Write about this picture Essay Example | Topics and Well Written Essays - 750 words - 1

Write about this picture - Essay Example The first picture is of a woman seemingly suspending on the air with cactus plants around her. The first picture I get when I look at the picture is that the lady is extraordinary. Therefore, the picture is drawn in an era when there are beliefs on extraordinary events. Cactus in most cases is a sign of a dry area like a desert. The woman, therefore, could have been from an area of drought. The cactus also represents challenges and hardships. Interesting enough the lady seems to be unbothered by the situation surrounding her. She seems to have been raised up from the ground. In my view, it shows some form of victory. The woman seems to worry less about the things surrounding her. The colors used in the picture are also a depiction of some form of victory and joy. The colors forming the surrounding areas show some form of darkness that comes along with fear and uncertainty. The lady seems not to be worried by any of these. The cloth that covers her also shows some form of protection a nd defense from any forms of attacks as the cloth covers her. The second picture too seems to be of the same lady. The angle that the neck has bent is almost the same as that of the lady in the picture with a frame on it. There are thorns that surround the second picture and beyond the thorns are a black figure that in my view seems to be an evil ghost. The black color and other dark color combination greatly brings the meaning that is expected to be derived from the picture, The picture seems to be of older centuries when there was high belief in superstition and religious devotions. The lady in the second picture seems to be undisturbed by the challenges and threats that surround her. She seems to be protected from the challenges that face her. The picture colors used show the audience that the picture is of older times (Powda, 2013). In my analysis and research, there seems to be a connection between the lady in the picture and the religious

History Essay Example | Topics and Well Written Essays - 1000 words - 43

History - Essay Example At that period Virginia was operating under head right system. It dawn to leaders of that time that for economy to grow there is need for labor and with that in mind the government of the day provided incentives to farmers to import workers. Masters were rewarded up to 50 acres of land for bringing labor across the Atlantic (Gray, Colonial America, p. 118). The system was being used by the plantation owners to increase their land and in addition to that received service of the workers. The system as it appears at first seems to benefit both the master and the servant because the servants were paid for fare across the Atlantic. Employment was on contact basis and on termination the servant were paid bonus, or other goodies like lands clothes or food. To the English poor it seems like lucrative offers abroad and this possibly lured Johanna smith. Many were lured out of unite kingdom with promises of land ownerships and prosperity but the reality on the ground was different.Upon arrived the condition at the ground was difficult and this made it difficult for many of them to live to complete 4-7 years of service (Gray, Colonial America, p. 118). The mortality rate was high in Virginia due to lack of food and diseases. Many wrote back to their families back in United Kingdom on their state of misery. Despite the poor state of living the masters wanted to diligently use them to maximize their returns, the servants interest were only expanding their investment while cutting cost to the possible minimum. In the first year of service the labor was required to pay back for the master’s investment and in subsequent years to make it profitable, these conditions worsen the condition because they were under immense pressure from the masters to pay back the investment within the short period of one year. Many didn’t want to extend the terms of their contract they wanted freedom and the

Gardners Theory of Multiple Intelligence Essay Example for Free

Gardners Theory of Multiple Intelligence Essay Many years ago it was quite common to label someone with a high IQ as a â€Å"genius† or as being more intelligent than others. Albert Einstein is one of those men who were labeled as a genius because of all that he had accomplished at such a young age. Undeniably, Einstein’s smarts were extremely remarkable, but records show that he was not the best student. Although Einstein scored extremely well in areas like Math and Physics, it has been noted that in areas like linguistics, he did not excel (Albert Einstein, 2005). Does this make Einstein, any less of a genius? According to Howard Gardner’s theory of multiple intelligences, a person’s intelligence isn’t necessarily measured in standardized testing or school grades. Gardner identifies that each person’s learning style is different, so the intelligence could excel in any of the eight styles: Linguistic, Musical, Logical, Naturalistic, Visual, Kinesthetic, Interpersonal, and Intrapersonal (Kowalski Westen, 2011). This means that someone like Ludwig van Beethoven who may not have been as scholarly as Albert Einstein, can still be considered a genius due to his musical intelligence. The eight different intelligences described by Gardner are what he believed to be the eight strengths in which a person can learn. Gardner believed that because everyone can learn in one of these eight different styles, then they could excel in any of the respective fields. A person who possesses a linguistic intelligence is described as someone who uses words and communication effectively. A person with linguistic intelligence would have excellent auditory skills, and translates everything into words or speech. On the other hand, someone who possesses the learning style of spatial intelligence would be most comfortable with graphics, physical imagery, and visuals (Campbell, 1992). However, someone with a preference to the kinesthetic style of learning would be most comfortable with being hands on. They learn by doing, touching, and anything that involves physical activity, therefore their intelligence might look more like acting out, or role playing. Another learning style of multiple intelligences described by Gardner is naturalistic. Someone who possesses a naturalistic style of learning is more in tune with their surroundings, and focus a lot with what nature is giving them. The naturalistic intelligence was not added to the multiple intelligences until much later. Gardner’s theory was introduced to naturalistic in response to the nature versus nurture debate, in which a person learns from their surroundings, or environment in which they are in (Sulaiman, Hassan, Yi, 2011). One of the bigger learning styles in Gardner’s theory is that of intrapersonal and interpersonal. Intrapersonal is that in which a person learns from themselves. Someone who keeps to themselves and does not get socially involved (Campbell, 1992). On the complete different spectrum, is the interpersonal learning style. Like a social butterfly, interpersonal refers to someone who works well with others, enjoys working in teams, center of attention, and just like they seek attention of others, others seek their attention as well. I personally identify with the interpersonal school of learning the best out of all of the intelligences in Gardner’s theory. I mostly work well when accompanied by others. I am a team player, and team leader. Others usually seek to me for advice, and I tend to deliver my best results, when working with others. This is the intelligence that is mostly credited with the slang term of â€Å"street smarts† (Sulaiman, Hassan, Yi, 2011). Having played sports for a big part of my life, I tend to carry my thoughts as a team. I carry the team and make sure to understand everyone on the team. I always think of others first, and having that one on one interaction is most important to me. Throughout my career, I have found myself to be in leadership roles quite frequently , because many others who are not strengthen by the interpersonal intelligence feel as if I can lead better due to the emphasis I put on team work, and my adequate level of communication with the entire team. In the work place I have found this quite helpful, and it has helped me become very successful. The two other intelligences outlined in Gardner’s theory are that of musical and logical, or mathematical. Musical intelligence is referred to a person when they can relate everything to a rhythm, or sequence. Someone who possesses musical intelligence is also aware of the sounds and music space in their surroundings. Someone with musical intelligence would be aware of dichotic listening, and understand the importance of noise (Kowalski Westen, 2011). Music is a very big part of my life, what I do, and how I do it. I can remember growing up and not being able to go to sleep until music was playing in the background. I find myself being almost allergic to quite. I tend to do my best work when either I have music playing in the background, or if the TV is on. While in school, I usually found myself while studying, to be singing. I tend to associate rhyme and rhythm to a lot of the new things that I learn. According to Gardner, someone who possesses a musical intelligence is sen sitive to sound, and could hear music, or find the rhythm to anything, even before the words are spoken (Campbell, 1992). The last intelligence in Gardner’s theory is logical intelligence, or most commonly known as mathematical intelligence (Sulaiman, Hassan, Yi, 2011). Someone who occupies the logical intelligence are said to think abstractly. They mostly need to learn and form concepts before they can deal with details. They calculate results, enjoy working the mind in the way that really uses the prefrontal vortex more than any other intelligence. Someone with logical thinking is believed to be someone who takes their time to analyze all possible circumstances, and work the problem for an answer. This type of person likes puzzles and word games to stimulate the brain. I identify myself as being a logical thinker due to the fact that one of my strengths is to be analytical. Albert Einstein was believed to belong in this intelligence field, due to his work in mathematics and physics. I find my intelligence to not be at the level of Einstein by any means, but I do relate to his earlier work being proficient in the math field over the linguistic (Albert Einstein, 2005). Since English is not my first language, growing up in the United States, going to school was very difficult for me, but numbers became my safe haven. Having learned numbers at a very young age (according to my teachers, I knew how to add and subtract by the time I was 3) I find myself most attracted to professions in which analytical thinking is required. Having worked as a District Investigator, it was required of me to look at paperwork and identify the fraud, or identify the theft by finding the patterns, or the number sequence. A big part of my job was to analyze transactions, and compare them to video images. Things are always better explained to me if broken down into patterns. Although Gardner divided the intelligences into eight separate categories, his theory believed that a person does not just dominate one intelligence, but rather takes a bit from all of the intelligences collectively. Just like it could be clearly identified that Albert Einstein that dominated the logical intelligence, his work shows that he might have possessed the intrapersonal intelligence as well as the spatial intelligence (Campbell, 1992). Gardner believed that the intelligence of someone could not necessarily be measured, by testing, but mainly by teachings, and learning styles. I feel as if I most identify with musical intelligence, logical intelligence, and interpersonal intelligence. My career thus far would suggest that these fields have brought me much success, but in my recent career change from Criminal Justice to Psychology, I will most likely learn to domain in the linguistic and spatial intelligence.

The Romantic Comedy Genre

The Romantic Comedy Genre If even half of the projects picked up this year actually get the green light, the first decade of the next millennium may be known as the Romantic Comedy Decade. Sales totals for the genre surged ahead of former rivals Action-Adventure and Science Fiction, landing squarely in the coveted fourth spot [below Comedy, Drama and Thriller]. There was a 50 per cent increase in the number of romantic comedy scripts bought by studios in 1998 compared to the previous year. Examples of films in this period are Four weddings and a Funeral (UK; 1994), My Best Friends Wedding (1997), Shakespeare in Love (UK/US, 1998) and There is Something about Mary (1998). Each year from 1981, the trend is towards a much higher volume of production with especially sustained activity from 1997-9 (Krutnik 2002, p10). Romantic Comedy imports from US also increased from mid-1990s. Films such as the international success Notting Hill (1999) and the Australian-French co-production Green Card (1990) encouraged Hollywood involvement in co-productions. Examples are Sliding Doors (UK/US, 1998) and Bridget Jones Diary (France/UK/US, 2001). Most of the US-British partnership ventures, however, are adaptations of prestige literary or dramatic properties targeted at international audiences (Krunik 2002, p132), including Sense and Sensibility (UK/US; 1995) and Emma (UK/US; 1996). What exactly is Romantic Comedy? How is it defined in order to help people to understand what it actually is? Romantic Comedy: a genre, a family of genres (marriages, manners, screwball), a category of production and marketing, a category of analysis. Definition, even delimitation, is difficult or impossible because all Hollywood films (except some war films) have romance and all have comedy. A workable subset romantic comedy might refer to those films in which romance and comedy are the primary components as crime, war, etc (Krunik 2002, p132) As Handerson said, the word romantic comedy not only is a particular type of a story on two lovers but it also circulates as something of a free-floating signifier that can designate a bewildering array of possible combinations of sex and comedy (Krunik 2002, p 133). Billy Mernit, who is a famous author of romantic comedy, assigns the success of romantic comedy which has continued since the 1980s to its ability to mix with other film genres. Hybridity is by no means a new development within Hollywood genre films, and it is certainly no stranger to romantic comedy (Krunik 2002, p133). Examples are Ball of Fire (1941), in which romantic comedy and elements of the gangster films are combined, I Married a Witch (1942) joins romantic comedy and supernatural fantasy and Too Hot to Handle (1938) combines romantic comedy with aviation adventure. Though there are many exceptions that prove the rule (e.g., the thoroughly old-fashioned Pretty Women), contemporary mainstream audiences seem amenable to movies that mix it up. And this is true of your buyers (the studios); a romantic comedy that promises crossover potential is more likely to pique their interest than a straight-up traditional one (Mernit, B) Pretty Women is a film which is female-centred, pure straight romantic comedy appeals to women whereas the cross-genre film has broader audience. What is more, some of new romances have the elements of sporting backgrounds. For instance, Bull Durham (1998), The Cutting Edge (1992), The American President (1995) and Bulworth (1998). In addition, another trend since 1990s has been the extension of the romantic comedy process to gay relationships (Krunik 2002, p 136). Gay scenarios have been combined within comedies aiming at broader audiences, such as The Next Best Thing (2000), The Object of My Affection (1998) and As Good as It Gets and Chasing Amy (1997). Therefore, it can be said that contemporary romantic has been reconstructed for audiences based on age, ethnicity and sexual preference. In romantic comedies, the real subject is the power of love. Love is not merely the catalyst for action in a romantic comedy, it is the shaper of the story arc. Although many romantic comedies seem to initially set up their protagonists eventual mate as their antagonist, in most cases love itself is the antagonist. Wrestling with love can force a character to grow or to resist growth, but either way, loves effect on the central character is what drives the story. Billy Mernit Heterogeneity and hybridity (Spicer 2001, p184) are the prominent features of masculinity in contemporary British cinema. It means that the range of male forms is much broader than ever before. One of the major ways by which identity is able to be reconstructed is through the mass media as this provides an outlet whereby the expression of alternative identities can be communicated. The media therefore becomes a focus whereby different expressions of gender identity can be expressed and debated. In recent years, there have been rapid changes in many ways within the politics, society and culture. There are many significant reasons for these changes. As the result of these changes there were crucial impacts on social movements. Feminism is often said to be one of the most well known social movement. The key elements and developments of both feminism and cultural discourses are closely related to each other. Question arises at this point, such as what it means to be a woman and man, how are feminine and masculine identities constructed and what is the nature of femininity, masculinity? Not only to feminists but people such as intellectuals, politicians, artists and of course ordinary women and men is interested in such struggles within the culture and society. Since, those struggle occurs when people characterises their existence by repeating the same routine within peoples daily lives. This section will examine the key elements on sex and gender to elucidate the cultural meaning within the media. Gender is a way in which social practice is ordered. In gender processes, the everyday conduct of life is organized in relation to a reproductive arena, defined by the bodily structures and processes of human reproduction. This arena includes sexual arousal and intercourse, childbirth and infant care, bodily sex difference and similarity (Connell 1995, p71). For Judith Butler, who is an American philosopher and has contributed to the fields of feminism, queer theory, political philosophy and ethics, the various manifestation of gender in culture are driven by the self-same expressions deemed to be its consequences (Butler, 1990, p25) is accepted as gender is driven by performance, or the very activity of presentation, it is therefore dependent on what and how this is currently expressed by the individual that, ultimately, constitutes the crucial determining factor, and not an all-embracing universal disposition. In this sense, Butler sees gender as a regulatory fiction that is sustained by performative acts. Due to the fact that the choices an individual can potentially make in relation to gender are restricted thanks to ongoing cultural norms and assumptions, a person is therefore presented with a limited choice of possible identities. Individuals are thereby obliged to follow a course that fits the male/female dichotomy through perform ing and conforming to prevailing gender stereotypes. Furthermore, if the gender is socially constructed the relations between sex and gender become more unstable which makes gender independent from sex. As butler puts it in her writing that, gender is free-floating artifice which culturally constructed, indeed perhaps sex was already gender, so that the sex/gender distinction is actually not a distinction at all (Butler, 1990 p7). Butler suggests that it is possible to have a designated female body and not to show traits generally considered feminine, in other words, one may be a masculine female or a feminine male. One way of challenging such assumptions, Butler suggests, is to encourage awareness of these limitations by the creation of alternative gender scenarios that can lead to a more genuine realisation of ones identity. In effect, this provides for greater flexibility and range of options by which a person is able to construct a unique individuality. The fashion world definitely had the great impact on gender identification. It has been the case that distinctions of the gender are made when looking at fashion magazines such as masculine male and feminine female. The stereotypes of the gender role are repeatedly shown in the advertisements, fashion runways. As if it is saying that this how men and women should look like thus it limits our choice. These examples that I am going to give show how some of Butlers ideas have been taken up in a practical manner. Tailored jacket, bow tie and so forth have been socially accepted for mens clothing. However wearing mens clothing item such as oversized tailored jacket or a bow tie become as a fashion trend for womens clothing in recent years. This indicates from my point of view, that there are no such assumptions or rule for the style of gender identity. There are no set of rules for wearing clothes in order to represent certain genders identity. However there are social taboos which limit people to choose their own identity. But by looking images or photographs in magazines gender is not something fixed it is actually transformable as it shifts in style time to time. Thus, it can be explained that it is challenging the male dominance by reducing the assumption of the cultural meaning of the gender and sex to the level of fashion and style. Another example is how the boundary of men and women has been blurred. First example is a skinny male fashion model, what I found interesting in this example is that how assumption of the male body has been changed. Within the fashion industry, where their fashion products should be sold in order to make a profit. Traditional male fashion models in the past showed strong masculine male body to represent their products. Furthermore, second example is a photo shot of male fashion model by PRADAs spring/fall collection. As I explained of skinny male models above, PRADA also chooses skinny male model. But this time the model is wearing a trousers and a skirt at the same time. This also can be explained as it is breaking the traditional gender stereotype. The formula which says that I dont wear a skirt therefore I am male I am male therefore I dont wear a skirt fails in this image. Again it is just the style and fashion which blurs the boundary of fixed gender and sex .These examples above show how some of Butlers ideas have been taken up in a practical rather than passive way to meaningfully challenge how the public view gender to the extent that the younger generation are now coming to accept a more ambivalent attitude towards sex and gender. Moreover, androgynous models seem to becoming more common in the media a further sign that boundaries are becoming permeable. All societies have cultural accounts of gender, but not all have the concept of masculinity. In its modern usage the term assumes that ones behaviour results from the type of person one is. That is to say, an unmasculine person would behave differently: being peaceable rather than violent, conciliatory rather than dominating, hardly able to kick a football, uninterested in sexual conquest, and so forth (Connell 1995, p67). Perhaps we are aware of masculinity than ever before as it has become one of the interests that have been analysed since mid 1980s. Definitions of masculinity have mostly have taken our cultural standpoint for granted, but have followed different strategies to characterise the type of person who is masculine (Connell 1996, p68). Essentialist focuses on the core of masculine and their lives whereas positivist finds out what men actually are. Normative definition is a standard and explains that masculinity is that men should be. Semiotic definition, however, is that masculinity is non-femininity so that the level of personality is limited. Rather than attempting to define masculinity as an object (a natural character type, a behavioural average, a norm), we need to focus on the processes and relationships through which men and women conduct gendered lives. Masculinity, to the extent the term can be briefly defined at all, is simultaneously a place in gender relations, the practices through which men and women engage that place in gender, and the effects of these practices in bodily experience, personality and culture'(Connell 1996, p71). A concern of much early masculinity scholarship was to highlight the range and diversity of male identities that exist both within society as a whole and in specific settings (Crew 2003, p27). It means that there is class difference between men and the power that they have masculinities in working-class and middle-class to different experiences of capitalist working practice (Tolson 1977; Willis 1977). Tolson described masculinity in working-class as characterised by collective recognition and solidarity, physical toughness and presence, bravado, confrontation, anti-authority sentiment, and the avoidance of feelings (Crew 2003, p27). By contrary, masculinity of middle-class was described as moral dignity, emotional restraint, respectability and individualised notions of self-discipline, ambition and competitiveness (Crew 2003, p27). The interweaving of masculinity and class was most clearly illustrated in Paul Willis (1977) ethnography of a group of working-class lads. Most striking was how the lads associated different types of work with different genders such that they valorised their own identities and the futures that awaited them explicitly masculine terms (Crew 2003, p27). For example, it is both shop floor workers and managers in middle-class who construct a masculine hierarchy in which physical labour is at the summit (Roper 1994: 106). Managers find it hard to show their masculine position and masculinity in their work. It was suggested by Collison and Hearn (1996) that similarly, whilst shop floor workers reject the idea of promotion because it would compromise their masculine self-images (Crew 2003, p27), men working in office also are endangered by what they think of their work as unmasculine. What is more, it is important to see the difference here between what men want to be and what they really are. masculine identities are lived out in the flesh but fashioned in the imagination, with cultural representations providing the repertoire of cultural forms upon which fantasies are cast (Dawson 1991: 118). Masculine heterosexuality somewhat in line with the laddish personalities they were ascribed in the press (Crewe 2003, p 128). They are certainly not macho, overbearing or aggressive: nor did they exhibit the emotionally inhibited toughness of Ropers (1994) organisational men (Crew 2003, p 128). There are two social practices that reinforce oppressive, discriminatory forms of heterosexuality are homophobia and the sexual objectification of women (Pease 2000, p76). The term homophobia is created by The Gay Liberation Movement to identify the fear of homosexuality. According to Kirk and Madsen (1989:26-7), hetero sexual men dislike gays because they believe that homosexuality is caused by sinfulness, mental illness or recruitment (Pease 2000, p 76). It means that homosexuality is a distortion: gay men are evil and corrupted. Most heterosexuals have this misidentification and misconception as they have a negative image of the gay world. Sedgwick (1985:1) used the term homosocial to describe the non-sexual social bonds between men and to analyse how these social bonds keep men in power (Pease 2000, p77). The inability to recognise any homosexual impulses in oneself causes men to project all homosexuality desires outward on to gay men (Kupers, 1993:49) (Pease 2000, p77). Therefore, homophobia is seen as caused by hidden homosexuality. Many men are not aware of flaws or suspects of their heterosexuality. So if heterosexual men regard themselves as normal, homosexual men become abnormal. Heterosexual men try to avoid doing anything that other men might interpret as effeminate or unmanly. Men fear that any intimacy between men may sully their sexual identity (Pease 2000, p 78). Most heterosexual men are attracted by womens bodies and this objectification is the process by which men sees the woman as a thing or an object and fixation to the process of focusing on parts of the female body (Buchbinder, 1987:65-6) (Pease 2000, p84). Heterosexual men are aware of sexism and they often feel torn between their sexual desire and their awareness that their expressed fantasies about women can be experienced as oppressive by women (Horowitz and Kaufman, 1987:81) (Pease 2000, p84). Objectification is one of the key processes in mens sexual relationships with women, in which often a part of the women is seen to represent the whole (Kaufman, 1993: 124) (Pease 2000, p84). Heterosexual men have not done any reflective writings about their sexual desires: Rich (1983:66) has also challenged men to say why they like pornography, whilst gay men have challenged heterosexual men to be up front about their sexuality (Stoltenberg, 1991: 8) (Pease 2000, p85). In part these changes reflect the present state of British film-making which has become decentred and eclectic, lacking studio infrastructure or dominant producers of the earlier period (Spicer 2001, p184). Since 1970s, British film production has recovered and a new generation of film producers has become known that grips a more commercial cinema. The arrival of the multiplexes encouraged revival in cinema-going (Spicer 2001, p184) in all UK. Most of cinema-goers are young people, but ABC1 is the major audience who frequently do cinema-going. The balance between men and women is equal. However, cinema-going will never return to its former importance as a leisure pursuit, but film viewing continues to be a significant part of popular culture with the majority of films watched on television or on video (Spicer 2001, p185). The use of DVD and internet help to increase consumption of film viewing and it eventually makes cinema remain a popular and influential medium, among all classes and age groups and representation of masculinity (Spicer 2001, p185). It has developed from successful British films put in to a national image culture. This section will look at various complex types of masculinity in contemporary British Cinema and give examples for each type. James Bond has been the most enduring post-war British film hero in twenty films spanning thirty-eight years (Spicer 2001, p185). Films that represent Bonds heroic masculinity are A View to a Kill (1987) where Roger Moore re-created Bond as an old-style debonair hero, more polished and sophisticated (Spicer 2001, p185) and The World is Not Enough (1999). He continues to be a hero who keeps the masculinity of traditional male adventurer. There is a new man concept which emerged within commercial culture, in particular, within retailing, advertising, and the early formation of the UK mens magazine market (Crew 2003, p27) and it was in many ways driven by the discovery of a new market (Seidler 1997, p8). The formation of new man imagery has developments in and associated with menswear play an important role. Together with the reshaping of the mens toiletries and grooming products markets, development in menswear markets set some of the big terms for the emergence of the new man imagery (Nixon 1996, p31). The new man concept is the creation of imagery that represented men in ways that were more narcissistic, self-conscious, emotionally expressive, domesticated and feminine than conventional iconography of patriarchal authority, action and machismo (Brannon 1976; Goffman 1979; Wenick 1987) (Crew 2003, p 31). Nixon said the new man imagery was most important in that it represented a loosening of the binary opposition between gay and straight-identified men and extended the space available within the representational regimes of popular consumption for an ambivalent masculine identity (Nixon 1996: 202) (Crew 2003, p 31). The New Man was an alternative image to the macho tough guy, embracing female roles and qualities, a vulnerable nurturer in touch with his emotions, but also rather narcissistic (Spicer 2001, p 187). Hugh Grant in two romantic comedy films embodied the New Man: Four Weddings and a Funeral (1994) and Notting Hill (1999). Both films show the gentle, low-rent Man About Town, lovably awkward, tongue-tied, endlessly self-deprecating and sexually naà ¯ve (Spicer 2001, p 187). The independence and the power of women in films like Four Weddings and Notting Hill made Grant show more feminine sides. This is manifested in his insecurity and compliance, his lack of ambition and his desire for stability and heterosexual union, thereby fulfilling his supportive New Man credentials (Spicer 2001, p187). The type of the damaged man appears so frequently in recent British cinema and it has become the most representative image (Spicer 2001, p195). Shallow Grave (1994), Jude (1996) and Heart( 1998) are the performances of Christopher Eccleston who showed the figure of the damaged man with his gaunt features and suffering eyes (Spicer 2001, p 195). Mike Leighs Naked (1993) shows that the underclass male is often irreparably damaged by social disintegration and the film deepened this paradigm into an existentialist nightmare (Spicer 2001, p196). Mark Renton in Trainspotting is perhaps the most representative contemporary male: young, alienated, but also a chameleon, neither hero, villain, conformist or rebel. He is the product of a culture that is decentred and heterogeneous, no longer recognising clear national, ethical or sexual boundaries, where forms of masculinity are becoming increasingly hybrid and audiences delight in the knowingness and self-referentiality of popular culture (Spicer 2001, p 204). Contemporary British cinema has capability to produce positive forms. In Affairs to Remember, Bruce Babington and Peter Evans define romantic comedy as a genre that centres on the couple, celebrating the passionate but hopefully companionate love that brings them together, and typically ending at the moment of passage into the responsibilities of marriage (Babington and Evans 1989:234). (Spicer 2004, p78). In Britain, successful romantic comedy films since the revival are If Only (Maris Ripoll, 1998), Fanny Elvis (Kay Mellor, 1998), Sliding Doors (Peter Howitt, 1997) and Hugh Grant films. Hugh Grant is arguably the most successful current British star, famous throughout the world, able to sell a film on the strength of his name alone (Spicer 2004, p77). The revival of British romantic comedy is linked with popularity that Grant has. Grants films such as Notting Hill (Roger Michell, 1999), Four Weddings and a Funeral (Mike Newell, 1994), Bridget Jones Diary (Sharon McGuire, 2001) and About a Boy (Chris and Paul Weitz, 2002) share a central characteristic: the reluctance to commit, and yet the need to find love meaningful and central to well-being and happiness (Spicer 2004, p77). In Bridget Jones Diary, Grant was No More Mr Nice Guy (Spicer 2004, p83), and his bare-chested in tight leather trousers was photographed in womens magazines to show his new and more muscular body. Hugh Grant plays Renee Zellweggers boss at the publishing company, Daniel Cleaver, sophisticated, sexy professional with long, flowing dark locks and rakish hair (Spicer 2004, p 83). Cleaver is another familiar archetype, the Byronic anti-hero. The essence of the type is its fascinating eroticism (Spicer 2004, p83). The scene where he is undressing Bridget and he says, Silly little boots, silly little dress and these fuck me absolutely enormous pants. Dont apologise, I like them. Hello Mummy! Thats all him. Id have written What the fuck are those knickers? or something similar. He fooled around a lot on Bridget because it was in line with his own style of naughtiness. (Curtis in Raphael 2002s:13) (Spicer 2004, p 83). Some judged that he, like many Byronic males, was more attractive than tedious virtue (Spicer, p84), Daniel is has more charisma than dull Darcy.

Technology Available :: essays papers

Technology Available Given that the Fine Arts contain expression such as sculpting, painting, drawing, dance, theater, music, etc, there are countless opportunities for advancement within the curriculum. Having such a broad range of options enables different types of technological support to be introduced to both teachers and students. Theater students use technology constantly, whether it's accessing the computer catalog to find plays for study or on the Internet for reviews or to study about a particular playwright. Technology is a central part of technical theater as well. The lights used to illuminate the stage are computer driven and must be programmed correctly (Marshall, 1998). Visual arts students study laser discs, which are used in teaching and learning art history. They also use the CD-ROM drives in Macintosh-based computers to study color mixing, art forms, current trends in visual arts and art history (Marshall, 1998). There is a computer graphics lab at their disposal, which is used to teach animation and the creation of art. Images downloaded from the Internet are modified and adapted to create original works of art (Marshall, 1998). â€Å"The visual arts students are required to become handy with 35mm copy stand photography as they document everything they do for their portfolios. Working with computer animation and photography are important skills for visual artists in the field today† (Marshall, 1998). Music programs also include advancements, â€Å"for example†¦students learn about acoustics, lighting, seating arrangements, ergonomics, and personal programming in the context of how the built environment affects musical performance. The technology includes building models of spaces to incorporate specific acoustical properties and studying types and colors of lights† (Marshall, 1998). Those are just a few ways in which all Fine Arts categories use technology to improve their class content. The world will keep advancing; it’s up to the educators to take advantage of such learning enhancers. What Practices are Guiding Students in the Fine Arts Today Several educators express a need for a more vigorous and expanded arts curriculum. In schools today, the Fine Arts programs seem to be the underdogs of education. In fact, the arts are an incredibly important and integral part of a students learning and development.

Electronic Stimulation :: essays research papers

Medicine and electronics are rapidly becoming a common partnership. Electronics and medicine has been around for over a hundred years. This application can be seen in early X-ray machines, as well as early doctors and healers who felt that electricity possessed something special that assisted the healing process of many illnesses and injuries. But it has not been the last forty to fifty years that the development and refinement of electricity as medical agent has occurred. Today the medical field can not imagine itself without the assistance of electricity and electronic components. In recent years some of the major development has occurred in one particular field of Medicine, electric stimulation. Electric stimulation is the application of electric current in treatment without the generation of intense heat. This includes electric stimulation of nerves or muscles, passage of current into the body, or use of interrupted current of low intensity to raise the threshold of the skin to pain.   Ã‚  Ã‚  Ã‚  Ã‚  Studies suggested this therapy is applied to conditions such as ulcers, traumatic or burn wounds, osteoarthritis, and cancer. Electrical stimulation is simply the application of electrical pulses to the body, whether it is for function or therapy. The classical and common example is that of the cardiac pacemaker. The range of clinical uses of electrical stimulation has and is growing wider and includes: pain relief (often known as TENS - Transcutaneous Electrical Nerve Stimulation), maintaining or increasing range of movement, muscle strengthening, facilitation of voluntary motor function, and orthotic training or substitution.   Ã‚  Ã‚  Ã‚  Ã‚  Functional Electrical Stimulation (FES) is a branch off of electrical stimulation. The term FES is applied to systems, which attempt to restore, lost or impaired neuromuscular function. This would include such things as standing and walking in cases of paraplegia, by the application of electrical pulses to neural pathways or, but less often, directly to muscles. FES is also sometimes known as Functional Neuromuscular Stimulation or FNS. (http://medicaledu.com:80/estim.htm, 1999)   Ã‚  Ã‚  Ã‚  Ã‚  At the electrode-tissue interface, where the electrode and actual body come into contact, a conversion occurs between the current of electrons passing through the wires and the current of ions moved within the tissue. Then through this externally applied current, the depolarisation of nerve and muscle to threshold is produced by the transport of ions across the tissue membrane. There are several factors that determine whether sufficient current flows is taking place: impedance of body tissues, electrode size and position, and stimulation parameters.

Creative Arts Therapy Essay

A study was performed in the United Kingdom in 2012 to evaluate the usefulness of creative therapy for dementia patients. Creative therapy can include art, dance, and music, and movement. There is a wide range of pharmacologic and non-pharmacologic interventions that can be used with dementia. The use of arts or creative therapy has been proven to be useful with dementia patients. This would be useful in routine health care to help patients with agitation and affected verbal expression also. It has positive effects on mental health, specifically self-esteem, well-being, recovery, and perception of pain. Reminiscence therapy is also effective in improving mood and cognition. This study was carried out in two community units that provided day treatment and inpatient services for patients with dementia. Nurses and support support staff took part in the evaluation. The nurses and staff received a one day training workshop in creative therapy. Therapy was given for 30 minutes, three times weekly. Interventions, and observations were recorded. Photographs were taken to use for future reminiscence. Patients were invited to take part in dance, drama, music, and movement activities. Ethical approval was not required but consent for the project and photographs was obtained from patients or their family members. To maintain anonymity, participants were assigned an identification number. The study was conducted over an eight week period. Information was recorded on attendance, activities, and outcomes of the sessions. The degree of improvement in each participant was recorded during each session. No improvement was zero. Some improvement was one, and marked improvement was two. Activities included dance and use of objects to aid in memory stimulation. The closing session included singing, breathing exercises, and gentle movement. The same two staff members collected data during each session. Neurological deterioration in the frontal lobes in Alzheimer’s disease inhibits motivation and self -expression. Arts and creative activities can help a person communicate by creative self-expression. Participants in both units showed marked improvement in communication. Pleasure and enjoyment are important for well-being. All but two of the participants in the study showed pleasure and enjoyment. This suggests that creative therapy can have a positive effect on well-being. This study showed that dementia patients responded well to creative therapy. Some limitations to creative therapy are the skill mix of the staff and the individual diagnosis of dementia and degree of complexity of the patient’s needs. This study suggests that maintaining artistic approaches to health care can have beneficial outcomes for patients. Creative therapy should be adopted into mainstream care services for dementia patients. Short and long term effects of the therapy still need to be researched. Creative arts therapy uses art, music, dance, movement, and yoga. Creative arts therapy is useful for communication, emotional release, and healing. It helps promote self-expression, emotional well-being, coping skills, emotional release, and build physical and mental strength. Hospitalization is stressful. Arts therapy can help reduce the stress level of patients. It is particularly useful for hospitalized children. Dance and movement therapy can be very useful to reduce stress and help heal disabilities and diseases. It is useful for a wide range of disorders such as autism, mental retardation, post- traumatic stress disorder, Parkinson’s, dementia, and depression. It can also be used for blind patients to help build coordination. It provides social interaction, expression, reduces stress, and improves motor abilities as well as providing exercise. It would be very useful in rehabilitation, centers, day care centers, nursing homes, and children’s units in hospitals. It is a good way for nurses and other staff to interact with their patients. Staff should be properly trained to provide this therapy or physical or occupational therapist can be used to provide creative arts therapy. The ethical considerations in this study mostly revolved around willing participation from patients. All of the patients in the study volunteered to take part. Consents were obtained from patients and family members. They also consented to photographs being taken. The patients were identified by numbers during the entire 8 week study so they were therefore anonymous in the results. Ethical approval was not required since this was a service improvement project evaluation. No harm was done to patients in any way. For any physical activity the patient should first be cleared of any risk to their health by their doctor. Patients should be able to stop therapy at any time. Some of the rights involved were the right to self- determination, right to privacy, right to fair treatment, and protection from discomfort and harm. All of these patient rights were respected in this study. The risk benefit ratio was acceptable. There was little if any risk to patients and the study could benefit the participants and others. I feel that creative arts therapy can be used in many more settings than it is currently. As a rehabilitation nurse I believe it should be incorporated into the physical therapy the patients receive each day. Patients stay on the unit I work on for 5 to 30 or sometimes more days. This kind of therapy would probably greatly improve patient satisfaction. They often feel that physical therapy is hard work. Mixing art and creative therapy would make it more enjoyable.