffumigations ascended through the shaft of moonlight, clearing a channel skyward through which a liberated soul could travel freely. The time had come. Mal'akh retrieved the vial of Peter's darkened blood and uncorked it. With his captive looking on, he dipped the nib of the crow's feather into the crimson tincture and raised it to the sacred circle of flesh atop his head. He paused a moment . . . thinking of how long he had waited for this night. His great transformation was finally at hand. When the Lost Word is written on the mind of man, he is then ready to receive unimaginable power. Such was the ancient promise of apotheosis. So far, mankind had been unable to realize that promise, and Mal'akh had done what he could to keep it that way. With a steady hand, Mal'akh touched the nib of the feather to his skin. He needed no mirror, no assistance, only his sense of touch, and his mind's eye. Slowly, meticulously, he began inscribing the Lost Word inside the circular ouroboros on his scalp. Peter Solomon looked on with an expression of horror. When Mal'akh finished, he closed his eyes, set down the feather, and let the air out of his lungs entirely. For the first time in his life, he felt a sensation he had never known. I am complete. I am at one. Mal'akh had worked for years on the artifact that was his body, and now, as he neared his moment of final transformation, he could feel every line that had ever been inscribed on his flesh. I am a true masterpiece. Perfect and complete. â€Å"I gave you what you asked for.† Peter's voice intruded. â€Å"Send help to Katherine. And stop that file.† Mal'akh opened his eyes and smiled. â€Å"You and I are not quite finished.† He turned to the altar and picked up the sacrificial knife, running his finger across the sleek iron blade. â€Å"This ancient knife was commissioned by God,† he said, â€Å"for use in a human sacrifice. You recognized it earlier, no?† Solomon's gray eyes were like stone. â€Å"It is unique, and I've heard the legend.† â€Å"Legend? The account appears in Holy Scripture. You don't believe it's true?† Peter just stared. Mal'akh had spent a fortune locating and obtaining this artifact. Known as the Akedah knife, it had been crafted over three thousand years ago from an iron meteorite that had fallen to earth. Iron from heaven, as the early mystics called it. It was believed to be the exact knife used by Abraham at the Akedah–the near sacrifice of his son Isaac on Mount Moriah–as depicted in Genesis. The knife's astounding history included possession by popes, Nazi mystics, European alchemists, and private collectors. They protected and admired it, Mal'akh thought, but none dared unleash its true power by using it for its real purpose. Tonight, the Akedah knife would fulfill its destiny. The Akedah had always been sacred in Masonic ritual. In the very first degree, Masons celebrated â€Å"the most august gift ever offered to God . . . the submission of Abraham to the volitions of the supreme being by proffering Isaac, his firstborn . . .† The weight of the blade felt exhilarating in Mal'akh's hand as he crouched down and used the freshly sharpened knife to sever the ropes binding Peter to his wheelchair. The bonds fell to the floor. Peter Solomon winced in pain as he attempted to shift his cramped limbs. â€Å"Why are you doing this to me? What do you think this will accomplish?† â€Å"You of all people should understand,† Mal'akh replied. â€Å"You study the ancient ways. You know that the power of the mysteries relies on sacrifice . . . on releasing a human soul from its body. It has been this way since the beginning.† â€Å"You know nothing of sacrifice,† Peter said, his voice seething with pain and loathing. Excellent, Mal'akh thought. Feed your hatred. It will only make this easier. Mal'akh's empty stomach growled as he paced before his captive. â€Å"There is enormous power in the shedding of human blood. Everyone understood that, from the early Egyptians, to the Celtic Druids, to the Chinese, to the Aztecs. There is magic in human sacrifice, but modern man has become weak, too fearful to make true offerings, too frail to give the life that is required for spiritual transformation. The ancient texts are clear, though. Only by offering what is most sacred can man access the ultimate power.† â€Å"You consider me a sacred offering?† Mal'akh now laughed out loud. â€Å"You really don't understand yet, do you?† Peter gave him an odd look. â€Å"Do you know why I have a deprivation tank in my home?† Mal'akh placed his hands on his hips and flexed his elaborately decorated body, which was still covered only by a loincloth. â€Å"I have been practicing . . . preparing . . . anticipating the moment when I am only mind . . . when I am released from this mortal shell . . . when I have offered up this beautiful body to the gods in sacrifice. I am the precious one! I am the pure white lamb!† Peter's mouth fell open but no words came out. â€Å"Yes, Peter, a man must offer to the gods that which he holds most dear. His purest white dove . . . his most precious and worthy offering. You are not precious to me. You are not a worthy offering.† Mal'akh glared at him. â€Å"Don't you see? You are not the sacrifice, Peter . . . I am. Mine is the flesh that is the offering. I am the gift. Look at me. I have prepared, made myself worthy for my final journey. I am the gift!† Peter remained speechless. â€Å"The secret is how to die,† Mal'akh now said. â€Å"Masons understand that.† He pointed to the altar. â€Å"You revere the ancient truths, and yet you are cowards. You understand the power of sacrifice and yet you keep a safe distance from death, performing your mock murders and bloodless death rituals. Tonight, your symbolic altar will bear witness to its true power . . . and its actual purpose.† Mal'akh reached down and grasped Peter Solomon's left hand, pressing the handle of the Akedah knife into his palm. The left hand serves the darkness. This, too, had been planned. Peter would have no choice in the matter. Mal'akh could fathom no sacrifice more potent and symbolic than one performed on this altar, by this man, with this knife, plunged into the heart of an offering whose mortal flesh was wrapped like a gift in a shroud of mystical symbols. With this offering of self, Mal'akh would establish his rank in the hierarchy of demons. Darkness and blood were where the true power lay. The ancients knew this, the Adepts choosing sides consistent with their individual natures. Mal'akh had chosen sides wisely. Chaos was the natural law of the universe. Indifference was the engine of entropy. Man's apathy was the fertile ground in which the dark spirits tended their seeds. I have served them, and they will receive me as a god. Peter did not move. He simply stared down at the ancient knife gripped in his hand. â€Å"I will you,† Mal'akh taunted. â€Å"I am a willing sacrifice. Your final role has been written. You will transform me. You will liberate me from my body. You will do this, or you will lose your sister and your brotherhood. You will truly be all alone.† He paused, smiling down at his captive. â€Å"Consider this your final punishment.† Peter's eyes rose slowly to meet Mal'akh's. â€Å"Killing you? A punishment? Do you think I will hesitate? You murdered my son. My mother. My entire family.† â€Å"No!† Mal'akh exploded with a force that startled even himself. â€Å"You are wrong! I did not murder your family! You did! It was you who made the choice to leave Zachary in prison! And from there, the wheels were in motion! You killed your family, Peter, not me!† Peter's knuckles turned white, his fingers clenching the knife in rage. â€Å"You know nothing of why I left Zachary in prison.† â€Å"I know everything!† Mal'akh fired back. â€Å"I was there. You claimed you were trying to help him. Were you trying to help him when you offered him the choice between wealth or wisdom? Were you trying to help him when you gave him the ultimatum to join the Masons? What kind of father gives a child the choice between `wealth or wisdom' and expects him to know how to handle it! What kind of father leaves his own son in a prison instead of flying him home to safety!† Mal'akh now moved in front of Peter and crouched down, placing his tattooed face only inches from his face. â€Å"But most important . . . what kind of father can look his own son in the eyes . . . even after all these years . . . and not even recognize him!† Mal'akh's words echoed for several seconds in the stone chamber. Then silence. In the abrupt stillness, Peter Solomon seemed to have been jolted from his trance. His face clouded now with a visage of total incredulity. Yes, Father. It's me. Mal'akh had waited years for this moment . . . to take revenge on the man who had abandoned him . . . to stare into those gray eyes and speak the truth that had been buried all these years. Now the moment was here, and he spoke slowly, longing to watch the full weight of his words gradually crush Peter Solomon's soul. â€Å"You should be happy, Father. Your prodigal son has returned.† Peter's face was now as pale as death. Mal'akh savored every moment. â€Å"My own father made the decision to leave me in prison . . . and in that instant, I vowed that he had rejected me for the last time. I was no longer his son. Zachary Solomon ceased to exist.† Two glistening teardrops welled suddenly in his father's eyes, and Mal'akh thought they were the most beautiful thing he had ever seen. Peter choked back tears, staring up at Mal'akh's face as if seeing him for the very first time. â€Å"All the warden wanted was money,† Mal'akh said, â€Å"but you refused. It never occurred to you, though, that my money was just as green as yours. The warden did not care who paid him, only that he was paid. When I offered to pay him handsomely, he selected a sickly inmate about my size, dressed him in my clothes, and beat him beyond all recognition. The photos you saw . . . and the sealed casket you buried . . . they were not mine. They belonged to a stranger.† Peter's tear-streaked face contorted now with anguish and disbelief. â€Å"Oh my God . . . Zachary.† â€Å"Not anymore. When Zachary walked out of prison, he was transformed.† His adolescent physique and childlike face had drastically mutated when he flooded his young body with experimental growth hormones and steroids. Even his vocal cords had been ravaged, transforming his boyish voice into a permanent whisper. Zachary became Andros. Andros became Mal'akh. And tonight . . . Mal'akh will become his greatest incarnation of all. At that moment in Kalorama Heights, Katherine Solomon stood over the open desk drawer and gazed down at what could be described only as a fetishist's collection of old newspaper articles and photographs. â€Å"I don't understand,† she said, turning to Bellamy. â€Å"This lunatic was obviously obsessed with my family, but–â€Å" â€Å"Keep going . . .† urged Bellamy, taking a seat and still looking deeply shaken. Katherine dug deeper into the newspaper articles, every one of which related to the Solomon family–Peter's many successes, Katherine's research, their mother Isabel's terrible murder, Zachary Solomon's widely publicized drug use, incarceration, and brutal murder in a Turkish prison. The fixation this man had on the Solomon family was beyond fanatical, and yet Katherine saw nothing yet to suggest why. It was then that she saw the photographs. The first showed Zachary standing knee-deep in azure water on a beach dotted with whitewashed houses. Greece? The photo, she assumed, could have been taken only during Zach's freewheeling drug days in Europe. Strangely, though, Zach looked healthier than he did in the paparazzi shots of an emaciated kid partying with the drug crowd. He looked more fit, stronger somehow, more mature. Katherine never recalled him looking so healthy. Puzzled, she checked the date stamp on the photo. But that's . . . impossible. The date was almost a full year after Zachary had died in prison. Suddenly Katherine was flipping desperately through the stack. All of the photos were of Zachary Solomon . . . gradually getting older. The collection appeared to be some kind of pictorial autobiography, chronicling a slow transformation. As the pictures progressed, Katherine saw a sudden and dramatic change. She looked on in horror as Zachary's body began mutating, his muscles bulging, and his facial features morphing from the obvious heavy use of steroids. His frame seemed to double in mass, and a haunting fierceness crept into his eyes. I don't even recognize this man! He looked nothing like Katherine's memories of her young nephew. When she reached a picture of him with a shaved head, she felt her knees begin to buckle. Then she saw a photo of his bare body . . . adorned with the first traces of tattoos. Her heart almost stopped. â€Å"Oh my God . . .† CHAPTER 120 â€Å"Right turn!† Langdon shouted from the backseat of the commandeered Lexus SUV. Simkins swerved onto S Street and gunned the vehicle through a tree-lined residential neighborhood. As they neared the corner of Sixteenth Street, the House of the Temple rose like a mountain on the right. Simkins stared up at the massive structure. It looked like someone had built a pyramid on top of Rome's Pantheon. He prepared to turn right on Sixteenth toward the front of the building. â€Å"Don't turn!† Langdon ordered. â€Å"Go straight! Stay on S!† Simkins obeyed, driving alongside the east side of the building. â€Å"At Fifteenth,† Langdon said, â€Å"turn right!† Simkins followed his navigator, and moments later, Langdon had pointed out a nearly invisible, unpaved access road that bisected the gardens behind the House of the Temple. Simkins turned in to the drive and gunned the Lexus toward the rear of the building. â€Å"Look!† Langdon said, pointing to the lone vehicle parked near the rear entrance. It was a large van. â€Å"They're here.† Simkins parked the SUV and killed the engine. Quietly, everyone got out and prepared to move in. Simkins stared up at the monolithic structure. â€Å"You say the Temple Room is at the top?† Langdon nodded, pointing all the way to the pinnacle of the building. â€Å"That flat area on top of the pyramid is actually a skylight.† Simkins spun back to Langdon. â€Å"The Temple Room has a skylight?† Langdon gave him an odd look. â€Å"Of course. An oculus to heaven . . . directly above the altar.† The UH-60 sat idling at Dupont Circle. In the passenger seat, Sato gnawed at her fingernails, awaiting news from her team. Finally, Simkins's voice crackled over the radio. â€Å"Director?† â€Å"Sato here,† she barked. â€Å"We're entering the building, but I have some additional recon for you.† â€Å"Go ahead.† â€Å"Mr. Langdon just informed me that the room in which the target is most likely located has a very large skylight.† Sato considered the information for several seconds. â€Å"Understood. Thank you.† Simkins signed off. Sato spit out a fingernail and turned to the pilot. â€Å"Take her up.† CHAPTER 121 Like any parent who had lost a child, Peter Solomon had often imagined how old his boy would be now . . . what he would look like . . . and what he would have become. Peter Solomon now had his answers. The massive tattooed creature before him had begun life as a tiny, precious infant . . . baby Zach curled up in a wicker bassinette . . . taking his first fumbling steps across Peter's study . . . learning to speak his first words. The fact that evil could spring from an innocent child in a loving family remained one of the paradoxes of the human soul. Peter had been forced to accept early on that although his own blood flowed in his son's veins, the heart pumping that blood was his son's own. Unique and singular . . . as if randomly chosen from the universe. My son . . . he killed my mother, my friend Robert Langdon, and possibly my sister. An icy numbness flooded Peter's heart as he searched his son's eyes for any connection . . . anything familiar. The man's eyes, however, although gray like Peter's, were those of a total stranger, filled with a hatred and a vengefulness that were almost otherworldly. â€Å"Are you strong enough?† his son taunted, glancing at the Akedah knife gripped in Peter's hand. â€Å"Can you finish what you started all those years ago?† â€Å"Son . . .† Solomon barely recognized his own voice. â€Å"I . . . I loved . . . you.† â€Å"Twice you tried to kill me. You abandoned me in prison. You shot me on Zach's bridge. Now finish it!† For an instant, Solomon felt like he was floating outside his own body. He no longer recognized himself. He was missing a hand, was totally bald, dressed in a black robe, sitting in a wheelchair, and clutching an ancient knife. â€Å"Finish it!† the man shouted again, the tattoos on his naked chest rippling. â€Å"Killing me is the only way you can save Katherine . . . the only way to save your brotherhood!† Solomon felt his gaze move to the laptop and cellular modem on the pigskin chair. SENDING MESSAGE: 92% COMPLETE His mind could not shake the images of Katherine bleeding to death . . . or of his Masonic brothers. â€Å"There is still time,† the man whispered. â€Å"You know it's the only choice. Release me from my mortal shell.† â€Å"Please,† Solomon said. â€Å"Don't do this . . .† â€Å"You did this!† the man hissed. â€Å"You forced your child to make an impossible choice! Do you remember that night? Wealth or wisdom? That was the night you pushed me away forever. But I've returned, Father . . . and tonight it is your turn to choose. Zachary or Katherine? Which will it be? Will you kill your son to save your sister? Will you kill your son to save your brotherhood? Your country? Or will you wait until it's too late? Until Katherine is dead . . . until the video is public . . . until you must live the rest of your life knowing you could have stopped these tragedies. Time is running out. You know what must be done.† Peter's heart ached. You are not Zachary, he told himself. Zachary died long, long ago. Whatever you are . . . and wherever you came from . . . you are not of me. And although Peter Solomon did not believe his own words, he knew he had to make a choice. He was out of time. Find the Grand Staircase! Robert Langdon dashed through darkened hallways, winding his way toward the center of the building. Turner Simkins remained close on his heels. As Langdon had hoped, he burst out into the building's main atrium. Dominated by eight Doric columns of green granite, the atrium looked like a hybrid sepulcher– Greco-Roman-Egyptian–with black marble statues, chandelier fire bowls, Teutonic crosses, double-headed phoenix medallions, and sconces bearing the head of Hermes. Langdon turned and ran toward the sweeping marble staircase at the far end of the atrium. â€Å"This leads directly to the Temple Room,† he whispered as the two men ascended as quickly and quietly as possible. On the first landing, Langdon came face-to-face with a bronze bust of Masonic luminary Albert Pike, along with the engraving of his most famous quote: WHAT WE HAVE DONE FOR OURSELVES ALONE DIES WITH US; WHAT WE HAVE DONE FOR OTHERS AND THE WORLD REMAINS AND IS IMMORTAL. Mal'akh had sensed a palpable shift in the atmosphere of the Temple Room, as if all the frustration and pain Peter Solomon had ever felt was now boiling to the surface . . . focusing itself like a laser on Mal'akh. Yes . . . it is time. Peter Solomon had risen from his wheelchair and was standing now, facing the altar, gripping the knife. â€Å"Save Katherine,† Mal'akh coaxed, luring him toward the altar, backing up, and finally laying his own body down on the white shroud he had prepared. â€Å"Do what you need to do.† As if moving through a nightmare, Peter inched forward. Mal'akh reclined fully now onto his back, gazing up through the oculus at the wintry moon. The secret is how to die. This moment could not be any more perfect. Adorned with the Lost Word of the ages, I offer myself by the left hand of my father. Mal'akh drew a deep breath. Receive me, demons, for this is my body, which is offered for you. Standing over Mal'akh, Peter Solomon was trembling. His tear-soaked eyes shone with desperation, indecision, anguish. He looked one last time toward the modem and laptop across the room. â€Å"Make the choice,† Mal'akh whispered. â€Å"Release me from my flesh. God wants this. You want this.† He laid his arms at his side and arched his chest forward, offering up his magnificent double-headed phoenix. Help me shed the body that clothes my soul. Peter's tearful eyes seemed to be staring through Mal'akh now, not even seeing him. â€Å"I killed your mother!† Mal'akh whispered. â€Å"I killed Robert Langdon! I'm murdering your sister! I'm destroying your brotherhood! Do what you have to do!† Peter Solomon's visage now contorted into a mask of absolute grief and regret. He threw his head back and screamed in anguish as he raised the knife. Robert Langdon and Agent Simkins arrived breathless outside the Temple Room doors as a bloodcurdling scream erupted from within. It was Peter's voice. Langdon was certain. Peter's cry was one of absolute agony. I'm too late! Ignoring Simkins, Langdon seized the handles and yanked open the doors. The horrific scene before him confirmed his worst fears. There, in the center of the dimly lit chamber, the silhouette of a man with a shaved head stood at the great altar. He wore a black robe, and his hand was clutching a large blade. Before Langdon could move, the man was driving the knife down toward the body that lay outstretched on the altar. Mal'akh had closed his eyes. So beautiful. So perfect. The ancient blade of the Akedah knife had glinted in the moonlight as it arched over him. Scented wisps of smoke had spiraled upward above him, preparing a pathway for his soon-to-be- liberated soul. His killer's lone scream of torment and desperation still rang through the sacred space as the knife came down. I am besmeared with the blood of human sacrifice and parents' tears. Mal'akh braced for the glorious impact. His moment of transformation had arrived. Incredibly, he felt no pain. A thunderous vibration filled his body, deafening and deep. The room began shaking, and a brilliant white light blinded him from above. The heavens roared. And Mal'akh knew it had happened. Exactly as he had planned. Langdon did not remember sprinting toward the altar as the helicopter appeared overhead. Nor did he remember leaping with his arms out-stretched . . . soaring toward the man in the black robe . . . trying desperately to tackle him before he could plunge the knife down a second time. Their bodies collided, and Langdon saw a bright light sweep down through the oculus and illuminate the altar. He expected to see the bloody body of Peter Solomon on the altar, but the naked chest that shone in the light had no blood on it at all . . . only a tapestry of tattoos. The knife lay broken beside him, apparently having been driven into the stone altar rather than into flesh. As he and the man in the black robe crashed together onto the hard stone floor, Langdon saw the bandaged nub on the end of the man's right arm, and he realized to his bewilderment that he had just tackled Peter Solomon. As they slid together across the stone floor, the helicopter's searchlights blazed down from above. The chopper thundered in low, its skids practically touching the expansive wall of glass. On the front of the helicopter, a strange-looking gun rotated, aiming downward through the glass. The red beam of its laser scope sliced through the skylight and danced across the floor, directly toward Langdon and Solomon. No! But there was no gunfire from above . . . only the sound of the helicopter blades. Langdon felt nothing but an eerie ripple of energy that shimmered through his cells. Behind his head, on the pigskin chair, the laptop hissed strangely. He spun in time to see its screen suddenly flash to black. Unfortunately, the last visible message had been clear. SENDING MESSAGE: 100% COMPLETE Pull up! Damn it! Up! The UH-60 pilot threw his rotors into overdrive, trying to keep his skids from touching any part of the large glass skylight. He knew the six thousand pounds of lift force that surged downward from his rotors was already straining the glass to its breaking point. Unfortunately, the incline of the pyramid beneath the helicopter was efficiently shedding the thrust sideways, robbing him of lift. Up! Now! He tipped the nose, trying to skim away, but the left strut hit the center of the glass. It was only for an instant, but that was all it took. The Temple Room's massive oculus exploded in a swirl of glass and wind . . . sending a torrent of jagged shards plummeting into the room below. Stars falling from heaven. Mal'akh stared up into the beautiful white light and saw a veil of shimmering jewels fluttering toward him . . . accelerating . . . as if racing to shroud him in their splendor. Suddenly there was pain. Everywhere. Stabbing. Searing. Slashing. Razor-sharp knives piercing soft flesh. Chest, neck, thighs, face. His body tightened all at once, recoiling. His blood-filled mouth cried out as the pain ripped him from his trance. The white light above transformed itself, and suddenly, as if by magic, a dark helicopter was suspended above him, its thundering blades driving an icy wind down into the Temple Room, chilling Mal'akh to the core and dispersing the wisps of incense to the distant corners of the room. Mal'akh turned his head and saw the Akedah knife lying broken by his side, smashed upon the granite altar, which was covered in a blanket of shattered glass. Even after everything I did to him . . . Peter Solomon averted the knife. He refused to spill my blood. With welling horror, Mal'akh raised his head and peered down along the length of his own body. This living artifact was to have been his great offering. But it lay in tatters. His body was drenched in blood . . . huge shards of glass protruding from his flesh in all directions. Weakly, Mal'akh lowered his head back to the granite altar and stared up through the open space in the roof. The helicopter was gone now, in its place a silent, wintry moon. Wide-eyed, Mal'akh lay gasping for breath . . . all alone on the great altar.

Centripetal Force Lab Report Essay Example

Centripetal Force Lab Report Essay Example Centripetal Force Lab Report Paper Centripetal Force Lab Report Paper An object hat moves at a constant speed and changes direction is also experiencing acceleration even though its speed never changes. Both the acceleration produced by changing speed and the acceleration produced by changing direction require a net force. This force that is produced in called the centripetal force and the acceleration that causes a change in direction is called centripetal Centripetal force means center seeking. It is the force responsible for keeping an object in circular motion. If there were no centripetal force the object would fly off at a tangent because of Newtons First Law. This is demonstrated by spinning an object on a string. Fifth string were to break or be cut, the object would fly out of its circular path at a tangent. An equation can be used to represent the relationship between centripetal force, mass, velocity, and the radius of the circle. This equation is: [pica] Equipment and Setup Plastic tube Nylon cord Several rubber stoppers of different sizes Hanging masses Stopwatch Meter stick Tape Setup Procedural Summary String a plastic tube on the nylon cord and place a rubber stopper on one end and a hanging mass on the other end. Sometime it would not start or stop correctly. Other times it would stop and start again when the button was only pressed once. This means the timing of the 20 revolutions may not have been the most accurate, which would change our period lengths as well. Finally how we spun the stopper may not have been consistent. The path may have been slightly different or may have been spun faster or slower than necessary. This would change our periods. Questions and Conclusions Based on these diagrams one can see that the tension is what is actually causing centripetal force to be placed on the stopper as it rotates in circular motion. The mass remained stationary during the trials. This is because the tension applied to it and the force of gravity acting on it were equal. This means the only force left is the tension and centripetal force to keep the stopper rotating. 2. If the string were to break the stopper would fly in a direction tangent to the circle. This means it would be a 900 angle relative to the radius at that point. The reason for this is that when the string breaks centripetal force is no longer keeping the stopper in circular motion. It will therefore follow its normal path because of Newtons first law. It didnt go straight before because an external force was acting on it, but now that the centripetal force is gone, it will stay in its normal motion path until acted upon by another outside force. When the stopper is in circular motion it has acceleration because its direction is constantly changing. When the string breaks, however, the stopper will move at a constant elicit therefore producing no acceleration. This also means there is an absence of force according to Newtons Second Law. 3. As centripetal force increased, the velocity increased. 4. As the radius of the circle increased, the velocity increased. 5. As the mass of the moving stopper increased, the velocity decreased. 6. The centripetal force would need to decrease. This is because the radius is in the denominator and increasing the denomination with a constant numerator (mass and velocity) causes the quotient (centripetal force) to decrease. Conclusion This was a very successful lab overall. The graphs, the trend lines, and the slope of the trend lines really helped me to understand how changing the different factors in the centripetal force formula affects the results. I was able to verify the relationships in a statistical and visual way. While not always the case, most of the time I was able to visually see how the velocity changed with each trial. This certainly helped me understand the relationship and trends between the variables. Our data was able to show a clear trend as well, so the error must have been minimal. It seems like the correlations of the lines of best fits re close to 1 or -1 as well, so this also shows OUr data had quite regular trends.

Ejemplos de cartas de invitación

Ejemplos de cartas de invitacià ³n Las cartas de invitacià ³n pueden utilizarse como documentacià ³n de apoyo en las solicitudes de visas de turista, tambià ©n conocidas como de paseo o de placer. En este artà ­culo se informa sobre en quà © contexto debe redactarse  una carta de invitacià ³n y  se redacta un ejemplo para inspirarse. Adems, teniendo en cuenta que la incorrecta utilizacià ³n de una visa de turista puede dar lugar a problemas migratorios graves, se informa sobre quà © usos son problemticos y quà © hacer para asegurarse la renovacià ³n de la visa cuando llegue el momento. Quà © saber antes de pedir que nos escriban una carta de invitacià ³n Lo fundamental a la hora de redactar la carta de invitacià ³n es seguir las directrices que se explican en el artà ­culo carta de invitacià ³n para visitar Estados Unidos y adaptar los ejemplos a las circunstancias de cada caso, dando este artà ­culo ms abajo varios ejemplos que se pueden seguir. Pero antes de ponerse a escribir una carta de invitacià ³n es fundamental entender unos puntos bsicos. En primer lugar,  resaltar que la carta de invitacià ³n no forma parte de la documentacià ³n obligatoria cuando se solicita una visa de turista, tambià ©n conocida como de paseo o de placer. Incluso hay consulados donde no se las examina. Es una opcià ³n. Asimismo, hay que entender que lo fundamental no es tener un buen ejemplo de carta de invitacià ³n, sino que es que el solicitante cumpla  con todos los requisitos para la visa. En otras palabras, que la persona que escribe la carta de invitacià ³n desde los Estados Unidos està © legalmente y tenga una buena situacià ³n econà ³mica no es realmente el elemento fundamental que el oficial consular tiene en cuenta a la hora de conceder o negar la peticià ³n de la visa. Lo que examina con especial atencià ³n es la situacià ³n del solicitante. Y respeto a esto à ºltimo, dos factores pesan muchà ­simo. Hay que convencer al cà ³nsul de que se tienen lazos sà ³lidos familiares y/o profesionales en el paà ­s de origen o residencia y, por lo tanto, no hay ninguna intencià ³n de que si se concede una visa a Estados Unidos el beneficiario la va a aprovechar para ingresar al paà ­s y quedarse en à ©l. Por otro, hay que probar recursos econà ³micos suficientes para que en el caso de que se viaje a EEUU el extranjero no se vaya a convertir en una carga econà ³mica para el gobierno americano ni caiga en la tentacià ³n de quedarse en el paà ­s. Por à ºltimo, recordar que hay muchas otras causas que hacen imposible o muy difà ­cil -al menos por cierto tiempo- que un extranjero obtenga una visa, como ciertas enfermedades, un pasado delictivo grave, deportaciones previas o, incluso, haber estado ilegalmente con anterioridad en Estados Unidos, principalmente cuando aplica el castigo de los tres y de los 10 aà ±os. Ejemplo de cartas de invitacià ³n Se trata precisamente de eso, de un modelo, por lo tanto hay  que adaptarlos a la realidad del solicitante de la visa y del que escribe la carta, la relacià ³n entre ambos, fechas, lugares, etc. Adems, recordar firmar siempre la carta, que no tiene que ser manuscrita. De hecho, puede ser escrita en una computadora para asà ­ asegurar que se pueden leer fcilmente todas las palabras. Sept. 2, 2018Marisol Pà ©rezAv.39 apt 5-D Queens New York NY 11375 USA(Work): 917-999-9999(Home): 616-555-5555Email: marisolperezmarisolperez.comTo: Antonio Pà ©rez Paseo del Obispo 15, San Martà ­n, Mà ©xicoDear Dad,I invite you to visit me, my husband and Antonino, your new grandson at our home in New York.My husband and I will be taking care of your entiretrip, including the round trip air fare, food, housing, medical insurance and all your other personal expenses. Sincerely, your daughter Marisol Pà ©rez A tener muy en cuenta para evitar problemas con visa de turista Las cartas de invitacià ³n son para obtener una visa de turista. Su objeto es disfrutar como turista, hacer negocios o recibir tratamiento mà ©dico. Por lo tanto hay que tener mucho cuidado cuando la intencià ³n es distinta, como por ejemplo, casarse, ya que en estos casos podrà ­a haber muchos problemas y serios, incluso en el caso de matrimonio real con ciudadano americano. Incluso puede ser problemtico en el caso de un marido o una esposa de un/a ciudadano/a estadounidense, entrar al paà ­s con la intencià ³n de quedarse hay que recordar que no es la visa correcta, y puede ocasionar problemas. Asimismo, recordar que este visado se puede extender, una vez en Estados Unidos, para alargar la estadà ­a. Que la fecha hasta la que se puede permanecer legalmente en el paà ­s es determinada en la frontera o aeropuerto con el documento conocido como I-94, nada tiene que ver la fecha de expiracià ³n de la visa. De hecho, es perfectamente factible que el visado no està © expirado y que su titular sà ­ està © ilegalmente en Estados Unidos. Y que es fundamental no permanecer ms tiempo del permitido ya que podrà ­a dar lugar a la cancelacià ³n o revocacià ³n automtica de la visa, incluso sin notificrselo a su titular. Y es perfectamente factible que à ©ste se entere de que su visa ya no vale cuando intenta ingresar a Estados Unidos en un viaje futuro. Posibilidad de viajar sin visa En la actualidad, los ciudadanos de 38 paà ­ses, entre ellos los chilenos y los espaà ±oles no necesitan visa para ingresar a Estados Unidos como turistas por un plazo de tiempo inferior a los 90 dà ­as. Esto es asà ­ porque esos paà ­ses pertenecen al Programa de Exencià ³n de Visas.   Para estas personas la carta de invitacià ³n es irrelevante y por completo innecesaria. Destacar que las personas con doble nacionalidad y que ostentan un pasaporte de uno de los paà ­ses en el programa pueden tener el beneficio de ingresar a USA sin visa, respetando ciertas condiciones. Eso es asà ­ aà ºn cuando nunca hayan residido ni residan en la actualidad en el paà ­s cuyo pasaporte le otorga ese privilegio. Por ejemplo, podrà ­an beneficiarse venezolanos que tienen tambià ©n pasaporte italiano o peruanos con pasaporte japonà ©s, etc. Test de respuestas mà ºltiples sobre la visa de turista La mejor forma para entender quà © esperar al sacar la visa de turista y quà © hacer para conservarla es conocer sus principios bsicos.  Toma este quiz, trivial o test sobre visas  para evitar sorpresas desagradables.   Puntos clave La carta de invitacià ³n no es necesaria. Pero puede ser conveniente.Lo ms importante para sacar la visa es que el solicitante cumpla los requisitosFalta de lazos familiares y/o econà ³micos en paà ­s de residencia es causa principal de denegacià ³n de visaLa carta de invitacià ³n es irrelevante para ciudadanos de paà ­ses que pueden ingresar a EE.UU. sin visa. Este es un artà ­culo informativo. No es asesorà ­a legal para ningà ºn caso concreto.

Practice in Identifying and Correcting Verb Tense Errors

Practice in Identifying and Correcting Verb Tense Errors This proofreading exercise will give you practice in identifying and correcting verb tense errors. Before attempting the exercise, you may find it useful to review our pages on regular verbs and irregular verbs. Instructions The following passage contains 10 errors in verb tense. The first paragraph has no errors, but each of the remaining paragraphs contains at least one faulty verb form. Identify and correct these errors. When youre done, compare your answers with the key below. The Worst Tourist The least successful tourist on record is Mr. Nicholas Scotti of San Francisco. In 1977 he flew from America to his native Italy to visit relatives. En route, the plane made a one-hour fuel stop at Kennedy Airport. Thinking that he has arrived, Mr. Scotti got out and spends two days in New York believing he was in Rome. When his nephews are not there to meet him, Mr. Scotti assumes they had been delayed in the heavy Roman traffic mentioned in their letters. While tracking down their address, the great traveller could not help noticing that modernization had brushed aside most, if not all, of the ancient city’s landmarks. He also noticed that many people speak English with a distinct American accent. However, he just assumed that Americans were everywhere. Furthermore, he assumed it was for their benefit that so many street signs were written in English. Mr. Scotti spoke very little English himself and next ask a policeman (in Italian) the way to the bus depot. As chance would have it, the policeman came from Naples and replies fluently in the same tongue. After twelve hours traveling round on a bus, the driver handed him over to a second policeman. There followed a brief argument in which Mr. Scotti expresses amazement at the Rome police force employing someone who did not speak his own language. Even when told at last that he was in New York, Mr. Scotti refuses to believe it. He was return to the airport in a police car and sent back to California.–Adapted from Stephens Piles Book of Heroic Failures, 1979) Answers The least successful tourist on record is Mr. Nicholas Scotti of San Francisco. In 1977 he flew from America to his native Italy to visit relatives. En route, the plane made a one-hour fuel stop at Kennedy Airport. Thinking that he had arrived, Mr. Scotti got out and spent two days in New York believing he was in Rome. When his nephews were not there to meet him, Mr. Scotti assumed they had been delayed in the heavy Roman traffic mentioned in their letters. While tracking down their address, the great traveler could not help noticing that modernization had brushed aside most, if not all, of the ancient city’s landmarks. He also noticed that many people spoke English with a distinct American accent. However, he just assumed that Americans were everywhere. Furthermore, he assumed it was for their benefit that so many street signs were written in English. Mr. Scotti spoke very little English himself and next asked a policeman (in Italian) the way to the bus depot. As chance would have it, the policeman came from Naples and replied fluently in the same tongue. After twelve hours traveling round on a bus, the driver handed him over to a second policeman. There followed a brief argument in which Mr. Scotti expressed amazement at the Rome police force employing someone who did not speak his own language. Even when told at last that he was in New York, Mr. Scotti refused to believe it. He was returned to the airport in a police car and sent back to California.–Adapted from Stephens Piles Book of Heroic Failures, 1979

Wk2 Progress a Assign. INTL304 Assignment Example | Topics and Well Written Essays - 500 words

Wk2 Progress a Assign. INTL304 - Assignment Example There are different types of sensor suites. These are the easiest way to monitor the things inside a building from any part of the world. An Orbit refers to a path of an object found in the space. There are four types of orbit of satellite sensor. The first one is satellite orbit; this satellite follows an elliptical path, round the earth. One complete revolution is known as the orbital period. Geostationary orbits, this occurs when a satellite follows an orbit that is parallel to the equator that moves in a similar direction as the earth’s rotation. Near polar orbits, refers to the orbital plane that is inclined at an angle with respect to the rotation of the earth’s axis. Sun-synchronous orbits, follows an orbit whose altitude is in a way that the satellite will pass over a location at a local solar time. Technical intelligence is not easy because it not possible to collect complete information from the adversaries. This is because the chips may be down, and some of the strategies may fail. Designing a satellite of balanced force has been another drawback of the airborne sensors platform in collecting technical intelligence. 2 Resolution is the clarity of an image. It is the ability of the sensors to see the smallest objects in an image. Resolution determines the sharpness of an image. Spatial resolution refers to the ability of measuring how closely lines can be resolved in an image. Spatial resolution is limited by diffraction. The pixel spacing the ground sample of an image on the earth’s surface is small compared to resolvable spot size.

The Ford Motor company Essay Example | Topics and Well Written Essays - 2500 words

The Ford Motor company - Essay Example The company has established manufacturing and distribution units, research and development facilities, warehouses across South and North American, European, Asian along with African regions. The company also undertakes the business of car rental, leasing business, car finance and other activities related to finance (ABR, 2010). Correspondingly, the paper intends to describe the strategic business audit of Ford Motor Company which is very important to study the current situation of the company through a systematic approach. The main purpose for using the strategic audit approach in this paper is to provide an evaluation of the current strategies that have been used by the company to position itself effectively in the competitive market. External and internal factors of analysis have been used in this paper to clearly determine the strengths, weaknesses, opportunities and threats of the company that would provide an in-depth understanding of the position of the organization in the glob al domain. Qualitative research method has been used in this paper through the medium of secondary data in order to analyze the company. Ford Motors believes that change in the climate of natural environment poses major opportunities and threats to the company. The company concentrates on stabilizing the effects of greenhouse gas in the environmental atmosphere to a certain extent that would result in a minimal effect on the climate change through producing cars in which the level of carbon emissions is relatively lower.

The case study will be send by file .pdf Example | Topics and Well Written Essays - 1000 words

The will be send by file .pdf - Case Study Example Offering the employees with low food cost menu which are also known as â€Å"freebies† during their shifts can help to deter these employees from eating higher food cost items. Not using Consistent Portion Control- For keeping the business profitable, portions should be controlled with, consistent storage sizes, calibrated food scales and correct sized serving utensils Wasting Food- Utilizing maximum quantity of food can help to decrease food cost percentage. For example beef trimmings from the tenderloins can be purposefully used into satay beef tips, which can be sold as moderate entry special. Buying Food for Home- Using food from the kitchen restaurant instead from the grocery store on a regular basis will skew food costs and profits. Bulk pricing helps to use food for a personal use and also pay it back. Poor Staff Education- employees who burn food, does not practice portion control or rotating food according to first in first out basis will definitely increase the food cost percentage. Poor Bookkeeping- food suppliers often make mistakes on invoice like charging double of the amount , not reflecting the payments made or delivering the food that is listed on invoice. Weekly food orders should be checked to ensure all of it is accounted for and also matches the invoice. Copies of all the payments made and invoices should be properly stored in case of any disputes. Using only one Food Vendor- Prices offered by different vendors should be compared and asked for a match. 2. Do you think that the beverage cost percentage might be rising or falling? Why? The beverage cost percentage will rise because it is directly proportional to the cost percentage of food which is also rising. 3. What issues might Jack be discovering with the inventory levels in the central stores and Preparation kitchen stores? Inventory control is an important way to ensure that the appropriate products are available when required and to control cost. Two types of inventory methods are required: Perpetual inventory- It is a continuous record of the purchases and deliveries and issues of food supply. A system involving the use of computer program needs to be in place to ensure that a perpetual inventory is maintained. Physical inventory- It is an actual physical count of the product in hand that is done on a periodic basis usually monthly. Physical inventory helps to verify perpetual inventory. Someone else who maintains the perpetual inventory does not maintain the physical inventory. Jack might have faced the following problem with the inventory levels in the central stores and preparation kitchen stores: Central stores do not compare the changes in the beginning and ending inventory to net purchases, issues and write offs because the inventory management system is not programmed to generate reliable reports of the total purchases from the vendors. The systems also do not generate any report of the total issues to the departments which needs to be reconciled with the ending inventory. There is also no evidence of the fact that the comptrollers has verified that the accounting records match with the annual purchases and issues because summary of the general ledger reports that account for storeroom inventory issues are not generated by the accounting system. The ending inventory also do not account for the city wide purchase order. The accounting syste

Issue of Management of Change Research Paper Example | Topics and Well Written Essays - 2500 words

Issue of Management of Change - Research Paper Example Change Management is very important for the company and should be its top priority. It is necessary to admit that the paper pays also attention to public and private sector industry because they will give the opportunity to examine change management in the very details. The purpose of the paper is to examine the current trends of various changes such as environmental and demographic changes in the public sector. The paper also takes into consideration strategies and models to be applied to change management. Finally, the paper involves the right change management. It is very important because change management is the best of the rapid development of every business either private or public. Due to globalization processes taken place in modern society change management has to be a universal requirement. The term "change management" is mostly used to define "organizational change management or the management of change triggered in organizations or industries". (Change management, 2006) Change management of Dell Company deals primarily with the human aspect because humans and their psychology are the most subjected to changes. There are two types of change management: reactive and proactive. Management is considered reactive when the change comes from an external source. Management is considered proactive when change comes from either internal change aimed at achieving organizational objectives and goals. It is necessary to admit that change management is connected with human resource management because it allows to implement new technologies and procedures and to cope with employee resistance. (Change management, 2006) Change management in an organization means distinctly specifying and implementing procedures and methods to deal with changes in the organizational environment for the overall prosperity of the business. It involves adaptation, controlling and effecting change smoothly. It is thus the systematic approach to deal with change that takes place in an organization and most crucial as only successful adaptation offers positive results. (Adaptation to change, 2006)

Assess the impact of Byzantine and Sassanian cultures on Umayyad Essay

Assess the impact of Byzantine and Sassanian cultures on Umayyad secular architecture and its decoration, with reference to spec - Essay Example Previous to the ascend of the Islam culture in the earliest ADS- 5th and 6th Centuries- the persons, according to Blair & Bloom (2009) who lived in the Arab peninsula, had a main responsibility in shaping the present day Islam art. The then inhabitants of the Arab peninsula are comprehensive of the Byzantine in the Northwest whilst the Sassanian Empire was situated in the North East (Blair & Bloom, 2009). This paper shall evaluate the surfacing of the Islam world in relation to the Sassanian and Byzantine Empires, via an examination of the then cultures, the adjustments and adoption of the same to the Islam world. The paper shall also attempt to give clear instances such as Qusayr Al-Hayr East, Khirbat Al Mafjar, and Qusayr Amra amongst others. 2.0. The Byzantine Empire This empire as seen in the thoughts compiled by Ekhtiar (2011) was born out of the Roman Empire, and had Constantinople as its midpoint. The empire comprised of the Balkans - Palestine, Syrians, Egyptians, and Asia mi nors- and had Christianity as its major faith (Blair & Bloom, 2009). Nevertheless, the empire was also open to a Jewish population and other Christian sects. In relation to art, the empire has strong Roman roots that saw the empire have a great influence from pagan classical inheritance (Blair & Bloom, 2009). ... The then emperor, Justinian reconstructed the city of Antioch at Syria by dividing it into streets, by constructing sewers, fountains, and water channels (Ekhtiar, 2011). At the same time, the emperor built baths, theaters and other buildings to a great city (Ekhtiar, 2011). However, with time the city faced frequent tests ranging from inadequate funds to develop the city, but one would argue that the broad avenues and ‘modern’ buildings replaced the classical monuments and the general lifestyle of the town life (Blair & Bloom, 2009). On the other hand, Ekhtiar (2011) indicates that the Sassanian Empire was also developing gradually to urban civilization. 3.0. The Sassanian Empire Founded in the 208-40 AD by Ardashir, the empire became Rome Byzantine’s empire major challenger (Irwin, 1997). The empire stretches to the Far East from the Indus and Oxis rivers, and had had numerous conflicts with the Byzantine at the time of Justinian rule (Irwin, 1997). In the compi lation of Irwin (1997), the empire is said to practice the Zoroaster faith, though the Manichaenism was gaining root in the territory as well which used paintings to explain its message as seen in the Islam art, by its founder Mani (Irwin, 1997). The Sassanian is said to have a huge relationship with the Byzantine architecture, an explanation of the type of drinking cups used by the Sassanian portray a huge percentage of Dionysian imagery (Irwin, 1997).The Sassanian also used the scrolling vine from the Byzantine art, and the same is replicated in the then Islamic culture. The Sassanians are also indicated to have their motifs as the peacock, the winged crown and the palm that were

Strategic Plan Part 1 Conceptulizing a Business Essay

Strategic Plan Part 1 Conceptulizing a Business - Essay Example All the aforementioned components exemplify the nature and purpose of an organization, its long-term goals, intention and logic behind its actions. This paper will present a comprehensive view of the function of the aforementioned elements in the formulation of a strategic plan. This paper will show this by establishing a mission, vision and values for Health and Beauty Rejuvenate (HBR). Proper business planning allows for the fulfillment of needs of both the firm and its customers. The objective of Health and Beauty Rejuvenate is to become the most recognized and preferential spa of choice where customers to enhance their innate beauty. The firm will strive to offer its customers a tranquil environment with the view to provide the best spa services to its customers. The center of the spa’s vision is to manage its operations in a long-term milieu with the aim of enhancing both shareholder and customer value and giving back to the local community in which the business will operate. The organization has a single focus i.e. to pamper its customers. The organization’s mission is not only to restore and relax its customers but also to rejuvenate its customers’ wellness and beauty. HBR intends to cater for its customers’ needs fully by providing first class services at immensely affordable rates. HBR aims at creating a peaceful environment, which ensures the clients instantly forget about their every day stresses, as well as providing services, which enhance clients’ lives. HBR will attain this objective through the employment of highly skilled and educated professionals committed to gaining thorough knowledge and appreciation of the firm’s clients to meet all their needs (Pearce & Robinson, 2009). Since the mission of HBR is to become a world class and the spa of choice, HBR will endeavor to expand its business and attain permanence through the realization that its values are crucial to the execution of these

Assess the impact of Byzantine and Sassanian cultures on Umayyad Essay

Assess the impact of Byzantine and Sassanian cultures on Umayyad secular architecture and its decoration, with reference to spec - Essay Example Previous to the ascend of the Islam culture in the earliest ADS- 5th and 6th Centuries- the persons, according to Blair & Bloom (2009) who lived in the Arab peninsula, had a main responsibility in shaping the present day Islam art. The then inhabitants of the Arab peninsula are comprehensive of the Byzantine in the Northwest whilst the Sassanian Empire was situated in the North East (Blair & Bloom, 2009). This paper shall evaluate the surfacing of the Islam world in relation to the Sassanian and Byzantine Empires, via an examination of the then cultures, the adjustments and adoption of the same to the Islam world. The paper shall also attempt to give clear instances such as Qusayr Al-Hayr East, Khirbat Al Mafjar, and Qusayr Amra amongst others. 2.0. The Byzantine Empire This empire as seen in the thoughts compiled by Ekhtiar (2011) was born out of the Roman Empire, and had Constantinople as its midpoint. The empire comprised of the Balkans - Palestine, Syrians, Egyptians, and Asia mi nors- and had Christianity as its major faith (Blair & Bloom, 2009). Nevertheless, the empire was also open to a Jewish population and other Christian sects. In relation to art, the empire has strong Roman roots that saw the empire have a great influence from pagan classical inheritance (Blair & Bloom, 2009). ... The then emperor, Justinian reconstructed the city of Antioch at Syria by dividing it into streets, by constructing sewers, fountains, and water channels (Ekhtiar, 2011). At the same time, the emperor built baths, theaters and other buildings to a great city (Ekhtiar, 2011). However, with time the city faced frequent tests ranging from inadequate funds to develop the city, but one would argue that the broad avenues and ‘modern’ buildings replaced the classical monuments and the general lifestyle of the town life (Blair & Bloom, 2009). On the other hand, Ekhtiar (2011) indicates that the Sassanian Empire was also developing gradually to urban civilization. 3.0. The Sassanian Empire Founded in the 208-40 AD by Ardashir, the empire became Rome Byzantine’s empire major challenger (Irwin, 1997). The empire stretches to the Far East from the Indus and Oxis rivers, and had had numerous conflicts with the Byzantine at the time of Justinian rule (Irwin, 1997). In the compi lation of Irwin (1997), the empire is said to practice the Zoroaster faith, though the Manichaenism was gaining root in the territory as well which used paintings to explain its message as seen in the Islam art, by its founder Mani (Irwin, 1997). The Sassanian is said to have a huge relationship with the Byzantine architecture, an explanation of the type of drinking cups used by the Sassanian portray a huge percentage of Dionysian imagery (Irwin, 1997).The Sassanian also used the scrolling vine from the Byzantine art, and the same is replicated in the then Islamic culture. The Sassanians are also indicated to have their motifs as the peacock, the winged crown and the palm that were