How Architect Louis Sullivan Influenced American Design

How Architect Louis Sullivan Influenced American Design Louis Henri Sullivan (born  September 3, 1856) is widely considered Americas first truly modern architect. Although born in Boston, Massachusetts, Sullivan is best known as a major player in what is known as the Chicago School and the birth of the modern skyscraper. He was an architect based in Chicago, Illinois, yet what many consider Sullivans most famous building is located in St. Louis, Missouri - the 1891 Wainwright Building, one of Americas most historic high-rise buildings.   Fast Facts: Louis Sullivan Born: September 3, 1856 in Boston, MassachusettsDied: April 14, 1924 in Chicago, IllinoisOccupation: ArchitectKnown for: Wainwright Building, 1891, in St. Louis, MO and his influential 1896 essay The Tall Office Building Artistically Considered. Louis is associated with the Art Nouveau movement and the Chicago School; he partnered with Dankmar Adler to form Adler and Sullivan, and he had a major influence on the career of Frank Lloyd Wright (1867-1959).Famous Quote: Form follows function.Fun Fact: The tripartite design of skyscrapers is known as Sullivanesque Style Instead of imitating historic styles, Sullivan created original forms and details. The ornamentation he designed for his big, boxy skyscrapers is often associated with the swirling, natural forms of the Art Nouveau movement. Older architectural styles were designed for buildings that were wide, but Sullivan was able to create aesthetic unity in buildings that were tall, concepts articulated in his most famous essay The Tall Office Building Artistically Considered. "Form Follows Function" Louis Sullivan believed that the exterior of a tall office building should reflect its interior functions. Ornamentation, where it was used, must be derived from nature, instead of from the Classical Greek and Roman architectural forms. New architecture demanded new traditions, as he reasoned in his most famous essay: It is the pervading law of all things organic, and inorganic, of all things physical and metaphysical, of all things human and all things super-human, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law. - 1896 The meaning of form follows function continues to be discussed and debated even today. Sullivanesque Style has come to be known as the tripartite design for tall buildings - three definitive exterior patterns for the three functions of a multiple-use skyscraper, with offices rising from commercial space and topped with the ventilating functions of attic space. A quick look at any tall building built during this time, from about 1890 to 1930, and youll see Sullivans influence on American architecture. Early Years The son of European immigrants, Sullivan grew up in an eventful time in American history. Although he was a very young child during the American Civil War, Sullivan was an impressionable 15-years-old when the Great Fire of 1871 burned down most of Chicago. At age 16 he began to study architecture at the Massachusetts Institute of Technology, near his home in Boston, but before completing his studies, he began his trek westward. He first got a job in 1873 Philadelphia with a decorated Civil War officer, the architect Frank Furness. Shortly thereafter, Sullivan was in Chicago, a draftsman for William Le Baron Jenney (1832-1907), an architect who was devising new ways to construct fire-resistant, tall buildings framed with a new material called steel. Still a teenager when working for Jenney, Louis Sullivan was encouraged to spend a year at the École des Beaux-Arts in Paris before beginning to practice architecture. After a year in France, Sullivan returned to Chicago in 1879, still a very young man, and began his long relationship with his future business partner, Dankmar Adler. The firm of Adler and Sullivan is one of the most important partnerships in American architectural history. Adler Sullivan Louis Sullivan partnered with engineer Dankmar Adler (1844-1900) from approximately 1881 until 1895. It is widely believed that Adler oversaw business and construction aspects of each project while Sullivans focus was on architectural design. Along with a young draftsman named Frank Lloyd Wright, the team realized many architecturally significant buildings. The firms first real success was the 1889 Auditorium Building in Chicago, a massive multi-use opera house whose exterior design was influenced by the Romanesque Revival work of architect H. H. Richardson and whose interiors were largely the work of Sullivans young draftsman, Frank Lloyd Wright. Auditorium Building, Chicago, Illinois, 1889. Angelo Hornak/Getty Images (cropped) It was in St. Louis, Missouri, however, where the tall building gained its own exterior design, a style that became known as Sullivanesque. In the 1891 Wainwright Building, one of Americas most historic skyscrapers, Sullivan extended the structural height with exterior visual demarcations using a three-part system of composition - the lower floors devoted to selling merchandise should look different from the offices on the middle floors, and the top attic floors should be set apart by their unique interior functions. This is to say that the form on the outside of a tall building should change as the function of what goes on inside a building changes. Professor Paul E. Sprague calls Sullivan the first architect anywhere to give aesthetic unity to the tall building. Building on the firms successes, the Chicago Stock Exchange building in 1894 and the 1896 Guaranty Building in Buffalo, New York soon followed. After Wright went on his own in 1893 and after Adlers death in 1900, Sullivan was left to his own devices and is well-known today for a series of banks he designed in the midwest - the  1908 National Farmers Bank (Sullivans Arch) in Owatonna, Minnesota; the  1914 Merchants National Bank in Grinnell, Iowa; and the 1918 Peoples Federal Savings Loan in Sidney, Ohio. Residential architecture like the 1910 Bradley House in Wisconsin blurs the design line between Sullivan and his protege Frank Lloyd Wright. Wright and Sullivan Frank Lloyd Wright worked for Adler Sullivan from about 1887 to 1893. After the firms success with the Auditorium building, Wright played a larger role in the smaller, residential business. This is where Wright learned architecture. Adler Sullivan was the firm where the famous Prairie Style house was developed. The best-known mingling of architectural minds can be found in the 1890 Charnley-Norwood House, a vacation cottage in Ocean Springs, Mississippi. Built for Sullivans friend, Chicago lumber entrepreneur James Charnley, it was designed by both Sullivan and Wright. With that success, Charnley asked the pair to design his Chicago residence, today known as the Charnley-Persky house. The 1892 James Charnley house in Chicago is a grand extension of what began in Mississippi - grand masonry subtly adorned, unlike the fancy French, Chà ¢teauesque style Biltmore Estate that Gilded Age architect Richard Morris Hunt was building at the time. Sullivan and Wright were inventing a new ty pe of residence, the modern American home. Louis Sullivan gave America the skyscraper as an organic modern work of art, Wright has said. While Americas architects were stumbling at its height, piling one thing on top of another, foolishly denying it, Louis Sullivan seized its height as its characteristic feature and made it sing; a new thing under the sun! Van Allen Building, Designed by Louis H. Sullivan, 1913, Clinton, Iowa. Carol M. Highsmith/Buyenlarge/Getty Images (cropped) Sullivans designs often used masonry walls with terra cotta designs. Intertwining vines and leaves combined with crisp geometric shapes, as displayed in the terra cotta detailing of the Guaranty Building. This Sullivanesque style was imitated by other architects, and Sullivans later work formed the foundation for many of the ideas of his student, Frank Lloyd Wright. Sullivans personal life unraveled as he got older. As Wrights stardom ascended, Sullivans notoriety declined, and he died virtually penniless and alone on April 14, 1924 in Chicago. One of the worlds greatest architects, said Wright, he gave us again the ideal of a great architecture that informed all the great architectures of the world. Sources Frank Lloyd Wright On Architecture: Selected Writings (1894-1940), Frederick Gutheim, ed., Grossets Universal Library, 1941, p. 88Adler and Sullivan by Paul E. Sprague, Master Builders, Diane Maddex, ed., Preservation Press, Wiley, 1985, p. 106Additional Photo Credits: Terra Cotta Detail, Lonely Planet/Getty Images; Guaranty Building, Reading Tom on flickr.com, Creative Commons Attribution 2.0 Generic (CC BY 2.0); Biltmore Estate, George Rose/Getty Images (cropped)

ACT Exact Start Time and End Time

ACT Exact Start Time and End Time SAT / ACT Prep Online Guides and Tips In addition to all your ACT studying, you need to prepare for test day. When exactly does the ACT start? What time will you hand in your scantron sheet, gather your arsenal of No. 2 pencils, and leave the test center? Is timing the same for all students, or does it vary by location? This guide will go over the exact start and end time of the ACT so you can plan your Saturday morning. Assuming you haven't arranged an alternative testing date or other accommodations, what time do you need to arrive? ACT Test Day: When Do You Need to Arrive? You must be in the test center by 8:00 am at the very latest. Test administrators are strict about denying entrance to latecomers. Since students are usually admitted at 7:45 am, you should really aim to arrive between 7:30 and 7:45 am. There's often a line of students waiting outside, so it's definitely a good idea to get there earlier than 7:45. You'll check in with your admission ticket and ID and find your room. Seats are assigned, but first you might have to store your bag and snacks somewhere outside of the testing room. Once everyone is checked in and seated, the proctor will pass out the test booklets and scantrons. She'll give you instructions about how to fill out your personal details and take the ACT. All of this takes about 30 minutes to an hour,depending on how many students there are and how long it takes everyone to get settled in. Although you'll arrive to the test center by 7:45, you'll actually start taking the ACT between 8:30 and 9:00.From the point you start in on your first English question, how long does the exam take? How Long Is the ACT? Added together, the four multiple-choice sections of the ACT (English,Math,Reading, andScience) take a total of two hours and 55 minutes. With the 40-minute optional Writing section, this time increases to threehours and 35 minutes. Here is an overview of the time you'll get on each ACT section (including breaks). I've also included exact start and end times (with the assumption that the test starts at 8:30 am). ACT Section Total Time Start Time End Time English 45 mins 8:30 am 9:15am Math 60 mins 9:15am 10:15am Break 10 mins 10:15am 10:25am Reading 35 mins 10:25am :00am Science 35 mins :00am :35am Break (some students leave) 5 mins :35am :40am Writing (optional) 40 mins :40am 12:20 pm TOTAL 3 hrs 5 mins (w/out Writing) 3 hrs 50 mins (w/ Writing) - - Besides the four sections, you'll get a 10-minute break. This break is always after Math and before Reading. If you're taking the ACT with Writing, you'll also get a five-minute break first. If not, this is when you'll hand in your test and leave the testing center. On rare occasions, some students might be asked to take an extra fifth section (lucky them). This section will come at the end of the test. Don't worry- it won't be scored. It's just used to test out material for future ACTs. The questions could be multiple choice or student-produced responses. In the past, this section has been just 16 minutes long. Typically, without this rare extra section, the ACT is threehours and five minutes or three hours and 50 minutes(with the Writing section and breaks). Apart from a slight variation in start time to get everyone checked in, though, are there any other differences in how long the test takes at different test centers? Are There Any Variations in the ACT Schedule? The ACT should be three hours and five minutes or three hours and 50 minutes across the board. Since it's a globally administered admissions test, test-taking conditions should be standard for all students. The only exception involves accommodations for extended time or Special Testing. Other slight variations in the ACT schedule might occur if a proctor isn't strict with break time, or if students take extra time to return to the test room. There could also be a delay if a proctor has to dismiss a student from the testing room, although she might wait until the test is over to deal with an issue so as not to interrupt everyone else. Generally speaking, everyone taking the ACT will get the same amount of time. Because of this, you can know what to expect for your Saturday morning schedule and when to arrange to be dropped off and picked up. When Will You Leave the ACT Testing Center? Students taking the ACT are generally dismissed around 12:15 pm, and those taking the ACT with Writing are dismissed around 1:15 pm. Beyond the test, it takes a few minutes for the proctors to collect everyone's tests and for the students to gather their belongings and leave. The proctor will dismiss everyone, and you'll be all done and free to go. The ACT is a time-intensive, pressure-packed test for most students. Besides arranging your pick-up and drop-off times and knowing what to expect, though, is there anything else you can do to prepare for ACT test day? How to Plan Your ACT Test Day Schedule The ACT is already stressful as it is- you don't want to add to your stress by running late or feeling clueless on test day. Instead, you should familiarize yourself with exactly what's coming and have a plan for those things that are in your control,such as your schedule. You don't want to be rushing and diving through doors just before they close. That would just distract you, create anxiety, and be no fun for anyone. Therefore, leave early and give yourself plenty of time to arrive at the test center by 7:30 am- 7:45 at the latest. Pack your bag the night before with everything you need, such as No. 2 pencils and an approved calculator. Go to bed early, and eat a nutritious breakfast that will fuel your test-taking for the next few hours. Bringing a snack and water for the break is a good idea, too. Don't underestimate the effects your physical state can have on your mental clarity! After all, who can focus on trigonometry problems when their stomach is rumbling for everyone to hear? Staying energized and hydrated, as well as taking advantage of your break time to move around out of your desk,will be refreshing and help you reset before diving into the challenging Reading section. Put simply, prepare yourself so the morning of your test goes as smoothly as possible. Bring everything you need and know your exact testing schedule. Then by 12:15 or 1:15 pm, you'll be all finished and ready to celebrate completing the ACT! What's Next? Do you feel pressed for time on the ACT? Are you worried about getting to all the questions? Learn our expert strategies for how to stop running out of time on ACT Reading andACT Math. Did you know that more recent ACT practice tests are better representations of what you'll get on test day, while the older ones are a little too easy? At least, that's what test experts say. Read here about whether or not the ACT has been getting harder in the past few years. Want to improve your ACT score by 4 points?We have the industry's leading ACT prep program. Built by Harvard grads and ACT full scorers, the program learns your strengths and weaknesses through advanced statistics, then customizes your prep program to you so you get the most effective prep possible. Check out our 5-day free trial today:

Financial Management in Nonprofit Organizations Essay - 3

Financial Management in Nonprofit Organizations - Essay Example Another important difference in the financial management of the two types of organizations is the constraint of non distribution. Nonprofit organizations cannot distribute the profit generated to the owners. Nonprofit organizations do not have any owners. Thus the people who fund the organizations do not necessarily gain any kind of control over the firm. The nonprofit organizations have board just like profit making organizations. Although there is one major difference, that the boards of the nonprofit organizations are self appointed. Thus the board members are not accountable to the shareholders. There is considerable debate in these two matters, one is the bringing in accountability in the actions of the board members and other one is granting the investors with the rights to control the firm. It is advisable that the board members be held accountable for the actions taken, since this will help to bring in controllability and responsibility in the actions. The second recommendati on is to grant the investors who provide the firm with specific and important investments, the right to control the firm to some extent. Introduction The mode of operations for a nonprofit organization is markedly different than that of a profit making organization. ... he topics which are chosen for further discussion are difference in the sources of fund, difference in the use of debt, difference in the evaluation of the performance and the difference in the mechanism of governance in the nonprofits. Sources of fund In case of debt financing a nonprofit organization organization has options to raise funds from grants, debts, overdraft and line of credit. Whereas an organization that works for the generation of profit are allowed to raise funds from the operations and financial capital markets. The concept is very simple, the net income is income left after deducting all kind of expenses from the total revenue is utilized in two ways, either it is given away to the investors or is utilized for the purpose of the business (Stephen, 2012). A nonprofit organization organization can only retain the profit for its business purposes and cannot distribute profit to the equity holders. Thus it is not able to finance using equity shares and thus it is barre d from raising money from the capital market. Unlike a FP organization, a nonprofit organization organization sets short term goals and objectives. This is the same reason for which the debts are used in a different way in both the organizations. A for profit organization may use short term debt for both long term as well as short term purposes. For example the for profit organization which is in need of $ 10 million, can resort to short term financing of $ 2.5 million in four equal installments (Stigler, 2011). The cost of financing through such short term borrowing will be considerably more, producing a debt burden over the organization. For profit organization can still manage to pay for the interest as well as the principal due to the fact that they enjoy a steady flow of cash

Author Study Essay Example | Topics and Well Written Essays - 1500 words - 1

Author Study - Essay Example That’s what it does best. I write for the emotional experience of it, for me as the writer and for the reader† (Toffoli, 2010). It’s a well-known fact that Udall’s works are greatly influenced by R.Bass, B.Hannah and M.Twain, which is to say, by representatives of both Eastern and Western schools of writing. It has already been a tradition that Udall is frequently compared to John Winslow Irwing for the reason of some curious common writing peculiarities. That is exactly the fact which contributes to the striking singularity of his works. Udall’s last world-renowned novel â€Å"The Lonely Polygamist† is beyond no doubt a completely unorthodox one. He tells us a story that is constantly unsettling our expectations, heightening both emotions, having the sour and the sweet simultaneously, being written in extremely unconventional naturalistic style, a truly fascinating and thrilling formula. Another rate unorthodox method Udall tends to use is animal reflection. In all he writes, Udall tends to use animals in some way or another. This is how animals appear in Udall’s works; there may be a protagonist with a pet vulture, for instance. This might appear either in symbolic way, or, typical of Udall’ style, in a funny one. Udall just tends not to look at animals in the same way the reader looks at humans. â€Å"They can accept and absorb our hopes and fears in a way that humans cant† (Owens, 2010). As known, Brady Udall attended the Iowa Writers Workshop at the University of Iowa. He spent two years there before writing his very first collection of short stories. Udall himself thinks that only two conditions must be provided in order for anyone to become a good writer: the time and the means to write. Interesting to admit: while talking about advices for aspiring writers he notes â€Å"Don’t worry what your mother, your classmate, your neighbor, your spouse, or anyone else thinks about what you write†, which sounds rather funny compared to what he

Why Austen bores the modern audience Essay Example for Free

Why Austen bores the modern audience Essay But the scenario with Darcy and his two proposals counters this philosophy, and makes an extremely discreet statement. Alternatively There must be something that makes the novel a universally acknowledged classic. Here are some of the ways Jane Austen attempts to quell boredom In contemplating this, it must be taken in mind that social attitudes were at a peak of mildness and placidity in the Victorian period (table legs = table unmentionables); much less was required to imply passion to the reader (this rather paradoxically Victorians must have needed much dirtier minds). In the complete book I dont think there is one romantic physical gesture cited; even the language goes little further than expressing how cheerful the speaker is (I was utterly delighted); but when Austen does want to construct specific atmospheres she demonstrates a range of artistic techniques to achieve this: inside the first chapter of the third volume there is a scene possessing an excitement foreign to the rest of the book. Austen introduces Darcy back into the story without any real preceding apprehension: while the former was conjecturing as to the date of the building, the owner of it suddenly came forward from the road, which led behind it to the stables. This remark is so subtle that it takes a few seconds to contemplate what has actually happened in that respect we share exactly the feelings that Elizabeth must be experiencing. Various dialogues in the preceding volume give the impression that there is no danger of Darcys materializing; and the consistent tepidity of the novel assure us that Austen wouldnt stoop so low as to fabricate a coincidence like this that when it does happen it seems ingenious. There are some attractive and imaginative narrative techniques inside the book which momentarily quench the monotony, and when I read the fourth chapter of the third volume, I have to confess that I was intrigued. The chapter is narrated on the behalf of a character other than the main focus of the story (Elizabeth), in the standard form of a letter. But interestingly, there are two correspondences making up the chapter, one composed a day after the other; which is a rational way to break up the continuity of the story and thus generate some much required tension. The form of the novel three separate volumes could have several motives: printing restraints, a desire to make more money, writers block (more time to keep the publishers happy)* or genuine artistic consideration. Indeed, the events fit pretty tidily into three sections, with cliff-hangers at the end of the preceding two (will they stay in London oh, they will; what will happen when they get to Mr. Darcys house Theyll theyll meet Mr. Darcy). The book has a standard relationships-problems-weddings structure. Jane Austens choice of language is pretty limited to the rigid and self-important vocabulary necessitated by the presence of upper-class Victorian females (vexed, delighted, utterly ); she employs this to great effect though, probably owing to her own circumstances. Aside from the abovementioned portentous dispatch there are some instances of words employed for a specific effect: Darcys letter in chapter twelve of the second volume is a good example Austen writing on behalf of an apologetic and mildly arrogant rejectee. Darcy pleads her justice in perusing his countenance, and he offends her out of necessity. The previous example especially is both humble and superior: he only insults her because he is forced to; nevertheless he is taking a liberty by considering a necessity to affront. (I resisted an urge here to cross reference Jane Austen with Catherine Tate. Its obvious who the real genius is ) Patterns of words are exploited throughout; recurrently the phrase structure of the adverb most followed by an adjective in creating speech for the fairer sex: most displeased, most agitated, etc. The effect achieved is much the same as the abovementioned an upper-class verbalization. The spectrum of emotional effects throughout the whole book is small. From the depiction of mild anticipatory discomfort to the fairly strong sense of awkwardness portrayed in Elizabeths meetings with Darcy subsequent to the receiving of the explanatory letter, there is no contrast harsh enough for us to relate in any significant way to the characters happiness at the end of the story. In conclusion, despite my judgment of this book as an uneventful, upper-class, pretentious, boring novel so distant from todays morals as to be almost surreal; which only approaches the mildly amusing in the half-hearted humour directed at the un-funny comments by Mr. Bennet above; I can go as far to say that when compared with the two greatest writers of her era, Austen has a comfortable top-three placement. Show preview only The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Miscellaneous section.

Domestic Violence Facts and Myths :: Violence Against Women Essays

In this paper I will be telling you many different forms of domestic violence. I will include the physical abuse, sexual abuse, verbal abuse, spiritual abuse, economic abuse, social abuse, and emotional abuse. I will also describe the "cycle of violence", teen dating violence, and why women stay with an abusive partner. Physical abuse takes many forms including hitting, punching, pulling hair, slapping, grabbing, biting, kicking, breaking bones, bruising, burning, twisting arms, throwing victims against walls and furniture, throwing objects and using weapons. It also includes damaging household goods, killing pets, and denial of human needs, like sleep and nutrition. Assault can be of a life-threatening nature resulting in broken bones, miscarriages and other serious injuries. A substantial proportion of victims are threatened or assaulted with weapons such as knives, firearms and axes. Physical violence can result in murder and often leads to serious physical injury. The injuries are not always obvious as abusers often make sure the signs of their attacks are hidden under clothing. For many women there is a real and constant threat of death because of the seriousness of the abuse. Sexual abuse in the home is domestic violence. Sexual intercourse without consent is sexual assault. Sexual assault may or may not involve physical force. Sexual abuse is unwanted sexual contact. Many men still believe that they have the right to unlimited sexual access to their wives. Verbal abuse consists of derogatory comments, insults and constant put- downs. Lack of physical attractiveness, inferiority, inability to cope and succeed on her own and being told that she is not a good mother/wife/housekeeper. Over time this constant humiliation will destroy a women's belief in herself and severely affect her self-esteem. She begins to take on the abusive descriptions as if they are real and therefore may start to believe that she's worthless, that the violence is her fault. It must be kept in mind that responsibility for the violence lies solely with the perpetrator, not the victim. Threats are very common form of verbal abuse, aimed at terrorizing the woman to such and extent that the abuser is in total control. Threats by a man to kill a woman if she leaves him are often reported by victims of domestic violence. Emotional abuse closely linked to verbal abuse, these behaviors are also aimed at terrorizing the victim and stripping her of her self-confidence. Behaviors include destroying household/personal property deliberately hurting/injuring/killing domestic pets, deprivation of essential personal

The Sexual Content in Angela Carter?S the Bloody Chamber

The Sexual Content in Angela Carter? s â€Å"The Bloody Chamber† The Bloody Chamber and Other Stories, is a selection of fairytales which have been re-written by Angela Carter to place them in the modern day. Carter has taken seven fairytales whose â€Å"latent content† she says were â€Å"violently sexual†, (qtd by Robin Sheets, â€Å"Pornography Fairy Tales and Feminism† 642). The stories include a variation of classics fairytales such as â€Å"Bluebeard†, â€Å"Beauty and the Beast† and â€Å"Little Red Riding Hood† with sometimes more than one version of the same original tale, for example â€Å"Wolf-Alice† and â€Å"The Company of Wolves†. In re-writing these fairy tales Carter has given the new versions a specifically sexual content and focuses on the female protagonist, which as a result, has become the issue of much debate and criticism. In particular, the sometimes explicit sexual content of the stories has raised questions among some feminist writers regarding Carter? s stance on the issue of the role of women and pornography. Focusing mainly on the main story of the collection, â€Å"The Bloody Chamber†, this essay will aim to highlight Carter? s intentions for the sexual content of her stories. In doing so, whilst commenting from some critical essays regarding Carter? s stance on pornography, this essay will also address â€Å"Lovely Linda†, a review of Inside Linda Lovelace, by Linda Lovelace a porn actress, which was written by Angela Carter. In her essay, Robin Sheets compares â€Å"The Bloody Chamber† to another of Carter? s books The Sadiean Woman and the Ideology of Pornography. Sheets takes one of ten short stories in the collection and using only this story tries to define Carter as either one of â€Å"Sade? new Juliettes† or a â€Å"new Justine†, (qtd. by Sheets pp636-637). These titles, which make reference to characters from works by the Marquis de Sade, were created by Robin Morgan in her criticism of feminist activists who opposed or supported the antipornography movement, those who support pornography being the â€Å"new Juliettes† as they align themselves with sex based on domination, where the â€Å"new Justines† are said to always portray themselves of the victims of male brutality. Antipornography activists described pornography as a â€Å"cause of women? oppression†, (Sheets 637), and Sheets focuses on this in â€Å"The Bloody Chamber† as a means to decide which flag Carter is flying. Like all fairy tales the original story of Bluebeard contained a moral. Sheets comments that although over time there have been variations made to the story in order to change the moral the one that has prevailed has been that which advises women against curiosity, (Sheets 643). Whilst comparing the Marquis of the story to the Marquis de Sade, Sheets links the sadistic acts of the Marquis in â€Å"The Bloody Chamber† to that of de Sade. When one takes into consideration Carter? s review of Linda Lovelace? s book, Inside Linda Lovelace, when addressing the sexual content of â€Å"The Bloody Chamber†, it is easy to understand Carter? s opinion of pornography and as result her reasons for using it in her stories. At the start of the review Carter describes Lovelace? s fame as a result of the â€Å"demands of a society that uses libidinal gratification as a soporific in a time of potential social disruption†. From the outset of this review Carter? negativity towards â€Å"our Lady of Hard-Core Porn†, is evident, so what is different about Linda Lovelace and the content of her own works that attracts so much argument regarding its pornographic nature? In her review she goes on to remark that â€Å"libidinal gratification† is now unlimited but that this has changed as a result of society changing as in short that although we are sexually free now it is only because society says so, which means that if we have to wait for society? s permission we still are not free, (Angela Carter, Shaking a Leg 54). This oppression of women is one of the most commonly debated aspects of pornography. The debate develops into deciding what pornography is and what is erotica, the difference being (if one uses Gloria Steinem? s definition as example), that erotica is â€Å"mutually pleasurable, sexual expression between people who have enough power to be there by positive choice†, (qtd. by Sheets 637). Although Linda Lovelace claims sexual freedom and wants to be equal in bed, Carter makes sure to point out that the sexual acts that Lovelace boasts about being able to do with her mouth and her vagina she has learned from a man, Chuck, (Carter, Shaking a Leg 54). In turn when one compares this oppression to â€Å"The Bloody Chamber† one can see that indeed there are some obvious examples of masochism, one of which being when the narrator describes having sex as being â€Å"impaled†, (Angela Carter, Burning Your Boats, 121) by her husband. Indeed the whole story up until the point where she goes to the forbidden room is one of subjugation. When one takes into consideration the remarks that Carter makes in her article of Lovelace about society, it can be argued that the initial argument regarding the intentions of the sexual content in Carter? s works also stem from the boundaries which society sets. Where some only see the oppression of the protagonist, others look beyond this to see an alternative to the protagonist’s actions. As Merja Makinen points out in â€Å"Angela Carter? s The Bloody Chamber and the Decolonisation of the Feminine Sexuality†, there is an alternative argument to that of the narrator of â€Å"The Bloody Chamber†. Here, Makinen argues that to an extent the narrator does in fact consent to the â€Å"sado-masochistic transaction†, (Makinen 32). This can be seen in the narrator? brief descriptions of the desire that is lurking within her, â€Å"I was aghast to feel myself stirring†, (Carter, Burning Your Boats 119). Therefore, it can be argued that rather than being subjected to this act, the presence of consent transforms this into an act of erotica. This could be an example of which Makinen describes as Carter re-writing the old tales by playing with the earli er misogynistic version, (Makinen 24). As mentioned earlier Sheets attempts to brand Carter as a â€Å"new Juliette† or â€Å"new Justine†, but in the end her argument is inconclusive and cannot decide on one particular side of the fence for the writer. In comparison, Carter refers to Lovelace as someone who has been â€Å"sexually exploited by men†, (Carter, Shaking a Leg 55). Carter makes it blatantly clear in this article that she is against pornography, not because of the acts that take place but because of the oppression of women. She describes Lovelace as someone who lives in a world dictated by men, she has learned her technique from men and although it is a world of sex, the sex itself has been reduced to what Carter calls a â€Å"geometric intersection of parts†, (Carter, Shaking a Leg 56). Carter compares what Lovelace is doing to that of what takes place in a Brothel. She comments that â€Å"our society generally denies the prostitute both appreciation and the opportunity to exercise particular sexual virtuosity†, and ironically confirms that â€Å"Lovelace is no prostitute†, (Carter, Shaking a Leg 55). Carter portrays Lovelace as what this writer believes is what every anti-pornography activist has in mind when they are condemning pornography, â€Å"she is a shaven prisoner in a cage whose bars are composed of cocks†, (Carter, Shaking a Leg 56). From this review it is a wonder that there would be any debate as to whether or not the sexual content of Carter? s works support pornography, and it is clear that she uses sexual practice based on domination for other means, in her writing. The other stories in The Bloody Chamber approach a different aspect of female sexuality and desire and Makinen implies that it is necessary to read all the stories to understand the intentions of Carter. For example, the story of â€Å"The Lady of the House of Love† shows the inversion of the Bluebeard character. Who can mistake the gothic tropes used to portray the female vampire as a male. The teeth of the vampire which would penetrate the virgin boy, but yet there is still an element of desire for the vampire and in order to obtain that she must pay a price. Makinen argues that rather than being against or for pornography, Carter aims to portray a wider incorporation of female sexuality, and use â€Å"feminism to challenge sexist constructions†, (Makinen 25). This, it could be argued, is why the book starts with an obvious description of female oppression. At the same time however, one also has to keep in mind the variations to the original Bluebeard story that Carter has included. The mother who saves the day, the second husband who is gentle and kind and also the protagonist being the narrator herself, are what Sheets describes as Carter â€Å"writing against the interpretive tradition that emphasizes the wife? s sexual curiosity†, (Sheets 644). As we have seen in the review of Lovelace? s book, Angela Carter sees pornography as the oppression of women by men and that she does not look too highly upon this factor. When one takes this into consideration whilst reading her books, it can be seen then that although she uses material which can be argued to be that of a pornographic nature, she does so not as a means to approve of the oppression of women. Rather she uses this material to â€Å"critique phallocentrism† and as a means to demonstrate female sexuality and the representation of femininity, (Makinen p34). Bibliography Carter, Angela, â€Å"The Bloody Chamber†, Burning Your Boats, London: Chatto & Windus, 1995. Carter, Angela, â€Å"Lovely Linda†, Shaking a Leg, London: Chatto & Windus, 1997. Makinen, Merja, â€Å"Angela Carter? s The Bloody Chamber and the Decolonisation of Feminine Sexuality†, New Casebooks: Angela Carter, Ed. Alison Easton, Basingstoke: Macmillan, 2000, pp20-36. Sheets, Robin Ann, â€Å"Pornography, Fairy Tales, and Feminism: Angela Carter’s â€Å"TheBloody Chamber†Ã¢â‚¬ , Journal of the History of Sexuality, Vol. 1, No. 4, (April,1997), pp 633- 657 08/04/2011

Japanese course for teachers in Elementary Schools Essay

What are the minimal Japanese language competencies for our team teachers working in Japanese Elementary schools? Through this question I hope to make explicit and test methods of data collection, diagnostic testing, and needs analysis; and determine if these methods transfer to another language. This data will be used as a basis for collecting authentic materials to prepare a Japanese for Specific Purposes language course. Setting We have 12 British Council teachers team teaching in 24 Japanese junior high schools and one elementary school This is a completely Japanese environment (e.g. dress, code of conduct, meetings are all done in Japanese). Primarily our teachers rely on our team teachers to translate important information such as scheduling, written messages, problems with the photocopier, dealing with disruptive students, etc. In the future we would like to expand into Tokyo elementary schools, however, the board of education has expressed reservations about our Japanese ability and that our British Council teachers need to be linguistically self reliant in the schools Objective. I would like to look at creating a series of Japanese language competencies similar to the CEF guidelines for our British Council teachers teaching in elementary schools such as: â€Å"I can read instructions on a photocopier† or â€Å"I can interact in a simple way dealing with a change of school schedule†. By collecting feedback, writing competency guidelines and finally creating a diagnostic test, I hope to examine the methods of data collection and analysis that I have read about studying for this module. I would like to compare my journey from data collection to course objectives to similar cases of TESOL course design such as Johan Uvin when he designed workplace ESOL (Graves ed. , 1996). Furthermore I believe that by using native English speakers as the students, I can examine more closely what our needs are (without interference from the native language). Then I can compare it to data collection methods and needs analyses that we use for our TESOL students. I am considering this as a sub-aim (the differences and similarities of data collection from L1 to L2 informants). To determine the competencies I must resolve these questions: 1. What situations our teachers find themselves in an Elementary school context where written or spoken Japanese is needed or used? 2. What expectations the Japanese team teachers or schools have in regards to what their needs are regarding communication with our staff? 3. What expectations our teachers have and what they would like to know how to say, write or read? Data collection I propose three ways for data collection, which would be done concurrently 1. Diaries: British Council teachers in both elementary schools and JHS will note down situations and times when they needed Japanese or would have liked to know how to say something in Japanese. (Long, 2005) 2. Interviews with our team teachers and elementary teachers on what they would expect our teachers to be able to do or say. These interviews/ questionnaires might have to be done in Japanese. (Anderson, 1998) 3. Questionnaire or survey of what BC teachers would like to learn in a course (Hinkel, 2005) I believe that using three ways of data collection will bring me a fuller and more varied sample of information. This will also give me more access to the differing stakeholders. Research Plan 1. I propose first to identify current and leading ideas of needs analysis and data collection. 2. Then I will test and verify these methods using both native speakers and Japanese team teachers to create the diaries and questionairres. 3. From this data collection, I will write minimum guidelines for Japanese linguistic competency in Elementary schools. 4. With this, I will write and send out a diagnostic test based on these results. 5. Finally, I will collect authentic materials to use in a Japanese language course. Issues I realise that developing a Japanese language course falls outside of the TESOL area. However, I believe integration in the country or work atmosphere is an overlooked area of our work. I would also say that it falls under the area of Educational Management in TESOL and therefore I believe it is a valid area of study. Furthermore, data collection and analysis methods that I have covered in my reading for this module should be universal and apply to any language. I believe that by using native speakers for some of the actual needs analysis allows me to communicate with the students (in this case the BC teachers) in a way that can test or validate certain presumptions of language learning and needs analysis. Background Reading Anderson, G. and Arsenault, N. 1998. Fundamentals of Educational Research. London: Routledge Farmer. Graves, K. (Ed. ) 1996. Teachers as Course Developers. Cambridge: CUP. Hutchinson, T. and Waters, A. 1987. English for Specific Purposes: a learning centred approach. Cambridge CUP: Chapter 8. Nunan, D. 1992. Research Methods in Language Learning. Cambridge: CUP. Nunan, D. 1988. Syllabus Design, OUP. Skilbeck, M. 1982 â€Å"Three educational ideologies† in T. Horton & P. Raggat (eds) Challenge and Change in the Curriculum, Hodder & Stoughton. Long, M. 2005. Second Language Needs Analysis. Cambridge: Cambridge University Press. Wallace, M. 1998. Action research for language teachers. Cambridge: Cambridge University Press. Hinkel, Eli. (Ed. ) 2005. Handbook of research in second language teaching and learning. New Jersey: Lawrence Erlbaum Associates.

Family Values Essays - Amitai Etzioni, Child Care, Agriculture

Family Values Essays - Amitai Etzioni, Child Care, Agriculture Family Values Christopher A. Schulz The Value of Families Society and family value have changed into an institutionalized process. A transformation has taken place within communities altering the traditional family ways. The system in which one parent worked, while the other parent tended to the children has almost become obsolete. This change triggered the formation of a discombobulated society where greed motivates both parents in the work force, leaving their children to be raised by institutions consisting of under-qualified personnel. In his article, The Value of Families, Amitai Etzioni examines this change and the consequences suffered as a result of it. Etzioni opens his essay by comparing parenthood to an industry. He states how the childcare industry has lost a large percentage of its employees to greed. He claims that this is due to an increase in the amount of women leaving their children home, or in childcare centers while they pursue careers. The insatiable desire for parents to earn more income, as opposed to spending quality time with their children, has been proven to cause a decrease in the maturity level of these neglected children at a later age. Throughout the article, Etzioni stresses the importance of parent-child interactions. He quotes Barbara Dafoe as saying Maybe there is indeed such a thing as a one-minute manger, but there is no such thing as a one-minute parent (Etzioni108). He uses Dafoe to prove his point that that quality time occurs within quality time. (Etzioni108). Quality time spent with children is crucial for their well being. The value of Families Eventually, Etzioni takes a sarcastic tone, as he brings up an old channel eleven commercial. In the commercial, a mother calls her son to inform him that she left ten dollars on the counter for dinner. Due to a lack of parental supervision and guidance, the child hangs up the phone, rolls up the ten-dollar bill, and uses it to sniff cocaine. Etzioni utilizes this commercial as a means to illustrate the necessity for parents to spend quality time with their children despite their desire to become successful in the work force. Etzioni goes on to tear apart the modern day childcare systems within the United States. He states that the day-care centers do not employ a sufficient amount of qualified personnel, as the people who are qualified frequently change jobs due to low incomes. This has a direct impact on the children, as it leaves them without a stable person in their lives. Along with illustrating the fact that the child-care systems in the United States lack stability, he also offered solutions. He stressed that parents get involved. By spending a few hours a week with their children, the parents are able to get involved, while leaving the children with a sense of stability. In Israel, where the author was raised, the people leave their children in a kibbutz. A kibbutz is a daycare center, in which, unlike ours, the people who rise the youth of their country are well rewarded for their profound work. Perhaps this type of system would benefit that of the United States.

What to Do and Not Do to Make More Money When the Work Dries Up

What to Do and Not Do to Make More Money When the Work Dries Up As I close in on 14 years of full-time freelancing, I find that now and then work can suddenly dry up. Whether the high-paying kind of work that I enjoy offers returns depends on how I respond to these lulls. I used to panic and go after any and all work that I could find. This so-called work included the cheapest lowball offers in and outside my niche, accepting any style, genre and subject matter. I was desperate and looked and acted it. I attracted the worst side of this business. I lost much of my confidence in getting high-quality, high-paying work again. After about two or three weeks of this behavior, my plate would fill with bad, low-paying gigs. Then, as luck would have it, a flood of my normal, high-paying work would come in too. Now I had twice the work I could handle, half of which I didnt want. I couldnt turn the good work down, and I couldnt ignore my responsibility to complete the other work I had committed to. I have since learned to spend those two- or three-week periods calmly, patiently and confidently going after the best work I possibly could. I did so with patience, not letting anyone know my situation, not acting or appearing desperate. Now at the end of such periods, there is no crap to deal with when my luck turns around. I now live and work with the confidence that every time such periods come along, if I respond in a confident manner, in lieu of fearful and desperate, everything will return to normal in a few weeks. Let me elaborate on what I do during those typically two- to three- week periods to bring a rush of new work in. First, I approach existing editors, asking them as to how they are doing and taking a genuine interest in them, both personally and professionally. I drop them an email with tips and leads or open up a discussion on topics that interest them. If that doesnt lead to an assignment, I re-read the publication and competing publications, and I look for unanswered questions and other material that may be the impetus for new pitches. Then I write longer, better and more detailed pitches than I typically do for these editors I already know. I think they respect the additional effort and commitment to the project. And the more they can see upfront, the more convincing my argument that I can finish a great story. I do likewise with new-to-me editors, but again only those with the best work and pay rates. I put together well-considered letters of introduction and samples to go with great story pitches. The more excited I am about a story, and the more research I have done to develop it, the easier it is for editors to become interested. Here is the critical theme in all this: The more you need the work, the more serious and committed you have to be. You have to make your biggest investment, your strongest commitment, and demonstrate extensive preparation in your proposals in order to get the work. More than that, show your best creative writing chops in the process. Write things that are genuinely profound in unique ways. Speak about subjects in a manner no one has ever done before. Dont be afraid to cut against the grain a little bit. But dont let them smell your fear. That does nobody any good.

Role of Accounting Practices in Managing Contemporary Organizations Essay

Role of Accounting Practices in Managing Contemporary Organizations - Essay Example Management accounting is one such emerging function of accounting where accounting is geared towards management function. Management accounting is having a major role in the overall success of the business environment away from bookkeeping activities. The new changing role of accounting, practice in organizations includes management accounting function in supply chain management and management support for the adoption of new technology in firms. Accounting initially had no role to play in these activities as their role was confined to the bookkeeping activities; the changes in management accounting have turned around the role of management accounting making it an important factor in every organization. Both the private and public sector are becoming reliant on the new role of management accounting in business. However, change has never been easily adopted in organizations. Resistance to change is common thus the changing role of management accounting is not being received with open arms. Several barriers to change are cropping up delaying the implementation of management accounting practice in organizations. This research paper is aimed at looking at the various changes in the functional unit of management accounting based on case studies by various scholars. The role of management accounting practice in various organizations will be looked into. The barriers to change in an organization preventing implementation of management accounting practice are also of interest in this research. Traditionally, buy or make decisions were made based on the cost of production.