2000 word essay which explores the concept of evidence based practice

2000 word which explores the concept of evidence based practice and evaluates its relavance and contribution to practice - Essay Example For instance, depression (American Psychiatric Association, 2000; Lowe, et al 2001) and anxiety disorders (American Psychiatric Association; 2000), particularly obsessive compulsive disorder (Halmi et al., 2003), are among the comorbid conditions found in people with eating disorders. In adolescent-onset anorexia, depression appears to be triggered by the eating disorder, and the individual is put at risk for experiencing future depressive episodes (Ivarsson et al, 2000). Although anorexia affects persons of all ages, adolescence appears to be the developmental period of particular significance in the etiology of eating disorders; hence, identification and clinical intervention during this stage are crucial. This paper aims to synthesise and critically analyse the existing research on the treatment of anorexia nervosa in adolescence from the perspective of evidence based practice, more particularly family therapy systems approach. The term â€Å"evidence-based† is prevalent within the health care setting today. If there is any doubt, a quick glance at the current medical and allied health research literature would remove it. Medical doctors, physical therapists, occupational therapists, speech-language pathologists, music therapists, and many others, have begun to describe their treatment interventions as evidence-based. As with most established theories and concepts, the thoughts and beliefs behind evidence-based medicine have been traced by some to practices of ancient cultures throughout history (Sackett et al, 1996). However, most authors on the subject will credit Archie Cochrane, Scottish epidemiologist, with developing the modern concept behind evidence-based medicine, which was made popular through his landmark text Effectiveness and Efficiency: Random Reflections on Health Services (White, 1997). The most widely known and commonly quoted definition of evidence-based

SAM 342 UNIT 1 Essay Example | Topics and Well Written Essays - 250 words

SAM 342 UNIT 1 - Essay Example They do this through the draft rules, where NBA teams seek amateur college students to join their teams. They are later trained to become professional basketball players. The National Basketball Association is the authority that forms, and enforces these rules. The worst club gets the first choice in picking raw talent. Players pass through rigorous interviews and fitness tests, before admission to a basketball team. Clubs offer huge salaries, allowances and financial endorsements to sustain these players (Chellandurai, 1999). This motivates them, and improves their performance, ensuring loyalty to the club. Footballers such as David Beckham are rich and famous due to the sustainable programs by sports organization. These organizations change the attitudes of their players through the mindset. To enhance good performance, a player needs confidence. Sports and recreational organizations install this virtue through various programs and peer education seminars (Chelladurai, 1999). They hire psychologists to talk to employers, building their confidence level, both at the sports arena, and outside the sports

Privacy Law in the UK

Privacy Law in the UK Definition of Privacy Judge T. Cooley provided the earliest and one of the simplest definitions of privacy, defining it as the right to be left alone.[1] However, throughout the years, many different definitions have come about in a more positive light rather than a negative, such as, the right to be able to communicate information freely or simply, to keep such information to ourselves. The Younger Committee Report[2] followed on from Judge Cooley concluding that there was no satisfactory way of beginning to define privacy, nevertheless, the Calcutt Committee Report went further and mentioned that it would however, be possible to define it legally and went on to adopt this approach in their first report regarding privacy; The right of the individual to be protected against intrusion into his personal life of affairs, or those of his family, by direct physical means or by publication of information.[3] The Calcutt Committee then issued a further Report in response to Lord Chancellors Department for Infringement of Privacy to which had criticised English Law declaring, it had not adequately protected the privacy of individuals to which they called for an immediate need for some sort of privacy legislation in the UK.[4] The UK Government then followed on from previous attempts at defining what privacy consists of, stating; Every individual has a right to privacy comprising: A right to be free from harassment and molestation; and A right to privacy of personal information, communications and documents.[5] Yet, in this day in age, privacy is still perhaps the most difficult to define, as the definitions of privacy can vary depending on the context and environment that it is used in. As in various countries, the concept of privacy has been merged with data protection, which can interpret privacy in the terms of a management of personal information. However, it can also be frequently seen as a way of drawing the line at how far society can intrude into a persons affairs. Robert Ellis Smith, the editor of the Privacy Journal defined privacy as; the desire by each of use for physical space where we can be free of interruption, intrusion, embarrassment, or accountability and the attempt to control the time and manner of disclosures of personal information about ourselves.[6] To which Edward Bloustein to an extent agreed with this, mentioning that privacy is an interest of the human personality, as it can protect the inviolate personality, the individuals independence, dignity and integrity. [7] Therefore, it can be concluded that, though there are various different interpretations of privacy, it can prove difficult to define, and get just one specific meaning for it that can relate to everyone. However, most of the definitions pay close attention to the interests of human personality, as well as, deciding where to draw the line at how far society can intrude into a persons private affairs. Why do we need Privacy? Every person needs some sort of privacy, whether that be for their physical, mental, emotional or spiritual wellbeing. So much so, that it is well established that everyone is actually entitled to a degree of privacy in their lifetime. Although, it has not been a fundamental and enforced right in English law, the need for some sort of individual privacy legislation has been often recognised. However, the Younger Committee concluded that a general privacy legislation would create a mass of uncertainty, so instead of developing a general right for privacy, they took the approach that; [the] best way to ensure regard for privacy is to provide specific and effective sanctions against clearly defined activities which unreasonably frustrate the individual in his search for privacy.[8] However, it can be argued that without central rules on privacy, it would be much easier for individuals to gain private information on various others, as well as, it would also be difficult for prosecutions against individuals that invade the privacy of others. [9] Privacy in the UK There is no freestanding right to privacy in the UK, with the courts repeatedly stating that English law knows no common law tort of invasion of privacy.[10] As an alternative, the cause of action for breach of confidence has been extended to encompass misuse of wrongful dissemination of private information. [11] However, expansion of the law in this area has occurred throughout the years. The earliest example in the UK of protecting an individuals privacy is seen in Thompson v Stanhope,[12] where an injunction was granted by the court preventing and restraining the publication of private letters that were sent from Lord Chesterfield to his son, by his widow. However, this case was followed by various other cases, such as Prince Albert v Strange, [13] where the Prince sought to restrain publication of otherwise unpublished private etchings and other lists of works by Queen Victoria, to which were obtained by an employee to whom Price Albert had trusted. This case provides a good illustration of how the right to confidence protects privacy. Although the right to privacy was not recognised at the time, it was argued on behalf of Queen Victoria and Prince Albert that they had a right to keep private the art works that they had commissioned for their personal enjoyment. Ruling in favour of Queen Victoria and Prince Albert, the court held: Every man has a right to keep his own sentiments, if he pleases. He has certainly a right to judge whether he will make them public or commit them only to the sight of his friends. Whereas the court further held that the publication of the etchings invaded the Royal Familys right to privacy, in the sense of a right to control ones possessions and enjoy them. More developments in UK privacy were issued in the case of Malone v Metropolitan Police Commissioner, [14] Malone held that his right to privacy was breached by the Metropolitan Police by means of interception of his telephone calls. He claimed that the police interception of his phone calls had been unlawful on the grounds that it concerned itself with breach of confidence, trespass and an unlawful interference with his privacy. However, the case was dismissed by Sir Robert Megarry, stating: English law did not entertain actions for interference with privacy unless the interference amounted to one of the established causes of actions in tort or equity.[15] Though, Malone appealed to the ECtHR that a breach of Article 8 had occurred, to which the court found in favour of Malone and this decision influenced a response by the UK Parliament in regards to Interception of Communications Act 1985 and Police Act 1997[16] which was introduced to control telephone interceptions. [17] This decision was later echoed in the case of Wainwright Anor v Home Office, [18] where Lord Hoffmann saw a great danged in the courts attempting to fashion a tort based on the unjustified invasion of privacy. He however, preferred the idea that parliament should legislate for such protection since there will invariably be exception and defences. How the Law has developed due to the introduction of the ECHR? What is in the public interest is not the same as what is of interest to the public, to which, in simple terms the court will balance a persons right to a private and family life against the medias right to freedom of expression. This is an area of the law that has developed significantly following the incorporation of the European Convention on Human Rights into UK law in 1998. Bibliography Cooley TM, A Treatise on the Law of Torts, Or, The Wrongs Which Arise Independent of Contract (1st edn, Callaghan 1879) 29 Smith RE, Ben Franklins web site: Privacy and curiosity from Plymouth rock to the internet (Privacy Journal 2000) 7 Crystal G, Protecting your privacy (Civil Rights Movement, 2000) accessed 04 January 2017 [1] Thomas M. Cooley, A Treatise on the Law of Torts, Or, The Wrongs Which Arise Independent of Contract (1st edn, Callaghan 1879) 29 [2] Department of National Heritage, Younger Committee Report on Privacy (Cmnd 5021, HMSO 1972) [3] Department of National Heritage, Calcutt Committee Report on Privacy and Related Matters (Cm 1102, HMSO 1990) 7 [4] Department of National Heritage, Calcutt Review of Press Self-Regulation (Cm 2135, HMSO 1993) [5] Department of National Heritage, Parliament Privacy and media intrusion: The Governments response to the House of Commons National Heritage Select Committee (Cm 2918, HMSO 1995) [6] Robert Ellis Smith, Ben Franklins web site: Privacy and curiosity from Plymouth rock to the internet. (Privacy Journal 2000) 7 [7] Edward J. Bloustein, Privacy as an aspect of human dignity: An answer to Dean Prosser (1964) 39.6 N.Y.U. L. Rev 962 1007 http://heinonline.org/HOL/Page?handle=hein.journals/nylr39div=71start_page=962collection=journalsset_as_cursor=0men_tab=srchresults#> accessed 05 January 2017 [8] Department of National Heritage, Younger Committee Report on Privacy (Cmnd 5021, HMSO 1972) [9] Garry Crystal, Protecting your privacy (Civil Rights Movement, 2000) accessed 04 January 2017 [10] OBG Ltd v Allan; Douglas v Hello! Ltd [2007] 2 WLR 920, [272]. See also Wainwright v Home Office [2004] 2 AC 406. [11] Campbell v MGN Ltd [2004] 2 AC 457; B McDonald, Privacy, Princesses, and Paparazzi (2005-2006) 50 New York Law School Law Review 205, 232. See also Hosking v Runting [2005] 1 NZLR 1, [23]-[53]. [12] (1774) Amb. 737 [13] [1849] EWHC Ch J20 [14] [1979] Ch 344 [15] [16] Police Act 1997 Part III [17] Malone v United Kingdom [1984] ECHR 8691/79 [18] [2003] UKHL 53

El Nino :: essays papers

El Nino This morning, before writing this essay, I spent a considerable amount of time watering my wilting garden. Meanwhile, the New York Yankees have been rained out for their third consecutive game. And out in California? Rain, no rain, rain, no rain... Why are we suffering such severe weather this summer? In case you have not heard, we are experiencing a weather phenomenon called El Nino. What is El Nino, and How Long Will This Last? According to Michael McPhaden, director of the Tropical Atmosphere Ocean Array, an El Nino is born when west-blowing Pacific trade winds relax or reverse. Without the wind at its back, seawater that typically piles up on the jagged western edge of the Pacific -- around Indonesia, the Philippines and Australia -- slides back toward the Americas. The sliding water moves in what scientists call Kelvin waves. "It pushes the cold water down. That causes the initial warming," said McPhaden. At the same time, the Pacific reacts to the lost wind by building another series of waves under water. Called , they roll west toward Indonesia, the Philippines and Australia. Eventually, the series of waves strikes the coasts of those countries. Then, it reverses and heads back toward South America, traveling along the equator. "As it passes," McPhaden said, "it leaves cold water closer to the surface." El Nino normally occurs around Christmas and usually last for a few weeks to a few months. Sometimes an extremely warm event can develop that last for much longer time periods. A strong El Nino developed in 1991 and lasted until 1995. We are apparently experiencing one of these stronger El Ninos, as this one has lasted for nearly six months . But how long will this last? And then what? The Onset of La Nina After an El Nino event, weather conditions usually return to normal. However, in some years the trade winds can become extremely strong and an abnormal accumulation of cold water can occur in the central and eastern Pacific. This event is called La Nina. Where El Nino refers to a body of unusually warm water astride the equator by South America, La Nina describes a sea that's abnormally cool. Two independent computer models that forecast El Nino see on the horizon a pronounced cooling of the same area of the Pacific. Sometimes, the cold water is just enough to return ocean temperatures to normal. Not always. "Sometimes, it overshoots," McPhaden said. "That would bring a La Nina after El Nino." "The models say . . . there will be a cold effect sometime next year --

Comparative analysis of formalist and realist film theory Essay

Current essay provides a comparative analysis of formalist and realist film theories, based on theoretical approaches, innovations, critical findings and film-making practice of such renowned representatives of both currents of the film theory as Eisenstein, Arnheim and Bazin. Before beginning the analysis of the abovementioned subjects, one should point out that the difference between form and real material in genuine film-making is dialectical. In cinematograph ideas and reality juxtapose to create certain synthesis. This effect is produced by means of formal processing of real visual content. Ideas of a director may be realized with the help of formal elements such as montage, focus, as well as additional means like sound and special effects. This means that even those directors that seek to portray objective reality do not merely reproduce it, but put into their films their ideas, thoughts and concepts. As any form of art, cinematograph heavily depends on its technical (instrumental) and artistic (ideal) means, which are realized with the help of the former. Formal elements are necessary means for every creative director to transmit his/her own ideas and vision of reality. This, however, should not overstate the fact that formal elements may be used to deviate objective reality and help construct ideological and biased vision thereof. The contrary may be also true with respect to pseudo-realist films, which pretend to portray objective reality, while in fact create mere copy of it, devoid of any intellectual content. This can be used for justification of existent reality. This is the case for the majority of commercial films and contemporary film-making industry in general, which is centered on using different forms and genres in the view of getting profit. These aspects and meaning of form and reality representation in the film theory should be taken in consideration in this comparative analysis of realist and formalist film theory. There is no denying the importance of the fact that Eisenstein was among the founding fathers of formalist film theory, as he was the first to develop the theory of montage and specific usage of film editing. These elements of cinematograph constitute the first cornerstone of formalist film theory, as it was developed in Eisenstein’s major works Beyond the Shot and Dramaturgy of Film Form. According to Eisenstein, cinema is mainly about montage (Beyond the Shot, p. 13). Using montage is both technical and artistic procedure, since it helps create meanings by means of combination/copulation of different images or situations. Thereby, as Eisenstein constantly states, the artistic effect is created, which is important in the visual type of communication provided by cinema. Eisenstein, for instance, tried to show this phenomenon referring to Japanese hieroglyphs, which often create new meanings by means of copulation (Beyond the Shot, p. 14). The most important thought Eisenstein tried to communicate was that formal elements of film production are central to realization of artistic greater ideas and the work with various materials ranging from historical scenes to innovative scenarios. Montage, according to Eisenstein, is not independent vis-a-vis objective and ideational representation of reality. Besides this, it should be noted that in correspondence with formalist film theory, the inability to use formal elements properly leads to degradation of films as the form of art, and moreover, this precludes realization of director’s ideas – that is ‘intellectual’ film-making. Arnheim, another noted representative of realist film theory, claimed that visual representation of reality in film radically differs from physical perception of reality. This difference, according to Arnheim, gives significance to formal elements of cinema, which create artistic effects. Arnheim’s thorough analysis of these formal features shows that, if properly used, they may produce interesting emotional effects on spectators (Film and Reality, 323). Arnheim claims that creating images in film is neither two-dimensional, nor three-dimensional, but represents golden middle. He provides us with example of the scene from Ruttmann’s film Berlin, where the director creates juxtaposition of the second and the third dimension by making a shot of two trains moving in opposite directions. Film representation of this movement, according to Arnheim, creates certain impression and that is, what differentiates film images from real ones (Arnheim, 324). This vision of form in the film production was often regarded as manipulative by such representatives of realist film theory as Andre Bazin, who claimed that formal elements preclude real communication between spectators and film’s images and plot (The evolution of the language of the cinema, p. 48). However, even so opposed to each other, formalist and realist tradition both criticize positivist realism in cinematograph for its ideological function and positivism. According to Arnheim, documentary genre is not the same as pure reproduction of reality; instead, it is difficult artistic work. Bazin’s great love for documentaries as the representations of objective reality should also be understood considering the abovementioned distinction. Eisenstein’s approach to film production unlike realist school represented by Bazin is based on dialectical theory, which sees the collision of opposites, their simultaneous integrity and negation as a cornerstone of every art. Eisenstein said that shot is not an element, but dialectical cell, which rests in organic unity with entire film. Contrary to that, realist film theory, represented by Bazin, draws on personalist perspective, which believes that a film should be a representation of auteurship. Bazin is deeply opposed to formalist perspectives, because he thinks that it breaks world in many little pieces and prevents genuine and autonomous perception of reality. Instead, Eisenstein puts particular emphasis on dialectical conflicts between shots, counterpoint of music and shot sequence etc. , which makes his formal approach look integral and all-embracing. As he claims, the knowledge of these formal dependencies is the core of genuine film production (Beyond the Shot, 16-17). Bazin in his rediscovery of realism in the history of art ends with a statement of great opposition between pseudorealism (which reproduces illusionary appearances) and realism which distributes the truth among spectators. According to Bazin, formalist film-making exemplified by Eisenstein and others extracts meaning from real images and makes it a product of subjective manipulation with reality, rather than its realist representation. Instead, Bazin claims that realism in film-making is focused on genuine representation of reality, which can be achieved by such technical means as ‘shot-in-depth’, focus or even wide shots (The Evolution of the language of the cinema, p. 49-51). Hence, Bazin does not reject formal elements as such, but transforms them to achieve the purpose of realist representation. The continuity of images and shots should not, however, be interrupted by montage manipulation like in formalist theory; the auteur should follow the unfolding of reality. This means that time and space should not be artificially separated by montage, which is the case with Eisenstein’s formalism, but instead, artistic truths should be found in the articulation of difficult relations between time and space. (As a result, a spectator has more possibilities of interpretation and autonomous understanding). Deep shot, according to Bazin, helps spectator to get closer to the image, which creates ambiguity of interpretation, which is more artistic than subjective manipulation (Bazin, p. 50). Moreover, it helps maintain the integrity of the image and specific elements in it, which is according to Bazin, no less important than montage (Bazin, p. 49). These are the basic similarities and differences between formalist and realist film theories. Main approaches of these theories are essentially exemplified by two famous films: Battleship Potemkin by Eisenstein (USSR, 1925) and Red Desert by Antonioni (Italy, 1964). Battleship Potemkin is a silent film by Eisenstein, which may be considered as practical realization of his formal montage theory. First of all, Eisenstein designed this film to be a propaganda of socialist revolution and, that is why, he put emphasis on emotional messages against repression and for heroism of ordinary people. Eisenstein extensively uses rhythmic and intellectual montage to create certain meaning and emotional effects. This can be best exemplified by famous scene on Odessa steps, where Tsarist forces massacred civil population. Eisenstein uses close-ups and montage juxtapositions of Tsarist’s forces and victims of massacre. The dramatic close-ups of victim’s faces and cold and brutal faces of the soldiers create deep emotional effects, which is the cornerstone of formalist film theory. Wonderful example of shot juxtaposition in the film is the image of baby carriage falling down the stairs and soldiers’ legs going down after it. The montage sequence of this scene has certain artistic meaning: it portrays the brutality of Tsarist regime and its inhuman character and articulates these features by showing the images of its innocent victims. The relations between these two shots are intellectual, that is they help spectators interpret separate images and give meaning to them. Opposite realist theory can be best exemplified by Antonioni’s Red Dessert. The film may be characterized by avoiding manipulation with montage. Instead, author’s realist vision of human alienation, loneliness and ugliness of modern civilization is realized through examining continuity of urban life, its relations and contradictions. Such elements of realist film theory as deep focus, wide shots, and color arrangements. Colors in Antonioni’s film also play formalist function, as he uses different tones and colors for depicting reality. For instance, plants in the film and surrounding objects are represented in red color, which creates certain emotional effects and embeds ambiguity. The result may be described as empathy into the destiny of man in industrial world, which helps poetically describe protagonist’s relations with it. To sum it up, main examples of realist and formalist approach were analyzed, and basic feature of both theories were revealed.

Maxim Gorky

Russian short story writer, novelist, autobiographer and essayist, whose life was deeply interwoven with the tumultuous revolutionary period of his own country. Gorky ended his long career as the preeminent spokesman for culture under the Soviet regime of Joseph Stalin. Gorky formulated the central principles of Socialist Realism, which became doctrine in Soviet literature. The rough, socially conscious naturalism of Gorky was described by Chekhov as â€Å"a destroyer bound to destroy everything that deserved destruction. † LIFEMaxim Gorky whose real name was Aleksei Maximovich Peshkov, was born on March 16, 1868, in the Volga River city of Nizhny Novgorod, which in 1932 was renamed Gorky in his honor. His father, a cabinetmaker, died when Gorky was 4 years old, and the boy was raised in harsh circumstances by his maternal grandparents, the proprietors of a dye works. From the age of 10 Gorky was virtually on his own, and he worked at a great variety of occupations, among them shopkeeper's errand boy, dishwasher on a Volga steamer, and apprentice to an icon maker.At a very tender age he saw a great deal of the brutal, seamy side of life and stored up impressions and details for the earthy and starkly realistic stories, novels, plays, and memoirs which he later wrote. He was self-taught in many areas, including literature, philosophy, and history, both Russian and Western. In 1884 Gorky moved to Kazan, dreaming of entering university. That didn’t come to happen because of lack of money. Instead he enrolled in the â€Å"revolutionary underground school. † He attended gymnasium and university populist clubs, reading the relevant literature and fighting with police.At the same time he earned his living doing menial work. In December 1887 a series of misfortunes led him to a suicide attempt. After that, Gorky traveled around Russia in search of a job and experience. He traveled to the Volga Region, the Don, Ukraine, Crimea, South Bessarabia (now part of Moldova) and the Caucasus. He worked as a labourer in a village, a dishwasher, a railroad guard and a worker at a fishery, a salt-works and a repair workshop. At the same time he managed to get acquainted with people from arts circles, take part in clashes with police and earn an overall reputation as an â€Å"untrustworthy† individual.In his travels, he collected prototypes for his future characters, which can be seen in his early works, where the characters were people from the â€Å"bottom† echelons of society. In 1895 he was appointed at the â€Å"Samara Newspaper† (â€Å"Samarskaya gazeta†), where he wrote daily articles for the gossip column â€Å"By the Way† (â€Å"Mezhdu prochim†), signing them as Iegudiil Khlamida. While at the paper he met Ekaterina Volzhina, an editor, whom he married a year later. In 1897 he suffered from aggravated tuberculosis and moved to the Crimea together with his wife. Later they moved to the vill age of Maksatikha in Ukraine’s Poltava Region.That same year, his son Maksim was born. At the beginning of 1898 Gorky returned to Nizhniy Novgorod and in April 1901 Gorky was detained in Nizhniy Novgorod for having taken part in student unrest in St. Petersburg. Later he was expelled to Arazmus. Gorky was elected an honorary academic of polite literature. However, under Emperor Nikolay II’s order, the result of the election was annulled. In 1903 he broke up with his wife and in 1904, the Moscow Theatre Actress Maria Andreeva became his common law wife. In 1905 Gorky was an active participant in the revolution.He was a close associate of the social-democrats but at the same time, on the eve of â€Å"Bloody Sunday† (a key moment in Russia’s history, which served as a trigger for the 1905 Revolution) he visited Sergey Witte, the author of the October Manifesto of 1905, and together with a group of intellectuals he tried to prevent the tragedy. After the revo lution Gorky was arrested on charges of preparing a coup d'à ©tat, but both Russian and European cultural figures rose up to defend the writer. He was released and at the beginning of the following year, emigrated from Russia.He went to America to collect funds to support the Russian Revolution. In 1913 Gorky returned to Russia. After the 1917 Revolution his position became ambiguous: on the one hand, he was supportive of the new authorities, but on the other hand, he kept to his own beliefs, thinking that mass culture is more important than class struggle. At the same time, he started working at the â€Å"World Literature† (â€Å"Vsemirnaya literatura†) publishing house, founding the newspaper â€Å"New Life† (â€Å"Novaya Zhizn†). Gorky’s relations with the authorities gradually aggravated.In 1921 he left Russia, officially going to Germany for medical treatment, but in fact escaping Bolshevik retribution. He lived in Germany and Czechoslovakia until 1924. During this time he actively wrote articles for German magazines (â€Å"The Acknowledgement of a Poet and the Russian Literature of Our Time,† â€Å"The Russian Cruelty,† â€Å"The Intellectuals and the Revolution†). All the articles show his rejection of what had happened in Russia. Gorky actively strived to unify Russian artists working abroad. In the mid-1920s Gorky moved to Sorrento, Italy, where he started work on the novel â€Å"The Life of Klim Samgin† (â€Å"Zhizn Klima Samgina†).The novel was never finished. In 1928 he journeyed to the USSR and spent the summer traveling around the country. His impressions on the trip were published in the book â€Å"Around the Union of Soviets† (â€Å"Po Soyuzu Sovetov†). Three years later Gorky moved to Moscow. Having seen the results of Bolshevik rule while traveling, he set as his goal the promotion of the new â€Å"cultural construction† of the country. He initiated th e creation of literary magazines and publishing houses. Later he organized and chaired the first all-Soviet meeting of Soviet writers. In May 1934 Gorky’s son was killed.Some suspected the NKVD (the People’s Commissariat of Internal Affairs) was responsible for the killing. Two years later Gorky died himself. Speculations continued to surround his death for years; one popular theory suggested he was deliberately poisoned. Gorky is buried in Moscow. LITERARY CAREER Gorky rose to prominence early in life and made his mark as a writer, playwright, publicist, and publisher in Russia and abroad. His literary career began in 1892 with the publication of the story â€Å"Makar Chudra. † His articles and stories were soon appearing in provincial newspapers and journals.His ideas of the writer's involvement in the social, political, and economic problems facing Russia were close to those of Leo Tolstoy and Vladimir G. Korolenko, who became his mentor and friend. Some of h is literary works had important political significance, such as the poem Burevestnik (The Stormy Petrel), which in 1901 prophesied the oncoming storm of revolution. While visiting the United States in 1906 on a mission to win friends for the revolution and raise funds for the Russian Social Democratic Workers' Party (RSDWP), he wrote the novel Mat (Mother).Gorky's revolutionary ideology lay in his insistence on the inevitability of radical change in Russian society. He started to write for newspapers, and his first book, the 3-volume Sketches and Stories (1898-1899), established his reputation as a writer. Gorky wrote with sympathy and optimism about the gypsies, hobos, and down-and-outs. He also started to analyze more deeply the plight of these people in a broad, social context. In these early stories Gorky skillfully mixed romantic exoticism and realism. Occasionally he glorified the rebels among his outcasts of Russian society.In his early writing career Gorky became friends wit h Anton Chekhov , Leo Tolstoy , and Vladimir Lenin. Encouraged by Chekhov, he composed his most famous play, The Lower Depths (1902), which took much of the material from his short stories. It was performed at the Moscow Art Theater under the direction of Konstantin Stanislavsky. The Lower Depths enjoyed a huge success, and was soon played in Western Europe and the United States. Gorky was literary editor of Zhizn from 1899 and editor of Znanie publishing house in St. Petersburg from 1900.Foma Gordeyev (1899), his first novel, dealt with the new merchat class in Russia. The short story Dvadsat' shest' i odna (1899, Twenty-Six Men and a Girl) was about lost ideals. â€Å"There were twenty-six of us – twenty-six living machines locked in a damp basement where, from dawn to dusk, we kneaded dough for making into biscuits and pretzels. The window of our basement looked out onto a ditch dug in front of them and lined with brick that was green from damp; the windows were covered o utside in fine wire netting and sunlight could not reach us through the flour-covered panes.Our boss had put the wire netting there so we could not give hand-outs of his bread to beggars or those comrades of ours who were without work and starving. † (from ‘Twenty-Six Men and a Girl', 1899) The joy in the lives of the bakers is the 16-year old Tania, who works in the same building. A handsome ex-soldier, one of the master bakers, boasts of his success with women. He is challenged to seduce Tania. When Tania succumbs, she is mocked by the men, who have lost the only bright spot in the darkness. Tania curses them and walks away, and is never again seen in the basement.Gorky became involved in a secret printing press and was temporarily exiled to Arzamas, central Russia in 1902. On leaving Russia in 1906, Gorky spent seven years as a political exile, living mainly in his villa on Capri in Italy. Politically, Gorky was a nuisance to his fellow Marxists because of his insiste nce on remaining independent, but his great influence was a powerful asset, which from their point of view outweighed such minor defects. He returned to Russia in 1913, and during World War I he agreed with the Bolsheviks in opposing Russia’s participation in the war.He opposed the Bolshevik seizure of power during the Russian Revolution of 1917 and went on to attack the victorious Lenin’s dictatorial methods in his newspaper Novaya zhizn (â€Å"New Life†) until July 1918, when his protests were silenced by censorship on Lenin’s orders. Living in Petrograd, Gorky tried to help those who were not outright enemies of the Soviet government. Gorky often assisted imprisoned scholars and writers, helping them survive hunger and cold. His efforts, however, were thwarted by figures such as Lenin and Grigory Zinovyev, a close ally of Lenin’s who was the head of the Petrograd Bolsheviks.In 1921 Lenin sent Gorky into exile under the pretext of Gorky’s needing specialized medical treatment abroad. In the decade ending in 1923 Gorky’s greatest masterpiece appeared. This is the autobiographical trilogy Detstvo (1913–14; My Childhood), V lyudyakh (1915–16; In the World), and Moi universitety (1923; My Universities). The title of the last volume is sardonic because Gorky’s only university had been that of life, and his wish to study at Kazan University had been frustrated.This trilogy is one of the finest autobiographies in Russian. It describes Gorky’s childhood and early manhood and reveals him as an acute observer of detail, with a flair for describing his own family, his numerous employers, and a panorama of minor but memorable figures. The trilogy contains many messages, which Gorky now tended to imply rather than preach openly: protests against motiveless cruelty, continued emphasis on the importance of toughness and self-reliance, and musings on the value of hard work.Gorky finished his trilog y abroad, where he also wrote the stories published in Rasskazy 1922–1924 (1925; â€Å"Stories 1922–24†), which are among his best work. From 1924 he lived at a villa in Sorrento, Italy, to which he invited many Russian artists and writers who stayed for lengthy periods. Gorky’s health was poor, and he was disillusioned by postrevolutionary life in Russia, but in 1928 he yielded to pressures to return, and the lavish official celebration there of his 60th birthday was beyond anything he could have expected.In the following year he returned to the U. S. S. R. permanently and lived there until his death. His return coincided with the establishment of Stalin’s ascendancy, and Gorky became a prop of Stalinist political orthodoxy. Correspondence published in the 1990s between Gorky and Stalin and between Gorky and Genrikh Yagoda, the head of the Soviet secret police, shows that Gorky gradually lost all illusions that freedom would prevail in the U. S. S . R. , and he consequently adjusted to the rules of the new way of life.He was now more than ever the undisputed leader of Soviet writers, and, when the Soviet Writers’ Union was founded in 1934, he became its first president. At the same time, he helped to found the literary method of Socialist Realism, which was imposed on all Soviet writers and which obliged them—in effect—to become outright political propagandists. Gorky remained active as a writer, but almost all his later fiction is concerned with the period before 1917. In Delo Artamonovykh (1925; The Artamonov Business), one of his best novels, he showed his continued interest in the rise and fall of prerevolutionary Russian capitalism.From 1925 until the end of his life, Gorky worked on the novel Zhizn Klima Samgina (â€Å"The Life of Klim Samgin†). Though he completed four volumes that appeared between 1927 and 1937 (translated into English as Bystander, The Magnet, Other Fires, and The Specter) , the novel was to remain unfinished. It depicts in detail 40 years of Russian life as seen through the eyes of a man inwardly destroyed by the events of the decades preceding and following the turn of the 20th century.There were also more plays—Yegor Bulychov i drugiye (1932; â€Å"Yegor Bulychov and Others†) and Dostigayev i drugiye (1933; â€Å"Dostigayev and Others†)—but the most generally admired work is a set of reminiscences of Russian writers—Vospominaniya o Tolstom (1919; Reminiscences of Leo Nikolaevich Tolstoy) and O pisatelyakh (1928; â€Å"About Writers†). The memoir of Tolstoy is so lively and free from the hagiographic approach traditional in Russian studies of their leading authors that it has sometimes been acclaimed as Gorky’s masterpiece.Almost equally impressive is Gorky’s study of Chekhov. He also wrote pamphlets on topical events and problems in which he glorified some of the most brutal aspects of Stalini sm. Assessment. After his death Gorky was canonized as the patron saint of Soviet letters. His reputation abroad has also remained high, but it is doubtful whether posterity will deal with him so kindly. His success was partly due, both in the Soviet Union and to a lesser extent abroad, to political accident.Though technically of lower-middle-class origin, he lived in such poverty as a child and young man that he is often considered the greatest â€Å"proletarian† in Russian literature. This circumstance, coinciding with the rise of working-class movements all over the world, helped to give Gorky an immense literary reputation, which his works do not wholly merit. Gorky’s literary style, though gradually improving through the years, retained its original defects of excessive striving for effect, of working on the reader’s nerves by the piling up of emotive adjectives, and of tending to overstate.Among Gorky’s other defects, in addition to his weakness for philosophical digressions, is a certain coarseness of emotional grain. But his eye for physical detail, his talent for making his characters live, and his unrivaled knowledge of the Russian â€Å"lower depths† are weighty items on the credit side. Gorky was the only Soviet writer whose work embraced the prerevolutionary and postrevolutionary period so exhaustively, and, though he by no means stands with Chekhov, Tolstoy, and others in the front rank of Russian writers, he remains one of the more important literary figures of his age.

Free Essays on Poes Masque Of The Red Death

Poe used the setting of â€Å"The Masque of the Red Death† to depict an atmosphere characterized by a sense of inevitability of death and one of somber morbidity. He used the castle, clock of ebony, and the masked figure’s chasing of the prince to express the atmosphere in a detailed analysis. The castle provided a place for the story to unfold. It allowed the reader to interpret a sense of entrapment that carried into the plot. As the prince secured the castle, in an attempt to avert the plague of the Red Death, he was also eliminating any means of escape once the disease infiltrated the area. The prince’s solution to averting death was to seclude himself with his royal friends and celebrate with all of the amenities of being wealthy. â€Å"There were buffoons, there were improvisatori, there were ballet dancers, there were musicians, there was Beauty, there was wine.† However, in his naive attempts to lock himself in, the prince was allowing the deaths of those outside of his realm and locking himself out of the outside world at the same time. Therefore, as Prince Prospero put up the â€Å"gates of iron† and â€Å"welded the bolts,† he became a prisoner of sorts, without refuge. The castle was also depicted as a maze. With the disposition of the apartments being restricted, there was a single way out, through the black room. This disposition was representative of the stages of life. The sharp turns leading to a novel effect were the decisions one must make. Also, each room prohibited a view of the others, with the exception of only the following room. Therefore, one could not see the future, only the next phase of life. Although each room had a large window, one could not see the outside world. Because the view from the windows was of the corridors, again Poe provided a feeling of confinement. Each room, being of a different color, represented the phases of existence, from birth towa... Free Essays on Poe's Masque Of The Red Death Free Essays on Poe's Masque Of The Red Death Poe used the setting of â€Å"The Masque of the Red Death† to depict an atmosphere characterized by a sense of inevitability of death and one of somber morbidity. He used the castle, clock of ebony, and the masked figure’s chasing of the prince to express the atmosphere in a detailed analysis. The castle provided a place for the story to unfold. It allowed the reader to interpret a sense of entrapment that carried into the plot. As the prince secured the castle, in an attempt to avert the plague of the Red Death, he was also eliminating any means of escape once the disease infiltrated the area. The prince’s solution to averting death was to seclude himself with his royal friends and celebrate with all of the amenities of being wealthy. â€Å"There were buffoons, there were improvisatori, there were ballet dancers, there were musicians, there was Beauty, there was wine.† However, in his naive attempts to lock himself in, the prince was allowing the deaths of those outside of his realm and locking himself out of the outside world at the same time. Therefore, as Prince Prospero put up the â€Å"gates of iron† and â€Å"welded the bolts,† he became a prisoner of sorts, without refuge. The castle was also depicted as a maze. With the disposition of the apartments being restricted, there was a single way out, through the black room. This disposition was representative of the stages of life. The sharp turns leading to a novel effect were the decisions one must make. Also, each room prohibited a view of the others, with the exception of only the following room. Therefore, one could not see the future, only the next phase of life. Although each room had a large window, one could not see the outside world. Because the view from the windows was of the corridors, again Poe provided a feeling of confinement. Each room, being of a different color, represented the phases of existence, from birth towa...

Free Essays on Marketing Strategy Of Ford

Marketing Strategy of Ford Motor Company Ford Motor Company was built on superior products and that still exists today. They have an exceptional line of cars and trucks, which ranges from the Model-T to today’s Ford Focus and F-Series, the best selling car and truck in the world. Their current product line up is the strongest in their history and is still getting stronger. This year they added the new Ford Explorer, Thunderbird and Expedition in North America, Ford Fiesta in Europe, the new Lincoln Blackwood and Navigator, Land Rover Freelander and Range Rover, Jaguar X-Type, Aston Martin Vanquish, Mercury Mountaineer, and the Mazda Sport Wagon. These vehicles will help distinguish them from their competition. All of their products and services benefit from their diverse family brands. They acquired the Land Rover in 2000, 1999 they acquired Volvo and Kwik-Fit, 1989 they acquired Jaguar, 1987 they acquired Aston Martin and Hertz, and in 1979 they acquired Mazda. This all lends in a hand in building strong, lasting relationships with their customers and to help their business grow. Ford believes that a major factor in their success is their role as a positive contributor to the community. They introduced this plan in early 2000, which was to improve the fuel economy of their sports utility vehicles. They also created the Ford Rouge Center, which is an environmental restoration of their historic Rouge Manufacturing Complex. This center is a showcase for environmentally friendly manufacturing processes that can be used around the world. Ford is focusing on building relationships and growing their family. They are transforming themselves into a consumer focused team. They are changing their attitudes, behaviors, and culture so they can put the consumer first. The company is learning to view their business from a customer’s perspective to dramatically improve their products and services and start new businesses. BUILDING RE... Free Essays on Marketing Strategy Of Ford Free Essays on Marketing Strategy Of Ford Marketing Strategy of Ford Motor Company Ford Motor Company was built on superior products and that still exists today. They have an exceptional line of cars and trucks, which ranges from the Model-T to today’s Ford Focus and F-Series, the best selling car and truck in the world. Their current product line up is the strongest in their history and is still getting stronger. This year they added the new Ford Explorer, Thunderbird and Expedition in North America, Ford Fiesta in Europe, the new Lincoln Blackwood and Navigator, Land Rover Freelander and Range Rover, Jaguar X-Type, Aston Martin Vanquish, Mercury Mountaineer, and the Mazda Sport Wagon. These vehicles will help distinguish them from their competition. All of their products and services benefit from their diverse family brands. They acquired the Land Rover in 2000, 1999 they acquired Volvo and Kwik-Fit, 1989 they acquired Jaguar, 1987 they acquired Aston Martin and Hertz, and in 1979 they acquired Mazda. This all lends in a hand in building strong, lasting relationships with their customers and to help their business grow. Ford believes that a major factor in their success is their role as a positive contributor to the community. They introduced this plan in early 2000, which was to improve the fuel economy of their sports utility vehicles. They also created the Ford Rouge Center, which is an environmental restoration of their historic Rouge Manufacturing Complex. This center is a showcase for environmentally friendly manufacturing processes that can be used around the world. Ford is focusing on building relationships and growing their family. They are transforming themselves into a consumer focused team. They are changing their attitudes, behaviors, and culture so they can put the consumer first. The company is learning to view their business from a customer’s perspective to dramatically improve their products and services and start new businesses. BUILDING RE...

Book Summary On Presentation Of Self

Book Summary On Presentation Of Self Introduction The presentation of oneself is based on the observation of an individual through comparing the life of him and the other people. Because of that inspiration of determining the revolutions that are found in the society, the roles and relationships that are found can affect the value of an individual and the idea on how he can describe himself from other people. Due to the intensive curiosity of an individual in life and his environment, there are studies that stress out the possible explanation on how to describe the changes in the earnest way. Various sociological models and approaches were presented to show the connection of the man in his environment. The interaction of the people in the social life is presented by the Erving Goffman in his dramaturgical model that attempts to see the society in a lighter sense. The Key Ideas Erving Goffman prepared the key ideas behind the discussion on the values wherein the ideas in theorizing the social roles and relations that ar e present in the contemporary society. According to the book of Goffman, the individual performs a certain role, which varies according to their audience. Those individuals as actors have an intention in manipulating the role that they play for the purpose of managing others impressions of them. Usually, this occurs through the interaction of the individuals in their everyday life. Since the society presents the interactions that usually matters with the human social relations or group of life, there is a natural involvement of disciplines that goes right with the study of sociology including the economics, political science, and psychology because they all fall within the topic of human society. Goffman, presented the theory that suggests that individuals engage in a significant amount of expressive manipulation along several fronts. Goffman likened his ideas to a theatre because â€Å"individuals are, in essence, dramatic actors on a stage playing parts dictated by culture† and this is the goal of such a presentation is acceptance from the audience through manipulation. If the actor succeeds, then they will be viewed as they desired by the audience. Goffman argues that the key to this success is to control which information the audience has access to (Goffman, 1959). Unlike the sociological theories wherein the individuals are linked with the disciplines early states, Goffman’s dramaturgical model outlines the existence of the human’s perspective on the stages where as an actor he usually plays. Giddens (2009) suggests that front regions are situations where individuals act out formal roles, essentially when they are ‘on-stage’. Performances in front regions often require teamwork in order to be successful. Impression management also occurs in the front regions as the actor is trying to give the audience certain impressions of himself. Goffman suggests that â€Å"when an individual appears before others, he will have many m otives for trying to control the situation†. In contrast, back regions (of the stage) are where individuals or performance teams prepare themselves for their roles. Goffman implies that it is where teams discuss and rehearse their performance before they enter the front stage. Props can also be used to aid an actor in their performance and they are assembled in the back region. These props assist an actor in convincing the audience that their performance is true. For example, a waitress in a restaurant would use a notepad and paper to take an order, to help convince her audience (customers) that her performance is true. Goffman indicated that the two regions are connected by a â€Å"guarded passageway†. This stops public performances being shattered by an inadvertent look from an audience member. If an individual’s performance is weak, the audience will see through it. â€Å"The phenomenon of embarrassment is where the actor acts ineffectually or is unable to su stain their expected role. This leads to them being excluded from full participation in society, which demonstrates the importance of maintaining the appearance of being a competent social actor. The dramaturgical models value in theorizing social roles and relations in contemporary society is open to discussion. Goffman’s ideas are praised for having had a â€Å"profound influence† on sociology as a discipline. On his book, it clearly states that Goffman uses the dramaturgical metaphor as his contribution in the field of sociology. He acknowledges the most stimulating and thought-provoking contributions to sociology which made the sociologists today refer to his work, especially for examples on how to carry out micro sociological work.

Computer Information Security Certification Research Paper

Computer Information Security Certification - Research Paper Example Consequently, it is critical to employ highly skilled persons on this area to guarantee safety of organizational information and data. To give assurance to organizations that the employee being hired has the desired skills, several certifications are offered. Computer Information Security Certification Cisco Certified Internetwork Expert (CCIE) certification is offered by Cisco. It is internationally recognized as the highest level certification in technical networking. For one to be CCIE certified, they have to be tested on particular skills in networking through written exams and performance assessed in the laboratory (Hochmuth, 2004). CCIE certification is divided into seven tracks including; routing and switching, security, service provider, service provider operations, storage networking, voice and wireless tracks (Hochmuth, 2004). CCIE certified persons are recognized as highly skilled engineers and secure employment in communication sector such as mobile phone service provider s and internet providers. Moreover, the individuals can be employed in organizations using information technology systems such as banks and supermarkets. Certified Computing Professional (CCP) is a senior level certification offered by ICCP. The certification is offered to Information Technology Management and Business and Systems Analysts professionals (Plishner, 2001). Moreover, it is offered to computer professionals globally. To receive this certification, one has to pass a core test in addition to scoring more than 70 percent in specialty examinations. Specialty exams are on management, procedural programming, system development, business information systems, systems programming, software engineering, database resource management and micro-computing and networks. To earn this certification one ought to have four years experience in information technology and computer field although not necessary in high tech position. One must also sign a document committing one to adhering to the code of ethics, conduct and good practice of ICCP (Plishner, 2001). A CCP certified person can be employed as a systems administrator in different organizations, can work as programmer, database administrator in institutions and the information managers in their place of work. Certified Information Systems Auditor (CISA) is another security certification available for computer professionals. For one to be CISA certified, one has to pass the CISA examinations. CISA exams scan be taken by any person with interest in information systems audit, control and security. Following completion of CISA exams and meeting the set work experience requirement, the candidate submits a CISA application (Plishner, 2001). The candidate must have a minimum of five years work experience in information systems auditing and control. Some professional may have this period waived for professionals such as university instructors in the field of accounting, computer science, and information systems to two years. CISA demands one to adhere to the code of professional ethics and the continuing professional education program (CPE) which ensures that certified individuals under this section continuously update themselves with new knowledge on computer security threats. In addition, CISA certified individuals commit themselves to complying with information systems auditing standards. CISA certified individuals can be employed in enterprises which demand IS audit professionals (Plishner, 2001).

American culture has infiltrated and marred China culture Essay

American culture has infiltrated and marred China culture - Essay Example It is much easier for American culture to infiltrate as compared to Chinese culture. Considering that English is the language of communication in America and many other countries across the world, the American culture has a much greater possibility of infiltrating Chinese culture than the vice versa. One impediment to the infiltration of Chinese culture across the word is the language. The Chinese language still has a very small presence across the world and this, therefore, limits the spread of the culture. Similarly, many people are still much reluctant to appreciate and fully accept Chinese culture as part and parcel of their daily operations (Sanvictores, 96). It is indeed true that American culture has infiltrated and marred Chines culture in many parts of the world. As China seeks to create a strong presence especially in the developing world, it encounters a series of challenges in relation to American culture. Part of this cultural hindrance arises out of the common assumption that American culture is superior to most of the other cultures. In this case, people might always want to be associated with this form of culture and not really the Chinese culture (Sanvictores, 56). In addition, America has greatly mastered the art of cleverly spreading its culture and making many people adopt some of the things it deems proper. In China today, many people are greatly trying to adopt the western way of life by learning English and practicing some of the cultural practices realized in America.

Nursing leadership in academic hospital Essay Example | Topics and Well Written Essays - 1000 words

Nursing leadership in academic hospital - Essay Example The data analysis approach was appropriate to the nature of the data. Two key approaches are evident and are characteristic of qualitative data analysis that is applicable to data collected from a phenomenology study. An on-going and emerging process is one of the aspects of the data analysis and is characteristic of the qualitative data analysis approach (Gerish and Lacey, 2013). Transformation of qualitative data to quantitative data for effective analysis that is more objective is another feature of qualitative data analysis that is therefore applicable to phenomenology design. The data analysis was therefore appropriate for the design (Maboko, 2012). The data analysis process suggests application of category scheme in data analysis because data was coded. There is, however, no description of the applied category scheme. The implied category scheme appear logical because it was derived from characteristics of the collected data and on researcher’s rationale. The method was manual, an aspect that establishes concerns with accuracy. A computerized approach would however resolve this concern (Maboko, 2012). The report is clear on the data analysis approach but does not mention whose approach it applied. Data analysis procedure involved transcription of information from interviews that were captured in tape records. A review of the transcripts followed and emerging themes were noted. Each interview was then selected and reviewed and data coded for descriptive analysis (Maboko, 2012).

The Strategy of International Business Essay Example | Topics and Well Written Essays - 4250 words

The Strategy of International Business - Essay Example This situation has not only reduced the profitability and market share of the local firms, but also has enforced a number of local firms to sell their businesses to the international giants. Hence, the report has elaborated a number of market strategies that can assist the local firms to strengthen their competitive position to ensure their long-term profitability and sustainability. The term ‘liberalization’ describes the process of relaxation of governmental regulations and restrictions in different areas such as trade, economy, social, political etc (Alessandria and Choi, 2014). Globalization has highly influenced the practices of trade and economy related liberalization within different industry sectors of developed as well as developing countries (Dix†Carneiro, 2014). The United Kingdom can be utilized as a successful example which has initiated and efficiently conceptualized liberalization in their different industry segments, mainly the energy segment. The rapid changes in the business processes and trade policies in the globalized economy influences government authorities to modify the trading policies of the nation to accommodate it with the global economy, political regulations and social practices. This intervention of government authorities has allowed a number of industry sectors to avail the facility of free trade in terms of the ir international business venture (Corbet and Robertson, 2014). The further topic will emphasize on liberalization and its impact on the internationalization of businesses. The study will also evaluate the impact of liberalization on the domestically focused business industry in terms of increase in competition within the local and global market. Finally, the discussion will elaborate various strategic reactions which can assist various domestically focused industries of the UK to face the increased competition of foreign competitors. The increasing

Humanities modern movements Term Paper Example | Topics and Well Written Essays - 500 words

Humanities modern movements - Term Paper Example The specific issue of gender, according to the authors, has begun to give new and added focus on the role of women. Archaeological research into gender varies from an emphasis on class and occupation to an interest into the ways in which the meaning of gender has evolved over time. As well, the authors point to a rise in biographies being written about female archaeologists as evidence that the field has begun to change. Interestingly the authors of the article claim that there is a correlation between research into gender inequities and work-place inequities within the field of archaeology itself. The idea that the field is sexist has, in their opinion, given rise to the increased interest and study into questions of gender. Concerning methodology, and its relation to an â€Å"engendered archaeology,† the issue of gender as a social construct is put into perspective. According to the authors, gender has always been viewed as a social construct, though in varying degrees and depending on the given scholar. In their view, a gender-based archaeology would first and foremost seek to challenge any and all â€Å"starting assumptions† relating to the issue of gender in human history (Conkey 1997, 411). The issue of gender would be interpreted as it relates to human-constructed reality and the material foundations of that same reality. By relating it to feminist thought, gender-based archaeology is able to show the areas where gender studies shed light: methodology, research, and intra-professional issues (hiring of archaeologists, male-female relations within departments, etc.). Most of all, they wish to show how a feminist archaeology might better approach â€Å"gender† than traditional a rchaeology. A parallel movement has been feminism in general, one which is partially derived from the humanistic belief that all humans deserve freedom and dignity, women

Nursing leadership in academic hospital Essay Example | Topics and Well Written Essays - 1000 words

Nursing leadership in academic hospital - Essay Example The data analysis approach was appropriate to the nature of the data. Two key approaches are evident and are characteristic of qualitative data analysis that is applicable to data collected from a phenomenology study. An on-going and emerging process is one of the aspects of the data analysis and is characteristic of the qualitative data analysis approach (Gerish and Lacey, 2013). Transformation of qualitative data to quantitative data for effective analysis that is more objective is another feature of qualitative data analysis that is therefore applicable to phenomenology design. The data analysis was therefore appropriate for the design (Maboko, 2012). The data analysis process suggests application of category scheme in data analysis because data was coded. There is, however, no description of the applied category scheme. The implied category scheme appear logical because it was derived from characteristics of the collected data and on researcher’s rationale. The method was manual, an aspect that establishes concerns with accuracy. A computerized approach would however resolve this concern (Maboko, 2012). The report is clear on the data analysis approach but does not mention whose approach it applied. Data analysis procedure involved transcription of information from interviews that were captured in tape records. A review of the transcripts followed and emerging themes were noted. Each interview was then selected and reviewed and data coded for descriptive analysis (Maboko, 2012).

Humanities modern movements Term Paper Example | Topics and Well Written Essays - 500 words

Humanities modern movements - Term Paper Example The specific issue of gender, according to the authors, has begun to give new and added focus on the role of women. Archaeological research into gender varies from an emphasis on class and occupation to an interest into the ways in which the meaning of gender has evolved over time. As well, the authors point to a rise in biographies being written about female archaeologists as evidence that the field has begun to change. Interestingly the authors of the article claim that there is a correlation between research into gender inequities and work-place inequities within the field of archaeology itself. The idea that the field is sexist has, in their opinion, given rise to the increased interest and study into questions of gender. Concerning methodology, and its relation to an â€Å"engendered archaeology,† the issue of gender as a social construct is put into perspective. According to the authors, gender has always been viewed as a social construct, though in varying degrees and depending on the given scholar. In their view, a gender-based archaeology would first and foremost seek to challenge any and all â€Å"starting assumptions† relating to the issue of gender in human history (Conkey 1997, 411). The issue of gender would be interpreted as it relates to human-constructed reality and the material foundations of that same reality. By relating it to feminist thought, gender-based archaeology is able to show the areas where gender studies shed light: methodology, research, and intra-professional issues (hiring of archaeologists, male-female relations within departments, etc.). Most of all, they wish to show how a feminist archaeology might better approach â€Å"gender† than traditional a rchaeology. A parallel movement has been feminism in general, one which is partially derived from the humanistic belief that all humans deserve freedom and dignity, women

The Country I Live in Essay Example for Free

The Country I Live in Essay I living in Russia, love our country and is proud of it. The official name of our country is The Republic of the Russian Federation there are 21 republics and 65 other regions in the Russian Federation. The key symbol of Russia is the troika. The Nation government of Russia consist of the President, the Council of Ministers and Federal Assembly. There are two houses in the Federal Assembly: The Federal Council and the State Duma. The population of Russia is about 145000000. The ecological situation in Russia is not very safe. Pollution in some industrial towns is high. Some parts of western Russia were badly influenced by the radiation from Chernobyl in 1986. Russia is located in Northern hemisphere, in the north of continent Eurasia. She is washed by waters of Silent and Arctic oceans, and also Baltic, Black, Azov by the seas of Atlantic ocean and Caspian sea, More than 70 % of territory of Russia are occupied by plains and lowlands. In the south of the European part northern ridges of the Big caucasus (here there is the highest top of Russia Elbrus, 5 642) In Russia more than 120 thousand rivers and about 2 million lakes. The largest rivers: the Cupid, Lena, Yenisei, Irtysh, Ob, Volga, Kama; the largest lakes Caspian seas, Baikal, Ladoga, Onega. Position of Russia in northern part of Eurasia has caused her placing in Arctic, subarctic, moderated and partially in subtropical climatic belts. The prevailing part of territory is located in a moderate belt. A variety of a climate depends also on features of a relief and affinity or remoteness of ocean. Woods occupy over 40 % of territory. In territory of Russia there is a fifth part of all woods of the world and half of world coniferous woods. The fauna is various here live both polar bears, and walruses, both tigers, and leopards, etc. In Russia 35 national parks and 84 reserves are located. Unique in the country the natural park which is in city boundaries — Omsk  «the Birds harbour ». Moscow the capital of Russia and one of the worlds great cities. Yuri Dolgoruky founds Moscow in 1147. Today Moscow is the political centre of Russia, the countys leading city in population, industry and in culture importance. Moscow is definitely a city of contrasts. So rich in many ways, yet in other ways, quite poor. Moscow stands on the Moskva River in the centre of vast plain of European Russia. The climate is continental. Moscow is the largest industrial centre of Russia. The most important industries are those producing automobiles and trucks, machine tools, radio and television sets. The most important element in Moscows city transport is the metro subway. The system was began in 1935 and still developing. Some of the stations, especially the older ones, are highly decorate with marble, statues and mosaics. Moscow is a city where a lot can be seen and much can be done. You can seen: Red Square, St. Basils Cathedral, The Momunent to Minin and Pozharsky, Lobnoye Metro, The Spasskay Tower, The Lenin Mausoleum, The State History Museum, The State Department Store (GUM) and many other places. Moscow has numerous theaters, headed by the State Academic Bolshoi Theatre, which was founded in 1825. The citys principal drama theatre is the Moscow Art Theatre. Also of the worldwide fame are the State Central Puppet Theatre and Moscow State Circus. Moscow has some museums and art galleries of international rank. Among them are the State Pushkin of Fine Arts, with a fine international collection, and the State Tretyakov Gallery with an excellent collection of Russian paintings. Moscow is one of the cities of the world that must be seen. Russia has produced a great number of very creative and talented people, for example: Alexander Pushkin, Peter Tchaikovsky, Isaac Levitan, Georgy Zhykov, Yuti Gagarin, Andrei Sakharov, Boris Godunov, Vladimir Lenin, Vladimir Putin and e.t.c. Theatrical performances, museums and picture galleries in fact all aspects of Russian live prove that. The Russians are much interested it the rest of the world. Russian people are very hospitable, hardworking, friendly, open, honest, generous, kind, sometimes sentimental, sometimes careless, often unsmiling, having bold manners, sometimes lazy and selfish. Russian love animals, especially dogs and horses. Russian cultural level is quite high, Russian people like to read books, to visit theaters, museums and different concerts. We are the nation of sport lovers because our people like different kinds of sports and spend a lot of time going in for sport or just watching it. Many Russian are religious people. The main church is the Russian Orthodox Church. It has survived the hard times and now people speak about a rebirth of religion in the country. Russian keep our traditions because there are lots of traditions which have been maintained from ancient time. Russian national holidays — the holidays of Russian people connected with widespread national traditions of their carrying out. New year (in the night from December, 31st for January, 1st). It is accepted to decorate a premise the decorated New Year tree or branches. At midnight for January, 1st the congratulation of the head of the state and peal of bells obeys. On a table it is accepted to submit, among other, a Russian salad and champagne. To children give gifts (from Father Frost). According to sociological polls, it is the most celebrated holiday. Christmas (on January, 7th on new style and on December, 25th on Ã'ŽÐ »Ã ¸Ã °Ã ½Ã' Ã ºÃ ¾Ã ¼Ã'Æ' to a calendar) — an orthodox holiday. At night before Christmas it is accepted to guess that was never approved by orthodox church. The holiday is marked by a solemn celebratory supper. The tradition to mark Christmas is officially restored in Post-Soviet Russia. Day of the defender of Fatherland (on February, 23rd) — widely celebrated mans holiday established at the Soviet power, and in Post-Soviet Russia become in the day off. Women congratulate men and give them gifts. Congratulations are accepted also by women-military men, and also participants of wars. The international womens day (on March, 8th) — female holiday officially established still at the Soviet power became in public marked. Men congratulate women, give them flowers and gifts. Maslenitsa (Pancake week) — week before the Lent. Has ancient pagan roots. During all week bake and eat pancakes. Easter — an orthodox holiday. Celebratory meal — Easter (cottage cheese with candied fruits), Easter cakes, coloured in red colour and welded eggs. Victory Day over Hitlerite Germany (on May, 9th) — an official All-Russia holiday. It is accepted to visit burial places of the soldiers who were lost during the Second World War, and to remember the fallen. Veterans put on awards and medals and accept congratulations. This day on Red Square military parade is spent. Celebratory actions last years are decorated by yellow-black Guards tapes. Day of national unity (on November, 4th). A Victory Day of Russian over the Polish invaders in 1612. This day across all Russia Russian nationalists spend Russian march. The greatest love of Russia is for tea – its drunk without milk and often served with homemade jam (varene), baranki and pirozhki. The mail dishes of the traditional menu are blini (homemade pancakes) with caviar, honey or sour crà ¨me; different soups (like shci and borshch), pirozhki, pelmyeni. Usually tourists buy traditional Russian souvenirs such as Martyoshka dolls, beautifully painted mugs, plates and spoons from the village of Khokhloma and Palekh boxes.

Exploring Surrealism In Fashion Fashion Essay

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