Financial Meltdown of 2008

Financial Meltdown of 2008 Introduction The 2007-2008 financial crisis has considered to be the most threatening and largest economic recession since the times of the Great Depression.Advertising We will write a custom critical writing sample on Financial Meltdown of 2008 specifically for you for only $16.05 $11/page Learn More It caused destruction of international monetary system and became the precursor of European debt crisis. The total failure of financial institution was also another serious risk that the financial crisis created. Stock markets and housing marketing also experienced hardships, leading to foreclosures and evictions. One of the major reasons for the collapses includes the crash of the housing bubble in the United States, the phenomenon that undermined sub-prime mortgages. The financial crisis was also determined by a sophisticated interaction of reforms encouraging home ownership and over-evaluation of the credit market. In the documentaries Inside the Meltdown an d Breaking the Bank, the attention is given to the role of the housing bubble in creating the financial recession and breakdown of the leading financial institutions. Specifically, Inside the Meltdown focuses on the previous cases of credit market pitfalls that were not considered properly (Frontline 2013a). What is more threatening is that most of the financial experts did not attain much importance to the dramatically declined figures. As a result, the crisis has changed entirely the financial system, but the news has spread immediately about the impossibility of the business companies and financial institutions to estimate the actual damages that the consequences of house bubbling caused to the economic system. In Breaking the Bank, the focus is made on participants and victims of the crash of the financial system and credit market (Frontline 2013b). While discussing personalities, such as Merrill Lynch who was in charge of a privilege position, the documentary pays attention to his high competence and professionalism that, however, did not help him avert the crisis. The financial meltdown of 2008 could be a great lesson for the leading financial institutions, as well as for those who are interested in sub-prime mortgages. Consumers, therefore, should examine carefully opportunities and threats that this venture could provide to them.Advertising Looking for critical writing on political sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More These documentaries are beneficial for financial experts who should reconsider their credit policy and develop powerful structures and coping mechanisms to deal with economic recessions effectively. In the pursuit of money, simple decisions and fast methods for gaining profit are not always the solutions. Analysis of political and economic backgrounds is also necessary for the financial institutions to evaluate the capacity of the world economy, as well as restructure the crediting system. The documentaries succinctly represent a one-dimensional outlook on the predetermined conditions of the financial crisis. Interviews with the people from Wall Street, business managers, and chief executive officers have provided a broader insight into the case. At this point, it is necessary to search for additional statistics about the crisis to justify the events described in the documentary. Additionally, analysis of personal attitudes and perceptions is another important stance that could be considered while watching the films. In conclusion, it should be stressed that the burst out of the house bubbling has become the precursor of financial crisis, leading to the breakdown of the world’s leading financial institutions and banks. In the documentaries under analysis, emphasis is placed on the political, economic, and psychological aspects of the crisis of the credit market, as well as attitudes and perceptions on the part of specialists and victims o f the economic recession. References Frontline. (2013a). Breaking the Bank. PBS Video. Retrieved from https://www.pbs.org/video/frontline-breaking-the-bank/ Frontline. (2013b) Inside the Meltdown. PBS Video. Retrieved from https://www.pbs.org/video/frontline-inside-the-meltdown/Advertising We will write a custom critical writing sample on Financial Meltdown of 2008 specifically for you for only $16.05 $11/page Learn More

Chinese Hospitality Customs

Chinese Hospitality Customs Chinese culture is very much centered on the concept of respect. The concept is pervasive in ways of conduct from special traditions to everyday lives. Most Asian cultures share this strong association with respect, particularly in greetings. Whether youre a tourist passing through or looking to make a business partnership, be sure to know hospitality customs in China so that you dont accidentally seem disrespectful. Bowing Unlike in Japan, bowing to one another as a greeting or parting is no longer necessary in modern Chinese culture. Bowing in China is generally an act reserved as a sign of respect for elders and ancestors. Personal Bubble As in most Asian cultures, physical contact is considered extremely familiar or casual in Chinese culture. Therefore, physical contact with strangers or acquaintances is considered disrespectful. It is generally reserved only for those with whom you are close. A similar sentiment is expressed when it comes to exchanging greetings with strangers, which is not a common practice. Handshakes   In line with Chinese beliefs surrounding physical contact, shaking hands when meeting or being introduced in a casual setting is not common, but has grown more acceptable in recent years. But in business circles, handshakes are given without hesitation especially when meeting with Westerners or other foreigners. The firmness of a handshake is still reflective of their culture as it is much weaker than the traditional Western handshake to demonstrate humility. Hosting   The Chinese belief in respect is only further demonstrated in their hospitality customs. In the West, it is commonplace for the guest to show respect for his or her host with the emphasis placed on proper guest etiquette. In China, it is very much the opposite with the burden of politeness placed on the host, whose main duty it is to welcome their guest and treat them with great respect and kindness.  In fact, guests are generally encouraged to make themselves at home and do as they please, though of course, a guest would not engage in any socially unacceptable behavior. Saying Welcome in Chinese In Mandarin-speaking countries, guests or customers are welcomed into the home or business with the phrase æ ­ ¡Ã¨ ¿Å½, also written in the simplified form as æ ¬ ¢Ã¨ ¿Å½. The phrase is pronounced ââ€" º huÄ n yà ­ng (click the link to hear a recording of the phrase). æ ­ ¡Ã¨ ¿Å½ / æ ¬ ¢Ã¨ ¿Å½ (huÄ n yà ­ng) translates to â€Å"welcome† and is made up of two Chinese characters: æ ­ ¡ / æ ¬ ¢Ã‚  and è ¿Å½. The first character, æ ­ ¡ / æ ¬ ¢Ã‚  (huÄ n), means â€Å"joyous,† or â€Å"pleased,† and the second character è ¿Å½ (yà ­ng) means â€Å"to welcome,† making the literal translation of the phrase, â€Å"we are pleased to welcome you.† There are also variations on this phrase that are worth learning as a gracious host. The first fulfills one of the primary hospitality customs, which is offering your guests a seat once they are inside. You can welcome your guests with this phrase:  Ã¦ ­ ¡Ã¨ ¿Å½Ã¦ ­ ¡Ã¨ ¿Å½ è «â€¹Ã¥   (traditional form) or æ ¬ ¢Ã¨ ¿Å½Ã¦ ¬ ¢Ã¨ ¿Å½ è ¯ ·Ã¥   (simplified form). The phrase is pronounced ââ€" ºHuÄ n yà ­ng huÄ n yà ­ng, qÇ ng zuà ² and translates to â€Å"Welcome, welcome! Please have a seat.† Should your guests have bags or a coat, you should offer them an additional seat for their belongings, as placing things on the floor is considered unclean. After guests have been seating, it is customary to offer food and beverage, along with pleasant conversation. When it is time to go, hosts often see the guests off well beyond the front door. The host might accompany his or her guest to the street while they wait for a bus or taxi, and will go as far as waiting on a train platform until the train leaves. 我們éš ¨Ã¦â„¢â€šÃ¦ ­ ¡Ã¨ ¿Å½Ã¤ ½   (traditional form) / 我ä » ¬Ã©Å¡ Ã¦â€" ¶Ã¦ ¬ ¢Ã¨ ¿Å½Ã¤ ½   (simplified form) ââ€" ºWÇ’ men suà ­ shà ­ huÄ n yà ­ng nÇ  can be said when exchanging final goodbyes. The phrase means â€Å"We welcome you anytime.

Obama Essay Example | Topics and Well Written Essays - 750 words

Obama - Essay Example The statement "Obama, we love you" was shouted three times while you were giving the speech. You received over thirty rounds of applause and a standing ovation at the end of your speech, a show of appreciation of and acceptance for you and your speech from a large swath of people. Your audience included religious leaders like the grand Imam of al-Azhar and Pope Shenouda III, scholars, politicians, actors, civil organizations, non-governmental leaders, and people that have influence over many people. Also, you had college students and youth in the audience, the people who will lead and shape the future of this region of the world, and they all liked what you were bringing to them. I was not sure that it was possible for us to make those people like and understand us after what they saw from the previous Administration. For eight years, they received continuous messages from Washington that we (the Americans) are against them (the Muslim and Arab world). They received the message that they (the Americans) are against us so there is no way that we can get together and work together against common enemies. The previous Administration acted and used terminologies that made us look like we (the Americans) are in a religious war against the Arab world and against Islam. The previous Administration sent a message that anybody who was not with us in our "Crusade" in the war on terror is against us. We gave the extremists reasons and chances to drag other people in coalitions against us. They used our former President's own words to explain to their followers how and why they are in a "religious war" against America and the West. How do we make these people stop hating us The previous Administration spent so much time thinking about what we should do to stop the majority of Muslims from hating us and hating our nation. They also spent millions and even billions of our money to repair our damaged image on an international scale. These policies were not working because for every reason we gave them to like us, we gave them tons of other gestures and signals that they should not trust us. The previous Administration didn't know that it is very simple how to make these people stop hating us. Just reaching out to them, letting them know that we want to open a new page with them, and telling them that we care about their future and their well-being as fellow citizens of earth would have been enough. President Obama, you told them that you understand that building trust will take time. You told them, "No single speech can eradicate years of mistrust."1 They understood that you are not planning to deceive them. They know you are willing to work with them on building trust. You told them that your speech is just an opening for our new relations. You also made it clear that you are not promising to change all the U.S. policies in Middle East. However, you made it clear that Israel is the biggest American ally in the region, and that the protection of the Jewish state is a constant obligation of the United States. However, the Palestinians have the right to their own stable homeland. The two-state solution is the American vision to resolve the Israeli-Palestinian

Personal Growth Plan Essay Example | Topics and Well Written Essays - 1750 words

Personal Growth Plan - Essay Example Some people say God is not attainable through the organs of senses. Yet relation with God remains real. God reveals Himself through the people and the variety of events within lives of people. â€Å"Always a living Person is present, speaking, pleading, loving, working, and manifesting Himself whenever and wherever His people have the receptivity necessary to receive the manifestation† (Tozer, 2008). God is a person, who also has intimate relationships. Developing direct relationships on deep personal level is a proper aim for the person, devoted to Him. Every day I start with the meditation. I really go deep and enjoy prayer and the sense of overwhelming gratitude that streams from my heart. I really need to pray; I agree with the words â€Å"prayer is something we should do, even something we want to do, but it seems like a chasm stands between us and actually praying. We experience the agony of prayerlessness† (MacDonald, 2007). I meet other people with open heart and all the events I observe as those, sent by Him. I accept the daily challenges. Even if the life seems tough, I recognize all that is sent by God to challenge and improve me, thus I meet even seemingly bad events with gratitude. I honor Him for all the blessings and challenges he addresses to me. Devotional life seems to me not only to accept His presence in everything, but also remember this bliss is about relationships; this means not only to accept and gratify for what he gives but to serve as well. Every day has its opportunities to reveal the inner potential, own best virtues and creative force. Being a creator of own life and accepting responsibility for all own deeds and behaviors implies spirituality. This means understanding of own purpose, purpose of others and purpose of all the connections. All has its aim, its hidden and explicit meaning. There is a sense, a purpose of everything happening. All the simple things are touched by

Modernism Art Essay Example for Free

Modernism Art Essay As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an  array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa  Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his today and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning,  organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques, 2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and  geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the  technologically savvy society. The architectural advertisement method Vegas seemed to have adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the  historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience. As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion  the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of  familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and  contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of  clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his t oday and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning, organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques,  2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a  modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the technologically savvy society. The architectural advertisement method Vegas seemed to have  adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the  traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing  with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience.

CanadasTwo-Tier Healthcare System Essay -- Healthcare

CANADA HAS TWO-TIER HEALTH CARE SYSTEM The issue of a universal approach to Canadian Health Care has been contended for several years. Canada's national health insurance program, or Medicare, was designed to ensure that all people can have medical, hospital and physician services. The cost is to be paid for by Ontario medical insurance program (OHIP). The Canada Health Act was intended to represent certain principles of our health care system. It was intended to be a symbol of the Canadian values. Those values are fairness equity and togetherness. This oneness of a universal approach is what we call the one tier system. Many Canadians still believe the official government stand on this: Canada’s medical insurance covers all needs and services for every insured citizen. Officially then, there is a one level health care system. This paper shall argument that Canada has a two tier health care system. Those who would claim that Canada’s health care is a universal one tier system could refer to the legal terms of the Canada Health Care Act. In particular, the point that states, â€Å"Universality: All insured residents are entitled to the same level of health care.† (â€Å"Canada Health Care Act†, 2007). In fact, many Canadians feel they have a right to be covered financially for any and all medical costs. According to the Globe & Mail, â€Å"Canadians have developed an incredible sense of Medicare entitlement: They want all care for all people, instantly and free of charge.† (Andre, 2009). It is true that the original intention was to make health care services available for Canadians, but the guidelines offer the same service to Canadians covered by the health plan. However, certain problems arose and modifications were needed because not al... ... Works Cited Andre, P. (2009, October 16). Our two-tiered health system: a rural-urban split. The Globe & Mail. Retrieved from http://www.theglobeandmail.com Canada Health Care Act. (2007). Canada Health Care. Retrieved from http://www.canadianhealthcare.org National Bureau of Economic Research. (2007). Health status, health care and inequality: Canada versus U.S. June, E.O. Retrieved from http://www.nber.org/authors_papers/david_oneill Ottawa, provinces to begin talks for health deal. (2011, November 22). The Canadian press. Retrieved from http://www.ctv.ca Prime minister finally admits two-tier health care exists: McDonough. (2000, November 13). The Canadian Press. Retrieved from http:// search.proquest.com.ezproxy.library.yorku.ca Shouldice Clinic. Retrieved from http://www.shouldice.com/what_to_expect.htm

Plato’s “Republic” and Organizational Relations Essay

Plato’s republic has the ideal state in relation to people, to justice, to excellence and happiness. His ideas may have been written hundred of years ago, but there is no doubt of its relevance to the society today. In so many ways, it is still related to organizational relations and reflects on how a certain ‘state’ should work. If we put Plato’s republic and organizational relations side by side, we would be able to see how some of his ideas should be related to an organization. Justice is said to be a superior virtue. It is said that if one is to possess justice, this cannot be attained through anything incorrect. Anything that is not right is not excellent. Thus, if one is to possess excellence then, there is justice. He states that justice lives in man’s relations to other men. Another point that Plato keeps is that excellence in one’s function brings happiness. In such a way, we see the state as the organization, and the workforce would be the one to possess excellent virtues. If the workforce has a good relationship the justice within the organization is served. There is nothing achieved through anything bad, such if there is good fortune achieved by one member, this should have been achieved through an honest way. Good relationship would have to entail efficient communication within the organization. This should also include an excellent professional relationship among the members of the organization. And excellence comes from the competence of all the members of the organization to perform each given function. If all function with excellence then, it brings about happiness to everyone on the organization. In Plato’s ideal state, justice, excellence and happiness should be the goal of any organization. It encompasses good virtues that lead to contentment of all the members of the workforce. Reference: Retrieved March 16, 2009 from http://www. free-researchpapers. com/dbs/b3/peh94. shtml

Brand Manager

We keep hearing about managers of different kinds, yet we never really know what a manager's job actually entails. This article will deal with a specific kind of manager – the brand manager. Through this article, we will know a little something more about a brand manager and the brand manager job description in detail. Along with that, we will also foray into the different brand manager duties and some other brand manager responsibilities. Read the following article to know a little something more about the brand manager job description and what career opportunities one might have in that field. Job Description of Brand Manager As the name suggests, the brand manager has to work with a particular brand or several brands. It is a highly challenging job because he has to take the entire responsibility for the success of that product(s), and is therefore, responsible for all related aspects which include planning, buying, selling, marketing, pricing, dispatching and ordering. That is a bird's eye view of what a brand manager job description is, the following paragraphs will list some of the important duties of the brand manager. To begin with, they need to work extensively with the research and development department of the company, and with their help, formulate the best possible way to market the product. †¢ They need to supply the engineers (who are working on developing the product) with the results of the market research and on the basis of which the product will be based. †¢ They also check if the engineers are following the decided path and suggest changes for improvement. †¢ They need to be fully aware of the product at hand. What is the product capable of doing and what will be some of the improvements that might take place in the future. †¢ Once the product is ready, he must gather a core group for testing. The results from these tests will help him to determine whether the product has been able to achieve the desired result or not. †¢ After the product has passed this test, he will have to think of the marketing strategies for the same. What will be the audience, the target group at which the product will be directed etc. The packaging of the product – the best way in which the audience will be able to connect to the product and how the packaging will be able to convey what the product is all about. †¢ The pricing of the product is also an important factor that will need the drawing up of several strategies. The brand manager will work with several other departments to determine this aspect. †¢ Then he will undertake the extensive planning of the techniques and methods by which the product will be launched in the market. †¢ The advertising strategies that will be used. What modes of mass media will be utilized to ensure the success of the product. †¢ The methods of promotion that will be used will also need to be determined by him. †¢ All this will be dependent upon the budget that has been allocated. He has to also make sure that all these techniques employed like the promotions, marketing, advertising costs , all of them fall under the allotted budget and no more. †¢ After the product has been launched, he has to monitor the sales. †¢ Depending on the sales, he needs to change strategies or techniques in marketing, advertising or promotions to lead to maximum success. Read more on marketing strategies. †¢ He has to plan for the future about the course of the product – what will be the future strategies etc. so that continued success is guaranteed. †¢ Bringing about changes in the product from time to time so that it includes whatever the audience wants and is thereby accepted more openly by the audience. †¢ A marketing plan is an official plan of how the company intends to execute its marketing strategies. Learning how to write a marketing plan is very important as it gives the management a good idea of what the marketing department is up to. So this article will explain how to develop a marketing plan along with supplying a marketing plan template. Marketing Plan Developing a marketing plan is tough and requires a good amount of research. A marketing plan starts with market research. The first step is to evaluate what the customers feel about your product, what they like about it, and what changes they would like to see in the product. By communicating with the end users of the product, we understand what they expect of the product, what are their exact needs and how your product can best satisfy that need. Market research also helps you analyze the strengths and weaknesses of your product along with finding out the potential opportunities and threats to your product's present market share. After the market research has been conducted, you will have a fair idea of what the users think about your products and what changes you may need to integrate into your final product offering. Market research will also help you feel the pulse of the market and understand how the customer sees your product and that way, you will be able to make a good marketing strategy for it.

The Last Night That She Lived by Emily Dickinson

The Last Night That She Lived by Emily Dickinson Almost every poem has an attitude that explains us the poem to give us a better understanding. The use of language and the style of the poem also lead us to being comfortable with the text. In this poem, the title "The Last Night that She Lived" already hints us about the somber attitude ahead.As we start off with the poem, the first stanza gives it to us, that a death has occurred in a normally Common Night. The meaning of the two capitalized letters C in common and N in night tells us that a night which is usually common, something different has occurred. The C and the N gives emphasis to both words to make us notice the difference as it comes ahead.In the next paragraph, there is a slight change of tone where the viewers of this scene are looking at the lady and remembering the littlest things that didn't mean much before.leisure world luton

Definition and Examples of Decorum in Rhetoric

Definition and Examples of Decorum in Rhetoric In classical rhetoric, decorum is the use of a style that is appropriate to a subject, situation, speaker, and audience. According to Ciceros discussion of decorum in De Oratore (see below), the grand and important theme should be treated in a dignified and noble style, the humble or trivial theme in a less exalted manner. Examples and Observations Decorum is not simply found everywhere; it is the quality whereby speech and thought, wisdom and performance, art and morality, assertion and deference, and many other elements of action intersect. The concept underwrites Ciceros alignment of the plain, middle, and elevated oratorical styles with the three main functions of informing, pleasing, and motivating an audience, which in turn extends rhetorical theory across a wide range of human affairs.  (Robert Hariman, Decorum. Encyclopedia of Rhetoric. Oxford University Press, 2001) Aristotle on Aptness of Language Your language will be appropriate if it expresses emotion and character, and if it corresponds to its subject. Correspondence to subject means that we must neither speak casually about weighty matters, nor solemnly about trivial ones; nor must we add ornamental epithets to commonplace nouns, or the effect will be comic... To express emotion, you will employ the language of anger in speaking of outrage; the language of disgust and discreet reluctance to utter a word when speaking of impiety or foulness; the language of exultation for a tale of glory, and that of humiliation for a tale of pity and so on in all other cases.This aptness of language is one thing that makes people believe in the truth of your story: their minds draw the false conclusion that you are to be trusted from the fact that others behave as you do when things are as you describe them; and therefore they take your story to be true, whether it is so or not.(Aristotle, Rhetoric) Cicero on Decorum For the same style and the same thoughts must not be used in portraying every condition in life, or every rank, position, or age, and in fact a similar distinction must be made in respect to place, time, and audience. The universal rule, in oratory as in life, is to consider propriety. This depends on the subject under discussion and the character of both the speaker and the audience...This, indeed, is the form of wisdom that the orator must especially employto adapt himself to occasions and persons. In my opinion, one must not speak in the same style at all times, nor before all people, nor against all opponents, not in defence of all clients, not in partnership with all advocates. He, therefore, will be eloquent who can adapt his speech to fit all conceivable circumstances.(Cicero, De Oratore) Augustinian Decorum In opposition to Cicero, whose ideal was to discuss commonplace matters simply, lofty subjects impressively, and topics ranging between in a tempered style, Saint Augustine defends the manner of the Christian gospels, which sometimes treat the smallest or most trivial matters in an urgent, demanding high style. Erich Auerbach [in Mimesis, 1946] sees in Augustines emphasis the invention of a new kind of decorum opposed to that of the classical theorists, one oriented by its lofty rhetorical purpose rather than its low or common subject matter. It is only the aim of the Christian speakerto teach, admonish, lamentthat can tell him what sort of style to employ. According to Auerbach, this admission of the most humble aspects of daily life into the precincts of Christian moral instruction has a momentous effect on literary style, generating what we now call realism.  (David Mikics, A New Handbook of Literary Terms. Yale University Press, 2007) Decorum in Elizabethan Prose From Quintilian and his English exponents (plus, it must not be forgotten, their inheritance of normal speech patterns) the Elizabethans at the end of the [16th] century learned one of their major prose styles. [Thomas] Wilson had preached the Renaissance doctrine of ​decorum: the prose must fit the subject and the level at which it is written. Words and sentence pattern must be apt and agreeable. These may vary from the condensed native maxim like Enough is as good as a feast (he recommends Heywoods proverbs which had recently appeared in print) to the elaborate or exonerated sentences adorned with all the colours of rhetoric. Exoneration opened the wayand Wilson provided full examplesfor new sentence structures with egall members (the balanced antithetical sentence), gradation and progression (the paratactic cumulation of short main clauses leading to a climax), contrarietie (antithesis of opposites, as in To his friend he is churlish, to his foe he is gentle), the series of sentences with like endings or with repetition (like opening words), plus the verbal metaphors, the longer similitudes, and the whole gallery of tropes, schemes, and figures of speech of the last few decades of the 16th century.  (Ian A. Gordon, The Movement of English Prose. Indiana University Press, 1966)

Toni Morrison's Paradise essay Example | Topics and Well Written Essays - 750 words

Toni Morrison's Paradise - Essay Example The events in Paradise are fueled by people who have been treated badly, discriminated against, and beaten down by society. When people are treated like this, human nature dictates one of two responses; a defeated, beat down individual that wants peace or an angry individual that wants to vent. These two types of people weave the story of Paradise. Religion is a big part of Paradise. Religion is a basic part of human nature. The convent where the four women, Mavis, Gigi (Grace), Seneca, and Pallas (Divine), and their leader Connie (Consolata) live is not a real convent. It is an abandoned convent the four misfit women and a former nun come to live in after life has thrown them disappointment and sorrow. The women of the convent treat religion differently than the men in Ruby. These women took in those in need, living communally. Unlike the rigid views of the men of Ruby, the women at the convent treated their religion of Christianity with a broader view of interpretation. Both types of views toward religion are part of human nature. There have always been the religious zealot and the tolerant individual. The fight between the two has been part of human nature as well. The zealot comes to the conclusion everything bad is being brought about by the evil, or the person or persons that do not believe their way. The men of Ruby came to believe that everything bad happening was the fault of the women at the convent. Things like â€Å"A mother was knocked down the stairs by her cold-eyed daughter. Four damaged infants were born into one family† (Morrision, 11). While the women at the convent were only trying to live the way the believed with a nonjudgmental look at the world, the men of Ruby were plotting their demise. The women at the convent could not understand why the men of Ruby hated them. Judgment by the Ruby zealots and the