Self Assessment Of Leadership Behavior - 884 Words

As I reflect back on my Air Force career, especially my current duty position as the Section Chief of the Small Air Terminal at Hill Air Force Base. I realized that I am a Management by Exception-Active (MBE-A) this came to me after I reviewed my Electronic Self-Assessment of Leadership behavior. At my current assignment I keep my subordinates and processes in control and I enforce all the Air Force standards as well as local policies in my organization. When it comes to the mission I avoid unnecessary risks and always ensure the mission is complete. My goal for the next three to five years is to improve my leadership effectiveness and become a transformational leader using the five most valuable concepts I learned in Course 15. These concepts are avoiding conflict, cognitive flexibility, communication, subordinate-centered communication and mediation. 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Managing Human Resources Quiz 4 Review Chapters 1 Thru 4

Managing Human Resources | Quiz 3 | Review: Chapters 1 thru 4 Student: There are Multiple-choice, True or False, and Short Essay questions. Note: All questions also require a brief response explaining the reason for your answer. Circle the correct multiple choice answer; or check (ïÆ'â€") the correct answer for True or False statements 1. When the human resources function creates a unique capability in a firm that creates high value and differentiates the organization from its competition, human resources is a/an ____ for the firm. a. intangible asset b. core competency c. critical capability d. strategic supplier 2. The collective value of the capabilities, knowledge, skills, life experiences and motivation of an organizational workforce is†¦show more content†¦b. The jobs provided by the U.S. company reduce unemployment in the host country. c. The host country employees receive specialized training that will enable them to emigrate to the U.S. for a better life. d. The working conditions in the U.S- run manufacturing plant may not adhere to U.S. standards, but those standards may be better than those typical in the host country. 9. What challenges face HR managers with regard to workforce availability and quality? What are potential solutions? Managing Human Resources | Quiz 3 | Review: Chapters 1 thru 4 Student: TRUE/FALSE 10. A strategic approach to HR requires that organizational HR leaders be included in the decision-making process immediately after the executive team has made major strategic changes. [ ] True [ ] False Explain your answer. 11. Companies that follow HR best practices, such as paying high wages and providing employment security, tend to have more positive HR metrics, but little improvement on organizational operational or financial performance compared with organizations that do not follow HR best practices. [ ] True [ ] False Explain your answer. 12. The retirement of the baby boom generation will be a benefit to most organizations since it will eliminate employees with outdated skills and irrelevant work experience. [ ] True [ ] False Explain your answer. 13. ModernMade Textiles has successfully used a piece-rate compensation plan in its U.S.Show MoreRelatedHuman Resources Management150900 Words   |  604 PagesCHAPTER 1 Changing Nature of Human Resource Management After you have read this chapter, you should be able to: ââ€"  Identify four major HR challenges currently facing organizations and managers. List and define each of the seven major categories of HR activities. Identify the three different roles of HR management. Discuss the three dimensions associated with HR management as a strategic business contributor. Explain why HR professionals and operating managers must view HR management as anRead MoreEffectiveness of Pccr Review Center19276 Words   |  78 PagesCOLLEGE OF CRIMINOLOGY REVIEW CENTER A Thesis Presented to the Faculty College of Criminology Philippine College of Criminology In Partial Fulfillment Of the Requirements in Criminological Research and Statistic Leading to the Degree Bachelor of Science in Criminology BY: Section:4-B2 MYRA M. EVANGELISTA CHRIZAN KARL T. GARCIA MELJHON D. OBEJAS ANTHONY Q. AMORES WELMAR C. GABINETE APPROVAL SHEET This thesis entitled â€Å"EFFECTIVENESS OF PHILIPPINE COLLEGEOFCRIMINOLOGY REVIEW CENTER†, prepared

The Taiming Of The ShrewCharacter Analisis Essay free essay sample

The Taiming Of The Shrew-Character Analisis Essay, Research Paper The Taming Of The Shrew Fictional character Analysiss: Katherine: She is called the termagant, even by her male parent. She is ever put 2nd in her male parents eyes, following to her sister. She alters dramatically from an ailment mannered termagant to a obedient and happy married woman when she discovers her hubby cares adequate to seek to alter her for her ain good, every bit good as his ain. The termagant is non a termagant at all beneath the surface. Petruchio: he is Katherine # 8217 ; s hubby but he merely marries her for her male parents money. During and after the nuptials. His behaviour seems really unreasonable, for illustration, he is late for the nuptials, he carries his married woman instantly afterwards, starves her, and keeps her from kiping. But this all comes out in loving dress. He is non precisely Gentle, but he is precisely what Katherine needs. We will write a custom essay sample on The Taiming Of The ShrewCharacter Analisis Essay or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Bianca: Apparently gentle in her behaviour, she is a unkind sister and a disobedient married woman. She has her male parents attitude of favouritism for herself and disfavor for Katherine by playing the portion of the victim. Ironically as it seams towards the terminal of the drama, she is more of a termagant than her sister. Lucentio: Is Bianca # 8217 ; s hubby, devoted to her for vague grounds. Both he and Bianca are selfish in their love, they are a typical brace of immature lovers, they think merely of themselves and each considers their ain wants before their beloved. Baptista: He is the male parent of both Katherine and Bianca. He has much trouble get marrieding both of them because of one being a ill-famed termagant. He ignores the inquiry of his girls # 8217 ; felicity in seeking couples for them. In the instance of Bianca, to do a good deal and achieve the highest possible fiscal grants from the suers and, in Kate # 8217 ; s instance, merely to be rid of a job kid. He practically auctions off his favourite, offering her to whichever suer will give the highest command, without inquiring her. He will give Katherine to anyone who will take her off his custodies. Vincentio: Is Lucentio # 8217 ; s male parent, he is highly fond of his boy and is bereaved when he discovers his boy may hold come to harm.

Consider the Theme of Transformation in Metamorphosis and the Yellow Wallpaper. free essay sample

Consider the theme of transformation in Metamorphosis and The Yellow Wallpaper. Apart from the very apparent theme of transformation that runs through both stories there are also many underlying themes connected with transformation, not just physical but also mental. Metamorphosis sees Gregor wake up one morning physically transformed overnight into a huge insect, by the description given by Kafka, possibly similar in appearance to a cockroach, although the description given does not allow the reader to make any definite identification. He has been the breadwinner of the family, working as a travelling salesman to keep a roof over the heads of his mother, father and younger sister. This is a service that he has got no thanks or recognition for from his parents who do nothing towards the up keep of the household and just expect Gregor to take care of everything. The Yellow Wallpaper, in contrast, sees the nameless protagonist narrating her confinement to an old nursery in a large house, due to a temporary nervous depression, by her doctor husband. The enforced rest is Gilman’s own version of Silas Weir Mitchell’s treatment of prolonged rest and lack of stimulation, a treatment that Gilman herself had been subjected to. Her mental state gradually transforms throughout the story, until finally she becomes reduced to a childlike state, crawling round the edge of the room, in a relatively sinister way, not even recognising her husband, or stopping when he gets in her way. Gregor’s relationship with his family undergoes a severe transformation following his unfortunate situation. He goes from being someone who has at least been needed, even though he has not been appreciated, by his family, to something that is despised, feared and neglected. His family themselves also undergo some transformation in the way they conduct themselves. With the misfortune of Gregor they have to become more responsible for themselves, and self sufficient if they are to retain their home. It also considers the transformation through the length of the story of Grete from a girl into a young woman, realised by her parents at the very end of the story. When comparing the two stories there are differences in who undergoes changes. The Yellow Wallpaper sees solely the protagonist changing both mentally and physically, in contrast Metamorphosis sees Gregor mainly physically changing and having to adapt to life as a bug and it is his family that change mentally to cope with the situation they have found themselves thrust into. It would be expected that through his family’s treatment of Gregor that his love and devotion for them would morph into a type of hatred or resentment, however his want and need to be with them never changes throughout. Even his last service is selfless and he dies for the good of his family after hearing his sister uncontrollably upset about the creature that has taken the place of her brother. â€Å"We must try to get rid of it, it will be the death of both of you, I can see that coming. When one has to work as hard as we do, all of us, one can’t stand this continual torment at home on top of it. At least I can’t stand it any longer. † (Kafka 2005) Gregor had always been close to his sister and had indeed been hoping to send her to study music. In his sister’s words he finally realises that he will never be accepted back into the fold of the family and will only continue to cause them hurt if he continues to stay. The only choice he has is to give in to the infection that has set in from the wound of the apple embedded in his back, and to pass away quietly. On the realisation that he is dead the Samsas almost seem to have a small attack of conscience, they huddle together and shed tears in the privacy of the parent’s bedroom and Mrs Samsa nearly stops the charwoman brushing his corpse aside. ‘I should say so,’ said the charwoman, proving her words by pushing Gregor’s corpse to one side with her broomstick. Mrs Samsa made a movement as if to stop her, but checked it. † (Kafka 2005) Grete realises just how neglected Gregor was as she sees him close up and prolonged for the first time since he first transformed, â€Å"Just see how thin he was. It’s such a long time since heâ€⠄¢s eaten anything. † (Kafka 2005) Unlike Gregor the protagonist in The Yellow Wallpaper does have some control over her destiny as she demonstrates. Gilman writes her story as a demonstration of the effects of gender inequality, and the male patriarchal hold over women. The narrator slowly slips into a deeper psychosis the more time she spends alone in the room, however in her studies of the text Catherine Golden questions whether her transformation is simply a sign of her increasingly hallucinatory state or a larger awareness of the limitations of her patriarchal world. This is a very interesting question and one that has many possible answers. The text itself is open to many interpretations and has been received by critics in several different ways. The wallpaper itself morphs gradually the more time the narrator spends looking at it. At first just dim shapes are seen behind the pattern the narrator tells us that â€Å"The dim shapes get clearer every day. It is always the same shape only very numerous. And it is like a woman stooping down and creeping about behind that pattern. † (Gilman 1998) The theme of imprisonment is apparent from the first mention of something behind the pattern as the narrator tells us that â€Å"the faint figure behind seemed to shake the pattern, just as if she wanted to get out. (Gilman 1998) The feeling of being imprisoned seems to match not only the mental state of the narrator, but also the position of her too. She is imprisoned in a world where she is expected to be loyal and subordinate to her husband and have no thoughts of her own. She is not even able to write and has to do it in secret when nobody is in the room. The morphing of the wallpaper is in direct correlation to the breakdown of the narrator’s own mental state. As the patterns form into images that become gradually clearer, so the narrator’s mind becomes more disturbed. She becomes trapped not only in the room but also within the wallpaper that surrounds her, as she finds herself staying up all night to watch the goings on behind the wallpaper. Her mental health suffers as a consequence as it almost becomes locked in a strange tug of war with the wallpaper over which is going to have the final influence. In the same way that the narrator is trapped in The Yellow Wallpaper, so Gregor and his family are in Metamorphosis. When they are faced with the fate that has befallen Gregor they become immediately encased in an impossible situation that they can see no out of. Some critics have suggested that the transformation of Gregor into a bug is reflective of his own family’s treatment of him. They live off his earnings, expecting him to keep a roof over their heads while his parents do nothing and live almost as parasites feeding off his hard work and commitment to them. So to represent their behaviour Kafka gives us the physical embodiment of their attitude and blatant ungratefulness. Another idea, suggested by Ramon G. Mendoza is that Gregor’s transformation is the embodiment of his own self-image. He sees himself as nothing but a worthless bug, rejected by his father, who he still unsuccessfully attempts to win approval from. In his transformation though, their relationship becomes a much more balanced one, which sees his father treating him in a way that would be expected of something verminous. Gregor’s new physical form is a punishment Mendoza goes on to suggest that â€Å"the metamorphosis is therefore a punishment for the protagonist’s self-image, which coincides with his father’s reputed son-image. † (Mendoza 1986) Gregor’s relationship with his sister changes throughout the novella. Having been very close to his sister he finds that gradually she is distancing herself from him. At the beginning she takes the time and care to try to look after him as best she can, selecting foods that she thinks he might like and cleaning his room out nicely for him. However as the story progresses this care and attention turns into whatever food might be left over pushed into his room with her foot and then removed with a broom. Also allowing his room, which she had previously had cleared so he had more room to crawl, to become a dumping ground for the household. Gregor becomes alienated from his parents and eventually from humanity itself. He has been stripped of his human identity as soon as he changed into his insect form, however slowly all forms of humanity are taken from him. Following his metamorphosis, as he leaves his room, he is confronted by the violent reaction of his father driving him back into his bedroom. At first he is able to communicate with his mother and the chief clerk, so still holds some form of human trait enabling him to still think of himself as playing some part at least in the human race. However as soon as he has the realisation that to everyone else he has lost all rights to hold any human qualities the power of speech leaves him as well, and he only has the ability to hiss as his father drives him back to his room with a stick. Gregor does retain his human qualities such as feelings, emotions and senses, but the only one who realises this is Gregor himself. The ability to communicate with anyone has been taken away from him, so even if his was not forced to live in the isolation of his room he would be isolated anyway through his inability to communicate his thoughts and feelings. In this way he is doubly isolated and forced into an alienated situation no matter what happens. In The Yellow Wallpaper Gilman also explores the idea of alienation and isolation. The narrator begins to feel more and more isolated, pushing her mental state further into unbalance and pushing her more and more behind the bars of the wallpaper. Both Gregor and the protagonist of The Yellow Wallpaper are in situations of forced alienation rather than voluntary. The narrator sees herself eventually cut off even from the garden as her husband concludes that she is too weak. She lives in a time where all women’s minds were isolated and they were expected to fill them with thoughts of being a good wife and mother, keeping a respectable household and not wanting to pursue pastimes such as writing or education. She seems to find a purpose in the wallpaper, something that settles and arouses her, â€Å"Life is very much more exciting now than it used to be. You see I have something more to expect, to look forward to, to watch. I really do eat better, and am much quieter than I was. † (Gilman 1998) Many things within the story change from what they should be into something much more sinister. The bars that are on the windows, designed to prevent children falling out, a seemingly innocent task become symbols of the narrators own imprisonment, keeping her in the room, and possibly pushing her further into the wallpaper. Even the sunlight becomes something grotesque, causing her deteriorating mental state to be reflected within the wallpaper, showing within it â€Å"a lack of sequence, a defiance of law, that is a constant irritant to a normal mind. (Gilman 1998) As she does nothing by day but watch the wallpaper, the narrator cites following the constant changing pattern as tiresome and perplexing and eventually starts sleeping during the day so she can watch the movements behind the paper at night when things are clearer. â€Å"The moon shines in all night when there is a moon- I wouldn’t know it was the same paper At night in any kind of light, in twilight, candlelight , lamplight and worse of all by moonlight, it becomes bars! The outside pattern I mean, and the woman behind it is as plain as can be. (Gilman 1998) In the same way that the narrator’s mental state alters through the story so too does the mentality of Gregor in Metamorphosis. When he first wakes up Gregor remains as a human trapped in the body of a beetle; he still thinks as a human in terms of movement, attempting at first to get out of bed as he would normally do. He soon adapts to thinking of his movement in terms of his present body rather than that of a human, and actually comes to enjoy in some way the new experiences this gives him. He especially enjoyed hanging suspended from the ceiling; it was much better than lying on the floor; one could breathe more freely; one’s body swung and rocked lightly;† (Kafka 2005) Gregor still attempts to hold on to his last part of his humanity by feeling some involvement in the family. He listens at the door of his room, trying to hear the conversations that are taking place between the family members; by this action he feels that he is not completely alienated from humanity. The fact that he can understand completely what has been said reminds him that he is not fully inhuman. His sister, who has always respected him, loses her respect for him and his own personal space, she no longer thinks of him as human in any way. This is demonstrated by her need to throw open his window noisily each time she enters his room after a short time since his metamorphosis. In the immediate aftermath of the change she still seems to think of him with some compassion as she cares for him; however in her later behaviour she almost becomes worse than her parents. She has made the commitment from the beginning to see to him, but when she decides to move the furniture out she is doing a service to him as a bug, but this just proves to Gregor that she no longer regards him as human in any form. As a human with feelings and sentiment Gregor would want his personal effects around him, but Grete gives no though to this and now just regards him as an ‘it. ’ It is his sister’s final betrayal of him that causes Gregor to give up; having just found the nourishment in her music that he has been searching for for months. The physical state of Gregor’s father alters at several points within the story. At the beginning he seems to do nothing but lounge on the sofa, barely even raising an arm to greet Gregor when he returns from a business trip. He only leaves the house on very rare occasions, and when he does is described as shuffling along with a stick. He then transforms into a strong man, who seems proud to be wearing his blue uniform. It is in this state that he bombards Gregor with apples, causing the injury that would finally lead to Gregor’s death. He then transforms again into what Vladimir Nabokov suggests as, a sort of beetle man, he reverts to lying on the sofa again allowing his uniform to become dirty but making no move to improve. The Yellow Wallpaper sees the protagonist come to a realisation that there may be a great many more women trapped behind the bars of wallpaper just as she is, â€Å"sometimes I think there are a great many women behind it. † (Gilman 1998) Gilman writes intending the wallpaper to represent the patriarchal repressive hold men have over women. The narrator actually goes so far as to describe the wallpaper as a fungus, and says that she can see it spreading further, this could represent the fact that she is recognising how her repressed spirit is becoming weaker as the influence of her husband is growing over her until she will eventually have no free will at all. The madness that the narrator finds herself in as she is transformed at the end of the story could be seen as an actual triumph by her rather than something terrible that has taken it’s hold on her. By convincing himself that his wife is getting better and the treatment he has prescribed is working her husband is blind to the real cause of her maladies, his power over her. In her final act of madness she has the power back to show him exactly the level she has been forced to go to. It would appear that many women before her have suffered the same fate as this is what has caused the deep groove in the wall, exactly where her shoulder now fits. Gilman is showing that if the gender inequality continues then many more women will have to start taking control back in this way also. When the mind has no stimulation, especially the female mind, it will make its own stimulation from whatever surrounds it. So the narrator begins to find a story to play out behind the pattern in the wallpaper. She seems to know that it will not be a very pleasant story as she is immediately repulsed by the sight of the wallpaper, describing it as, â€Å"the colour is repellent, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight. And the pattern as â€Å"dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame curves for a little distance they suddenly commit suicide† (Gilman 1998) What she does not realise is that the story that she so avidly watches playing out behind the wallpaper is that of herself. She is the one imprisoned behind the bars, desperately shaking them to get out from under the control of her husband and the others around her. She realises at the very end that the only way out is to let herself and the woman behind the paper become one and to release what has been suppressed. â€Å"â€Å"I’ve got out at last,† said I, in spite of you and Jane. And I’ve pulled off most of the paper, so you can’t put me back! †Ã¢â‚¬  (Gilman 1998) For Gregor, his transformation takes on several stages. The initial transformation is that of him becoming the beetle and being immediately removed from humanity by his inability to communicate. Gregor realises gradually the reality of his situation and deals with it accordingly but as he does he becomes more and more hopeless. He is further removed from his human traits when his furniture and belongings get removed from him. He attempts to join the family at only three points in the plot; all three are met with violence from his father physically forcing him back into his alienation. His sister undergoes the transformation of the eventual complete emotional abandonment of Gregor. This realisation that his sister, who he has always cared for, no longer regards him as anything but an inconvenience, a thing to be dealt with, pushes him to his death. Mendoza writes that the story is the ultimate metaphor of extreme human alienation, describing Gregor’s situation as being on the outside of humanity with no net below. Gregor’s whole family dynamic transforms itself, Mendoza again suggests that Gregor may have the form of a bug, but is essentially still human, whereas his family become human outwardly but inside are themselves the bugs. Bibliography Alter, R. (1991). Necessary Angels, Tradition and modernity in Kafka, Benjamin, and Scholem, Harvard University Press: Massachusetts. BBC. co. uk/dna/h2g2 Gilman, C. P. (1998). The Yellow Wallpaper, Bedford Books: Boston. Golden, C. J. (1992). The Captive Imagination, The Feminist Press: New York. Golden, C. J. (2004). The Yellow Wallpaper, A Sourcebook and Critical Edition, Routledge: Oxton. Helium. com/items/1104993-charlotte-perkins-gilmanthe-yellow-wallpaper-literary-analysis. Janouch, G. (1968). Conversations With Kafka, The Trinity Press: London. Kafka, F. (2005). Metamorphosis, Vintage: London. Mendoza, R. G. (1986). Outside Humanity, A Study of Kafka’s Fiction, University Press of America: Lanham. Nabokov, V. ( 1983). Lectures on Literature, Pan Books Ltd: London.

19 Examples of the Best Marketing Campaigns on the Internet

19 Examples of the Best Marketing Campaigns on the Internet Marketers are always looking to be inspired by the most innovative and creative campaigns. Even if we work in â€Å"boring industries† or without big budgets†¦ There’s something inspiring about seeing others in our profession pull out the big guns and launch a brilliant  marketing campaign like no one’s ever seen before. You can’t help but wonder what your creativity could unleash if you weren’t bound to typical marketing constraints like lack of budget, broken collaboration, managerial apprehension, and general project management hurdles that come along with planning campaigns with a lot of moving pieces. Go ahead, let your imagination fly. These real-life examples of the best marketing campaigns are bound to get your creative juices flowing. But first, download this marketing campaign planning bundle  to help you overcome some of the marketing constraints listed above. These templates *might* not be able to magically unlock some pot of cash to increase your marketing budget or instantly solve all your communication problems, but they’ll certainly help you plan your next marketing campaign more efficiently. You’ll find: An Annual Marketing Budget Template  to plan the financial aspects of all your marketing. A Marketing Plan Outline  to lay a good foundation for all your campaigns. A Marketing Campaign Checklist  to kick off your project right. A Marketing Project Management  Calendar to plan your entire strategy. The Most Creative Interactive Marketing Campaigns Data, technology, and new platforms have given marketers the ability to adjust and respond to customer actions in real-time. These marketing activities often fall into the category of â€Å"interactive marketing† and give individuals a unique, one-on-one exchange with a brand that wouldn’t otherwise be possible. Examples of interactive marketing campaigns include: Contests Quizzes, polls, and surveys Events and experiences And more†¦ Let’s break down some awesome examples of uber-creative interactive marketing campaigns. SNCF: Europe, It's Next Door This interactive marketing campaign from France’s national railway system encouraged Inter-European travel by giving individuals a sneak peek at what was happening around other cities in real-time. The company set up a series of doors which opened to two-way video screens. Individuals on the other side were located in a city across Europe. The video allowed individuals to interact with each other in a unique and engaging way. The campaign drew people into the idea of traveling to a new city and raised awareness that SNCF could make that trip a reality. Key Takeaways for Marketers: Go beyond video by exploring two-way video communication. Record the experience so it can be used for additional marketing opportunities. Make sure your marketing campaigns also achieve organization goals. Heineken: Go Places Heineken launched the first â€Å"Go Places† campaign in 2016 with the aim of highlighting the company’s unique personality and company culture to prospective employees. The first campaign allowed individuals to partake in an interactive interview†¦ a sort of â€Å"choose your own adventure† combined with a strengths finder outcome. Following the interactive questionnaire, individuals are given their results and encouraged to apply for a position with their LinkedIn profile. Key Takeaways for Marketers: Marketing campaigns can sell the company, too. Not just the product. People love personalized results. Showcase real employees when possible. Expedia: Explore Great Britain The Expedia microsite is an interactive video  that allows watchers to toggle between British cities as five different hosts give tours of their cities. Upon completing the video, Expedia gives a custom itinerary based on how much time you watched each location’s video. The custom itinerary provides lodging recommendations and what to see and do in each city. The video jumps from location to location seamlessly and offers viewers a customizable experience that makes you want to watch several times so you don’t miss anything. Key Takeaways for Marketers: Provide a unique offer at the end to encourage people to complete the video. Tie in real business results to show to campaign’s worth. Utilize a microsite to ensure a great user experience. Waze: On the Road Waze took all of their data and leveraged it into an item of sponsored content with the New York Times. The data presented interesting trends in how we drive, when, and to what locations. What makes this content interactive is the company added quiz functionality to test the reader’s smarts about trends in driving. Key Takeaways for Marketers: Interactive marketing doesn’t have to be overly complicated. Data can be used to create interactive marketing tools/quizzes for marketing purposes. Partner with another company to increase reach.

A Farewell to False Love Essays

A Farewell to False Love Essays A Farewell to False Love Paper A Farewell to False Love Paper The writer uses all of these poetic elements to make this poem the best poem In the world. The structure of this poem Is very common for the era that It was written. It Is written In pentameter which Is five pairs of strong and weak syllables. This makes the poem easy to read and it gives it a pleasant structure. It consists of five stanzas with 6 lines each including a rhyming couplet at the end of each stanza. Throughout the poem, each line finishes with a comma, except at the end of each stanza, they finish with a period. This is true for the first four stanzas, but the last one is different, the second last line finishes with a period. The way the author has written the end of the poem suggests that it should end with the second last line, but the is another line after it. The second last line starts with False love, part of the theme of the poem, and ends with adieu, the other part of the theme. Raleigh writes this way to symbolize the idea that no matter how much he thinks that love is a terrible thing, and he doesnt want any part of it, he can never escape it; it is a part of everyones Although love is a part of everyones life and there is no escaping it, Raleigh uses a massive amount of imagery to explain who he perceives love. The entire poem is written in figurative language; the whole thing is a metaphor. Raleigh starts with the idea that he is addressing, Farewell false love, and then the rest of the poem is used to describe what love is to him, and the way he sees it. One example of a metaphor he uses is: A poisoned serpent covered with flowers, which gives the reader the Image that love looks nice and pretty on the outside but is poisoned and evil underneath. Another way that Raleigh describes how much he dislikes the Idea of love and being in love is by using different elements of sound and sense. The first thing that the reader notices in the poem Is the rhyming. The rhyme scheme Is a simple abaca. It gives the poem movement and flow; It makes It easier to read. The second thing that is easy for the reader to notice Is the consonance. Raleigh uses this to draw attention to certain lines throughout the poem. For example: A substance Like the shadow of the sun; we hear the very strong s sound drawing attention to he line, meaning this line Is Important In how Raleigh perceives love. He perceives love as a substance like the shadow of the sun, being cold, dark and gloomy. There Is also some alliteration in the poem drawing attention to certain words phrases tonguing ten poem Tort example: creep Celt Relearn enlisting ten word Celt with alliteration to show the readers that love is deceitful; it deceives the young and prosperous lovers by making it seem desirable and beautiful, but then traps them in a web of poisonous lies and hate. The idea of love being poisonous is one of the few recurring ideas in the poem. Another one is the idea of innocence. The picture of a young boy appears in some of the stanzas, An envious boy, from who all cares arise, An idle boy that sleeps in pleasures lap, they are metaphors for the idea that in childhood, there is peace and happiness, and that the innocence of childhood is not lost to the poison or deceit of love. Another more prominent image is the image of nature. Raleigh compares the idea of love to the uncontrollable and terrible elements f nature. He does this because everyone has had an experience with nature and their uncontrollable elements so it is easier to compare it to something that maybe not everyone has experienced. He gets a reaction from the reader whether they have experienced the terrors of love or not. Raleigh incorporates all of these elements to create the best poem in the world. His use of alliteration and consonance draws attention to the parts he wants noticed more than others, and uses imagery to describe further his hate and the terror of love. The best poem in the world should captivate the reader and make them think about what was going on in the mind of the writer when the poem was written. It should incorporate something that the reader can connect to, something that connects the reader and the writer, and experience, a thought or goal. Raleigh uses these ideas and more to bring to life his idea, his opinion, and connect with many readers who feel the same way. This poem could change views on love and desire simply because Raleigh stated his opinion.

Igor Stravinskys In Memoriam Dylan Thomas as an Avant-garde Music Essay

Igor Stravinskys In Memoriam Dylan Thomas as an Avant-garde Music - Essay Example Though some of Stravinsky’s compositions were critically regarded by the public, their failure to appeal to a large audience qualifies them to be classified as avant-garde. With his 1953-1954 popular composition, In Memoriam Dylan Thomas among other famous compositions, Stravinsky’s musical philosophy was that music was nothing more than notes while music composition is more of an expression of logic than one’s passion. Despite his lack of appeal to the audience, Stravinsky was highly regarded by his fellow musicians as one of the leading musical composers of his time. This paper seeks to demonstrate that Igor Stravinsky’s In Memoriam Dylan Thomas qualifies to be categorized as avant-garde music rather than â€Å"old guard†/traditional music. Characteristic features of avant-garde music Avant-garde music is not easily definable since the rules applied in its composition, arrangement and performance are required to differentiate it from the classical music. It is generally believed that avant-garde music exhibits a deviation from the mainstream music. As indicated by Pinson, avant-garde musicians can be distinguished by their freedom to choose a musical style that is different from the mainstream, as well as their ability and vision to create and organize music outside the limits of the traditional style (146). Avant-garde music is also defined by its originality and innovativeness as opposed to its popularity and appeal to the audience (Pinson 146). Additionally, avant-garde musicians are believed to have a different identity from that of the traditional musicians, which enables them to incorporate the metaphysical into their style of composition to generate an innovative piece (Pinson 146). The musical composition of avant-garde is often linked to the musician’s identity or other non-musical aspects such as the musician’s philosophies, political ideologies and religion. Despite its linkage with other non-music a spects, avant-garde music does not enjoy massive public acceptance since such music may not be accessed by a large audience. Examining Igor Stravinsky’s musical life and his late works Despite his popularity as a musician in the early 20th century, Stravinsky’s late compositions were relatively ambiguous. As opposed to his earlier compositions, Stravinsky’s late works were rarely performed on stage, poorly recorded, regularly criticized and poorly comprehended by the audience. The poor reception of Stravinsky’s late works such as â€Å"In Memoriam Dylan Thomas† is quite ironical to the musician’s growing popularity as a musician. It is apparent that few, if any, contemporary musicians could parallel Igor Stravinsky in terms of stage performances, influence and music recordings as well as popularity mostly in reference to his early Russian cabarets and neoclassical compositions. The poor reception accorded to Stravinsky’s late works is an unusual deviation from the musician’s international popularity. Some aspects about Igor Stravinsky’s musical and life experiences remain mysterious. Over the years, scholars have struggled, albeit with little success, to understand Stravinsky’s works due to its language use, style and transformation from one genre to another. Further ambiguity can be derived from the musician’s personal statements regarding his life, music and the works of his fellow musicians. Though initially believed to be religiously oriented, Stravinsky’

MICROFINANCE IN DEVELOPING ECONOMIES Dissertation

MICROFINANCE IN DEVELOPING ECONOMIES - Dissertation Example However, microfinance units cannot be equally successful in all economies, became they all have different demographics and social structures. Despite the fact that many nations have seen success following the inclusion of microfinance units, it cannot be established that all emerging nations would experience a similar degree of success. This present paper will examine the scope of success of microfinance units in Saudi Arabia through an examination of the profitability and efficiency of operations of these financial units in the economy. In most of cases it is an inefficient financial system which is found to be the prime reason behind the failure of microfinance units, which is why it is necessary to examine the extent to which the financial system of a nation is capable of bearing such a responsibility, before arriving at any conclusion. This paper will conclude that Saudi Arabian banks are currently in a poor state to make the microfinance movement a success. However, if necessary measures are undertaken, the trend could be reversed. Chapter 1 – Introduction 1.1 Definition and Brief History Microfinance institutions are responsible for boosting the social status of a poorer section of a nation’s population by providing financial assistance. Their prime function, however, is that of microcredit, which involves forwarding loans on a cooperative basis to groups of people so that no single individual is liable. This helps to reduce their burden substantially (Feigenberg, Field & Pande, 2010). Their popularity among the poorer sections of society, which comprise a major part of developing economies, has even spurred normal commercial banks to adopt some of their strategies. Microfinance institutions might be owned by government bodies or non-governmental ones, and they might also be involved in tasks other than forwarding credit to poorer sections of society (Consultative Group to Assist the Poor, 2011). The concept of microfinance has spread across the globe from a small region in Bangladesh where Muhammad Yunus, an economics professor at the University of Chittagong, advanced nearly $30 to a group of poor villagers. An important term of this loan was that the entire group as a whole stood liable for the debt, so that the burden was divided equally among the individuals in the group. The initial loan helped the villagers to generate a continual flow of future income and, eventually, sustain their respective households. When Yunus noted the importance of such loans advanced on cooperative terms, he decided to popularise the concept across Bangladesh. Such a measure was understood as an important stepping stone towards poverty eradication. Yunus initiated the construction of Grameen Bank in 1983,

Case Note for RvR Essay Example | Topics and Well Written Essays - 1500 words

Case Note for RvR - Essay Example t could constitute â€Å"unlawful sexual intercourse†, as defined under Section 1(1) of the Sexual Offences Act of 1956 (4) The wife’s marital consent to intercourse had not been revoked, either by a Court order or by an agreement between the parties. As a result, the question that arose in these circumstances was whether, despite her refusal to consent, the wife could have been held to have consented by the fact of the marriage. 4. The trial judge’s directions to the Jury stated that there appeared to be ample grounds to indicate that consent to sexual intercourse had been withdrawn by an agreement between the parties. Firstly, the parties were not cohabiting. Secondly, the husband’s act in phoning his wife and telling her he intended to see about a divorce constituted implicit consent. On this basis, the prosecution could prove a charge of rape or attempted rape against the husband. 5. The first fact is not material to the disputed issue of rape. The second fact, i.e, defendant had mentioned his intent to seek a divorce, is a relevant and material fact, because it revokes by implied mutual agreement, the consent to sexual intercourse that is imposed by marriage and spelt out under Hale’s common law rule. Hence, it establishes that the husband’s act constituted rape. It also establishes that he is not eligible for immunity under Hale’s rule. The third fact is also material and relevant, because it establishes the second ground of bodily assault. 6. The marital exemption itself refers to the common law rule wherein upon marriage, an assumption is made that the wife consents to sexual intercourse with her husband. This presumption may however be rebutted by evidence that the wife did not in fact, consent. To enforce this rebuttal, some exceptions have been established, when a wife can say no, such as when her health is in danger or when the man’s actions constitute assault. These and other exceptions have been spelt out by case precedent

Free Expression: Copyright

Free Expression: Copyright Copyright has been called an engine of free expression because copyright provides economic incentives to persons creative works to promote free speech (expression). However, some also argues that copyright is an obstacle to free expression as permission from a copyright owner is compulsory and may have to pay a licence fee when using other persons work. Historically, copyright and free expression has been regarded as separate parts. Both have constitutional underpinnings, and protection of artistic and intellectual freedom originates in the First Amendment. When considering whether monopoly control by authors, artists, and media corporations unduly restricts the ability of other authors, artists and corporations to copy, share, criticize, parody, or build upon copyrighted works, the Supreme Court has said that the two systems are not really in tension but complement each other. (Heins, 2003) This essay covers the argument for both sides of copyright; an engine of free expression and an obstacle to free expression or at least, copyright is no longer an engine of free expression. A number of journals, articles and books are used to support these arguments. Then, concludes how accurate the statement copyright has been called an engine of free expression is. If there was no copyright, information would be distributed differently. There would probably be patrons of the arts, both governmental and private, and the content of that art would be shaped by patrons preferences. Also, without copyright the coordination difficulties and free riding problems would make it difficult for the less wealthy to aggregate their resources and fund creativity. Conversely, copyright encourages creators/inventors toward works that may prove popular with some market segment. The desire to give a mass audience what it will pay for, while not dispositive of content, makes a significant difference in many creative decisions. Copyright encourages the creation and dissemination of the speech of those who seek economic incentives, decreasing the relative voices of those who create for personal satisfaction. (Tushnet, 2000) The Court has explained that copyrights purpose is to promote the creation and publication of free expression, and in 1985 the First Amendment (consists of the first 45 words of the Bill of Rights, ratified in December 1791, that protect the freedoms of religion, speech, press, assembly and petition. It serves as the blueprint for freedom of expression and religious liberty. (Paulson, n.d.)) stated that à ¢Ã¢â€š ¬Ã‚ ¦it should not be forgotten that the Framers intended copyright itself to be the engine of free expression. (Horowitz, 2009) These statements explain how copyright and the First Amendment accomplish the same goal the dissemination of new ideas through distinct means. Copyright pushes the dissemination by providing an incentive to create new expression while the First Amendment removes the obstacles in the way of that dissemination. (Hart, 2010) Therefore, copyright, in short, promotes freedom of speech. For example, Netanel, in his guest-blogging: Copyrights Paradox (2008), said that Copyrights economic incentive for the creation and dissemination of original expression is just one way that copyright promotes speech. and says that the copyrights effect is both qualitative and quantitative. For example, it supports a sector of authors and publishers who look to the market, not government patronage, for financial sustenance and who thus gain considerable independence from government influence. Moreover, he explains that copyright does not further free speech merely by providing pecuniary incentives and support. It also symbolically reinforces certain values and understandings that underlie our commitment to free speech.. He concludes that by encouraging authors, copyright gives the laws imprimatur to the social and political importance of individuals new original contributions to public discourse. On the other hand, there are some views that copyright restricts the free expression. In the nineteenth century, unlike today where the principal beneficiaries of copyright protection are recording companies, film producers, and other media corporations, they were individual authors and dramatists. During that century copyright was protected for a relatively short time before the work entered the public domain: in the United Kingdom, fourteen years (with a possible renewal for a further fourteen years) under the Statute of Anne of 1709, or subsequent to legislation in 1842, the authors life plus seven years. After that period works could be freely copied, so the right had much less impact on freedom of expression than it does now when the standard term of copyright is life plus seventy years. Further, during the nineteenth century, copyright was for the most part protected against literal copying, and not against translations and adaptations, where the copier, at least to some extent , adds creative or original features in the preparation of the infringing work. (Barendt, 2005, p.252) So, contrast to the nineteenth century, today we have a lot of restrictions on our expression with the copyright. Moreover, although the standard term of copyright is life plus seventy years, there is a case where this was broken. With the Sony Bono Act, Congress extended Americas already hefty copyright terms across the board for 20 years, thereby freezing the public domain at its 1928 dimensions. (Heins, 2003) Moreover, as copyright creates private monopolies in expression, a copyright holder can prohibit or permit the use of his/her copyrighted expression, or demand a licence fee. Also it is concerned that copyright does not limit the dissemination of ideas or the spread of news and information, but only the use by others of the expression of the holder of copyright. Melville Nimmer, a distinguished writer on many areas of free speech law as well as a great copyright lawyer, contended that in this way First Amendment concerns were met by copyright legislation. The conclusion is unsatisfactory as it does not do justice to the point that sometimes it is important for an infringer to use the very words or other distractive expression of the copyright holder, if he is effectively to communicate his ideas, perhaps the sentiment that the quoted or parodied work is meretricious. Nimmer himself did not think the distinction worked where an idea and its expression are inseparable, as in a news pho tograph. Reproduction of film of the assassination of President Kennedy or of the famous photograph of the My-Lai massacre in Vietnam necessarily used a distinctive form of expression in order to communicate the character of the particular news event. (Barendt, 2005, p.249) From the book Copyrights Paradox (2008), Netanel said Copyright does provide an economic incentive for speech. But it may also prevent speakers from effectively conveying their message and challenging prevailing views. Netanel explains this with a best-selling novel The Wind Done Gone by Alice Randall as an example. Randal uses the setting and character of Margaret Mitchells Gone with the Wind, from the viewpoint of a slave. Contrast to Mitchell, Randall focuses on miscegenation and slaves calculated manipulation of their masters. However, Mitchells heirs brought a copyright infringement action against Randalls publisher. Although the Eleventh Circuit Court of Appeals immediately vacated the injunction, a Georgia district court preliminarily enjoined the Randalls novels publication due to unabated piracy. Natanel added that It held that by barring public access to Randalls viewpoint in the form of expression that she chose, the trial courts order acted as a prior restraint on speech, standing sharply at odds with the shared principles of the First Amendment and copyright law. He also added that Indeed, while Randall eventually emerged victorious, not all courts have proven as solicitous of First Amendment values as the Eleventh Circuit panel that lifted the ban on her novel. Netanel, again, in his guest-blogging: Copyrights Paradox (2008), throws a question, in the digital age, does copyright law still serve as the engine of free expression? He explains that, in the Internet many of original expressions are distributed without any claim of copyright by its author (or at least without any effort to use copyright to prevent copying). Many Internet speakers are volunteers, happy to exchange and express their views without any expectation of monetary remunerations. Others make their creative expression available for free to enhance their reputation or sell related products. In addition, he suggested that the claim that copyright is engine of free expression must rest on an argument about copyrights incremental speech benefits. He argues that if we are to believe that copyright continues to be necessary to promote free speech, we must posit that (1) the copyright incentive generates the creation and dissemination of original expression over and above the rich array of speech that would be available even without copyright and (2) this additional copyright-incented expression has independent First Amendment value. The First Amendment value means it enables citizens to express their thoughts and beliefs in a free society. (Paulson, n.d.) As he argues in his book Copyrights Paradox, copyright does have those (as stated above) incremental benefit. Many works require a material commitment of time and money to create, for example, numerous full-length motion pictures, documentaries, television programs, books, products of investigative journalism, paintings, musical compositions, and highly orchestrated sound recordings constitute such sustained works of authorship. It is generally far too expensive and time-consuming to create such works, let alone create with the considerable skill, care, and high quality that the best of such works evince, to rely on volunteer authors. Nor are alternative, non-copyright business models necessarily more desirable than copyright. For example, we might not want our cultural expression to be populated with product placement advertising or devalued by treating it as a mere give-away for selling other products. Netanel also added that many of these types of works have considerable First Ame ndment value. He said while copyright is no longer THE engine of free expression (if it ever was the sole engine), it remains a vital underwriter of free speech (Netanel, 2008). By saying this, he recognizes that, although the copyright cannot be said to be an engine of free expression, it is still an important factor in promoting the free speech. In conclusion, it is clear that copyright has been an engine of free expression. The Court explained that copyrights purpose is to promote the creation and publication of free expression and the First Amendment stated that Framers intended copyright itself to be the engine of free expression. Giving economic incentive is the one way of promoting free expression. Turchnet (2000) and Hart (2010) argue that copyright encourages the creation and dissemination of the speech of those who seek economic rewards, decreasing the relative voices of those who create for personal satisfaction. Also Netanel, in his guest-blogging: Copyrights Paradox (2008), argued same statements. Moreover, he explained that copyright also symbolically reinforces certain values and understandings of that underlie our commitment to free speech. However, some argues that copyright is not an engine of free expression. Barendt (2005) explained that there are more protections for copyrights than before so it made people harder to express their ideas. Also Netanel (2008) said copyright can prevent speakers from effectively conveying their message and challenging prevailing views. He gives an example of novel The Wind Done Gone by Alice Randall to support his arguments. Although the court later void the injunction, a Georgia district court preliminarily enjoined the Randalls novels publication due to unabated piracy In here, the courts order acted as a prior restraint on speech, and opposite to the First Amendment and copyright law. Barendt (2005) also argued that as copyright creates private monopolies in expression, a copyright holder can prohibit or permit the use of his/her copyrighted expression, or demand a licence fee. Therefore, we should not say the statement that copyright is an engine of free expression is accurate as it has opposite arguments with evidences (; level of accuracy is low). As long as it promotes free expression (or speech) it can be said that the copyright is an engine of free expression but prior to that, copyright law should be loosen so that people can more freely express their ideas/speech effectively. Also, the Court needs to well-understand the meaning of First Amendment and copyright laws to prevent cases like Alice Randals. This way, the statement will be more accurate. So we should not only protect copyright owners too much, rather we should allow people to use some concepts or meanings of others (copyright owners) to build/create new expressions effectively. History of Russian Architecture: 1924 1932 History of Russian Architecture: 1924 1932 Russian architecture since the eleventh century up to the early 20th century was predominantly religious. For many centuries, churches were the only buildings that were constructed out of stone. However, the Russian Revolution of 1917 and the influence of the Suprematism movement of 1915 brought about the birth of Constructivism, the modernistic architectural style of Russia from 1924-1932. The brief period that followed the 1917 Revolution marked the beginning of the influence of the avant-garde Constructivist movement in the structure and design of major buildings. It enjoyed a short popularity until the late 1920s when it was repudiated by the more conservative Stalinist-era architecture (Russian Art, 2005). The principles of Constructivism theory come from three main art movements that evolved in Europe during the early part of the 20th century: Russian Suprematism, Dutch Des Stijl, or Neo Plasticism, and the Bauhaus in Germany (Constructivism, n.d.). In early 20th century Russia, particularly in 1917, there was a series of revolutions that eventually destroyed the autocracy of the Tsar. This series of revolutions led by the workers of Russia under their leader Vladimir Lenin was known as the Russian Revolution. The February Revolution in March of 1917 focused on St. Petersburg. During this time, the Soviets, or workers councils, delegated to the members of the Imperial Parliament the task of governing Russia and overthrowing Nicholas II, the Tsar during that time and the last of the Tsars. Meanwhile, the Soviets, led by the socialists or Bolsheviks, had the full allegiance of the lower-class citizens and workers as well as the political left. The Bolsheviks then formed workers militias. In the October Revolution that followed, the Bolshevik party under the command of their leader Vladimir Lenin, as well as the workers councils, overthrew the Provisional Government in St. Petersburg. Eventually, the success of the revolution paved the way for the birth of the USSR. After this series of events, peasants took over the lands previously owned by the vassals and redistributed land. This also marked the beginning of communal existence especially among the working classes, which led to the building of several constructivist buildings to house the first communities and to promote the ideology of communism (Mosley, n.d.). The Suprematism Movement of 1915 Suprematism is the main ideology in art that inspired Constructivism, which is the predominant architectural style of Russia during the period from 1924 to 1932. Suprematism lasted from 1915 to 1935 and is regarded as the first systematic school of modernism based on purely abstract pictorial compositions and geometric figures. It is a Russian art movement which was originally founded in Moscow in 1913 by the Russian painter Kazimir Malevich (Suprematism, 2007). Malevich advocated Suprematism as he believed that this is the perfect way to liberate art from the ballast of the representational world. He himself did this by producing art consisting of geometrical shapes flatly painted on the surface of the canvass. The goal of Suprematism is pure sensation and the pictorial space should be emptied of all symbolic content as in Surrealism. Malevich believed that art has to be decongested and cleared in order to show a new reality where the most important thing is thought as well as sensation. Malevichs Suprematism was also heavily influenced by the then avant-garde movements in art such as Cubism and Futurism (Suprematism, 2007). Suprematism, considering that it was based on Malevichs spiritual beliefs, was regarded as non-objective and apolitical. Aside from its use of only geometric shapes as the ones demonstrated by constructivist forms of architecture, Suprematism also emphasized the use of a limited color range, which explains the overall appearance of constructivist buildings (Suprematism, 2010). The Beginnings and Golden Age of Constructivism Early Influences. The development of Suprematism led to the movement toward a non-objective art, or art without a subject, in architecture. During the early years of Constructivism, the Russian modernists or avant-garde started embracing Cubism and Futurism (Constructivism, n.d.), which were two of the major sources of influence of Constructivism. Cubism was a 20th century modern movement popularized by Pablo Picasso and Georges Braque in France and other parts of Europe from 1907-1921. Futurism, on the other hand, started in Italy in 1910 and from 1920-1940 was used in the construction of buildings despite the opposition of the fascist state which favored classical Roman imperial patterns. Tatlins Constructivism. In 1913-1914, the Russian and Soviet architect and painter Vladimir Tatlin used industrial materials to make and exhibit a number of relief constructions. He was inspired by Italian futurist Umberto Boccionis dream of plastic configurations in space and Pablo Picassos 3D collages, both of which he described by using the term Constructivism. Vladimir Tatlin was indeed the progenitor of this post-Revolutionary movement in architecture (Constructivism, n.d.). The Constructivist Manifesto. The year 1921 marked the appearance of the first Constructivist manifesto after the formation of the First Working Group of Constructivists in Moscow. The key artists were Vladimir Tatlin, Kasmir Malevich, Liubov Popova, Aleksandr Rodchenko, Vavara Stepanova, Vasily Kandinsky, Naum Gabo, Antoine Pevsner, El Lissitzky (Constructivism, n.d.). Actual constructivist theory and design practice began in 1922 in conjunction with the formulation of Vesnin brothers of the plan for the Palace of Labor, which was presented during a competition in 1922. However, actual building on a significant scale did not start until 1925 after the founding of the Union of Modern Architects, the official organization of the Russian Constructivist architects. By 1925, the first experimental office and residential buildings began their first appearance (Soviet Constructivism, 2007). The Union of Modern Architects. Towards the end of 1925, the Constructivists of Russia formed their own organization as a response to the decision of the Rationalists to establish the Association of New Architects, or ASNOVA, two years earlier in 1923. The Union of Modern Architects, or OSA, was initially composed of the brothers Aleksandr, Viktor and Leonid Vesnin, Mikhail Barshch, Andrei Burov, Moisei Ginzburg, Ginzburgs pupils Georgy Vegman, Ruvim Khiger, Vyacheslav Vladimirov, and the artist Aleksei Gan. Ivan Nikolaev and Ilya and Panteleimon Golozov decided to join later (Soviet Constructivism, 2007). While the Rationalists and ASNOVA focused on their search for purely aesthetic abstract forms, the Constructivists and OSA brought to life a novel, more practical architectural form, with reference to the purpose of the of the specific building, the materials used to construct it, its design and other conditions for production, and most of all the promotion of social development of Russia at that time. While the Rationalist emphasized the artistic or aesthetic side of architecture, the Constructivists favored its functional aspect (Soviet Constructivism, 2007). The Golden Age of Constructivism. The period from1927 to 1929 was considered the golden age of Russian avant-garde architecture. In these three years, a small group of Russian constructivist architects was able to build or plan the best-known buildings in the country. Among the structures built during this time were the Zuyev Club by Ilya Golosov, all the clubs by Konstantin Melnikov and his house, Lenins Mausoleum and the Narkomzem building by Aleksey Shchusev, Narkomfin by Ginzburg and Milinis, the Barshchs and Sinyavskys Planetarium, and Nikolaevs communal house for students (Soviet Constructivism, 2007). The Concept of Constructivism Constructivism, or Constructivist Art, is a term used to describe a type of non-representational, or totally abstract, relief construction, sculpture, painting, and kinetics. Constructivist buildings are usually ordered and often minimal, spatial, geometric, architectonic and experimental with how industrial material is used (Constructivism, n.d.). Furthermore, constructivism combined engineering and advanced technology with a dominant Communist social purpose. The movement produced several pioneering projects as well as prominent buildings and structures before falling out of favor during the early 1930s (Constructivist Architecture, 2010). Early constructivist art and architecture, just like Communism, was idealistic and seeking a new order that dealt with various social and economic problems. The appearance of several constructivist buildings and monuments is characterized by an emphasis on geometrical shapes like rectangular solids and cylinders, often intersecting each other or demonstrating asymmetry. Limited color range is another quality of constructivist buildings, with the choice of color as flesh or white signifying simplicity in the communal society. Red was also a very popular choice of color for the buildings and monuments like Lenins Mausoleum as this color was known to symbolize Communism. Both the geometrical emphasis and the limits in color are characteristics of Constructivist Architecture brought about by the influence of Suprematism, which was the most dominant art movement in Russia at that time (Suprematism, 2010). German Constructivism or the Bauhaus Architecture. The German word Bauhaus literally means House of Building or Building School. It refers to a school in Germany famous for the style and design that it taught. It is a form of modernist architecture that was founded by Walter Gropius and existed in Germany, some parts of Europe, the United States, and Israel from 1919 to 1933. The Bauhaus was an architectural ideology similar to Russian Constructivism and existed at the same time that it did. As Constructivism lost its favor because of Stalinist Neoclassicism, the Bauhaus gradually became inactive as the Nazi rose to power (Zisling, 2010). Just like Constructivist structures, Bauhaus buildings usually possess a cubic design and favor right angles owing to its geometrical figure. Nevertheless it may occasionally feature rounded corners as well as balconies. These buildings usually have an open floor plan and smooth facades (Zisling, 2010). Below is an example of a Bauhaus building in Tel Aviv, Israel: Taken from: http://www.jewishvirtuallibrary.org/jsource/Society_HYPERLINK http://www.jewishvirtuallibrary.org/jsource/Society__Culture/Architecture/Bauhaus.htmlHYPERLINK http://www.jewishvirtuallibrary.org/jsource/Society__Culture/Architecture/Bauhaus.html_Culture/Architecture/Bauhaus.html The Most Notable Constructivist Buildings The Rusakov Workers Club. One of the most notable examples of constructivist architecture inMoscow is the Rusakov Workers Club. It was designed by Konstantin Melnikov and was constructed from 1927 to 1928. On the outside, the club resembles a fan and in elevation, it is made up of a base and three cantilevered concrete areas for the seats. If the seating areas are combined, the building can seat over 1,000 people while each of these three cantilevered seating areas can be used as a separate auditorium. More conventional offices are found at the rear of the building. Moreover, the materials used in its construction are glass, concrete and brick. The constructivist identity of the building is expressed in its exterior, which the architect Melnikov himself described as a tensed muscle. On the outside, the three seating areas are seen as three large rectangular solids protruding from the walls of the building on the upper part. Melnikov naturally applied his own values to its construction by setting the Rusakov Workers Club, as well as other clubs he had designed, against the hostile city rather than belonging to it by employing sharply distinctive forms to make the structure appear individualist and unique against the general backdrop of urban buildings (Rusakov Workers Club, 2009). Taken from: http://www.housing.com/categories/homes/soviet-constructivist-architecture-1922-1936/rusakov-workers-club-1927-1928-konstantin-melnikov.html Svoboda Factory Club. Another constructivist building worth mentioning is the Svoboda Factory Club, or Maxim Gorky Palace of Culture. It was also Konstantin Melnikov who designed the building in 1927. It was completed two years later. For the general design of the Svoboda Factory Club, a conventional rectangular masonry block was used as a replacement for the original plan of using a flat elliptical tube, thus giving its design a constructivist spirit. The staircase was not curved but built straight, leaving the central rostrum column as the only curvilinear element in the structure. However, although the central rostrum column balances the left and right halves of the building, these halves are not identical with the north side end block significantly higher than the opposite one. This unique feature is a quality of the individualism of the constructivist movement. Nonetheless, the central rostrum hides such a discrepancy (Svoboda Factory Club, 2009). Taken from: http://www.housing.com/categories/homes/soviet-constructivist-architecture-1922-1936/svoboda-factory-club-1929-konstantin-melnikov.html Zuev Workers Club. Another prominent example of constructivist architecture is the Zuev Workers Club in Moscow. The architect Ilya Golosov designed the structure in 1926 and it was finished after two years. The original function of the building was to house various facilities for the workers of Moscow. The innovative and unique glazing treatment at its corner and the faà §ade formed from the dramatic intersection of a cylindrical glazed staircase and a stack of rectangular floor planes (Zuev Workers Club, 2009) prove to be very photogenic and make the Zuev Workers Club a symbol of Russian avant-garde architecture. These two unique qualities reflect a strong unique identity which is characteristic of Soviet Constructivism. The stack of rectangular floor planes has behind them a sequence of club rooms and open foyers that lead to a rectangular auditorium made up of 850 seats. Golosov, like Melnikov, was an enthusiast not for the logics but for the dynamic forms Constructivist design methods. In the Zuev Workers Club, this is evident in the immensely powerful drama of the cylinder intersecting the flat planes (Zuev Workers Club, 2009). Taken from: http://www.housing.com/categories/homes/soviet-constructivist-architecture-1922-1936/zuev-workers-club-1928-illya-golosov.html Narkomzem. Also known as Peoples Commissariat of Agriculture, Narkomzem was another noteworthy example of avant-garde architecture in early 20th century Russia. The building, which is now used today as a working ministry, was designed by Aleksey Shchusev and was finished in 1933. Taken from: http://www.housing.com/categories/homes/soviet-constructivist-architecture-1922-1936/narkomzem-1928-1933-aleksey-shchusev.html The most striking constructivist feature of the building is its corner details where a rectangular plane intersects with the cylindrical edge. Aside from the corner details, the overall asymmetry and the ribbon window located on the top floor remain to be the most striking features of Narkomzem (Narkomzem, 2009). Melnikovs House. The house of the architect Konstantin Melnikov, or simply known as Melnikov House, is one of the most notable examples of 20th century avant-garde architecture. It is located in Moscow and is located well away from the street. Taken from: http://www.housing.com/categories/homes/soviet-constructivist-architecture-1922-1936/melnikov-house-1927-1929-konstantin-melnikov.html Melnikov House is a building made up of a combination of both Futuristic and Classical designs consisting of two interlocking cylinders with the rear one noticeably taller than the front. The structure is also perforated with some sixty identical elongated hexagonal windows provided with Constructivist glazing bars. The asymmetry in the cylinders and the uniquely designed hexagons are testaments to Melnikovs commitment to Constructivism. The cylinders are made from stucco-covered bricks similar to those used in Russian churches and on the faà §ade are written the words KONSTANTIN MELNIKOV ARKHITECTOR (Melnikov House, 2009). Narkomfin. Another Russian building with constructivist design is the Narkomfin building. It was designed by the architects Ignaty Milinis and Moisei Ginzburg along with engineer Sergei Prokhorov. It was constructed from 1928 to 1930 for the purpose of providing apartments for the employees of the Peoples Commissariat of Finance, of the Narkomfin. The transitional, semi-communal apartment was supposed to introduce to the Soviet citizen the communal way of life and to introduce communism into the heart of domestic life and prepare the citizens to fully live a communal existence (Narkomfin, 2007). Narkomfin, for its constructivist elements, had a long elegant faà §ade with several rows of horizontal windows. It was topped with the Commissars penthouse making it look like and be called the ship. Upon its completion it turned out to be an ensemble composed of three buildings: the housing block, the communal block and a small laundry building. The Narkomfin has remained an icon of modernism in avant-garde architecture of Soviet Russia primarily because of these constructivist elements that make it stand out among the rest (Narkomfin, 2007). Taken from: http://ciudadlab.com/blog/2008/03/narkomfin-to-be-hotel.html The Narkomfin building was also known as the most perfectly realized building out of all the communal buildings constructed during the Constructivist Era or in the utopian years of the early Soviet Union. It was also considered the prototype for the modern European apartment blocks and housing estates. Now, the Narkomfin remains as a pilgrimage sites for historians and architects from all over the world. (Narkomfin, 2007). Communal House of the Textile Institute. Built from 1920 to 1930, the Communal House of the Textile Institute, or the Communal House for Textile Institute Students, in Moscow is considered Ivan Nikolaevs masterpiece and is another noteworthy architectural work of the Soviet constructivist era. Popularly called Nikolaevs House or The Hostel, the Communal House demonstrates the dom kommuna, or the 2000 adult apprentices shared cabins along an eight-storey block extending for a length of 200 meters. There was a creative mix of dining rooms and recreational spaces in the low block (Communal House, n.d.). The Communal House was actually built for textile students to live and study in while adopting a strict military communal fashion that starts with a wake-up call, and proceeds with exercise, shower, and study. The constructivist elements of the Communal House include half-round stair towers, the triangular staircase, and the vast rectangular volumes as well as the asymmetry demonstrated by the uneven intersections of the various planes in the faà §ade of the building (Communal House, n.d.). Taken from: http://en.wikipedia.org/wiki/File:Nikolaev_commune_2008_stairs_01.jpg The Barshchs and Sinyavskys Planetarium. The Barshchs and Sinyavskys Planetarium, or the Moscow Planetarium, was established on November 5, 1929 and is considered at present a center of natural sciences. The planetarium is principally involved in reading public lectures and implementing scientific and artistic programs in cosmonautics and astronomy. In the observatory of the planetarium, one can watch the sunspots, the Moon, the planets and many other heavenly bodies with the use of a telescope (Moscow Planetarium, 2004). M. O. Barshch and M. I. Sinyavsky were responsible for the design of the planetarium and commenced the construction on September 23, 1928, the day of the autumnal equinox (Moscow Planetarium, 2004). The planetarium was actually one of the largest projection domes for any planetarium in the world, which makes this unique feature one of its most prominent characteristics as a symbol of avant-garde Soviet architecture. However, its apex was only 4cm thick (Monuments of Constructivism, 2007). Taken from: http://www.stardome.ru/english/english.html#BASIC1 Red Banner Textile Factory. Located in the former city of Leningrad, now St. Petersburg, the Red Banner Textile Factory was partially designed by the first foreign architect asked to design in the USSR, Erich Mendelsohn, in 1925 to 1926, and later designed by E. A. Tretyakov, S. O. Ovsyannikov, and Hyppolit Pretraeus until its completion in 1937 (Wandering Camera, n.d.). The Red Banner Textile Factory was a dynamic, futuristic large factory and was a most notable example of Soviet Constructivist architecture. The Red Banner Factory resembled a ship with the top part of it jutting out of the planes. There is also an asymmetry with the intersection of the cylindrical and rectangular sections of the building on the outside. These two constructivist features of the factory give it its unique identity and make it stand out (Wandering Camera, n.d.). Taken from: http://www.enlight.ru/camera/249/index_e.html Notable Architects of Russia from 1924-1932 Vladimir Tatlin. The Russian constructivist designer Vladimir Tatlin was considered the progenitor of Soviet Constructivism because of his revolutionary exhibits of relief constructions from 1913 to 1914 (Constructivism, n.d.). He was also responsible for the appearance of the Constructivist Manifesto in 1921 which paved the way for the first construction of a plan for a constructivist building in 1922 and the actual establishment of constructivist office and residence buildings in 1925 (Soviet Constructivism, 2007). Tatlin trained at the Moscow School of Painting, Sculpture and Architecture as well as in the Penza Art School. It was after completing his formal studies that he joined a group of avant-garde painters and writers all over Russia. It was also during this period that he formulated several designs for a theater and participated in exhibitions (Vladimir Tatlin, 2010). Konstantin Melnikov. Melnikov was one of the big names in Soviet constructivist architecture, being the architect behind the Rusakov Workers Club, the Svoboda Factory Club and his own Melnikov House. Melnikov apprenticed as an engineer after attending the Moscow School of Painting, Sculpture and Architecture. He studied architecture from 1912 to 1917 and it became his passion although he initially studied painting in 1905. As a romanticist and a supporter of Communism, Melnikov was an architect who had independence of mind and rejected the principle of method in design and instead focused on intuition as the most essential factor in expressing the social and symbolic meaning of an architectural form such as a building. In his works, Melnikov struggled to combine Classicism and Leftist Modernism and often designed his architectural masterpieces with explicit and symbolic historicism (Konstantin Melnikov, 2010). Ilya Golosov. A leader of Constructivism from 1925 to 1931, Ilya Golosov was the Russian architect responsible for the design of the Zuyev Workers Club in Moscow and communal housing in Ivanovo. Just like Tatlin and Melnikov, Golosov studied at the Moscow School of Painting, Sculture and Architecture. However, he also studied in the Stroganov School of Arts. He became an apprentice to the architects Igor Grabar and Alexey Shchusev, who is also a notable constructivist architect. He also worked as a military engineer and a teacher. His main impression with the works of the Vesnin brothers made him join the constructivist organization, or the OSA Group in 1925, and from then on he started designing his masterpieces. However, although Golosov was a champion of Constructivist architecture, he regarded the architectural philosophy of Constructivism only as ideal for exterior decoration but not for wholesomeness in terms of functional style. These contrasting views of his regarding Constructivism eventually made him abandon the avant-garde form of architecture in 1932 and settled for neoclassical architecture in his works, hence from Soviet Constructivism to Soviet Realism (Ilya Golosov, 2010). Ivan Sergeevich Nikolaev. Another name in the Soviet Constructivist architects hall of fame is Ivan Nikolaev. He was famous for the constructivist design and even the formulation of the rules and regulations of the Communal House of the Textile Institute built from 1929 to 1931. He devised a rather rigid and Communist procedure for the members of the training institute which was supposed to be followed through very single day: a wake-up call, exercise, shower and study. In addition Nikolaev was also famous for his modernist campus of the Moscow Power Engineering Institute. He, however, abandoned his constructivist beliefs in order to adopt Stalinist architecture (Constructivist Architecture, 2010). Aleksey Shchusev. Another prominent name in avant-garde Soviet architecture of early 20th century Russia was Aleksey Shchusev. Shchusev was responsible for the constructivist designs of the Kazan Railway Station, the Narkomzem, or Agriculture Ministry, building in Moscow, and most important of all, Lenins Mausoleum on Red Square, which he designed only in a stunning period of three days (Narkomzem, 2007). Another one of his constructivist designs was the Institute of Resorts in Sochi, which he designed from 1927 to 1931. Shchusev was tasked to design many more buildings after 1932 and some say that he was even the originator of Gothic skyscrapers in Moscow (Soviet Constructivist, 2009). Shchusev studied a the Imperial Academy of Arts from 1891 to 1897 and his travels to North Africa and Central Asia from 1894 to 1899 may have somehow influenced his partial non-adherence to pure Constructivism. It is also worth mentioning that even before Shchusev designed buildings, he was already tasked to restore church and to design a cathedral during the first ten years of the 20th century. His restoration of the St. Basil Church in Ukraine, his designs for the Trinity Cathedral in Pochayiv Lavra, and the Marfo-Mariinsky Convent in Moscow made him one of the best and most versatile architects of his time (Soviet Constructivist, 2009). Erich Mendelsohn. The expressionist architect Erich Mendelsohn was a German Jewish architect and the first foreign architect who was allowed by the USSR to work for them. In 1926, he partially designed the Red Flag Textile Factory in St. Petersburg. The constructivist design of the exterior of the factory made it resemble a ship. This particular masterpiece of Mendelsohn is similar to the Mossehaus, which he himself designed in Berlin. He also designed the rear view of the Einstein Tower in Potsdam and the Cohen House in London, all of which had designs similar to that of Soviet Constructivism. Mendelsohn studied architecture at the Technical University of Berlin and the Technical University of Munich, where he graduated cum laude in 1812. His initial work before he became an international architectural designer was as an independent architect in Munich (Erich Mendelsohn, 2010). Yakov Chernikhov. One of the champions of Russian Constructivism, not necessarily for his actual works but for his theories, was the name Yakov Chernikhov. Perhaps Chernikhovs only actual architectural achievement was the Red Nail Makers Factory, or Red Carnation Factory, built in St. Petersburg from 1930 to 1931. The rest of Chernikhovs fame is attributed to his written works. Chernikhov studied at the Odessa Art School where he taught drawing and sketching years later, and at the Academy of Arts at St. Petersburg where he graduated in 1925. He then joined the Constructivist movement and instead of concentrating on the actual practice of his profession, he wrote and published a series of books which showcased his constructivist architectural fantasies: Fundamentals of Modern Architecture, written from 1929 to 1930; Construction of Architectural and Machine Forms, written in 1931; and Architectural Fantasies: 101 Compositions, written in 1933. These three books did not only make him famous all over the world but also became a source of inspiration to many generations of architects. He had five more books published from 1934 to 1948 (Architect-artist, n.d.). His first book, Fundamentals of Modern Architecture, emphasized the origins of architectural forms, settings and principles, which, according to Chernikhov, are based on asymmetry, the harmony of the components, rhythm of the masses, rhythm of proportions and the shock of the expressivity of its elements (Fundamentals, n.d.). The ideals of the book are explicitly expressed by the words of Chernikhov himself: By rejecting naked, ascetic, boxed architecture, which offers no architectural saturation of space and does not satisfy our eye from the aesthetic side or the side of emotional experience, I tried through consonance of basic masses to achieve a truly expressive architectural image in new forms (Fundamentals, n.d.). A sample of Chernikhovs sketch in the Fundamentals is a constructivist geometrical model of a building like the one below: Taken from: http://www.icif.ru/Engl/cyc/oca/pages/OCA-167_1978-1-166-01.htm Chernikhovs second book, Construction of Architectural and Machine Forms, he enumerates the various architectural forms of the Industrial Age and defines the role and importance of machines in Constructivism. A sample of his sketch of a constructivist building from the Construction is as follows: Taken from: http://www.icif.ru/Engl/cyc/kamf/pages/35.htm Chernikhovs third book, Architectural Fantasies: 101 Compositions, is said to be the greatest book published during his life. It is all about the architectural forms in his mind which happen to be difficult and impossible to actualize during his time. In this book, Chernikhov underlines the role of architectural fantasies. He even defines them in his own words: Architectural fantasy stimulates the architects activity, it arouses creative thought not only for the artist but it also educates and arouses all those who come in contact with him; it produces new directions, new quests, and opens new horizons (Architectural Fantasies, n.d.). An example of his sketch of a constructivist building from his Architectural Fantasies is as follows: Taken from: http://www.icif.ru/Engl/cyc/101/pages/19.htm Decline of Constructivism A competition for a grandiose project for the Palace of the Soviets was held in 1932. The constructivists joined the competition with their best entries. However, there was an ever-growing criticism of Modernism as that time, and this affected as well all the Soviet Constructivism. The winning entry was therefore not constructivist but an eclectic Stalinist architecture project by Boris Iofan. By the end of the 1920s, Constructivism was eventually replaced by Postconstructivism, which featured buildings designed in a composite style and bore close resemblance to Neoclassicism (Constructivist Architecture, 2010).

Video Game Propaganda :: Entertainment Advertising Papers

Video Game Propaganda Propaganda is hidden in our literature, spews from our radios, and is even inside our televisions. Propaganda, information or material spread to advance a cause or to damage an opponent's cause in such a way as to hide negative aspects, surrounds us all in every aspect of our lives. It is unavoidable and now it is gaining ground in yet another technology. Throughout the years technology has always been used to wield propaganda. Even canvas paintings have had their hand in such a form of information with depictions of current events that resemble the style of some of today's political cartoons. The printing press provided the ability to mass produce pamphlets supporting or putting down a cause. Thomas Paine's Common Sense comes to mind when one thinks of propaganda pamphlets because of its large impact it had on informing the thirteen colonies of the importance of the American Revolution. The radio not only allowed a message to be able to reach a wider audience in a shorter amount of time, but messages could even reach those who were illiterate. The television and movies reach a wider audience still and a visual style becomes very important to propaganda and helps immerse the viewer into the information. More recently propaganda has been wielded through computer technology. Web sites for the respective governments and factions of the U.S. military are all over the World Wide Web. Banner ads (essentially mini posters that are sometimes animated) appear on various web sites that are chosen in much the same way that companies choose which television shows to buy advertisement time during. In all occasions of propaganda infiltrating the newest technologies the purpose is always to reach the audience the propaganda is directed towards and that is certainly no exception with propaganda's recent involvement with video game technology. Video game propaganda is just as effective as past incarnations of propaganda if not more so because of its immersive nature. The US Government's History with Video Game Technology In the late 1970s a video games started their long relationship with the U.S. military. An arcade game entitled "Mech War" was introduced into an Army War College. This was the first of quite a few games introduced into colleges to be used as skill-enhancers. The military recognized the ability of video games to hone reflexes and hand-eye coordination. In the 1980s the U.S. Army modified "Battlezone," a futuristic 3D tank battle game that actually introduced the idea of a first person shooter.

Overfishing and it Effects to the Environment Essay

For the last 10 years, the world had been aware of the various changes which had been occurring within our environment. It is known to us that the actions which our ancestors had done in the past have now caused us many problems such as global disasters that could truly ruin the future of the next generation. In the event of the problem of climate change (Millennium Ecosystem Assessment, 2005), various things had come up such as pollution of the air and various water resources. Due to this, different aspect of the environment is deeply affected and sometimes devastated because of the scenarios present. For many people who live in a place where in fishing is their main industry, it is immediately declared that their primary source of income is directly affected by the harsh conditions of the changing weather brought by climate change. Although it is true the climate change is affecting the waters which is one of the main source of our resources, it could not be hidden that the individuals who are directly involved in the industry are also to be blamed to the catastrophe in the water industry. In the waters, one of the main problems which are faced by the industries is the lessening of the fishes in the see. One of the main culprits of this issue is the over fishing of various fishermen who are connected to the huge companies. Over fishing had been a main concern for various non-governmental organizations such that of the Green Peace. It was said by the respectful environmental group that â€Å"over-exploitation and mismanagement of fisheries has already led to some spectacular fisheries collapses. The cod fishery off Newfoundland, Canada collapsed in 1992, leading to the loss of some 40,000 jobs in the industry. The cod stocks in the North Sea and Baltic Sea are now heading the same way and are close to complete collapse† (Green Peace, 2008). Even before human beings have discovered new technologies, it is known that fishes are the main source of food for many. Based on various historical books such as the Bible, fish was the main commodity for the people in order for them to eat. As years gone by, more and more people are inclined to get more fish in order for them to gain income to provide their families. Various innovations and technological advancements were also used to increase the number of catch due to the increasing number of demand for fish. Based on the studies made by the Green Peace and their team of scientists it was stated that overfishing truly is causing a grave danger for the marine life and diversity of our oceans. Most of the fishermen who have the capacity to catch enough fish are those that utilize nets which are not suited to legally catch fish. Many of the fishermen use nets which has smaller holes which do not allow the smaller fishes to escape. This type of scenario happens most of the time, therefore the young fishes were not given a chance to grow and be mature enough to be caught. Through the Young People’s Trust for the Environment, types of events happen due to commercial fishing. There are various techniques that are done by fishermen in order for them to capture various kinds of fishes. There are fishes which are called â€Å"pelagic† meaning they live within the upper parts of the water making them the most accessible fishes to be caught by fishing nets which are connected to the gigantic ships that fishermen use. It is stated that, â€Å"net suspended from floats is stretched between two boats so that fish swim into it. Fish are unable to swim backwards, so once they are caught in the net, there is no escape unless they are small enough to fit through the net’s mesh† (Young People’s Trust for the Environment, 2008). Other fishes that are in the deeper level of the sea are caught differently. There is also a big net placed under the boat which then gets everything that it captures along the way. The marine resources that I catch were not only fish but also the coral reefs, the schools and other organisms which are not supposed to be captured during the act of fishing. Such action is not only disastrous for the young fishes but also the organisms within the environment because they are also being displaced and even killed when there are commercial ships around. (n. p. ) In order to mitigate the problem of over fishing different agencies have created ways in order for them to fully destabilize the problem which is being caused by over fishing. One of the main agencies are the United Nations in which launched various types of programs and amendments to protect the marine resources all over the world as well as protect the marine resources that our world currently have. In 1995, an article was written about the treaty in which was proposed under the United Nations which addresses the problem in over fishing. It states that the treaty should be approved by 185 countries which then be ratified by 30 countries in order for the treaty to be fully taken into place. In addition, another program which had been under the United Nations is the United Nations Fish Stocks Agreement (Government of Canada, 2006). However, Green Peace and World Wildlife Fund had expressed that this treaty would not directly answer the problems of over fishing. In fact, Matthew Gianni had stated that there is a great possibility that yearly there will be new innovations of boats which will be able to detect fish which then result to much more damage to our marine resources (Crossette, 1995). With such article, it directly states that these international organizations does not trust that a plain agreement with various countries thus they suggests more than just an agreement but a full arrangement and limitation of the types of vessels which should be reasonable to be able to catch enough fish. In addition, fishes which will be caught will be enough in size and maturity which will then leave the small fishes to be fully grown and create another generation of fishes. The World Wildlife Fund have done their own actions in order for help create a sustainable fishing for the future generation. They have noted various types of steps in which they called: Fisheries Partnership Agreements which listed these various general actions to fully attain sustainable fishing: †¢ respect sustainable fishing levels account for environmental costs †¢ protect local fishers †¢ include compliance with flag state laws †¢ are based on best practice fisheries management †¢ include cooperation on research and monitoring †¢ ensure adequate monitoring and enforcement capacity †¢ ensure fairer sharing of economic benefits between producer and extractor nations (World Wildlife Fund, 2008) In conclusion, many of our world’s resources had now been gone and are still being abused by various types of industries due to the demand of resources the global economy has. But then, we should remember that we must learn how to conserve our natural resources so that there would not be scarce resources for the future. Like the World Wildlife Fund and the Green Peace have stated, it is not enough the there will be treaties and agreements under these types of issues. It is still important that the mitigation process should be continuously checked in order to incur changes for the environment, the amount of resources as well as to secure the lives of the future generation. The continuous efforts of the international community, through the help of various countries as well as the international organization will lead to a prosperous and much more peaceful fellowship with one another. On the other hand, the issue of climate change must also be resolved for the reason that it also affects the issue regarding overfishing and lessening of the resources available for various marine industries. Although there are issues like this, it should be taken into mind that the responsibility is not only through organizations but also through an individualistic perspective.