Culture’s will to copy Essay

Globalization process is viewed as a means through which one can ratify often in extremely idealized form a account of oneself or culture that is observed as old or even origin but can lastly be realized: through these new means, one can become what one thinks one actually is (even if one never was). What might be trait of the Internet is that this ‘realization’ is certainly ‘expansive’. Globalization process has an emancipator technology ‘Internet’ that is indefensible as the structural design of the technology harbors an instinctive class prejudice and other shades of power entitlements. Computers are intended and programmed by members of the elite culture and might imitate their cultural orientations and biases. For example, the wordsmith and semantic skills requisite to functions computers do not put up the cultural orientations of several marginal electorates. As Laikwan Pang, Cultural Control in journal said, â€Å"Culture’s will to copy †¦ [is] fuelled by the globalization process, which drives’ the world to desire similar but different products, to acquire similar but different tastes†. (Laikwan Pang, Cultural Control, p8). Globalization is as well redefining societies and restructuring society into new forms of social networks. New standards and terms for private and proficient relationships are promising (Buck 1996; Gates 1995; Baym 1995). The London Times (June 17, 1996) stated: â€Å"People in every kinds of career categories need to recognize how to use this tool so as to get ahead starting now. † Admittance to the information freeway might establish to be less a question of dispensation or position than one of the fundamental capability to function in a democratic society. Admittance to the cyberspace might very well establish how well people are knowledgeable, the type of job they ultimately get, and how they are retrained if they mislay their job, how much access they have to their government and how they will be taught about important issues concerning them and the country. (Ratan 1995: 25) Moreover, global media is not repressed by the intrinsic biases apparent in sexism, racism, and classism establish in face-to-face encounters. As a substitute, the global media presents a discussion that supports broad partaking and underlines merit over class. Practical communities permit secluded individuals to converse in a manner that protects them from the social prospect and sanctions linked with physically distinct communities (Turtle 1995). Virtual societies are unified and significant social aggregations that permit people to take on in adequate relations to form personal and group relations (Rheingold 1993). Global media represents Hollywood that spins around the analysis of Hollywood’s division of labor, what the authors call the â€Å"New International Division of Cultural Labor† (NICL). This division of labor is certainly international because U. S. film exports have reached $11 billion, and â€Å"Hollywood’s proportion of the world market is double what it was in 1990† (Miller et al. , 2001, pp. 4-5). Global sales have become so significant that in 2001 the studios take apart their international offices to run all global distribution from their headquarters. The authors argue that Hollywood’s command of the NICL distinguishes Hollywood from other industries that are increasingly globalizing. The entire book focuses on answering this question: â€Å"Is Hollywood really giving the people of the world what they want, or does it operate via a brutal form of monopoly-capitalist business practice? † (p. 15). Global Hollywood maintains that Hollywood’s global authority is due to the clout of its allocation, legal, and economic structures, as opposed to a combination of advantages resultant from the diversity of its domestic audience and its narrative transparency. As this argument has been frequently made by proponents of the cultural imperialism thesis, Miller and his colleagues take a fresh approach that focuses on what they call â€Å"occasionality† (p. 13), which is defined as â€Å"the specific `uptake’ of a text by a community† (p. 177). Amongst other innovations, the authors focus on the role of audience, and on the idea of rights, while bringing the significant issue of cultural hybridist to political economic analysis. In the short space of twenty five years somewhat which started as US defense inventiveness has developed into the major communications means for the academic and investigates community and most newly has prolonged into a main business tool for the marketable sector. The Internet has developed throughout this period from being a vigorous and effectual way of exchanging information to offering a delivery means for immense amounts of multimedia information to a global audience. While individuals began to use the global media for worldwide communication, its profound effect on how we treat information transfer, organization, and development could not have been anticipated. Internet communication applications permit rapid and simple copy, revision, and transfer of information in textual, visual, and auditory forms. Though the assortments of participants who access it do not all the time agree on whether information must be cosseted or shared, the majority of the Internet community uses, copies, and transfers the information there without restraint. The Internet is a medium for activating ideological consideration; World Wide Web (Web) documents holding multiple links to diverse authors’ sites as well as e-mail posts restraining various writers’ materials reify the theory that knowledge is raised from numerous sources. But commercial units that use the Internet to promote products and spend in the materials that they load to the Web desire to keep their digitized materials from copy, revision, and transfer. The corporal operation of the Internet forms a forum where oppositional views concerning control of information collide. The extreme nature of the Internet supports a clash between the constructionist ideology that symbolizes the academic humanist community and the Romantic beliefs that symbolizes traditional legal community. This junction amongst humanistic studies, the intellectual property law, and the Internet, joined with their attendant communities, engenders conflicts in thought and exploit and offers a generous basis from which to investigate intellectual property and information control. Though participants in humanist, legal, and global media communities retain varied ideological beliefs and goals, their common interests meet in forming and treating communicative terms, whether textual, digital, or auditory. More significant, these communities of participants, communally, through socially raised ideologies, contribute in creating approaches toward authorship, possession, and property, and eventually, in generating the power to form and manage knowledge. The dealings amongst these areas can be viewed practically and hypothetically. Globalization, therefore, can tell us diverse stories of the nation state, developing it are relationally and challenged internal and external boundaries. There would be few people concerned in globalization who would, as Green (1997:157) seems to propose, believe that ‘the nation state was disappearing’, even if it’s taken-for-granted status comes to be issued and attempts at self-reproduction become increasingly transparent. The spatial-temporal location of the nation-state is itself brought to the fore by globalization. Globalization is frequently taken to have a single course or logic that results in an augmented uniformity transversely the globe. However, despite the influential effects of international capital and international media corporations, this is not sustainable and is not the stance adopted here. To presume that globalization is about, or results in, homogenization is to abridge the processes at work and, in a sense, to distance oneself from the very composite effects on space, place and uniqueness that globalizing processes bring to the fore. As Giddens (1990) among others suggests, as globalization has resulted in the spread of ‘Western’ institutions across the globe, that very drift produces a pressure for local independence and identity. In other words, globalization is concerning examining places as concurrently traversed by the global and local in ways that have been strengthened by the modern compression of space and time. Thus, alongside the global accessibility of satellite television, McDonald’s and Arnold Schwarznegger films, there is the confirmation of, for instance, local, regional and ethnic identities. Certainly, some transnational companies have overtly adopted strategies of ‘globalization’, expanding their influence around the globe, as situating themselves and their products and services within the local conditions. These might be a response to global influences, but they are however part of globalization and not a refutation of it. What this suggests is that in modern times the local is as much a condition for globalization as the global; space and place are negotiated by the global-local nexus of globalizes space-time compressions. ‘Time-space distanciation, disembedding, and reflexivity mean that composite relationships develop between local activities and communication across distances’ (Waters 1995:50). The assimilation of the globe reconfigures rather than supersedes diversity. Globalization ‘does not essentially imply homogenization or integration. Globalization simply implies greater connectedness and de-territorialisation’ (Waters 1995:136). This problematisation argues that a particular Eurocentric culture can no longer be measured an ‘authentic, self-evident and true universal culture in which all the world’s people ought to believe’ (Lemert 1997:22)—a position which of course itself would not command universal acquiesce. The cultural renaissance resultant from decolonization is the new face of autonomy in international law. Old definitions of freedom focusing on ethnic separation and tight territorial boundaries are becoming ever more outdated. The most interesting and pioneering ideas concerning self-determination are presently being developed by indigenous peoples. Theoretical discussions of prejudice, identity, individuality and universalism might seem remote and incoherent from harsh realities. But these debates do reveal why human rights themselves can spell awful trouble for indigenous peoples. The effects of human rights, intellectual property, transformation and self-determination based on evidently ‘universal’ ideas of individuality and nationality can consequence in the death of indigenous communities. This is not a current phenomenon. It is the experience of colonization for too many people. And yet, international human rights discourse can also give a mechanism for anti-colonial struggles and the protection of indigenous rights, as the UN Working Group on Indigenous Populations would certainly support. Nowhere is the inconsistency of human rights, culture and individualism as explicit as it is with the rights of indigenous peoples. Moreover, the practical view offers questions and answers to the nuts and bolts of each day treatment of intellectual property power issues. Though interpretive in nature, the practical deportment is rule-based, centered in issues concerning the assortment of original works noted under the law and formative infringement of copyright. An extensive variety of individuals use and produce copyrighted materials in their daily work, often ignorant of the consequences of their actions for probable infringement of the work of others or infringement by others of their own work. Engineers, technical communicators, computer scientists, architects, scientists, and educators, among others who characterizes our diverse national workforce, use and turn out intellectual products such as manual, applications, progress reports, yearly reports, analytical reports, and other technical documents. They as well form non-textual informational materials such as photographs and hand drawn graphics, software, videos, and multimedia products. Additionally, numerous creators acquire information through the global media, together with digital communications such as e-mail and data blocks, as well as graphics, video clips, and sound bytes. Workplace inventors might not be conscious of the special category of law that restrains the rights in the work they turn out. Equally agency laws and the â€Å"work for hire† set of guidelines, which falls under copyright law, state writers’ rights to their work and treat questions explicit to employees. Educators, particularly, are facing ever more intricate questions concerning forming and using materials for teaching. besides creating workplace products, educators also develop materials for classes in the forms of instructor package that comprise works copied from anthologies and journals, handouts, tests, and instructional transparencies or websites that might be derived from sources formed by other instructors or authors in their fields. The legal argument over what is considered infringement in using these â€Å"course packets† is massive. Instructors might also covet to use materials acquired from the global media. The customary treatment of global media sources as â€Å"free use† forms fussy questions concerning what constitutes infringement in the digital ground. There is also enduring debate over the capability of a browser merely to access a World Wide Web site devoid of infringement. Several legal analysts indicate that the National Information Infrastructure’s White Paper comprises language that, if construed closely, would forbid admittance to intellectual property on the Internet although the same intellectual property would be available if it were in the shape of print media. For instance, a stringent interpretation of the National Information Infrastructure’s (NII) White Paper would forbid the mere act of opening a file and reading it on the Internet as the act of producing text in digitized form needs making a â€Å"copy† of the original work. Though the White Paper was formed in 1996, its protectionist stance echoed in legislative development of copyright protection, wherein the No Electronic Theft Act (1998) criminalizes copyright violation and the Sonny Bono Copyright Extension Act (1999) expands copyright protection for a further twenty years. In light of the more and more preventive treatment of copyrighted materials, instructors might be confused over whether they can make non-infringing uses of World Wide Web materials for classroom uses at all (Strong, William S. 1990). Increasingly, numerous instructors inquire students to copy and develop sources procured from the Internet, such as interactions from UseNet News, Internet Relay Chat, and MOOs, and graphics or text files that they can download from the World Wide Web. Though fair use does not converse directly to questions concerning the Internet, it still controls questions of infringement within educational settings. Courts should instigate to apply fair use to issues that are convoluted by use of technology to give new instruction, but until then, prospective litigants looking for answers to complex legal questions must gain a clear considerate of existing law as the best means to recognize its possible interpretation in cases treating issues concerning the Internet. We can say that with the increasing use of internet the issue of Copyright infringement is also become very common. â€Å"Infringement is a breach of the rights of a copyright holder by copying, performing, publishing, displaying, or creating a copied work from an expression protected under copyright† (Strong, William S. 1990). Infringement can take the form of a photocopy, scanned digitization, or other mechanically formed copy, but it can as well take place in videotape, audiotape, performance, or exhibit of a copyrighted work. Providing evidence infringement is at times a complex process, needing that the belligerent party first found a right to control the copyright of the work, then that he or she proves that the work has been infringed. Infringement is further hard to prove while the accused infringer has distorted the work to such a degree that it is hard to sustain the considerable similarity argument and while the initiative and the expression are so wholly merged that use of the idea, which is obtainable in public domain, is corresponding to use of the expression. A more widespread defense aligned a claim of infringement; however, is the scenes a faire principle, which argues that general means of expression of ideas cannot be infringement of another’s work. A typical example is the formal report format used in technical documents. In this case, the means of expression has turn so widespread to the business world’s cultural scaffold of understanding that its use summons connotative expression itself, much similar to a classification of â€Å"technical report. † Copyright infringement elevates legal issues for Internet service providers as well as other global media caught up in network management. The law emerges to be moving away from strict accountability toward a new typical of â€Å"actual knowledge† (Packard, 1998). In the Digital Millennium Copyright Act, ISPs are not legally responsible for copyright infringement if the bringer does not have definite knowledge that the material or an activity using the material on the system or network is infringing† (Copyright Law of the United States of America and Related Laws Contained in Title 17 of the United States Code, Circular 92 Pub. L. 105 – 304, Sec. 512 [c]). Though, upon attaining such knowledge or wakefulness, the provider should act expeditiously to eliminate, or hinder access to, the material†. This stipulation has free-expression insinuations. Copyright law is a moderately recent phenomenon based on the supposition that inspired intellectual property desires to be protected and rewarded (Packard, 1998). â€Å"By distinguishing that online services cannot scrutinize their content for infringing material and function professionally, Congress has given them a green light to expand to their full prospective† (p. 37). The copyright extension for elite ownership for ninety-five years, up from twenty-eight years in the original 1790 law, has been dared in court by Eldritch Press. Under the new law, the publisher would be requisite to eradicate work that has been in the public domain under the preceding limit of seventy-five years. The global media and its technologies have offered fertile view for the creation of new communication technologies. Inventors functioning on such troubles as digital compression as well as network data-transfer speeds need patent protection to be capable to expand new products. Information technology has also taken a diversity of patent suits as inventors extend the new industry. Lucent Technologies, for example, sued Cisco Systems and indicted it of infringing eight digital networking patents. Cisco then charged that Lucent violated three of its patents. Lucent holds thousands of patents on former Bell Lab and AT&T research operations, and analysts feared that the aggressive action by Lucent was threatening to smaller high-tech companies. Computer-chip giant Intel called a patent infringement action by TechSearch a nuisance lawsuit (Packard, 1998). As technology continues to become more multifaceted and consistent, patent disputes are probable to propagate. Generally, most patent cases do not have a substantive collision on free expression. Thus the main features of the global media regime are linked to infringement and intellectual property concerns. The strategy for these aspects of the establishment is the principle that the costs of Internet-related infrastructural development shall be borne mainly by the private sector and the standard those governments shall entrust themselves to economic liberalization, privatization, and regulatory programs dependable with this and other regime principles. As the utmost basis of legal conflict is that between authors’ and users’ rights, the most significant policy issue is cared for specifically in the Constitution’s intellectual property stipulation. The goal of the copyright act is to make sure free speech and the progression of knowledge through our legitimate protection of the right to distribute information. The unique constitutional provisions designate the intent to make sure the expansion of knowledge in civilization based in a congressional grant to authors of a partial monopoly of rights in their works: The fair use stipulation makes clear that the key goal of the statute is to support learning. These changes notwithstanding, the divergence between authors’ rights and the goal to encourage knowledge, inner to the copyright debate since its setting up, continues. Sadly, the public policy issue is frequently ignored in respect to concerns over economic interests. The everyday application of law essentially focuses on treating conflict between individuals. Lawyers are trained specially to congregate the needs of the legal system and are inexpensively supported by their work in this area. However the policy issues following the statute are really most significant to us as educators and to our society as a whole because those who manage the development of knowledge in a culture eventually establish who we are as a people. Philosophy and the goals that convoy it drive our view of policy issues. Thought determines how we view authorship, possession, and property and eventually affects not only how intellectual property law is proscribed but how information and communication that are inner to the dialogic processes within the nation are proscribed, as well as decisive who controls them. An assessment of ideological choices in request to intellectual property thus renders significant understanding of the probable effect of the law on our cultural future. Gaining a considerate of intellectual property issues is inner to understanding our rights as users and producers of knowledge. The actions we acquire to influence egalitarian access to information can have enduring ramifications for society, as authorship makes control, control generates authority, and authority generates power. We must take every step needed to ensure that the controlling voices of the few but authoritative are reasonable by the yet-unheard voices of the weaker multitudes. Reference: Baym N. K. 1995. The emergence of community in computer-mediated communication. In S. G. Jones, ed. , CyberSociety: Computer-Mediated Communication and Community. Thousand Oaks, Calif. : Sage Publications, pp. 13863. Buck K. 1996. Community organizing and the Internet. Neighborhood Works, 19, 2, p. 2. Copyright Law of the United States of America and Related Laws Contained in Title 17 of the United States Code, Circular 92 Pub. L. 105 – 304, Sec. 512 [c] Gates B. 1995. The Road Ahead. New York: Viking Giddens, A. (1990) The Consequences of Modernity, Cambridge: Polity Press. Green, A. (1997) Education, Globalisation and the Nation State, London: Macmillan. http://www. washingtonwatchdog. org/rtk/documents/cong_hearings/senate/107/senatehearing107_77094. html http://www/stephenking. com Laikwan Pang`s 2005 article `Copying Kill Bill` social Text, No. 83, 133-153. London Times, June 17, 1996. Packard A. (1998). â€Å"Infringement or impingement: Carving out an actual knowledge defense for sysops facing strict liability†, Journalism & Mass Communication Monographs, no. 168 (December). Ratan S. 1995. Time (spring):25-26. Rheingold H. 1993. The Virtual Community: Homesteading on the Electronic Frontier. Reading, Mass. : Addison-Wesley. Strong, William S. The Copyright Book: A Practical Guide. Cambridge: MIT P, 1990. Toby Miller et. al, 2001 `Hollywood`s Global Rights` in Toby Miller et. al. , Global

How to Be a Defensive Driver

How to Be a Defensive Driver Most of Americans carry on a DL (Driver License) with them. They know it is mandatory to have a driver license since they drive to work or to school every day; however, that is without mentioning the people that someone else takes to such places. When someone requests a DL, that person goes through a process of practice and examination in order to be able to have one. Most of them pass the examinations and practices, and they become a licensed driver for the State they reside in.Obviously, a good driver is not the one that has received a driver license, but the one that drives defensively. These strategies can only be learned in several stages. Precaution is one of the most important strategies to consider when driving a motor vehicle. When a driver operates his or her vehicle on freeways and highways, there are some precautions that need to be performed. Looking in the sides-mirror is very important since the driver needs to be alert of any strange movem ents of other vehicles.No one knows when others are driving under the influences of drugs or alcohol, or both. Also, paying attention to the traffic is very important. All drivers need to know how the traffic flows in order to consider the speed of the vehicle. Being alert on the road is the important key because other vehicles can also hit the brakes unexpectedly in seconds without the other driver noticing it. Distractions can be a challenge for a motor vehicle driver. Each driver is surrounded by many distractions, and these can be found inside the car or outside of it.While monitoring a motor vehicle, a driver is challenged with today’s electronic devices and technology. Today, cell phones play a big part in a driver’s distractions since they have been improved. The availability of internet on Smart Phones is one example of it, and most Americans own these devices. This distraction can be really dangerous since it encourages the driver to use the Social Medias freq uently. Drivers need to ignore cell phones at all time during operation and concentrate on the road.Moreover, manipulating the radio and changing stations back and forth to find the one preferred can also be quite dangerous since the driver has his eyes concentrated on the radio display. Driver must maintain concentration and avoid distractions as much as they possibly can. One more example of some driver’s distraction can be â€Å"kids†. Children, especially when they are young and immature, can get restless in the back seats which can cause the driver to turn around to see what they need. As a result, the driver loses concentration, and the situation can be seriously risky.In other words, kids can exasperate the driver and keep him distracted from the task behind the wheel. Even though there are so many distractions, there always will be a solution to avoid them in order to be a defensive driver. Sitting on the seats of a vehicle, starting the engine, and pressing th e gas can be an essay way to call someone a driver, but when it comes to the situation when a driver needs to demonstrate some of the skills that he or she has learned, most of those drivers out there can’t show any.A real driver is the one who takes the process seriously to archive the goals of a defensive driver. However, to be on the list of the real drivers only take to know some simple strategies that can be learned and comprehended step by step. Precaution and avoiding distractions are part of how to be a defensive driver, but also experiences in monitoring a vehicle is important to consider.

SLP - 3 Computer technology and the networked organization Essay

SLP - 3 Computer technology and the networked organization - Essay Example It also helps to manage different projects undertaken by an organisation. One of the key benefits organisation can get from the use of wiki is better communication. Wiki is useful for placing meeting minutes, providing different ideas and additional contribution by the employees (Grace, 2009). Online wiki products do not perform alone rather the products must be coupled with online server which provides the permission to create a website. One such product which helps to create wiki is Microsoft SharePoint. It is an online platform through which wiki page can be created. This product is related with several functions comprising web component management, social network association and document management among others. Through this product, organisations can also conduct effective searches for documents and access huge amount of commercial information. Apart from that Microsoft SharePoint also comprise several web tools which assist in central information management, security controls and management of servers (Microsoft Corporation, 2014). One key organisational goal which is supported by Microsoft SharePoint is increased collaboration. Since this product allows the members to create wiki for the purpose of information sharing, it facilitates collaboration within organisation. It act as a platform for creation of online software, comprising IT assets, group workshops, emails, attendance awareness and internet oriented conferencing. Furthermore, the services provided by this product also allow organisations to discover distributed information and files rapidly and effectively, along with empowering the employees to perform creatively. As a result, this product helps to maintain a collaborative environment in an organisation (Cloudmore, 2011). There are several features which can be used in wiki for supporting organisational goals. For instance, FAQ can be used in order to surrogate knowledge base which

Salt Marsh and Mangroves (for Coastal Defence) Essay

Salt Marsh and Mangroves (for Coastal Defence) - Essay Example Mangroves provide a good site for fisheries as the nursery grounds for young fish (fingerlings) and for laying their eggs. Mangrove forest cover is a crucial part of the bio-diversity of a locality such as giving a good habitat for a host of marine life. This is proven by the presence of three types of fauna found in mangroves which are resident species (living primarily among the mangroves), the seasonal migrants and the occasional species which visit the mangrove stands once in a while. The scientific study of mangroves and salt marsh as part of the conservation efforts is now a recognized field in engineering and of studies in ecology and oceanography. Mangrove forests are natural ecosystems in many coastal areas around the world and provide a natural coastal defence system which is often overlooked by country planners. Mangroves are a good deterrent against erosion caused by higher sea levels due to global warming and a changed wind pattern from various directions and velocities. Unfortunately, mangroves are under threat today from human activities and expansion. This paper will discuss how mangroves and salt marsh are crucial components in the coastal defence of areas threatened with erosion from tides and strong winds. It will then also tackle other issues concerning mangrove forests such as clearing them for firewood, charcoal and the other human needs such as for certain coastal developments like resorts. (Crossland & Kremer 47). Humans today are increasingly seen as major catalysts for change among coastal processes which had not been examined very closely before. Human interventions in areas of the coast form part of the larger anthropocene in which larger ecosystems are impacted. Various threats to Mangrove Forests – mangroves are under pressure from us humans especially in developed mangrove areas of the world such as those located along the Niger and delta areas of the Ganges-Brahmaputra and the Irrawaddy in Burma (Kathiresan 476). Other threats identified are degradation and destruction of the mangroves, plant disease and glo bal warming from climate changes. Some 90% of identified global mangroves are located in developing countries which make these mangrove forests particularly vulnerable to human exploitation and expansion of human activities. The estimated 18 million kms2 of mangroves in 1997 has since been reduced to a mere 15 million square-kilometres; it takes a long time for mangrove forests to recover once these are destroyed. Human Encroachments – this is perhaps the greatest threat to mangroves due to the various activities of humans such as urbanization (like in Singapore), Bangkok, Rangoon and in India (Calcutta and Bombay). Another is agricultural expansion from reclamation activities and for aquaculture purposes such as building ponds for shrimps. Other reasons are cutting the mangroves for firewood, charcoal and lumber (mangrove timber is highly resistant to the usual deterioration of wood because of high phenol content). The mangrove areas are usually drained of their salt water c ontent using rain water and protected from salt water intrusions. Degradation – this results when the health and productivity of the mangrove areas had deteriorated significantly from various causes. Among identified causes are oil pollution, dumped

Corporate Planning Essay Example | Topics and Well Written Essays - 4000 words - 1

Corporate Planning - Essay Example In the 1930s, after the Great Depression, quality of life management became the most modern phase of CSR where issues of improving societal gain in areas of lifestyle enhancement became the objective of business, government and corporate leadership. As time progresses, economies and specific international regions are recognising new trends in social attitude and consumer behaviour which are driving new and innovative practices for ensuring positive corporate reputation and also satisfying social beliefs on moral and ethical business practices. The historical phases of CSR maintain both strengths and weaknesses, which will be identified in this paper along with discussion of how these historical phases have developed into new CSR objectives in modern society. Additionally, recommendations on implementing effective corporate social responsibility activities in Hong Kong will be identified and discussed. The concepts of social responsibility were largely generated from the American perspective, since this region was essentially a launching pad for industrialism and growth in the late 1800s. â€Å"America in the 19th century was a society of economic scarcity where economic growth and the accumulation of aggregate wealth were primary national goals† (Hay and Gray, 1974, p.136). It was during this period where the business system was considered to be a quality tool for reducing this scarcity, thus the focus of leadership in the corporate environment was to ensure maximisation of profits in order to enhance total economic growth within a region. One weakness of this historical phase is that it did not involve governmental influence when dictating what were acceptable social responsibility policies at the business level, therefore there was no regulatory body to oversee business activities at the internal level. Because of this lack of regulation and legislation, companies were allowed to exploit child labour and provide unsafe working conditions for

The Temperance Movement in Victorian England Essay

The Temperance Movement in Victorian England - Essay Example Industrial Revolution, Agricultural Revolution and growth of imperial power of England made it unbeaten in the world. Developments in the fields of art and literature were comparable to the Elizabethan age. All these greatly influenced the social conditions and interactions of the different classes of contemporary English people and Temperance movement was one of the examples of it. In short, like the second half of the sixteenth century, there developed another ‘Golden Age.’ As part of their religious belief, in the eighteenth century, people from upper class and middle class societies would dish up and drank wine at their dinners. Gradually, moderate use of wine among the people became unrestrained status. Studies mention that â€Å"the earliest temperance associations were founded in Scotland in 1830, but the movement soon came South and similar groups were established in Preston and other industrial towns† (Hope UK, n.d.). Temperance Movement had kept an eye o n moderated use of alcohol and motivated people about the necessity of self control or moderation in drinking. Excessive use of alcohol seriously affected working class people and it paved the way for severe social inconvenience. Number of social organizations and welfare movements has emerged during the end of 17th century and worked aligned with the evil effects of alcohol consumption. In the beginning, Rev. John Edgar, Belfast professor of theology gave spiritual guidelines. Then Joseph Livesey made some remarkable progress in Temperance Movement. Temperance Movement is not only a political or religious movement, but also an artist’s propaganda against the evils of drinking. As a social reform movement against alcohol, Teetotal Movement registered its name through the concept of â€Å"total abstinence from alcohol.† Leaders of Temperance and Teetotal movements have caught the attention of eminent personalities from art, literature and religion. Victorian poet Tennys on, novelist Charles Dickens, George Cruickshank and William Hogarth marked their conscious effort in promoting awareness programs related with Temperance Movement. The evils of drinking had coined direct and indirect consequences in Victorian society. Members of working- class community have faced bitter consequences than middle-class and upper class people. Industrialization and related events contributed a new system in work field and service sector. Workers in large scale industries and factories often tend to follow drinking as an essential means of entertainment because of heavy workload and limited opportunities of amusement. Without a doubt, the main focus of the Temperance Movement was the elimination of drinking habits among the working-class people who lived in Victorian England. Historians have identified number of reasons which promoted physical backgrounds for the formation of the Temperance Movement. The study of Temperance Movement permits the reader to comprehend th e class struggles of Victorian society in which social status designed everything. Excessive drinking nature among the workers in factories made a payment to many other problems such as serious health issues, increased rate of criminal activities, problem of child labour and economic crisis.

Literature Review and Report (The Woolworths Management Success Story) Essay

Literature Review and Report (The Woolworths Management Success Story) - Essay Example This literature review analyzes the problems associated with overworking employees and provides alternative solutions. When employees work beyond a normal 40 hour week people sometimes develop an addiction to work. These types of employees are workaholics. According to a study performed at the University of North Carolina about one-fourth of the American workforce suffers from â€Å"workaholism† which is defined as a compulsive need to work at the expense of everything else in one’s life (All the Work and no Play Makes Your AP Staff Less Productive, 2008). When people put in extra hours at work it does not necessarily mean they are being more productive. These workers are typically exhausted from the excessive work load. They become more inefficient as a consequence and it takes them longer to accomplish tasks. Giving your employees excessive work tasks is not a sound business strategy and is actually counterproductive. In the United States businesses lost nearly $150 billion last year due to overworking their employees (All the Work and no Play Makes Your AP Staff Less Productive, 200 8). Overworking employees is detrimental to both the company and to the health of the employees. Overworked employees developed health issues such as panic attacks, headaches, tiredness, fatigue, sleeping disorders, irritability, and chronic stress among others. These health issues many times cause employees to lose work days due to sickness. When employees are overworked they lose motivation in the workplace and their job performance suffers. Overworking create a hostile business environment in which the employees feel consumed by the long hours they have to put in everyday. Employees that suffer from work related stress are susceptible to weight loss and to developing bad habits such as caffeine and nicotine addiction (News from Personnel Today, 2009). These addictions cause the employees to take extra

Your Thoughts Essay Example | Topics and Well Written Essays - 500 words

Your Thoughts - Essay Example repeated emphasis on proper concepts, the asking of different questions, and the elaborate examples point out that the intention of the author is to make the reader realize the gravity of the situation. He does, in fact, succeed in doing so. It is indeed true that the subject of mathematics is taught as a necessity. Mathematics is used in every aspect of life and in every field of work that is why it is becoming essential. However, the need for the study of mathematics has made it nothing but a burden on students. The result is that the students, instead of appreciating the ‘beauty’ of mathematics, consider it important for their respective fields only. The mode of instruction, as the author states, is a very important reason for this attitude. The mode of instruction in the primary and elementary schools is, indeed, not up to the mark. Often, students are just spoon-fed the knowledge of the things around them. This approach may be appropriate for subjects like history where the students cannot really ask why some event took place. However, when it comes to the study of mathematics, this approach is not acceptable. Mathematics is a subject that is primarily based on the study of concepts. This means that the teaching of mathematics should ideally require the understanding of why a particular phenomenon takes place. An example, according to the author, would be the concept of why the area of a rectangle is determined by taking the product of length and width. The previously mentioned mode of instruction, employed by teachers, however, completely ruins the idea of the teaching of mathematics. The stress of teachers on learning how to solve problems has many implications. Firstly, the thinking process of students is hindered as a result of rote learning. Students generally develop thinking and analytical skills in their early years of education. If the teachers impose a certain way of doing things in that early phase, the students may never be able to think

Company critical analysis - DHL Research Paper Example | Topics and Well Written Essays - 1500 words

Company critical analysis - DHL - Research Paper Example With time the company grew rapidly operating in over 200 countries with 110,000 employees and very recently the company was renamed as Deutsche Post DHL and established a new innovation centre division for more innovative and sophisticated way of logistic system (DHL, 2011). This research is concerned with the in depth study of the company for critical analysis of the core competence of the firm and the competitive analysis for DHL. Background of the company (DHL) and its problem with competitors The two companies under DHL are the exclusive delivery agents of the other company and the reason behind the domestic shipping of the company within US is mainly to reduce the cost and on the other hand increase reliability of the international shipping of the company. During the year 1990 the company on experienced 3% of the shipment inside the country but about 20% of the overseas shipment from US is accounted under DHL. From the beginning the company is focused towards delivering excellen t services to the customers and is always committed towards its activities. The success factor of the company is mainly its employee base that is always acting according to the needs of the customers and serving with a customized approach. Today the company is operating in over 220 countries worldwide with a wide network and diversified business expertise in express, ocean freight, contract logistics, international mail services and overland transport (DHL-a, 2011). The company’s main competitions in the market are Federal Express, UPS (Silverstein, 2011). The competitors’ strategies of using third party help during the logistic process is one of the problem faced by the company as the company follows a network of self owned agents which takes time for the company to enter into new market for establishment of the business. Another issue is intense price competition in the industry which needs to be evaluated by the company to implement an effective pricing strategy. Di fferentiation in the pricing strategy of documents and parcel should be there for the company and the company needs to evaluate its pricing techniques for different industries also which the competitors are taking advantages of. Interview Review The interview conducted with the different members of DHL also reflected the problems that are prevailing within the organization and its competitors. As the Regional Manager of DHL, Dean Jones mentioned that the company is mainly focused towards quality service rather than concentrating on the pricing of products or service. Due to this the company is losing market share to its competitors with competitive pricing strategies. Johnson Par, the country manager of Africa on the other hand mentioned about a problem on the logistic system. The company has their own logistic systems which sometimes fail to serve on time as the competitors use their third party service for faster delivery of products. But DHL believes that customers will trust in the companies on logistic system than on any third party channel. Analysis of the resources and capabilities of DHL DHL broadly comprises of four divisions which are mainly operated by their divisional headquarters. All the groups are managed by the centralized centre all under one group. The centralized internal services

Employee Rights and Property Searches Essay Example for Free

Employee Rights and Property Searches Essay Mopak Corporation performed a search for drugs and guns on the employees and contract workers vehicles with the assistance of a private security company and drug detection dogs. In the search, guns were found, but not drugs, in several vehicles. At the completion of the search, five employees along with ten contract workers whose vehicles where the weapons were found were terminated, due to the corporation’s belief that the employees violated the company policy. The terminated workers immediately sued Mopak for wrongful termination. Though mostly in the United States employees are â€Å"at-will† employees, the arguments for wrongful termination the employees from Mopak can make in their suit is that Mopak performed an unreasonable search of their vehicles, violating their expectation of privacy. The search was made without a warrant and violated their Fourth Amendment Rights. (Lawyer. com, 2013) The contract workers are bound by contracts that may have an at-will clause in it, in which case they, like the regular employees, can be terminated at-will. Even though when there is a contract, written or oral, it’s based on a promise of job security, but with an at-will clause, contract workers may either leave a contract job or be terminated from a contract job at-will. †Employers often, and legitimately, ask employees to sign contracts or agreements that document and enforce the terms of at will employment, usually in company policy manuals. † (Lawyersandsettlements. com, 2013, para. ) The arguments that Mopak Corporation will make in response to the wrongful termination suit are that in the employees’ policy manual, handbooks or contracts reflect that the employee and/or contract workers must agree to random vehicle searches, random drug testing, and an at will clause for employment; that when signed by the employees and/or contract workers, it becomes binding, implied, or implied-in-fact contracts. In the 1988 decision of landmark case Foley vs. Interactive Data Corp. it brought to light that employees enter into implied-in-fact contracts with the acceptance of great merit reviews, promotions, raises, and with verbal assurances of job security. I believe the Mopak Corporation would win. I do not believe that a corporation with so much to lose would perform an illegal search of employee’s vehicles. They must have in the company’s policy manual that such an act would be permissible once the employees and contract workers sign that they have rea d and agreed to the terms and condition of the policy and/or contracts.

Analysis of the Human Rights Act, 1998

Analysis of the Human Rights Act, 1998 Human Rights Law ‘Despite the Human Rights Act 1998, the courts have failed appropriately to limit the scope for the exercise of breach of the peace powers.’ The Human Rights Act 1998 received royal assent on November 9, 1998 and came into force on October 2, 2000. The objective of said Act was to harmonize the domestic law of the United Kingdom with the European Convention on Human Rights. To reaffirm the commitment of the UK to human rights and civil liberties, it is now possible under the said Act to file a claim for violation of the ECHR without going to the European Court of Human Rights in Strasbourg. Says Weinstein: This ability to transcend national law, and to compel revision of such law to comport with rights guaranteed by the European Convention in a broad range of areas, most often within the exclusive purview of national and local courts, is of historic note. Generally, nation states have been the final arbiters of most issues affecting their citizenry and within their borders. By treaty, the signatory nations of Europe have granted the ECHR binding authority to decide cases affecting their citizenry and other persons subject to their authority. In instances where state law is found inconsistent with an ECHR judgment, the nation at issue is obliged to amend its national law to comport with the ECHR decision. These cases illustrate the concept of what is increasingly being referred to as an evolving European supranational identity. The ECHR grants jurisdiction to any individual, non-governmental organization, or group claiming be a victim of a violation of the European Convention by a ECHR signatory nation, and to bring cases before it, as does, in applicable cases, the European Court of Justice (the ECJ), the court of the European Union, based in Luxembourg. Equally important, it prohibits any public body from behaving in a manner that is incompatible with any of the rights guaranteed under the ECHR. The Human Rights Act has gone a long way in limiting arbitrary actions from public bodies, in particular, police officers. It cannot be denied, however, that the laws on â€Å"breach of the peace† grant have historically been so vast in scope that in some occasions, human rights violations arise. The definition of â€Å"breach of the peace† (also known as breach of the Queen’s peace) has been discussed in the Court of Appeal decision of Howell, where it was stated as follows: We are emboldened to say that there is a breach of the peace whenever harm is actually done or is likely to be done to a person or in his presence his property or a person is in fear of being so harmed through an assault, an affray, a riot, unlawful assembly or other disturbance. It used to be that the prospect of violence alone would not be enough to be considered a â€Å"breach of the peace†, as in the comment of Farqhuarson LJ that â€Å"The act which puts someone in fear of violence taking place entitles a police officerto detain the actor but it is not a breach of the peace, for the violence has not yet occurred.† There has been scant support for this view, such that in the present time, â€Å"breach of the peace† also embraces â€Å"behaviour likely to cause a violent reaction†, even if such behaviour is not of itself violent. The policy of the law has been recently discussed in the case of Humberside Police v. McQuade, where it was held that: â€Å"the policy of the law relating to arrest for breach of the peace is plain enough. Its purpose is to deal with emergencies. The power of arrest may be exercised without a warrant and belongs to the ordinary citizen as much as to the constable.† In a handful of cases, the European Court of Human Rights has found that there is no contradiction between the concept and the Human Rights act of 1998. The most cited case is the case of McLeod v. United Kingdom , where the Court held as follows: â€Å"The concept of breach of the peace has been clarified by the English courts over the last two decades, to the extent that it is now sufficiently established that a breach of the peace is committed only when an individual causes harm, or appears likely to cause harm, to persons or property, or acts in a manner the natural consequence of which would be to provoke violence in others.† There are several powers that underlie a â€Å"breach of the peace†. The first power is the power of arrest. In Howell the conditions for making an arrest on this basis were laid down, to wit – â€Å"Where: (1) a breach of the peace is committed in the presence of a person making the arrest or (2) the arrestor believes that such a breach will be committed in the immediate future by the person arrested although he has not yet committed any breach or (3) where a breach has been committed and it is reasonably believed that a renewal of it is threatened.† Another power is the power to enter premises. The leading case for this is the case of Thomas v. Sawkins which involved a meeting to protest the Inciting to Disaffection Bill. Wary that seditious and inflammatory statements would be made, the policemen stormed in and attended the meeting, even though they were aware that they were unwelcome. In a unanimous decision, the Court ruled that the presence of the police officers was lawful. Stone explains why this is an alarming prospect: A point of uncertainty, however, arose from the fact that the meeting took place on private premises. Did the power of entry recognised in the case only apply to meetings to which the public were invited, or are the police entitled to enter any premises on which a breach of the peace is occurring or is likely to occur? The judges in Thomas v Sawkins appeared to attach importance to the fact that they were dealing with a public meeting, but the general law of trespass makes no distinction of this kind. If those attending a public meeting on private premises do so on the basis of a licence from the occupier, then that licence may be withdrawn, from the police as much as anyone else. If the police have the power to override the withdrawal of a licence, then there seems no reason why that power should not exist on all occasions. The result is that Thomas v Sawkins had the effect of giving the police a power to enter any premises to prevent or deal with a breach of the peace. Another power police officers have is the power to control/restrict/compel an individual’s movement. The seminal case for this is the case of Moss v McLachlan , which involved militant striking miners prevented by policemen from joining the ranks of more â€Å"moderate† miners. The Court upheld the actions of the law enforcement agents, saying as follows: â€Å"If the police feared that a convoy of cars travelling towards a working coal field bearing banners and broadcasting, by sight or sound, hostility or threats towards working miners might cause a violent episode, they would be justified in halting the convoy to enquire into its destination and purpose. If, on stopping the vehicles, the police were satisfied that there was a real possibility of the occupants causing a breach of the peace one-and-a-half miles away, a journey of less than five minutes by car, then in our judgment it would be their duty to prevent the convoy from proceeding further and they have the power to do so.† There are many human rights issues that are affected by an overly-broad interpretation of â€Å"breach of the peace.† The first principle that they may invoke is the principle regarding Freedom of Thought, Conscience and Religion which is enshrined in Article 9. There is no dearth of cases that they may cite in order to support their position. For example, in the case of Arrowsmith v. United Kingdom, it was stated this right refers to acts that are an expression of a religion or belief. This right was raised before the ECHR for a variety of reasons, such as employment and prisoners’ rights. While certainly, the courts have taken quite a restrictive approach in applying the provision and granting relief under it, it has been restrictive when the acts sought to be justified are acts that are patently illegal and morally wrong, such as assisted suicide or the distribution of cannabis. These acts cannot be compared to the simple act of dancing or organizing. The dangers of cannabis and euthanasia simply cannot compare to the conjectured danger in the case at hand, and thus, the latter should fall under the ambit of freedom of religion. There is also the freedom of assembly and association argument (Article 11) that may be raised. Aside from imposing a negative obligation on law enforcement agents not trample on protected rights, they must secure the effective enjoyment of these rights. In the case of Plattform ‘Arzte fur das Leben v. Austria the ECHR held that â€Å"Genuine effective freedom of peaceful assembly cannot be reduced to a mere duty on the part of the state not to interfere†¦ Article 11 sometimes requires positive measures to be taken, even in the sphere of relations between individuals, if need be.† Freedom of Expression which may be found in Article 10, can likewise be cited. There can be no doubt that freedom of expression is of paramount importance. While the right to free speech is a crystallized principle that has been place almost since the beginning of time, enjoying a cherished position in the bill of rights of virtually all civilized legal systems, the interpretation of what constitutes free and protected speech still has yet to be perfectly refined. This provision has been invoked many times over in the course of history, whether within the European Union or outside, successfully and unsuccessfully; and Courts have had many opportunities to set standards and devise guidelines to determine if the speech in question should be protected or not. It is important to note that Article 10 protects not merely the substance of the idea but also the form that they are conveyed. This was the ruling in the case of Oberschlick v. Austria and it could be applied here. The form of the expression should also be considered protected speech. This is bolstered by the fact that in the case of Stevens v. United Kingdom, the concept of expression covers even â€Å"actions†. It becomes more difficult when the right to free speech competes with another right, in this case, the right of the public to order, or to put it more classically, the right of the Queen to her peace. In â€Å"easy† cases, all that should be done is look through jurisprudence until one finds the applicable case with similar facts. In â€Å"hard† cases with novel facts, the role of the judge becomes infinitely more difficult. The boundaries are ever-shifting; and internally, the judge will be trying not only to apply the law, but to subject the text or speech in question to her own subjective inquiry in order to determine the intent of the message-bearer and what the material was trying to say. Social and political values inevitably come to the fore. To quote legal writer Thomas Streeter, â€Å"It is in the character of language, in other words, that a judge will never be able to look at the text of the Bill of Rights and legal precedents to decide whether or not flag b urning is protected by the First Amendment; he will always in one way or another be forced to make a choice about whether or not he thinks it should be protected, and will always be faced with the possibility that a reasonable person could plausibly disagree.† What distinguishes the area on free speech from other â€Å"legally-indeterminate† areas is that it is inextricably intertwined with and largely dependent on language which, as many eminent linguists have said, is arbitrary in the sense that meanings cannot be derived from anything logically-inherent in the words. These meanings are merely â€Å"assigned meanings† born of the collective experiences of people in a community and this system of interpretation is never static. As stated by Streeter, â€Å"Aside from language in general and perhaps some very deep-level aspects of syntax, there is very little that is universal, neutral, or mechanical about human languages.† Another issue is the right to due process. Legal systems in the civilized world – whether in civil or common law jurisdictions have, at least in theory, given primacy to the rights of the accused, understanding that ambiguity should be resolved in his or her favor. This, however, does not mean that one must let down his or her vigilance and stop guarding against possible infringement of constitutional guarantees by overzealous judges, particularly at a time when human rights advocacy for the accused has been made unpopular by the rising rate of crime. It used to be that the primacy of the State is the core principle of the international legal regime as it is traditionally known. This, however, has been challenged by the alarming rise of state-sponsored human rights violations that has prodded the community of nations to recognize that its more pressing duty is to protect the individual from systemic and institutional atrocity, even at the expense of its legal fictions. To quote from Hersch Lauterpacht, in his article International Law and Human Rights, An international legal system which aims at effectively safeguarding human freedom in all its aspects is no longer an abstraction. It is as real as man’s interest in the guarantee and the preservation of his inalienable rights as a rational and moral being. International law, which has excelled in punctilious insistence on the respect owed by one sovereign State to another, henceforth acknowledges the sovereignty of man. For fundamental human rights are superior to the law of the sovereign State. This is the raison d’etre behind the International Convention on Civil and Political Rights which entered into force in 1966 and the Human Rights Act of 1998. State parties were cognizant of the need to protect civil and political rights of citizens from possible encroachment by the state. The ICCPR explicitly declares: â€Å"No one shall be subjected to torture or to cruel, inhuman or degrading treatment or punishment.† It is undeniable that this includes protection of citizens from agents of the state such as members of the police force. And yet, we see how police officers routinely violate the human rights of those they apprehend. The implicit message is that these are criminals anyway – thugs, petty thieves, gangsters, punks, drug addicts, alcoholics – and they are doing society a favor by treating them brusquely. An oft-heard justification is that you cannot treat hardened criminals with kid gloves or you will be perpetrating crime even further. However, it cannot be gainsaid that the legal restrictions on evidence make police brutality inimical to law enforcement, rather than the opposite. Given the propensity of law enforcement agents to manhandle an accused or use unnecessary force to restrain and subdue him, they should be taught that such behavior only bolsters crime instead of eliminating it. First: it emboldens criminals to seek revenge and go on â€Å"vendetta killings† and perpetuates a vicious cycle of crime that exacerbates the situation even further. Second: evidence procured by vi rtue of such rough manhandling will not be admissible in evidence and the criminal they seek to put behind bars will be allowed to go back to the streets. Most importantly, however, even hardened criminals are covered by the human rights guarantees in the Constitution and in human rights conventions. Human rights are inalienable and imprescriptible, and they apply to everyone. But perhaps the most recent caselaw on breach of the peace with respect to the concept of human rights is the recently concluded Fairford Coach Action where the police detained 120 protesters on their way to an anti-war demonstration in Gloucestershire. The Public Order and Criminal Justice Act was used by the policemen. The Law Lords eventually ruled in favour of the protesters. In 2004, it made this crucial point: The rights to freedom of expression, and assembly and association, which are protected by Articles 10 and 11 of the ECHR respectively, are of the greatest importance to the proper functioning of any democracy. Any intrusion upon the rights, either by the developing common law or by the intervention of statute law, has to be jealously scrutinised. In conclusion, while certainly there are significant inroads brought about by the Human Rights Act of 1998, these still must be reckoned with the laws on breach of the peace. It is the duty of the courts and of every citizen to be vigilant against encroachments by police officers. The law is there to provide refuge, but education and awareness are primary.   Bibliography Hoffman, D. Rowe, J. (2003). Human Rights in the UK: An Introduction to the Human Rights Act 1998. London: Pearson Longman. Lauterpacht, Hersch. 1950. International Law and Human Rights. Connecticut: Archon Books. Stone, R. (2001) Breach of the Peace: The Case for Abolition. 2 Web. JCLI. Streeter, T. (1995) Some Thoughts on Free Speech, Language and the Rule of Law. In Jensen, R. and Allen, D. (Eds.) Freeing the First Amendment: Critical Perspectives on Freedom of Expression.31-53. New York University Press. Weinstein, B. â€Å"Recent Decisions from the European Court of Human Rights.† American Society of International Law. May 2000. visited 21 January 2007. http://www.asil.org/insights/insigh45.htm

Glitches :: essays research papers

How to glitch Halo 2   Ã‚  Ã‚  Ã‚  Ã‚  What is a glitch? What is Halo 2? Halo 2 is a video game that is played on the XBOX gaming console. It is a first-person shooter with beautiful landscapes and environments. In every environment there are limits and boundaries as to what you can do and where you can go. A glitch is when you find a way around these limits and boundaries. There are many glitches in Halo 2, but the one we will learn is how to get out of the environment called â€Å"Burial Mounds.†   Ã‚  Ã‚  Ã‚  Ã‚  In Halo 2 there are walls around every environment. To build these walls, programmers make a boundary that you cannot pass through and then they assign it a color and/or texture to make it look like a real wall. The obvious solution to getting out of an environment would be to simply find a way over these walls. That was the case in the prequel to Halo 2 called Halo, but in Halo 2 the programmers did not want gamers to get out of the environments so they built invisible walls above the visible ones so that it looks like there is just one wall, but really there are two walls stacked on top of each other. To make these invisible walls they simply make a boundary and do not assign a color to it. These invisible walls worked very well, but there was one problem with them; they did not make a complete circle around the environment. The invisible walls have two ends that meet together somewhere in the environment and leave a small â€Å"hole† between each end. Fi nding this hole and getting through it is how we will glitch Burial Mounds.   Ã‚  Ã‚  Ã‚  Ã‚  Step one is to setup the proper game. Turn your XBOX on with Halo 2 inside. When the main menu appears select the â€Å"Settings† option. A submenu will appear and you will need to select the â€Å"Game Variants† option. Once you have done this a list of game options will appear and you will scroll down the list and change these options as such: Level – Burial Mounds Game Type – Juggernaut Over shields – On Once you have done this press the back button until you are at the main menu again. Now choose the option â€Å"Multiplayer.† When you get to the multiplayer submenu you will need a partner to join the game with you because this glitch requires two players. Glitches :: essays research papers How to glitch Halo 2   Ã‚  Ã‚  Ã‚  Ã‚  What is a glitch? What is Halo 2? Halo 2 is a video game that is played on the XBOX gaming console. It is a first-person shooter with beautiful landscapes and environments. In every environment there are limits and boundaries as to what you can do and where you can go. A glitch is when you find a way around these limits and boundaries. There are many glitches in Halo 2, but the one we will learn is how to get out of the environment called â€Å"Burial Mounds.†   Ã‚  Ã‚  Ã‚  Ã‚  In Halo 2 there are walls around every environment. To build these walls, programmers make a boundary that you cannot pass through and then they assign it a color and/or texture to make it look like a real wall. The obvious solution to getting out of an environment would be to simply find a way over these walls. That was the case in the prequel to Halo 2 called Halo, but in Halo 2 the programmers did not want gamers to get out of the environments so they built invisible walls above the visible ones so that it looks like there is just one wall, but really there are two walls stacked on top of each other. To make these invisible walls they simply make a boundary and do not assign a color to it. These invisible walls worked very well, but there was one problem with them; they did not make a complete circle around the environment. The invisible walls have two ends that meet together somewhere in the environment and leave a small â€Å"hole† between each end. Fi nding this hole and getting through it is how we will glitch Burial Mounds.   Ã‚  Ã‚  Ã‚  Ã‚  Step one is to setup the proper game. Turn your XBOX on with Halo 2 inside. When the main menu appears select the â€Å"Settings† option. A submenu will appear and you will need to select the â€Å"Game Variants† option. Once you have done this a list of game options will appear and you will scroll down the list and change these options as such: Level – Burial Mounds Game Type – Juggernaut Over shields – On Once you have done this press the back button until you are at the main menu again. Now choose the option â€Å"Multiplayer.† When you get to the multiplayer submenu you will need a partner to join the game with you because this glitch requires two players.

Essay --

The movie Sherrybaby depicts a young woman struggling to pick up her life where it left off after being released from prison. She tries to rebuild her life but encounters many obstacles along the way. She tries to rekindle the relationship with her daughter Alexis, while battling to stay clean from her heroin addiction. She also seems to have a difficult time forming relationships with people in her halfway home and using her sexuality to get her way in the work field. She is in over her head as she tries to jump right into where she left off three years ago. Despite her positive attitude, we witness the challenges she faces with low self-esteem, substance abuse, and the guilt of leaving her daughter Alexis to be raised by her brother and sister in law. In the very beginning of the film when trying establish the fundamental things necessary to get her life back on back, we see how she uses her sexual appeal to get what she wants. When speaking with her parole officer, Sherry tries to use her good looks in persuading him to see her family in New Jersey. After he quickly picks up on this, dissatisfied Sherry sulks using the excuse that she hasn’t seen her daughter in years. â€Å"Indeed family contact was the key motivator stated by participants for maintaining their recovery† (Duffy & Baldwin, 2013). Perhaps her parole having dealt with similar cases to Sherry saw the effects family isolationism had on recovery. It is clear that he is not in on her game but still, he allows her to go see her brother and daughter. Arriving at her new home Sherry is introduced to the director of the halfway home where we find the two of them in the basement sexually involved. Once again, we see Sherry using her good looks when try ing to ge... ...ug use, recovery from use and personal identity† (Brener, Hippel, & Hippel, 2012). Sherry does acknowledge her addiction and does want to get clean. This theory could be useful in predicting future drug use among people who are attempting to quit and who is likely to complete treatment. She soon discovers things are not so easy or as expected. Sherry realizes during her first true parenting experience that she is not quite able to handle life on her own just yet. In order for Sherry to have a chance at rekindling her relationship with daughter Alexis, she must be willing to accept her weaknesses and accept the past. As the film unravels, it is evident she has issues from her past that are kept at bay reflecting on where she is in life. It is Sherry’s desire to change that will ultimately determine whether she gets second chance at life.

Why Did The Civil War Start? Essay -- essays research papers

In this chapter I will try to find out why the Civil War actually started, and what the consequences of the war were. To find out this I need to know a little more about the history of the Civil War. The causes of most wars are often very complex, but in the America civil war it came down to two major issues, slavery and the protection of the Union. In the North, they were growing richer all the time as industry developed fast. The workers were mostly immigrants with low wages. The South didn’t have these resources, and the slaves were essential for them. The Northern politicians insisted that the Slavery should be abolished and that this was an evil system that should be stamped out. Only the rich wool farmers and other wealthy southerners had their own slaves, but most of them thought each state should decide its own politics rather than the federal government in Washington. When the war started most southerners fought for their States’ right and not just the slavery question. The North primarily fought to preserve the Union, but soon they also wanted to free all the slaves in the South. In 1860 Abraham Lincoln was elected as President, he was liberally-minded, and this was the final straw for the southern states. The leaders of the south had been waiting a long time for an event like this that could unite the entire South against the â€Å"antislavery forces†. When the election results were certain a South Carolina convention declared their state as seceded from the United S... Why Did The Civil War Start? Essay -- essays research papers In this chapter I will try to find out why the Civil War actually started, and what the consequences of the war were. To find out this I need to know a little more about the history of the Civil War. The causes of most wars are often very complex, but in the America civil war it came down to two major issues, slavery and the protection of the Union. In the North, they were growing richer all the time as industry developed fast. The workers were mostly immigrants with low wages. The South didn’t have these resources, and the slaves were essential for them. The Northern politicians insisted that the Slavery should be abolished and that this was an evil system that should be stamped out. Only the rich wool farmers and other wealthy southerners had their own slaves, but most of them thought each state should decide its own politics rather than the federal government in Washington. When the war started most southerners fought for their States’ right and not just the slavery question. The North primarily fought to preserve the Union, but soon they also wanted to free all the slaves in the South. In 1860 Abraham Lincoln was elected as President, he was liberally-minded, and this was the final straw for the southern states. The leaders of the south had been waiting a long time for an event like this that could unite the entire South against the â€Å"antislavery forces†. When the election results were certain a South Carolina convention declared their state as seceded from the United S...

Contemporary Chinese female art and artists Essay

Introduction In the 1990s, China adopted western feminism and it influenced and rapidly raised the Chinese feminism concept. There were many themes of exhibition focused on female art and female artists, an example of this is the â€Å"Chinese Women Art Exhibition†1 â€Å"Chinese Women Art Exhibition† in 1998, the Frauen museum (Women’s Museum), Bonn, Germany â€Å"Ã¥ Å Ã¥ ¤ ©Ã©â€šÅ -ä ¸ ­Ã¥Å"‹å ¥ ³Ã¦â‚¬ §Ã¨â€" Ã¨ ¡â€œÃ¥ ±â€¢Ã¢â‚¬ , é‚ ±Ã¨  Ã§ ­â€"åŠÆ', Ã¥ ¾ ·Ã¥Å"‹æ ³ ¢Ã¦  ©Ã¥ © ¦Ã¥ ¥ ³Ã¨â€" Ã¨ ¡â€œÃ¥ Å¡Ã§â€° ©Ã© ¤ ¨, Ã¥ Æ'Ã¥ ±â€¢Ã¨â€" Ã¨ ¡â€œÃ¥ ® ¶Ã¦Å"‰ä ¸ ­Ã¥Å"‹, æ ¸ ¯Ã¥  °Ã¥ Å Ã¦ µ ·Ã¥ ¤â€"å… ±Ã¨ ¨Ë†25ä º º. in 1998 and the â€Å"Century Female Art Exhibition†2 â€Å"Century Female Art Exhibition† in 1998, the China National Art Gallery, Beijing, China â€Å"ä ¸â€"ç ´â‚¬,Ã¥ ¥ ³Ã¦â‚¬ §Ã¨â€" Ã¨ ¡â€œÃ¥ ±â€¢Ã¢â‚¬ , Ã¥ â€¡Ã¦â€" ¹Ã¨Ë†Å¸Ã§ ­â€"åŠÆ',ä ¸ ­Ã¥Å"‹èâ€" Ã¨ ¡â€œÃ§  â€Ã§ © ¶Ã©â„¢ ¢Ã¦â€"‡åÅ'â€"èâ€" Ã¨ ¡â€œ,Ã¥ ¤ §Ã¥Å" °Ã¨ ³â€¡Ã§â€ ¢Ã§ ® ¡Ã§ â€ Ã¦Å"䎪 Ã¥â€¦ ¬Ã¥  ¸Ã¤ ¸ »Ã¦Å' ,Ã¥ ±â€¢Ã¨ ¦ ½Ã§  »Ã¥ ±â€¢(é™ ¶Ã¥â€™ Ã§â„¢ ½Ã¤ ¸ »Ã¦Å' ),èâ€" Ã¥â€œ Ã¥ ±â€¢(Ã¥ ¾ Ã¨â„¢ ¹Ã¤ ¸ »Ã¦Å' ),Ã¥ ¤â€"Ã¥Å"˜å ±â€¢(ç ¾â€¦Ã© ºâ€"ä ¸ »Ã¦Å' ),ç‰ ¹Ã¥ ±â€¢(è ³Ë†Ã¦â€" ¹Ã¨Ë†Å¸Ã¤ ¸ »Ã¦Å' )四個éÆ' ¨Ã¥Ë†â€ .Ã¥ ±â€¢Ã¨ ¦ ½Ã¨ ¨ ­Ã§ «â€¹Ã¤ ¸â€°Ã¥â‚¬â€¹Ã§ Å½Ã©  â€¦:æâ€"‡åÅ'â€"èâ€" Ã¨ ¡â€œÃ¥ ­ ¸Ã§ ¤ ¾Ã§ Å½(ç  ²Ã§ Å½Ã¨â‚¬â€¦:Ã¥ ¡Å¾Ã¥ £ ¬Ã¨â€" Ã¨ ¡â€œÃ¥ · ¥Ã¤ ½Å"Ã¥ ® ¤,劉è™ ¹,èâ€"݊ ¿ Ã§â€˜â€¢,æžâ€"Ã¥ ¤ ©Ã¨â€¹â€",æ ¢ Ã¦ ´ Ã© Ë†) æ‰ ¹Ã¨ ©â€¢Ã¥ ® ¶Ã§ Å½(ç  ²Ã§ Å½Ã¨â‚¬â€¦:Ã¥ §Å"æ  °,Ã¥ ­ «Ã¨â€˜â€º,æžâ€"Ã¥ » ¶,æâ€"‡é ³ ³Ã¥â€žâ‚¬,æ Å½Ã¨â„¢ ¹) æ” ¶Ã¨â€" Ã¥ ® ¶Ã§ Å½(ç  ²Ã§ Å½Ã¨â‚¬â€¦:Ã¥ ¤ Ã¤ ¿Å Ã¥ ¨Å",Ã¥ ¾ Ã¦Å¡ Ã§â€¡â€¢,Ã¥ ¼ µÃ¦ º «Ã¥ ¸â„¢,Ã¥ ­ «Ã© ¼Å½Ã§Å½â€°,Ã¥ ¾ Ã¨â„¢ ¹) in 1998. Only female artists could participate in this category of art exhibition. Although the exhibitions revealed the importance of women art in modern Chinese art, there was no specific description to define the quality of female art and female artists. From this it can be asked: What is Chinese female art and is it a category in the making of the modern and contemporary Chinese art? Contemporary Chinese art frequently referred to as avant-garde art, sustained to expand ever since the 1980’s as an improvement of contemporary, post-Cultural art developments. During this period, China opened the economic door to world and western influence poured into Chinese culture; bringing the concept of feminism in China. Furthermore, Chinese artist were also released from the control of extreme political condition, and female artists were set about to re-create their own image, contributing to a gradual awakening of women’s consciousness. Indeed, it is in this newly awakened consciousness that Chinese female art in contemporary world can be delineated. In this paper, I would like to discuss how three generation groups of female artists (1980s, 1990s, and overseas) present their works and how they express their female quality through those art pieces. Finally, I also would like to bring out the concept and definition of quality of female art in contemporary Chine se art. The ’85 New Wave Art’ movement brought about many young female artists who devoted themselves to approach the woman’s nature of body and also found new ways to present the attention on the female subject. Female artists alongside male artists, expressed their own attitudes towards contemporary China. In the beginning stages of this period, women artist paid little attention to their own expression through maintaining with the large scale influence and borrowing from modern western art. However, the nature of contemporary art developed so that the concept of women’s artistic consciousness started to emerge. After 1989, neo-expressionism brought new stage in China. Artists, both male and female, started to focus on the essence of human spirit and also emphasized on rational and critical concepts. Women’s consciousness began to emerge and women began to explore their own experience and find an appropriate way of expression in contemporary Chinese art. Most female artists pursued to define the essence of women’s consciousness or confirm women’s consciousness itself. They promoted freedom from traditional male-dominated society and pursued women’s equal position with men. Many women art exhibitions were also held in this period, and female art and female artists began to be paid attention. Since the 1980s, not only local Chinese female artists came about to give rise to Chinese women’s art, but some overseas Chinese female artists also worked to this end. They created the works through different experiences and feelings in looking for the essence of women’s consciousness. These artists mostly left China after the Cultural Revolution, prior to the social changes in China. They have their unique ways to present their ideas and expressions, like looking back to Chinese history and pursuing the art essences that they need. With differences in personal backgrounds and generations, female artists in all these three groups have varying and unique ways in presenting their art through different content and influence. But to Chinese female artists, the intention is to express their female touch and feeling in a changing Chinese society in which the women’s gender role is constantly changing and reshaping. In their art, females in these three groups share not only expressions and feelings based on their female sensitivity but also their observations to social concern. In the following sections, I choose three contemporary Chinese female artists, Hung Liu, Yu Hong, and Cui Xiuwen, and define the quality of female art through their works. Traditional female role in China Most literature focuses on Chinese culture and history with key stresses on the function of language, geography, philosophies, and art. On the other hand, women are missing in almost all fields. Chinese civilization’s culture and arts are male-dominated and male-oriented. Chinese art, whether primordial or contemporary, is art that instigated in or is practiced in China mostly by Chinese male artists. The arts of a society mirror man’s values and attitudes. Women were always portrayed as objects of observation by men. Moreover, according to I-Jing, â€Å"women are more naturally aligned with the spiritual and emotional bodies, which are more non-linear and spatially oriented (all those yin qualities); while men are more naturally aligned with the mental and physical bodies, which are more linear and temporally oriented (all those yang qualities).†3 Malin, David. 2006. Creating Sacred Space. Bodymath.com. http://www.bodymath.com/articles/archives/Feb06_Creating_Sacred_Space.pdf (February, 2006) Yang is mostly considered more important than yin, and is regarded as of secondary importance. This makes gender roles have typical stereotypes with women always portrayed with weakness and sickness. Chinese women had been confined to the family, at the mercy of their husbands for thousands of years. History and tradition have stifled women’s voices. In China, women lived within a society dominated by men, where women were not authorized to involve themselves in the public field and consequently were not integrated in historical descriptions. For example, in the Forbidden City, women were not allowed to walk in some public spaces because those spaces were symbolized as the male’s power and authority. â€Å"No woman ever took part in the grand ceremonies staged before the Hall of Supreme Harmony, which were supreme demonstrations of male ruling power.†4 Wu, Hung. Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the â€Å"Dream of the Red Chamber†. Writing Women in Late Imperial China, ed. Ellen Widmer& Kang-I Sun Chang, 315-316. Stanford, CA: Stanford University Press, 1997. Undertakings by Chinese women highlight the custom of foot binding succeeded from late Song to Ming Dynasties and even sustained to several indications into the 20th century. Foot binding has an effect to a degree in all classes of Chinese women and at a certain point, persuaded women to have bound feet and to dwell in the private sphere of their homes. Having bound feet was directly correlated to Chinese art in modern times. Contemporary Chinese women role The year 1976 marked a shift in political, economic, and cultural policy, a shift that erupted out of the self-imported isolation of three decades and opened China up to the outside world. Western influence started to come into China and brought many new concepts to strike Chinese society. During the 1980s, the western feminism also began to influence and raised rapidly women’s consciousness. â€Å"By the mid-1980’s, though, the plethora of newly founded women’s magazines explicitly discussed women’s problems at work and in the family. The pages of China Women’s News were filled with exposà ©s and denunciations of discrimination faced by women. â€Å"Feminist outcries† began to appear with some regularity in print. This recognition of gender inequality also found expression in the emergence of separate women’s organizations–schools, professional societies, and women’s studies groups.†5 Hershatter, Gail& Honig, Emily. Feminist Voices. Personal Voices: Chinese Women in the 1980’s. 308. Stanford, CA:Stanford University Press, 1988. Women became aware of their unequal state in society and began to pay attention on female issues. In 1990s, new modern women images emerged. Women focused on individual characteristic and pursued their confidence and profession. The new women were as strong and intellectual as men or better, and they could even afford more of what they desire without anymore having to depend on men and be at a lower statute in society. â€Å"Metropolis ran a special feature on women of talent in its November 1999 issue. One illustration show a confident woman pointing to the screen of her laptop computer while a male colleague with furrowed brow struggles to comprehend what he sees. An article entitled â€Å"Thirty Traits of the Talented Woman†6 â€Å"Thirty Traits of the Talented Woman† explains that the woman should be intelligent, sharp-witted, well-informed, knowledgeable, well-spoken, and has good taste; she is independent, self-respecting, and conscious of women’s equality; she if principled but gentle, with a good sense of humor, and easy to get along with. She is understanding, generous, and sensitive to the feelings to others, but not suspicious. She is a doer-straightforward, efficient, and self-controlled. She is a bit of a rebel but not confrontational. While she may be attractive to men, her attraction is based on personality, not beauty. Her life is well-balanced; love is never her only concern. Dadushi (Metropolis) 14 (November 1999): 102-103 lists her characteristics.†7 Julia F. Andrews and Kuiyi Shen. The New Chinese Woman and Lifestyle Magazines in the Late 1990s. Popular China: Unofficial Culture in a Globalizing Society. Ed. Perry Link, Richard P. Madsen, and Paul G. Pickowicz, 151. Lanham, Maryland: Rowman & Littlefield Publishers, Inc., 2002 New modern women were portrayed as beautiful and intellectual individuals. They could stand in the same level in society with men. Contemporary Chinese female artists and works Contemporary Chinese female artists use a lot of ways to express and convey their feelings and this is done effectively in their image. Basically, there are five important themes involved in their works to describe their voice and thought. First, female artists usually use their sensitivity to express women’s touch through body and gesture. Body and gesture presentations help artists to voice their opinions and feelings accompanied with their understanding of being women. Cui Xiuwen8 Cui Xiuwen, born in Heilongjiang, China, 1970. She graduated with MFA from the Central Academy of Fine Art, Beijing, China in 1996. Cui Xiuwen’s works have consistently engaged themes of sexuality and gender. Her paintings show the blurred boundary between public and private, and the relationship between history and memory. She uses a wide range of media and subject matters to explore the messages she wants to pass, bringing disturbing insights to bear on those issues. , her series works, â€Å"Lovers† (1999), she creates bold and sensitive relationship and intimate activity between man and woman. In the piece, she reveals both heterosexual and homosexual features, and presents a nervous sexual interaction that hints at Paul Cezanne’s colors. In â€Å"Lovers 5† (1999), strong and intense orange color background emphasizes the two human figures in the front when having sex, and also marks the nervous and excited atmosphere between them. While seeing this painting, the feeling is along with two figures through position, activity, and touch. This is primary human nature and human form however is heterosexual or homosexual. â€Å"†I create themes about gender, not themes about sexuality,† she explains. â€Å"I focus on human beings, only the human form in the world. If you want to know what it is to be human, you have to gain an insight into the relationship between man and woman.†Ã¢â‚¬ 9 Ma, Maggie. The Colors of Cui Xiuwen. Artzine: A Chinese Contemporary Art Portal. http://www.artzinechina.com/display_vol_aid168_en.html Yu Hong’s10 Yu Hong, born in Xi’an,China, 1966. 1995 earned MFA from the Central Academy of Fine arts, Beijing, China. Simple and realistic are the two best words to describe her works. Initially, Yu Hong’s paintings combine highly realistic portraits wit unreal surroundings and colorations, suggestion a sense of dislocation from the world. She presents her world and experience through works without any extraordinary images or ideas. Though paintings often represent a tranquil feeling, they depict the significance of life. Her early work, â€Å"Nude† (1988) was against masculinity appropriation of the spectacle of woman’s body in the Cultural Revolution. She portrays realistically, woman’s naked body, smooth and soft pose which present the touch and quality of female. Yu Hong reverses the traditional must-be female image. She depicts naked woman body in front only with red high heel shoes. â€Å"Chinese pictures of the human body, clothes or semi-clothed, (in a furtive pornography [of specifically erotic pictures]), are-to Western eyes-meager, schematic and inadequate†.11 Angela Zito & Tani E.Barlow.The Body Invisible in Chinese Art?. Body, Subject & Power in China. Chicago: The university of Chicago Press. There were no naked body images in traditional Chinese pictures, but here Yu Hong presented the naked woman body to represent the true nature and beauty of human form intended   against masculinity of the body and tradition. Another type of presentation, like Hung Liu’s12 Hung Liu, born in China on the eve of the Cultural Revolution, 1982 earned her MFA in mural painting from the Central Academy of Fine Art, Beijing, China, immigrated to the United States later on and also earned MFA in visual arts from University of California, San Diego. She is interested in looking at how women existed in Chinese history for long time. Her works are touched with the painful reality of women’s status on China. As a Chinese woman and immigrant in the United States, Hung Liu chooses different ways to identify herself through looking back the Chinese history and portraying female issue on art work. Her paintings are based on late 19th and early 20th century Chinese photographs. Some were taken by foreign tourists, while others were taken by the Chinese. Often, the pictures are of beautiful young prostitutes. In traditional Chinese society, prostitutes belong to the low social class and disdained by people. But, indeed, they play an important role during that period, especially for photograph art and portrait paintings. In her work, â€Å"Odalisque† (1992), she creates a monumental altar to an anonymous woman, a turn of the century Chinese prostitute. Hung Liu reclaims a place in history for the Chinese prostitute by transforming the small photograph into large scale painting. â€Å"To the painting, with their flattened surfaces, Liu attaches wooden altars, on which she sets small jade-colored vases of glass flowers or tiny embroidered shoes for bound feet. Like the lacquer panels and the lifeless glass flowers, the prostitutes are mere decorations, passive, powerless, and empty in a culture that traditional counted emptiness as a female virtue.†13 Kim, Elaine H.1996. â€Å"Bad Women†: Asian American Visual Artists Hanh Thi Pham, Hung Liu, and Yong Soon Min. Feminist Studies, Inc. http://www.jstor.org/pss/3178131 The traditional Chinese clothing of the woman contrasts with the ornate, Western design of the sofa upon which she reclines and the flowered, Victorian-style backdrop. In addition, her gaze turns to the viewer and marks us conscious of viewer’s role as outside observers. The painting recalls the western artist, Edouard Manet’s painting, â€Å"Olympia† (1863). She touches a moment that registers the encounter between a past China and the trope of the prostitute, sexuality as commodity advertised through the relation of displayed body to the gaze of that Western technology, camera. â€Å"â€Å"I don’t want their stories to be forgotten; I don’t want them to disappear without a trace.† 14 Kim, Elaine H.1996. â€Å"Bad Women†: Asian American Visual Artists Hanh Thi Pham, Hung Liu, and Yong Soon Min. Feminist Studies, Inc. http://www.jstor.org/pss/3178131 As she says, she intends to document the anonymous women in history. Hung Liu’s painting combines western aesthetics with Chinese subject matter (prostitute), a cross-cultural blend that communicates her unique sense of beauty and emotion to the viewer through extraordinarily skillful handing of paint. Second, family and growing background are the significant influences to female artist when creating their works. Their works sometimes are revealed the images about family or childhood memory, and even extend to related personal expression and concern. Yu Hong, â€Å"Witness to Growth† (1966-2006), in which Yu Hong uses her own family photographs to create a self-portrait for each year of her life, and portraits for each year of her daughter’s life. The idea and composition of paintings dwell deeply in her concerned questions: What is the social expectation to female role in our society? How do these expectations build up the life of a woman? In this series of paintings, she not only narrates the story in how growing process, but also how society changes a woman’s life. Yu Hong discards an enthusiastic and rational thinking, but returns to the history by an imperturbable and objective manner instead. Yu Hong chooses a newspaper or magazine spread to complement each image of painting, and makes connection between private and public area of her own life. â€Å"Witness to Growth†(1995),a painting of herself aged twenty-nine years old, Yu Hong’s daughter lying on her body, family burden (role of mother) and society change (modern woman) bring heavy pressure and make her rethink the meaning of gender role and seek the balance between those roles. Next to the painting, artist places a contemporaneous China 1995 newspaper depicting â€Å"women waiting for job opportunity†. Chinese economy was flourishing rapidly during this period, and it also brought extremely competition in working position. Many women lost jobs, and many young girls lost opportunity of education. Society change quickly marked negative effect to female and deprived of their chance. At this time, western feminism came into China; women began to pursue their equality to men in society and also look for their female identity. This feminism trend aroused women to think about their roles between family and society as mothers and working women. In contrast, one year-old Yu Hong’s daughter, she seemed a new generation is growing. A new age is coming. The painting engages the juxtaposition of the weight of contemporary China’s history with the simplicity of life in its purest, most uncomplicated state of being. Here is a relatively quiet life lived in the midst of an almost constant political, cultural, and economic maelstrom. Yu Hong provides the necessary retreat into ordinary that enables the progression of life through the juxtaposition of the photograph and painting. Cultural Revolution was a significant historical event, especially rooted in people who grew up during this period. Hun Liu’s stunning reproductions of historical photographs of Chinese life, which address the cultural collisions she faced while coming of age during the decade of the Cultural Revolution in China. Personal items such as photographs were forbidden during Cultural Revolution, and her family destroyed most of their family photos out of fear. As a result, Hung Liu creates her paintings from anonymous photographs of historical China, particularly with reclaiming the lost histories of nameless women, has been strongly influenced by the losses she and her family suffered. Many of her paintings depict restrictive Chinese Cultural Revolution Scene and express her voice to against this history. Hung Liu’s painting, â€Å"Three Graces† (2001), the source photographs for this painting depict women in paramilitary uniforms in heroic poses, shown from below to give the appearance of greater height and stature. These fighters for Mao’s cause carry primitive rifles as they march forward to engage in the revolutionary struggle. During the Cultural Revolution, young students and young people were mobilized by Chinese government, called â€Å"red guards† or â€Å"Hong Wei Bing†. The Hong Wei Bing traveled throughout China, going to schools, universities, and institutions, spreading the teaching of Mao. They aimed to attack the old society (old ideas, cultures, manners, and customs) with violence, but indeed they followed blindly by government’s propaganda. And the Cultural Revolution also put young intellectuals and artist like Hung Liu into the rice fields to be â€Å"re-educated† by peasants. Hung Liu chooses plain clothes worn by the women in the original photographs with flowers, painted in the traditional Chinese style. The drips of oil paint that enliven the painting’s surface are a part of Western praxis with its reference to the personifications of beauty, charm, and grace. As she says, â€Å"â€Å"The oil washes and drips hat seep through my paintings contributes to a sense of loss while dissolving the historical authenticity of the photographs I paint from. Color is a way of making contact with subjects that are fading into the gray tones of history.†Ã¢â‚¬ 15 Going Away, Coming Home: 80 Blessings from Oakland Artist hung Liu. Port Of Oakland. http://www.museumca.org/press/pdf/Liu%20fact%20sheet%20fnl.pdf Through this revolutionary background, Hung Liu had experienced a deep touch. This painting not only looks for the memory of girls’ but also expresses Hung Liu’s feeling of the Cultural Revolution through the image and drip. Third, artists look for identifying women’s importance and missing recognition of social status because women in society are always ignored and made to play an unimportant role. Indeed, they are actually as significant as men in our world. Hung Liu’s paintings often narrate identity and story issues. She documents in her art the forgotten lives of anonymous people, especially those of women. She tries to recall their erased identity from society and appear their stories and meaning of existence back. Her work, â€Å"We have Been Naught We Shall Be all†(2007), a series of three canvases edged by bands to mimic widescreen film format, those works are inspired by Daughters of China (1949), a Ling Zifeng film based on the heroic actions of a group of women officers and soldiers during the Sino-Japanese War. Hung Liu’s empathetic response to the final moments of the women, as they carry a wounded comrade into the river to draw away enemy fire from the Chinese Resistance fighters, brings to the fore the theme of personal sacrifice. The images of women are taken by realistic presentation, Hung Liu bases on original photographic image of film. She reserves women’s face without any color and intends to keep their original identify and recall their heroic dignity, accompanied by respect. The paintings from left to right, it seems catching the moment and movement when women carrying the wounded body toward the front. Hung Liu uses the yellow color on three canvases, the background of left painting is coloring yellow, yellow is on wounded body and women’s figures of central canvas, and only little yellow color on right canvas. Moreover, yellow symbolizes the sharp memory. Hung Liu arranges the yellow on three canvases perfectly along with women’s action and moment. This presents a balance between image and time. Her art work is concerned about what has been lost in transit between female and history. Hung Liu desires to give those nameless women place in history, and she would like to identify those women as significant heroes in our society. As Hung Liu’s concept, Yu Hong creates the â€Å"She† series to portray the spirit and lives of women. The meaning of â€Å"existence† in our world is then recorded. Different career women have also played different roles to show their importance. â€Å"She-security guard†, Yu Hong arranges one photographic image picked by security guard aside with one oil painting made by her. The photographic image is taken in front of the museum in her leisure time. Security guard wears white shirt with likely smile. In the photo, she raises her hand and poses â€Å"YA†. Contrary to the next, the painting shows her working place. She wears yellow ochrecolor uniform and concentrate on her job with highly respect. The light is the parking light seems leading us to take a glance on her working place and tries to understand her work. Artist organizes this placement purposely and intent to show the importance of security guard in society. Yu Hong depicts the portrait image to let audience snoop security guard’s life between working place and personal life. She is the individual with singularity; no one can replace her in this career position. Yu Hong still presents her realistic style on paintings, and she intends to record different modern female in different levels of life. As she says, â€Å"If life can move slower, people can notice and pay attention in every detail and experience. I wish life could be freed from the restraint, so the essence of real life could be discovered. †16 â€Å"我å ° ±Ã¦Ëœ ¯Ã¥ ¸Å'æÅ"›ç”Ÿæ ´ »Ã§ ¯â‚¬Ã¥ ¥ Ã¦â€¦ ¢Ã¤ ¸â‚¬Ã© »Å¾, 這æ ¨ £Ã¤ º ºÃ¥â‚¬â€˜Ã¥  ¯Ã¤ » ¥Ã¥ ¾Å¾Ã¥ ® ¹Ã¥Å" °Ã§â€Å¸Ã¦ ´ », æ… ¢Ã¦â€¦ ¢Ã¥Å" °Ã© «â€Ã¦Å"Æ'. 我æ ³ ¨Ã©â€¡ Ã§ ´ °Ã§ ¯â‚¬,我å ¾Ë†Ã¥ ¸Å'æÅ"›ç”Ÿæ ´ »Ã¨Æ' ½Ã¥ ¤  Ã¦â€š  Ã§â€ž ¶Ã¤ ¸â‚¬Ã¤ ºâ€º, 這æ ¨ £Ã§â€Å¸Ã¦ ´ »Ã§Å¡â€žÃ¦Å" ¬Ã§Å"Ÿç‹€æ…‹æ‰ Ã¨Æ' ½Ã§Å"Ÿæ ­ £Ã¨ ¢ «Ã¤ º ºÃ¥â‚¬â€˜Ã§â„¢ ¼Ã¨ ¦ ºÃ¢â‚¬ . Enjoy the Life-Yu Hong. Febay.com. http://www.febay.com.cn/magazine/ArticleShow.asp?ArticleID=18433 (April, 2007) Yu Hong represents the reality of space on woman’s personal life and working life, elegant skills on portrait image, and female sensibility on woman’s experience. She also represents an inner desire of a female artist be responsible and conscious of women’s social status. Fourth, the present reality of sadness and pain of Chinese women who are suffering under a cruelly male-dominated world illustrate the image to challenge traditional patriarchy. In the works of Hung Liu, she has examined foot binding, practiced in China from the Song Dynasty until the beginning of the twentieth century. Many Chinese women’s feet were bound from birth to artificially confine their growth, distorting them into small, twisted fists that were sexually attractive to men. The painful, deforming practice of foot binding was used to make a Chinese woman walk in an extremely difficult way, but their mincing steps were considered delicate and lovely. Bound feet left women handicapped, which also ensured that they remained subservient. Moreover, it stressed the value of appearance while making a virtue of hiding one’s pain and suffering, making it a combination of esthetics and cruelty. In one piece of her work called â€Å"Bonsai† (1992), Hung Liu placed a photograph next to an anatomical line drawing showing the cross-section of a human body flanked on either side by Chinese characters. The only decipherable physiognomic attributes in this figural drawing are the heart, what appears to be a spine, and a suggestion of intestinal organs. What are most astonishing observations about this drawing are the absence of legs and the egg shape of the figure that almost mirrors the contour of the woman in the photograph. By placing these two images within the same interpretive context. Hung Liu has reinforced the notion of the woman’s incapacitated movement. Woman’s physical movement had been limited by the mutilation of her feet in the same way that a tiny bonsai tree is confined to restrict its growth. She had been bound by Chinese societal and cultural practices as an object of male gratification. Hung Liu shows the Chinese aesthetic tradition with cruel reality in male- dominated society. She also presents how unfair beauty standards were to women in the long period. As a Chinese woman, the piece would make a you think about your grand grandmother or grandmother suffering this pain in order to satisfy men’s taste and standard. Her art work is concerned about what has been severed from the surroundings. She touches the sadness and painful reality of women’s status in China. As a woman, she uses her sensibility to depict and voice for women’s gender role. From her paintings, not only narrate stories but also represent true reality in our society. The young artist Cui Xiuwen creates bold, sensitive caricatures of works as â€Å"Intersection Series† in 1998. In the piece, she records the full front side of a man’s naked body and dressed a young girl holding a rose. The painting is also done in connection with Cezanne’s colors and narrative story-telling and nervous relationship between female and male. Cui Xiuwen colors the girl’s dress and dog on green color. Green color symbolizes the protection from fears and anxieties connected with the demands of others (men). The rose is represented as girl’s pure virginity which is inviolate. Girl’s face also reveals innocence. On the contrary, man’ genitals are bit off by girl’s dog, blooding through his underwear. His extremely fearful and shocking face shows on his face with opened mouth and big eyes. In traditional Chinese society, patriarchy dominates the world and power. Genitals are the symbol of patriarchy. Cui Xiuwen boldly challenges to patriarchic society and tries to reverse the social position between female and male. In traditional Chinese art, art is confined to the men society. Women always played being viewed characters; men played viewer roles, but here, the artist breaks traditional art concept and reverses art presentation. The reversal shows Cui Xiuwen’s stance on the feminism. She makes up fictional story image to express her own challenging patriarchic desire. Intensive and extraordinary color and story throw a huge stone to the eyes of the audience. This also brings new dispute to contemporary Chinese society. Finally, concern about female and social issues, the year 1976 marked a shift in political, economic, and cultural policy, a shift that opened China up to the outside world. Afterward, society is changing rapidly. There are more and more social issues emerged such as teen-age crime and pregnant teen-age girl. Social value shifts to wrong path. Artists see this situation and use observations to bring the problem and question to audience. Yu Hong, she approaches new art presentation on â€Å"Figure and Ground†. The works portrays some young girls practicing gymnastics. Images seem simple, but paintings neatly summarized a sophisticated thread of thought the artist has been developing over the years, and they express that thought in a way that ties the works visually to certain aesthetic principles found in traditional Chinese painting. As a group, paintings represent a fresh vision and a new level in artist’s oeuvre. Each painting in the series depicts from one to three girls against a blank ground, bent into contorted positions as they practice gymnastics. Yu Hong bases the paintings on photographs she took at her daughter’s gymnastics class. The girls wear black leotards in addition to some combination of tight black pants, black and white striped shirt, and black slippers. â€Å"As the artist has said, the paintings â€Å"are all about girls doing artistic gymnastics. People, especially girls, have to change themselves to suit society.† The images are a simple but highly effective metaphor for the place of young girls in contemporary society.†17 Erickson, Britta. Figure and Ground: Yu Hong’s Gymnastics series. Yu Hong. Beijing, China: Loft. Although the students in Yu Hong’s daughter’s gymnastics class range in age from six to teenage, the age of the girls portrayed in Figure and Ground is narrowed to about nine to twelve. Those are the years when girls move from childhood to puberty and begin to come under the heavy pressure of society’s expectations. Teenage is a special period, and it is easy to lead a child to wrong path. Cui Xiuwen’s strength and certainty seems to have naturally transformed into a desire of the home, of having a family, and in a wish, difficult to admit but naturally inevitable, of maternity. This is what the images of her work, â€Å"Angel†, inspire. Artist approaches her own sensitive observation to current social issue related to young age girl. This work does not want to criticize a social and universal situation. It brings up the awareness and the realization of an individual as a singular feeling. Cui Xiuwen wants to express how a young mother, especially teen-age mother in China feels and what fears she has to face. She uses a young model to create strong emotions. Rows of white young girls, ghost like girls, and the same girl repeated over, and in the same state of pregnancy, but the figures are positioned at various scales, which express the different types of fear they have. Alone, staring at the horizon, scared and worried in a procession that goes from the Forbidden City and continues on what can be a highway such as the Beijing ring road o the expressway to the airport. This represents the time when society is changing, and girls are unable to go back to the prior time and have no choice but to go forwardt. They look at the front but only darkness is surrounding them. â€Å"â€Å"No longer wishing to see the outside world, reality, nor to be confronted by it or to have to deal with it†, is the artist’s explanation. Falling pregnant has distinctly different meanings and implications at different ages of woman. Both for the woman and it terms of how the external world judges the fact. Do they applaud or condemn. Cui Xiuwen asks â€Å"Can a woman choose to have a baby alone, single, because she bows to maternal instinct, and does not feel the need to be married?†Ã¢â‚¬ 18 Smith, Karen. Photo series â€Å"Angel† of 2006 and â€Å"One day in 2004†. Catalog of DF2 Gallery. Los Angeles:DF2 Gallery Cui Xiuwen brings the question to make the audience aware about the young pregnant girl’s problem rather than criticize her . She uses retrospective manner to represent the image on her works. Her works do not strike us, nor are they extraordinarily critical, but rather leave significant questions in our minds. Conclusion Yu Hong, Cui Xiuwen, and Hung Liu though are being in different generation groups; they all aim to represent female qualities and voice for women through their works. Yu Hong was brought into the world at the start of the Cultural Revolution in 1966, during which almost every aspect of Chinese life was being re-evaluated. When re-examining the historical evidence and cultural production of the period, it becomes difficult to imagine life being brought into the world during such a period of upheaval. In many cultural products that are marketed as personal memories, the political economic situation is placed directly into the foreground of the narrative, and personal details become a way of contextualizing the nation’s story. Yu Hong’s method of storytelling makes the personal much more central. Her generation, is a group existing between old (artists were trained as Russian realists) and young (artists were influence by emancipation movement) generations. Yu Hong’s works always present old tradition concept (family as central start point) and new social concept which is related to social issues. Cui Xiuwen has been called many things-avant-garde, transgressive, feminist, controversial, and even over-the-top-buts never creatively stagnant. She is born a new kind of human, who grew up in a relatively open social environment and came of age in the increasingly more globalised information age. Her paintings and later photographs are always with frank depictions of human sexuality and controversial issues, which present her ideas and feelings about the new modern society. But Hung Liu, she was born in 1948 in China. During the Cultural Revolution, she was sent to the country to work in the fields and be â€Å"reeducated†. Hung Liu studied the acceptable artistic style of Socialist Realism while in China. After immigrating to San Diego, she learned that it is important for an artist to think and that art is intertwined with, not separate from life. Her works depict the cultural mixing that takes place when an individual moves to a new country and also reality of hidden history in China. She much focuses on historical sources to present the image of reality. Three generation group of artists have their own unique presentations through their works and also are influenced on their own social backgrounds. But, female are the most important image and concepts of their commonality of works. By focusing on a female rather than on a male, three artists challenge a tradition of patriarchy. In the art pieces, the narrator (three female artists) and the protagonists (female image in works) are all women. As such, they present the viewer with a distinctively female view of the world. In historical constructions, women’s lives were generally touched only indirectly in contrast to their fathers, husbands, or brothers. Yu Hong, Cui Xiuwen, and Hung Liu show the women’s lives being immediately influenced by the external world and also their â€Å"existence† and â€Å"importance† in our society. History, society, and family have been great influences upon the development of female art in China. Because of the oppression that Chinese women have faced from a patriarchal society, female art exhibit intense emotions of sadness, pain, and revolution against the male dominated Chinese social stratification. There are many paintings, and photographs that depict the detrimental state that Chinese women were in during the more rigid periods of Chinese history. Various works of art from photos to paintings show female opposition against various Chinese traditions that have oppressed their gender for generations. Many female artists who driven by extreme emotion focused on work that mirrored their sense of retribution against male dominance. Art work that feature females â€Å"turning the tables† on men are common among more liberal female artists. There is also a lot of work that defy traditional Chinese art that is also patriarchal. Such works make use of non-conventional materials and subjects as a way to challenge the male dominated norms. This shows an image of the Chinese female artist as someone who wants to break free from an oppressive condition through the use of personal expression. The qualities linked with the use of the expression in art for them taking account of use of words importantly as the innermost artistic element, simplification, appropriation, representation of user or popular culture as well as art itself. The artists believe that art makes people realize the truth-at least the truth that is given to all to understand, and brings back eliminated women state in Chinese tradition. Chinese female artists have become more motivated to do art not only because of talent, but they convey reality and truth through art. In currently modern world, the majority is focusing on economic flourishing, globalization, and new technology. Most people have forgotten the essence of life and the simple things that make us live along with the many troubles of humanity and theses contemporary Chinese female artists, through exploring modern art are still preserving the real essence of making art and what art means to them, and the female artists also discover their own experience and find an appropriate way of expression in Chinese art. In relation to this, the female artist thus gives superior importance to the role of women in Chinese society. Many daring works aim to recognize female contribution to the family, government, and society which goes largely undistinguished in past generations. Here the Chinese female artists aim to open viewers’ hearts and minds to the true worth of the Chinese woman. Works of art that show how important Chinese women are also tend to show how much they are taken for granted. The Chinese woman artist was also found to be sensitive with the changing times. As society evolved over years of political, economic, and social change, so did female artistry change with it. In fact, female art can be concluded to be much more versatile than Chinese male art which is considered more traditional and unyielding to time. Another difference duly noted between male and female works of art in China was that females tend to express more depth and daringness in terms of depicting sensual subjects. Years of yearning for equality with their male partners have also implied years of dissatisfaction with how males see copulation rituals. The outlet of this repression can be observed with how meaningful and rich Chinese female works of sensual art are. The female artist takes her time to craft the intricate details that add flavor to a romantic scene. The female artist is able to bring out the humanity of a sensitive scene and does not confine the subject to feral lust. Instead, the focus is upon the intimateness of interaction that is not meant to sexually arouse but rather to emotionally move viewers. Lastly, the image of the Chinese female artist is one that is deeply devoted to the value of family. Influences from childhood memories can be seen in the works of many female artists and is regarded as a sense of personal beauty added to general themes. Those are the themes that provide the overall picture in which female art is framed. Chinese female art can be compared to a strong, demanding voice that echoes the grievances of an oppressed gender and outwardly shows how important it is and why people should take notice. It is forceful and bold, more than willing to reject the norms in order to convey its meaning to an internal society that it deems as largely unsympathetic to their concerns. At the same time, female art is delicate and sweet, showing not intent to please but a true expression of beauty. Lastly, it can be concluded that female art is greatly influenced by changing times and each generation of female artists have their own issues to face which are reflected in the works that they produce. Despite female art showing the capability of female artists, it is also a representation of quality artistic work. These qualities contents highly essence of female touch and voice, and also produce with strong female expression through the artworks. Female art is not only made by female artist, on contrary, it is an art with enthusiastic female quality. These five categories of female quality present the sense of female beauty and expression, artists’’ sensitivity of women, and extraordinary and skillful handling of paint. Observe the female art movement in the western society and Chinese society, there is no gap between them. In the west or China, the essence of quality of female art has maintained the same content and concept. In recently decade, female consciousness emerges and brings new concept to women. Women begin to understand themselves more and express their feelings to others. With a modern course of awareness in Chinese contemporary art in the global market, Chinese female artist are expectant that they will reach their ultimate objective; Chinese female artist must have a say. They will continue to explore and find a new way to express their art and voice for women, and the quality of female art will also get more abundant themes.