Wednesday, December 25, 2019
Genocide Past and Current - 1451 Words
In the past 150 years, tens of millions of men, women and children have lost their lives to ethnic cleansing or genocide. Although the definition is often scrutinized, according to Merriam Webster, Genocide is the deliberate and systematic destruction of a racial, political or cultural group. The most notable event associated with the term is the Holocaust. Stated by Judah Gribets, Edward Greenstein and Regina Stein, nearly six million Jews fell victim to genocide during the years of the Holocaust. Of This number, one million were children who were unable to take care of themselves. Peoples hopes and dreams for the future were stripped from them, and many families were ripped apart. Many of these people were tortured or raped†¦show more content†¦Hearing about genocide was nothing new to many people, but because of the new upbringing of the internet and availability of news broadcasts, the entire world was able to see it for the first time. It was always well known that the Rwandan population is very one-sided. The majority of the people living there are Sunni Muslims or Hutus whereas the minority consists of Shia Muslims, or Tutsi. According to Sarah Hymowitz and Amelia Parker, Tutsi are said to be of higher class because they are more white, and the Hutus are common people of middle class. Although the distrust and hatred between the two groups of people was always slightly present, nobody had any clue about what would be the outcome. Following the establishment of the Hutu led government in 1961, the oppression of the Tutsi followed not far behind. Although many Tutsi fled in fear of imprisonment into neighboring Uganda, those of the Tutsi who were still in Rwanda (probably due to family or marriage ties) were seen as lesser beings by the new Hutu Government. At the time, and for two decades it seemed like the situation was under control. When the Rwandan Patiotic front (RPF) was formed in 1985, tensions escalated. The RPF was a group of Tutsi exile s who demanded that they be granted the right to return to their homeland and end the long period of discrimination against the Tutsi. The RPF rebels invaded Rwanda in October 1990, re-igniting Tutsi hatred throughout Rwanda. It was this act of Tutsi aggression,Show MoreRelatedCombating The Genocide Prevention Task Force Essay1416 Words  | 6 PagesCombating Future Genocide â€Å"I believe the only time we call for intervention is when there is an ongoing genocide†– Bianca Jagger. Looking at the world’s response to the persecution of specific groups of people, the past shows us there is something wrong with how the world views genocide. Of course, any viable human conscience gawks at the news of the most recent minority being wiped out by a ruling power, but this tardy response does nothing to combat the atrocities. Currently, the only responseRead MorePol Pot, The Khmer Rouge, and Cambodian Genocide Essay1143 Words  | 5 PagesKampuchea, also known as the Khmer Rouge, took control of Cambodia on April 17, 1975, which lasted until January 1979. For their three-year, eight-month, and twenty-one day rule of Cambodia, the Khmer Rouge committed some of the most heinous crimes in current history. The main leader who orchestrated these crimes was a man named Pol Pot. In 1962, Pol Pot had become the coordinator of the Cambodian Commun ist Party. The Prince of Cambodia, Norodom Sihanouk, did not approve of the Party and forced Pol PotRead MoreThe Effects Of The Guatemalan Genocide Of A Minority Group1449 Words  | 6 Pagesthe effects of the Guatemalan genocide of a minority group called the mayans that resulted in the death and displacement of thousands, and how mining companies took advantage of this violence. I will also analyze civil wars in general and how even without war there is no peace in Guatemala. The extracurricular activity I attended for this report on peace studies was Dr. Catherine Nolin’s public lecture called â€Å"Transnational Ruptures in a Time of Impunity: Genocide, Mining and Migration†. Dr. NolinRead MoreCommon Causes of War and Genocide Essay example1271 Words  | 6 PagesGenocide, or the systematic destruction of a race or tribe is an all too common phenomenon in our planet’s history and even more so in Africa. Genocide and war share many common causes such as desperation brought on by a declining economy. Experts on the Central African Republic believe that current events point to a possible repeat of the Rwandan genocide of 1994, in which over one million people were killed. Many think that U.N. involvement is necessary to stop the escalating violence in the CentralRead MoreRwandan Genocide1017 Words  | 5 PagesEgypt, one of the greatest conflicts is the Rwandan Genocide. The Rwandan Genocide included two tribes in Rwanda: Tutsis and Hutus. Upon revenge, the Hutus massacred many Tutsis and other Hutus that supported the Tutsis. This gruesome war lasted for a 100 days. Up to this date, there have been many devastating effects on Rwanda and the global community. In addition, many people have not had many acknowledgements for the genocide but from this genocide many lessons have been learned around the world. Read MoreRe Writing History And Rwandan Identity Through The Kigali Genocide Memorial Centre Essay1473 Words  | 6 PagesRe-writing History and Rwandan Identity Through the Kigali Genocide Memorial Centre In April 2004, the Kigali Genocide Memorial Centre opened to commemorate the tenth anniversary of the Rwandan Genocide. Peacefully overlooking the city of Kigali, the Centre seeks to be a place of remembrance and honor for survivors as well as a step towards creating Rwanda’s post-genocide identity. Rwanda has sought to find its place politically, socially, and in memory through this westernized approach to remembranceRead MoreThe Explicit Oppression, And Societal Disadvantages Experienced1437 Words  | 6 PagesThe explicit oppression, and societal disadvantages experienced by racial and ethnic minorities in the United States are those that are a product of past racism and discriminatory practices based on prejudice towards the collective minority groups. Although many of the explicit discriminatory practices based on race are frowned upon in the U.S. today, that does not suggest that they do not still exist. The racism of contemporary times has only shifted form and is u sed against minorities in the formRead MoreNationalism And Its Impact On Society1379 Words  | 6 Pagestowards the current approach governments are taking to promote nationalism. In order to create patriotism in a country, often times the government will look past previous wrongdoings. We should embrace the perspectives reflected in the source fully and hold people accountable for international crimes. However, many organizations are in place that successfully hold these people accountable time and time again. A crime should always be duly punished no matter the amount of time separating the past and presentRead MoreClimate Change : Global Warming1303 Words  | 6 Pageshistorically. As it retrospective model. The majority of the world believes that the first world countries are the ones that engaged in wrongful behavior as they have contributed the most to global warming. It does not take into consideration of the current developing countries who are emitting vast amounts of gases into the air. In this paper, the different identity problems will be introduced and will be connected to the Bosnia-Serbia conflict. Additionally, the causation problem will be related toRead MoreThe Conflict in Darfur and United States Involvement877 Words  | 4 PagesThe conflict in Darfur refers to the fighting that is happening in the western region of Sudan known as Darfur. These fights have been taking place since 2003 and have continued to today. Similarities can be made to the Rwandan Genocide; there is a government funded and armed militia that is not officially supported by the government that is killing a local population. The citizens of the region of Darfur that are being killed are not Arabic, like the majority of the rest of Sudan is, however, they
Monday, December 16, 2019
The Old Man And The Sea Critical Analysis - 1144 Words
The Old Man the Sea was written by Ernest Hemingway. This novel was the last major fictional work of Hemingway’s, which received the Pulitzer Prize for Fiction and awarded the Nobel Prize in Literature. It has become a renowned novel that literary professors often teach and use in their curriculum. Consequently, this novella of Hemingway’s has skyrocketed in popularity prompting him a celebrity. This novel portrayed its significance of Hemingway’s declining writing career through a failing fisherman, Santiago. Hemingway refused to come to terms with his failing career influencing his main character by his urge for adventure. Literary critics claimed Hemingway was a finished writer; nevertheless, this successful novel was his last hurrah,†¦show more content†¦In the novel, Hemingway illustrates how Santiago expressed to himself about the marlin, â€Å"I will show him what a man can do,†continuing his encouragements, â€Å"and what a man enduresà ¢â‚¬ (18). Santiago braved through the struggles and motivated himself, showing heroism. Baker’s depiction of Santiago’s bravery is agreeable to my judgements. Santiago’s heroic venture to the Gulf Stream, knowing his old age, showed he had great persistence. In the novella, Hemingway portrayed Santiago as someone who didn’t give up when he â€Å"drove the blade between the vertebrae†; Santiago thought it was â€Å"an easy shot now†while he â€Å"put the blade between the shark’s jaws†. This wasn’t Santiago’s first and last shark that the fought off; he defended the marlin far longer than anticipated. This shows Santiago’s physical and mental strength. He went down fighting. Quitting would’ve been an easier route to take, but he stuck through, even though he knew his strength was dwindling. He knew that he had to continue to prosper in his life, so he persevered; though, it was a dangerous situation. According to Scribner, Santiago was mentioned as a gracious person. Scribner highlighted the depths that Santiago would go through for his catch; however, humble and courteous through it all. A â€Å"big marlin†takes the old man’s bait; they have a brawl out, yet â€Å"the old man plays him with care and respect†( ¶ 4). Although Santiago was essentially battling with the marlin, heShow MoreRelatedThroughout his career, Ernest Hemmingway’s writing style has brought many questions from critics1500 Words  | 6 Pagesfellow writers. This made it easier for people to comprehend and it made connections to his ideas straightforward. In works such as Old Man and the Sea and For whom the Bell Tolls, Ernest Hemmingway uses his style of writing to convey his purpose and ideas of literary elements, such as plot, mood, character, symbolism, and theme, which can be analyzed with New Critical Theory and Iceberg Theory. Before beginning his writing career, Hemingway spent his early days as a journalist at The Kansas City StarRead MoreThe Old Man And The Sea By Ernest Hemingway1744 Words  | 7 Pagesâ€Å"The Old Man and The Sea†by Ernest Hemingway is a story about an old man named Santiago who has to overcome many obstacles in his time at sea and in life (Hemingway). Despite being a fisherman, Santiago has not caught fish in 84 days and is faced by numerous dilemmas and shortcomings as things seem to always go wrong for him (Hemingway). This paper provides an analysis of the novel by interpreting it as a secular humanist epic. This paper hypothesizes that the character of Santiago is guided byRead MoreA Critical Appraisal of: Beowulf and Gilgamesh Essay examples1640 Words  | 7 PagesA Critical Appraisal of: Beowulf and Gilgamesh There are many differences and critical comparisons that can be drawn between the epics of Beowulf and Gilgamesh. Both are historical poems which shape their respected culture and both have major social, cultural, and political impacts on the development of western civilization literature and writing. Before any analysis is made, it is vital that some kind of a foundation be established so that a further, in-depth exploration of the complex natureRead MoreAnalysis Of Edgar Allan Poe s The Raven 1514 Words  | 7 Pageshits. Poe introduced the idea of short fiction which has a huge impact on American literature. The Raven could be considered to be one of the best-known poems in American history. The Raven is a poem which tells about a talking raven who visits a man who is mourning the loss of his lover. The story starts with the narrator in his home almost asleep when he hears a tapping on his door. The narrator thinks this tapping is from a visitor who he calls out to. After no response, he opens the door andRead More Ernest Hemingway Essay868 Words  | 4 Pagesgoeth down, and hasteth to the place where he arose . . . The wind goeth toward the south, and turneth about unto the north; it whirleth about continually, and the wind returneth again according to his circuits . . . .All the rivers run into the sea; ye the sea is not full; unto the place from whence the rivers come, thither they return again.†(Ecclesiastes 1:4-7) nbsp;nbsp;nbsp;nbsp;nbsp;Ernest Hemingway’s style of writing is a unique form. In almost all of his novels the protagonist is a warRead More The Theme of the Epic Poem, Beowulf Essay979 Words  | 4 Pagescrushed                          his beating heart, his life’s bone-house (2501-09).  Yes, Beowulf was full of pride and self-confidence; this made him impetuous in his actions. Regarding the dragon, â€Å"its strength and fire seemed nothing at all to the strong old king†(2348-49); before facing the dragon, he was reminiscing about his valour in combat against the Hetware and how he alone had escaped:  Lines 2354-68:                                    Nor was it the least hand-to-hand combat                          Read MoreCritical Analysis of the First Four Letters of ‘Frankenstein’1172 Words  | 5 PagesCritical Analysis of the First Four Letters of ‘Frankenstein’ We are first introduced to Robert Walton, a 28 year old sea captain who is embarking on a journey to the North Pole in order to find a passage from the Pacific to the Atlantic. The letters are written to his sister, Mrs Saville, in London, England. He has talked about making this expedition for six years; it has been his favourite dream and he is pleased that he finally has a chance to make good on his promise to himself. Although heRead MoreCritical Thinking Assignment 2 Essay855 Words  | 4 PagesMilissa Tift Wednesday Night September 10, 2012 Professor Calabrese Assignment #2 Critical Thinking Critical Thinking – Assignment #2 In any story there are two types of language, figurative and literal. Language is, of course a necessary factor of any story. Without Language, an author could not tell the story. The author usually uses a combination of these two languages. Together, these languages characterize the author’s style. Literal language means exactly whatRead More Dulce et decorum est Essay703 Words  | 3 PagesDulce et decorum est is a well known battlefield poem written by Wilfred Owen. Critical Analysis Dulce et decorum est is a well known battlefield poem written by Wilfred Owen. It has been written in the first person and the present tense to make the reader feel as if they are actually there. It is in three clear sections, which are eight-line stanzas, rhyming ABABCDCD. It has an extra four lines in the last stanza to incorporate the main message of the poem. It uses many similes andRead MoreHamlet vs. Oedipus Essay898 Words  | 4 PagesCharacter Analysis of Prince Hamlet in Hamlet by William Shakespeare and Oedipus in Oedipus King by Sophocles In Aristotles literary discourse, Poetics, he discusses his theory of tragedy, wherein he introduces the concepts of tragic flaw or hamartia, which serves as the catalyst for the protagonists downfall or the tragedy of the story to happen. He determines a tragedy as a drama that brings about a sorrowful conclusion, arousing fear and pity in the audience (Roberts and Jacobs
Sunday, December 8, 2019
Discussion of Important Articles for Professional Boundaries
Question: Discuss about theDiscussion of Important Articles for Professional Boundaries. Answer: Introduction: A number of frameworks, guidelines, policies and codes guide the nursing occupation in the nation of Australia. They guide nurses in ways that make them expert in the care they provide to service users. The assignment will mainly provide brief overview of the documents and two important factors o each of the documents/ A nurses guide to professional boundaries: Researchers are of the opinion that therapeutic relationship is indeed an important aspect that every healthcare professionals need to provide significance to provide high quality care of the patients. For achieving this target, every healthcare professionals need to know the professional boundaries that are delicate limit that should be adhered to by every nurse (Nursingmidwiferyboard.gov.au, 2018). This would help the individuals to protect the community by helping to prevent distress, harm, confusion and abuses. One of the most important factors that the author of the document has put forward is the correct use of power. The document has clearly stated that the nursing professionals in the healthcare centers are always at a higher level of power distribution than that of the patients who are seeking service. Expert healthcare professionals would always use their power effectively in ways that help in providing best quality care for the patient without resulting in abuse and breach es in human rights (Hapel et al., 2015). The paper had correctly focused on three important domains where the middle domain shows the zone of helpfulness called the therapeutic relationship. Another important domain that lies to the right side of the domain is called the boundary violations domain or the over involvement domain where nurses get involved in sexual assaults or inappropriate relationships that are against the professional rules and expectations of the philosophies of nursing professions. Under involvement domain comprises of the nursing professionals distancing or showing disinterest, coldness and neglect by which effective care can never be given. Therefore, the nursing professionals should utilize their power in the correct manner so that they neither exploit the patients nor fail to provide the best care but maintain a power balance to engage effectively in therapeutic relationship. Another important factor that is mentioned here and that the nursing professionals s hould consider is maintenance of confidentiality. Nurses should maintain the information of the patient in way by which they are safe with the professionals and do not is leaked easily. Moreover, the professionals should develop the value of not using the information or dissolving the information that would help them in gaining profit (Wolf et al., 2015). They should maintain confidentiality and only reveal information when any aspect of therapeutic relation development needs to be achieved. Registered nurse standards for practice: Registered nurses in the nation is expected to provide a person centered care as well as evidence based interventions that would help the patient to overcome his disorders and develop high quality care. Such nurses are expected to develop a care that should incorporate preventative, curative, supportive, restorative as well as formative and palliative elements ("Nursing and Midwifery Board of Australia - Registered nurse standards for practice", 2017). However, in order to provide this care, nurses need to follow certain guidelines so that they can provide a comprehensive care in ways by which high quality care is provided covering all the important aspects of care. Out of the seven important guidelines that are put forward by the authors to help the nursing professionals to provide quality care one of the most important factors is successful analysis and critical thinking of the nursing practice of the patients to provide the best practice. Researchers are of the opinion when health care professionals take the help of most recent evidences to develop their knowledge and skills, the interventions developed by them being the best outcomes. Such interventions are not only new but they ensure higher levels of success in providing best quality care (Zuriguel et al., 2015). When nurses think critically, they become aware of the cultural differences that are present between them and their patients and hence the care provided by them is culturally sensitive. Another important factor that would help the registered nurses to provide satisfactory services to the patients is their development of therapeutic as well as professional relationships. Effective communication is indeed one of the most important attribute of development of therapeutic relationship that helps developing bond and trust among the patients and the nurse. Patients trust the nurses and adhere with the interventions proposed by them (Wyder et al., 2015). The authors have also identified the importance of development of a culture of safety and learning where nurses engaged with other team members to participate in shared decision making, sharing knowledge and information and thereby providing person centered care by making the patient the center of the decision making procedures (Carter et al., 2016). Therefore, registered nurses should also provide equal importance in development of therapeutic and professional relationships with the patients and other team members to ensure best care. Code of conduct for nurses: Seven important domains have been discussed in details by the author of the document. Each of the domains are in turn subdivided into a number of aspect that guide nurses with the ways that would help them to learn the best care tactics. Legal compliance, person centered practice, cultural practice as well as respectful relationships, professional behaviors, teaching attributes, research in health as well as health and well-being are the main domains that are discussed in details (Nursingmidwiferyboard.gov.au, 2018). One of the factor that id discussed in the document is informed consent. By this term, it actually means that the nursing professionals need to take permission from the patients before initiating their treatment and while undertaking different interventions. This action can be classified under the ethical guidelines of autonomy and dignity. Maintaining autonomy and dignity of the patient is one of the ethical guidelines every nursing professional has to follow and infirm ed consent helps professionals to adhere to the mentioned ethical value. When nursing professionals ask for informed consents, service users feel respected and cared for (Kourkouta et al., 2014). They feel that their permissions are important which prevent them from feeling low on self-esteem. Moreover, patients feel helpless and powerless when they go through periods of illness and this approach makes them feel empowered for taking decisions. Moreover, it is also seen that when healthcare professionals discuss the interventions that they would be taken and the ask for informed consent, patients feel relaxed as they understand what is going to happen with them. If patients are not discussed about the intervention before taking consent, they may feel anxious and fearful about the fate of the intervention. This might have negative consequences on their health outcomes. Therefore, informed consent is considered an important code of conduct for the healthcare professionals. Another impo rtant code of conduct that nursing professionals should also practice is providing culturally competent care. Australia is a nation with beautiful amalgamation of diverse cultural entities (Beattie et al., 2018). Therefore, being a health care professional here requires individuals to provide a care that is not only culturally competent but also culturally sensitive. Therefore, it becomes important for every professional to develop their knowledge on the traditions, preferences and inhibitions of every culture of people who come for treatment. Culturally insensitive practices not only affect the dignity and autonomy of the person but also make the patient to go through different emotional and mental turmoil. This affects the health outcome of the individuals making them depressed and disrespected (Nasrabaddi et al., 2017). Therefore, it is expected of the healthcare professionals to overcome their cultural biasness through effective reflection and realization and thereby go through important resources to develop their cultural awareness and provide culturally competent care enhancing patient satisfaction. ICN Codes of ethics; International council of nurses has published this document that mainly put importance of the four important responsibilities that every nursing professionals should incorporate in their practice. These are the promotion of health, prevention of illness, restoration of health and alleviation of suffering of people (Icn.ch, 2012). This document has made four important categories that are nurses with profession, nurses with patients, nurses with practice and nurses with coworkers. One of the factors discussed here that hold importance in the healthcare services provided by the nursing professionals is continuing to develop education and knowledge on ethical considerations. Researchers have defined the word ethics as moral principles that mainly help the individual to govern his own behavior as well as conducting of an activity. Ethics or moral philosophy which can be described as the branch of philosophy that involves systematizing, defending as well as recommending concepts regarding wring or right conduct. There are many important ethical theories that guide nurses in taking proper decisions about the care plan that they adopt or the interventions that they would take when any conflicts with patients arise. These involve autonomy, dignity, privacy, justice, beneficence and autonomy. However, in different spheres of nursing professions arise where nurses suffer from ethical dilemma and cannot understand which ethical guideline they need to follow to provide best care to patients. These are very critical situations where nurses suffer from moral dilemmas where they need to make a choice between two options neither of which helps in resolving the situation in an ethically acceptable fashion (Kangasniemi et al., 2015). Therefore, this might have a negative impact on the patient who may not only suffer from negative health outcomes but may also develop emotional and mental turmoil affecting their quality life. Therefore, these documents instruct the nurses to engage continuously in professional development by educating themselves on different ethical situation from training, evidence based practices, narration of experiences of other colleagues and many others. Management of safety in workplace is also important. This would help in maintaining safety not only for patients but also for other professionals working in the ward (Nasrabaddi et al., 2017). Social media policy: This policy usually helps the healthcare professionals by guiding them through the different legal rights that they need to be follow to provide the best care to patients. This policy mainly focuses on social media that has become the best medium for reaching out to service users and to different people in every corners of the nation this policy states the different boundaries that providers need to follow in order to maintain dignity and autonomy of the patient. One of the most important factors that is necessary to be discussed is the inappropriate use of social media in advertising different aspects of healthcare. Section 133 of the National law has imposes limits on the different ways by which health services provided by the healthcare providers can be advertised (Nursingmidwiferyboard.gov.au, 2012). Therefore, this document is indeed very important for the professionals so that they do not put forward any advertisement that results them in legal obligations. It has been found th at different healthcare organizations put forward advertisements that are not real or are unnecessarily exaggerated like those who use testimonials and many others. These are against laws and care should be taken so that professionals do not face any legal issues. Confidentiality is another important aspect that should be also cared by professionals (Dehghani et al. 2015). There are many professionals who are seen to provide information of patients, the cases they handle, the information shared by patients on any important issues and others on the social media. This is against the legal principles of maintaining confidentiality of patients under any circumstances (Aliyu et al., 2015). This exposes the professionals to legal obligations that may harm their behavior. Hence, this social policy is helpful for them. Conclusion: From the above discussion, it becomes quite clear, that the documents are indeed some of the best resources for healthcare professionals. This helps to guide them through a number of different principles, guidelines and codes that develops the quality of care for the professionals and prevent them from entering in any ethical and legal dilemma. References: Aliyu, D., Adeleke, I. T., Omoniyi, S. O., Samaila, B. A., Adamu, A., Abubakar, A. Y. (2015). Knowledge, attitude and practice of nursing ethics and law among nurses at Federal Medical Centre, Bida.American Journal of Health Research,3(1-1), 32-37. Beattie, E., OReilly, M., Fetherstonhaugh, D., McMaster, M., Moyle, W., Fielding, E. (2018). Supporting autonomy of nursing home residents with dementia in the informed consent process.Dementia, 1471301218761240. Carter, A. G., Creedy, D. K., Sidebotham, M. (2016). Efficacy of teaching methods used to develop critical thinking in nursing and midwifery undergraduate students: a systematic review of the literature.Nurse education today,40, 209-218. Dehghani, A., Mosalanejad, L., Dehghan-Nayeri, N. (2015). Factors affecting professional ethics in nursing practice in Iran: a qualitative study.BMC medical ethics,16(1), 61. Happell, B., Bennetts, W., Harris, S., Platania?Phung, C., Tohotoa, J., Byrne, L., Wynaden, D. (2015). Lived experience in teaching mental health nursing: Issues of fear and power.International journal of mental health nursing,24(1), 19-27. Icn.ch. (2012).Code of Ethics for Nurses. [online] Available at: https://www.icn.ch/who-we-are/code-of-ethics-for-nurses/ [Accessed 17 Apr. 2018]. Kangasniemi, M., Pakkanen, P., Korhonen, A. (2015). Professional ethics in nursing: an integrative review.Journal of advanced nursing,71(8), 1744-1757. Kourkouta, L., Papathanasiou, I. V. (2014). Communication in nursing practice.Materia socio-medica,26(1), 65. Nasrabadi, A. N., Shali, M. (2017). Informed Consent: A Complex Process in Iran's Nursing Practice.Journal of Korean Academy of Nursing Administration,23(3), 223-228. Nursing and Midwifery Board of Australia - Registered nurse standards for practice. (2017).Nursingmidwiferyboard.gov.au. Retrieved 17 April 2018, from https://www.nursingmidwiferyboard.gov.au/Codes-Guidelines-Statements/Professional-standards/registered-nurse-standards-for-practice.aspx Nursingmidwiferyboard.gov.au. (2012).Nursing and Midwifery Board of Australia - Social media policy. [online] Available at: https://www.nursingmidwiferyboard.gov.au/Codes-Guidelines-Statements/Policies/Social-media-policy.aspx [Accessed 17 Apr. 2018]. Nursingmidwiferyboard.gov.au. (2018).Nursing and Midwifery Board of Australia - New codes of conduct take effect for nurses and midwives. [online] Available at: https://www.nursingmidwiferyboard.gov.au/News/2018-03-01-new-codes.aspx [Accessed 17 Apr. 2018]. Wolf, L. E., Patel, M. J., Tarver, B. A. W., Austin, J. L., Dame, L. A., Beskow, L. M. (2015). Certificates of confidentiality: protecting human subject research data in law and practice.The Journal of Law, Medicine Ethics,43(3), 594-609. Wyder, M., Bland, R., Blythe, A., Matarasso, B., Crompton, D. (2015). Therapeutic relationships and involuntary treatment orders: Service users' interactions with health?care professionals on the ward.International journal of mental health nursing,24(2), 181-189. Zuriguel Prez, E., Lluch Canut, M. T., Falc Pegueroles, A., Puig Llobet, M., Moreno Arroyo, C., Roldn Merino, J. (2015). Critical thinking in nursing: scoping review of the literature.International journal of nursing practice,21(6), 820-830.
Sunday, December 1, 2019
Stradano’s Allegorical Invention of the Americas in Late Sixteenth
Stradano’s Allegorical Invention of the Americas in Late Sixteenth-Century Florence part 1 Essay by LIA MARKEY This essay situates Giovanni Stradano’s engravings of the discovery of the Americas from the Americae Retectio and Nova Reperta series within the context of their design in late sixteenthcentury Florence, where the artist worked at the Medici court and collaborated with the dedicatee of the prints, Luigi Alamanni. Through an analysis of the images in relation to contemporary texts about the navigators who traveled to the Americas, as well as classical sources, emblems, and works of art in diverse mediaâ€â€tapestry, print, ephemera, and frescoâ€â€the study argues that Stradano’s allegorical representations of the Americas were produced in order to make clear Florence’s role in the invention of the New World. Outline1 INTRODUCTION2  STRADANO, ALAMANNI, AND THE ACCADEMIA DEGLI ALTERATI3 SOURCES AT THE MEDICI COURT4 AMERICA UNVEILED INTRODUCTION We will write a custom essay on Stradano’s Allegorical Invention of the Americas in Late Sixteenth-Century Florence part 1 specifically for you for only $16.38 $13.9/page Order now In the late 1580s, nearly a century after the travels of Columbus and Vespucci, Giovanni Stradano (also known as Jan Van der Straet and Johannes Stradanus, 1523–1605) designed engravings in two print series representing the discovery of the New World. In the renowned prints navigators are fashioned as mythological heroes, and Stradano’s images suggest a fantasia, or dream, rather than a record of newsworthy events. The Americae Retectio series includes an elaborate frontispiece (fig. 1) and three prints (figs. 2–4) in chronological order that depict Christopher Columbus Giovanni Stradano, Frontispiece for the Americae Retectio series, late1580s. Engraving. Private collection. (1451–1506), Amerigo Vespucci (1454–1512), and Ferdinand Magellan (1480–1521).1 Two prints from Stradano’s Nova Reperta series similarly unite allegorical imagery with captions to portray Vespucci’s encounter with the New World (figs. 5 and 6).2 The Nova Reperta series includes nineteen prints, each representing a different invention or discovery of the recent centuries, ranging from the cure for syphilis to the production of silk.3 Stradano’s four Americae Retectio prints and these two Nova Reperta prints possess similar iconography, and all were dedicated to members of the Alamanni family and first printed by the Galle publishing house in the late 1580s and early 1590s. Giovanni Stradano, Columbus in the Americae Retectio series, late1580s. Engraving. Private collection. Since the late sixteenth century, Stradano’s prints depicting the Americas have been used as artistic sources by artists and printmakers, and more recently as illustrations for scholars writing about the interaction between the Old and New Worlds. The roles of both Stradano and the Alamanni in the creation of the prints have often been disregarded, and they are frequently solely attributed to the Flemish printmaker and publisher. In the early seventeenth century, the Northern printmaking family, the De Brys, reproduced the Americae Retectio series with few alterations, and the Stradano designs are therefore often mistakenly attributed to the De Brys.4 Since Michel de Certeau’s use of Stradano’s America image (fig. 5) from the Nova Reperta series on the frontispiece of his 1975 The Writing of History, Stradano’s prints and their reproductions by De Bry have served to illustrate Giovanni Stradano, Vespucci in the Americae Retectio series, late 1580s.Engraving. Private collection countless texts about the discovery of America and colonialism.5 Despite the popularity of the images, and the recent fascination with promoting Stradano’s America in particular as a representation of the colonial Other, the works have not been fully considered within the context in which they were produced, and even their complex iconography remains largely unexplored.6 Most recently, Michael Gaudio has called for a reevaluation of Stradano’s America in relation to ‘‘the very real space of the engraver’s Giovanni Stradano, Magellan in the Americae Retectio series, late Giovanni Stradano, Magellan in the Americae Retectio series, late 1580s. Engraving. Private collection. workshop where this print was made.’’7 Yet this print was conceived, not in the engraver’s workshop, but rather on Stradano’s page. The prints were repositories of factual and fictional information gathered by reading, speaking, and writing about these celebrated navigators among a circumscribed group of individuals in Florence. This study argues that the America print, along with Stradano’s five other New World images, must be examined together within the context of his circle. The first part of this study therefore establishes the cultural environment of the prints’ production in late sixteenth-century Florence. Examination of Stradano’s experience as a print designer and Medici court artist, and of Luigi Alamanni’s involvement in the Florentine Accademia degli Alterati, provides critical insight into the creation of these images.8 Stradano designed the prints around the time of Ferdinando de’ Medici’s (1549†“1609) 1588 accession as Grand Duke. Previously Stradano had been involved in the creation of allegorical paintings, ephemera, and cartography Giovanni Stradano, America in the Nova Reperta series, late 1580s. Engraving. Bridgeman-Giraudon/Art Resource, NY. for Medici propaganda under Ferdinando’s father, Grand Duke Cosimo de’ Medici (1519–74), and his brother, Grand Duke Francesco de’ Medici (1541–87). At the Medici court he would have encountered objects from, texts about, and images of the New World. Though the Medici were not involved in the colonization of the Americas, and they themselves were subsumed under the sovereignty of Spain, Grand Duke Ferdinando sought to strengthen cultural and economic ties with the New World during his reign. The second part of the essay closely examines the text and image of each print in relation to this milieu. Captions on the prints, chosen by the Alamanni, and Stradano’s inscriptions on the related preparatory drawings reveal specific sources for, and ideas behind, the conception of the images.9 Using the textual materials available about the New World and stimulated both by contemporary epic literature written about the navigators and by ancient sources such as Lucretius, Stradano produced allegorical images that borrow from emblems and imprese, court frescoes, festivals, tapestries, cartography, and other printed images. These other media provided an allegorical visual language that was familiar to sixteenthcentury viewers. The Astrolabe in the Nova Reperta series, late 1580s. Engraving. , Rare Book and Manuscript Library, Columbia University in the City of New York. width=581 height=425 /> Giovanni Stradano, The Astrolabe in the Nova Reperta series, late1580s. Engraving. , Rare Book and Manuscript Library,Columbia University in the City of New York. media provided an allegorical visual language that was familiar to sixteenthcentury viewers. According to Jose ´ Rabasa, in Stradano’s prints and especially the America engraving, ‘‘newness is produced by means of discursive arrangements of more or less readily recognized descriptive motifs.’’10 These ‘‘descriptive motifs’’ to which Rabasa alludes are produced through the construction of complex allegorical narratives comprised of emblematic compositions that incorporate the representation of gods and navigators alongside personifications of the New World, fantastical monsters, hybrid creatures, and ancient gods. These discursive and anachronistic images would have seemed customary, and would have been comprehensible, to the prints’ late sixteenth-century audience. Yet as Sabine MacCormack has explained, there were ‘‘limits of understanding’’ in constructions of the New World, for images â⠂¬ËœÃ¢â‚¬Ëœdid not on their own lead to a significantly new perception of Greco-Roman antiquity or of the Americas.’’11 By framing the New World in recognizable allegorical imagery, Stradano’s engravings could declare the novel idea that the New World was a Florentine invention and patriotically revel in these discoveries.12 In his seminal study on mythology and allegory in the Renaissance, The Survival of the Pagan Gods, Jean Seznec writes that ‘‘basically, allegory is often sheer imposture, used to reconcile the irreconcilable.’’13 Indeed, these images do just that: theymake no reference to the Spanish, overtly connect the New World to Italy, and, with the figure of Vespucci in particular, highlight Florence’s role in the discovery. Fraught with temporal clashes between the old (pagan mythology) and the new (the discovery and invention of the Americas) the prints, disseminated throughout the world, made America part of Florence ’s history, even though in reality the New World played a small role in Florence’s past and present. This claim could be made only through the language of allegory because implicit in allegory lies fantasy and the notion that the representations are imaginary.  STRADANO, ALAMANNI, AND THE ACCADEMIA DEGLI ALTERATI As is common in sixteenth-century engravings, the captions on the prints make clear that their production was the result of a collaboration between the designer or inventor (Stradano), the printmaker and publisher (Galle and Collaert), and the dedicatee or patron (the Alamanni). A Flemish artist who began working at the Medici court sometime before 1554 first as cartoon designer for Grand Duke Cosimo’s new tapestry workshop and then as an artist under Giorgio Vasari (1511–74), Stradano was by the 1560s a relatively well-known independent artist living in Florence.14 He was an active member of the Accademia del Disegno and secured commissions for paintings and frescoes at the Medici court and also from private patrons and churches in Tuscany. Stradano was also involved in the production of several court festivals and weddings, and in the 1570s he worked briefly in Naples and in Flanders for John of Austria.15 The artist is best known for his large number of preparatory drawings for prints and tapestries that illustrate and document life at the Medici court, significant battles, hunts, as well as other current events, and religious subjects. Stradano established a partnership with the Galles, a family who ran a print publishing house in Antwerp, where most of his print designs, such as the engravings in these two series, were produced initially under Philips Galle (1537–1612).16 The family business was subsequently taken over by Philips Galle’s son, Theodor (1571–1633), and then his grandson Johannes (1600–76). Accordingly, the first two editions of the Americae Retectio prints cite Philips Galle as the printer and Philips’s son-in-law, Adriaen Collaert (1560–1618), as the engraver, while the second edition names Johannes Galle as the printer.17 Similarly, the first edition of the Nova Reperta series labels Philips Galle as the printer of the first edition, and then Theodor and Johannes Galle are credited with the two subsequent editions.18 A comparison between the engravings themselves and Stradano’s six finished preparatory drawings for the prints  five are in the Laurentian Library in Florence and the ‘‘America’’ print is housed in The Metropolitan Museum of Art in New York City (fig. 7)  makes clear that the Galles reproduced Stradano’s drawings with great precision and had little input into the content or style of the prints. They did, however, likely control when the prints would be published, how much they cost, and where they would be sold and distributed. Though little is known about the dissemination of the prints and though the prints are undated, a 1589 date on the Vespucci preparatory drawing in the Americae Retectio series (Laurentian Library) provides a d ate for Stradano’s drawings and suggests that the prints were produced soon after this time.19 It is believed that at least four editions of the Nova Reperta series were printed between 1591 and 1638, and that the Americae Retectio series was first printed in 1589 and then reissued in 1592 for the one-hundredth anniversary of Columbus’s discovery.20 Luigi (1558–1603) and Ludovico Alamanni are both cited as ‘‘noblemen of Florence’’ in the caption on the Americae Retectio frontispiece, but only America, late 1580s. Pen and brown ink, brown wash, heightened with white, over black chalk. New York, Metropolitan Museum of Art. Image copyright The Metropolitan Museum of Art/Art Resource, NY. width=614 height=464 /> Giovanni Stradano, America, late 1580s. Pen and brown ink, brown wash, heightened with white, over black chalk. New York, Metropolitan Museum of Art. Image copyright The Metropolitan Museum of Art/Art Resource, NY. Luigi is named on the Nova Reperta frontispiece.21 Gert Jan Van der Sman has pointed out that Stradano refers to Luigi Alamanni as the auctor intellectualis, or ‘‘intellectual advisor,’’ of many of his print designs in various inscriptions on preparatory drawings and sketches, and has considered Alamanni’s scholarship as a catalyst for many of Stradano’s designs.22 Luigi Alamanni commissioned other works by Stradano, such as a series of drawings of Dante’s Divine Comedy, a series illustrating Homer’s Odyssey, and some of the prints from a series representing different types of hunting.23 Most of the preparatory drawings for the Americae Retectio prints and the drawings for the Dante series are today located in the same archival album of the Laurentian Library in Florence, indicating that they were conserved together by the Alamanni.24 The dates of the sheets, including the date on one of the American drawings, range from 1587 to 1 589, indicating that they were produced in Florence during this two-year period of time. The album is composed of fifty-six drawings: fifty illustrate canti from the Divine Comedy, four are preparatory drawings for the Americae Retectio series, one is a preparatory drawing for the print of Vespucci and the astrolabe from the Nova Reperta series, and one is a preparatory drawing for the frontispiece for Stradano’s Calcius series  an unfinished series presumably dedicated to soccer.25 Alamanni wrote copious notes on Dante in this album, and perhaps even did some of the drawings in it, demonstrating that he was closely involved in the creation of Stradano’s images.26 He can also be credited with providing titles for the Dante drawings in the album, since his hand is visible on some of Stradano’s signed drawings. .ubaaf7aa6eff219fb77ed8af9005637b7 , .ubaaf7aa6eff219fb77ed8af9005637b7 .postImageUrl , .ubaaf7aa6eff219fb77ed8af9005637b7 .centered-text-area { min-height: 80px; position: relative; } .ubaaf7aa6eff219fb77ed8af9005637b7 , .ubaaf7aa6eff219fb77ed8af9005637b7:hover , .ubaaf7aa6eff219fb77ed8af9005637b7:visited , .ubaaf7aa6eff219fb77ed8af9005637b7:active { border:0!important; } .ubaaf7aa6eff219fb77ed8af9005637b7 .clearfix:after { content: ""; display: table; clear: both; } .ubaaf7aa6eff219fb77ed8af9005637b7 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ubaaf7aa6eff219fb77ed8af9005637b7:active , .ubaaf7aa6eff219fb77ed8af9005637b7:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ubaaf7aa6eff219fb77ed8af9005637b7 .centered-text-area { width: 100%; position: relative ; } .ubaaf7aa6eff219fb77ed8af9005637b7 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ubaaf7aa6eff219fb77ed8af9005637b7 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ubaaf7aa6eff219fb77ed8af9005637b7 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ubaaf7aa6eff219fb77ed8af9005637b7:hover .ctaButton { background-color: #34495E!important; } .ubaaf7aa6eff219fb77ed8af9005637b7 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ubaaf7aa6eff219fb77ed8af9005637b7 .ubaaf7aa6eff219fb77ed8af9005637b7-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ubaaf7aa6eff219fb77ed8af9005637b7:after { content: ""; display: block; clear: both; } READ: European Renaissance ">That the preparatory drawings for the Americae Retectio series and for the Vespucci ‘‘Astrolabe’’ print returned to Florence after they were engraved, and were placed together in the album with these important Dante drawings, demonstrates that they were considered to be important collectibles for the Alamanni. In 1587, when Alamanni and Stradano were producing the Dante drawings representing hell, Galileo Galilei (1564–1642) presented two lectures to the Accademia Fiorentina on the ‘‘Shape, Site and Size of the Inferno of Dante.’’27 Thomas Settle proposes that the letters from Alamanni to Gal ileo from this period make clear that some of these illustrations in Alamanni’s album were created in conjunction with Galileo’s work, or that Galileo even had a hand in their design.28 The drawings of the navigators also include extensive notes, in Flemish and in Stradano’s hand, to the printmakers. Stradano wrote in the captions at the base of the drawings and added several explanatory notes in the margins in order to describe some of the iconography in the images to the printmakers.29 Therefore, these drawings included important notes and ideas of Galileo and Stradano that Alamanni felt were worthy of safekeeping. During the time in which Stradano was producing the preparatory drawings for the prints, Luigi Alamanni was an active member of the Accademia degli Alterati, a literary group for whom the discovery of the New World was a subject of inquiry. A smaller and more private academy in comparison with other Florentine Cinquecento academies, such as the Accademia Fiorentina and the Accademia della Crusca, the Accademia degli Alterati began in 1569 among a group of Florentine noblemen who met frequently to discuss theoretical and technical issues related to their own writing and to other authors, particularly ancient poets, as well as Dante, Ariosto, and Tasso.30 Members included individuals from prominent Florentine families, such as the Ricasoli, Neroni, Rucellai, Davanzati, and Albizzi. Two of the more famousmembers of the academy were Filippo Sassetti (1540–88), amerchant who traveled to India and whose letters from abroad are informative about India and the New World, and Giovanni Battista Strozzi (1551–1634), the author of both an epic poem about Vespucci and an elaborate Vespucci intermezzo for Prince Cosimo II de’Medici’smarriage celebration in 1608. In an undated document Strozzi wrote out a list of potential discussion topics for the Alterati: one of them included whether ‘‘the discovery of the Indies was damning or useful to our country.’’31 According to academy member Jacopo Soldani’s funeral oration for Alamanni, Luigi suggested that a poem be written about the navigator in order ‘‘to render more glorious his country.’’ Not coincidentally, Sassetti and Strozzi were writing about the Americas in the years just preceding Stradano’s design of these American prints for the Alamanni. Sassetti was an esteemedmember of the Academy before his travels around the world, and many of the letters that Sassetti wrote on his journey were sent to members of the group, such as Bernardo Davanzati, Pietro Vettori, Francesco Buonamici, and Strozzi.33 Although Sassetti does not write about his brief experience in America, some of his letters refer to the discoveries of Vespucci an d Columbus.34 In December 1585, Sassetti wrote passionately to his friend Michele Saladini, a Florentine merchant living in Pisa, of Columbus’s route and discovery, and then explained: ‘‘But to return to Columbus once more, I do not think that his glory was dictated by the action of the wind . . . and I in particular know this so much so that I have helped and urged our Tender one to write about it: a worthy work of such greatness and wonder as to compete with the story of Ulysses. ’’35 ‘‘Our Tender one’’ here is the Accademia degli Alterati’s pseudonym for Giovanni Battista Strozzi. The comment that Columbus’s story rivals Ulysses’s tale is intriguing, since Alamanni was involved with Stradano in producing an illustrated edition of Homer’s epic poem that never came to fruition. This citation from Sassetti’s letter clearly shows that already by 1585 Sassetti had contacted Strozzi about writing a poem about Columbus’s heroic travels. But Strozzi chose to write about Vespucci rather than Columbus.36 He likely began writing the poem in the mid-1580s, when he and Sassetti were obviously engaged in a discourse on the importance of writing about the Italian navigators.37 Strozzi could have also been influenced by Giulio Cesare Stella’s (1564–1624) epic poem about Columbus, and perhaps it was knowledge of Stella’s poem that provoked Strozzi to write of Vespucci inste ad of Columbus.38 In 1590, Il Colombeide (The Columbeis, 1589), Stella’s romantic text based on the writings of Gonzalo Ferna ´ndez de Oviedo y Valde ´s (1478–1557) and PeterMartyr d’Anghiera (1457–1526) and describing Columbus’s discovery and interaction with the natives, was sent to the Accademia degli Alterati.39 Certainly the Academy knew of Stella’s poem earlier, since it had already been published in a pirated version in London in 1585. Similar to Stella’s poem, Strozzi’s text about Vespucci boasts of the navigator’s Florentine origins and describes him as a mythological hero. The writings of Sassetti, Stella, and Strozzi, who were all involved in the Accademia degli Alterati, reveal that Alamanni and members of the Academy were discussing the accomplishments of Vespucci as well. That Luigi Alamanni wrote and read Sassetti’s funeral oration and that the two men exchanged letters, suggests that they were not only colleagues, but close friends as well.40 Stradano’s preparatory drawings for the prints were born out of these literary activities, which were related to the discovery of the New World as considered among the Alterati. SOURCES AT THE MEDICI COURT Stradano and Alamanni had other ways in which to gain information about the New World that might have provoked the production of these prints. Another Alamanni family member, Vincenzo di Andrea Alamanni (1537–91), had access to news about the Americas. From the late 1570s to the 1580s, he was an ambassador employed first by Grand Duke Francesco de’ Medici (1547–87) and then by Grand Duke Ferdinando de’ Medici to work at the Spanish court in Madrid, where he supplied information about imports from the Americas and sent updates about shipments being sent from Portugal to the Medici-controlled port at Livorno.41 It was Vincenzo Alamanni who was entrusted with the acquisition of Father Giovanni Pietro Maffei’s Historiarum indicarum (History of the Indies, 1588)â€â€a book about the conversion and history of the natives of both the New World and Asia  on behalf of Grand Duke Ferdinando.42 Before defining the significance of Maffei’s text for Stradano, it is necessary to expand on Grand Duke Ferdinando’s cultural politics in relation to the Americas, since Stradano’s prints evoke the interests of the duke during this first year of his dukedom. In 1588, Ferdinando left his position as cardinal in Rome to become Grand Duke of Florence, following the sudden death of his brother Francesco. In Rome he had been an avid collector of American objects, such as featherwork and hammocks: more importantly, he became the custodian of an important manuscript about Mexico, the Historia general de las cosas de Nueva EspanËÅ"a (General History of the Things of New Spain), a codex written by the Franciscan friar Bernardino de Sahagu ´n (1499–1590).43 This manuscript recording the history and nature of New Spain was banned by King Philip II and was likely entrusted to Ferdinando because he was cardinal protectorate of the Franciscan order and possessed an interest in the Americas. He brought these treasures to Florence and commissioned Ludovico Buti (1560–1611) to fresco American natives and a scene of the conquest of Mexico in his Armory, a space for entertaining visiting dignitaries. Though Ferdinando and his Medici predecessors had no concrete ties to the Americas, in subsequent years he would devote himself to the development of the port of Livorno and to the creation of a colonyâ€â€or at least an outpostâ€â€in the New World.44 Ferdinando’s support of the publication of Maffei’s book on the land, people, and conversion of the New World and Asia was therefore relevant to both his political agenda and to his religious and cultural interests. The patronage of the book began during his cardinalship and the text was ultimately published in 1588 after he became Grand Duke and while Stradano was working on these print designs. Stradano refers to Maffei’s text in an inscription on the verso of the preparatory drawing for the â⠂¬ËœÃ¢â‚¬ËœAmerica’’ print (fig. 5) for the Nova Reperta series.45 He writes with regard to one of the novel animals he portrayed in the drawing: ‘‘See volume II of the Bergomese Jesuit Pietro Maffei’s Historiarum Indicarum.’’46 Stradano used Maffei and other contemporary textual sources about the New World when designing the iconography of the prints in his Venationes (Animal Hunt) suite of 104 engravings, also printed by the Galle family, begun as early as 1570 and initially dedicated to the Medici.47 Several of the prints in the series depict natives in feather skirts and headdresses in idyllic landscapes, where they are seen procuring birds, animals, and pearls in great abundance and using novel means. For example, the print for the ‘‘American Indians catching geese with gourds’’ (fig. 8) illustrates an unusual style of hunting that was described in great detail in Oviedo’s De la natural hystoria de las Indias (Natural History of the Indies, 1526).48 These same Native Americans are also depicted in the scene of natives using pelicans to fish, a Chinese method of fishing with birds described in Maffei’s History.49 Stradano also used Jose ´ de Acosta’s (1539–1600) Historia natural y moral de las Indias (Natural and Moral History of the Indies, 1590) for his preparatory drawings for a never-produced print of ‘‘Indians smoking out animals.’’50 This was another unusual means of hunting in which Mexicans set fire to land in order to force animals out of hiding and then capture them.51 In comparison with the images of hunters in the Venationes series, Stradano’s New World representations in the Americae Retectio and the Nova Reperta appear fanciful. While many of the hunt prints are certainly imaginary, their subject matter and the series as a whole are more ethnographic in conception, endeavoring to portray realistic representations of different types of hunting throughout the world. By contrast, while perhaps also based on the writings of Maffei, Oviedo, and Giovanni Stradano, Indians Hunting for Geese with Gourds in theVenationes series, 1580s. Engraving. , Rare Book andManuscript Library, Columbia University in the City of New York. de Acosta, the Americae Retectio and Nova Reperta prints of the Americas neither reflect current events nor endeavor to portray the New World realistically. In this way, they are more similar to some of the allegorical paintings and cartography produced at the Medici court. As a member of the Accademia del Disegno in Florence and as a participant in Vasari’s workshop at the court, Stradano would have been continually confronted with the use of emblems and imprese in art.52 For instance, Stradano likely aided Vasari with the frescoes in the Sala degli Elementi in the Palazzo Vecchio from the late 1550s, which were commissioned by Duke Cosimo and employed imprese.53 Two of Vasari’s frescoed walls, like each of Stradano’s prints, feature a hero or god in the center of the composition acting out a narrative: Saturn is offered fruits on one wall and Venus rises from the sea (fig. 9) on the adjacent wall.54 In the waters surrounding these figures emblematic compositions  such as a symbol of abundance with her cornucopia (at left on the Saturn wall); a turtle with a sail alluding to one of Cosimo’s favorite mottos borrowed from Augustus, festina lente (‘‘make haste slowly,’’ at right on the Saturn wall); and a triton blowing into a shell, representing fame (at right on the Venus wall)â€â€reveal different aspects of Medici power. Francesca Fiorani has shown how these emblematic frescoes in the Palazzo Vecchio communicated Medici control over the cosmos in a similar way as the cartography produced at the court.55 Stradano himself made maps for the private rooms in the Palazzo Vecchio and was ce rtainly aware of the traditional use of allegory in cartography.56 .u5831c7045b77c18b8eda858cfaa3a2ef , .u5831c7045b77c18b8eda858cfaa3a2ef .postImageUrl , .u5831c7045b77c18b8eda858cfaa3a2ef .centered-text-area { min-height: 80px; position: relative; } .u5831c7045b77c18b8eda858cfaa3a2ef , .u5831c7045b77c18b8eda858cfaa3a2ef:hover , .u5831c7045b77c18b8eda858cfaa3a2ef:visited , .u5831c7045b77c18b8eda858cfaa3a2ef:active { border:0!important; } .u5831c7045b77c18b8eda858cfaa3a2ef .clearfix:after { content: ""; display: table; clear: both; } .u5831c7045b77c18b8eda858cfaa3a2ef { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5831c7045b77c18b8eda858cfaa3a2ef:active , .u5831c7045b77c18b8eda858cfaa3a2ef:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5831c7045b77c18b8eda858cfaa3a2ef .centered-text-area { width: 100%; position: relative ; } .u5831c7045b77c18b8eda858cfaa3a2ef .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5831c7045b77c18b8eda858cfaa3a2ef .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5831c7045b77c18b8eda858cfaa3a2ef .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5831c7045b77c18b8eda858cfaa3a2ef:hover .ctaButton { background-color: #34495E!important; } .u5831c7045b77c18b8eda858cfaa3a2ef .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5831c7045b77c18b8eda858cfaa3a2ef .u5831c7045b77c18b8eda858cfaa3a2ef-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5831c7045b77c18b8eda858cfaa3a2ef:after { content: ""; display: block; clear: both; } READ: Carolingian Renaissance EssayHe would have known well Egnazio Danti’s (1536–86) and Stefano Buonsignori’s (d. 1589) painted maps in Cosimo’s Guardaroba Nuova, a collection space comprised of cabinets decorated with different parts of the world, begun in 1563 and left unfinished in the 1580s.57 Here the artists-cartographers incorporated fantastic and mythological creatures in their stunningly accurate portrayals of different regions. In Stradano’s prints the visual morphology of allegory, as seen in Vasari’s frescoes and in maps produced at the Medici court, are united with knowledge about the New World acquired through circulating texts and news in order to convey a message regarding Florence’s propitious role in the Americas. AMERICA UNVEILED The frontispiece of Stradano’s Americae Retectio series serves to introduce this celebratory print series. It exhibits an elaborate mythology rejoicing inthe retectio, or discovery, of the Americas as an Italian endeavor. Giorgio Vasari, Cristofano Gherardi, and workshop, Birth of Venus,1555. Fresco. Florence, Sala degli Elementi, Palazzo Vecchio. Alinari/Art Resource,NY. the retectio, or discovery, of the Americas as an Italian endeavor. Though Magellan, a Portuguese explorer, is featured as the fourth print in this series, significantly, there is no reference to him or to his Portuguese origins on the frontispiece. In the frontispiece the gods Flora and her husband Zephyr (symbols of Florence), Janus and a pelican (a symbol for Genoa), and Oceanus (a symbol for sea travel) present a globe, while set within medallions at the top of the sheet are the two Italian navigators, Christopher Columbus and Amerigo Vespucci. At the upper corners of the composition, other symbols for Florence and Genoa, namely, Mars and Neptune, ride chariots. Thus, Florence, Vespucci’s birthplace, is represented at left in the composition with images of Mars, Flora, and a portrait of Vespucci himself, while Genoa, Columbus’s birthplace, is represented at right with Neptune, Janus, and a portrait of Columbus. This entire scene floats above the waters off the west coast of Italy, allowing an Italocentric view of land at the bottom of the composition to highlight the cities of Florence and Genoa, again reminding the viewer of the origins of the navigators portrayed above. Stradano quite likely emulated another triumphant work of art when he designed this frontispiece.58 The organization of the composition of the Americae Retectio frontispiece print closely resembles a tapestry from The Spheres series produced in Brussels around 1530 for John III of Portugal (1502–57) and his new Habsburg wife Catherine of Austria (1507–78). These three tapestries, each featuring a sphere held by mythological figures and attributed to the design of Bernard van Orley (1491–1542), glorify the discoveries of the Portuguese navigators during a period in which Portugal was at the height of its mercantilist power, with possessions in both Asia and Africa.59 Jerry Brotton writes of the final tapestry in the series, representing earth held by Jupiter and Juno (fig. 10): ‘‘In one breathtaking visual conceit the globe visualizes claim to geographically distant territories, whilst also imbuing his claims with a more intangible access to esoteric cosmological power and authority reflected in the celestial iconography which surrounds the central terrestrial globe.’’60 As a Northern tapestry designer, Stradano could have known firsthand, or heard descriptions of, these renowned textiles. While he emulates the basic composition of Van Orley’s tapestry of Jupiter and Juno, he substitutes different gods and turns the globe upright to make the New World and Europe most prominent. In mimicking this propagandistic tapestry boasting of Portugal’s navigational and commercial prowess, Stradano usurped its message of power and glory on behalf of these two Italian navigators. Within the iconographic framework of Van Orley’s tapestry, Stradano in his print includes many more emblematic figures, as well as small details, portraits, and a map to emphasize Italy’s role in the discovery. Below the dove at the top of the print, navigational devices, namely a sextant and a compass, represent the tools the explorers used to make the journeys possible. The minuscule ships depicted on the globe represent Columbus’s and Vespucci’s voyages and are more subtle indicators of the travels of the two navigators. The frontispiece also recalls preparatory drawings for, and commemorative prints of, ephemeral events at the Medici court. The images of the two gods aboard chariots recall the floats that were paraded down the Arno or in the Pitti Palace courtyard in Medici festivals, as well as wedding celebrations, such as the boats and seascape scenes used in the 1579 wedding between Grand Duke Francesco and Bianca Cappello (1548–87) (fig. 11), and in the Attributed to the design of Bernard Van Orley, The Earth Protectedby Jupiter and Juno, 1530s. Tapestry. Madrid, Palacio Real. intermezzo for the 1589 celebration for Ferdinando’s wedding.61 For the drapery held by Flora and Janus, Stradano might have also looked to triumphal arches in public Florentine processions, where pagan gods would flank a coat-of-arms and drapery was used as decoration on arches and on the facades of churches for special events. As a court artist who worked on the production teams of various Medici festivals and public events, Stradano Artist unknown, Parade boat for the wedding of Francesco I de’ Medici to Bianca Cappello in Raffaello Gualterotti, Feste delle nozze del serenissimo Don Francesco Medici Duca di Toscana et della serenissima sua consorte Bianca Cappello. Florence, 1579. Woodcut. Spencer Collection, The New York Public Library, Astor, Lenox and Tilden Foundations. width=590 height=425 /> Artist unknown, Parade boat for the wedding of Francesco I de’Medici to Bianca Cappello in Raffaello Gualterotti, Feste delle nozze del serenissimoDon Francesco Medici Duca di Toscana et della serenissima sua consorte BiancaCappello. Florence, 1579. Woodcut. Spencer Collection, The New York PublicLibrary, Astor, Lenox and Tilden Foundations. would have been quite familiar with this style of representation and its triumphal intent. The portraits of the two navigators within the medallions at the top of the image, combined with the blatant omission of Magellan, are perhaps the most overtly Italianist aspects of the print. For the portrait of Vespucci, Stradano likely copied a dubious portrait of the navigator painted by Domenico Ghirlandaio (1449–94) in a fresco of the Madonna della Misericordia in the family chapel in Ognissanti church in Florence (fig. 12). It is not certain whether the figure at the far left in the Ghirlandaio fresco that recalls Stradano’s portrait actually represents Amerigo Vespucci, especially since Vespucci, who in the fresco looks to be an adult, would have been an adolescent when the fresco was painted in the 1470s. But Vasari’s having written in his Le Vite delle piu` eccellenti pittori, scultori, ed architettori (The Lives of the Most Excellent Painters, Sculptors and Archi tects, 1550) that the navigator was represented in the fresco, demonstrates that among sixteenth-century Florentines it was thought to be a true likeness of Domenico Ghirlandaio, Madonna della Misericordia, 1470s. Fresco. Florence, Vespucci chapel in Ognissanti church. Scala/Art Resource, NY. the explorer.62 Stradano reuses this same profile of Vespucci wearing a late fifteenth-century style hat in all of his representations of the navigator in his other prints.63 Stradano’s portrait of Columbus was most certainly based on the portrait of the navigator first produced for Paolo Giovio’s (1483–1552) portrait museum and then reproduced both in Paolo Giovio’s Elogia virorum bellica virtute illustrium (Praise of Men Illustrious for Courage in War, 1575) (fig. 13) and in a portrait within the Medici collection.64 This portrait type became the standard iconography for Columbus, and can be seen in many other portraits of the navigator, both painted and in print.65 Stradano used the most well-known images of the explorers to make them easily recognizable to his viewers. With their names and origins inscribed around their likenesses, the medallions in Stradano’s print recall commemorative numismatics and endow these likenesses with antique grandeu r. The spatially manipulated map of the Tuscan and Ligurian coast at the very bottom of the image makes clear that the discovery of the New World began from the northwestern coast of Italy, specifically from the navigators’ hometowns, Florence and Genoa. Here the west coast of Italy is reoriented so that it is featured at the base of the page. Though Florence is actually a good distance from the coast, it is depicted prominently at the lower left of the map with an entire cityscape, quite close to the water’s edge and framing the view of the coast. The Medici port of Livorno is also highlighted at the left with an image of a Medici fortress. Other important port towns are labeled and illustrated similarly with recognizable buildings. Genoa marks the very center of the map and is a larger coastal town in comparison with smaller towns labeled Cogoreto, Albizola, Savona. Cogoreto and Savona are included on the map likely because Oviedo wrote that Columbus might have been from one of these towns outside of Genoa.66 By reorienting Columbus’s and Vespucci’s birthplaces on the map, Stradano appoints these Italian cities as the starting points for the discovery of the New World. Stradano’s distorted map closely resembles Egnazio Danti’s map of Liguria in his frescoes in the Vatican (fig. 14) painted from 1580 to 1581, indicating either that the two one-time Medici court artists used the same source to depict the coast or that Stradano knew Danti’s frescoes in Rome.67 Within Danti’s map a detail of Neptune in a chariot leading an allegory of Columbus holding a compass includes tritons, fantastical sea creatures, and Tobias Stimmer, Columbus, in Paolo Giovio, Elogia Virorum BellicaVirtute Illustrium, Basel, 1575. Woodcut. Print Collection, Miriam and Ira D.Wallach Division of Art, Prints and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations. a banner stating, ‘‘Christopher Columbus of Liguria: Discoverer of the New World’’ (‘‘Christophorur Columbus Ligur. Novi Orbis Repertor’’). The use of allegory and inscription in Danti’s cartography are in the same vein as Stradano’s allegory of Genoa both in the frontispiece and in the Columbus print. Danti’s and Stradano’s maps  with their manipulated westward view of the coast of Italy, heroic representation of Columbus, and boastful Latin inscriptions  reveal the way in which cartography and allegory were used as cultural propaganda. Though Stradano is credited for the design of the image on the frontispiece, it was likely the literary scholar Alamanni who chose the Egnazio Danti, Liguria, 1580. Fresco. Vatican, Gallery of Maps. Scala/Art Resource, NY. erudite Latin inscription for the caption below the image.68 The print’s caption includes the characteristic signature of the artist and printmaker at left and the dedication to the ‘‘noble Alamanni brothers’’ at right. Both the preparatory drawing and the print include an interrogative title in the center between the artist’s signature at left and the patrons’ names at right: ‘‘QUIS POTIS EST DIGNUM POLLENT PECTORE CARMEN CONDERE PRO RERUM MAIESTATE, HISQUE REPERTIS?’’, which translates as: ‘‘Who is able to compose a song worthy of a powerful heart on behalf of the majesty of these things that have been discovered?’’ These Latin words are the first lines from book 5 of Titus Lucretius Carus’s (99–55 BCE) De Rerum Natura (On the Nature of Things) written in the first century BCE. By the sixteenth century the De Rerum Natura was available in several printed editions and was scrutinized within literary circles both as a significant scientific treatise and as a work of great poetry that was thought to have inspired Virgil.69 The De Rerum Natura likely formed part of the readings and discussion of the members of the Accademia degli Alterati, who were at this time emulating the epic poetic form of Virgil.70 Lucretius’s discussion of technology and invention could have likewise shaped Alamanni’s conception of both of Stradano’s print series, documenting the new inventions and discoveries of early modern man. The last lines of book 5 of Lucretius, in particular, describe the idea of progress in a manner that recalls the prints in the Nova Reperta series: Ships, farms, walls, laws, arms, roads, and all the rest, Rewards and pleasures, all life’s luxuries, Painting, and song, and sculpture  these were taught Slowly, a very little at a time, By practice and by trial, as the mind Went forward searching. Time brings everything Little by little to the shores of light By grace of art and reason, till we see All things illuminate each other’s rise Up to the pinnacle of loftiness. Like Lucretius, whose poem lists the various new inventions of his time, Stradano’s Nova Reperta prints each represent a different result of progress in the sixteenth century, illustrating many of the examples that Lucretius cites, including ships, arms, and painting. Lucretius’s discussion of early man is also intriguing with regard to Stradano’s prints because it corresponds with many sixteenth-century descriptions of the people of the New World: People did not know, In those days, how to work with fire, to use The skins of animals for clothes; they lived In groves and woods, and mountain-caves †¦ Relying on their strength and speed, they’d hunt The forest animals by throwing rocks Or wielding clubs  there were many to bring down. The idea of the unclothed noble savage who hunts wild animals with a club is here described in Lucretius in a similar way that many sixteenth-century sources described the New World native, and like Stradano depicts the native in many of his hunt prints. For instance, Alison Brown has shown that Vespucci’s writings about the New World ‘‘were interpreted within the conceptual framework of Lucretius’’ in early sixteenth-century Florence.73 Though written in the first century BCE, the De Rerum Natura must have appeared shockingly modern and comprehensible to these sixteenth-century scholars who were considering new inventions and discoveries, and trying to comprehend progress and this previously unknown land often equated with antiquity. Lucretius’s evocative question used in the caption  ‘‘who is able to compose a song worthy of a powerful heart on behalf of the majesty of these things that have been discovered?’’  could have also been understood as a literal challenge to poets contemporaneously writing about the discovery. Perhaps the caption even alludes to Stella’s Columbeidos and Strozzi’s text about Vespucci’s journey. Here Stradano has not chosen to write a song, but has rather designed images ‘‘on behalf of the majesty of these things that have been discovered.’’ By referring to this other medium, the song or poem, within his own engraving, Stradano has commented on the paragone debate between the different arts, and has shown that the print is the ‘‘worthy’’ medium for depicting this ‘‘majesty.’’ The following three prints in the series thus represent visual prin ted songs dedicated to each discoverer.
Tuesday, November 26, 2019
Essay on Gender Inequality from the Perspective of Act Utilitarianism
Essay on Gender Inequality from the Perspective of Act Utilitarianism Essay on Gender Inequality from the Perspective of Act Utilitarianism Essay on Gender Inequality from the Perspective of Act UtilitarianismOne of critical ethical issues in the modern society is gender inequality. This issue is ethically significant due to the following reasons: it disrupts social and corporate culture, affects interpersonal relations, demotivates women and pushes both men and women to act unethically. The purpose of this paper is to consider this ethical issue from the perspective of act utilitarianism and to consider the strengths and weaknesses of applying act utilitarianism to gender inequality. The key thesis of this paper is the following: from the perspective of act utilitarianism, gender inequality is morally wrong because it leads to the reduction of the total utility in the world; therefore, gender inequality should be eliminated.ApplicationMoral evaluation in act utilitarianism is based on the direct consequences of the actions or decisions and on the changes of the total utility (Mosser, 2013). An action or a decision is de emed as ethically desirable when the total utility (e.g. pleasure) for all involved stakeholders increases (Mosser, 2013). Furthermore, an action is deemed as ethically undesirable when the total utility decreases. In order to apply act utilitarianism to gender inequality, it is necessary to identify the main stakeholders in the case of gender inequality.Gender inequality can be defined as the advantage to men as a social group expressed in the form of higher authority, respect, monetary benefits, safety, access to power and institutional opportunities, housing and control over own life (Gensler, 2011). In the context of gender inequality, directly involved stakeholders are the representatives of both genders, men and women. Indirectly involved stakeholders include organizations, communities and the whole society. In order to evaluate gender inequality from the positions of act utilitarianism, it is necessary to assess total utility changes for each stakeholder group (Morales, 1996) .Essentially, gender inequality leads to negative consequences for women. In the areas where gender inequality is strong, women experience less respect, less authority, it is more difficult for them to find employment and to get an education. In some countries, women even do not have a right to choose own husband and to control own life choices like giving birth to children (UNFPA, 2014). Such situation causes suffering of women around the world and notably reduces total utility. As for men, they have some moderate gains in utility due to greater opportunities, greater power and respect, but there also exist negative aspects of gender inequality for men. In particular, mens denial of pain, discomfort and greater focus on physical activity contribute to mens shorter lifespan compared to women (Gensler, 2011). Therefore, there is moderate increase of total utility due to the benefits men have from gender inequality, which is partly offset by health consequences for men.Gender inequali ty has a dramatic impact on the decrease of total utility for businesses, communities and for the whole society. Gender inequality has a negative impact on public health resulting in higher rates of HIV/AIDS among women, increased spread of infectious diseases among women, teen pregnancies, etc. (UNFPA, 2014). Many women have to do unpaid work; such situation disrupts market mechanisms and affects economic growth (UNFPA, 2014). Gender inequality also leads to inefficient distribution of resources (mens activities preferred over womens) and reduces economic efficiency of organizations and of the society (UNFPA, 2014). Therefore, gender inequality reduces total utility for organizations, communities and for the society, and reduces the total utility for all considered stakeholders.StrengthsThe strengths of applying act utilitarianism in the context of gender inequality are as follows. Act utilitarianism can be applied to real-life situations and is context-sensitive (Parada-Contzen P arada-Daza, 2013). Furthermore, act utilitarianism allows to take into account the interests of all involved groups and can be used to making balanced moral decisions. Act utilitarianism is applied to specific moral issues in specific circumstances and focuses on the pleasure and absence of suffering for most people (Gensler, 2011), so its initial foundations are unlikely to be challenged (as opposed to the choice of deontological rules). In addition, utilitarianism is democratic in the sense that it relies on the outcomes that take effect for the majority.WeaknessesAct utilitarianism uses the concept of pleasure to determine total utility; however, the perception of pleasure can be different for different people and cultures (Mosser, 2013). Furthermore, the conclusions in act utilitarianism are based on the assessment of total utility for particular people or social groups. However, it is difficult to assess such utility in a precise way; for example, it is difficult to evaluate wh ether the increase of total utility for men due to gender inequality is greater than the increase of suffering for all women. In this context, act utilitarianism requires making certain assumptions basing on statistical data and on the premise that limitations and discrimination cause more suffering than their absence.ConclusionAccording to act utilitarianism, the changes of total utility for all stakeholders should be considered in order to determine the morality of gender inequality. The analysis shows that gender inequality greatly increases suffering and discomfort for women, moderately increases the well-being and pleasure of men and at the same time leads to negative health and lifespan outcomes for men. Furthermore, gender inequality creates economic inefficiencies in organizations and communities, disrupts relationships and has negative impact on public health. Therefore, according to act utilitarianism, it is possible to determine that gender inequality is morally wrong and it is necessary to eliminate it.
Friday, November 22, 2019
Grants and Artist-in-Residences are Awesome Opportunities
Grants and Artist-in-Residences are Awesome Opportunities Philanthropy is on the rise. Grants are plentiful, offering funding for publishing, research, workshops, writing, travel, individual/community projects, seminars and more. Grants often require an extensive application process. When applying, youll need a finely-honed mission and letters of recommendation from respected peers. When awarded a grant, youll be required to submit a final report detailing how you spent the funds. Sometimes a sample donation of your work will be requested. Grants are not simply free money. They involve many hours of work, but it is time well-spent. Grants have themes. Grant providers offer grants for specific purposes. Make sure that your project is a good match with the grantors parameters before you begin the application process. Some grants offer funding within specific geographic boundaries; is your geographical location a match? Clearly articulate how you will use the grant money. Include a detailed budget. And explain how this project matches the grants mission. Demonstrate that your requests match the funding guidelines. Explain how this grant will serve your professional career, help others (now and in the future) and expand the grantors mission. Â If you can communicate these three components, youll be a strong candidate. You need to create a verifiable connection between their goals and your dreams. Grants are about you, the grant funder and the impact the project will have on others. Ive received grants to attend writers conferences because improved writing skills helped at work. Once I applied for and received a little-known $4,000 governors grant for teaching excellence to complete graduate level writing courses. The local state educators association awarded me two $10,000 grants to produce a book with a companion CD about Native American music. The Quaker Lyman Fund funded two grants totaling $5,000 to produce a CD and to support writing and teaching about the importance of spiritual connections in retirement communities. A local bank offered a grant for a writing project for children. The Alex Tanous Foundation funded two summer projects to assist with projects which brought women to my home for 10-week classes. The Puffin Foundation offers grants to save something endangered. My grant project proposal was about saving authentic Native American music, which is also endangered. Two grants, assisting me in completing two music books, arrived. Grant funds can ma ke such a positive impact in bringing creative projects to completion! Artist-in-Residencies (AIRs) have also been welcome gifts during the past 10 years. When I accepted AIR positions at Sleeping Bear Dunes (MI), Acadia (ME), Crater Lake (OR) and Great North Cascades (WA) U.S. National Parks, it became obvious that those without an artistic bent were a bit confused about what I would be doing. Writing and offering one public presentation about my work, was my response. Is that all? some questioned. Yes, that was all. What gifts of time and inspiration! A month of time to create is a present that is difficult to describe. In preparation to apply, one needs to have a vision-a project plan. Make sure your calendar is clear, craft an AIR project on paper, gather references and complete the application. Each park offers a unique experience: Sleeping Bear Dunes reflects Native American legends of the Great Lakes, Acadias rockbound coast/islands strengthen the soul, Great North Cascades offers majestic mountains, wild rivers, mammoth trees and Crater Lakes mystical quality is magnetic! My fifth AIR on Marthas Vineyard at Turkeyland Cove for 17 days of solitude in a magnificent island house resulted in several publications. Hundreds of such opportunities are available all over the world. (Visit www.cafe.org .) Im a writer with a passion to bring written projects to completion. Letters are my tools and words are my medium. Inspirational opportunities abound, but one has to search for a good match and write a convincing pitch. Grants offer money and AIR programs offer inspirational opportunities to connect with beauty and serenity. These gifts will continue to enrich your work for many years.
Thursday, November 21, 2019
Chosse any theme and write after reading NADJA by ANDRE BRETON Essay
Chosse any theme and write after reading NADJA by ANDRE BRETON - Essay Example The story is not only a case-study of a woman with profound perception of the world and life, who later descends into madness, but also follows the writer’s personal transformation as well. (Watson et.al. 2002) The novel became a momentous contribution while the movement was still in its embryonic stage. The plot revolves around the author’s obsession with a woman named Nadja, whom he meets in Paris. She haunts the author for a considerable amount of time, but by the end of the novel she is institutionalized after being diagnosed with ‘schizophrenia’. It is a tragic fate for Nadja, but her insanity is deemed as the prime source of conflict for the narrator and paves the path of self-discovery for him. While Nadja loses herself in an asylum, the author subsequently finds himself through the establishment of surrealist consciousness. The relationship between Nadja and the author is described through vague metaphors in a non-linear fashion with 44 pictures that depict pictures of their rendezvous points, Nadja’s sketches and surrealist art. Conception of surrealist notions was triggered by the psychodynamic paradigm that proposed that thought processes and behaviors were caused by the interaction between conscious and the unconscious mind. According to this paradigm, the main driving force behind such interaction is an individual’s sex drive or libido. However, unlike using the model to understand or resolve mental conflicts, surrealists use it as a form of artistry. The surrealist elements are not only ostensible through the notions discussed in the novel, but the sentence structuring and vocabulary also contain the same essence. Besides the titular character that embodied mystery, the vocabulary and metaphors are most cryptic in nature and give the novel the elements of both poetry and a prose. Nadja herself had been an avid lover of various surrealist artists and writers,
Tuesday, November 19, 2019
Respond to the discussion about Aristotle (for online Essay
Respond to the discussion about Aristotle (for online class-introduction to Ethics) - Essay Example There is nothing we can call as â€Å"ultimate†goal. 2. I disagree with you when you visualize Aristotle’s opinion as belonging to a different time frame i.e. Greek. I think what he is talking about is one of the most fundamental realities of life that never change with time. However, I completely agree with you when you refer to the â€Å"proper function†as â€Å"a higher fulfillment of life†. There is no such think as â€Å"perfect†in this world. But we tend to achieve the maximum in the effort of achieving the perfection. Everything has a room for improvement, and therefore, â€Å"proper function†should always be visualized as something â€Å"higher†. 3. You have made a good attempt to interpret Aristotle’s meaning of â€Å"proper function†, though I have slight reservations in accepting particularly when you say that â€Å"everything that we as human beings aim at is good†. That is not always the case. What about the robbers and serial killers who aim at killing people for their personal benefits? When we generalize certain facts for all members of the society, we need to be watchful of all members who positively â€Å"and†negatively affect the society. 4.
Saturday, November 16, 2019
Business Studies Customer Needs Essay Essay Example for Free
Business Studies Customer Needs Essay Essay ‘Lees Heginbotham Sons Ltd ’provide floor covering and high quality carpets all over the UK. The services that it provides are: * free estimating, * free carpet removal, * a quality fitting to your standard * a free car park adjacent to the shop. * Competition? ‘Lees Heginbotham Sons Ltd’ has quite a bit of competition. It is placed close to the ‘Spindles Shopping Centre’. Also there is another carpet shop quite close by to ‘Lees Heginbotham Sons Ltd’ called ‘Roll Ends’. But ‘Lees Heginbotham Sons Ltd’ is placed just off a high street and advertises around the country. Also, just about a mile away is another carpet shop, placed in the middle of a retail park. This could offer some competition for ‘Lees Heginbotham Sons Ltd’. This is an image of the carpet right about a mile away from ‘Lees Heginbotham Sons Ltd’.’Carpet Right’ is surrounded by other shops and is placed in a retail park. This is a bonus for customers to go to ‘Carpet Right’ because there are other furniture/carpet shops in the retail park and a there is a bigger car park. ‘Carpet Right’ is also placed around a busy motorway, so this means that many people passing will know that there is a carpet shop and probably go there in the future. * Where is it? This map shows ‘Lees Heginbotham Sons Ltd’ symbolised by the ‘A’ marker. This shows the regional area around the shop. As you can see, the shop is near to Manchester and has an excellent motorway link which can enable customers to travel to the shop conveniently. The satellite map above shows ‘Lees Heginbotham Sons Ltd’ via the green circle. It also shows ‘Spindles Shopping Centre’ by the red circle. The blue circle shows ‘Lees Heginbotham Sons Ltd’ competition ‘Roll End Carpets’. The map also shows the surrounding area of the shop and the local businesses of the shop. There are also a number of bus stops around the shop; this allows customers to travel to the business easily. There is also a tram link currently being made on ‘Union Street’ and this will then enable customers to travel to the shop easily and quickly. * The shop The picture above shows the front of the shop. As you can see the name of the business is clearly displayed all the way round it. This picture shows the inside of the shop. As you can see there are many rolls of carpets on display so the customers can experience the carpets before they buy it. This picture shows the rear of the shop. As you can see there is a car park for the customers. * The website This is a screen shot of the Google search I did to see how easy it was to find my business on the internet. As you can see it is the fifth business to come up on the search engine so it is very easy for the customers to find it. Here is a screenshot of the home page of ‘Lees Heginbotham Sons Ltd’. You can see easily one of the types of carpets that they fit and in the bottom right hand corner their shop (the red circle). At the top of the page it shows the tabs which direct customers easily to the relevant section (the green circle). One way that ‘Lees Heginbotham Sons Ltd’ meets its customer need is by training its staff. They do this so that the staff know how to do their job and deal with any customers. Training them helps the staff to know how to deal with any problems in the business and what to do in different situations. Training the staff also gives them better knowledge of the product itself so that they can advise customers as to what carpet would suit their budget and requirements the best. A second way that ‘Lees Heginbotham Sons Ltd’ meets customer needs is by the quality of their service. They have to do this to eliminate and exceed whatever their competition is doing. A way that they do this is by giving its customers: free estimating, free carpet removal, a quality fitting to your standard and a free car park adjacent to the shop. By doing this ‘Lees Heginbotham’ can add this to and advertisement and this will increase customer satisfaction. A third way that ‘Lees Heginbotham Sons Ltd’ meets customer needs is by dealing with any complaints from customers. If there are any customer complaints ‘Lees Heginbotham Sons Ltd’ will have to deal with it immediately. ‘Lees Heginbotham Sons Ltd’ will have to be polite with the customer even if they are not. If ‘Lees Heginbotham Sons Ltd’ deal with a customer complaint quickly this might increase customer satisfaction.
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