Modernism Art Essay Example for Free

Modernism Art Essay As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an  array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa  Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his today and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning,  organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques, 2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and  geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the  technologically savvy society. The architectural advertisement method Vegas seemed to have adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the  historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience. As some critics contended, postmodernism represents a break with the modernist notion that architecture should be technologically rational, austere and functional, discuss the ways in which one postmodern architect has developed strategies which overcome these tendencies. Juxtaposition is seen between the characteristics of early 20th century modern architecture and the artistic endeavours of postmodernism that followed. To represent the ‘Less is More’ (R.Venturi, 1966, pg16) notion  the modernist tendencies had adopted, Robert Venturi built a ‘Ghost Structure’ to imply architecture had no longer become an art form and was merely just a ‘spectator’ (Architecturerevived, 2011) in society. This essay will discuss ways in which the architect Robert Venturi adopts methods to overcome these tendencies that architecture has lost meaning and ways in which he attempts to remove himself with any links with the ‘post-modernist’ movement that he is viewed in having. Modern Architects saw their role as ‘reformers,’ (R.Venturi, 1966, pg16) and tended to break with tradition and start anew. Considering it was a new revolutionary movement they tended to ignore potential problems and focused on the new modern advancements available. A modernist tendency was to build individually however Venturi claimed that a ‘building derives meaning from its context’ (Out Of the Ordinary, 2002) and evidently each individual location requires a different form of architectural style to represent this. In Venturis book ‘Complexity and Contradiction’ he quotes ‘familiar things seen in unfamiliar context become perceptually new as well as old’ (R.Venturi, 1966, pg43) here he perhaps means in order for art to become worthy of aesthetic appreciation the viewer needs to see it in a different context. For example, Tracy Emin’s unmade bed was placed in an art gallery and was more acceptable and appreciated as ‘art’ rather than being viewed in its original, everyday context. Venturi was focused on the reason behind and the visual perception of architecture, he believed that in applying a ‘medley of styles’ (S.V.Moos, 1987, pg32) opposed to an ‘either/or ‘(R.Venturi, 1966, pg16) mind-set would offer a varied combination of architectural styles. Thus enabling to a successful response to the multitude of tastes society desired, as he was well aware that there were an array of underlying problems of everyday life. Problems that modernist architects tended to ignore due to their concern of the solution not corresponding with what they believed to be their perfect design. Venturi disregards modernist tendencies as he favours a more eclectic style rather than the ‘less is more’ (R.Venturi, 1966, pg16) approach modernism supports. Venturi aims to ensure his buildings have ties with historical architecture thus to draw meaning and value. This was to evoke a sense of  familiarity whilst still staying in context with a more modern environment. Venturi believed in using his knowledge from what he had learned and new had worked in the past, so sought to apply these techniques to his designs. An example of this is Venturi’s State Mosque of Iraq; (Ref 1) finished in 1982. Here Venturi sought to draw from numerous styles and periods, specifically, Art Nouveau. The purpose of incorporating so many previous instances was to provide meaning and depth to architecture once more. Venturi was inspired by the work of Edwin Lutyen’s Capital Buildings in New Delhi as Lutyen had successfully managed to integrate historical themes to look postmodern however with an underlying modernist culture. Post-modernist architects questioned the modernist tendency that form depends on function. Walter Gropius quoted ‘aesthetic image and monumentality of a design are more important than functionalism.’ (Architecturerevived, 2011) However the context of the building was all the more important. Venturi championed this and consequently revived the tendency to ‘change things around’ (Architecturerevived, 2011) to develop and discover a more motivating form. He believed that the simplicity of modernist designs were so minimal that they therefore could easily be manipulated to communicate historic and ornamental tendencies of the past whilst taking advantage of the modern advancements in technology and construction all the while considering the users requirements. An example of this is the Vanna Venturi House, (Ref 2) completed in 1961 which has multiple references to past periods and styles. Firstly the street faà §ade denotes Michelangelo’s Porta Pia in Rome, Alessondra Vittoria’s Villa Barabo at Maser and finally the Nymphaeum at Palladio. Venturi quotes to ‘recognising the complexities and  contradictions’ (S.V.Moos, 1987, pg244) in which this building instils, nevertheless was an ideal way to overcome his statement that ‘less is a bore.’ (R.Venturi, 1966, pg17) Additionally Venturi’s love of distortion over ‘straightforward’ and ‘ambiguous’ over ‘articulation’ (R.Venturi, 1966, pg16) notion is a prime example of how he overcame the modernist tendency of  clean, designed and hence forth the exclusion of design traits. Venturi was similarly intrigued by the parallel of how design in the past related to the hierarchy of upper and lower classes of his t oday and whether or not the aesthetics of said classes could be outlined into categories that reflected the social divisions. More precisely he connected classical modern architecture with that of ancient upper classes such as ruins of palaces and the contrast of how they were erected differently from that of how Venturi describes as ‘ordinary’ peoples buildings. (Learning from Las Vegas, 1972) Everything appears to be in relation to, form, space and social responsibility also implying modern architecture seems to have forgotten the art of steganography in which was not only significantly spanning across four centuries from the 15th to the 19th century but was also how architects learnt to progress, appreciate and respect the aesthetic awareness of form. This can be related back to the Renaissance in which the development of form has been linked to the visual for centuries. Venturi wanted to instil ‘new perceptions of old functions’ (Architecturerevived, 2011). He sought to draw from the past and carefully extract relevant features and characteristics and with the buildings context in the forefront of his mind, apply them. An illustration of is how he exhibited historical examples from Baroque and Egyptian architecture to symbolise frames and overwhelm small window openings. He symbolically implied unconventional messages or problems he thought society needed to address, an  example of this being The Guild House, completed in 1963, (Ref 3) Philadelphia. It displays a system of layers with artistic meaning, organisation and a well thought out design process which represents the importance of historical and architectural discourse. By instilling a gold-plated TV Ariel on top of the building signified what Venturi described as the ‘relevant revolution of today.’ (Architecturerevived, 2011) It communicated the underlying idea that the importance of architecture could potentially be forgotten with the advancement of TV and media. Venturi was concerned that the development of these new technologies were influential on art, ‘a machine for living while practical, is emotionless,’ (Molly Jacques,  2009) and that all reference to historical architecture could be perceived as irrelevant or even worse, lost in the progressing society he found himself in. Therefore the TV Ariel became demonstrative of this, a representation based on the theme of classical architecture. It was also said to represent the buildings inhabitants, by simply stereotyping the occupants, believing they watch too much TV, and alas the symbolic connotation of classical statues in cathedrals. Modern architects had pragmatic views. They believed technological advances allowed for the disregard of all historical periods and movements. Led by the new approach of ‘machines for living’ (The Arts – Le Corbusier, Dominic Gallagher) as Le Corbusier cited, inevitably led to the demise of decorative and aesthetics in favour for more organised and geometrical buildings, in addition to this there was a new enthusiasm for building vertically. Venturi believed that the introduction of this technologically motivated notion advertently simplified architecture so much so it had seen a departure from the ‘experience of life.’ (R.Venturi, 1966, pg17) Consequently becoming focused on what characterised as Realism. Venturi studied people in their everyday life and routines, purposely so as not to exclude designing for social problems and consequently to design for the truth. A somewhat stark contrast to the modernist notion of designing for simplification or t he ‘Less is More’ (R.Venturi, 1966, pg16) idea, as stated by Miles Van De Rohe. This evidently left many social questions unanswered or as Paul Rudolf, a prominent modernist architect quoted ‘all problems can never be solved.’ (R.Venturi, 1966, pg16) Furthermore the development of new materials and constructional technological advances allowed for modernist architects to design freely with focus on spatial forms and geometric proportions. Miles Van De Rohes Pavilion’s illustrate this as they lacked any sort of reference to the past as his desire and purpose was to exploit new technologies to the fullest and have no recognized relation to the past whatsoever. Venturi opposed this as he looked to past historical architecture for inspiration and saw relevance in previous movements and styles. This allowed him to design with meaning and by combing new methods of construction and technology allowed him to develop and erect innovative buildings that reflected historical traits whilst still fitting into a  modern society. A further modernist view was that architecture was about a blend on technology and art, and to inevitably reform some sort of style they believed had become lost in tradition. They admired the emerging new developments, especially in transportation and new materials becoming available. They tried to instil this new, sleek, streamlined look in their buildings. It was almost as if they wanted to draw a line under the past and render a new concept of design to follow with the new advances that were being made in other fields. Nonetheless Venturi held on to his belief that architecture hadn’t become so much as lost but instead had been forgotten. Stating that ‘conventional elements’ (R.Venturi, 1966, pg43) could be applied using the advanced methods the modernists championed, and that some sort of balance could be achieved. It suggests a complete rejection of the past is not relevant in order to move forward in not only a social aspect but also to cater for what appeared to be, a demand for a new architectural style. Venturi was positive in regards to the new materials and construction methods now available and did not deny that they were not beneficial to society in his today and stating ‘conventional elements’ (R.Venturi, 1966, pg43) constructed in ‘unconventional ways’ (R.Venturi, 1966, pg43) supports this. As does his design for the Vanna Venturi House, (Ref 2) constructed in 1961 in which an array of modernist materials were used, such as steel. Yet he chose to mix both development in techniques and materials with historical features to create a design that was visually, functionally and constructed successfully in design. Venturi became interested in the Las Vegas Strip (Ref 4) leading him to write the book ‘learning from Las Vegas’ published in 1972. He came to the conclusion that the city had been built to accommodate for the technologically savvy society. The architectural advertisement method Vegas seemed to have  adopted had all been carefully angled to appeal to the people now driving down the strip. This was an original concept in which to appeal to an audience not necessarily on foot. The architecture almost becomes an advertisement in itself and the landscape inadvertently develops into its notorious messy, chaotic and fast paced form, which also reflected the  traits the city and people in it had undertook. The architecture became a direct contrast to the modernist tendencies as the strip ‘serves culture rather than dictates it.’ (Architecturerevived, 2011) this was perhaps as Vegas was competitive and needed to directly interact with its audience in order to entice them. Venturi was inspired to take aspects of how Las Vegas had so forcefully removed the constraints of which had seemed to be put upon architecture and apply it, however in a not so embellished manner. Venturi states how The Guild House (Ref 3) was built with these intentions as well as having a ‘vernacular’ (Perkowitz, 2002) idea in mind. He went on to exploit every available inch of building space obtainable, by building up six-stories high. An attribute in fact of the modernist conception, however Venturi came to this design conclusion to enable the inhabitants to interact more conveniently with the outside. This was said to be purposely done so as not to break up the prevailing aesthetics of the street, nonetheless still managed to introduce another dimension to it. A fragmented outline of the Southern faà §ade directly contrasts with the smooth surface of the North. This intentionally done so as the building was built for the elderly so rather than isolate, the distorted faà §ade in fact drew the outside in, to allow for maximum interaction in a visual nature. Venturi attempts to imply a Baroque Palazzo style upon the Guild House (Ref 3) by the introduction of white tiles on the lower and upper levels of the building. Which was believed to have ‘symbolic’ and ‘representational’ (S.V.Moos, 1987, pg25) components that merge as a whole which in avertedly was to reflect the architectural connotation of the structure. It was understood that the Guild House (Ref 3) was built on a system of layers. Layers of artistic meaning and organisation, each one symbolising the importance of the historical and architectural discourse. This is reinforced by Venturi testifying ‘knowledge instead of learning’ (R.Venturi, 1966, pg12) supports the fact he draws upon what was effective in the past and relates it to his own compositions. He breaks up the historical foundations and is driven and instils a sense of the past throughout his designs. The modernist notion of designing for what the architect believed society wanted rather than needed impacted primarily upon the poorer societies. Hence forth Venturi was particularly careful when building The Guild House perhaps to show designing  with the context and user in mind can be achieved successfully without social problems having to be ignored or forgotten, again a tendency modern architecture seemed to adopt in fear of losing aesthetic value. Venturi sought to prove you could have both. In reflection it can be said that Venturi is extremely knowledgeable and has an in-depth understanding and appreciation for historical architecture in which he feel shouldn’t be forgotten but instead should be admired and inspire future movements. Despite modernism striping what Venturi believed was the ‘art’ from architecture he fought to overcome these tendencies are drew upon relevant historic features and characterisations and applied them liberally to his design, in accordance to their context. Nevertheless he understood that designing for the user was significant and not to exclude social problems. He undertook the modernist concept of advanced ways to construct and recognised and understood the developing society, yet he chose not to ignore historic references and applied them in a system of layers within his designs to accommodate for the advanced civilization whilst electing to apply asceticism for both a functional and visual experience.

Part-time Employment Undermines Students Commitment to School :: Summary Response Working School Essays

Part-time Employment Undermines Students Commitment to School by Laurence Steinberg   Ã‚  Ã‚  Ã‚  Ã‚  Summary: In the essay, â€Å"Part-time Employment Undermines a Student’s Commitment to School† by Laurence Steinberg, it explains how studies show that teenagers that work while attending school are more likely to loose their commitment to school. Steinberg tells the effects on students when they work more than twenty hours a week. His theory was that students are more susceptible to losing their interest in school, while working. They may have to work in the evening time, which can interfere with homework, sleep and diet. Steinberg also elaborated on how these students that work receive money that can make school seem less desirable. Also because they do receive money, they can use their extra money to become associated with drugs and alcohol.   Ã‚  Ã‚  Ã‚  Ã‚  Steinberg’s review of this subject shows the affects of what can happen if adolescents work while going to school and how this can engage them in drugs and have less engagement in school and other related activities.   Ã‚  Ã‚  Ã‚  Ã‚  Response: I agree with Steinberg that working affects adolescents that are going to school. I believe that teenagers should concentrate on their studies and not become overwhelmed with the added stress of work. There is plenty of time for them to learn the â€Å"real world† of working, so why not let them be kids and have them worry about their homework and after school chores, rather than trying to make the almighty dollar.   Ã‚  Ã‚  Ã‚  Ã‚  I like the way Steinberg explains how a simple job can lead to so much more. Parents do not always realize that yes, it is good for a teenager to learn responsibility, but getting a job at that age is not always the right thing to do. Each child is different some may be able to handle it, but most can not. This study shows the effects of how good students can change by working and going to school and how students that already have lost interest in school can loose even more interest and even drop out completely.

People of different races, immigrate to a different country Essay

What are the feelings of those exiles? Many people immigrate out of their country of origin to a different country everday. Whilst some may feel excited at the prospect of discovering a new World, others may feel alienated and strange about their new environment. In the poems ‘Search for my Tongue’ and ‘Island Man’, the poets Sujata Bhatt and Grace Nichols talk about their feelings towards immigration and what they felt when they experienced a great change of culture and environment in their lifes. This essay will analyse how both poets make their feelings apparent throughout their poems. The first poem is Grace Nichols’ ‘Island Man’, her use of colours can show what she feels about both the Carribean and London. Nichols uses colour to reflect Island mans feelings in the poem ; she uses the words ‘dull’ and ‘grey’ to describe London. But in contrast she calls the Carribean Island Mans ‘small emerald island’, to show how precious the island is to Island Man, like an actual emerald diamond. She compares Island Mans life in London with his life in the Carribean. She also makes clear where Island Man would rather be. This is shown through Nichols’s choice of words ‘ defiantly’ and ‘heaves’. It suggests the difficulty in which Island Man has to drag himself out of Bed after dreaming about his Homeland. How angry he feels when the ‘sun surfaces defiantly’ to disturb his dreams. Another word that proofs shows how Island Man feels about london is ‘another’, its is used in the context that it suggests a never ending chain of days which are routine to Island Man. It aslo suggests a growing sense of boredom Island Man feels with his daily ‘dull’ and ‘gray’ surrounds. These colours bring up an image of grey concrete floors, a ‘surge of wheels’, a metaphor which refers to the small compact cars of today in the ‘grey metallic soar’, another metaphor used to describe Londons futuristicness. Nichols also used repetition on the words ‘come back’ to add emphasis on how island man always returns to the harsh reality of London. The effect Nichols is trying to create of her imagery of both ther Carribean are so that she can illustrate an image of London and an image of the Carribean, in which the differences are greater than the personalities. The Carribean is described as the ideal place to live, quiet fishermen ‘going out to sea’ the sounds of ‘wild seabirds’ and the sound of the gentle ‘breaking and wombing’ of the sea in his head. Usually, for many people the sounds of steady sea is associated with calmness and serenenity, relaxing and quiet. It is apparent which Island Man would choose. When the image contrasts are that of a ‘dull’ and depressing London Day surrounded by more ‘dull’ and ‘grey’ concrete buildings, and the bright and beautiful Caribbean Island, it is clear that Island Man, and therefore Nichols prefers the Carribean, and feels happier living in the Carribean. Another poem in which the theme of immigration, culture and identity is apparent is the poem written by Sujata Bhatt, ‘Search for my tongue’. In this Poem, Bhatt spoke of her struggle to fit in, in her new Home in America. She also speaks of her fear of losing her roots in India. ‘Search for my tongue’ is a personal and emotional poem about losing ones language and identity. It is about her own experience and her initial grief of having lost a part of herself that was a key of who she saw herself. In the first part of the poem, the writer explores the idea of having two tongues in your mouth. The word ‘tongue’ can refer to both the body organ which we use for speech, and the language we speak with it. She includes this ambiguous word in her title, suggesting that she lost her ability to talk the language she used before her arrival in the new country. ‘I ask you, what you would do if you had two tongues in your mouth’ is used to include the reader in her poem, to make the reader feel empathetic of her situation. She talks about how problems arise when speaking her mother tongue in an environment where the ‘foreign tongue’ is used so frequently that the mother tongue will ‘rot and die in your mouth’ from no use. The third part of the poem is an extended metaphor, written in Gujurati. This can be to show how hard it is living in a country where you couldnt speak or read the language. She uses the words ‘rot’, ‘die’ and ‘spit’ frequently, to emphasise how negative Bhatt felt about having lost her ‘tongue’. Bhatt uses these strong words to show the strong feelings of loss she felt at that time of identity crisis. She also adds an anglicised transcript to indicate sounds of the gujurati words, to help you read it. It also shows how the two ‘tongues’ are different. Which adds more emphasis on how Bhatt felt because it shows the great difference between the languages. This explains what she ment when she had said ‘ you could not use both of them together even if you thought that way.’, because their difference would make it hard for people to speak both languages together. The last part of the poem is by far the most interesting part, it is the part where Bhatt describes her dream in which her mother tongue ‘buds out of her mouth’ and ‘pushes the other tongue aside’. This fact is also supported as the Gujurati is positioned at the core with English either side of it. This demonstrates that the English and Gujurati language are able to function together in the poem, and therefore are able to function together in her life. She put the Gujurati language in the core of the Poem to show that it is the center of her culture, and as if the gujurati really did push the english language ‘aside’. She did this show that both tongues can work together, contradicting her earlier statement about how they couldnt work together ‘even if you thought that way’. As Bhatt describes rediscovering her lost tongue, feelings of Joy are very apparent. She describes her tongue to ‘bud’ out of her mouth, like a Flower, she talks about how it ‘grows strong veins’ that will help it implant itself in her mouth. Her mother ‘tongue ‘blossoms’ out of her mouth, after re-growing from a stump. Her ending, ‘Everytime I think I’ve forgotten, I think I’ve lost the mother tongue, it blossoms out of my mouth’, leaves a positive imprint on the readers minds, because at the end, she did find that even when she felt she was losing herself, she knew she can never really forget her culture. As comparison to both, in each poem, alienation and cultural identity is the main theme. Both poets use startling imagery to illustrate their point and get their feelings across. In ‘Island Man’ Nichols talks about how he seems to dream of his ‘small emerald island’, and in ‘Search for my Tongue’, Bhatt discovers her true culture is brought alive in her dreams. This suggests that even though both writers felt that they have lost their culture completley, in their subconscious dreams it always returns. The similarities occur in both poems. To conclude, both Bhatt and Nichols have clearly shown their feelings about immigration and about their new and strange surroundings they have to live in, and how they have to change to adapt to them. This change ment to Bhatt that her mother tongue slowly dwindles until she feels she cant speak it anymore. Nichols’ Island Man being forced to spent his live in a country he doesnt like, after dreaming of his homeland the Carribean. In my opinion, both poets semi-autobiographies tell alot about all the negative feelings people may harbour towards immigration. Since such a big part of this Country has at some point of their or their Parents live have lived in a whole different country. It shows the people who have lived here all their life how it felt to lose something so precious, it is described a ‘tongue’ in Bhatts poem and an ’emerald’ in Nichols’s. The themes of cultural and personal identity were apparent throughout both poems and both poets had put their feelings across for the reader to understand. The idea of identity crisis is also beautifully potrayed by both writers, and in the end the motive of the poems was put across to show the reader how it really feels to lose something that identifies you with yourself.

The Hubris of Oedipus in Oedipus the King Essay - 1865 Words

Hubris is defined by the Webster-Miriam dictionary as â€Å"Exaggerated pride or confidence† (Miriam-Webster Dictionary) in Oedipus the King, by Sophocles, In Oedipus The King, by Sophocles, the onslaught of pain assailing the protagonist is a result of his tragic flaw. Sophocles often used a characters’ flaw to alter or influence the outcome or future of the hero. Oedipus hubris influences him to fulfill the oracle and further intensify his punishment from the Gods. Oedipus pride is an essential characteristic throughout the play. Even before Oedipus came into power as the King of Thebes he allowed his arrogance to control his judgment and reign over his actions. Oblivious to his knowledge, Oedipus fulfills Apollos oracle when he†¦show more content†¦621 ln. 149-150) after Creon tells him why they stopped searching for Laius’s killer. Dramatic irony is present when Oedipus tries to skirt the horrible prophecy of him killing his father and coupling with his mother, because in fleeing Corinth to avoid murdering Polybus, he is actually taking the correct path to fulfill the prophecy. Again his overconfidence and pride contributes to his impending doom; in believing that he has outwitted the gods he challenges his fate. Although he has enough reverence to the deities not to assume himself to be an equal with the gods, but greater than them it is clear through the word usage that Oedipus perceives himself to be of a greater importance than the lesser mortals that surround him â€Å"One of you summon the city here before us, tell them I’ll do everything. God help us, we will see our triumph-or our fall† (p. 621 ln. 163-165). He is conceited to think that he can shape his own destiny and the gods punish him for this arrogance. Once Oedipus is made aware of the dire situation in Thebes he responsibly, but paternalistically assumes to be the savior, even though as David McDonald states, â€Å"The Messenger’s attem pt to bring good news brings disaster†¦Ã¢â‚¬  (McDonald, pg. 148) Oedipus dialogue, Oh my children, the new blood of ancient Thebes, why are you here? Huddling at my altar, praying before me†¦ (p. 617 ln. 1-4) suggests that Oedipus feels highly regarded, almost a divinity. In addressing hisShow MoreRelatedEssay on Oedipus the King: The Hubris of Oedipus1681 Words   |  7 Pages Oedipus the King written by Sophocles, is a powerful Greek tragedy story. The protagonist, Oedipus is a heroic mythical king who had it all. Oedipus pursues to find the true answers to his identity and destiny, while at the same time trying to avoid fulfilling his destiny. Oedipus the King was introduced around 429 B.C.E. in Athens. This was Sophocles most celebrated play. 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Odysseus and Oedipus are similar in which they both god-like men who are considered heroes because of their cautious ways and relentless tenacityRead More Oedipus and Creon in Sophocles Oedipus the King Essay1128 Words   |  5 PagesOedipus and Creon in Sophocles Oedipus the King   Ã‚  Ã‚  Ã‚  Ã‚  At first glance, Oedipus and Creon are two very different people. But as time progresses their personalities and even their fates grow more and more similar. In Sophocles’s play â€Å"Oedipus the King†, Oedipus and Creon are two completely opposite people. Oedipus is brash and thoughtless, whilst Creon is wise and prudent. In â€Å"Oedipus the King†, Oedipus effectively portrays the idea of the classic â€Å"flawed hero†. He becomes arrogant and brash.Read MoreEssay on Oedipus Versus Creon1141 Words   |  5 PagesOedipus Versus Creon At first glance, Oedipus and Creon are two very different people. But as time progresses their personalities and even their fates grow more and more similar. 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Selfie as a New Trend of Photography Free Essay Example, 1500 words

There are a number of varying opinions concerning whether the selfie culture is lame or legit and this means it is the responsibility of the people who take part in this practice to mold the future of this kind of photography. To avoid being a selfie addict, a person should focus on people as well as things that exist around them in their day-to-day lives as well as spending time on activities that involve family members and friends like travelling and watching films. Taking selfies is not an activity that can be done throughout the day and when in a place that is inappropriate for such a practice, the person that has the urge to take the selfie should try their best to avoid taking this kind of photos. Generally, selfies are not empowering sources of pride and nor are they narcissistic exercises by silly teenagers but they are a logical response that has been allowed by technology to an upbringing that makes them think that what matters is the opinions of other people. The selfies stands for an age in photography where images have become more disposable in meaningless. We will write a custom essay sample on Selfie as a New Trend of Photography or any topic specifically for you Only $17.96 $11.86/pageorder now What are the moments that are being captured by these photographs? What are the emotions in the pictures? All the photographs seem to be taken in the same angles, poses and pout making one photo no different from the other. When the photographic medium first came to being in the 1840s, it received praise for its democracy and versatility, but there were concerned that this medium also encouraged some level of self-obsession. Most of the criticism that is directed at the selfie is that it is supports this kind of narcissistic society and this fills people lives with numerous images of themselves even though photography has always done this. Photography has accorded value to self-image as well as the ability for people to develop images of themselves. This attribute of taking photos enabled everyone to take part and the capacity for everyone to create and see them made photography an influential and universal phenomenon.

Emotional Intelligence On The Early Childhood Development

Abstract Emotional Intelligence assessments have been used to predict a person’s success or failure in regard to school, business and life. There are many studies that provide evidence of the benefits of emotional intelligence to children, adults, parents and employees. A child’s emotions are often treated as petty, irrational and immature, when it is during childhood that children need to be taught how to deal with emotions. The objective of this paper is to give significant evidence that there is a benefit to beginning the introduction of emotional intelligence in the early childhood development. Introduction This paper is a look at the idea of introducing Emotional Intelligence (EI) to grade school children to aid in curbing the rise of violence and bullying and providing a framework for children to develop their ability to handle their emotions appropriately. I will begin with defining EI and its importance. I will look how emotional intelligence can be an important tool to assist children in dealing with childhood challenges, it’s importance in dealing with the growth of bullying and the long-term benefits of EI for adults. I will summarize why I feel if we graduate students with a strong EI to go with their IQ, they will be better able to handle the challenges of adulthood and become emotionally stable adults, parents and ultimately show it’s influence on employees and it’s role in business. Major Arguments Knowledge and study of emotional intelligenceShow MoreRelatedEarly Childhood Curriculum Planning Essay examples716 Words   |  3 PagesThis paper will examine the planning and purpose of curriculum in the early childhood classroom. Discussed will be the definition of an integrated curriculum, and the connection between curriculum and development in the pre-kindergarten and Kindergarten student. 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Nilsson, Holmqvist, Jonson (2011) conducted a study that found trauma related experiences (particularlyRead MoreChildhood Is The Social Construction Of Children1606 Words   |  7 PagesChildhood is the social construction of children, where they develop and understand different relationships and cultures in their society. Children grow up during their childhood, when they realise their â€Å"sense of meaning in their lives† (Layard and Dunn 2009, p.9), by socializing and personal development. Childhood starts with a family, which is the beginning of life. Family is where children first learn about the world. 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Bionic Limbs Clinical Rehabilitation

Question: Describe the Report for Bionic Limbs for Clinical Rehabilitation. Answer: Introduction The bionics was as a result of some problems that resulted from clinical based or crime based amputation of the limbs. This bionic limbs technology has actually revolutionalized the modern world due to advances in technology. For instance, when soldiers lost their limbs in a war, they had to be amputated (Sanders et al., 2005). This process is very painful and perilous and in most instances it could even result in the death of a patient. And for those who had undergone a successful process of amputation, sometimes they find difficulties when moving around. So what next? The amputees had problems in moving around and instead of giving up or just sympathizing with them they developed the bionic limbs. Therefore people who lose their limbs can get bionic limbs that help them in movement and spare them from the dangerous process of limb amputation. This has in fact increased these safe processes of limb replacements. The bionic limbs It is important to admire how technology has really improved life because the bionic limbs are very functional and lifelike. Initially, the peg leg artificial was in use but at the moment the prosthetic industry has been making modifications in order to make lightweight artificial limbs which are light to carry (van den Heiligenberg et al., 2015). Towards the end of the Second World war, there was a development in the advances of prosthetics in a campaign known as the artificial limbs program. Examples of the limbs that were developed during this campaign include the quadrilateral sockets, Henschke by hydraulic knee joints, patellar tendon below knee prosthesis as well as improved methods of managing patients who had amputations on the upper limbs. At the same time, there was a tremendous development on early fitting as well as save the knees especially when amputation had been recommended as a result of arteriosclerosis. Many advances have occurred from the simple peg leg all the way to the modern artificial limbs that we have on a preset day (Gutfleisch, 2003). There have been several campaigns in support of amputees while many other learning institutions have introduced prosthetics courses in their curriculum. Finally, the advances in the prosthetic industry have led to the development of the bionic limbs which are controlled by electric power. This type of artificial limb uses the concept of myoelectricity whereby the electric power is generated when a muscle is contracting, the residual limb is amplified. After amplification, the electric power is processed and then used to control the low electric power from the battery to the motor and eventually operates the artificial limb. The bionic limb was an invention from the Germans in the 20th century although it had drawbacks of lack of portability. Then many countries a wave which was in the form of competition to produce a successful prosthetic whi ch was controlled myoelectrically. Finally, the first stand-alone prosthetic was developed by a Russian scientist whereby the product was a myoelectric control system which was self-contained. The most common artificial limbs were for the hands and could be used by both children and adult amputees. Finally, a programmable artificial limb was designed such that it could be used for several functions (Williams et al., 2016). This programmable artificial limb can be adjusted while still on the patient by use of one or two electrode control points such that they can produce various functions. With advancement in the modern battery technologies, the improved battery life offers more services to the patients (Laferrier Gailey, 2010). The prosthetics also get a natural feeling when using the bionic limbs because the computer technology which is in use has a large memory for control as well as movement. An example of a modern artificial lamb is the cosmetic prosthetic limb which looks exactly like the actual limbs. In this case, pigments and plastics that match the skin color of the patients are used in making the modern day bionic limbs. The type nature of the amputation and the exact place where the limb was determines the type of the prosthetic limb that can be used. For example, an above the knee requires more technology because it requires articulated knees and ankles and also requires to be attached to the nerves. Additionally, the bionic limbs are efficient but expensive to buy a cost factor which varies with the level of technology used (Datta et al., 2004). Conclusion At the present day, artificial limbs have undergone a great revolutionization which meets the needs of the patient. Some limbs use microprocessors and can even remember body movements through adaptation of the knee stiffness. With increased variety of bionic limbs, the patients have a wide variety to choose from according to their needs as well as the cost. References Datta, D., Selvarajah, K., Davey, N. (2004). Functional outcome of patients with proximal upper limb deficiency-acquired and congenital. Clinical rehabilitation, 18(2), 172-177. Gutfleisch, O. (2003). Peg legs andbionic limbs: the development of lower extremity prosthetics. Interdisciplinary Science Reviews, 28(2), 139-148. Laferrier, J. Z., Gailey, R. (2010). Advances in lower-limb prosthetic technology. Physical medicine and rehabilitation clinics of North America, 21(1), 87-110. Sanders, J. E., Zachariah, S. G., Jacobsen, A. K., Fergason, J. R. (2005). Changes in interface pressures and shear stresses over time on trans-tibial amputee subjects ambulating with prosthetic limbs: Comparison of diurnal and six-month differences. Journal of biomechanics, 38(8), 1566-1573. van den Heiligenberg, F., Macdonald, S., Duff, E., Henderson, S. D., Johansen-Berg, H., Culham, J., Makin, T. (2015). Activity in hand-and tool-selective regions for prosthetic limbs in amputees is associated with prosthesis usage in everyday life. Journal of vision, 15(12), 983-983. Williams, R. J., Holloway, C., Miodownik, M. (2016). The ultimate wearable: connecting prosthetic limbs to the IoPH. In Proceedings of the 2016 ACM International Joint Conference on Pervasive and Ubiquitous Computing: Adjunct , 1079-1083.