Piaget vs. Jung

Piaget *Missing Works Cited* Piaget work has received world wide acclaim and recognition , as well as having a positive impact in areas such as education and social curricula. Though he had made an impact on understanding of the child cognitive development , his theory of cognitive development has suffered a great deal of critics that it neglects the social nature of human development. (Hook, Watts and Cockroft ,2002). So the following essay will discuss on whether this critic is valid or not based on detail discussion of Piaget theory. The theory of Vygotsky shall also be discussed to prove that indeed social factors play a role . Piaget theory of cognitive development neglects the influence of social factors on child cognitive development. (Hook et al ,2002)As stated by Hook et al (2002,p. 190)in agreement with critics like Piaget theory gave insufficient attention to the ways in which children social interaction with their sibling or parents may influence their cognitive development† . Justification of this critic is provided by the fact that Piaget (1952)saw children as lone scientist who sought to understand and build knowledge of their external world through interaction with the world . According to Piaget as stated in Siegel &Brainerd(1978)cognitive development depend on two factors , internal maturation and external maturation . That is children are incapable of learning some tasks until they reached a certain age When considering cognitive development , Piaget focuses on the mental processes that occur, rather than on the actual measure of the cognitive development. Clearly justification to this critic of insufficient has been provided by the fact that Piaget sees children as the lone scientists who sought to understand and build knowledge of their external world their interaction with it (Hooketal ,2002). According to Piaget (1960)children actively construct their own cognitive world , he also stated that information is not just poured into children minds from the environment . Clearly this critic of insufficient attention to social factors was justified . According to Piaget (1952)as stated in Hook et al (2002p180)†much of what child learns begin by accident –The child accidentally performs some action , perceives it , like it and then repeats the action assimilating it into her or his existing schemes . The above quotation provides evidence that Piaget theory neglected social factors that plays a role on cognitive development of the child. Piaget devised four stages of development spanning from birth to adolescence. The stages progress in an invariant sequence, a child moves systematically through stages and advancement into the next stage depends on the mastery of the proceeding one (1952) The succession of stages involves the movement through that four stages. According to Piaget (1952) Children must move through these stages during their childhood. These include Sensorimotor, Preoperational, Concreteoperational, and Formal operational. Stage movement is an important factor of Piaget's definition of cognitive development, because Piaget (1960) states that there are a specific set of criteria that must be met and mastered at each stage. In order to move from the first stage to the next, the child must master that specific set of criteria. (Siegel & Brainerd,1978) One may argue that Piaget uses biological approach, or biological adaption to discuss the cognitive development of the child. This includes our reflexes which occur when certain stimuli trigger an instinctive response. Piaget theory explains how child cognitive develops through an intellectual regulatory process geared by adaption to the environment. (Siegel & Brainerd,1978). During this on going relationship with the environment the child exhibits certain organisations based upon assimilation, the taking in process of experience, accepting new encounters and fitting them into existing schemes, and accommodation , the reaction of the individual who encounters new experiences that are not consistent with existingschemes and so the person must change their scheme to accept or accommodate the new information(Hook et al, 2002,Siegel& brainerd, Piaget ,1960,Tryphon & voneche,1996 ,1978) . Piaget felt that a baby is an active and curious organism, that reaches out and seeks to regulate a balance between assimilation and accommodation. This balance is what Piaget describes as equilibrium. Piaget considered the process of equilibrium an important factor in the cognitive growth and development of a child. (Piaget , 1952) This was the ground were he was criticize because he said that children must be allowed to do their own learning(Piaget,1952). Lourenco & Machado (1996)in defense of Piaget theory realized that Piaget has took into consideration the fact that humans progressively develop or mature to higher states of cognitive development and realized that children acquire knowledge transmitted by parents, teachers ,and books, Piaget called this â€Å"social transmission. † Piaget believed that when a child hears contradictory statements that challenge established schemes, equilibrium is disturbed. Piaget called such a disruption in equilibrium cognitive conflict or disequilibrium. When children experience cognitive conflict they set out in search of an answer that will enable them to achieve states of equilibrium. (Lourenco & Machado,1996) Justification of this critique was also provided by Vygotsky theory of development . Vygotsky (1929) believes that adults and child’s peers are involved in shaping cognitive development of the child. As stated by Vygotsky (1929) through social activities a child learns cultural tools and social inventions . These according to Vygotsky (1929) includes language, rules and counting. Vygotsky theory is one theory that has provided justification to the critics that Piaget gave insufficient attention to social factors. Mentioned on the second page Piaget (1952) contended that cognitive development is constructed into four stages . The following paragraph will examine each stage individually focusing on social factors that he ignore on each and every stage. The sensorimotor stage is the first of the four stages Piaget uses to define cognitive development. Piaget designated the first two years of an infants life as the sensorimotor stage. During this period, infants are busy discovering relationships between their bodies and the environment. Researchers have discovered that infants have relatively well developed sensory abilities. The child relies on seeing, touching, sucking, feeling, and using their senses to learn things about themselves and the environment. Piaget calls this the sensorimotor stage because the early manifestations of intelligence appear from sensory perceptions and motor activities. Through countless informal experiments, infants develop the concept of separate selves, that is, the infant realizes that the external world is not an extension of themselves. According to Piaget(1952)Infants at this stage realize that an object can be moved by a hand and develop notions of displacement and events. An important discovery during the latter part of the sensorimotor stage is the concept of object permanence. Object permananceis the awareness that an object continues to exist even when it is not in view. In young infants, when a toy is covered by a piece of paper, the infant immediately stops and appears to lose interest in the toy. After a child has mastered the concept of object permanence, the emergence of directed groping begins to take place. With directed groping, the child egins to perform motor experiments in order to see what will happen. (Hook et al, 2002) During directed groping, a child will vary his movements to observe how the results will differ. The child learns to use new means to achieve an end. The child discovers he can pull objects toward himself with the aid of a stick or string, or tilt objects to get them through the ba rs of his playpen(Hook et al,2002). The concrete operational stage is the third stage in Piaget's theory. This stage typically occurs between the ages of 7 and 12(Hook et al , 2002) During this stage, the child begins to reason logically, and organise thoughts coherently. However, they can only think about actual physical objects, they cannot handle abstract reasoning. This stage is also characterized by a loss of egocentric thinking. During this stage, the child has the ability to master most types of conservation experiments, and begins to understand reversibility. (Piaget 1952,Maier,1978 and Hook et al , 2002). The concrete operational stage is also characterized by the child's ability to coordinate two dimensions of an object simultaneously, arrange structures in sequence, and transpose differences between items in a series. The formal operational stage is the fourth and final stage in Piaget's theory. It begins at approximately 11 to 12 years of age, and continues throughout adulthood, although Piaget does point out that some people may never reach this stage of cognitive development. The formal operational stage is characterized by the ability to formulate hypotheses and systematically test them to arrive at an answer to a problem. The individual in the formal stage is also able to think abstractly and to understand the form or structure of a mathematical problem. Another characteristic of the individual is their ability to reason contrary to fact. That is, if they are given a statement and asked to use it as the basis of an argument they are capable of accomplishing the task. For example, they can deal with the statement â€Å"what would happen if snow were black†. Mental hospital in Zurich, a famous medical hospital. He studied under Eugen Bleuler, who was a famous psychiatrist who defined schizophrenia. Jung was also influenced by Freud with whom he later became good friends. Freud called him his crown-prince. Their relationship ended when Jung wrote a book called â€Å"Symbols of Transformation. † Jung disagreed with Freud's undamental idea that a symbol is a disguised representation of a repressed wish. I will go into that later. After splitting up with Freud, Jung had a 2 year period of non- productivity, but then he came out with his â€Å"Psychological Types,† a famous work. He went on several trips to learn about primitive societies and archetypes to Africa, New Mexico to study Pueblo Indians, and to India and Ceylon to study eastern philosophy. He studied religious and occult beliefs like I Ching, a Chinese method of fortune telling. Alchemy was also one of his interests. His book, â€Å"Psychology and Alchemy,† published in 1944 is among his most important writings. He studied what all this told about the human mind. One of his methods was word association, which is when a person is given a series of words and asked to respond to them. Abnormal response or hesitation can mean that the person has a complex about that word. His basic belief was in complex or analytical psychology. The goal is psychosynthesis, or the unification and differentiation of the psyche (mind). He believed that the mind started out as a whole and should stay that way. That answered structural, dynamic, developmental questions. I will attempt to restate the major ideas and terms in this book in a pseudo- outline. It will make the understanding a bit more clear. STRUCTURE ——— DYNAMICS ——– The psyche . There are some channels into the psyche through which ene rgy can enter in form of experiences. If the psyche were a totally closed systems, it could reach a state of perfect balance, for it would not be subjected to interference from the outside. The slightest stimulus may have far-reaching consequences on one's mental stability. This shows that it is not the amount of energy that is added, but the disruptive effects that the added energy produces within the psyche. These disruptive effects are caused by massive redistributions of energy within the system. It takes only the slightest pressure on the trigger of a loaded gun to cause a great disaster. Similarly, it may take only the slightest addition of energy to an unstable psyche to produce large effects in a person's behavior. Psychic energy is also called Libido. It is not to be confused with Freud's definition of libido. Jung did not restrict libido to sexual energy as Freud did. In fact, this is one of the essential differences in the theories of the two men. It can be classified as actual or potential forces that perform psychological work. It is often expressed in desires and wants for objects. The values for things are hidden in complexes. The psyche is always active, yet it is still very difficult for people to accept this view of a continuously active psyche, because there is a strong tendency to equate psychic activity with conscious activity. Jung, as well as Freud, hammered away at this misconception, but it persists even today. The source of psychic energy is derived from one's instincts and diverted into other uses. Like a waterfall is used to create energy, you have to use your instincts to turn into energy as well. Otherwise, just like the waterfall, your instincts are completely fruitless. For example, if you think that to get a beautiful wife, you have to be rich, so you direct your sexual drive into a business persona, which will bring you money. There are two principles of psychic dynamics. What happens to all that energy? 1. Principle of Equivalence. Energy is not created nor destroyed. If it leaves something, it has to surface. For example, if a child devoted a lot of energy to reading comics, it might be redirected into a different persona, som ething like being Mr. Cool Dude! He then will loose interest in reading comics. Energy also has an inclination to carry tendencies of its source to its destination. 2. Principle of Entropy. Energy usually flows from high to low. If you have a highly developed structure (persona, for example), instead of equalizing, it may start drawing values from other systems to boost itself even higher. Such highly energized systems have a tendency to go BOOOOM! So, entropy can destroy those high energy systems if they get too big. The operation of the entropy principle results in an equilibrium of forces. Just like two bodies of different temperatures touching each other would soon equalize temperatures. The hotter one will transfer heat to the cooler one. Once a balance is reached in your psyche, according to Jung, it will be then difficult to disturb. Tho se two principles influence the following: Progression and Regression. Progression is the advance of psychological adaptation. For example, if you need a shadow (creativity, perhaps), you will try to develop one. When conflicting traits loose power, your psyche enters regression. Say, your persona and shadow are in opposition and because they are in opposition, they both would be suppressed, because neither would get enough libido, or energy. DEVELOPMENT ———– During this stage, an individual establishes his/her position in life. His vocation and marriage partner are determined. A person usually uses his Anima and Shadow to decide those things. Values are channeled into his establishment in the outside world. Once one is independent, even a small experience can influence him greatly. The Middle Age is the one often neglected by psychiatrists. Lots of people have problems in this stage. They usually don't know what to do with the energy left over that was devoted to establishing positions in society as youth. As the principle of entropy suggests, the energy is conserved, so once an adult put it to use, he must redirect it elsewhere. Jung stated that those left-over energies can be usefully diverted into spiritual contemplation and expansion. Nothing much happens in old age. People have so much energy of experiences in their psyche that even a major experience won't upset their psychological balance. Often, society will force people to assume prefered types. Types are categories of classifications of psyches which are non-absolute and have no definite boundaries. There are eight â€Å"types. † Types are combinations of functions and attitudes (page 3). The following are the eight main types: 1. Extraverted Thinking Type. This type of man elevates objective thinking into the ruling passion of his life. He is typified by the scientist who devotes his energy to learning as much as he can about the objective world. The most developed extraverted thinker is an Einstein. 2. Introverted Thinking Type. This type is inward-directed in his thinking. He is exemplified by the philosopher or existential psychologist who seeks to understand the reality of his own being. He may eventually break his ties with reality and become schizophrenic. 3. Extraverted Feeling Type. This type, which Jung observes is more frequently found in women, subordinates thinking to feeling. 4. Introverted Feeling Type. This type is also more commonly found among women. Unlike their extraverted sisters, introverted feeling persons keep their feelings hidden from the world. 5. Extraverted Sensation Type. People of this type, mainly men, take an interest in accumulating facts about the external world. They are realistic, practical, and hardheaded, but they are not particularly concerned about what things mean. 6. Introverted Sensation Type. Like all introverts, the introverted ensation type stands aloof from external objects, immersing himself in his own psychic sensations. He considers the world to be banal and uninteresting. 7. Extraverted Intuitive Type. People of this type, commonly women, are characterized by flightiness and instability. They jump from situation to situation to discover new possibilities in the external world. They are always looking for new worlds to c onquer before they have conquered old ones. 8. Introverted Intuitive Type. The artist is a representative of this type, but it also contains dreamers, prophets, visionaries, and cranks. He usually thinks of himself as a misunderstood genius. Variations in the degree to which each of the attitudes and functions are consciously developed or remain unconscious and undeveloped can produce a wide range of differences among individuals. This book is an extremely valuable source of thought provoking logic. Jung wrote with common sense, passion, and compassion, and the reader experiences a â€Å"shock of recognition†; he will recognize truths he has known, but which he has not been able to express in words. This book made me think about myself, and people in general. How people's minds work, including my own. I found a lot of â€Å"truth† or at least I though I did in Jung's teachings. I could relate some of the reading material to elements studied in class. One will be astounded by the number of Jung's ideas that anticipated those of later writers. Many of the new trends in psychology and related fields are indebted to Jung, who first gave them their direction. The book is also interesting, because of its challenging nature. I suppose that not all people would enjoy reading such type of literature, since many people in this world are sensational types. I certainly did enjoy it, and have found out some things about myself in the process. The book is very well written. It has many good analogies and explanations which even the most sensational type would understand. The collection of information is tremendous. There is so much information bundled in 130 pages, that it makes you think that 500 pages would not be enough to really explain deeply the subject matter. This book can be faultlessly us ed as a textbook, which could prove to be salutary in psychology classes. I strongly recommend reading this book to all audiences that want to. A person, content with the world around him, not wishing to challenge the puzzles of nature, should not. This book is a treasure for all who seek to explore the human mind. Our personality traits come in opposites. We think of ourselves as optimistic or pessimistic, independent or dependent, emotional or unemotional, adventurous or cautious, leader or follower, aggressive or passive. Many of these are inborn temperament traits, but other characteristics, such as feeling either competent or inferior, appear to be learned, based on the challenges and support we receive in growing up. The man who did a great deal to explore this concept is Erik Erikson. Although he was influenced by Freud, he believed that the ego exists from birth and that behavior is not totally defensive. Based in part on his study of Sioux Indians on a reservation, Erikson became aware of the massive influence of culture on behavior and placed more emphasis on the external world, such as depression and wars. He felt the course of development is determined by the interaction of the body (genetic biological programming), mind (psychological), and cultural (ethos) influences. He organized life into eight stages that extend from birth to death (many developmental theories only cover childhood). Since adulthood covers a span of many years, Erikson divided the stages of adulthood into the experiences of young adults, middle aged adults and older adults. While the actual ages may vary considerably from one stage to another, the ages seem to be appropriate for the majority of people. Erikson's basic philosophy might be said to rest on two major themes: (1) the world gets bigger as we go along and (2) failure is cumulative. While the first point is fairly obvious, we might take exception to the last. True, in many cases an individual who has to deal with horrendous circumstances as a child may be unable to negotiate later stages as easily as someone who didn't have as many challenges early on. For example, we know that orphans who weren't held or stroked as infants have an extremely hard time connecting with others when they become adults and have even died from lack of human contact. However, there's always the chance that somewhere along the way the strength of the human spirit can be ignited and deficits overcome. Therefore, to give you an idea of another developmental concept, be sure to see Stages of Growth for Children and Adults, based on Pamela Levine's work. She saw development as a spiraling cycle rather than as stages through which we pass, never to visit again. As you read through the following eight stages with their sets of opposites, notice which strengths you identify with most and those you need to work on some more. . Infancy: Birth to 18 Months Ego Development Outcome: Trust vs. Mistrust Basic strength: Drive and Hope Erikson also referred to infancy as the Oral Sensory Stage (as anyone might who watches a baby put everything in her mouth) where the major emphasis is on the mother's positive and loving care for the child, with a big emphasis on visual contact and touch. If we pass successfully through this period of life, we will learn to trust that life is basically okay and have basic confidence in the future. If we fail to experience trust and are constantly frustrated because our needs are not met, we may end up with a deep-seated feeling of worthlessness and a mistrust of the world in general. Incidentally, many studies of suicides and suicide attempts point to the importance of the early years in developing the basic belief that the world is trustworthy and that every individual has a right to be here. Not surprisingly, the most significant relationship is with the maternal parent, or whoever is our most significant and constant caregiver. . Early Childhood: 18 Months to 3 Years Ego Development Outcome: Autonomy vs. Shame Basic Strengths: Self-control, Courage, and Will During this stage we learn to master skills for ourselves. Not only do we learn to walk, talk and feed ourselves, we are learning finer motor development as well as the much appreciated toilet training. Here we have the opportunity to build self-esteem and autonomy as we gain more control over our bodies and acquire new skills, learning right from wrong. And one of our skills during the â€Å"Terrible Two's† is our ability to use the powerful word â€Å"NO! † It may be pain for parents, but it develops important skills of the will. It is also during this stage, however, that we can be very vulnerable. If we're shamed in the process of toilet training or in learning other important skills, we may feel great shame and doubt of our capabilities and suffer low self-esteem as a result. The most significant relationships are with parents. 3. Play Age: 3 to 5 Years Ego Development Outcome: Initiative vs. Guilt Basic Strength: Purpose During this period we experience a desire to copy the adults around us and take initiative in creating play situations. We make up stories with Barbie's and Ken's, toy phones and miniature cars, playing out roles in a trial universe, experimenting with the blueprint for what we believe it means to be an adult. We also begin to use that wonderful word for exploring the world—†WHY? † While Erikson was influenced by Freud, he downplays biological sexuality in favor of the psychosocial features of conflict between child and parents. Nevertheless, he said that at this stage we usually become involved in the classic â€Å"Oedipal struggle† and resolve this struggle through â€Å"social role identification. † If we're frustrated over natural desires and goals, we may easily experience guilt. The most significant relationship is with the basic family. 4. School Age: 6 to 12 Years Ego Development Outcome: Industry vs. Inferiority Basic Strengths: Method and Competence During this stage, often called the Latency, we are capable of learning, creating and accomplishing numerous new skills and knowledge, thus developing a sense of industry. This is also a very social stage of development and if we experience unresolved feelings of inadequacy and inferiority among our peers, we can have serious problems in terms of competence and self-esteem. As the world expands a bit, our most significant relationship is with the school and neighborhood. Parents are no longer the complete authorities they once were, although they are still important. 5. Adolescence: 12 to 18 Years Ego Development Outcome: Identity vs. Role Confusion Basic Strengths: Devotion and Fidelity Up to this stage, according to Erikson, development mostly depends upon what is done to us. From here on out, development depends primarily upon what we do. And while adolescence is a stage at which we are neither a child nor an adult, life is definitely getting more complex as we attempt to find our own identity, struggle with social interactions, and grapple with moral issues. Our task is to discover who we are as individuals separate from our family of origin and as members of a wider society. Unfortunately for those around us, in this process many of us go into a period of withdrawing from responsibilities, which Erikson called a â€Å"moratorium. And if we are unsuccessful in navigating this stage, we will experience role confusion and upheaval. A significant task for us is to establish a philosophy of life and in this process we tend to think in terms of ideals, which are conflict free, rather than reality, which is not. The problem is that we don't have much experience and find it easy to substitute ideals for experience. However, we can also develop strong devotion to friends and causes. It is no surprise that our most significant relationships are with peer groups. 6. Young adulthood: 18 to 35 Ego Development Outcome: Intimacy and Solidarity vs. Isolation Basic Strengths: Affiliation and Love In the initial stage of being an adult we seek one or more companions and love. As we try to find mutually satisfying relationships, primarily through marriage and friends, we generally also begin to start a family, though this age has been pushed back for many couples who today don't start their families until their late thirties. If negotiating this stage is successful, we can experience intimacy on a deep level. If we're not successful, isolation and distance from others may occur. And when we don't find it easy to create satisfying relationships, our world can begin to shrink as, in defense, we can feel superior to others. Our significant relationships are with marital partners and friends. 7. Middle Adulthood: 35 to 55 or 65 Ego Development Outcome: Generativity vs. Self absorption or Stagnation Basic Strengths: Production and Care Now work is most crucial. Erikson observed that middle-age is when we tend to be occupied with creative and meaningful work and with issues surrounding our family. Also, middle adulthood is when we can expect to â€Å"be in charge,† the role we've longer envied. The significant task is to perpetuate culture and transmit values of the culture through the family (taming the kids) and working to establish a stable environment. Strength comes through care of others and production of something that contributes to the betterment of society, which Erikson calls generativity, so when we're in this stage we often fear inactivity and meaninglessness. As our children leave home, or our relationships or goals change, we may be faced with major life changes—the mid-life crisis—and struggle with finding new meanings and purposes. If we don't get through this stage successfully, we can become self-absorbed and stagnate. Significant relationships are within the workplace, the community and the family. 8. Late Adulthood: 55 or 65 to Death Ego Development Outcome: Integrity vs. Despair Basic Strengths: Wisdom Erikson felt that much of life is preparing for the middle adulthood stage and the last stage is recovering from it. Perhaps that is because as older adults we can often look back on our lives with happiness and are content, feeling fulfilled with a deep sense that life has meaning and we've made a contribution to life, a feeling Erikson calls integrity. Our strengt h comes from a wisdom that the world is very large and we now have a detached concern for the whole of life, accepting death as the completion of life. On the other hand, some adults may reach this stage and despair at their experiences and perceived failures. They may fear death as they struggle to find a purpose to their lives, wondering â€Å"Was the trip worth it? † Alternatively, they may feel they have all the answers (not unlike going back to adolescence) and end with a strong dogmatism that only their view has been correct.

Pakistan Earthquake

On October 8, 2005 the history of Pakistan turned a new page when a massive earthquake hit the northern part of the country. It was said to be the most powerful quake in the last 100 years. It had a magnitude of 7. 6 and was accompanied by more than 60 aftershocks. It killed and injured more than thousands of people and caused massive destruction in the northern part. It was early in the morning when the earth shattering quake jolted the residents out of their beds. Those who were already up and about ready to go, or were at work and school rushed out of their buildings into the open air as the earth shook violently beneath them. They started praying. Still many were trapped as the buildings come down on them. Most of the students lost their lives, as they were completely unaware that they would be buried alive under the ruins of their school building. My family and I had moved to Islamabad (northern part of the country) just two days ago. Our part of the city was not as affected compared to the other parts and because of that we felt lucky. The Margalla Towers, an apartment complex collapsed and killed most of the residents living there. Many of our relatives and family friends lived in that area. Mom tried to call them but the communication systems were disrupted by the quake. This added to the anxiety of the people who could not call their relatives in the affected areas. Many of them were injured and lost most of their family members to the quake. However the most disturbing news was that my aunt lost her husband and her six months old son. The quake affected millions of people directly and indirectly. The official death toll was 87,000 and more than 100,000 people were injured. Many dead bodies were pulled, from the rubble with missing limbs or completely crushed by the rescue teams. But also there had been a handful of incredible stories of survival. Rescue teams worked against insurmountable odd, and succeeded in pulling victims alive from the rubble. A six year old boy became one of the last to be pulled alive from the earthquake’s devastation. After 200 hours, Ahmad had remained conscious but trapped eneath the layers of rubble, which was all that remained of his family’s apartment. â€Å"I was playing with my truck, then I fell†, he said, recounting what had happened. The rest of the family was not as lucky. There were other amazing stories, a ninety year old woman was found alive while other members of her family were lying dead around her, with exception of her three year old grandson. She was left to raise him at this old age. A mother was recovered de ad and she was shielding two children under her. One had died but the other lived. The quake affected millions of people, ordinary people come in thousands to help in relief efforts. Volunteers answered the calls for blood donations and brought food, water and other goods for the victims. Muzaffarabad and its surrounding areas were badly affected. Most of the villages were completely wiped out, and roads were blocked by heavy rocks from the Himalaya Mountains. The Pakistan Air Force helicopters that were well equipped to perform relief activities waved their way through the mountains and flew over the affected areas. But landing in some areas was impossible. The clock ticked by, and despite the hard work of the rescue teams, many bodies were trapped inside the heavy rubble, with an acute smell of human flesh coming from them. Nature continued to be needlessly cruel. There was rain and hail, many people without shelter died. In less than two months, the Himalaya Mountains got their first snowfall and the temperature was below zero. Aid came from around the world. But still it’s too little and often the wrong kind. There were not enough tents, blankets and warm clothe to go around. Hundreds of tents had been provided but thousands of families remain out under the sky. They face rain and hail with dread in their hearts. They have lost everything even their hope to live. Imagine yourself buried under the heavy rubble alive, with no food, no water and constantly bleeding and weighting for your only killer†¦ â€Å"time†. The devastating earthquake shocked the nation, but brought out the best as they rose up to the occasion to help the victims.

Atenista Actions

A DOZEN OF THINGS EVERY ATENEAN CAN DO GIVE A HAND Let us be a person for others in our own little ways. Always be ready to serve and help those who are in need. Be happy when you find yourself in the position of helping others because God is answering their prayers through you. SHOW OFF The essence of being a human is not about our rank or greatness but how God made us to be a blessing for others in a very unique way. What we are, is a blessing to be cherished and to be shared and do not be afraid to show off.Let us be thankful for the talents, skills and abilities God gave us and be proud of who and what we are. BE AWARE OF THE RULES AND POLICIES Rules and regulations are made to make the community more progressive and productive. Not only productive in terms of economy but mostly, productive in making and producing morally, spiritually, mentally and physically equipped citizens. GO CLEEN (CLEAN AND GREEN) Let us be responsible with our environment. Let segregate our waste properly , help lessen pollution and plant more trees.Let us help maintain a clean and green environment and always remember the 5R's: Reuse, Repair, Reduce, Recycle and Rot. CAST YOUR VOTE Get involved during elections. Do not miss the opportunity that you can be the start of change. Your vote can make a great difference. EDUCATION FIRST We should value our education and prioritize our studies. We must learn how to say NO to temptations so that in the end, we’ll have nothing to regret. Education is the best tool to prosperity and success. LOVE EACH OTHERThe only key to a healthy community is love because when there is love there is peace, when there is peace there is progress, and when there is progress, there will be satisfaction and contentment in our daily existence. After all, love is what it all means in life. SPEAK YOUR MIND AND HEART Voice out what you think and feel is the right one to do. Don’t be afraid to speak out; nothing will be lost. It’s either we can le arn through mistakes from our decisions or someone else will learn from our thoughts and emotions. MAKE A M. O. V. E (Motivate Oneself ‘til the Very End)Motivation is the stepping stone of one’s success. Therefore; from the very beginning, along the way and ‘til the end of whatever we do, we should motivate ourselves to accomplish such and doing more out of it. REMEMBER S. O. A. P (SILENCE, OPENNESS, ACCEPTANCE AND PRAYER) We must have time to put ourselves in silence for a short while in order to reflect in our day-to-day existence. We must also accept things and be open-minded about the painful truth that exists in our society. Most of all, we must pray in order to contemplate; anywhere and anytime. ACT AS A ROLE MODELEveryone is entitled to be a leader, and we must act as we have been entitled. Each and one of us must act accordingly so that others would follow. By doing such, we can inspire other people and therefore motivating them to do the same. LOVE YOUR O WN The success of our nation lies in our own hands; therefore we must be patriotic enough to attain such. Loving our country does not only mean loving what our country own, but more of it is preserving our own heritage and culture. We should be proud of our country’s greatest treasures and make one of those rather than appreciating and making use of others’ culture.

Contract law problem question Essay Example | Topics and Well Written Essays - 2000 words

Contract law problem question - Essay Example esented we find that, subject to certain reservations, there are areas and actions taken before and within the original arrangement, which could enable Jack to defeat the banks proposed action. Is it possible for a person who offers his property, as securities to a bank against funds lent to a third party, escape the consequences of that contract should the repayments not be met? And under what circumstances it is possible that a joint and several liability clauses not be enforceable? These questions have been the subject of a number of court cases over the past few years and the judgment in some cases conclude that if certain conditions and actions were not taken prior to the signature of the contract, it is possible to successfully defend any breach. The task of this document is to ascertain which of these circumstances could be relevant to Jack in defending himself against a claim by the bank for repossession of his property so that they can reclaim some of the monies owed to them. The facts of the case are that Karen’s import-export business had been experiencing cash flow difficulties and financial problems for some time, at least fifteen months with no improvement. Her bank had refused to assist her with an increased overdraft facility had been informed by her bank that they would not extend her business’s overdraft unless extra security is provided. Karen explained the situation to her employee of five years, Jack, who had also become a friend of the family and suggested that he find another job. Under the impression that the problem was temporary, Jack suggested that she use his flat, an inheritance from his aunt, as security against further borrowings. The flat at that time was worth  £250,000. After consideration Karen took Jack up on his offer and informed him that it would also secure his job and that it was only a temporary situation that would soon be corrected. They went to the bank. The bank advised Jack to seek independent advice and

Environmental scan for McDonalds Company Term Paper

Environmental scan for McDonalds Company - Term Paper Example Environmental scan for McDonalds Company This paper seeks to conduct environmental scan for McDonald’s Company and General Motors Company. One of the organization’s internal environmental factors is its human resource strategy that has a specialized training program for its personnel. The company makes significant investments into this initiative to develop a strong human resource base for efficiency and effectiveness towards a quality driven competitive advantage. The company also has acculturated quality production that has established its admiration among consumers who are satisfied with the organization’s products. Similarly, the organization, in its management and operations, is dynamic and flexible to different cultural needs across its diversified market. As a result, the company is able to meet its customers’ needs and expected utility. The organization also operates under strict food safety policy in which raw materials are only accepted into production processes if they meet safety standards (Marketing, 2012). A number of challenges also characterize its internal environment. The company f or example faces a high employee turnover leading to more investment in recruiting and training new employees. Such a high turnover rate also destabilizes implementation of policies and organizational culture that has to be continually reinforced. The organization’s profitability has also been unstable and therefore unpredictable. This means that long-term financial plans cannot be established with certainty because it is difficult to obtain a reliable forecast of the organization’s profitability (Marketing, 2012). External environment External environment refers to factors that emanates from outside the organization and which the organization has no power to control. McDonald’s external environment includes political factors, economic factors, technological elements, socio-cultural aspects, physical environment, and competition among other factors. Political factors define to rules and regulations that control the organization in its operational localities. Bei ng an international organization, McDonald’s is subjected to different local laws and international regulations that shape its operations. As a result, the management should be informed of the laws and political systems in regions where the company’s branches operate. It should also be flexible to adjust to any changes in regional laws that will affect its subsidiaries (Vrontis and Pavlou, 2008). The organization’s economic environment defines demand for its products and trends in consumers’ spending habits. It is therefore susceptible to general economic trends such as recessions, periods within which the consumer’s economic potentials are constrained leading to low demand. Economic recovery periods however improve demand towards higher profitability levels. The company, through its subsidiaries operates under different economic potentials across regions. This affects pricing strategy of the company’s products and defines profitability acro ss different regions. Successful international venture however indicates the company’s success in implementing technology towards communication and coordination of its activities across geographical barriers. Application of technology also explains the organization’s standardization in its subsidiaries such as the franchises. Similarly, social and physical environmental factors are variables across the company’

Correctional Mulicultural Substance Abuse Treatments Term Paper

Correctional Mulicultural Substance Abuse Treatments - Term Paper Example However, a new thinking has taken root in those who provide support and assistance to substance abusers that take into account the nuances inherent in a culturally-diverse society. This new paradigm produced what is called as â€Å"recovery movement† that includes the involvement of other stakeholders within the larger community. The old service delivery model was proven untenable, as people respond differently to substance abuse treatment based from their own cultural and ethnic backgrounds. Through this lens, prevention, cessation, detoxification interventions have now adopted this new approach. Multicultural realities are now recognized as having a big influence, and ultimately the eventual success, of any program. This is shown by the requirement that counselors need to undergo additional training in cultural and ethnic sensitivity, to enable them to administer these programs much better with higher chances of preventing recidivism among abusers. The new mentality is to tr eat abusers as victims and not as perpetrators of a crime, in light of the new thrust of an enlightened criminal justice system. Keywords: abuse, culture, ethnicities, language, programs, substance, treatment Introduction The drug menace has gotten worse over the years, with those who abuse illegal drugs in almost all spheres of society. Whether in high schools, in colleges and universities, in workplace situations, in non-profit organizations or even in the military, drug abuse has become prevalent. It has put a huge strain on government resources, and the fight against illegal drugs has not seen any improvement despite the best of efforts by many government agencies tasked in the â€Å"war on drugs† as it has become a very lucrative industry. People turn to drugs for a variety of reasons, in most instances trying it out first just for curiosity, but then people get hooked and they cannot shake their addiction anymore. It takes great willpower to desist from using illegal dr ugs and has been a big drain on government resources and also on the various agencies tasked to eradicate it. Some people turn to drug pushing in order to earn money while others use it for the â€Å"high.† Whatever is the underlying reason why a person gets hooked on drugs, there is always the heavy task of rehabilitating these drug addicts through the process of drug treatments, in case they want to regain back their normal lives. The criminal justice system, anchored on the three pillars of law enforcement by the police to catch drug criminals and users, the judiciary which is charged with trying those accused of the crime, and the corrections system which seeks to put in prison those found guilty, and eventually to rehabilitate all the drug victims, has fought a losing battle against this insidious menace which destroys lives and in turn, destroys the social fabric. A variety of approaches have been utilized in the later part of this fight against illegal drugs, that is, helping drug addicts and illegal substances abusers shake off their habit. This paper examines the techniques used to deal with abusers inside the corrections, based on multicultural realities. Discussion People respond differently to different approaches, as no two persons are exactly alike. The trend in health care today is what is

MRI Essay Example | Topics and Well Written Essays - 1500 words - 3

MRI - Essay Example Magnetic resonance imaging (MRI) produces detailed images of the body’s internal organs and problems associated with the organs. It is procedure that has typically no side effects and cast images with no fear of pain. The process uses magnetised radio radiations and draws the images when the waves reflect back to the scanner. It is different from the CT scan or CAT scan. An MRI scanner is composed of two donut shaped tubes that are joined by a hollow tunnel that holds a person. The donut shaped tubes produce powerful magnetized radiation. A sliding table holds patients and it slides into the tunnel of the scanner. However, some MRI centres have MRI scanner with larger openings to hold patients that are suffering from claustrophobia. Most hospitals now have MRI scanners; while dedicated MRI centres are also opened for the ease of patients. The MRI scanner generates powerful magnetic waves that interact with the atoms of the patient’s body. During interaction the magnetic waves makes the atoms of body to be in particular pattern. The pattern is observed by the powerful antenna and sent to the computed that draws an image with respect to the observed pattern. Computer converted image both in 2d and 3d formats. The results are viewed by the physician to diagnose the problem. Kindly bring other examination reports like X-ray, Ultra sound, CT scans, Nuclear Medicine Scans or previous MRI scan reports along with you, if you can. This may help the physician to make comparison between the reports. Kindly do not let your child to wear any type of metallic jewellery like chins, hair clips or rings as metals may disrupt the magnetic resonance waves. Check you child carefully before the examination begins. If the child’s physician recommends using dye to clarify the results, be sure that child’s takes nothing by mouth (NBM) several

Is the U.S. seeking to contain China Research Paper

Is the U.S. seeking to contain China - Research Paper Example It remains far behind on innovations and development of new technology for advanced weaponry but even then it succeeds in catching up fast with advancements. US maintain first rank as per military spending with 740 billion dollars as compared to China’s 106 billion dollars (â€Å"China Military Budget Tops $100bn† 2). This difference ensures US lead in innovation and advanced strategic weapons which in turn protects the national interest and maintains influence. China has a long way to go to take a lead in military hardware; it is even taking technology for its aerospace industry from Russia. But, with its growing capacity to catch up makes it a contender for a rising new military power. Military capability has conventionally been an indicator of a country’s influence in a region. Chinese military requirements have mainly been offshore defense and its military keeps up with this requirement easily, however, the development projects of fifth generation stealth fig hters and an aircraft carrier demonstrate its ambition for advanced weaponry and perhaps world influence. Containment strategy typically involves surrounding a target country with allies and placing strategic assets to keep physical presence directly or indirectly. If we analyze a decade of policies by the US we do find a pattern indicating containment strategies aimed at China. According to the Washington Post, â€Å"Chinas rise is a significant factor in the Obama administrations moves to strengthen ties with traditional allies, such as  South Korea and  Japan, as well as with Malaysia and Laos and even with Vietnam, a former foe† (Pomfret 1). Similarly, Bush administration started improving ties with India which even involved nuclear cooperation projects. India has long been an adversary to China with military inclination towards Russia. The pacts with these countries indicate a policy to contain China with a group of allies. The pattern is similar to formation of NATO in order to contain

Description of Artwork Essay Example | Topics and Well Written Essays - 250 words

Description of Artwork - Essay Example Art is an aspect of writing followed by interest of an individual in a society. This picture used appears to be one of the most brilliant pieces of artwork I have ever come across. It was made by a professional artist who exactly knew what to do to produce he best. To accomplish this, the artist had to incorporate the use of a wide range of elements of art.The artist has also applied some good shape in the in this art, which helps in the attraction of the picture. Attraction in the art helps one to identify whether it is good or bad. There was also a proper and appropriate use of spacing. The images in the background, foreground and middle ground stand out quite distinctly and can be seen on their spaces. Also used in the picture is the good sizing. Thus, the object is proportionate and appears real. It contributes largely in the art by identifying the length and width in the work. The picture is very good depending on the size the writer has used in this art. This promotes culture i n the field of art. Size can be big or small, but the the writer has used standard size.A good coloring technique has been used in the artwork to make it look better. The combination of bright and dull hues made the picture exceptionally attractive and representational. Therefore, it becomes easier to interpret the exact message intended by the artist. I therefore conclude by saying that the picture is good generally. Attraction in the art helps one to identify whether it is good or bad.

Black Aesthetics Essay Example for Free

Black Aesthetics Essay Black Aesthetics The word â€Å"aesthetics† can be defined as a branch of philosophy that critically reflects on art, culture, and nature. It is a view, opinion, or an attitude toward what is considered offensive or acceptable. It is more scientifically defined as a critical judgment of the sensory emotional values that exude from the nature of beauty, art, and taste. Aesthetics as it pertains to the black community or simply â€Å"black aesthetics† refers to ideologies and perspectives of art that centers around back culture and life. Black aesthetics spawned from the Blacks Arts Movement of the 1960’s where blacks demonstrated that you didn’t have to assimilate into white American culture. The movement refers to a period of African American creativity beginning in the mid-1960’s and continuing through much of the 1970’s. It was a pivotal moment in African American literature. It inspired black people to establish their own publishing houses, magazines, journals and art institutions. It led to the creation of African American Studies programs within universities. It all precipitated from the assassination of Malcolm X in 1965. Linked both chronologically and ideologically with the Black Power Movement, The BAM recognized the idea of two cultural Americas: one black and one white. The BAM pressed for the creation of a distinctive Black Aesthetic in which black artists created for black audiences. The movement saw artistic production as the key to revising Black American’s perceptions of themselves, thus the Black Aesthetic was believed to be an integral component of the economic, political, and cultural empowerment of the Black community. The Black Arts Movement called for an explicit connection between art and politics. This movement created the most prevalent era in black art history by taking stereotypes and racism and turning it into artistic value. The concepts of Black Power, Nationalism, Community, and Performance all influenced the formation of this national movement, and it proliferated through community institutions, theatrical performance, literature, and music. One of the biggest problems that black Americans have been dealing with since being removed from our homeland is self-identification within western civilization. American culture was initially shaped by many European races and cultures coming together through shared ideals and values in which, has attributed to our diversity. However, other races did not always have a choice; all of the enslaved Africans were forced to assimilate. During the late 1950’s and early 1960’s, many African nations were struggling for their independence from Europe. Their struggles correlate to the struggle of blacks in the United States during the same time period. Since the 1880’s, when European nations colonized Africa, Europe had almost complete control over the continent, but this changed during the 1950’s and 1960’s. By 1958, ten African countries had gained their independence, and sixteen more joined the list in 1960 alone. With these nations gaining heir independence, it demonstrated the ability of blacks to overpower their white oppressors. The Black Power and Black Arts Movement in the United States were the result of just that. Who are black people, what are black people, what is their relationship to America and the world? It must be repeated that the whole myth of Negro citizenship, perpetuated by the white elite, has confused the thinking of radical and progressive blacks and whites in this country. The broad masses of black people react to American society in the same manner as colonial peoples react to the West in Africa, and Latin America, and had the same relationship that of the colonized toward the colonizer. Too long have we allowed white people to interpret the importance and meaning of the cultural aspects of our society. We have allowed them to tell us what was good about our Afro-American music, art, and literature. How can a white person who is not part of the black psyche (except as the oppressor) interpret the meaning of the blues to us who are manifestations of the songs themselves? Black people concerning the contributions that we have made in shaping this country must make a thorough re-examination. If this re-examination and re-evaluation is not made, and black people are not given their proper due and respect, then the rivalries and contradictions are going to become more and more evident, more and more intense, until there is a national uproar.

Exoticism in Art: Picasso and Gauguin

Exoticism in Art: Picasso and Gauguin The Exoticism in the Work of Picasso and Gauguin Ask important critical questions in the text. Intricately merge discussion of the two images Write about two pages on each image Introduction Picasso and Gauguin frequently deal with the ideas and values associated with non-western culture. This dissertation looks at one manifestation of this process: what is often referred to as the ‘exotic. This dissertation will look at what the exotic means, specifically for Picasso and Gauguin. It will examine why they were drawn to the idea of the exotic and how they made it their own. How did they imagine it would make their work more vital, vibrant or vivid? By comparing the exotic nature of the work of Picasso and Gauguin it is possible to see the similarity inherent in their exotic ideals and ignorance of non-western culture, however they differ in relation to how their work evolves and their anarchist views. They heard about Africa through a European centred view which †¦.. This It will be shown that they lusted after an exotic world, and how this emerged from a limited Western society and artistic landscape. A Western society based on the reliance on the myths and colonialist ideals, shaped by the mass-media . media. Exoticism is the allure of a culture different from the artist or viewers own, it is about a fascination for the aesthetics of another culture and a yearning for difference. This notion of ‘difference in a Western artists work represents the fantasy of escape from all forms of Western culture and academic systems of art. Exoticism is a term derived from the location of the ‘Orient, a term used in 19th-century France to denote the Near East and the surrounding areas of Northern Africa and Western Asia.[1] Looking at the imperialist power relation between East and West at the time,[2] the ‘exotic does not merely convey information but actually constructs its subject.[3] It positions the Orient, or the exotic, as the lesser half of a dichotomy where the West holds the power and strength of being ‘normal, the Orient becomes the ‘other in relation to it. The Western artists who created exotic art had the problem not only of their own conventional understandings, but of having to represent non-Western culture and non-Western art itself for Western consumption.[4] French symbolists coped with this by appropriating the distant object of ‘the exotic, by describing it in a familiar language to their society.[5] Picasso was a great exoticist although he never travelled to Africa. He could be called a sedentary Gauguin because where Gauguin travelled himself, Picasso had the exotic nature of Eastern islands brought to him through photographs and writings, creating a type of ‘arm-chair exoticism.'[6] Picasso drew from other works and created his own interpretations. His art has an originality of a practical order, the search for correct material is an art of imitation and distorted variations upon the original.[7] Whereas, Gauguin expands on the myth of Tahiti,[8] emphasizing the ‘exotic and the French preconceptions with a foreign culture. For Gauguin the myth of Tahiti would bring his aims into sharp focus. [9] Picassos ‘African period is termed as falling between 1907-1909, however, after this period his later work was still strongly influenced by Iberian sculpture. Picassos work from the first two decades of the twentieth century will be the prominent focus of this debate, beginning with his first ventures into exoticism during his ‘African period, starting from his first inspirations through African art. Matisse claimed that it was he who introduced Picasso to African art in 1906 when he purchased an African mask [10] and brought it to a dinner party at Gertrude Steins home, who was a good friend of Picassos. Several This is impossible to prove but several of Picassos friends such as Max Jacob vividly remembered Picassos connection to African art: ‘fascinated by the black idols, he had been working all night. Cubism had been born (seckel, 233),.[11] And and in March 1907 there is evidence that he purchased two Iberian sculptured heads, starting his what would eventually grow into an wide extensive and varied collection of African art,.[12] including a large collection of African and Oceanic sculptures and masks. In 1907 he created Les Demoiselles dAvignon which appears to be heavily influenced by African sculpture and was possibly inspired by Picassos visit to the Musee de Trocadero in May or June 1907[13] which housed African masks and sculptures. [14] It is here he is said to have had a ‘revelation about African sculpture.[15] However, Picasso vehemently denied any African influence in his work. In the 1920s when asked if this had an influence on his work he replied â€Å"Lart negre? Connais pas!† (African art? Dont know it!†)[16] For Picasso, African influence was as much a part of social criticism as it was for as a search for a new art.[17] He amassed a large collection of African and Oceanic sculptures and masks†¦ D espite his taste for exoticism from an early age , It it was not until 1891 when Gauguin first arrived in Tahiti that he finally entered his Polynesian period.,[18] despite his taste for exoticism from an early age. In Gauguins day, race provided the predominant intellectual and practical framework in which cultural, linguistic and psychological differences could be examined and expressed; because of its adaptability it was also an effective colonial tool for substantiating any cultural or national hierachy. Gauguin mirrored the typical Nineteenth Century French attitude of Africa; expressing a preference for difference combined with a willful ignorance of historical and cultural practices, marking it as exoticism.[19] Gauguin pursued an interest in travelling and he appeared to have a great desire for difference but until he lived in Tahiti he seemed to have relatively little interest in learning much about the foreign lands and cultures he saw. [20] A lot of the inspiration and influence in their work, that delves into an exotic world was marred by Frances feelings on Eastern culture during this period and how they saw it as ‘primitive. Since the arrival of the European colonial power in Africa from the fifteenth century, the islands were sites of exoticism for Europeans, where fantasies about race, sex and utopian societies could be fulfilled. [21] The artists viewed ‘utopian societies as being about the search for an ideal world; in terms of social, moral and political aspects. In the early 1900s there were utopian visions of a liberal movement which merged with the symbolist movement in art. Anarcho-symbolist ideas helped Picasso form an idea of himself as an artist in a European society and about the virtues of unsophisticated ‘primitive art.[22] The liberation was a revolutionary new struggle for a new society.[23] The European artists first major source of images and information about Africa, would have come through the popular press, itself influenced by fantasy and prejudice. The European prejudice was based on the perceived threat of the minority forces to the tradition European values, coupled with the absence of positive feelings towards them.[24] Political interests also influence the press and this predated actual French contact with urban and tribal populations in Africa and were reinforced by novels and accounts by missionaries, and explorers, often accompanied by fantastic illustrations. To this were added the forced labour and fear in the two congos why, which dominated discussion in late 1905.[25] These elements culminated in modernists minds to form both political outrage and yet essentially romanticized notions about instinct and ‘fetish worship. Explain?! * Summary of each paras to be put at the end of intro. I shall begin by exploring the ‘lure of non-western culture for the artists, why they were inticedenticed by difference and how this influenced their work; the fantasy created by accounts of explorers and how European colonialism influenced their work. In my second chapter I shall explore why they desired sexually primitive women, how they saw them as accommodating the white male bourgeoisie and how they juxtaposed African sexuality against European bourgeois norms. I shall also explore the seemingly different sex codes of the East. In my final chapter I shall create a critical exploration as to what extent they found the exotic nature they were looking for, how it lived up to their expectations and whether it made their work more vital, vibrant and vivid. I shall also explore whether their work showed the ‘true nature of African culture. Chapter 1-The Lure of the Exotic The logic of exoticism is a cycle; the more one is immersed in a culture, the more one discovers sameness and seeks even greater difference. [26] The more Picasso and Gauguin found out about non-western society, the more enticed they became by this foreign culture, leading to it featuring predominantly in their work. The colonialism, fantasy and culture of non-western society offered new means of expression for the artists and are integral in assessing the lure of the exotic for Picasso and Gauguin. I shall also examine why they were enticed by Africa and how the accounts for explorers and knowledge of colonialism influenced them to explore Africa. For Gauguin, Tahiti was a place in which he could fulfill his fantasies, plunging into a free and exotic culture, free from the constraints of his own French culture. He described living in Tahiti as: ‘civilisation is leaving me little by little†¦ ‘I have all the pleasures of a free, animal and human life. I escape from the artificial; I enter into nature. Gauguin wrote this shortly after coming to the island paradise.[27] The anarchist background of Picasso meant that everything to do with Africa was charged with political meaning during this time and leant meaning to their force of Primitivism. The critic Leiris was close to Picasso, and as such strongly influenced and paralleled his thoughts on African Art. He explores the difficulties created by his own relationship as a European to non-European culture, especially Africa. Leiris, in his article ‘LOeil de lethnographe (The Eye of the Ethnographer) he explores the fashion for African art and the exoticism of the Africa of fiction and dreams to explore the absurdities and racial assumptions behind European negrophilia.[28] He feels that the European ideal of Africa will always be about exoticism and fantasy, the real and fantastic, confused between the contradictions of the objective and subjective.[29] Gauguin obviously identified himself in some way with what he imagined to be a ‘savage life. Gauguin saw himself both as the subjugated savage and the dominating conqueror. This is significant because of the period, a time of renewed European colonialism and vigorous debate about imperial policies.[30] Fantasy of the exotic; the traveler is constantly asking to recall the fabled exoticism of ‘primitive cultures. Travelers who ventured in to Africa in the early Nineteenth Century frequently returned with fantastical tales of human sacrifice, cannibalism, violence, sensuality and doom that were made much of in the French press, emphasizing the purported savagery of customs they misconstrued in accordance with their pre-conceptions.[31] Picassos art represented the naà ¯ve fantasy of the ‘Other and was possibly based on the fantastical tales and images brought to France by travelers who had ventured into Africa. Picassos ‘African period of art took inspiration solely from art objects which came to stand in for Africa itself. There is great irony in Picassos work because while he was obsessed with African imagery he never travelled to the continent.[32] African objects became kinds of forces, often unspoken and unlicensed, which he needed in order to break the constraints of modernity. Africa was most useful to Picasso when it was confined to the unconscious, mediating other needs and desires while not serving as a primary faction in itself. [33] Iconography was taken from African sculpture as an artistic device for distinguishing avant-garde art, and a conceptual tool for signifying anarchy and transgression.[34] Black imagery whether drawn from popular carvings or from African carvings, suited the arti sts need for inspiration, difference and subversion.[35] In pre-war Paris, African carvings entered the art market and fuelled the avant-gardes need for new forms of expression. African carvings that reached Paris at the turn of the century were generally and collectively referred to as ‘lart negre or ‘les fetishes.'[36] Europes avant-garde absorbed African imagery into cubism and expressionism, as part of an artists short-hand that stood for the exotic, authentic and spontaneous; sentiments sympathetic with their anarchist status. Expand on his anarchist status For instance even the African forms were not painstakingly represented, the primitive was implicit in depictions of the female nude and the aggressive manner in which the model was sexualized.[37] The French popular Press with mass illustrations such as le journal illustre, lillustration and Le Tour de Monde and the illustrated supplements of the newspapers Le Petit Journal and Le Petit Parisien, played up to fantastical tales, as part of a successful attempt to justify the French conquest. This largely influenced Picassos fantasy of the exotic through its subjugated view of Africa and political fluency. The press followed the war only superficially, concentrating instead on the legendary grotesque practices of the natives. [38] what war? explain Picasso may be seen as more greatly influenced by the French press because he never travelled to Africa, preferring to learn about it from texts and images, whereas Gauguin lived in Africa, immersing himself in the culture and seeing for himself the juxtaposition between fantasy and reality. With primitivism Picasso crossed a geo-political frontier and imported African bodies into Western salons during the peak of colonialism. Picasso may have drawn on the dialogue of postcards whose recurrent subject matter was female nudes[39]. Anne Baldassari drew upon an inventory of Picassos collection of picture postcards, they included postcards of ‘alien people and tribal groups. For example, Picasso possessed albumen prints (used as a photographic device in the early 1900s, it describes negatives exposed to sunlight and printed onto light sensitive albumen paper[40]) (it was the first commercially exploitable method of producing a photographic print-taken from wiki) dating from 1860-80 which included visiting card portraits of Polynesians and a series of postcards from West Africa mainly produced by Daker-based postcard publisher Edmund Frontier.[41] reword A photo-postcard by Edmund Frontier entitled ‘Femme Malinke (Malinke Woman) 1906 appears to directly inspire Picassos ‘Female Nude with Raised Arms 1908. In the images the women appear to situate themselves in an almost identical pose, standing upright with their arms raised above their heads. [42] Picasso uses cubist abstraction to accentuate the features into a more ‘Africanised style, accentuating her womanly curves; the shape of her buttocks and thighs. He also uses strong features that appear inspired by African masks; lozenge shaped eyes and a strong jaw. The postcard evokes a tribal woman, adorned with necklaces (possibly a symbol of her tribe?) ‘Female Nude with Raised Arms saw Picassos African art emerge into a cubist style[43], the feminine body is broken into feminine abstraction, similar to Picassos ‘Three Women 1908. Picassos seemingly primitive endevoursendeavours carried him beyond what many of the public admired about his rose and blue period.[44] Picassos transition from ‘Africanism into cubist proper for which Cezanne seems to be the dominant model.[45] expand Picassos cubism is an abstracting and reorganization classical constraints and a mediated representation of art up until this time.[46] The concepts of pathological distortion or symbolic syntax such as caricature supplies promoted Picasso to undertake a re-ordering and distortion of facial features.[47] The asymmetry of a womanswomans face is not normally part of any of the known mask traditions of Africa. However, the torso of the woman is quite clearly inconceivable without the precedent of non-European mask art.[48] When avant-garde artists such as Picasso began working with African sculptures, they did not make the distinction between curios and genuine ethnographic objects. They were more concerned with what the objects in their paintings would signify rather than their authenticity. [49] Few artists appreciated the African objects; such as masks and statues for their aesthetic beauty and instead were fascinated by their crudeness of expression. Picasso in ‘Female Nude with Raised Arms represents the more grotesque forms of African carvings, rather than depicting her feminine beauty because of their sharp contrast with European art.[50] Through artworks based on evoking a ‘tribal‘ life and art which he saw as violent and degenerate, Picasso is able to implicitly reject colonialism through pointedly revealing ethnic difference.[51] Tribal life was seen as collective or primitive socialism. Everything has become capitalist and liberal Western societies have vanished in the political and cultural milieu of the twentieth century. Therefore, tribal life represented a taboo form, which Picasso was keen to accentuate. Gauguin also drew inspiration from fabled stories and travelers, especially the traveller Moerenhaut. Gauguin read with considerable care the very detailed anthropological and historical accounts provided by Moerenhout, as well as the writings of other travelers.[52] Moerenhaut had clearly benefited from a good, classical French education[53] and found the lure of non-Western culture within the differences in civil law and religion which in turn inspired Gauguin to create such works as ‘There lies a temple (1892) Gauguin wanted to represent the original Tahiti, as it was before colonialism, to do so he had to look in accounts of travelers, those who had been fortunate enough to have seen or heard from the mouths of the elders accounts of travelers stories of ancient times,. But but Gauguin borrowed elements of the book by Moerenhaut to reconstruct a world through the texts he had read, interlinking it with his own experience.[54] Gauguin wrote his own account of his travels, part reality and part myth on which interpretation of a great many of his paintings can be based. In ‘There lies a Temple the composition reveals a conflict between reality and fiction.[55] It shows a composition based on the scene of Tahiti, with abundant vegetation rendered in green, pink-violet and orange which sets the tone; behind it runs a fence, its forms inspired by Asian models, which creates a barrier uninterrupted by openings anywhere. In the centre of the image is the sunrise, in radiant yellow, that dominates the overall composition of the painting. Gauguin, during his time in Tahiti maintained his penchant for complimentary complementary colours and still mostly applied them in an impressionist style. In Tahiti the dazzling light can produce hues that are unusual to the Western audience and therefore appear exotic with tropical intensity.[56] The inspiration for the titleeponymous temple lies in front of a mountain ran ge at the right-hand side of the painting, a monumental stone temple figure, at the foot of which rising smoke emanates. Yet there were no temples left standing in Tahiti, no stone images of gods and no fences marked the boundaries of sacred areas.[57] It is perhaps more inspired by Moerenhauts book in which is described the worship of the moon goddess Hina in the form of a ten-metre high stone statue located on distant Easter Island. Gauguins paintings therefore, like Picassos, may be considered an unauthentic and inaccurate ethnological report which does not benefit future European artists-p.38. Instead it expands on the myth of Africa, not due to Gauguins lack of knowledge, but perhaps to expand on the lure of the exotic and fulfill the expectations of his French audience, representing the world with which outsiders associated him. The religious aspect of the painting seems deliberately falsified, in all letter to his wife he explains the title ‘here lies the temple by sayi ng ‘there lies the temple, a place reserved for the cult of gods, and for human sacrifice (ref in text)[58] All from gs skirt-reword and relate to temple and raised arms painting Gauguins use of exoticism in his work and his preference for difference combined with an almost willful cultural and historical ignorance that was extremely common in 19th century France. [59] The violence and anarchy of an old Tahiti was apparent, but Gauguin preferred to stress the gentleness and compassion of the culture. Gauguin also expressed a willful and historical ignorance of Tahiti, a typical attitude in France at the time; expressing the barbarity of native lore and traditions yet the fundamental humanity of a culture that gave rise to them.[60] Gauguin was determined to develop new themes in keeping with his new surroundings and to adapt some old ones to a new context. [61] The history of the 19th Century French past is conjoined with the South Pacific; their religious beliefs, cultural and sexual? practices. Gs skirt-p.155 The women in Gauguins ‘Ta Matete, ‘The Market are prostitutes, posed like the figures in ancient Egyptian wall painting. The one in yellow at the right holds a cigarette between the fingers of her right hand; two others proudly display health inspection certificates as if they were the painted fans of the French society women. Such behaviour was inconsistent with order, stability, prosperity and the overall French mission civilitrice. -P.155 gs skirt-Anti-govermentalgovernmental sentiment was expressed in more thamthan just verbal form, natives flaunted laws and customs which promoted moral proprierty, physical health and industry. Relate to a painting by Picasso. Both used symbolism to enhance the viewers perceived idea of the debasement and cultural inferiority of another race. Chapter 2-The Desire for a Sexually ‘Exotic Culture Sex codes less rigidly defined-‘what! are you jealous? Concept of identity-the masculine, how Gauguin was seen as feminine. Male dominance, woman as prostitutes- Olympia, poses women posed to accommodate men-comparison of les demoiselles and spirit watching Caricatures of women-represent cultural ignorance? Gauguin and Picasso desire a sexually exotic woman because they are enticed by the schemata of difference and want to project fantasies of white masculinity on to the seemingly base woman. Often ignoring the beauty of women and concentrating on the historical and cultural example of subjectivity. [62]expand They use caricatures and stereotypes of African women in their artwork, Picasso often using features of African masks as inspiration while Gauguin situates his women in a suggestive and sexually enticing manner for the viewer. White male dominance Gauguin and Picasso create a conundrum of oppositions between the passivity of the black female and dominance of the white male conqueror. [63] The ‘primitive creates a paradox: it entices artists in the desire for an exotic nature and yet similataneouslysimultaneously repels them. The fantasy of the exotic woman is pressured to the point where often cracks start to appear and white masculinity prevails[64] crisis of masculinity-continued. P.76 expand 20.p.165. Although Gauguin sought to disparage masculine sexual impulses, in reality the dominating power of the masculine and exaggerated male sexual strength was also naturalised and secretly admired at the same time that it was condemned. Gauguins sympathy for, yet possessiveness over the women in his work sent a threatening message as did the depiction of dread and desire implicit in the female. 20. p.165 Although Gauguins texts such as Noa Noa sought to construct him as ‘savage rather than reveal his true self, he nevertheless exposed in such works culturally formed attitudes towards sexuality, nature and his own desires. Gauguin and Picasso in ‘Spirit of the Dead Watching and ‘Les Demoiselles dAvignon shows two different modes of representing woman as prostitutes, living up to mans desires. They mark a divide between the sexes: between men who can continually ask for sexual services and women who have no opportunity to dispute this. reword 22.p.598 These scenes bring up conundrums between European and other, white and black, female and male, pure and perverse and heterosexual and homosexual. (reword, taken from les dem essay) The subjects of Picasso and Gauguins work are often represented in a hazardous sexual directness, which non-western culture tended to avoid. The power of this sexual primitiveness therefore makes it unclear as to whether Picasso and Gauguin intended their masculine viewer to dominate the female figures or for the figures to dominate them. Women were posed to accommodate the viewer. The exotic nature of Picasso and Gauguins work merged with white masculine prejudice to create a threatening image which was at once desirable and yet hazardroushazardous in its sexual directness. Some of their paintings projectsproject the power of female sexuality onto a largely masculine culture. . Griselda Pollock; ‘Tehamanas body is appropriated to signify Gauguins desire as a white man and artist. [65] (put in about lack of acceptance of Gauguins work at the time?) In ‘Les Demoiselles dAvignon the second sex puts the male viewer at the advantage yet a moral disadvantage for men who exploit human beings. However, instead of letting her bathe in innocence the picture offers up a guilty thrill at viewing up close the ritual performed well away from the curious and censorious.[66] Similarly in ‘Spirit of the Dead Watching the man is put at an advantage through the cultural debasement of the women as prostitutes, exemplified through the male view of the womens indifference to the males subjectificationobjectification.[67] In a text attributed to Gauguin a Tahitian woman is compared to a cat in her savagery and impulsive vigour.[68] ‘She asks to be raped. She is totally indifferent to any consideration you might have for her. ‘She lives as [if] she will never be wanting and this prevents her from being unduly calculating.'[69] (p.214) It is in the debasement of Tehamana that he finds her the most beautiful. [70] Similarly in à ¢â‚¬ËœSpirit of the Dead Watching the woman is in a pose where she appears to seemingly ask to be raped. This differs from ‘Les Demoiselles dAvignon where the women seem sexually powerful in the poses, standing and posed facing the viewer as opposed to Spirit of the Dead watching where the woman is lying down with her back to the viewer. The sexually threatening undercurrents of Les Demoiselles is unlike ‘Spirit of the dead watching who appears fearful despite the sexual directness which Gauguin appropriates as an example of the cultural laxness of the society. Find a ref to back this up. ‘Les Demoiselles dAvignon lends force the power of exotic power through sexual directness. Rubin draws attention to the mesmerizing mesmerising and even terrifying caricatures expand of the masks, it is a transgressive confrontation that projects a trauma, ‘something that transcends our sense of civilized experience, something ominous and monstrous.'[71] ‘While Spirit of the Dead Watching, rather than lending force to the woman as prostitute instead depicts her with a submissive nature. ‘Les Demoiselles assumes the viewer to be male and heterosexual, it tells us what are desires are and marks a divide between the sexes: between men who can routinely contract for sexual services and women who have no opportunity to dispute this.[72] Gauguins ‘The Spirit of the Dead Watching or ‘Manao Tupapau as Gauguin refferedreferred to it, is a tropical version of the Olympia. The title ‘Manao Tupapau means ‘Thought or Belief and the Specter and can have two meanings: either she is thinking of the specter or the specter is thinking of her.[73] In itthe picture, the figure stares with open eyes at the viewer while the ubiquitous figure of the dead keeps watch.[74] The enduring theme of the young, nude Maori girl who has a great fear of the hooded spirit of the dead.[75] p117-gs skirt- Gauguin compares women to animals ‘All indeed wish to be ‘taken, brutally taken, without a single word. All have the secret desire for violence because this act of authority on the part of the male leaves to the woman-will its full share of irresponsibility. (ref citation in book) This appeals to mans desire of the submissive woman, for the dominating conquererconqueror. The woman lies on the bed, naked on her front, seemingly accommodating and enticing the viewer. Gauguin, perhaps to encourage and emphasize his claim that he had found ‘paradise on earth wanted an innate ability to love. [76] ‘Spirit of the Dead Watching, ‘In this position almost anything might make her look indecent, yet it is in this way I want her. [77] The woman represents the image of the prostitute through the flowers strewn in the background of the painting representing a type of ‘exotic and tropical version of Olympia in the mode of prostitute. Gauguin said of this image ‘ my‘my feeling for the decorative sense leads me to strew the background with flowers.'[78] ‘The Spirit of the Dead Watching conveys a new subject; ‘his savage identity to the old world. Foster, Hal, Prosthetic Gods; Primitive Scenes, MIT Press, 2004, p.6 ,like the savage identity represented in Picassos Les Demoiselles d Avignon. In these scenes Picasso and Gauguin challenge our conceptions of identity through the aesthetic and psychological conceptions of art and psyche challenged by colonial encounters. Sometimes these scenes bring up conundrums of Europeans identification with the East, and the conundrum opposition of female and male, ; pure versus and perverse; and heterosexual and homosexual. Taken from essay on les dem! There is no simple notion of a women as ‘pure or ‘peverseperverse as Gauguin and Picasso show women as both pure and perversewith both of these contradictory elements. With Picasso and Gauguins work there is no simple divide between the depiction of African women as pure and virginal, yet simultaneously images ofpotential prostitutionprostitutes. For instance, Gauguin painted his adorned mother in a darkly sensual Tahitian mode even though she was fair and fine, typically considered ‘European characteristics. He also used his mother as the muse for ‘exotic eve Eve (1890) And often presented Tahitian women as Virgin Marys, yet even as he depicts them as pure, he also used them as prostitutes.[79] In ‘Spirit of the Dead Watching it upholds male colonial prerogatives, yet it is equally, a hybrid artwork, which undercuts the paradigm of sexuality upon which European masculinialism, depends. . The posture and anatomy of Tehamana may be seen as boyish, it is possibly an assault on European sexual nudes. Charles Maurice a friend of Gauguins writes that Tehamana is depicted as an ‘androgynous little girl.p.121 sex in Tahiti in gs skirt-rewrite There is an interesting juxtaposition in the discourse between the notion of the ‘femme fatale that Picasso and Gauguin often depict, and yet a ‘womanly vulnerability which reasserts the masculine power of the European conquererconqueror. Gauguin introduced this conflict between womanly power and women as a ‘femme fatale and men as lacking in sexuasexual potency,lly lack and homoerotic.[80] On the theme of inc

Free College Essays - Self-Destruction in Shes Come Undone by Wally Lamb :: Shes Come Undone

She's Come Undone - Self-Destruction In She's Come Undone Wally Lamb addresses the effects of personal trauma on one's self-image and the propensity of survivors to move towards self-destruction. Dolores believes that she is the cause of all of her tragedies, including her rape and her mother's death, and that the one true evil in her life is herself. She convinces herself that she deserves whatever pain she may receive along the course of life. With each new hardship, her guilt is increased. Her destruction begins with overeating and culminates in attempted suicide. When Dolores is in eighth grade she is raped by Jack, one of her grandmother's tenants. She had always had a crush on Jack and allowed him to give her rides to and from school. She decides that he must have been encouraged by her actions and that therefore the rape is her fault. Shortly after Dolores is raped, Jack's wife, Rita, has a miscarriage. Although Rita has had many miscarriages before, Dolores is sure that this one is a result of "the filthy thing that {she and Jack} had done" (Lamb 111). From then on, Dolores considers herself to be a "baby-killer" (112). During her high school years, Dolores' only companions are her television and her junk food. She isolates herself from her peers. She eats constantly and becomes extremely overweight. She also takes up smoking. Although her doctor warns her that her lifestyle is putting her health in serious danger, she continues to binge and smoke. She does not feel that her life is worth worrying about (126). Shortly after Dolores' high school graduation, Dolores' mother is killed when she is hit by a semi truck. Dolores blames herself and reasons that her mother's death must be Dolores' punishment for being a horrible daughter. She recalls what her mother said on the night of her death: "You've made me so ... tired" (135). She remembers how awful she was to her mother during the months before her death (138). She feels that she should have died instead of her mother. She bargains with God to bring her mother back and take her instead (138). Dolores' self-destruction culminates in attempted suicide. She hires a taxi to take her to Cape Cod, where she plans to commit suicide amongst the beached whales.

The Servants of Twilight :: Free Essay Writer

The Servants of Twilight I recently read a mystery novel called The Servants of Twilight by Dean R. Koontz. Joey Scavello, a six-year-old boy, is the main focus of the book. His mother, Christine Scavello, owns a gourmet shop in Newport Beach, California. Together, the two live in Costa Mesa, a city near Los Angeles. The Church of Twilight, headed by a supposedly psychic woman named Grace Spivey, is the main force against Joey Scavello. Charlie Harrison is a private detective who helps the Scavello family evade the clutches of the members of The Church of Twilight, who are called The Servants of Twilight. It begins on a sunny afternoon in 1985 in the parking lot of a Costa Mesa mall. Christine Scavello and her son are walking to their car when an old woman appears and begins to shout, "He must die!" toward Joey, and rants the phrase, "Don't you know what he is?" Later, they see the same woman outside a window at their house and then she calls them on the phone several times, again saying that Joey must die. It is then that they decide to hire a private investigator. They go to the office of Charlie Harrison and he immediately gives them two bodyguards and a man to keep watch on their house. A while after they get home, two men come with guns, invade the house, and kill the bodyguards. Joey and Christine manage to escape, but know they must go to another city to be safe. After much research, they find that the people following them are from The Church of Twilight, lead by the old woman who confronted them at the mall, Grace Spivey. Eventually, they travel with Charlie all the way from Los Angeles to the mountains of Sacramento, trying to get rid of the "Twilighters". However, every time they stop in a city to rest, the "Twilighters" show up, again attempting to kill Joey. Grace Spivey uses her psychic powers to locate the boy. She believes that six-year old Joey is the antichrist and the son of the devil. She thinks he will rule the world for a thousand years if she does not kill him. The group ends up at Charlie's cabin in the mountains near Sacramento and they believe they are safe from the ten members of the church following them. However, they are wrong, as Spivey and her followers show up for the final confrontation.

why kids kill parents Essay example -- essays research papers

Introduction to Psychology Why kids kill parents BY Kathleen M. Heide Psychology Today Magazine HOW A LEGACY OF CHILD ABUSE LEADS TO HOMICIDE I chose this article because I have always been astonished at how children can do this to their parents and what drove them to the choices they made. Did they have any other choices or did they use all of their chooses up that they had? This article supplied a lot of answers to me. According to this Article: Between 1977 and 1986, more than 300 parents were killed each year by their own children. &nb... ...ot his father once, he was then afraid his father would be okay and come after him again when he was well, so he shot him again to make sure his father would not be able to do that. To end with a quote from the article; " The true killer in these cases is child mistreatment." "Damage comes not only in human carnage but in the death of the human spirit that persistent abuse often carries out."

Frank Lloyd Wright

She has written several other books on American architecture Including On Architecture: Collected Reflections on a Century of Change and The unreal America: Architecture and Illusion. Her biography on Frank Lloyd Wright is both informative and entertaining; she not only reveals the long and harrowing Journey and the victories and defeats of the rebellious and egotistical architect, but also gives a clear view at the times in which he was most active and the ways in which the country and the world were reacting to his architecture while adapting with everything from changing architectural tastes and styles to economic depressions and the WorldWars. Beginning with his birth and childhood in Wisconsin all the way to his latter days of work and death in Arizona, Hustle details the journey and evolution of his legacy and the tragedies that failed to hinder his art in coherent chronological fashion. Hustle begins the first chapters of the biography with the birth of Frank Lloyd Wright and his beginnings as a child in Wisconsin. Hustle also Introduces the fact that Wright manipulated some details of his personal information throughout life to suit his ego and create his own elegantly presented persona, beginning with his birthday.Born truly in 1867, Wright later changed his birth date to 1869 which â€Å"made a case for a precocious talent with an impressively youthful, early success in Chicago in the 1 sass,† and more Importantly to Wright it â€Å"kept him shy of the dreaded 90-mark during his brilliant late work in the asses† (Hustle 1). In these acts of self- benefit, Hustle revealed the aesthetically egotistical side of Wright that I most certainly never realized was an active force in his life. From his birth, Wright was pampered and directed by his mother, Anna, who believed him to be destined for greatness. On conception, she decided that Frank would be a great architect one day and she was going to do everything in her power to help and guide hi m in that path, not only for his own benefit but for hers as well. She thought particular crib all to influence the newly born Wright towards a path of architectural nirvana. â€Å"He would deliver her from the despair and hardship of her life, make up for her thwarted ambitions; they would have a golden future together† (Hustle 7).Hustle describes Wright's childhood as a bittersweet mixture of hard labor on his uncles farm and alienation from his father mixed with glorious Sunday mornings at he Lloyd Jones family Unitarian chapel followed up by emotionally restorative nights spent singing songs while his father played piano. She illuminates how even though he was a small and weakly child, he learned to â€Å"pile tired on tired† (Hustle 14) working on his uncle's farm and how that strength and stamina of mind and body stayed with Wright even up to the final days of his career which was alive and well until his death.Hustle then begins to describe the evolution of Wrig ht's Journey to becoming an apprentice architect. He was given his first opportunity at a youthful age to assist in he design and construction of a family chapel and even added a windmill of his own design later which stood the test of time and physical stress against the disbelief of some in his family. Through his early life in the rolling hills of the scenic Helena Valley, Wisconsin, Wright planted the seeds of his ideas and passion for â€Å"organic architecture† (Hustle 27) which would be the basis of his unique art in his future works.Organic architecture makes the lay of land, its environmental atmosphere, and the nature of the construction materials the combined generators of the design f the building. His 1935 masterpiece, Billingsgate, built for Edgar Kaufmann over a waterfall is a perfect example of the mix between nature and architecture that makes it uniquely organic and uniquely Wright. Hustle does an amazing Job at keeping all of Wright's advancements in chrono logical order and in a way that is easy to understand how he built his way up to the famous architect that he is.Through his confidence given to him by his mother, Wright began to understand that he was destined for more than an ordinary mortal life because he had â€Å"God-given creativity' (Hustle 33). When Wright was twenty years of age, he moved to the booming cultural epicenter that was Chicago of the asses. He applied to many different architectural firms but only to the prestigious ones which he believed worthy of his gifts and unique abilities; ultimately reputation and image would be the factors Wright would take into account when choosing a firm to work for.He began with Joseph Lyman Sessile, moved on to Beers, Clay, and Dutton, went back to Sessile, and then found his first nest egg of architectural growth and education with Louis Sullivan and Dammar Adler of the Adler and Sullivan firm. Hustle describes Wright as being able to absorb and retain every bit of useful infor mation. He would act as a sponge to Louis Sullivan, soaking up every ounce of the architectural knowledge he found interesting or worthy and committing it to memory. Although you would think that Wright would credit Sullivan for his influence, Hustle defines Wright as notoriously self-centered and arrogant.He would never admit that his ideas or passions for architecture had been influenced by any other human or any culture. His ego made him believe that his forms of architecture were completely ewe and unheard of; it was truly Just a concoction of every bit of influence he had every received through both education and observation Just mixed and manifested biography, Hustle tells how Wright went from sponge-like apprentice to fully accredited and renowned architectural celebrity. As his experience and popularity grew, Wright was approached by clients seeking his work apart from Sullivan influence and he began â€Å"moonlighting† (Hustle 70).With a newly wedded wife and childre n on the way, Wright needed more money to support them and his notorious self-indulgence into Japanese prints and fine clothing. Moonlight work, which is working on secret drafts without company permission and reaping all the profit, was forbidden in his contract with Adler and Sullivan and he was eventually found out and immediately fired. The blow to Sullivan was disastrous and the master and apprentice lost touch for years. When he had established himself well enough in the Chicago architectural scene, Wright began taking on employees as draftsman in his home-studio in the Oak Park suburb of Chicago.His Prairie House design and the Larking Administration Building were two of his greatest creations during this period. Wright was Just setting himself up with a good starting out career when Hustle delivers arguably the most controversial and disliked decision that Wright ever made: with children disturbing his concentration and the stresses of marriage and bills weighed together, Wr ight went through a mental breakdown and â€Å"in the fall of 1909, he left, abruptly cutting all ties.He abandoned a wife and six children and closed his practice, leaving debts and unfinished projects behind† (Hustle 106). Hustle describes how the newspapers and tabloids had a field day with reproving Wright's deplorable actions. He embarked on a two year Journey to Europe with his mistress Amah Cheney. While she worked as a translator in Germany, Wright worked in Florence with his son Lloyd and draftsman Taylor Woolly observing the Italian and Germanic architecture.Upon moving back to the United States, his mother Anna purchased the land in Wisconsin that would soon be the birthplace of his completely tailored and architecturally unique home, Totalities. â€Å"Wright would survive tragedy and disasters there, the murder of a lover and her children, desperate financial crises, and three destructive fires, rebuilding each time† (Hustle 34) from the ashes f the previou s. Shortly after the first Totalities was built, Amah and her children from her previous marriage were brutally murdered and Totalities was burnt to the ground.Accounts given by survivors of the disaster, gardeners and other Totalities workman, explained that the cook had some dispute with Amah and went ballistic. It took Wright several years, a new and blessedly time-consuming project, a new female companion, and Totalities II to bring him back out from a depressed slump. Wright gained instant international success upon the completion of the Imperial Hotel in Tokyo, Japan. In 1923, the hotel was completed and was one of the only structures that survived the great Kant Earthquake that struck Japan that same year.