Definition of Gothic Literature

Meaning of Gothic Literature In the most broad terms, ​Gothic writing can be characterized as composing that utilizes dull and beautiful landscape, frightening and sensational account gadgets, and a general air of exoticism, puzzle, dread, and fear. Frequently, a Gothic epic or story will spin around an enormous, old house that hides a horrible mystery or that fills in as the shelter of a particularly terrifying and compromising character. Notwithstanding the genuinely regular utilization of this somber theme, Gothic authors have likewise utilized extraordinary components, contacts of sentiment, notable verifiable characters, and travel and experience stories to engage their perusers. The sort is a subgenre of Romantic writing that is Romantic the period, not romance books with short of breath sweethearts with wind-cleared hair on their soft cover spreads and much fiction today originates from it. Improvement of the Genre Gothic writing created during the Romantic time frame in Britain; the principal notice of Gothic, as relating to writing, was in the caption of Horace Walpoles 1765 story The Castle of Otranto: A Gothic Story which, the British Library says, was implied by the writer as an unpretentious joke. At the point when he utilized the word it implied something like ‘barbarous,’ just as ‘deriving from the Middle Ages.’ In the book, its indicated that the story was an old one, at that point as of late found. However, that is simply part of the story. The powerful components in the story, however, propelled a totally different classification, which took off in Europe. At that point Americas Edgar Allen Poe got it together of it in the mid-1800s and succeeded like nobody else. In Gothic writing, he found a spot to investigate mental injury, the wrongs of man, and psychological instability. Any cutting edge zombie story, analyst story, or Stephen King epic owes an obligation to Poe. There may have been fruitful Gothic authors when him, yet nobody culminated the class very like Poe. Significant Gothic Writers A couple of the most powerful and mainstream eighteenth century Gothic journalists were Horace Walpole (The Castle of Otranto, 1765), Ann Radcliffe (Mysteries of Udolpho, 1794), Matthew Lewis (The Monk,â 1796), and Charles Brockden Brown (Wieland, 1798). The class kept on instructing an enormous readership well into the nineteenth century, first as Romantic writers, for example, Sir Walter Scott (â€Å"The Tapestried Chamber, 1829) embraced Gothic shows, afterwards as Victorian scholars, for example, Robert Louis Stevenson (The Strange Case of Dr. Jekyll and Mr. Hyde, 1886) and Bram Stoker (Dracula, 1897) consolidated Gothic themes in their accounts of frightfulness and anticipation. Components of Gothic fiction are predominant in a few of the recognized works of art of nineteenth century writing, including Mary Shelleys Frankenstein (1818), Nathaniel Hawthornes The House of the Seven Gables (1851), Charlotte Brontã «s Jane Eyre (1847), Victor Hugos The Hunchback of Notre Dame (1831 in French), and huge numbers of the stories composed by Edgar Allan Poe (â€Å"The Murders in the Rue Morgue,† 1841; The Tell-Tale Heart, 1843). Likenesses With Gothic Architectureâ There are significant, however not generally reliable, associations between Gothic writing and Gothic engineering. Gothic structures, with their rich carvings, cleft, and shadows, can invoke an air of riddle and haziness and frequently filled in as fitting settings in Gothic writing for the temperament evoked there. Gothic journalists would in general develop those passionate impacts in their works, and a portion of the creators even fiddled with engineering. Horace Walpole additionally structured an unconventional, mansion like Gothic home called Strawberry Hill. Effect on Todays Fiction Today, Gothic writing has been supplanted by phantom and ghastliness stories, investigator fiction, anticipation and spine chiller books, and other contemporary structures that accentuate riddle, stun, and sensation. While every one of these sorts is (in any event freely) obliged to Gothic fiction, the Gothic kind was additionally appropriated and revamped by authors and artists who, all in all, can't be carefully named Gothic essayists. In the novel Northanger Abbey, Jane Austen tenderly displayed the misguided judgments and adolescent natures that could be created by misreading Gothic writing. In trial stories such The Sound and the Fury and Absalom, Absalom! William Faulkner transplanted Gothic distractions compromising manors, off the record pieces of information, destined sentiment to the American South. Furthermore, in his multigenerational annal One Hundred Years of Solitude, Gabriel Garcã ­a Mrquez develops a savage, fanciful account around a family house that takes on its very own dim existence.

Ardipithecus Ramidus and Its Relationship to Humans and Chimpanzees Term Paper

Ardipithecus Ramidus and Its Relationship to Humans and Chimpanzees - Term Paper Example The hominoid hole is the first and is said to go back to around 22-32 million years prior. This is the period that the human and primate predecessors were separating from the monkeys’ development way. The other hole is the primate hole and is assessed to go back to about 4.5 to 14 million years prior. It is accepted that during this period, the human progenitors and surviving primate predecessors isolated from a typical advancement way. Primates allude to the human precursors after the disparity from the last basic progenitor with surviving gorillas. As of late, fossil proof spanning the primate hole was found in 1992 in Aramis, Northern Ethiopia by a gathering of scientists. The revelation of Ardipithecus ramidus changes the underlying conviction that the normal progenitor among man and surviving gorillas looked increasingly like a chimpanzee. The attributes of the Ardipithecus ramidus are progressively like those of people and thusly, the surviving chimps probably built up t heir qualities after their advancement way and that of people isolated. This conversation investigates the Ardipithecus ramidus’ relationship to Chimpanzees and people. Ardipithecus Ramidus Ardipithecus ramidus is accepted to be 4.4 million years of age and its revelation has changed the conviction that individuals advanced from chimpanzees. Ardipithecus ramidus strolled upstanding like people and had a major toe for holding trees like gorillas. Before the disclosure of Ardipithecus ramidus, the most established early human skeleton was that of Australopithecus afarensis, otherwise called Lucy. Lucy is accepted to be 3.2 million years of age. Australopithecus afarensis was additionally found in Ethiopia and had numerous basic qualities with individuals. In this manner, the previous lineage among people and primates was absent. The main example of Ardipithecus ramidus was found in 1992. The fossils were found in residue layers which are roughly 4.4 million years of age. The sk ull, arms feet, pelvis, and teeth were later found. The highlights of Ardipithecus ramidus, for example, absence of primate like canines show that she was not a predecessor of current chimpanzees (White et al., 2009). Investigations of advancement have been attempting to decide the explanation behind the peculiarity of people as far as being bipedal, having high intelligent and innovative capacities, and different characteristics that recognize them from surviving chimps. Before the disclosure of Ardipithecus ramidus fossils, the development of people depended on the attributes of African primates. It was accepted that these extraordinary capacities that people have developed from the adjustment of the characteristics of chimpanzees and bonobos, which are the nearest human family members. Human conduct was seen as an adjustment of the chimpanzees’ qualities, for example, the strength of guys, chasing, culture, upstanding taking care of stance, among others (Harrison, 2010). T he revelation of Ardipithecus ramidus reveals insight into the time of primate improvement subsequent to parting from the regular precursor with chimps. Before Ardipithecus ramidus was found, researchers accepted that the last regular progenitor looked more like a chimpanzee than people. They accepted that the cutting edge primates got a significant number of their characteristics from this progenitor, for example, strolling on knuckles and hanging and swinging on trees. Attributes of primates, for example, short backs, appendages, and pelvis which are proper for strolling on knuckles and arms for swinging and holding tight trees were accepted to have begun from the last normal precursor. It was accepted that after the split, the human predecessors dropped the attributes of the normal precursor, for example, sharp canines and strolling on knuckles while the progenitors of the chimpanzees held them up to the present. Nonetheless, these convictions are invalidated by Ardipithecus

7 Reasons Why You Dont Want to Miss Writing.ie

7 Reasons Why You Dont Want to Miss Writing.ie As a self-described complete online magazine, Writing.ie has a vast collection of writing resources for writers across genres and around the globe, although its seat of operations is in Dublin, Ireland. Additionally, it offers an events calendar that is absolutely free for authors wishing to announce a literary event or book launch. That, combined with a Resources Page updated often and weekly make the site a useful bookmark for any writer looking for tips, inspiration, marketing outlets, or even the chance to Tell your own story to like-minded authors who access the site daily.The site is established and run by Vanessa Fox OLoughlin, one of Irelands leading literary scouts and former consultant and presenter for WritersWebTV, bringing free, live, online workshops to writers worldwide.In case these details alone are not temptation enough to visit and bookmark the site, here are seven reasons why if youre a writer, you dont want to miss all that Writing.ie has to offer.Writing.ie is a website full of great blogs across several genres and topics related to the writing process and industry.#1. Kate Dempseys Poetic License blogAs one of many guest blogs published on the site, Kate Dempseys Poetic License blog has much to offer writers interested in the art of poetry. It primarily focuses on competitions and publishing opportunities open to poets across a scope of topics and highlights interesting calls for poems both in the U.K. and around the world. For example, this call for submissions for poems about scientists experience announces the opportunity for writers, who find themselves at that strange intersection of science and poetry, to submit their work to a paid anthology entitled Spectral Lines. Although the submission deadline has passed for this particular work, it highlights some of the fascinating opportunities for poets that the blog offers. If youre a poet, its incredibly helpful to know whos looking for your poems and where to send them. If youre a poet in the Dublin area, or the U.K., this is an opportunity you certainly dont want to miss.#2. Hazel Gaynors Carry On Writing blogAs an acclaimed New York Times, USA Today and internationally bestselling author of five novels, Hazel Gaynors debut post, A Beginning and an End, is a great taste of the kind of honest approach she takes in the blog. Heres a quote from it:Im starting to think publishing deals dont really exist, that theyre just myths, the stuff of legend; about as simple to track down as the Ark of the Covenant or the golden snitch.Being an aspiring writer is no easy thing, as any aspiring writer will tell you. Its a lonely, frustrating occupation, riddled with potential for disappointment and despair but â€" and heres the thing â€" with the benefit of hindsight, Ive come to the conclusion that the rejections and close-shaves have made me more determined than ever to succeed. Of course, Id be lying if I said I hadnt thrown the occasional strop on the way to reaching this co nclusion, or curled up on the sofa in a deep rejected-author malaise, unable to speak to anyone, let alone turn on the laptop or pick up a pen, but Im pleased to have reached this conclusion all the same.Hazel Gaynor#3. Louise Phillipss Crime Scene blogIf you write crime or thriller novels, Louise Phillipss Crime Scene blog is for you. Ranging from her lists of Delicious Reads of Irish Crime Fiction books to calls for submissions for Crime novelists, this blog offers information about new books in the genre that have launched, writing conferences and courses, and tips for writers looking to sharpen their crime writing skills. She also offers writing tips and advice for the genre, which can be a great help for anyone looking to break into the industry with their own crime novel.#4. Olivia Hope and Niamh Garveys Flourish Blogs about writing for childrenWritten and curated by Olivia Hope and Niamh Garvey, Down the Rabbit Hole by Flourish and Blogs offers fascinating explorations of th e genre for anyone interested in writing and publishing childrens books. As an example article, Uncomfortable Childrens Books is an examination of the question of what topics are safe for childrens literature. In it, Garvey writes:This is a generation where mental health problems are beginning younger and younger in children. Childhood anxiety, depression and low self-esteem are on the increase. There is a tendency to panic, to think we must protect our children and teenagers from any hardship, to helicopter around them dropping cotton wool at their feet and shaded glasses on their eyes in case they see something unpleasant. They mustnt read that book, where people starve to death, where people die violently, where families are ripped apart, because it will make them sad. And yet, those same children and teenagers are allowed online alone, where more real-life danger lies than the in woods down the road at night.Niamh GarveyIn addition to their thoughtful criticism, this writing due include within their blog childrens book events, new releases, lists of must-reads, and more. As a parent and a writer, I found this blog to be an intriguing and thoughtful read, even though I dont plan to publish in the childrens book genre.#5. Tara Sparlings The Lighter Side blog offers satire and humorIn this blog about book humor, selling trends, marketing and character stereotype follies, Tara Sparlings writing lifts the spirits of her readersâ€"often by stating the obvious on a not-so-obvious path to writing a bestseller. For example, in her post, Who Are You NOT Writing For This Year?, she takes a satirical approach to the all-important writers audience and offers a handy list of all the people you are definitely NOT writing for in 2019. Included on this list are: The cool kid in your class you asked out when you were 15, your ex-spouse, your current spouse, your next spouse, and book reviewers, among others.In another post, You Think 5-Star Reviews Are So Great? Think Again , she asks:Youre certain you want to award 5 stars to this? The highest accolade of them all? This is truly one of the best books youve ever read? Its better than the last 20 books you read and the 20 you read before that?No it isnt. Stop 5-starring like its the 1980s. Give it the solid and absolutely fine 3 it deserves.Tara Sparling#6. Derek Flynns SongBook blog about writing from a musicians perspectiveAs an Irish writer and musician, Derek Flynn has much to say about the connections and inspiration he draws from music, including an ongoing series like this one with interviews of various authors asking about how music has shaped and inspired their writing.Other articles approach literature and writing through music-related concepts, such as this piece titled Literary One Hit Wonders, which discusses famous authors known only by one book. He writes:Of course, when we mention literary one hit wonders, most people will think of Harper Lee and To Kill A Mockingbird, possibly the most famous example (and well ignore the dubious release of Go Set A Watchman). But there are some otherâ€"probably equally as famousâ€"examples. There is, of course, JD Salinger, author of Catcher in the Rye, who subsequently wrote only a handful of short stories and novellasâ€"no more novelsâ€"and gave his last interview in 1980.But while Lee and Salinger chose not to write any more novels, there are others who died before getting the chance to write more, leaving us wondering what might have been.Derek FlynnFlynn also writes of local publishing opportunities or jobs available in the industry, as well as competitions and anthologies seeking submissions.#7. Resources for writersFinally, and as mentioned earlier, the websites section for Resources for writers is packed with valuable information and links to sources writers can use throughout the drafting, editing, publishing and marketing phases of their writing journey.The Resources tab of the site offers links to sources writers can us e throughout the entire process of writing, from first draft to marketing the published work.In the Resources submenu, there are links to the following directories or sources, with additional submenus within each:Services for writersEssential guidesGetting publishedBetter fiction guidesBetter nonfiction guidesWrite for stage and screenBetter poetry guidesDeveloping your craftNational Emerging Writers Program (NEWP)Final takeawayWhile many of the literary events, book signings, and course offerings showcased in writing.ie are for the Dublin, Ireland and Greater U.K. area, there are parts of the site and blogs that provide great sources for writers around the globe. The section I found most helpful as a writer is the Writing Competitions under the Magazine menu. It was chock full of calls for submission, competitions, anthology notices, and publishing opportunities for writers of all genres, and included important information such as deadlines, how to submit your manuscript, and links to the main website for each entity seeking writers or submissions. Ill be using it in the coming months to seek out publishing opportunities and I hope youll be equally as excited about the excellent opportunities that are available.

Jane Austen Profile Novelist of the Romantic Period

Known for: popular novels of the Romantic period Dates: December 16, 1775 - July 18, 1817 About Jane Austen Jane Austens father, George Austen, was an Anglican clergyman, and raised his family in his parsonage. Like his wife, Cassandra Leigh Austen, he was descended from landed gentry that had become involved in manufacturing with the coming of the Industrial Revolution. George Austen supplemented his income as a rector with farming and with tutoring boys who boarded with the family. The family was associated with the Tories and maintained a sympathy for the Stuart succession rather than the Hanoverian. Jane was sent for the first year or so of her life to stay with her wetnurse. Jane was close to her sister Cassandra, and letters to Cassandra that survive have helped later generations understand the life and work of Jane Austen. As was usual for girls at the time, Jane Austen was educated primarily at home; her brothers, other than George, were educated at Oxford. Jane was well-read; her father had a large library of books including novels. From 1782 to 1783, Jane and her older sister Cassandra studied at the home of their aunt, Ann Cawley, returning after a bout with typhus, of which Jane nearly died. In 1784, the sisters were at a boarding school in Reading, but the expense was too great and the girls returned home in 1786. Writing Jane Austen began writing, about 1787, circulating her stories mainly to family and friends. On George Austens retirement in 1800, he moved the family to Bath, a fashionable social retreat. Jane found the environment was not conducive to her writing, and wrote little for some years, though she sold her first novel while living there. The publisher held it from publication until after her death. Marriage Possibilities Jane Austen never married. Her sister, Cassandra, was engaged for a time to Thomas Fowle, who died in the West Indies and left her with a small inheritance. Jane Austen had several young men court her. One was Thomas Lefroy whose family opposed the match, another a young clergyman who suddenly died. Jane accepted the proposal of the wealthy Harris Bigg-Wither, but then withdrew her acceptance to the embarrassment of both parties and their families. 1805–1817 When George Austen died in 1805, Jane, Cassandra, and their mother moved first to the home of Janes brother Francis, who was frequently away. Their brother, Edward, had been adopted as heir by a wealthy cousin; when Edwards wife died, he provided a home for Jane and Cassandra and their mother on his estate. It was at this home in Chawton where Jane resumed her writing. Henry, a failed banker who had become a clergyman like his father, served as Janes literary agent. Jane Austen died, probably of Addisons disease, in 1817. Her sister, Cassandra, nursed her during her illness. Jane Austen was buried in Winchester Cathedral. Novels Published Jane Austens novels were first published anonymously; her name does not appear as author until after her death. Sense and Sensibility was written By a Lady, and posthumous publications of Persuasion and Northanger Abbey were credited simply to the author of Pride and Prejudice and Mansfield Park. Her obituaries disclosed that she had written the books, as does her brother Henrys Biographical Notice in editions of Northanger Abbey and Persuasion. Juvenilia were published posthumously. Novels Northanger Abbey  - sold 1803, not published until 1819Sense and Sensibility  - published 1811 but Austen had to pay the printing costsPride and Prejudice  - 1812Mansfield Park  - 1814Emma  - 1815Persuasion  - 1819 Family Father: George Austen, Anglican clergyman, died 1805Mother: Cassandra LeighSiblings: Jane Austen was the seventh of eight children.James, also a Church of England clergymanGeorge, institutionalized, disability uncertain:  may have been mental retardation, may have been deafnessHenry, banker then Anglican clergyman, served as Janes agent with her publishersFrancis and Charles, fought in the Napoleonic wars, became admiralsEdward, adopted as heir by a wealthy cousin, Thomas Knightolder sister Cassandra (1773 - 1845) who also never marriedAunt: Ann Cawley; Jane Austen and her sister Cassandra studied at her home 1782-3Aunt: Jane Leigh Perrot, who hosted the family for a time after George Austen retiredCousin: Eliza, Comtesse of Feuillide, whose husband was guillotined during the Reign of Terror in France, and who later married Henry Selected Quotations For what do we live, but to make sport for our neighbors, and laugh at them in our turn? The quarrels of popes and kings, with wars and pestilences in every page; the men all so good for nothing, and hardly any women at all — it is very tiresome. Let other pens dwell on guilt and misery. One half of the world cannot understand the pleasures of the other. A woman, especially if she has the misfortune of knowing anything, should conceal it as well as she can. One cannot be always laughing at a man without now and then stumbling on something witty. If there is anything disagreeable going on men are always sure to get out of it. What strange creatures brothers are! A ladys imagination is very rapid; it jumps from admiration to love, from love to matrimony in a moment. Human nature is so well disposed towards those who are in interesting situations, that a young person, who either marries or dies, is sure to be kindly spoken of. It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. If a woman doubts as to whether she should accept a man or not, she certainly ought to refuse him. If she can hesitate as to Yes, she ought to say No, directly. It is always incomprehensible to a man that a woman should refuse an offer of marriage. Why not seize the pleasure at once? How often is happiness destroyed by preparation, foolish preparation! Nothing is more deceitful than the appearance of humility. It is often only carelessness of opinion, and sometimes an indirect boast. Man is more robust than woman, but he is not longer lived; which exactly explains my view of the nature of their attachments. I do not want people to be agreeable, as it saves me that trouble of liking them. One does not love a place the less for having suffered in it unless it has all been suffering, nothing but suffering. Those who do not complain are never pitied. It is happy for you that you possess the talent of flattering with delicacy. May I ask whether these pleasing attentions proceed from the impulse of the moment, or are the result of previous study? From politics, it was an easy step to silence. A large income is the best recipe for happiness I ever heard of. It is very difficult for the prosperous to be humble. How quick come the reasons for approving what we like! ...as the clergy are, or are not what they ought to be, so are the rest of the nation. ...the soul is of no sect, no party: it is, as you say, our passions and our prejudices, which give rise to our religious and political distinctions. You ought certainly to forgive them as a Christian, but never to admit them in your sight, or allow their names to be mentioned in your hearing.

Technology For Cancer Diagnosis / Prognosis And How People...

Abstract Aim of this project is to study opportunities and challenges of novel biosensor technology for cancer diagnosis/prognosis and how people perceive the technology in relation to the risk involve. Study shows the earlier cancer is been perceived in a person, higher chance of there being a cure for it. Lately, most cancers are detected and diagnosed after it has fully grown. Hence, sensitive and accurate methods for early detection of relevant biomarkers for clinical diagnosis are of essence and need to be adopted by hospitals, clinics and also self-check by patient. Biosensors are devices intended to detect biological markers in the body, through the conversion of a biological sensing event to an electrical signal which detects and†¦show more content†¦Cancer can be seen as a group of diseases with a genetic compound that can affect any part of the body. It is a major cause of death in the world, which is affecting 13% of the population, leading public health problem that comes with an economic burden. When cancer is detected in an early state, there is an increase in the chances of survival but when not, problems will rise up which hinders lack of sensitive thereby, making cancer difficult to locate because of the small amount of circulating cancer cells and low expression of biomarkers or specific molecular markers. CANCER BIOMARKERS A biomarker is generally defined as a biological molecule such as proteins; DNA etc. generated in the blood, body fluids, or tissues which gives signs of a normal or abnormal process or conditions or a state of a diseases [2]. A biomarker disputes to see how well a body can respond to a treatment for a disease or condition by focusing on the activity changes from normal level, which then becomes an indicator of the

Butterfly Life Cycle Free Essays

A butterfly collector is studying a species of butterfly that has expanded its range into a new area over the last thirty years. The butterflies in the new area feed on a species of flower that has a deeper throat than the flowers exploited by the butterfly species in its original range. The average length of the proboscis that is used to suck nectar from flowers is also greater in butterflies that inhabit the new area. We will write a custom essay sample on Butterfly Life Cycle or any similar topic only for you Order Now The butterfly collector makes a very valid hypothesis saying that the butterflies have adapted and evolved to their surroundings by having longer proboscis. Evolution plays a key role in how animals survive, change and evolve according to their surroundings. It is no surprise that if the flowers grew longer, the butterflies would have to adapt their own body in order to reach the nectar. Once the butterflies adapted this trait to live, it was soon passed on to their offspring until all butterflies had longer proboscises which they needed to have in order to survive and live. Also since it was a new area where these flowers were, it is no surprise that the butterflies had to adapt to a new flower. Animals and humans adapt to their surroundings to make life easier to live. Another reason for why the butterflies had a longer proboscis could be because over time the butterflies evolved to have different organs in their bodies to be able to fight off different kind of prey and over time more and more butterflies adapted this trait. Also, over time the butterflies with this trait could use it to collect nectar from these different types of flowers that other butterflies couldn’t which made them the stronger butterflies and the other type slowly died off, only leaving butterflies with bigger proboscises alive. How to cite Butterfly Life Cycle, Essay examples

There Is No Doubt That Various Experts Can Give Us Many Theories As To

There is no doubt that various experts can give us many theories as to the causes of juvenile delinquency, including one's economic background, substance abuse, delinquent peer groups, repeated exposure to violence, increased availability of firearms and media violence, however, I feel that the number one cause of juvenile delinquency is the breakdown of families, including lack of parental control over children. It is ironic in America, today, one must have a driver's license to operate a vehicle, a permit to own a gun and even a license to own a dog, but one does not have to have training or a license in order to become a parent. Without specialized educational programs in child development and parenting, many of our future parents will not have a chance at becoming successful parents and worse, yet, many parents today are already contributing to the ever increasing problem of juvenile delinquency simply by not knowing how to be parents. Being a parent is a lifelong commitment and new parents must learn parenting skills immediately; they do not have the luxury of internships and often times, mistakes in parenting will have drastic effects on the child. There are many reasons for the widespread crisis in families today. Below are some of those causes: Changes in the Social Environment - there have been many changes in our social environment over the last twenty five years. These changes have made a risky environment for today's youth. Children and teenagers spend more time with peer groups than ever before. Drugs and deadly weapons are used increasingly as ways to solve problems. Illicit and explicit sexuality and violence are the main subjects of choice in the media; and the impact of media influence has widened and become more vivid with the introduction of computers, video games, portable stereos and MTV. Changes in Family Structure and Functioning - The prevalence of divorce and the increasing number of women in the workplace have reduced the number of adults who provide interaction, structure and supervision in a child's life. Along with this, institutions have not kept pace in providing alternative programs for unsupervised kids. Add to this new parenting expectations that come with single parent and step- parent families and you now have a confusing, often inconsistent and/ or unreliable home base for children. Confusion About Parent Roles and Parent Control - When children reach adolescence, conflict between parents and teens normally increases as teens need to distance themselves from parental identity to establish their own identity. Experts agree they are generally three parenting styles that reportedly escalate these conflicts. The authoritarian parent tends to emphasize rules and very harsh consequences. There is little room for discussion or negotiation. The indulgent parent tends to spoil the child and expects little or no responsibility at home, choosing instead to clean up after the child both at home and in his social misbehavior. The indifferent parent is so preoccupied with his/her own life and activities that little time and energy is given to either involvement or appropriate structure. The type of parenting that does work is simply called authoritative parenting. This type of parent assumes a role of authority in the child's life, but the rules and structure are sensible and flexible to accommodate the child's growth toward adolescence and young adulthood. The parent's intelligent explanations of the rules plus reasonable enforcement help to maintain a steady reduction of control as the child matures. Studies have been made to determine the causes of juvenile delinquency. Many of these studies have focused on family relationships. In one study, comparing delinquent and non-delinquent youths showed that over ninety percent of the delinquents had unhappy home lives and felt discontented with their life circumstances. Only thirteen percent of the non-delinquent youths felt this way. This study also brought attention to the fact that to these youths, delinquency appeared to be a sort of solution to them. It brought attention to youths neglected by their parents, or approval of delinquent friends, or it solved problems of an unhappy home life in other ways. A study by the National Institute of Justice also determined that youths from neglectful homes, single parent homes and homes in which substance abuse was a problem had a greater likelihood of being charged as a juvenile of a crime or status offense. In fact, research has shown that fifty three percent of these children are more likely

Cloud Ingredients and Formation

Cloud Ingredients and Formation We all know what clouds are- visible collections of tiny water droplets (or ice crystals if its cold enough) that live high in the atmosphere above the Earths surface. But do you know how a cloud forms? In able for a cloud to form, several ingredients must be in place: watercooling air temperaturea surface to form on (nuclei) Once these ingredients are in place, they follow this process to form a cloud: Step 1: Change Water Vapor into Liquid Water Although we cant see it, the first ingredient water is always present in the atmosphere as  water vapor (a gas). But in order to grow a cloud, we need to get the water vapor from a gas to its liquid form. Clouds begin to form when a parcel of air rises from the surface up into the atmosphere. (Air does this in a number of ways, including being lifted up mountainsides, lifted up weather fronts, and being pushed together by converging air masses.) As the parcel ascends, it passes through lower and lower pressure levels (since pressure decreases with height). Recall that air tends to move from higher to lower pressure areas, so as the parcel travels into lower pressure areas, the air inside of it pushes outward, causing it to expand. It takes heat energy for this expansion to take place, and so the air parcel cools a bit. The further upward the air parcel travels, the more it cools. Cool air cant hold as much water vapor as warm air, so when its temperature cools down to the dew point temperature, the water vapor inside of the parcel becomes saturated (its relative humidity equals 100%) and ​condenses into droplets of liquid water. But by themselves, water molecules are too small to stick together and form cloud droplets. They need a larger, flatter surface on which they can collect. Step 2: Give Water Something to Sit on (Nuclei) In able for water droplets to form cloud droplets,  they must have something- some surface- to condense  on. Those somethings are tiny particles known as aerosols or  condensation nuclei. Just like the nucleus is the core or center of a cell in biology, cloud nuclei, are the centers of cloud droplets, and it is from this that they take their name. (Thats right, every cloud has a speck of dirt, dust, or salt at its center!) Cloud nuclei are solid particles like dust, pollen, dirt, smoke (from  forest fires, car exhaust, volcanoes, and coal-burning furnaces, etc.), and sea salt (from breaking ocean waves)  that are suspended in the air thanks to Mother Nature and us humans who put them there. Other particles in the atmosphere, including bacteria, can also play a role in serving as condensation nuclei. While we usually think of them as pollutants, they serve a key role in growing clouds because theyre hygroscopic- they attract water molecules. Step 3: A Cloud is Born! It is at this point- when water vapor condenses and settles onto condensation nuclei- that clouds form and become visible. (Thats right, every cloud has a speck of dirt, dust, or salt at its center!) Newly formed clouds will often have crisp, well-defined edges. The type of cloud and altitude (low, middle, or high) it forms at is determined by the level where an air parcel becomes saturated. This level changes based on things like temperature, dew point temperature, and how fast or slow the parcel cools with increasing elevation, known as lapse rate. What Makes Clouds Dissipate? If clouds form when water vapor cools and condenses, it only makes sense that they dissipate when the opposite happens- that is, when the air warms and evaporates. How does this happen? Because the atmosphere is always in motion, drier air follows behind the rising air so that both condensation and evaporation continually occur. When theres more evaporation taking place than condensation, the cloud will return once again become invisible moisture. Now that you know how clouds form in the atmosphere, learn to simulate cloud formation by making a cloud in a bottle. Edited by Tiffany Means

How to Use the Italian Verbs Sapere and Conoscere

How to Use the Italian Verbs Sapere and Conoscere â€Å"I know how to play the piano† and â€Å"I know him.† While the main verb â€Å"to know† in those two phrases doesn’t differ in English, it does in Italian. In fact, the two verbs you would use would be either â€Å"sapere† or â€Å"conoscere.† Both mean to know, but have different implications. Sapere means to know† in the sense of to be able to, or to know how to. It can also be understood as knowing about a situation or a fact, like â€Å"Non sapevo che tu fossi qui. - I didn’t know that you were here.† Conoscere, on the other hand, means â€Å"to know† in the sense of â€Å"to know someone† or â€Å"to know an area, town, restaurant, etc. Examples With Sapere  in the Present Tense Non so sciare. - I don’t know how to ski.So cantare. - I know how to sing. / I am able to sing.Non lo so. - I don’t know.Non so la risposta giusta. - I don’t know the right answer.Lei sa quando il treno arriva? - Do you know when the train arrives? (formal)So la lezione. - I know the lesson. TIP: The last example could also be used with the verb conoscere: â€Å"Conosco la lezione. -  I prepared for today’s lesson.† Using Sapere in Other Tenses (Il condizionale) Credo di sà ¬, ma...non saprei. - I believe so, but...I wouldn’t know.(L’imperfetto) Sapevi che Marco frequenta qualcuno? - Did you know that Marco is dating someone?(L’imperfetto) Non sapevo che tu volessi imparare l’italiano! - I didn’t know that you wanted to learn Italian! TIP: If you want to say something like â€Å"I’m able to speak Italian,† you would use the verb â€Å"riuscire† instead. For example, â€Å"Riesco a parlare bene Italiano. - I’m able to speak Italian well.† Examples of the Verb Conoscere in the Present Tense Non conosciamo Bologna molto bene. - We dont know Bologna very well. / We aren’t very familiar with Bologna.Il ristorante si chiama L’archetto? Mhh, non lo conosco. - The restaurant is called L’archetto? Hmm, I don’t know it.Quel film con Hugh Grant? Quello in cui conosce un’attrice e si innamorano? - Do you know that Hugh Grant movie? The one where he meets that actress and they fall in love? Conoscere in Other Tenses (Il passato prossimo) Ho conosciuto Francesca a casa di Giuseppe. - I met Francesca at Giuseppes house.(Il passato prossimo) Li Abbiamo conosciuti tre anni fa. - We met them three years ago.(Limperfetto) Da bambino conoscevo bene New York, ma tutto era cambiato da quel periodo. - When I was a kid, I knew New York well, but everything has changed since that time. TIP: Unlike the verb â€Å"conoscere,† which means the same thing when conjugated in the present, past, or imperfect tenses, the meaning of â€Å"sapere† changes when in the passato prossimo form. For example, when you say â€Å"Ieri sera ho saputo che lei viene qua. - Last night I found out that she’s coming here.† So, you could define â€Å"sapere† in the past tense as â€Å"to find out.†

Human papillomavirus (HPV) infection Research Paper

Human papillomavirus (HPV) infection - Research Paper Example Human papillomavirus (HPV) infection affects women mainly causing cervical cancer (Levesque, 2014). Cancer is a chronic illness that is deadly, quite expensive to treat and manage. Most women who suffer from cervical cancer end up having their uterus or part of the cervix removed (Chaturvedi, et al. 2011). The implication is that they may never conceive from that point forward. The danger of this infection thus underscores the significance of the topic on health care of women. Research indicates that up to 90 percent of the disease would just go away without manifesting symptoms (Ma, et al. 2014).In this regard, human papillomavirus (HPV) infection can be passed from one person to another even without knowing it and at a very high rate causing more harm. There is significant challenge in respect of early treatment of this disease for one simple reason; cancer caused by this virus does not show symptoms until at a later stage that makes it even more deadly. Chaturvedi, A. K., Engels, E. A., Pfeiffer, R. M., Hernandez, B. Y., Xiao, W., Kim, E., ... & Gillison, M. L. (2011). Human papillomavirus and rising oropharyngeal cancer incidence in the United States.  Journal of Clinical Oncology,  29(32), 4294-4301. Ma, Y., Madupu, R., Karaoz, U., Nossa, C. W., Yang, L., Yooseph, S., ... & Pei, Z. (2014). Human papillomavirus community in healthy persons, defined by metagenomics analysis of human microbiome project shotgun sequencing data sets.  Journal of virology,  88(9),

Othello setting act5, scene 1 & 2 Essay Example | Topics and Well Written Essays - 250 words

Othello setting act5, scene 1 & 2 - Essay Example The effect of the setting is that, it has made it possible for evil to be committed without the ability to determine who is committing the evil against the others. On the other hand, Act V scene II is in a bedroom setting within the castle, where Desdemona finally meets her death (Shakespeare, ‎187). As opposed to the setting full of darkness in Scene I, the setting in Scene II is one where the acts of each character are recognizable. Thus under this setting, the evils deeds of the characters now come to the open, where the villains who have been hurting each other are known. It is now possible to tell what who has been holding a grudge against the other, and what reasons inform the sweet revenge (Shakespeare, ‎195). Therefore, there is a contrast in the setting of Scene I and Scene II in Act V, and the effect of the settings contrast is to hide the evils of different characters under Scene I, but their evils are disclosed in Scene

Cultural Policy in the UK

Cultural Policy in the UK CULTURAL POLICY IN THE UK: Mid-1960s to late 1980s Cultural Policy in the UK: Critical overview of the last 30 years MARCH 2010 In the last three decades (approximately 1980 to 2010), cultural policy in the UK has taken a generally questionable direction. Overall, cultural policy and practices of the past 30 years have been overwhelmed by new neo-liberal discourses and ideologies, namely: economic rationalism, monetarism, neo-conservatism, commodification of culture, managerialism and performativity. Examining each of these in turn, it becomes apparent that a market-driven, neo-liberal approach to UK cultural policy has largely failed in each of its stated aims: economic growth, artistic excellence, increased access to the arts, and social justice. The mid-1970s were a real turning point in terms of cultural policy, with broad policy changes occurring from this time on both within and without the cultural sector. In many ways, the earlier 1970s epitomised cultural and political concerns with the general welfare of the public, and some support of the arts for their own sake rather than as an instrument of broader political and social change. The early 1970s saw, in many ways, a political climate of idealism. Cultural policy of the time reflected this atmosphere. However, there were drastic political, cultural, and ideological changes made later in the 1970s which have, to a degree, continued to shape the cultural policy discourse of the next thirty years and up to the present day (Gray, 2007). In the cultural sector as a whole, Gray describes the development of what he calls instrumental policies (Gray, 2007, p.5) since the mid-1970s. By this term Gray describes the shift in cultural policy from an arms-length, distanced governm ental approach to the arts and culture; to a political interest in using the cultural sector as an instrument, or instruments, of social, economic, and political change. In the first decades of state patronage of the arts, the Arts Council saw itself not as a source of direction, not as a source of artistic policy, but as a kind of enabling body (Stevens, 1998: 10, quoted in Caust, 2003, p.52). By the late 1970s, however, this attitude on the part of the state had changed dramatically. Instead of standing back and simply allowing the arts to develop and flourish via generous state subsidy and support, many Western governments including that of the United Kingdom developed the ideology that they could and should instead expect outcomes for their investments (Caust, 2003, p. 52). The overwhelming shift to a market-based, market-driven ideology in terms of cultural policy has had many negative effects upon the arts themselves, and several tangentially-related areas of the social and political landscape. In the last thirty years, it is economic change which appears to have been the states prime concern in terms of cultural policy, despite public assertions to the contrary. Gray states that the ideological and organisational changes toward instrumental policy-making have had an effect upon what the state does, how it does it, and the justifications and reasons that have been put forward to explain them (Gray, 2007, p.5). The reforms that have taken place in the realm of cultural policy in the United Kingdom have been summarised by scholars as variously representing a mode of privatisation (Alexander and Rueschemeyer, 2005, pp. 71-4), or one of commodification (Gray, 2000). Privatisation concerns, variously, a heightened level of interventionism in the management and administration of public assets (Gray, 2007, p.5) by private entities or actors; or the sale of previously-nationalised state industries and assets to the private sphere. Commodification is a term used to describe wider ch anges in political actions and ideology, concerning the replacement of cultural value derived from its usefulness, to value derived from its exchangeability (Gray, 2007, p.5). Commodification results from an ideological shift within the state, and this can be seen as a driving force in cultural policy developments within the last thirty years. Despite government assertions that artistic excellence and broadened public access to the arts are prime concerns of the state, economic concerns are also often of perhaps overriding concern to the Thatcher, Major, Blair and Brown administrations which governed Britain between 1980 and 2010. Tony Blairs opening statement in the government publication Culture and Creativity: The Next Ten Years (____) makes the economic preoccupation of the government in relation to cultural policy quite explicit. Blair acknowledges a connection between creativity and production and then makes an economic justification for his governments investment in supporting creativity in its broadest sense (Caust, 2007, p. 55). With reference to both culture and creativity, Blair states: [t]hey also matter because creative talent will be crucial to our individual and national economic success in the economy of the future (Smith, 2001: 3; quoted in Caust, 2007, p.55). Economic Rationalism Economic rationalism is a term first coined in Australia with regards to economic policies and ideologies which favour privatisation of state industries, a free-market economy, economic deregulation, reduction of the welfare state, increased indirect taxation and lower direct taxation (Pusey, 1991). Such policies were particularly widespread in a global context during the 1980s and 1990s. The policies of Thatcherism provide an example of economic rationalism in action. The origins of the term economic rationalism were actually favourable, in describing market-oriented policies of various administrations in Australia, the UK and the US in the 1970s and 1980s (Pusey, 1991). In the 1990s, the term started to be used with an unfavourable tone, toward the Third Way policies of both the Australian Labour Party and the UK New Labour party of the 1990s. Both these parties initiated market-driven reforms within their political ideologies, which placed them closer to Thatcherite economic rationalism via increased emphasis upon the private sector in economic, political, and cultural arenas (Pusey, 1991). These were parties which had not traditionally placed a relatively great emphasis upon the free-market economy, and therefore the term economic rationalism has been used somewhat disparagingly to indicate that these parties have, to a degree, abandoned their historically leftist roots, when social justice and expansion of the welfare state took precedence over sheer capitalism. In terms of cultural policy, economic rationalism is evident throughout the 1980s and 1990s in the United Kingdom. Thatcherist policies in the 1980s placed unprecedented ideological and practical emphasis upon the free market, and in terms of cultural policy this translated to cuts in arts and education budgets, and the development of private-public partnership in cultural funding. The logical effect of such policies was that the arts, in particular, became increasingly monetised and reliant upon market and mass appeal in order to survive economically. The UK governments of the 1980s and 1990s placed great ideological and political emphasis upon the economic potential of the countrys cultural sector. Bennett (1995) views such economic potential as being used as a prime justification for state action and interventions within the cultural sector (p. 205-7). However, as Gray (2007) points out, this is not necessarily the same as seeing culture as a mechanism for economic regeneration (p. 16). The governments of the 1980s and 1990s appear to have sought to use various pretexts, including economic arguments, in order to justify their interventions in the sphere of cultural policy, however their true intentions most of the time were to stimulate broader economic growth through such cultural policies. As we shall see later, attempts at stimulating economic growth through cultural policy have, by and large, failed overall. Caust (2007) asserts that more recent government policy debates have been dominated by an economic paradigm (p.52). Arguments which focus upon the economic value of the arts have developed, and thus a political atmosphere is created in which the intrinsic value or worth that society may place upon the arts is trumped by the arts purely economic value. Economic rationalism, through its emphasis on the free market and upon the private sector, speeds the development of such an atmosphere, which permeated the UK cultural policy sector throughout the 1980s and 1990s. Although Causts discussion (2007) focuses on cultural policy in the Australian context, there are many parallels with UK cultural policy during the same time period. Caust describes a changing climate in which less emphasis came to be placed on the definition of art itself and upon value judgments of a particular art piece or art form by acknowledged experts.   Instead, market theory is emphasised, and increased importance is placed upon those art forms which can achieve the greatest commercial success. In the realm of cultural policy, such a change in the mode of arts valuation by the state leads to the desire to support arts activity which was commercial, exportable and cost-efficient (Caust, 2007, p.52). In the realm of cultural production, the natural result of such cultural policies is the emergence of mass cultural products which satisfy the market. Simon Cowell, and the massive, global Pop Idol and X Factor talent-show franchises he created, epitomises the result of two decades of economic rationalism. These programs, in which amateur singers compete in a televised, viewer-voted series, are vastly commercially successful and have been licensed in the US and many European and Latin American countries. Cowell has made a fortune, and it is typically a given that the winner of Pop Idol or The X Factor will have the Christmas number-one single in the UK (2009/2010 was an exception to this rule, when a social-media campaign deliberately pushed a reissued single by agit-rock group Rage Against The Machine to the top of the UK charts in a display of protest against the blandness and ubiquity of Cowells cover-song artists). While a huge success in economical terms Cowells franchises combine all the government-desired traits of exportability and mass-market appeal, while stimulating sales of music media in addition to generating signifi cant revenue via paid telephone voting and merchandise it could hardly be argued that the format of these shows stimulates artistic originality, experimentation, or musical development in any significant way.   The example above demonstrates that to give the market what it wants often leads to a lowest-common-denominator approach to cultural production and a bland stifling of the development of new and exciting art forms. Such effects of economic rationalism on cultural policy and therefore upon culture itself reflect Causts discussion of economic concerns and their effects on culture. As Caust states, such market-oriented cultural policy creates a compromising role for artists since serving the state as an economic generator is very different from taking risks artistically, or being innovative and creative generally. It could be argued this objective is little different from the expectations of a totalitarian state, in which its artists serve the states political aims. (Caust, 2007, p.54) Managerialism Prior to the late 1970s and early 1980s, governments had on the whole aimed to effect an arms-length approach in terms of arts management. One of the founding principles of the Arts Council itself was that it should be relatively independent of the government itself, and not directly under government control. Gray (2007) noted the general tendency of governments to adopt relatively indirect forms of involvement (p.11). Gray states that this role can be advantageous for governments, as they are not especially held accountable for the results of such policies implemented at arms-length: they can have some effect on the sector by producing general policies but, at the same time, they can avoid being held directly responsible or accountable for the specific policy choices that are then made on their behalf. (Gray, 2007, p.11) However, with the political, ideological, social and economic changes which took place when Thatcher was elected, the governments of the 1980s onwards adopted an increasingly managerialistic approach to the arts and cultural policy. Increasingly, the arts management implemented by successive administrations over the last three decades has been moved towards a new style of management that has been influenced by private sector models (in the form of mission statements and marketing, for example) (Gray, 2000, p. 112). It certainly follows logically that governments which prioritise capitalism and the free market would be attracted to the idea of imposing private-sector management models upon spheres they were hoping would become economically productive. Hence, successive governments have attempted to run the arts and cultural spheres, to some degree, as if they were private commercial enterprises. In many cases, this is a misunderstanding or misrepresentation of the inherent nature of m any areas of the arts. Generally, the start of managerialism in UK cultural policy can be seen during the reforms taking place under the label the New Public Management (NPM) (Gray, 2007, p.6). NPM emphasised several core concepts, which were put into action via UK state intervention in the cultural sphere. Under NPM, managers in the arts realm were empowered to make more decisions relating to their sphere of management; results were prioritised, and valued, over processes; managerial control was more generally decentralised; competition in terms of public service provision was actively encouraged; new emphasis was placed upon performance measurement; and management appointments now tended to be made through contracts rather than through seniority or hierarchy within the sector (Osborne and McLaughlin, 2002, p. 9; Pollitt, 2003a, pp. 27-8; Gray, 2007, p.6). Following the 1988 Ibbs Report, new managerial bodies were created by the government for example, the Executive Agencies (or, more formally, Non-Departmental Public Bodies) (Gray, 2007, p. 8). This led to a general decentralisation of government arts management, but also to issues regarding accountability, managerial responsibility and the relationship of elected politicians and appointed managers with the prime example being that of the clash between the then Home Secretary Michael Howard and the then head of the Prison Service, Derek Lewis. (Gray, 2007, p. 8) Local Strategic Partnerships and Regional Development Agencies were newly-instigated modes of arts management, which further emphasised both the decentralisation of government cultural policy during this period. Additionally, these agencies show evidence of overall managerialism towards the arts in that they demonstrate a devolution of power to local and regional arts managers. (Gray, 2007, p. 9) In later years, a somewhat different (modernizing) model of public management (Gray, 2007, p.6) was implemented, although the more general emphasis upon the concept of managerialism with respect to cultural policy did endure. Commodification of Culture In keeping with governmental emphasis upon the economy and the free market within the last three decades, there has followed an increasing commodification of culture. An obvious example of such commodification is enclosed within the phrases cultural industries and creative industries, which were hailed by New Labour in the 1990s and 2000s as a means of economic regeneration in the United Kingdom. Caust (2007) argues that the development of a view of cultural activity and production as an industry grew not only from the government, but also from the cultural producers themselves: When it became increasingly difficult in the early eighties to successfully argue the arts to government purely on the basis of the community welfare model, bureaucrats, practitioners and academics began the shift towards using a language that described the arts as an industry and developed the economic/cultural industry model. This led to the use of the terms cultural industries in Australia or in the United Kingdom, creative industries to describe all activities connected with the arts, as well as sectors far removed (Caust, 2007, p. 54) These cultural industries had been growing throughout the latter part of the twentieth century, aided by technological advances and global economic factors. In the northern hemisphere, populations were enjoying increased economic prosperity; leisure time was on the increase generally; television allowed mass cultural consumption in unprecedented fashion; and consumer electronics including audio and video equipment were becoming widely available and affordable (Hesmondhalgh Pratt, 2005, p. 3). By the early 1980s, the state was increasingly aware of these growing cultural industries both within the UKs own economy, and on a more global level. A path of increasing commodification of public policies was followed since the mid-1970s, with resultant changes in a broad range of cultural spaces. Ideologies prior to this mass commodification of culture had identified society as a whole as the primary intended beneficiary of government cultural policy. Increased commodification led to a shift, as the intended beneficiary of cultural activity and policy was now the individual consumer (Gray, 2007, p.14). Whereas cultural policy had previously been judged upon a broad range of criteria including social justice, access, and excellence; increasing commodification led to a narrowing of the criteria for judging cultural policy (ibid). Increased emphasis on the market value of cultural products and industries leads to an assessment of cultural policy in primarily, if not exclusively, economic terms. Again, this demonstrates a political preoccupation with the outcomes and outputs of cultural policy rather than the processes and inputs re lated to such policies, and a clear link between managerialism in cultural policy and the concomitant overall commodification of the culture produced under such a system. Performativity Just as the language and aims of commercial private industry were adopted for the cultural policy sphere via managerialism, economic realism, and the commodification of culture, so too the cultural sphere adopted measures and concerns regarding performance during the last three decades. Again, policies were judged on their results, their output and their products, and the economic success of cultural endeavour. In the realm of education, standardised performance tests have been increasingly introduced into the state schools, with the frequency, scope and range of educational tests increasingly greatly throughout the past thirty years. Likewise, in the sphere of cultural policy, tests of performance have also been increasingly implemented. These include Comprehensive Performance Assessments, and the Comprehensive Area Assessments replacing them in 2009, Best Value Indicators, Key Lines of Enquiry for Service Inspection, Local Area, Funding and Public Service Agreements, all of which p rovide explicit criteria against which service provision can be assessed (Gray, 2007, p. 8-9). The driving ideology behind such a raft of new tests to measure cultural and educational performance would appear to be a notion of accountability. The government wants to prove to an often sceptical public that its policies, whether in education or in culture, are working. Decentralisation of managerial power, and increased managerialism in cultural policy, provide a layer of accountability, or at the very least a scapegoat for failed or disappointing policies. Again, this move towards evidence-based policy-making and assessment reflects the belief of successive governments that the models that work for business can be applied to the cultural sphere. It is uncertain whether this is in fact correct. Culture does not function in the same way as manufacturing or other private business enterprises, and the outputs or achievements of the cultural industries and creative industries may be relatively intangible and ultimately difficult to measure with performance tests. Here, again, the inappropriateness of applying capitalist, market-driven ideals to the sphere of cultural policy is exposed. Also, the possibility is raised that such performativity in the cultural sphere serves two, largely unstated functions for the government: firstly, regular testing encourages increased cultural production, which within the confines of cultural industry could be expected to increase economic production; secondly, such emphasis on performance provides a form of justification for government policy in the cultural sphere. There has always been dissent regarding state arts spending in the United Kingdom how much public money is spent, what it is spent on, and what return the British taxpayers can exp ect on their investment in the arts. Performance tests in the cultural sector allow the state to point to demonstrable success, progress, or productivity in the cultural sector, which can be interpreted as proof of successful cultural policy implementation. Instrumentalism Instrumentalism the use of cultural institutions and cultural policy to achieve specific political aims is in many ways as old as cultural policy itself. For as long as there has been state arts patronage in the United Kingdom, the state has attempted to utilise the institutions, activities and sectors it sponsored to make political, social and economic changes to society. In the most recent three decades, the emphasis has been upon the latter, whereas earlier in the twentieth century, more importance was perhaps placed upon concepts of social change and nation-building. The roots of the Arts Council the organisation CEMA which was instituted during the Second World War were in morale-building, increased public access, softening of Britains class divisions, and fostering patriotism and a sense of the unified nation. As such, state intervention in the cultural sphere has more often than not been with at least some intention of using said intervention as a political or other tool. Gray states that the museums sector, in particular, is effectively being used as a tool for the attainment of the policy objectives of actors and concerns that have traditionally been seen to lie outside of the museums sector itself (Gray, 2007, p. 3). Museums are particularly susceptible to political manipulation, as they occupy a unique cultural space in terms of creating a nations sense of history and heritage, and fostering ideas of nationhood and the future of a country. What is included or excluded in a museum, and the manner in which it is displayed and framed, has a huge effect upon its reception and the ideas it can inspire. Vestheim (1994), talking of cultural policy, defines instrumental policy as being to use cultural ventures and cultural investments as a means or instrument to attain goals in other than cultural areas (p. 65). In broad terms, all cultural policy, and by extension all public policy, can be viewed as instrumental policy. All policy is intended to achieve something (Gray, 2007, p. 205). So, while instrumentalitsm has always been a feature of cultural policy in the United Kingdom, it is in recent decades that it has come to the forefront of the cultural discourse. Thatcher, Major and New Labour under Tony Blair and Gordon Brown have all emphasised cultural policy as an instrument of economic regeneration, and achievement within the market. As such, they have acknowledged that their cultural policies are more baldly instrumental in nature than those of preceding administrations which at least paid lip service to ideals of social justice, welfare, and development of the arts for their own sake. Neo-Conservatism After the industrial and economic woes of the 1970s in the United Kingdom, the tide was ready to turn to neo-conservatism, and this was a change mirrored in many of the Western societies. Reagan, for example, was president of the United States during the Thatcher regime in the UK, and both pursued Conservative policies within a capitalist framework. In cultural policy and artistic thinking, neo-conservatism was perhaps the ideological opposite to the Romanticism of the preceding century. In the nineteenth century, cultural discourse was dominated by the ideal of the lone, genius artist who would be successful only posthumously (a striking example of this would be many of the great Romantic musical composers). Romantic ideology lauded the isolated artist-genius who was inspired to work purely because of artistic passion, rather than economic concerns. In fact, to be a poor and starving artist conveyed perhaps relatively more artistic credibility. It was believed that the true value of art is transcendent and can be determined by experts, commonly accompanied by the idea that the monetary value of art is false and the market cannot decide (Hesmondhalgh Pratt, 2005, p. 5). Concomitant with this was the Romantic belief that art was for all, and that culture has the power to act as a civilising force upon society as a whole. Neo-conservatism tuned these ideas on their head. The lauded artist of the 1980s through 2000s is economically successful, creating a cultural product or commodity that appeals to, and responds to, the demands of the mass capitalist market. Ideals of the civilising powers of high culture upon society as a whole have been largely abandoned in practical terms, in favour of economic concerns (despite state assertions to the contrary, the prime goal in recent years appears to be financial rather than social). Limited positive effects of neo-conservative cultural policies and ideologies can be appreciated in some spheres. Caust argues that, in a society which is dominated by capitalist values (Caust, 2007, p.54), an economically successful artist will likely receive greater respect for their work, as well as more money. Furthermore, the market-driven, neo-conservative emphasis on the exportability of cultural product can have the positive effects of creating national pride and highlighting the value of cultural production to the wider world (ibid, p. 54). Monetarism Conclusions In recent times arts funding agencies have been restructured to reflect a market-driven agenda rather than an arts-driven agenda. (Caust, 2003, p. 51) Overall in the last thirty years, cultural policy in the UK has looked increasingly to capitalism, the free-market economy, and the so-called cultural and creative industries in terms of cultural policy direction. Models from the world of business and commerce have been applied over several decades to the cultural sector: managerialism; instrumentalism; monetarism; economic realism; performativity; and the overwhelming commodification of all kinds of culture. In implementing these policies, many of the more socially-just aims of prior generations of cultural policy-makers have been neglected or abandoned. In an era of increasing globalisation, successive UK governments of the past thirty years have pushed for cultural production, economic viability and profitability, and the creation of exportable cultural commodities for mass cultural consumption. Applying such concepts and organisational structures from private industry to the cultural sector has its drawbacks. Caust states that, when it comes down to dollars, the arts cannot in any way compete with many other components of the broad cultural industry spectrum such as the communications or IT areas. (Caust, 2007, p.55). Overall, the forces of neo-conservatism have not succeeded in making the UK cultural sector an economically productive and independently viable industry. In attempting to fit the arts and culture into a capitalist mould, UK cultural policy of the past thirty years has failed in many arenas cultural, social, economical, and political. Bibliography ACGB, records: 1928-1997. http://www.vam.ac.uk/vastatic/wid/ead/acgb/acgbb.html (London: Victoria Albert Museum) Alexander and Rueschemeyer, 2005 _________________________________ Alexander, David (1978), A Policy for the Arts: Just Cut Taxes, (London: Selsdon Group, 1978) Amis, Kingsley (1979). An Arts Policy? ( London: Centre for Policy Studies, 1979). Barnes, T. (2001) Retheorizing economic geography: from the quantitative revolution to the cultural turn. Annals of the Association of American Geographers 91, 546-65. Pusey, Michael (1991).   Economic Rationalism in Canberra: A Nation Building State Changes its Mind. Cambridge University Press. Bennett, O (1995), Cultural Policy in the United Kingdom: Collapsing Rationales and the End of a Tradition, European Journal of Cultural Policy, Vol. 1, pp. 199-216 Bilton, Chris (____).   Cultures of Management: Cultural Policy, Cultural Management and Creative Organisations _______ Caust, Jo (2003).   Putting the Art back into Arts Policy Making: How Arts Policy has been Captured by the Economists and the Marketers, The International Journal of Cultural Policy, 2003 Vol. 9 (1), pp. 51-63 Cormack, Patrick ed., Right Turn ( London: Leo Cooper, 1978) Croft, Andy (1995) Betrayed Spring: The Labour Government and British Literary Culture, in Labours Promised Land? Culture and Society in Labour Britain, 1945-51, ed. Jim Fyrth (London: Lawrence Wishart, 1995) Elsom, John (1971), Theatre Outside London ( London: Macmillan, 1971) Fisher, Rod (2010) United Kingdom/ 1. Historical perspective: cultural policies and instruments, Compendium of Cultural Policies and Trends in Europe, 11th edition, 2010. Council of Europe/ERICarts. Retrieved from http://www.culturalpolicies.net/web/unitedkingdom.php Fyrth, Jim (1995). Labours Promised Land? Culture and Society in Labour Britain, 1945-51, London: Lawrence Wishart Gray, C. (1995), The Commodification of Cultural Policy in Britain, pp. 307-15 in J. Lovenduski and J. Stanyer (eds), Contemporary Political Studies 1995 (Belfast, Political Studies Association) Gray, Clive (2007).   Instrumental Cultural Policies: Causes, Consequences and Museums, Paper to the Arts and Humanities Research Council Instrumental Museum and Gallery Policy Workshop, University of Glasgow, October 2007 Gray, Clive. (2000). The Politics of the Arts in Britain.   Palgrave Macmillan, UK. Haines, Joe (2003) Glimmers of Twilight. London, Politicos Publishers. Haney (2010). Britpop, Retrieved March 17, 2010 from http://uweb.cas.usf.edu/~dslone/pathfinders/haney.htm Harris, John S. (1969), Decision-Makers in Government Programs of Arts Patronage: The Arts Council of Great Britain, The Western Political Quarterly, Vol. 22, No. 2 (Jun., 1969), pp. 253-264. Western Political Science Association, University of Utah Hennessy, P. and Seldon, A. (eds.) (1987) Ruling Performance: British Government from Attlee to Thatcher. Oxford: Basil Blackwell. Hewison, R. (1998), New Cultural Models for Old, International Journal of Cultural Policy, vol. 5(1), 99-107. Hull, Robin (1958). Subsidised Music: 1. Th

Have parents given too much freedom to their child Essay

Sir/Madam, first of all, I’d like to briefly define and introduce the topic. It means, in this post-modern capitalist human society, attitude of extreme liberalization has led parents lavish too much liberty, blank check and affection on their children which have proved dangerous in each and every aspect. I 100% agree with this statement. This freedom is multifaceted and begins at home as making negative use of the liberty of expression and action, children are allowed to say and do whatever they like. Then the very freedom penetrates schools and the concept of â€Å"Maar Nahin Piyar† is overemphasized. Moreover, rich and busy parents promote habits of extravagancies among their children by giving free rein over the use of money. Mr. /Ms. President, I am not against this freedom; I am only concerned with its evil aspects in the long run. The world we live in is not a paradise, so this many-sided freedom eventually gives birth to multifarious evils which later on become impossible to be eradicated. Children constitute an age group of human society characterized by immaturity lacking awareness and experience. They are like iron in the molten state which, if left free, will flow in any direction and will result in a useless rather troublesome shape. So, children need intense care and control for their result-oriented moulding. Mr. /Ms. President, everything in the universe is bound by limits which are set by Allah as â€Å"Tilka Hu-du-dullah-hey† meaning â€Å"These are the limits set by Allah†. Nature and natural law are based on the principle of moderation. In case of humans, this moderation has to be enforced by the use of force because man by nature is hasty and contentious. So, this moderation in the children can only be ensured by parental control. Mr. /Ms. President, the children given free hand usually keep bad companies and adopt smoking, drug addiction, alcoholism, gambling and get indulged in robbery, thievery, dacoity, murder, assassination and other nefarious social evils and crimes like suicide bombing. That is why our Holy Prophet Hazrat Muhammad PBUH said, â€Å"Parents must always keep a stick for check and control over their children†. As an obvious and direct consequence of extra-freedom and unrestrained liberty, our new generation is rebellious, rude, void of spirituality and blindly pursues materialistic approach. As a result, ever increasing desires and over necessitation of survival facilities by children, create everyday a new headache, anxiety and an insolvable problem which makes the parents’ lives  unbearable. Now, with the permission of Mr. President, I’d like to express my conclusive remarks. As a matter of routine experience and according to the findings of various global surveys, children’s misconduct and their evil habits are caused either by too much restraint or too much freedom. Such unruly, rebellious and trouble making children instead of being a divine blessing prove to be a curse not only for their parents but also their kith & kin, neighbors, society, nation and even international community. In short, love alone can do nothing; â€Å"love† and â€Å"law† should go side by side. Love proves to be beneficial only if accompanied by due restraint.

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