Essay On The Tempest And A Dolls House - 862 Words

Raising the oppressed against their oppressor is by no means a new concept. Countless literary works have explored the relationship between, say, tyrants and their rebellious servants. Two prime examples are Prospero from The Tempest and Helmer from A Doll House, given their domineering and self-righteous demeanor as they fancy themselves the reinforcers of social justice. In contrast, their counterparts are Caliban and Nils Krogstad, respectively, whom are social outcasts that are not fond of the authority forced upon them. Both of these characters use their beliefs to actively subvert their oppressors’ power. First, we’ll begin with Caliban. As the son of the hag-witch Sycorax, Caliban was born on the island, making him its first and†¦show more content†¦Prospero’s magic keeps Caliban’s subversion at bay, but that doesn’t stop Caliban from cursing his master in the language he was taught. Anxious to win his freedom back after so many years, Caliban, though a bit drunk, grovels at Stefano’s feet, mistaking him a god and thinking him to be his savior from Prospero’s tyranny. Interestingly, this highlights a different side of Caliban, revealing a naivety and hopefulness about him that is usually overshadowed by his maliciousness. He eventually conspires with Stephano and Trinculo to kill Prospero so that he may finally win back what was taken from him. Next, we move on to Krogstad. Though it’s never explicitly stated why he did it, we know that Krogstad got involved in a forgery scheme in his past, and that one action ruined his entire reputation. Forgery is a relatively minor crime to commit, but â€Å"the community turned its back on him, [which] forced [Krogstad] into the unsavory business of moneylending and blackmailing in order to support his family† (Schmoop Editorial Team). Even though he is treated as a despicable human being by society, Krogstad does find a small ray of hope in regaining his status through his respectable job at the bank. However, his job is put in jeopardy when Torvald Helmer is in line to be the new bank manager. Helmer, whom is very conscious of people’s perceptions of him, narrow-mindedly intends to fire Krogstad simply because they are on aShow MoreRelatedEssay Prompts4057 Words   |  17 PagesAP ENGLISH LIT AND COMP FREE RESPONSE QUESTIONS 2004 (Form A): Critic Roland Barthes has said, â€Å"Literature is the question minus the answer.† Choose a novel or play and, considering Barthes’ Observation, write an essay in which you analyze a central question the work raises and the extent to which it offers any answers. Explain how the author’s treatment of this question affects your understanding of the work as a whole. Avoid mere plot summary. You may select a work from the list below or another

Essay about An Invisible Shield - 836 Words

Every community has their own standards for the men, women and children. If a child were to grow up in a white dominant, high-class town like Poway, CA, they would be expected to complete high school, go to college, get a well-paid job and then marry in their mid-twenties. In The House on Mango Street, a Hispanic, second-class community expects their women to grow up, drop out of school, marry early to escape their family and depend on their husband. For a girl who grows up in that kind of society, it will most likely become her fate. No matter what her dreams may be, there is an established invisible shield that blocks most of the women from escaping their mothers and grandmothers destiny of a sheltered housewife. Cisneros writes†¦show more content†¦My Name gives the reader a good idea of the macho stereotypes that dominate Esperanzas life. She tells how she was taught that the year of the horse, the year she was born on, is unlucky for females. Although Esperanza understa nds the Mexican ideal of an obedient woman, she completely rejects the lifestyle. She was a horse woman too, born like me in the Chinese year of the horse which is supposed to be bad luck if youre born female but I think this is a Chinese lie because the Chinese, like the Mexicans, dont like their women strong. The strong tone Esperanza writes in shows her admiration of her great grandmothers free spirit as a horse woman, which is much like her own. The metaphor shows how like the independent, free animal, some are doomed to be captured, trained, and ruled by men. Like a horse, Esperanzas great grandmother was caught when my great-grandfather threw a sack over her head and carried her off. Esperanza is amaze at the legitimacy of male domination when she says ...just like that, as if she were a fancy chandelier. Here, Esperanza learns to understand that her society refers to women as objects and their worth is determined by their appearance and function. There are three consecutive vignettes that give examples of three different vulnerable, tragic women. In the first vignette, No Speak English, Esperanzas neighbor worksShow MoreRelatedMedical Devices Are Needed For Modern Medicine1700 Words   |  7 Pagesnew defensive techniques was developed. These are called Communication Cloacker. These cloackers are to be worn externally. The cloacker coordinates interactions between IMD and the doctor. When the patient is wearing a cloacker, the IMDs become invisible to unauthorized programmers and therefore attackers cannot access the patient’s data. In cases, when cloacker is lost or damaged, the emergency practitioner can still access the IMD. Here, since an external device is used for computation, it protectsRead MorePerseus : A Great Hero Among The Greeks1152 Words   |  5 Pagesmilitary victory, gave a bronze shield, Hephaestus’ gave a diamond sword, and Hades’ supplied the Helm of Darkness, giving him the abi lity to become invisible (Perseus (1)). This proves that the gods took a liking towards Perseus, since they were willing to assist him in obtaining the Gorgon’s head. They did not want Perseus to turn into stone, while his immoral uncle sat back in opulence. With the winged sandals that enabled him fly, the helmet to make him invisible, shield as protection, and a weaponRead MoreInvisible Man1346 Words   |  6 PagesJanelle Clovie Dr. Blanchard AP Literature 3 November 2017 Familial Connections in Invisible Man Family. It is a very fluid yet rigid idea. It has a wealth of definitions, all of which range in degree and magnitude, and vary from person to person; yet the concept of how a family should work and operate is very concrete in most American minds. Family is a bond that is crafted every second of everyday until it is powerful, and this can shape beliefs, outlooks, and confidence. A study found that childrenRead MoreZakkery : Loves Love1135 Words   |  5 Pagesyour turn† Zakkery and her switched places, now he stood in the middle looking at me â€Å"My gift can protect myself and others. I can create my own shield or in other words force field, if i concentrate long enough I can spread a shield between all of us, nothing can come in or nothing can come out† â€Å"Can you show me?† I was eager to see his gift, was the shield noticeable or just transparent? He smirked and stretched his arm out in front of him â€Å"Its been up this hole time Rosalina† I gave him a confusedRead MoreThe Story of Perseus and Medusa911 Words   |  4 PagesPerseus went on a journey to find Medusa he was wandering for days not knowing where exactly he has to go to find Medusa. Perseus asked Athena and Hermes to help him find Medusa. Hermes gave Perseus his winged sandals and a sword and Athena gave him a shield to reflect the image of Medusa so he wouldn’t turn into a stone. Then Hermes tells Perseus to find him Graeae and make them tell him how to get to the Nymphs of the North so he can get the cap of darkness and magic wallet and tell him how to get toRead MoreWhy The Arms Act Is An Undue Burden On The Gun Act Essay1520 Words   |  7 Pagesclaimants. This is one of the key reasons why the Arms Act implements a naked preference as its means, with no legitimate public ends. Beginning in the mid-1970s, corporate forces aligned with political candidates in order to curb regulation and install shields against tort liability. Groups like the Manhattan Institute, the American Tort Reform Association (ATRA), and the American Legislative Exchange Council (ALEC) procured this â€Å"tort reform† legislation. ATRA in particular has succeeded in pushingRead MoreWhy Did Acrisius Imprison His Daughter?1041 Words   |  5 Pagesfirst; using it as leverage. Hermes then gave Perseus a sword that was indestructible to the Gorgons’ scales. Athena presented to him a polished bronze shield to use as a mirror, since looking into a Gorgons’ eyes would turn him instantly to stone. At the land of the Hyperboreans, the Nymphs provided his winged sandals, a cap that would turn him invisible when worn and a wallet that would adjust its size to fit anything. Hermes then flew Perseus back over the Ocean to the Terrible Sisters’ Island. OnceRead More Short Story1566 Words   |  7 Pagesnever transpired. From that moment, I couldnt comprehend the continuance of my singing for the Don if he had no intention of listening. But the invisible hands held me in place until the music faded nonetheless. â€Å"Thank you,† I whisper into the microphone. No applause or acknowledgement of my presence comes forth, though I cant say I care. The invisible hands release me, allowing me to breathe a little easier now the nightmare ends. As I approach the stairs, Clyde offers his hand, and I accept itRead MoreAthen The Warrior Goddess Of Wisdom And Purity1227 Words   |  5 Pagestaught Athena to do that. Then one day, she allowed the warrior nature to consume her, and so she challenged Ares. On top of the Olympus Mountain appeared a woman who wore the most stunning armor, wreathed in snakes. One of her arm carried an enormous shield that revealed the once feared Medusa’s head, in her other hand she held a long sharp sword that a few scratches and dents from the previous fight. Athena took off her helmet and smiled brightly as she looked to the sky. Swooping down from the skyRead MoreThe Lenni Lenape And The Delaware Indians1129 Words   |  5 Pagesfishing. Like the other Indian people in this region, they raised corn (maize), beans, squash, sunflowers, and other crops. The crops were looked after by the women and were not planted in fields which were fenced. Thus, Indian agriculture was often invisible and unseen to the English who assumed that agriculture was men’s work and had to be done in fenced fields. The Lenni Lenape hunters preferred to hunt when they were hungry. This is because they felt that hunger would continually remind them of why

Looked After Children free essay sample

This essay will examine the past and present social policy regarding looked after children in the UK, dating back to the late 1970’s. It will examine how the policy has evolved over the last thirty years, and whether political and economical influences have impacted on its development. This essay will also seek to explore what impact the policies regarding looked after children have on the members of society it is aimed at assisting. The definition of a ‘looked after child’ is an individual, up to the age of 18 who has been placed in the care of the local authority, whether this is placed with foster carers, either short or long term or a residential unit. Also, children who are subject to either a Full Care Order, or an Interim Care Order granted by the courts. It is also an appropriate term for a child who is still in the care of his or her own family, but is still subject to one of the above court orders. We will write a custom essay sample on Looked After Children or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Statistical data is collected annually by the Department for Children, Schools and Families, from Children’s Services across the country. On 31st March 2009, there were 60,900 looked after children in the UK. In order to examine the current social policies in place with regard to looked after children, and how those policies have developed, it is relevant to briefly comment on the situation and condition historically, for children who found themselves in the need of substitute care. In the post war years, new legislation was passed in the Children Act 1948 â€Å"with the aim of strengthening the legal and procedural framework surrounding the needs of children placed in substitute care† (Cocker, 2008, p4). This was deemed necessary following the instances of neglect and abuse suffered by children evacuated during World War Two, and the case of Dennis O’Neil, a 12 year old boy, whose abuse and subsequent death at the hands of his foster carers in January 1945 caused a public outcry. In the immediate aftermath of this event, a government inquiry was held and a committee (The Curtis Committee) â€Å"was set up to look at services for children at risk† (Glennerster, 2007, p64). The outcome of the final report (The Curtis Report 1946) had a direct influence on the legislations laid out in the Children Act 1948. One of the most positive outcomes was that the government had been forced to examine the services in place, or lack of them, which were available for children. Led by recommendations from the Curtis Report, the Home Office set up a eparate department in every local council in the country specifically for children. This would include specially trained children’s social workers, thus creating a new social work profession. The modern day Children’s Services was born. During this time, and for many years after, children were a marginalised group, often powerless to express their own fears or views. Children’s ‘rights’ were not recognised by society, and reports of physical or sexual abuse at the hands of those who were supposed to be caring for them were too often ignored. Societal attitudes towards children in this period were ambivalent and dismissive† (Stein, 1983). Looked after children â€Å"were often from poor families and were seen by some as orphan’s or criminals† (Cocker, 2008, p5). In order to improve the provision and welfare of looked after children, further parliamentary acts over the course of 40 years were introduced, including the Children and Young Person Act 1963, The Children Act 1989, and the more recent Children Act 2004. During this period, different models of care provisions emerged and evolved from one decade to another. With the introduction of large charitable organisations such as Dr Barnado’s and National Children’s Homes and Orphanages in the early part of the century, set up as a preferable option for children from the archaic workhouse, a large number of children found themselves growing up in residential care. This appeared to be a ‘trend’ up until the late 1970’s to early 1980’s. Although there were also large numbers of Local Authority provided residential children’s homes, the local councils also provided funds to the charities, who’s services they needed in order to house the large number of children who were ‘wards of the courts’ or ‘in care’. Although, at this time, the current government policy had an emphasis on foster or adoption, recognising that the best option for children was to grow up within a family environment. However, without the necessary training, and assessment of the viability of prospective foster carers, placements often broke down, resulting in children moving to lots of different placements before finally ‘ending up in residential care. At this time, children had relatively no say in arrangements for their care or future, and often little or no contact with their birth family. During the 1980’s and to the mid 1990’s, the provision for looked after children underwent a massive overhaul. After the abuse and deaths of another three children in the early 80‘s, a number of parliamentary reports led to the development of The Children Act 1989. This act â€Å"marked a watershed in legislation on children† and â€Å"tried to balance two sets of contradictory pressures; greater child protection with greater parental rights† (Glennerster, 2007). Also, an alarming number of reports into institutional abuse of children in care in the1990‘s came to light, and following a frenzied media coverage, and yet another public outcry, the government commissioned Sir William Utting, Chief Inspector of the Social Services Inspectorate to conduct an independent review in to the provision of residential care (Utting 1991). Some of the recommendations made following this review were to pave the way for children, for the first time, to have a say in the decisions made about their own lives, and better training and qualifications for social workers. Also, there was to be far more inspections and assessments of children’s homes and the staff working in them. â€Å"It was felt that there had been widespread failure in the management of services and protection for looked after children† (Cocker 2008). A further National review, People like us: The report of the review of the safeguards for children living away from home (Utting 1997), also lead by Sir William Utting, was commissioned to examine the current provision for safeguarding children. The outcome of this report was to have a direct impact on future policies for looked after children, and was the incentive for the government initiative, Working together (1999) which laid emphasis on the importance of safeguarding children. Due to the level of abuse, both physical and sexual, suffered by children in residential establishments, there was a marked decline in the number of children who were placed there. Attention was then turned again, to fostering and adoption, with more efforts being made into the recruitment, training, and inspection of foster carers. There was also a realisation into the importance of long term and consistent care for children, which led to the development of an emphasis on adoption, especially for very young children. The government also developed the Looked after children materials, a number of Green Papers designed to â€Å"improve the outcomes for children in need† (Cocker, 2008, p7). In 1998, the government launched Quality Protects, a five year programme designed to support local authorities. It gave councils targets to meet, and be accountable for, as wells as providing ? 375 million. Further funding was also offered to support councils in developing their fostering provisions, with an emphasis on training. In 2007, the government published the Green Paper, Care Matters: Time for Change (DfES, 2007). This focused on all aspects of looked after children’s needs, including their emotional, as well as physical needs. It also placed further emphasis on care planning, and the quality of social work practice. It is also worth mentioning the Every Child Matters Green Paper, developed in 2003, alongside and in response to Lord Laming’s report (DoH 2003) on the death of Victoria Climbie, an eight year old girl who suffered torture and death at the hands of her great-aunt. â€Å"The government’s aim is for every child, whatever their background or their circumstances, to have the support they need to: be healthy, stay safe, enjoy and achieve, make positive contribution, achieve economic well-being† (DfES 2003). This paper served as a monument to a changed societal view of children. It also led to the revised Children Act 2004, which called for joint working with regard to all services for children, and for local authorities to appoint a Director of Children’s Services. There was also a shift in the policy towards children remaining within their biological family, including the extended family, and an emphasis on preventing children from being removed from their parents care, in the form of family support services. Within the Green Paper, Care Matters, the fairly revolutionary idea of ‘corporate parenting’ came into being. Corporate parenting is a term used to refer to the collective responsibility local councils have, to provide quality care and achieve good outcomes for looked after children† (Cocker, 2008, p8). However impressive this concept maybe, it has proved to be complex due to the sheer volume of people involved in the care of a looked after child. Initiatives have also been developed to help prevent the looked after child from feeling ‘singled out’ or different, as this was a problem that had been identified through discussions with looked after children themselves. These initiatives include an emphasis on children eing able to engage in more social and extracurricular activities, including hobbies and sporting activities. In addition, further policies have been developed within the legal framework for looked after children involving the specialist care needed for children with a disability, as well as additional support and therapeutic services for abuse and trumatised children. Many of the social policies in the UK have been developed and evolved in relation to the economical and political climate of particular periods in time, for example, changes in government, neo-liberalism, and Thatcherism. The policies for looked after children in effect in Britain today have been brought about by numerous serious case reviews, and the tragic cases of a number of children who have suffered abuse and have died at the hands of those charged with their care. The most influential aspect of these policy developments have been public pressure and a realization of the vulnerability of some of society’s children, very often with cross party support for each new initiative. This is highlighted in the recent case of ‘baby P’, yet another child who suffered a violent death at the hands of his primary carers. Following a serious case review, the government instigated an inquiry, led again by Lord Laming, which, amongst other recommendations, called for more spending on social work training, the development of a ‘social work task force’, and spot inspections of child protection social work teams. The fact that the whole country was on the brink of a global financial crisis, appeared to have no effect on the recommendations for safeguarding children. The case of ‘baby P’ has also directly impacted on the services for looked after children, in that there has been a significant rise the number of cases going forward into legal proceedings. It is fair to say that huge improvements have been made over the past years. The policies in place today, offer a comprehensive range of services for looked after children and are designed to promote their welfare and well being. However, the situation is still far from ideal. All too often, children are moved from one foster placement to another, with numerous changes in social workers, and important decisions with regard to the social care system as a whole, appear to be made by individuals with little or no contact with front line social work practice. The Laming Report in relation to ‘baby P’ will undoubtedly lead to future policy changes, in an ever evolving social policy issue. Looked after children free essay sample A looked after child is a child/young person for who the Local Authority has taken responsibility for placing in some form of accommodation. The Local Authority subsequently has a statutory duty to monitor the young person and support them in this accommodation. Describe the type of health social provision available to look after and support children young people not living at home Children’s services support and protect vulnerable children, young people, their families and carers. Use the Directgov website to find your local council and get advice about an assessment. The needs assessment will determine if you need more specialised support. The types of services that can be provided You can visit the Directgov website for more detailed information about adoption, fostering and children in care. Youll also find information about child benefit if your child is in care. The Family Rights Group offers independent specialist information and advice to families about children who are looked after in care. We will write a custom essay sample on Looked after children or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page For more information, read the Family Rights Groups advice sheets about children in care. Looked-after children Children’s services are also responsible for foster care and residential care for children who cannot live with their parents, family or friends, whether this is short or long term. The Family Rights Group offers independent specialist information and advice to families about children who are looked after in care. For more information, read the Family Rights Groups advice sheets about children in care. http://www. nhs. uk/NHSEngland/AboutNHSservices/social-care-services/Pages/children-services. aspx Policies Acts that helps children in care and their families The Children? s Act 2004 helps the child or young person and their family whilst in care and aims to improve and integrate children? s services, promote early intervention, safeguard and promote children? s well-being, provide strong leadership and bring together different professionals in multi-disciplinary teams in order to achieve positive outcomes for children and young people and their families. Local authorities are given a lead role in securing the co-operation of partners in setting up children? s trust arrangements and the Act allows some flexibility in how these are structured and organised. 4. 2 The Act takes a child-centred approach and includes

Operation Infektion Essays (385 words) - Propaganda Techniques

Andrey Ryabchenko EXTRA CREDIT HIS 5900, Robert Tester Operation Infektion : How Russia Perfected the Art Of War New York Times shares their opinion regarding Russian agenda in plotting the fake news to undermine the wholesomeness of American society. NYT compares fake news to the virus that penetrates the body and turning its own cells to enemies. Indeed, fake news and disinformation have devastating impact on society if it reaches a certain scale. Notorious KGB, Russian government agency, has had the agenda of spreading the fake news since times of Soviet Union. In the last quarter of 20 th century, KGB actively worked on development of fake stories that could undermine the wholesomeness of American society. These stories took a rise from existing issues of American society, so called "cracks of society" by KGB. These could be any topic that currently bothered Americans : r acism, homosexuals, politics, foreign relationships of the country, etc. As a part of KGB strategy of disinformation, fake stories had to be spread by sources that are seemed to be unrelated to Soviet Union, preferably sources of a target country. Such a strategy reflects on example of a post in Indian news source, that accused United States of developing AIDS virus in laboratory conditions to kill homosexuals and prisoners. It took few years for this fake news to spread around the globe and finally appear on American televisio n. This story vastly resonated in American society and influenced perception of America by rest of the world. United States assumes that Soviet Union was the cause for the origin of this topic. After crash of Soviet Union, fake news issue was supposed to disappear, but new Russian leader, former KGB agent, Vladimir Putin, seems to continue the "Cold War" that uses no weapon. With rise of internet spread of fake news took a new tremendous scale. Today, big social networks, such as Twitter and Facebook facilitate disinformation. Well known scandal, during last presidential campaign of Hillary Clinton, takes origin from online source Wikileaks . Dishonest rumor s about Hillary Clinton, believed to be made up by the Russian government to influence the election in America. United States believes that main Russian agenda behind disinformation is undermining the wholesomeness of American society and gaining more global power and influence.

3 Errors Involving Correlative Conjunctions

3 Errors Involving Correlative Conjunctions 3 Errors Involving Correlative Conjunctions 3 Errors Involving Correlative Conjunctions By Mark Nichol A correlative conjunction is a word that correlates with, or is complementary to, another such construction, establishing a connection or a comparison in a sentence. Each of the sentences below erroneously employs a pair of correlative conjunctions in a faulty syntactical structure, and the discussion that follows each describes the problem, while a revision demonstrates the solution. 1. A well-designed approach not only can play a key role in a company’s business processes, but also in its broader strategy. Sentences that present a â€Å"not only . . . but also† point-counterpoint relationship often do so incorrectly. This occurs when the writer syntactically organizes the sentence so that words representing various parts of speech are not placed correctly to serve their functions. In this case, because the verb phrase â€Å"can play a key role† pertains to both choices (â€Å"a company’s business processes† and â€Å"its broader strategy), that phrase must precede â€Å"not only†: â€Å"A well-designed approach can play a key role not only in a company’s business processes but also in its broader strategy.† 2. This publication is neither intended to be a legal analysis nor a detailed cookbook of steps to take in every situation. The same type of error occurs in a sentence that includes the correlative conjunctions neither and nor- intended applies to both choices, so it must precede the entire correlative construction: â€Å"This publication is intended to be neither a legal analysis nor a detailed cookbook of steps to take in every situation.† (Alternatively, the sentence can be written â€Å"This publication is not intended to be a legal analysis or a detailed cookbook of steps to take in every situation.†) 3. A skilled architect can produce a stunning blueprint, but an experienced contractor will tell you whether or not the structure in that blueprint can be produced, and at what cost. Errors involving the correlative conjunction whether and or are rarely errors of incorrect syntax; generally, the error is including â€Å"or not† after whether when the phrase is extraneous: â€Å"A skilled architect can produce a stunning blueprint, but an experienced contractor will tell you whether the structure in that blueprint can be produced, and at what cost.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Grammar category, check our popular posts, or choose a related post below:50 Rhetorical Devices for Rational WritingPrecedent vs. PrecedenceGlimpse and Glance: Same or Different?

What are the Differences Between Extroverts and Introverts

What are the Differences Between Extroverts and Introverts The popular belief in society is that extroverts love to talk and introverts are shy. While this might be true for some people, it is not true for all extroverts and introverts. Just like with most things in life, there is a lot of nuance to extroverts and introverts. Take a look at the infographic presented by OfficeVibe  for a better understanding of the differences between extroverts and introverts. Some of these may even apply to you.

NTT DoComo Case Analysis Essay Example | Topics and Well Written Essays - 750 words

NTT DoComo Case Analysis - Essay Example omoted, if we do decide to include eMoney payments in FeliCa phones, and whether credit card functionalities should be included, and if yes, the right business model. The major strengths and weaknesses against the various options have been evaluated. The analysis clearly points to the weight that needs to be attached to DoCoMo’s potential fist-mover advantage in offering contactless IC technology built into a mobile phone, and the fact that the key strengths of DoCoMo have been derived from innovative solutions offered in the telecommunications industry itself by DoCoMo leading to immense benefits, as exemplified by the innovative strategies employed while launching â€Å"i-mode† services back in 1999, and again in the revolutionary launch of 3G (FOMA) services in 2001. While the prime concerns are related to security in financial transactions, and the acceptability of separate readers by the merchant outlets, the proposed strategies address these concerns after careful analysis. The final recommendations strongly advocate diversification into financial services with the Mobile FeliCa offering, thus gaining first-mover advantage, a conscious strategy for striking alliances in both the eMoney space as well as the credit card space, capitalizing on the network effects. These will result in both additional revenue streams, as well as in pre-empting competition from tying up with the known leaders in the market. Thus a phased implementation plan has been recommended covering installation of Edy readers at 12,000 outlets in 6 months, immediate alliances with JR East and JCB for eMoney, and a proactive involvement in promoting a joint initiative for reader interoperability with bitWallet, JR East and JCB by end-2005. The recommendations also include DoCoMo’s own phone-based credit launch, targeted at upgrading the FOMA subscriber base, as well as non-exclusive partnerships with Visa, MasterCard and JCB. To address the security concern, it is recommended tha t DoCoMo

Volkswagen of America Case Study Example | Topics and Well Written Essays - 1250 words

Volkswagen of America - Case Study Example This led to a situation where the company had to decide on a permanent solution which could not only resolve the issues, but help them to experience growth at every possible instance. Analyzing the new process gives a clear picture of each department and the process covered by the management. Matulovic’s decision seems to be a better one, as it deals with the problem’s base and tries to resolve it before it could affect the other departments. The new process is based on certain strategies that aim at eradicating the management issues and problems like setting the priorities and managing the budget. The budget allotments and managing priorities seems to be a herculean task and Matulovic ended up at managing the firm based on strategies that could help them to improve the company in every possible way. The priorities include proposing a change in the IT department, budget allocation, service oriented problems and product implementation. Taking a look at the present scenario, there is not much of a difference on the management side and the company has concentrated more on product and IT related issues. Since even a minor issue can lead to a big problem after sometime, it is important for the company to give due importance to all the prevailing problems. During the late 1990’s the company’s management failed to act quickly while deciding on the design of the vehicles. The manufacturing unit was made to wait til l they got an approval from the management side. They had to interact with the management each time a modification is required. Even the slightest change in the product was not permitted and the company waited till the next round of feedbacks came from the customers. When compared to the old process, the new process for managing the priorities is certainly effective. A detailed look on the new process reveals more information regarding the product development, resource allocation, budget management and other factors too. The improvement in the IT

Indian Textile Industry Essay Example for Free

Indian Textile Industry Essay Indian textile industry An overview textile industry in India is one of the hopeful divisions of Indian market. It supplies more than thirteen percent to trade production, 16. 63 percent to export revenues and four percent to the nations GDP. In the forth coming year, the industry is to make approximately twelve million career opportunities with a venture of US dollar six billion in the field of textile tools and structure, and garment manufacturing by the end of 2015. Union ministry of Textiles certified Apparel Export Promotion Council (AEPC) has taken the reliability to motivate the overseas financiers to invest in Indian Textile industry by revealing it huge unknown domestic market. It has also prepared and authorized the motto of reach the destination, spend, generate and trade in India. Under this perceptive, the ministry has made a decision to send some representatives to Germany, Switzerland, France, Italy and US. The purpose is to activate the overseas venture towards textile entity in India by offering several grants to international financier like low cost employees and intellectual right fortification. The government of India has also agreed to the proposals to support the textile industry by approving hundred percent Foreign Direct Investment in the market. Owing to the uprights and instantly incorporated textiles cost sequence (price chain), the Indian textile industry signifies a tough subsistence in the total value chain from raw products to finished products. The Synthetic and Rayon Textile Export Promotion Council (SRTEPC) has taken every required steps to meet the target of doubling the synthetic textile export in India to US $6. 2 billion by grabbing four percent of market share by fiscal year 2011- 2012. Taking into consideration the persistent funds in the textile industry, the Govt. of India may possibly widen the Technology Up gradation Fund Scheme (TUFS) by the end of the 11th Five Year Plan- in the financial year of 2011- 2012 in order to protract the industry. Indian textile industry is extraordinarily providing to meet the targeted production of $ 85 billion in the year of 2011, intending exports of more than $ 50 billion which was in year 2010. There is massive progress foreseen in Indian textile exports from the $ 17 billion accomplished in the year of 2005 -2006 to $ 50 billion by the year of 2009-2010. The assessment for the exports in the current fiscal year is about $ 19billion. There is significant potential in Indias exports of technical textiles and home textiles, as most European businesses desire to set up facilities near- by the emerging markets, such as China and India. So, the future of Indian textile industry is very bright, as it has open up the market for international business people.

Investigation into elastic potential energy :: essays research papers fc

Why and What I hope to achieve: I believe that the purpose of doing this is to allow me to demonstrate my understanding of Elastic potential energy. And the projectile concepts of the effect of changing potential into kinetic energy and for me to demonstrate my ability to apply elastic potential energy to a scientific investigation. What am I going to do and what will it prove: I am going to use an elastic band and release it from different tensions I will then measure how far it ‘flies’. Doing this will tell me the relationship between force, potential energy and kinetic energy. My Prediction: I predict that the further I pull the band back the further it will ‘fly’. This is based on the fact that the more tension involved means that the potential energy is greater therefore the kinetic/moving energy will also be greater. Variables: Force to pull the band back. This will be between 3 and 11 Newton’s. Equations: Distance = Speed Time Speed = Time   Ã‚  Ã‚  Ã‚  Ã‚   Distance Time = Distance   Ã‚  Ã‚  Ã‚  Ã‚   Speed I also have Equations for EPE in my research. Method: 1)  Ã‚  Ã‚  Ã‚  Ã‚  Attach an elastic band to the hook on the end of a Newton metre and stretch the band until the Newton metre reads three Newton’s 2)  Ã‚  Ã‚  Ã‚  Ã‚  Then Release the band and see how far it flies. 3)  Ã‚  Ã‚  Ã‚  Ã‚  Measure using a metre stick how far the band has travelled. 4)  Ã‚  Ã‚  Ã‚  Ã‚  Repeat this same test three time in order to gather and average later on. 5)  Ã‚  Ã‚  Ã‚  Ã‚  The repeat this test using forces of 5, 7, 9 and 11 Newton’s. 6)  Ã‚  Ã‚  Ã‚  Ã‚  Remember to repeat each test on each force three times. 7)  Ã‚  Ã‚  Ã‚  Ã‚  Then collect the mean average using the results you received from repeating each of the tests. Fair Test: I will make sure this is a fair test by:  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Using the same band each time  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Using the same height at which to release the band  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Repeat each test three times so that we gat a reasonable result and in the case of getting a ‘freak’ result I will repeat that test.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Same place – Draught’s, heat  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Same angle when band is released Things to take into account:  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  The band will ‘age’ therefore losing some of its elasticity and tension.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  If it didn’t hit the ground it would probably go further.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Use the same Newton metre and have the same person reading it.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  There might be a breeze of wind of some sort either flowing with the band or against it.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Temperature of room  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Any possible obstructions or anything else that make effect the general momentum e.g. Doors opening windows being open or shut.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Angle, position and height you release the band from.

Group Counseling †Article Review Essay

Unlike the first article, this second article talks about group counseling in elementary school focusing on eliminating aggressive behaviors. The purpose of group counseling in this situation is to lessen aggression by influencing the feelings, emotions, judgments, and behaviors of the students in the process. Group counseling is perceived to be significant for the purpose of lessening aggressive behavior because elementary student, in their respective ages, are highly dependent on groups or group structures. Children relate with each other making it much easier to break into the group structure and influence thoughts, feelings, or behavior that would consequently influence else within the group. Eight sessions were held to implement the concepts of group counseling and intervention. At the end of the sessions, the children were required to attend a follow-up meeting four weeks after. The result of the study revealed that learning took place and the children displayed desirable changes in their behavior. What I like most about the article is that it was based on an actual study conducted on elementary students, and that the purpose of the study is to change specific behaviors within the subjects. The objective of the researcher to approach the problem proactively yielded great results as the sessions have revealed that the aggressive behavior of the children were transformed during the group counseling sessions. The article would be a great source of valid and reliable information that could be applied to future situations that requires behavioral intervention. Moreover, the process is solution-based, such that the study focused on a particular problem which is common in the elementary school setting, and conducted research and data gathering which led to a specific resolution that schools would be able to adapt of implement within their school and guidance and counseling system. Another characteristic that is likeable in the article is that it opens opportunities for further studies and other related studies, such as the adaptation of the steps carried out in the study however, differing in the problem, etc. The success of the study would urge other schools and guidance and counseling professionals to conduct other studies that would resolve other issues as well. References Stewart, J. (1996). Group Counseling Elementary School Children Who Use Aggressive Behaviors. Guidance & Counseling, 11, 12-15). Retrieved November 12, 2008 from Academic Search Complete via EBSCOHost.

Plot Twist Essay

A plot twist is a change in the expected direction or outcome of the plot of a film, television series, video game, novel, comic or other fictional work. It is a common practice in narration used to keep the interest of an audience, usually surprising them with a revelation. Some â€Å"twists† are foreshadowed and can thus be predicted by many viewers/readers, whereas others are a complete shock. When a plot twist happens near the end of a story, especially if it changes one’s view of the preceding events, it is known as a twist ending. Revealing the existence of a plot twist often spoils a movie, since the majority of the movie generally builds up to the plot twist. A device used to undermine the expectations of the audience is the false protagonist. It involves presenting a character at the start of the film as the main character, but then disposing of this character, usually killing them. It is a red herring. Example of a plot twist An early example of the murder mystery genre[1] with multiple twists[2] was the Arabian Nights tale â€Å"The Three Apples†. It begins with a fisherman discovering a locked chest. The first twist occurs when the chest is broken open and the dead body is found inside. The initial search for the murderer fails, and a twist occurs when two men appear, separately claiming to be the murderer. A complex chain of events finally reveal the murderer to be the investigator’s own slave. A flashing arrow is a metaphorical audiovisual cue used in films to bring some object or situation that will be referred later, or otherwise used in the advancement of plot, to the attention of the viewers. The device is not introduced into the plot or the dialogue, but is something peripheral; however made obvious (hence the name) by a particular camera shot or background music. An example of this device is a camera close-up in a horror movie that suggests information like danger from an unlocked door. A literal flashing arrow was used in the 1981 film Student Bodies to mock this cliched use. [1] The use of flashing arrows and that particular joke were both mentioned in Everything Bad is Good for You, where the authors says works that have little use of this and require figuring things out yourself have a more deductive viewer base. Another example of a literal flashing arrow can be seen in the Ouran High School Host Club. This device is used several times throughout the anime—for instance in the first episode, a flashing arrow and high-pitched beeping noise indicate a vase  that a character breaks later on in that scene. Red herring is an idiomatic expression referring to the rhetorical or literary tactic of diverting attention away from an item of significance. [1] For example, in mystery fiction, where the identity of a criminal is being sought, an innocent party may be purposefully cast in a guilty light by the author through the employment of deceptive clues, false emphasis, ‘loaded’ words or other descriptive tricks of the trade. The reader’s suspicions are thus misdirected, allowing the true culprit to go (temporarily at least) undetected. A false protagonist is another example of a red herring. In the comic book fan community, the apparent death and subsequent return of a long-running character is often called a comic book death. While death is a serious subject, a comic book death is generally not taken seriously and is rarely permanent or meaningful. At least three comic book deaths are well known. The first two are the 1980 â€Å"death† of Jean Grey in Marvel’s Dark Phoenix Saga and that ofSuperman in DC’s highly-publicized 1993 Death of Superman storyline. There is one major distinction between the two, however – whereas it was never intended that Superman’s death be permanent, and that he would return to life at the conclusion of the story,[3] Jean’s passing (one of many temporary deaths among the X-Men) was written as the true and permanent death of the character,[citation needed] only to beretconned a few years later to facilitate her return. In more recent history, the death of Captain America made real-world headlines in early 2007[4] when he met his apparent end, but Steve Rogers returned in Captain America: Reborn in late 2009. Usually more subtle, foreshadowing works on the symbolic level. For example, if a character must break up a schoolyard fight among some boys, it might symbolically foreshadow the family squabbles that will become the central conflict of the story. Other times, it is seemingly inconsequential, with the goal of having the audience be surprised by the story’s climax and yet find it justified. If a character learns that a certain man was a regular at the diner where her mother worked many years before, it helps to justify the events later in which she learns that the man is her biological father. If foreshadowing is not done carefully, the common experiences of life can make the foreshadowing too obvious and allow the audience to predict the outcome of the story. Example: a character behaves in an odd and erratic fashion and complains continuously of a headache, then later is diagnosed with a brain tumor. Foreshadowing can also be used dishonestly in a mystery, where a series of events which points to a conclusion is later found to be composed of unlikely coincidences which have been â€Å"dishonestly† added to the story by the author in an artificial way, with the sole purpose of drawing the audience into an incorrect expectation. In such cases, the audience feels manipulated, and the story may be less satisfying.

Nissan Hill Essays - United States, Illinois, Free Essays

Nissan Hill Essays - United States, Illinois, Free Essays Nissan Hill Professor White English 102-14 24 August 2016 President Obama's Rebuilds America Senator Barack Obama ran for the 44 th presidency in the United States of America with his running mate, Senator Joe Biden, defeating their opponents, Senator John McClain and Governor Sarah Palin. Barack Obama then became the first African-American President of the United States of America. Although President Obama has had many achievements through out his two consecutive terms, such as eliminating Osama Bin Laden, ending war in Iraq , and improving international relations; his greatest achievement was be ttering the economy for the American people. Economy is defined by our country's wealth in terms of the production of goods and how we consume them. Obama furthered the economy by creating a universal health insurance , lowering the unemployment rate , and furthering assistance for college students. President Obama's attentive management of what America has available has created a better economy. From 2008 to 2016, America has had tremendous shifts in overall economics. Presi dent Obama has passed many acts, such as The Credit Card Accountability, Responsibility, and Disclosure Act , to ensure a greater economy for America but the most successful of them all was the Patient Protection and Affordable Care Act , best known as ObamaCare . After many failures to create universal health insurance by numerous Presidents, including Bill Clinton, George Bush, and Jimmy Carter, President Obama successfully created the Affordable Care Act. According to the New York Amsterdam News, " Because the uninsured are often unable to pay for their medical expenses, the expenses are passed on to those with premiums, causing inflation in their medical plan coverage expenses. Emergency room visits are more expensive than a trip to the doctor's office. As of August of 2013, the U.S. health care inflation rate was 2.34 percent, compared to 1.94 percent last month an d 4.05 percent as of last year" (Jones). Although many people believe ObamaCare is unsuccessful, ObamaCare bettered the U.S. economy by giving more access to affordable, class health insurance to Americans, ultimately reducing the growth in U.S. health care spending. By passing the Affordable Care Act, Obama has augmented America's economy. Moreover , Obama's ability to decline the unemployment rate has helped improve the American economy. Recovering from a recession always results in decline of unemployment rates, but during President Obama's tenure, unemployment rates have lowered more than ever before. Since Barack Obama first took office the unemployment rate in America has dropped below five percent ( Bureau of Labor Statistics Data ). In 2009, Obama s igned The American Recovery and Reinvestment Act , an economic stimulus package that would help America's economy recovery from the great recession and in case of another recession. The American Recovery and Reinvestment Act created and saved jobs swiftly, lowering unemployment rates and recovering the economy. It also invested in many things that would better the economy in the future, such as education and renewable energy. On the word of Back to Full Employment , " As Obama's first term is reaching its end, the ARRA remains his mo st aggressive initia tive to fight mass unemployment" (Pollin 69). Obama has successfully reduced the unemployment rate tremendously throughout his tenure, which advanced the United States of America's economy. Finally, President Barack Obama bettered the American economy by providing assistance to current and former college students. The most important investment people make after high school is into higher education. Although, higher education has become essential to make a comfortable living, many cannot afford it. College often puts Americans in great debt. Obama signed The Student Aid Bill of Rights into memorandum for the Department of Education. The Student Aid Bill of Rights provides students with security on obtaining as least student loans as possible. According to the Office of the Press Secretary, " Americans are increasingly reliant on student loans to help pay for college. Today, more than 70 percent of those earning a bachelor's degree graduate with debt, which averages $28,400 at public and non-profit colleges. Today's actions will help borrowers responsibly manage their debt, improve federal student loan servicing, and protect taxpayers' investments in the stude nt aid program " ( FACT SHEET: A Student

Animals and Their Environment

Animals and Their Environment To understanding individual animals, and in turn populations of animals, you must first understand the relationship they have with their environment. Animal Habitats The environment in which an animal lives is referred to as its habitat. A habitat includes both biotic (living) and abiotic (non-living) components of the animals environment. Abiotic components of an animals environment include a huge range of characteristics, examples of which include: TemperatureHumidityOxygenWindSoil compositionDay lengthElevation Biotic components of an animals environment include such things as: Plant matterPredatorsParasitesCompetitorsIndividuals of the same species Animals Get Energy From the Environment Animals require energy to support the processes of life: movement, foraging, digestion, reproduction, growth, and work. Organisms can be categorized into one of the following groups: Autotroph- an organism that obtains energy from sunlight (in the case of green plants) or inorganic compounds (in the case of sulfur bacteria)Heterotroph- an organism that uses organic materials as a source of energy Animals are heterotrophs, obtaining their energy from the ingestion of other organisms. When resources are scarce or environmental conditions limit the ability of animals to obtain food or go about their normal activities, animals metabolic activity may decrease to conserve energy until better conditions prevail. A component of an organisms environment, such as a nutrient, that is in short supply and therefore limits the organisms ability to reproduce in greater numbers is referred to as a limiting factor of the environment.   The different types of metabolic dormancy or responses include: Torpor- a time of decreased metabolism and reduced body temperature in daily activity cyclesHibernation- a time of decreased metabolism and reduced body temperature that may last weeks or monthsWinter sleep- periods of inactivity during which body temperature does not fall substantially and from which animals can be awakened and become active quicklyAestivation- a period of inactivity in animals that must sustain extended periods of drying Environmental characteristics (temperature, moisture, food availability, and so on) vary over time and location so animals have adapted to a certain range of values for each characteristic. The range of an environmental characteristic to which an animal is adapted is called its tolerance range for that characteristic. Within an animals tolerance range is an optimal range of values at which the animal is most successful. Animals Become Acclimated to Survive Sometimes, in response to a prolonged change in environmental characteristic, an animals physiology adjusts to accommodate the change in its environment, and in doing so, its tolerance range shifts. This shift in tolerance range is called acclimation. For example, sheep in cold, damp climates grow thicker winter coats. And, a study of lizards showed that those acclimated to warm weather could maintain a faster speed than lizards not acclimated to those conditions. Likewise, the digestive systems of white-tailed deer adjust to the available food supply in winter versus summer.

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

Poetics - Essay Example While he stresses the importance of action in tragedy, he claims that it is the plot which is the most important thing in the genre. One of the implications of Aristotle's Poetics is that for a tragedy to achieve its full impact, it must employ powerful rhetorical composition. In effect it requires an embellishment of language in order to deliver the intensity of emotion it has beforehand planned on exhibiting to achieve its purpose. Aristotle differentiates between the four kinds of Tragedy according to motive - Complex, Pathetic, Ethical and Simple - categorizing Prometheus Bound as Simple. Attributed to Aeschylus, Prometheus Bound is worthy of imitation by society because of the relevance of its content to Western history and civilization. Literature and history reveal that both Aeschylus and Aristotle highlight the importance of justice in political thinking. This emphasis on justice is undoubtedly evident in Prometheus Bound. Aeschylus' play is a prolonged metaphor epitomizing the complexities in a society, describing the struggle of a common citizen against a restrictive environment. Written circa 430 B.C.E., the Greek tragedy is based on the myth of a titan who was punished by Zeus for conferring to mortals the gift of fire. Bound to a rock by his friend Hephaestus, Prometheus calls on nature to witness his suffering. The Chorus of Oceanid comes down on winged chariots to hear his story and expresses sympathy. Oceanus alights to ask Prometheus to stop provoking the ire of Zeus but Prometheus continues to openly criticize Zeus despite her warning. Such audacity is admirable. In one instance, Hermes threatens Prometheus of a storm that will send him away if he does not reveal the identity of Zeus' son's mother who he predicts to topple Zeus. Despite everyone's advice for him to yield, Prometheus remains firm about keeping the information to himself. An allegory of humanity's conflict with the way of nature, the story emphasizes rebellion against an authority possessing an all-encompassing power and injustice. More than being a depiction of nature and society, it is also tackles agreement and diplomacy. Here, Prometheus is said to possess foresight through which he predicts the overthrow of Zeus by the latter's own son. He makes known to everyone his sacrifice in order to tell the truth about Zeus. He speaks of an offspring who will take away Zeus' throne and will be many times mightier than Zeus himself. His perception of self is that of a hero who is punished for speaking the unspeakable but speaks, nonetheless, what he believes is the truth. Aeschylus presents his character Prometheus as someone who is obsessed with humanity and helping people and society develop. In the play, he teaches mortals agriculture, language, mathematics, raising animals, medicine and even divination. Prometheus is aware of his role and influence in human civilization and thus demonstrates pride, triggering objection from humanity. Aeschylus' creation of Prometheus as a rebel does not happen suddenly but instead, in gradual progression. At first, Prometheus is open to reconciliation with Zeus. This is manifested by his utterance of prophecies that Zeus will set him free and befriend him because of his ability to predict occurrences. However, when Io comes into the picture and Prometheus sees the injustice done to her by Zeus, he becomes more enraged. The sight of Io turns Prometheus into a fearless rebel. Toward the end, Prometheus rema

Mini proposal JUST (SAMPLING& METHOD OF DATA COLLECTION) Essay

Mini proposal JUST (SAMPLING& METHOD OF DATA COLLECTION) - Essay Example The selected sample will be subdivided into three different groups which will be used in conducting the research. A combination of various sampling techniques will be utilised in seeking to ensure the researchers get the most representative and balanced sample. This will be critical in ensuring that the findings of the research can be generalised to other groups of individuals. The sampling methods will include the ones discussed below. This approach is commonly utilised in seeking to ensure inclusion of individuals with specific qualities that are being analysed by the researcher. The fundamental reason for utilising purposeful sampling in this research is to provide an in-depth understanding of the perceptions that teenagers have regarding their body image following involvement in sport and physical activity (Suri, 2011). Purposeful sampling techniques will be utilised in seeking to ensure that the researcher gets only the individuals who fit into the specified research sample. This will be based on the women’s capability to participate in sport and other related physical activities. The research will involve different groups of samples in seeking to present the different elements that have been defined within the research. This will involve the establishment of a sample and then selecting a few individuals from the sample to become the research participants. The samples will be stratified according to the specification for the different groups of participants involved in the research. This will ensure that the small sample size becomes representative of a population upon which they can be generalised. The research seeks to collect qualitative data which will be utilised in establishing the perceptions of the teenage girls regarding their image after participating in sport and physical activities. The data collection process will involve conducting interviews with the selected population

The Great Wall China Research Paper Example | Topics and Well Written Essays - 1750 words

The Great Wall China - Research Paper Example It is a truly captivating site. The Great Wall was never intended to stand as a testament of art or the grandeur of architecture, it served a far more simpler and practical purpose. Yet, all the same it is remarked as one of the greatest architectural feats of human history, like the pyramids at Giza and the city of Machu Pichu; and remains so today. It is still worthy of further research and discussion. History There is a myth that has become truly intertwined with the legend of the Great Wall of China. The myth tells the story of the wall as one great single undertaking, spanning, decades, of continuous building. However, this is, simply, not the case. The wall was built in different sections, in different locations, ultimately linked, throughout the years. ("Chinese Heritage Quarterly" 1) It is Qin Shih Huang, or the First Emperor, who is credited with conceiving of the idea to create a wall of immense length and strength that would prevent the invasion of the threatening Huns. Ho wever, many scholars today acknowledge that there are portions of the wall that may date back to smaller construction efforts that predates the rule of Qin Shih Huang. All the same the greatest portions were inspired by his intention to protect China from outsiders. There were, in fact, several Chinese Dynasties that contributed to the Wall, the Qi, the Wei, and the Zhao, however, it is three dynasties that are attributed with the greatest contributions. Qin Dynasty Again, Qin Shih Huang is responsible for the many of the oldest parts of the Great Wall. He foresaw the Wall as a fortification to protect the country from Hun invaders, as well as, ensure the rule of his descendents and future emperors who will take power after him. As one can see in the photograph these older sections of the wall have are formed of simple, natural materials, and are bit worse for wear in some sections. However, Qin, despite all of the innovations he brought during his rule, book printing and road build ing, but much of his rule was considered harsh and, even, cruel. The use of force to maintain work on the wall, along with a number of other sources of social unrest, resulted in a rebellion that ended his dynasty just after his death ("Chinese Heritage Quarterly" 1). Han Dynasty The Han Dynasty, regarded as one of the most powerful of Chinese dynasties, also, feared invasion from Hun Forces. This diplomatic rule attempted to make peace with by offering trade and economic incentives. However, this had little success and the Chinese resorted to a few offensive battles, but they became too costly to finance. The Han focused on adding to portions of the Great Wall, again as a defense, but this time it moved west toward the Gobi Desert; the intention being to protect the Silk Roads that were so essential to the empires economy ("The Great Wall of China"). As can be seen in the photograph, there is distinct difference in style and coloring of the stones in comparison between the Qin and the Han contributions; the Hans stones are darker and red Ming Dynasty The Ming Dynasty is credited with being the most prolific contributor to the building of the Great Wall. In fact, the majority of the wall that we are familiar with today is remnants of the works of this dynasty added between the years of 1368-1644 C.E. The Ming

Marcel Duchamps Influences on Modern Art

Marcel Duchamps Influences on Modern Art Marcel Duchamps Influence on 20th/21st Century Art 1: Introduction The influence of Duchamp’s notion of readymade art has had widespread and profound connotations for the development of art in the 20th and 21st century. Firstly, Duchamp’s art attempted to avoid many of the traditions of art at the time; his use of readymades stigmatised the notion of the artist as a creator. This radical redefinition of the role of artist informed future Conceptual artists in their attempts to relocate the boundaries that would define their role. Duchamp’s role was precisely the opposite role as those artists concerned about formulating an ideal form of subjective expression – Duchamp was more concerned about the political role of the artist and the institutions that serve to create art, rather than of the production of art itself. His readymade work challenges many of these conceptions and institutions by drawing attention to the political and social processes behind the production of art. Secondly, Duchamp’s readymade work also b roadened what could be defined as art. This placed art within a broader philosophical, structural and linguistic field of discourse in which the placement of art was more ephemeral. Ultimately, Duchamp’s project was to untie and disassemble art entirely; this is linked to the postmodern notion that categories and objects do not possess any inherent meaning, but only contain the meanings that we ourselves assign to them. As such, Duchamp’s legacy in both a practical and a theoretical and philosophical sense has served to inform cultural and artistic debate throughout the 20th century, from Jasper Johns, to pop art, performance art and other forms of avant-garde art that challenge the underlying principles behind artistic production. Duchamp’s readymade has left a profound legacy across the board of contemporary art for a number of reasons. Responses to the readymade and the challenge that it poses for a redefined art divorced from the artefact are widespread. Firstly, the elevation of a readymade work of art alters the role of the artist in the production process: Buchloh comments that the extent of Duchamp’s influence on art can be answered by responding to three particular points for discussion. Firstly, he suggests that Duchamp’s influence can be seen in how â€Å"the specific forms of how traditional forms of mark-making can be displaced by an exclusively photographic or textual operation of recording and documentation† (Buskirk Nixon, 205). The impact of this method is to erode and to redefine the role of artist. Whereas we can say that the classical and modernist form of the artist was to present us with a version of reality authenticated by the presence of the artist and the s ubjective aesthetic rules that made that artist â€Å"good† or â€Å"bad†, Duchamp’s readymade work, namely The Fountain, challenges this approach by stressing the role of the artist as a collector and an assembler rather than as a creator. Because it is obvious that Duchamp’s Fountain would not be considered a work of art if it were presented to us in a lavatory, Duchamp highlights and challenges the prejudices inherent to artistic production: namely, the traditional methods for artistic production and for â€Å"mark-making† are redefined and with it, the artist. Of course, this implication has had a profound impact on the development of 20th and 21st century art, from Jasper John’s flags to Warhol’s pop art, and has served to change the material conditions behind the production of art. The mechanistic connotations invoked by Duchamp and his readymade radically challenges and redefines the aesthetic palette available to artists; Duch amp’s influence was to challenge the subjective aesthetic of artistic production – Duchamp’s systemic use of a readymade on the one hand broadens the philosophical and conceptual basis for art production while on the other hand exposing the fallacies of art production in its more traditional sense. Of course, the impacts of this challenge have served to inform critical debate about the role of the artist in art ever since. 2: Readymades In Advance of The Broken Arm, Trebuchet (Trap), Hat Rack, Bicycle Wheel, Bottle Dryer, Air de Paris (400 words) â€Å"The elevation of a common object to the level of a work of art did not consist in merely choosing and signing it. It implied following a set of four rules: de-contextualisation, titling, limiting the frequency of the act and, the most esoteric of all, the necessity of a ‘rendez-vous’ – the meeting of the artist and the object† (Schwarz, 126). Duchamp’s readymade also served to interrogate the principles by which we define objects themselves; because Duchamp’s readymade work inherently interrogates the status of objects by changing their relation to one-another, it can be asserted that Duchamp’s project was to challenge how categories and objects are defined by their intrinsic properties rather than by their relationship to their broader environment. Buchloh points out that Duchamp facilitated the â€Å"radical dismantling of all traditional definitions of objects and categories – the ‘dematerialisation of the work of art,’ as Lucy Lippard called it – and its transfer onto the linguistic, the photographic, and the site-specific operations within which Conceptual art was defined† (Buskirk Nixon, 205). Of course, the linguistic and structural properties of Duchamp’s readymade serves to interrogate and dismantle the traditional role of artist. It also broadens the scope and the context of art itself. However, perhaps more significantly, the nature of Duchamp’s readymade does not allow for a particularly easy redefinition of art’s aesthetic role. For example, if it is asserted that Duchamp’s role was to reposition items of artistic worth and to place them into the political space of a gallery, this highlights the political rather than the aesthetic role of the gallery and the artist in measuring items of subjective worth. In addition, Duchamp’s process of selection is also telling: â€Å"The great problem was the act of selection. I had to pick an object without it impressing me and, as far as possible, without the least intervention of any idea or suggestion of aesthetic pleasure. It was necessary to reduce my personal taste to zero. It is very difficult to select an object that has absolutely no interest for us not only the day we pick it but which never will and which, finally, can never have the possibility of becoming beautiful, pretty, agreeable or ugly† (Paz, 88). Duchamp’s aim, therefore, was to divorce art from its meanings and from the methods of judgement that are usually assigned to it. His desire to locate an object that had absolutely no interest whatsoever highlights both his desire to challenge the centrality of the artistic object, and also helps us to trace his legacy through what can be construed as an attempt to apply Duchamp’s philosophical theory on locating a work of art that can never be â€Å"beautiful, pretty, agreeable or ugly†, and the inevitable failure entrenched within the politics of the readymade: despite Duchamp’s intention to create art that did not have any meaning, the assignation of meaning to Duchamp’s readymades as a series of fetishised objects seemed inevitable and also influenced other Conceptual artists in their project to erode the stability and the legitimacy of the artefact via a number of means: the fetishisation of art in late capitalism, for example, causes art to am ass a capitalistic value regardless of whether the artist him or herself wishes for a value to be attached to it. Trebuchet: a coat rack, which means a â€Å"trap for small birds and is a pun on the phonetically identical ‘trebucher’, meaning to stumble over.† (Schwarz 126-7). Section 3: Duchamp as Rrose Selavy (400 words) Duchamp and the dada movement in general were concerned about elucidating through irony and humour the role of the artist in the production process. Although the concept of the readymade changed this role from that of creator to selector of appropriate works of art, the role and identity of the artist was questioned in a more thoroughly mocking way with his invention of his female alter-ego, Rrose Selavy, whom several works of art were ascribed to. Naumann (2008) suggests that the invention of Rrose Selavy served the grander purposes and preoccupations of Duchamp’s work, whose interests and themes include â€Å"disguise, reflection and signature† (70). Taken generally, the invention of an alter-ego who has as much artistic authority as the artist himself serves to obfuscate, delude and disorient the viewer of the art in itself; the notion of disguise functions as a means of disrupting the traditional role of the artist as singular creator of the work in question. Rrose Selavy also has a performance aspect to it, which, among other things, helps to blur the boundaries between the work of art and the artist himself. Along with this, Duchamp’s alter-ego also has obvious connotations through the paradigm of gender studies. The peculiarities of Rrose Selavy’s role is particularly problematic concerning this. As well as satirising the role of artist, the construction of Rrose Selavy also expressed many of the reservations expressed by Duchamp about the increasingly blurred boundaries between gender. Hopkins (2008) argues that Duchamp’s views were deeply conservative regarding the growing concern over gender equality: â€Å"he was deeply wary of the growing autonomy and mannishness of contemporary ‘liberated’ women. [†¦] The evident preoccupation with gender indeterminacy [†¦] became thematized conclusively in the photographs of his female alter ego Rrose Selavy† (Hopkins, 81). But while Rrose Selavy can be read as a satire of the mannish women who had become increasingly empowered in 1920s France, the role of Selavy could also be seen as a satire of the â€Å"traditional† French aristocratic woman, whose conservative sensibilities are also mocked by Duchamp’s character. This problematic is also supported by the texts that frequently anchored the print representations of Rrose Selavy. Litterature magazine tagged one of his portraits with the following sentence: â€Å"Here is the Domain of Rrose Selavy – how arid it is – how fertile – how joyous – how sad† (from Hopkins 2008, 87), which demonstrates warmth and empathy with Rrose Selavy rather than irony or satire. Hopkins adds that â€Å"The Paris group may well have understood Duchamp to be killing off his old ‘dry’, dusty male persona and being reborn as Rrose (Eros).† (Hopkins, 86-7). Section 4: Duchamp’s use of language, wordplay, puns, paradoxes and humour in his work Fresh Widow, Why Not Sneeze Rrose Selavy, L.H.O.O.Q., Ready Made Rectified (Wanted $2000 Reward) (400 words) Duchamp’s assault on the art establishments and its values was executed in a manner that used a great deal of wordplay, irony and often cryptic allusion to more salacious and scandalous depths. Fresh Widow, for example, features a play on the words for French Window and can be read, as Hopkins comments, as â€Å"a salacious allusion to the sexual availability of bereaved women in Paris after the war†. Other puns assist in denigrating the stature of the traditional artistic canon by anchoring them in a completely different, and somewhat lewder context. This eroticism is exemplified by Duchamp’s famous work, â€Å"L. H. O. O. Q.†. Mundy (2008) suggests that humour and eroticism were key components to this Dada aesthetic, as Duchamp reinvented himself as a woman, disfigured a Mona Lisa with a moustache and printed underneath the letters â€Å"L. H. O. O. Q.† which, in French when pronounced phonetically translates as â€Å"she has a hot arse†. T he intention of this clearly stems from an attempt to intentionally sabotage works treated with reverence by the establishments at the time by using sexual innuendo and wordplay. In addition, the linguistic addition draws attention to what exists outside of Da Vinci’s original framing, perhaps drawing attention to extraneous factors in artistic production and reproduction that cannot be framed as easily. In many respects, the titles of Duchamp’s works have almost as great a significance as the works themselves; Mundy (2008) comments that this focus intentionally blurs the boundaries between traditional points of anchorage in the artistic production process: â€Å"The title-cum-impossible-question of another readymade, Why Not Sneeze Selavy?, posits unfathomable relationships between objective reality and subjective intentionality† (35). Paradox between different elements of the sculpture are brought into question and serve to defy simple, certain interpretation. Duchamp’s famous readymade The Fountain challenges the utilitarian role of the urinal by placing the signature horizontally rather than vertically, thus metamorphosing the work into a piece of art by defying its utilitarian purpose. For de Duve, the challenge of Duchamp’s legacy is, in part, linguistic: â€Å"I went straight for what I think to be the heart of the issue, namely the status of the sentence: ‘this is art.’ It entails no definition or redefinition whatsoever, neither of ‘this,’ nor of ‘art.’ To take a shortcut, I’d say it is the modern formula for the aesthetic judgement† (213). Because Duchamp primarily and explicitly asserts that his fountain is art because it is socially defined as such (by its location, its reception etc.), he places art within an unfamiliar field of discourse – namely that, anything can be seen as art providing it is anchored by the notion that what is being done is art. As su ch, Duchamp’s interrogates and problematizes any objective qualities that may have previously been considered â€Å"artistic† by nature. Of course, this has impacted significantly on conceptual and avant-garde art throughout the 20th century and into the 21st. His work Ready Made Rectified utilises Rrose Selavy by juxtaposing his own portrait with a wanted poster, on the one hand emphasising his role as enfant terrible of the artistic establishment and drawing ironical attention to the fallacious nature of the spectacle in itself. Humour and irony is always used to expose these central paradoxes and to create a detachment between the various angles that are interrogated by these pieces. Mundy (2008) suggests that, for Duchamp, â€Å"humour is always of a tragic nature. Humour signals a total independence of mind and is, essentially, a revolt of the spirit and of the unconscious against the conditioning of life and society. Humour has an endless power to challenge and provoke. It is a factor of opposition, superbly subversive in so far as it establishes a victory of the pleasure principle over the reality principle.† (35). Section 5: Duchamp’s work with Chance Three Standard Stoppages (400 words) Duchamp also interrogates the place of art in society by using chance operations. Three Standard Stoppages provides an example of this strategy, and again serves to undermine and interrogate the role of artist in the production process, as well as interrogating a number of other devices and standards. Firstly, Three Standard Stoppages draws attention to the authority of standardised meters. Judovitz (1995) suggests that, because the work is on the one hand based on standardised measurement, but on the other hand does not produce consistent results, undermines the legitimacy of â€Å"universal† systems of measurement, which has metaphorical connotations for the way in which value judgements are made: â€Å"it demonstrates the recognition that the meter itself as a unit of length is generated through approximation: the straightening out, as it were, of a curved meridian. Duchamp sets the viewer straight by graphically showing that the authority of the meter as a measuring devic e relies upon distortions that he corrects through chance operations† (Judovitz 1995, 48). In addition, the work also interrogates notions of artistic authority: Three Standard Stoppages â€Å"puts into question the voluntaristic and intentional logic that defines the creative act and the identity of the artist. To assume chance as a locus for production is to understand causality itself not as an origin but as a productive event, whose plasticity can redefine the notion of artistic creativity† (Judovitz 1995, 49). The utilisation of chance, therefore, metaphorically serves to emphasise the temporal element of artistic production – the â€Å"traditional† role of the artist as an objective, isolated producer of universal and timeless works is drawn into question by these chance operations. As such, the prior legitimacy of artistic creativity being equated to notions of timelessness are jeopardized. Section 6: Duchamp (or more accurately his alter-ego Rrose Selavy) The Green Box the use of Photomechanical Printing, instead of the usual autographic printing methods (400 words) The use of unusual printing methods in Duchamp’s The Green Box draws significant attention to the traditional methods associated with mechanical reproduction of works of art. The mechanical drawings of The Green Box, combined with the intentionally disruptive printing methods utilised draw attention to the very process of printing and the relationship between mass production techniques and the innately singular nature of hand-made works of art. Judovitz suggests that Duchamp’s use of mechanical drawing does not base itself around physical or scientific principles. Instead, â€Å"they represent a ‘symbolic way of explaining,’ one that privileges the logic of the machine, only to reveal its ironic underpinnings† (Judovitz 1995, 58). Significantly, the use of photomechanical printing further emphasises the problematic nature of these drawings which, on the one hand aesthetically reproduce the visual methods of mechanical drawing, while on the other hand is representative of a more outlandish, pseudoscientific principle that disrupts the legitimacy of the rubric, codes and language used to construct such mechanical, scientific devices. The use of photomechanical technology to construct these prints also draws attention to the more invisible process of production, rather than to the mere surface of the production itself. The legacy of Duchamp’s mixing and matching of various print processes has been widespread, both in terms of its philosophical qualities (questioning the authority of a single method of printing, and of the singular importance of a single work of art) and also its more technical aspects. Of course, this interrogation of the notion of artistic originality can be found in pop art, that reconciled notions of art, commerce and mass production in the generation of works of art that were no more artistically meaningful (meaningful in the traditional sense) than mass produced wallpaper or a newspaper advertisement. Thirkell (2005) comments that â€Å"Duchamp’s questioning of the notion of originality has also had a profound influence on modern print, ultimately triggering the revolution in print expression exemplified by photomechanically driven vehicle of Pop Art.† The Green Box, therefore, in its playfulness with printing processes would prove influential in the emerg ing debate surrounding artistic legitimacy, authority and originality. Section 7: Duchamp’s work in Optics in Motion Rotary Demisphere, Rotaryrelease (400 words) Many of Duchamp’s optical works focussed on optical illusion and the ambiguity of depth perception. His Rotoreliefs in particular create the illusion of depth and draw attention to the role of the artist as a magician or trickster. In addition, many of these works also had erotic connotations, as the voyeuristic proclivities of the viewer of the art are made explicit by overt and metaphorical sexualised content. Mundy (2008) comments that the Rotoreliefs and their disorientating movement echoes that of eroticism: â€Å"the visual sensation of movement back and forth had an erotic undertone† (31). This work in optics was also drawn from Picabia’s optical work, which was more overtly eroticised (Octophone II, for example). This draws attention to the innately subjective nature of sexualised imagery, and suggests that sexual content somehow alters and transfigures the technical quality of art in itself; by suggesting that sexuality is in itself a subjective illusion , Duchamp erodes the boundary that is arbitrarily placed between the art and the consumer of the artistic product. Mundy suggests that â€Å"he took the eroticisation of vision – the power of the corporeal and mental responses to control the interpretation of what is seen – to new heights† (31). This fragmentation of the process of interpretation serves metaphorically to activate the subjective, sensual feelings of the viewer of the art, who interprets the illusion as though is was not illusory. The use of optical illusion questions the boundary between what is â€Å"real† and what is â€Å"illusory†, as the eyes of the viewer effectively trick the viewer into perceiving the illusion as real. Perspective and depth and its illusory nature is made explicit by Duchamp’s works in optics. In Hand Stereoscopy, special glasses are required to give the work a level of depth, and also equates the use of colour and the use of depth: Judovitz comments that â€Å"these dots of pigment are the projection of the perspectival (mathematical) principles underlying optics† (138-9). In addition, the drawing together of depth illusions and colour serves to blur and make explicit the relationship between these technical attributes of the artistic product itself: as Duchamp himself suggests, â€Å"perspective resembles color† (Sanouillet Peterson 1973, 87). Section 8: Duchamp’s work influencing artists:Cornell: Duchamp’s work With Hidden Noise influenced Cornell’s Untitled (Rattle and Music Box); Cornell’s Cabinet of Natural History (Object) (one of the bottles containing shards of glass and labelled Methode de M. Duchamp) alludes to Duchamp’s work The Large Glass. Box Assemblages have become the process for Cornell’s entire oeuvre. (400 words) The legacy of Duchamp’s work has been significant, as many artists serve to draw attention (either explicit attention or implicit, coded reference) to the themes and codes of Duchamp’s disruptive oeuvre. Perhaps the most explicit reference to Duchamp’s legacy can be found in the work of Cornell, whose works drew directly from Duchamp and utilised much of his iconography. In particular, his Untitled works, such as Mona Lisa, Rattle and Music Box serve to use imagery popularised by Duchamp; in the former piece, the Mona Lisa in placed in a significantly different context, perhaps drawing more attention to Duchamp’s Mona Lisa of L. H. O. O. Q. than it does the original. The repetition of this imagery also draws attention to the mechanical processes of production that Duchamp used to interrogate the notion of the artist as a producer of singular works of art. Cornell’s use of readymade works can also be traced back directly to the influence of Duchamp. His Cabinet of Natural History, for example, is an assemblage of various found pieces of art placed in a glass cabinet. Apothecary bottles, maps and photographs are recontextualised in a manner thematically similar to Duchamp. In addition, Duchamp is also referenced directly, as if to interrogate further the concept of artistic authority and originality: Kosinski (2006) notes that â€Å"one bottle, containing shards of glass and labelled ‘Methode de M. Duchomp’ alludes to Duchamp’s key work, the Large Glass while playfully toying with the correct pronunciation of his French name† (39). The significance of Duchamp to Cornell is made explicit by the direct reference he makes to Duchamp’s legacy. In addition, his use of economy and meticulous, scientific rigour echoes the attention to detail of Duchamp’s scientific works. Thirdly, Cornell uses li nguistic anchorage, wordplay and the discrepancy between speech and writing (via the use of puns and misspellings) in a manner that echoes Duchamp’s work that places classical works of antiquity within a surprising new context. Section 9: Duchamp’s work influencing artists: Johns: Johns work Device makes reference to diagrams and sketches found in Duchamp’s Green Box. Johns acknowledged the powerful provocation of the readymade in his work Thoughts on Duchamps, published in1969 in Art in America. (400 words) Duchamp’s aesthetic statements on the role of artist was explored in an aesthetic sense by artists such as Jasper Johns, whose use of flags and collage sought to redefine what was considered as authentic art, Duchamp’s legacy also permeates into more conceptual fields. Buchloh comments that â€Å"the legacy of Duchamp was transformed from its first level of reception in the work of Jasper Johns to the second level in Morris – what one might call the semiological, or the structural / linguistic axis† (205). The effect of Duchamp on Jasper Johns is, by Johns own admission, significant. Again, Johns utilises Duchamp’s iconography and reformulates classical imagery in a manner that echoes Duchamp’s original idea to redefine the role of the Mona Lisa. For example, in Johns ambitious work The Seasons, explicit attention is drawn to the figure of the Mona Lisa in the first of the four paintings. Kosinski comments that irony is utilised in a manner t hat resembles the work of Duchamp himself: â€Å"The shadow in each panel of The Seasons is Johns himself, melancholic perhaps and surely self referential, although it is executed after a drawing of his cast shadow that was executed by someone else. This game of ironic distance is surely rooted in Duchamp’s play with shadow portraits† (32). This drawing of attention away from the subject and onto peripheral objects surrounding the subject draws immediately from Duchamp’s attempts to raise speculation about the single classical subject of painting. In addition, the dual authorship of these pieces raises questions about artistic integrity in a manner similar to Duchamp. Section 10: Duchamp’s work influencing artists: Rauschenberg: Duchamp’s influence is present in Rauschenberg’s boxes. He was influenced by With Hidden Noise for his work Music Box (Elemental Sculpture). (400 words) Thirdly, Duchamp’s legacy is explicitly referenced in the works of Rauschenberg, which look at the different ways in which the relationship between artistic modes of production and the increasingly fraught and disturbed relationship between artist and viewer. Rauschenberg’s Music Box (Elemental Sculpture), for instance, bears significant resemblance to Duchamp’s readymade With Hidden Noise, which demands the viewer to activate the piece in order for it to make a sound. The challenge that this poses for the viewer is similar to that of Rauschenberg: â€Å"Unwieldy, the box demands the physical engagement of the spectator-turned-performer, and the central issue is not the mysterious hidden object, but rather the potential sound itself, and the implied demands on the viewer to wrestle with the cumbersome crate† (Kosinski 2006, 19). The boxes that demand the attent ion of the viewer, and disturb the cherished role and piece of the artistic piece disturbs and challenges the traditionally voyeuristic relationship between the artist and the work in question. In addition, Rauschenberg’s boxes are more expansive in their approach to the role of art in the society that surrounds them; in a manner similar to Duchamp’s readymades, Rauschenberg takes directly from the society that surrounds it rather than approaching the production of art in a purely â€Å"creative† sense. Of course, this draws significantly upon the thematic content of Duchamp’s legacy, and draws explicit attention to the paradoxes and the frustrations that both artists had with the traditionally impotent role of art regarding the broader society that served to pigeonhole it. Rauschenberg’s process, while drawing upon Duchamp’s legacy, serves to reappropriate many of its central motifs and preoccupations in a manner that distinguishes it from the work of Cornell and Johns. While both Cornell and Rauschenberg utilised boxes in a manner that drew upon the work of Duchamp to frame its preoccupations, the nature and the content of these boxes were very different in their overall thematic context: â€Å"Cornell’s boxes are highly refined and rich in their variety of cultural allusion.† Kosinski (2006, 44) comments: â€Å"Rauschenberg’s early boxes, though small, are cruder, atavistic and dangerous rather than delightful† (44). As such Rauschenberg can be seen as taking a specific element of Duchamp’s thematic approach to readymade art and pushing it to its logical conclusion; his work is more confrontation than Cornell, who sought to beautify and protect his modified readymades by placing them in a more aestheti cally pleasing context, surrounding them in glass, etc. Rauschenberg’s work, by contrast, offers a more directly political assault on the establishment ethics at the time, drawing more upon Duchamp’s concept of the readymade as â€Å"junk from life† (Kosinski 2006, 46). Section 11: Duchamp’s work influencing artists: Robert Morris: Morris’s work Mirrored Cubes is influenced by Duchamp’s Green Box. Morris’s Three Rulers was influenced by Duchamp’s Three Stoppages. (400 words) The work of Robert Morris is also framed significantly by the central paradoxes opened up by dada and by Duchamp in particular. It’s attention, according to Benjamin Buchlow, is secondary to the primary reception in the artists described above. Here, the response to Duchamp’s work is based on â€Å"what one might call the semiological, or the structural / linguistic axis† (Buskirk and Nixon, 205). By this, Buchlow suggests that Morris’s Cardfile piece in particular draws attention to these categories of meaning regarding the tension between artistic subjectivity and anonymity. The development of Conceptual art in America, which is epitomised by Morris’s problematic work which draws attention to notions of artistic validity and of the tension between this structural and linguistic axis, is heavily indebted to the particular tensions opened up by Duchamp and his technical works which oriented itself around an exploration of the role of subjectivity in the artist. While this is drawn attention to, it is significant to note that the problematic surrounding artistic subjectivity in a given artistic piece continues to remain prevalent even in Morris’s deeply deconstructive and polymorphous work. Alberro comments that â€Å"Behind the Duchamp / Morris legacy I always see the figure of the artist; the artist / agent is always there. It’s there in both Duchamp and Morris, even in the Cardfile where he’s trying to remove it† (209). Thus, the drawing of attention to the purely linguistic sphere in Morris’s work equates to Duchamps utilisation of processes of artistic production that were traditionally outside of the traditional camp of visual, plastic art production. Like the readymades, Morris’s Cardfile is conceptual as it draws explicit attention to its own inherent aesthetic meaninglessness. It does not connote anything by itself; rather, it is defined by its context as an exhibition piece. I n addition, its purely linguistic role serves to disturb the previous aesthetic determinants of giving a piece artistic value as such. The role of artist in Duchamp’s readymade has been transfigured in a radical way into a political and social figure – namely, he is not defined by the artwork that he / she produces, but is defined by his / her position within the political space offered – this is explored by conceptual artists such as Robert Morris and in performance art where the artist does not decide to entrench himself in the dogmas of an accepted aesthetic tradition, and does not distance himself fro