Axiomatic Account of Scientific Theories Essay Example | Topics and Well Written Essays - 750 words

Axiomatic Account of Scientific Theories - Essay Example As the study outlines logical axioms refer to an argument or reasoning which is taken to be true within the system of the logic they define. On the other hand, non-logical axioms are actually defining properties for the domain or of the domain of a certain mathematical theory. For instance, a non logical axiom can be presented mathematically as: x+y = y+x. In this case, the axiom can be used to imply assumptions, or a postulate. Therefore, to make a system of knowledge or a domain of knowledge an axiom is to show that its claims can be deduced from the axiom(s). From this paper it is clear thst hypothetical deductive model claims that these method requires a hypothesis to be made first. That is, a prediction is made with the expectation of its opposite to be the expected results. It is thus referred to as a falsification process since the hypotheses has to be proved not to be true but if it is done so, by the research to be true, then they are said to be collaborated by their predictions. In relation to the axiomatic account, this theory has its premise or the backdrop of reasoning in its hypothesis. More so, the hypothesis in the Hypothesis-Deductive theory is the basis of reasoning as compared to axiomatic account where the axiom is the premise for reasoning. What would be considered the best argument for scientific realism is the idea that scientific knowledge and ideas are progressive rather than retrogressive in nature. Therefore it is able to make predictions about an idea or an issue in question much successful. This element of scien tific realism makes it very much reliable as it is very clear to be followed since one aspect whether observable or unobservable leads to the other in a logical manner.

Intrest throughout the three stories Essay Example for Free

Intrest throughout the three stories Essay Sherlock Holmes is the main character in the story, as in all the Sherlock Holmes stories. He is a very proper and intelligent man with an extraordinary gift. He is Observant and analytical person and can obtain a large amount of information from a small amount of clues, which most others would overlook. From early on in the story Holmes does not hesitate to show off his detective skills when he meats Helen Stoner: You have come in by train this morning, I see. I observe the second half of a return ticket in the palm of marks are perfectly fresh. There is no vehicle save a dog-cart which throws up mud in that way, and then only when you sit on the left-hand side of the driver. This shows that Holmes considers these observations to be trivial, and that they do not stretch his talent whatsoever. Doctor Watson is Holmes assistant. He is a fully qualified doctor and so a clever man, but next to Holmes he often comes across as a clumsy, less intelligent person. This contrast makes Holmes and Watson an interesting duo to read about. Watson is used for occasional humour during the story. It is very apparent that Watson admires Holmes: I had no keener pleasure than in following Holmes in his professional investigations and admiring his rapid deductions. Finally, Conan-Doyle uses Watson to put forward questions and opinions, which the reader may be thinking of. Holmes never openly rejects these opinions, but nor does he accept them or answer Watsons questions clearly. This creates red herrings, which ensure that the outcome of the story remains a mystery to the reader. Helen Stoner, the lady that has come to Holmes for help, is portrayed in this story as the damsel in distress. She is in desperate need of assistance and has no one else to turn to. Whilst Helen is trying to explain her predicament to Holmes, He is very calm and collective and does not let her tell the story in full immediately; he frequently asks for details or interrupts Helen. This keeps the reader interested because he or she is eager to learn the story. Holmes attitude towards Helen reflects the time the story was written in. Holmes is very sympathetic and gentlemanly towards Helen: you must not fear, said he soothingly, bending forward and patting her forearm. We shall soon set matters right, I have no doubt'. Holmes is not being sexist in his assumption that Helen is helpless and afraid, he is merely showing the attitude towards women that was shared by most men at that time. Holmes knows that Helen needs help from someone who is reassuring and confident. Roylott is Helens stepfather. Roylott is an aggressive, violent character who threatens Holmes by bending his poker. Roylott is the prime suspect in the story for the reader, because the death of his stepdaughters would mean he would receive their inheritance. Throughout the story, Conan-Doyle gives several clues as to the outcome of the mystery. Firstly, when Helen is telling her story from the beginning, the reader learns that Roylott, who would inherit an amount of money in the case of the two sisters deaths, is a short-tempered, dangerous man who has a history of violence: There was a series of disgraceful quarrels and brawls with anyone giving him the least offence. These clues make Roylott the prime suspect for the death of Julia Stoner. Secondly, although it leaves many questions unanswered, Helen reveals that Julias last words were: Helen! It was the band! The Speckled band! . It turns out that she was describing the snake that bit her. Finally, there are several important clues given in Helens bedroom, next to Roylotts room, before the plot is unfolded. Above Helens bed, which is fixed to the floor, is a bell rope that does not work, and a ventilator. The ventilator is in a very strange place: the dividing wall between the two rooms. It turns out that these features were to allow the snake to get to Helen. Such clues were intended to intrigue the reader and hint to the reader, giving them a chance to work the mystery out for themselves. These clues are typical of the mystery genre. There are also several red herrings in the story, for example, the gypsies living in the grounds: It must have been those wretched gypsies in the plantation. These points are irrelevant but raise questions in the mind of the reader, making them want to read on. Conan-Doyle also uses tension to keep the reader interested. When Holmes and Watson are waiting for the snake to arrive in Helens room, they are in darkness and speak in whispers. Holmes makes it clear to Watson that they are in considerable danger and must not get caught. Conan-Doyle also uses language techniques such as shorter sentences to achieve this tension. At the end of the story, as was common in stories of this genre, Holmes gives an explanation of the crime for the benefit of the reader. The Devils Foot is similar to The Speckled Band in that from the start there is a character that we have reason to suspect: Mortimer. At first, Mortimer does not seem to be as vicious an enemy as Roylott, as was common in the time the story was written, but several clues unearthed by Holmes point the finger at him. The murder in this case is also similar to the murder in The Speckled Band. It is a very horrific and mysterious murder that some in the story believe to be of a supernatural nature. Murders like this were often present in stories of this time and genre and were designed to fascinate and shock the reader. Holmes, however, says: if it is beyond this world then it is certainly beyond me. This makes the reader believe that there must be a logical or scientific explanation. The crime is again solved by Holmes, who solves the mystery by noticing small clues and gathering information, in this case, noticing the link of combustible powder between the two rooms in which the murders took place. To support his idea of this powder being the cause of the deaths, Holmes puts his life on the line and tries it on himself. This eccentricity and willingness to go so far to solve a crime makes Holmes all the more interesting and unusual to the reader.

Student Success Essay Example for Free

Student Success Essay Student Success: Motivating School Students through Personal Development A very good morning, to everyone who are present here. Im Kanishka, I’m here by to present a topic about Student Success: Motivating School Students through Personal Development. First of all, I would like to summaries the essential topics which I’m going to share with you related my today’s lecture. Synopsis:- 1. How do I motivate my class mate students to learn? 2. What is personal development? 3. Self-Awareness 4. Self-Concept 5. Self-Discipline 6. Personal development: Implications for teachers 7. Conclusion 1. â€Å"How do I motivate my class mate students to learn? It is the question mostly asked by everyone in the school level. The diversity of our student population in today’s schools makes motivating students more challenging than ever. Students come to school from cultural differences, cast differences, differing belief systems, and complex issues like poverty, substance abuse, and dysfunctional families. What is motivation? Motivation is what compels us to act. It is the energy that provides fuel for action. Motivation can be either 1. Extrinsic or 2. Intrinsic. Extrinsic motivation relies on effective incentives and providing direction or structure for achievement. Motivation comes from an expected external reward for a desired action or behavior. Intrinsic motivation occurs when students generate the motivation from within, discovering the satisfaction of achievement and taking joy in doing something for the sake of doing it. - Intrinsic motivation is a natural outcome of students actively working on their personal growth and development. Personal growth and development requires students to become self-aware through self-reflection. Students learn the skills associated with personal growth and development in the context of learning subject matter, making the subject matter more interesting. For example, our teacher’s might ask students to identify characteristics. So they share with the realistic hero or the heroine in the story. Every learning opportunity will becomes as an opportunity for their personal growth. 2. What is personal development? Personal development is the process of becoming who we aspire to be in our life. In the process of personal development, we learn the 1. skills, 2. knowledge, 3. Aptitudes necessary to live a fulfilling, 4. Satisfying, and happy life. Focusing on personal development is a focus on student success. Schools are traditionally focusing on personal development only. 3. Self-Awareness Personal growth and development requires students to become self-aware. It is a critical dimension of self-regulation and the ability of students to relate to others Through self-awareness, students discover and appreciate their strengths and uniqueness. They learn what is important to them and what they value most. They identify their beliefs and how those beliefs help or hinder their personal growth and success. They become aware of the authentic self and learn to harness the power of the mind. School students are fully aware of their differences. They mature at different rates both physically and intellectually with dramatic variations. This is the ideal age for students to begin to explore and appreciate how they think, feel, And act in a variety of situations. Researcher Mr. Reeve Stark told that, - â€Å"Learning and development progress optimally when there is an active participation from the student to take personal responsibility for his or her own learning and developing† 4. Self-Concept There is a direct tie to how students think, feel, and believe about themselves and motivation. It is the belief of the learner and his/her self-image (do I possess the necessary skills, knowledge and abilities to learn?) that provide the degree of motivation to learn. Students self-evaluate and judge themselves, forming outcome expectancies of success or failure. If the evaluation is positive, the learner is motivated, viewing the task as a challenge and persevering in the face of adversity. If the evaluation is negative, the student becomes anxious and tends to avoid the task. â€Å"Internal perceptions, interpretations, and expectancies will primarily determine the motivation and performance in everyone’s life† A student’s self-concept plays a major role in the kind of help he seeks when faced with challenging work. Students with lower levels of self-esteem, in an effort to protect themselves from failure, chose less effective help strategies. - Students’ self-concept or self-worth is directly related to what they believe about themselves and the self-talk they employ. Through self-awareness students can identify their patterns of self-talk and change them to be more affirming. Positive self-talk fosters autonomy and self-responsibility while enhancing a student’s self-confidence and self-esteem. 5. Self-Discipline Self-discipline refers to self-regulation; the ability of students to set goals, delay gratification to attain a long-term goal, and develop coping skills to overcome setbacks. Research indicates that students connecting to possibilities – a positive vision for their future and their aspirations – is one of the greatest indicators of a student’s success in school. Researcher Mr. Reeve Stark told that, â€Å"It is the possible self idea that provides the plans and strategies for their future – that will put them in an action.† Helping students connect to a vision of their future provides them with the motivation to set and achieve goals. In the process of personal development, 1. students not only set external goals (I want to be a doctor and earn a large income), 2. They also set personal goals (I want to be compassionate and a good listener). 6. Personal development: Implication for teachers Modeling is one of the most effective methods of teaching. Teachers who openly share areas of their personal growth and development convey the importance they place upon it. Teachers who practice what they lecture validate that the practice is of value and useful for students. In contrast, when a teacher does not model the behavior she is trying to convey, students wonder why and are less motivated to participate or listening in class what the teacher is taught. 7. Conclusion Learning through the lens of personal development provides strong intrinsic motivation; the two are inextricably linked. Teachers need to make plain the objectives of personal development and pursue it directly with students to attach intrinsic motivation. Intrinsic motivation becomes a natural outgrowth in the pursuit of personal growth and development. Adolescence is an ideal time to assist students in their struggle to find their identity. Through self-awareness students learn the techniques of self-appraisal and self-acceptance. They build their self-concept by identifying and minimizing disempowering beliefs and self-talk, affirming their unique qualities, and building upon their strengths. They connect to a positive vision of their future, gaining the self-discipline to pursue and attain their goals. Teachers and students are both learners in the process. With a focus on success, personal growth and development is enjoyable and satisfying, giving credence to education’s goal of developing life-long learners. To encourage intrinsic motivation (Self Developement), teachers can do the following: 1. Help students find meaning or real time examples what the topic or the lessons what they already taught to the students. 2. Design an open and positive environment. Focus is on growth and success, never on lack, weakness, or failure. 3. Ensure students are valued members of a learning community – everyone is valued for their own uniqueness. - I would heartily thankful to everyone who has spent their valuable time with me during my small lecture. - Thanks once again.

Influences of Egyptian Art on Art Deco

Influences of Egyptian Art on Art Deco A dissertation on Art Deco how it was influenced by the discovery of Egyptian art, more specifically the findings at Tutankhamens tomb. Explore how the London exhibition of these findings was of great significance to the worlds of fashion interiors in the 1970s and how many designers started to redeploy Egyptian motifs in their work. Introduction Egyptian art and design was very much centred on decorative motifs and patterns for both large and small items. As Egyptian artefacts were uncovered and became known to modern civilization, their art designs began to have an influence on modern design.[1] This paper will look at how these Egyptian motifs and designs became hugely influential on the Art Deco movement in the 1920’s and 1930’s, as well as the revival of the movement in the 1970’s. There will be a particular focus upon the artefacts found in the legendary tomb of Tutankhamen. Through the London exhibition of this work, its decorative motifs spread into what we now know were the beginnings of the Art Deco movement. It also had a strong influence on the resurgence of Art Deco designs in 1970’s home decorations and furnishings. The paper will be split into two main sections, with the first section looking at the general influence of Egyptian design on Art Deco design. The second section will then look at specific examples of designs and designers to support the claims of Egyptian influence on Art Deco design through the artefacts of the Tutankhamen exhibition. Firstly, though, it is worth mentioning a brief history of how Egyptian design began to influence modern design, particularly in the Western world. It was in the 18th century that Egyptian design first became fashionable for furnishing within British homes, mainly through the influence of Italian design at the time. This is when obviously Egyptian items were being used as designs within homes, including obelisks and sphinxes. As Western society learnt more about Egypt through the decipherment of the Rosetta Stone, the opening of the Suez Canal and an exhibition of Egyptian artefacts by Belzoni in 1821, the trend for Egyptian design as a fashion continued throughout the 19th century and into the early 20th century.[2] However, during this time much of the Egyptian designs were limited to copies or replicas of large, visible artefacts of Egypt. It was not until the discovery of the tomb of Tutankhamen in 1922 that the styling of Egyptian design began to really influence modern design. The artefacts in Tutankhamen’s tomb were of amazing quality and style, and it is these artefacts that inspired the Art Deco movement. Examples first appeared in architecture such as the Hoover Building in London in 1931/32, which is still around today. Many other aspects of design from this period such as furniture, jewellery, and even clothing were influenced by Egyptian design. However, it was the Art Deco movement that took Egyptian motifs and designs and used them in a different way, rather than exactly copying or reproducing existing designs. [3] The artefacts of Tutankhamen again had an influence on design in the 1970’s as they were exhibited in London. This sparked a renewed interest in Egyptian design and again clothing, furnishing and decorations were created in an Egyptian style. The next section of the paper will look at the general design similarities between Egyptian design, particularly the Tutankhamen artefacts, and the Art Deco movement. Influence of Egyptian Motifs on Art Deco At first glance, the obvious similarity between Egyptian design as seen in Tutankhamen’s tomb and Art Deco design is the use of decoration to cover as many different surfaces as possible. Egyptian designs were highly decorative, and this was a huge influence on the Art Deco movement that used decorative patterns and design elements wherever there was space to do so. [4] However, the term Art Deco itself was not coined until the 1960’s, and in the 1920’s and 1930’s the movement which is later known as Art Deco was more concerned with mixing the glamour of Hollywood with the mystical and spiritual designs of ancient cultures such as Mayan and Egyptian. The concept of Art Deco was to do with forms, shapes and geometric lines which signified the rise of the machine age, the aeroplane and the automobile. However, they also mimicked the geometric patterns found in Egyptian design and hieroglyphs.[5] As 1930’s Britain and America were reaching a more advanced stage than modern society had ever achieved, the style of Art Deco paid homage to this through its use of the Egyptian motifs – the motifs of the ‘pinnacle’ of ancient society. The influence from Egyptian design also had to do with a fascination for the primitive and the primeval of ancient times. The influence of the Tutankhamen artefacts can be seen in the adoption of pharaonic imagery in Art Deco, such as scarabs and cats.[6] An article in Harpers Bazaar in 1928 showed this influence directly by showing women’s accessories of the time against profiled heads of Egyptian females.[7] There was a very clear influence from Egyptian design on the Art Deco architecture in cities like London and particularly Manhattan in the 1930’s. Symbolically, the beginning of the era of skyscrapers is like the looming of the ancient Pyramids. There is a certain sense of mystery in such powerful and dominating structures, and this was certainly part of the Egyptian influence on Art Deco architecture at the time.[8] Other designs in Europe more showed more direct influence from Egyptian design, with pyramid style apartments and buildings being planned in London, New York and Paris as a sign of luxury and sophistication.[9] Hybridism is another area where Egyptian design has influenced Art Deco. Egyptian design was based upon a mix of traditional and contemporary styles, and mixed decorative style with function and purpose. Art Deco also did this by mixing not only Egyptian styles but the styles of other ancient cultures as well as the functionality and precision of modern design.[10] Whilst Egyptian design was a hybrid of designs from the cultures and peoples that were dominated by the ancient Egyptians, so Art Deco was a mixture of the traditional and the modern from all over the world. Egyptian design was also important as a social influence on Art Deco, because the discovery of Tutankhamen and the tomb’s wonderful artefacts represented a time when luxury, mysticism and a ‘golden age’ were occurring. During the 1920’s and 1930’s people were still recovering from the ravages of the First World War, and they wanted to move away from those times of hardship into a new era of peace, fashion and decadence. Egyptian design was a perfect representation of such an era, and this is another reason why the Art Deco designs of the time incorporated Egyptian motifs.[11] The geometric patterns of Art Deco however are perhaps the main focus of the movement’s aesthetic, and came not only from Egyptian design influences but from the influences of Cubism. It was the geometric patterns of Cubism mixed with the decorative aesthetic of Egyptian design that influenced much of the European and American movements of Art Deco during the 1920’s and the 1930’s.[12] A further design aspect of Art Deco influenced by the Egyptian, or at least the perception of Egyptian, design was the concept of feminine style. The 1920’s and the 1930’s were the start of a new era for feminine style after the austere fashions of the early 1900’s. Egypt, with its female gods and female ruling figures, is seen as a barometer of classic feminine elegance and style. Therefore, many of the fashion styles and interpretations of Egypt at the time were based on this idea of femininity. Nowhere can this be better seen than in the 1930’s film version of the story of Cleopatra, where Cleopatra is played by Claudette Colbert. The movie was made on the back of the popularity of Egyptian-inspired Art Deco, or ‘Nile Style’ as it was sometimes referred to in Hollywood circles. Colbert’s image as Cleopatra was far more about current Art Deco style than historic recreation of Egyptian design.[13] She even advertised her hair in a curled ‘Egyptian’ style and endorsed Cleopatra Egyptian-inspired dresses and gowns like those shown in the movie. Even the physical feminine style for women at the time of being tall and thin was similar to historical records of the feminine style preferred in ancient Egypt. Her costumes in the film were influenced by those historically recorded for Isis. Below is an example of this style, showing the influence of Egyptian style on Art Deco even in contemporary movie-making of the time. This may have been a film based on an Egyptian story, but Colbert was known for wearing modern styles even in such movies and this is reflected in the Art Deco Egyptian dress worn. Colbert’s Art Deco Cleopatra Look[14] The Art Deco movement’s use of Egyptian motifs and design was certainly launched fully by the discovery of Tutankhamen’s tomb in 1922, and this set off the recreation and interpretation of Egyptian artefacts and design in almost all areas of art and design. This ranged from costumes such as those designed by Sonia Delaunay, the Egyptian Theatre by Grauman and the biscuit tins of Huntley and Palmer. Some of these designs will be examined more closely in the next section of the essay. What all of these designs share is the sense of decadence, elegance and sophistication that people craved during this era and was expressed through the use of Egyptian motifs.[15] Art Deco architecture was influenced by Egyptian architectural techniques in that it places a certain importance on aesthetics as well as functionality. This makes the architecture closer in some ways to painting or art rather than merely the design of buildings. Art Deco buildings like the Egyptian buildings were highly functional, but not at the cost of style and decoration.[16] Jewellery of the Art Deco period was also greatly influenced by Egyptian design as well. The fascination with Egyptian culture meant that artefacts from Tutankhamen’s tomb were reproduced or at the very least elements of their design were used for highly sought after jewellery pieces. Although Egyptian motifs had been used before this time, this was the first time that they were used to such an extent in modern, fashionable design. Van Cleef and Arpels in Paris set tiny Egyptian figures in coloured stones into a diamond background, and Cartier designed Egyptian-inspired clocks. A heavy use of previous metals such as platinum and gold as well as diamonds became more popular, inspired by the hugely elaborate and stunning gold pieces found in the tomb. However, this type of jewellery became less popular after the 1929 Wall Street crash and cheaper materials were again used.[17] However, not all of the Art Deco movement was influenced so heavily by Egyptian design. The Art Deco movement in Paris was influenced more by the visit of the Russian ballet and the aesthetics that came with their performance. However, in London and New York the scenes, particularly architecture and interior decoration were highly influenced by Egyptian design.[18] However, towards the end of the 1930’s the style started to become less fashionable, and tastes changed. The Art Deco movement though would be revived in Britain in the 1960’s and 1970’s, again when it was heavily influenced by the arrival of the London exhibition of the Tutankhamen artefacts. The first stirrings of the Art Deco revival in London were through retail styles of stores like Biba in Kensington. The ceramic designs of Clarice Cliff were still in high demand, and even the headquarters of MI6 has a number of Art Deco touches in terms of detail and symmetry. [19] However, it was the arrival of the Tutankhamen exhibition in London in 1972 that again sparked a revival of Egyptian-inspired Art Deco style. The sheer excitement and opulence of the exhibition of these world famous treasures meant that Egyptian design once again became fashionable. The exhibition attracted around 1.7 million viewers in its year run and inspired the revival of the Egyptian inspired Art Deco movement that is sometimes referred to as ‘Egyptian Revival Art’.[20] This revival of the Art Deco was also a response to Modernism that had deemed Art Deco too decadent and had replaced the decoration with ‘cleaner’ looks. The Postmodernist architecture and design began to pay homage to the decorative excesses of Art Deco and ornate jewellery, ostentatious sports cars and lacquered furniture once again moved design back towards a more decorative aesthetic.[21] It was almost as if the arrival of the Tutankhamen exhibition sparked a remembrance of the Art Deco style, and this created the first real collecting phase of Art Deco in the UK. Exhibitions and retrospectives began to flourish and the movement was looked at again in a new light. It once again became fashionable as celebrities such as Elton John and Barbra Streisand began to collect Art Deco pieces. [22] We have seen in this section how Egyptian motifs were one of the key elements in the Art Deco movement in the 1920’s. The real spark of inspiration came with the discovery of the tomb of Tutankhamen by Howard Carter in 1922. The decadence and decorative appeal of the artefacts in this tomb appealed to the tastes and fashions of the time and became imbedded in the Art Deco movement. The architecture of New York and London during this period is highly influenced by Egyptian motifs, as well as the furnishings, fashion and art. Although the movement was replaced by Modernism in the 1940’s, the arrival of the Tutankhamen exhibition in London in 1972 once again created a demand for Art Deco designs that were inspired by Egyptian motifs. The next section of this paper will examine some of the key examples of Egyptian motifs within Art Deco design in the 1920’s/30’s and the 1970’s in Britain and how they are inspired by the artefacts found in Tutankhamen’s tomb. Examples of Egyptian Motifs in Art Deco Fashion and Interiors The Egyptian motifs appeared in Art Deco in the 1920’s and 1930’s most prominently in the architecture of Britain and America. In Britain, perhaps the best surviving example of this Egyptian inspiration in Art Deco is the Hoover Building in Perivale.[23] Other good examples still to be seen in London are The Daily Telegraph Building designed by Ernest Elcock (1928-1931). This building has huge, bulging Egyptian columns. Another building of the same era is the Carreras Building in Camden which features an imposing Egyptian colonnade. [24] The Carreras Building is influenced by the Temple of Bubastis, the cat-headed goddess. It had a sense of spaciousness and light to match the mystical feeling of the ancient temple, and was adorned with a wide variety of Egyptian motifs and designs.[25] In America one of the earliest examples was the Egyptian Theatre (1922) by Sid Grauman. However, many of the skyscrapers in New York built during this era have some Egyptian influence – even the famous Empire State Building with its needle-like point and angular edges similar to many of the ‘needles’ found in Ancient Egypt.[26] The rebuilding of San Francisco after the terrible 1906 earthquake was masterminded by Timothy Pfleuger. He built a number of Art Deco buildings including the Castro Theatre and the Telephone Building. Pfleuger mixed all types of ancient cultural influences into his decorative works including Egyptian and Mayan motifs.[27] Interior design was also influenced by the Egyptian motifs from Tutankhamen’s tomb. The Harrods Egyptian escalator hall in London may not be the best example of Art Deco, but it shows how the influence of Egyptian design continues even as art movements change. The designer, William George Mitchell said that he wanted the â€Å"staircase to be a walk-in sculpture, a journey from the Lower Nile to the Upper Nile.†[28] It is also clear that the areas where Art Deco was most prevalent tend to have the most examples of Egyptianized architecture. London has some, but the Art Deco movement was more prevalent in New York and this is where the largest concentration of Egyptianized buildings is located. The influences of Egyptian design could even be seen in the writings of famous literary minds of the time. F. Scott Fitzgerald begins one of his most famous short stories known as ‘May Day’ with a sort of Mock Arabian introduction of how New York will be reborn for the Art Deco. It establishes the importance of exoticism within Art Deco, which is certainly something that Egyptian design can add to the mix.[29] This exoticism can be seen in the jewellery of the time, particularly the high-aesthetics of Cartier. As Bracewell discusses an exhibition at the Victoria and Albert museum on Art Deco, a 1925 vanity case is mentioned as an example of this Egyptian-inspiration in Art Deco. The vanity case is the shape of a sarcophagus, and illustrates the exotic luxury that is synonymous with Egyptian designs in Art Deco pieces. The catalogue option for the vanity case reads as a veritable plethora of luxurious materials and decorative design – Gold, platinum, carved bone, sapphires, emeralds, diamonds, onyxes and enamel; interior with folding mirror, tortoiseshell comb, lipstick holder and cigarette compartment.[30] The Cartier jewellery epitomised both the visual design aspects of Egyptian design in Art Deco, but also the ethos and ideals of the Art Deco movement. The jewellery was decadent, but because it harkened back to the past and primeval culture it was not ostentatious in the same way as the Art Nouveau movement before it. The Cartier brand and its use of precious materials using modern lines, but combined with ancient motifs and symbols, shows the glamour and escapism that Art Deco was trying to create.[31] The furnishings of the time were also examples of the almost Pharoah-esque aesthetics of the Art Deco movement. Two houses in England – Coleton Fishacre and Courthauld house – are excellent examples of the use of luxurious fabrics and different textured materials within Art Deco interior design. The influence from Egyptian design is less obvious here, and is more to do with the luxurious fabrics and importance of aesthetics that are stylistically similar to the ancient Egyptian palatial interiors. Both use clean lines mixed with good colours, sensitive lighting and textured materials to create a tactile environment. The interior of Coleton Fishacre was designed by Basil Ionides, who invoked a Jazz Age feel in the house. Dining rooms contained Lalique lights, and ornate iron framed furnishings. The sea-blue tabletop was clearly influenced by the colours within the Tutankhamen tomb. [32] The initial movement of Art Deco was certainly geared towards the upper classes and incorporated not only the influences from the Tutankhamen tomb but also the improvements in transport technologies and communication. This brought new and exotic materials to the market such as ebony, shark skin, mother of pearl, lacquer and tropical woods. This allowed for experimentation with new and exciting materials, but still paying tribute to the traditional and ancient cultures where they came from. The Egyptian influence was just one of these influences, although perhaps the most striking of all thanks to the artefacts found and the decorative beauty of the items in the tomb. The rise in consumerism reflected the dawning of a new and wonderful age, and so it was only natural that elements of previously successful and respected societies would be included in design. With no society more famed and revered in the ancient world than Ancient Egypt this meant the design elements crept into many of the styles of age including the Chrysler Building by William Van Alen (1927-1930). Just as the pyramids of ancient times were engineering wonders that looked like they could not be built by the hands of humans, the modern skyscrapers of the 1920’s and 1930’s were designed to look like they were made by machines, with their huge heights and angular structures.[33] However, the movement changed somewhat in the later era of Art Deco and the revival in the 1970’s, where again ‘Tutmania’ took over and the demand from the masses for Egyptian inspired design meant that mass production techniques and cheaper materials were now used and the focus was less on luxury and more on the motifs and exoticism of Egyptian design. The designs became more like reproductions of Egyptian designs than inspirations within a distinct movement. Fashion throughout the Art Deco period though was perhaps one of the most heavily influenced areas of design. Delaunay was one such fashion designer of the Art Deco period who was influenced by Egyptian designs. She had always incorporated different styles into her work, including influences from Fauvism, Cubism and ethnic trends. Her career saw her develop from a painter to a designer, and it was in her capacity as a designer that she was involved in costumes for Diaghilev’s version of Cleopatra (1917). Many of the costumes for dancers of this production could not be full recreations of Egyptian clothing, but instead were Art Deco pieces that hinted at Egyptian motifs through the scarves and other accessories for the costumes.[34] However, it must also be shown that there were a number of designers within the Art Deco movement influenced by other designs. Clarice Cliff marked her Art Deco with different ethnic designs, but was perhaps most famous for her use of bold colours and Cubist designs. Although there are certainly some Egyptian influences in Cliff’s work, it was her hybridity and blending of styles in pottery that made her a success in the late Art Deco period, and still makes her work sought-after today. Cliff mixed themes from the Jazz Age and exotic elements of different ethnic cultures with elements of De Stijl and Cubism to create Art Deco pottery that was influenced by everything yet looked like none of the individual influences. The items she created were meant as household items and used materials that were less expensive than the opulence associated with the earlier Art Deco period. However, the concept of hybridity is certainly an idealistic homage to the hybridity seen within the great and Ancient Empires such as the rule of the Egyptians. Their culture mixed together all of the cultures they had observed and the knowledge they had learnt, which was evident in their beautiful but elaborate designs. Cliff’s design mimics this with its use of hybridity, and whilst visually there are few influences in Cliff’s work to Egyptian design, her use of Art Deco hybridity is indirectly influenced by the hybridity of Egyptian design. [35] Virtually all of the major Art Deco designs have some influence from Egyptian design, either through their visual aspects such as Egyptian motifs or through the ideals of hybridity, exoticism, decoration and aesthetics. The designers that have been looked at in this section give a glimpse at both the visual influence of Egyptian design on Art Deco design as well as the idealistic influence. From the deep-sea blues of the table at Coleton Fishacre to the bejewelled sarcophagus-shaped case created by Cartier, Art Deco owes a great deal of its stylistic and visual appeal to Egyptian Design. This is most evident in large cities such as London and New York where the giant architectural monoliths carry the motifs and flourishes of Egyptian design. Whilst Egyptian design was popular before the Art Deco movement, it was the discovery of Tutankhamen’s tomb in 1922 that really influenced the movement. The artefacts found in this collection were so mesmerising and unlike anything seen before that their style was sought-after as an escape from the previous designs of the late 19th century and early 20th century. This link to Egyptian design is not only in the visual aspects but in this ideal of luxury, exoticism and hybridity that epitomises Art Deco. The next section will conclude the paper, and look at the main points of similarity and influence between Egyptian design and Art Deco, and how this is particularly linked to the Tutankhamen artefacts. Conclusion Art Deco’s goal was to break away from the Art Nouveau of the 19th century and break the rule of not paying tribute to past styles, whilst still looking forward. Art Deco did this by looking at truly ancient motifs and styles from Egypt that was at once primeval and dazzlingly modern because of the distance of time between the modern era and the ancient era.[36] The need to move away from the horrors of the First World War and embrace and new, elegant and decadent present meant that the 1920’s were a place where decorative design took precedence. However, it was the discovery of Tutankhamen’s tomb in 1922 by Howard Carter that really caught the imagination of the public and pushed Egyptian design as a major influence for the Art Deco movement. Although the term Art Deco was not coined until the 1960’s[37], the influences of Egyptian design on the movement in the 1920’s and 1930’s can be seen throughout all aspects of design at this time. The Art Deco architecture of New York and London was heavily influenced by Egyptian motifs including the pyramid shapes, the decorative interiors and exteriors and the sheer size and dominating presence of the buildings themselves. The design aspects of furnishings, jewellery and even fashion were influenced by Egyptian design during the Art Deco period. The two styles have similarities in concept and meaning as well as visual appearance, with both styles being a synergy of different styles and techniques from the past and the present. This is why the influence of Egyptian design within Art Deco is so far reaching, with all the different materials and types of design being used in this movement. Also, both movements place the bulk of importance upon decorative aesthetics, with function important but not at the cost of decoration. The use of precious metals, frequent and multiple design elements and geometric designs also match. Even the ideas of femininity were fairly similar as can be seen through Hollywood movies of the time and their use of sleek, tall women wearing clothes that enhanced their appeal as ‘Goddesses’ or powerful, mysterious women. The movement was replaced by modernism in the 1940’s, but it was once again revived in the UK in the 1970’s with the arrival of the London exhibition of the Tutankhamen artefacts. Egyptian-inspired furnishings, decorations, jewellery and fashion became popular, and this era is often dubbed as the ‘Egyptian Revival Movement’. It coincided with a renewed interest in Art Deco, and shows the deep links between the Art Deco movement and Egyptian design not only in visual similarity but in design ideals and principles. In conclusion, the influence of Egyptian design on Art Deco both in the 1920’s/1930’s and the 1970’s was significant, constituting not only a visual influence on the movement but a stylistic and symbolic significance. Although Art Deco’s primary style of geometric patterns and lines was perhaps more heavily influenced by Cubism, the decorative aesthetics of Egyptian design brought many of the design aspects and motifs that we associate with the Art Deco movement. Bibliography 20TH CENTURY LONDON. (2008) Art Deco Style. (Online). Available at: http://www.20thcenturylondon.org.uk/server.php?show=conInformationRecord.72 (Accessed 25th October 2008). BINNEY, M. (2007) Vibrant motifs from the old world found new life in Art Deco. The Times, November 15th, 2007. Available at: http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/specials/tutankhamun/article2864301.ece BRACEWELL, M. (2003) Another Time, Another Place. New Statesman, 132(4631), p. 38+. CHILVERS, I. (1999) A Dictionary of Twentieth-Century Art, Oxford, Oxford University Press. CLOUZOT, H. (1997) Art Deco Decorative Ironwork, Courier Dover Publications. CONDON, S. (2007) How Hollywood manipulates history through costume, University of Portsmouth Dissertation. Available at: http://dissertations.port.ac.uk/179/01/CondonS.pdf CRANFIELD, I. (2001) Art Deco: An Architectural and Interior Design Source Book, Devon, David Charles Publishers. DAWSON, J. (2003) Deco Rationale. The Architectural Review, 214(1275), p. 21+. DOWS, D. (1942) Review of Egyptian Architecture as Cultural Expression by E. Baldwin Smith. American Jo

Violent Video Games and Increased Aggression Essay -- Media Violence 20

Video games have been a rapidly expanding industry since their inception in the 1970s. Along with their growth have come concerns about violent video games and their effects on aggression and violence in young people. The endless numbers of school shootings have pushed this issue to the forefront. These events brought about the question: do violent video games induce aggression in youth? That’s the question I set out to answer by looking at research. The research shows that there is a link between playing video games and increases in aggression in adolescents. What implications does this fact have ethically? It means that video game producers and distributors need to be held responsible for their releases and the way they end up in the hands of kids. Video games are a rapidly growing industry. There are nearly two games sold for every household in America each year (Anders 271). The vast majority of these are sold to adults, but there is no national law that prohibits minors from buying violent video games. A few states have legislation pending that will prevent this, but the fact is that minors do have access to violent video games. There is a voluntary rating system implemented by the ESRB, where games are rated based on their content. The games that are rated Mature are not supposed to be sold to anyone under seventeen and Adults Only titles, but â€Å"some retailers do not impose such limitations† (Anders 271). The bottom line is that minors do have access to these violent games. One article points out that video games have a big impact on children’s lives and that many of the games played are violent. Researchers have found that â€Å"nearly all children spend time playing video games† and studies have found that â€Å"8th graders spent an average of 17 hours per week playing video games† (Tamborini 336). Moreover, 68% of the most popular video games contain violence (Tamborini 336). So it is clear that many children have access to violent video games and they have a big impact on their lives simply because of the amount of time spent playing them. The shooters at Columbine high school, Eric Harris and Dylan Klebold frequently played violent video games such as Doom, and Harris even created a modification for the game. The modification allowed two shooters to use a large arsenal weapons to shoot unarmed civilians (Anderson 353). Is seems eeril... ...ids, I would think twice about my decision to work on the project. I would realize that video games probably more good than harm in a utilitarian approach, but I would also take into consideration the social contract theory and ask, â€Å"would I like to live in a society where people are more aggressive because of something I helped to create?† I hope that I would make the right decision in that situation. Works Cited Anders, Kelly L. "Marketing and Policy Considerations for Violent Video Games." Journal of Public Policy and Marketing 18 (1999): 270. Communication & Mass Media Complete. EBSCO. DePaul Library. 7 Mar. 2008. Anderson, Craig A.; Bushman, Brad J. "Effects of Violent Video Games on Aggressive Behavior, Aggressive Cognition, Aggressive Affect, Physiological Arousal, and Prosocial Behavior: a Meta-Analytic Review of the Scientific Literature." Psychological Science (2001). EBSCO. DePaul Library. 7 Mar. 2008. Tamborini, Ron ; Eastin, Matthew S. ; Skalski, Paul ; Lachlan, Kenneth ; Fediuk, Thomas A. ; Brady, Robert. "Violent Virtual Video Games and Hostile Thoughts." Journal of Broadcasting & Electronic Media (2004). EBSCO. DePaul Library. 7 Mar. 2008.

Bethany Hills, Omemee Esker and Fleetwood Creek :: essays research papers

Stop 2: Glacial Lake Peterborough Glacial Lake Peterborough had many attributing spillways attached to it, feeding meltwater and sediment from the ice margin and or other glacial lakes. Much of the sediment that was deposited in Glacial Lake Peterborough came from either from the stagnant ice blocks located on the Oak Ridges moraine or from the Lake Algonquin drainage system. Much of the deposition in this lake was dominated by sediment stratification, which may have been largely influenced by thermal stratification. As a result of thermal stratification occurring in this glacial lake sediment inputs were greatly influenced depending on the different sediment densities between the lake bottom water to that of the incoming meltwater and if the inflow density was less/more than the bottom water than the lake water bottom, than new transport and depositional paths were created Depending on the type of path that was created, it would largely influence the rate and distance to which the sediment was transported. Stop 3a: Kettleby Till The Kettleby till is considered to be younger than the main till in the area because it may have been deposited by ice contact stratified drift. Ice contact stratified drift is normally deposited by meltwater in contact and or in close proximity to the ice sheet. Stratification and some sorting do takes place. Stop 3B: Bethany Hills Deltaic sands on southern Flank Yes this feature is the result of erosion and depositional processes however, it is not associated with the current water course. This feature may be the result of a Gilbert type delta that once occupied this area. Gilbert type deltas have three main components; topsets, foresets and bottomsets. Topsets are fluvial sediments (primarily sandur deposits) that were deposited on the subaerial delta surface. Erosive events occurring on the upper forslope can result in downslope channels and chutes. These features are then eroded by either strong currents or by debris flow resulting in these channels and chutes to become filled. Foresets are a combination of sand and gravel facies. The are deposited by gravitational processes on the delta foreslope and the grains tend to become finer and more angular downslope. Bottomsets consist of fine grained silts and clay and are deposited at the foot of the delta front. Stop 3C: Drumlin in older northern/Newmarket Till I believe that this drumlin is closely related to erosion and accretion hypotheses of drumlin formation. This is because of its location being close to a steep valley wall.

Shakespeares As You Like It - Importance of the Secondary Characters

As You Like It:   The Importance of the Secondary Characters  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As You Like It, by William Shakespeare, is a radiant blend of fantasy, romance, wit and humor. In this delightful romp, Rosalind stands out as the most robust, multidimensional and lovable character, so much so that she tends to overshadow the other characters in an audience's memory, making them seem, by comparison, just "stock dramatic types". Yet, As You Like It is not a stock romance that just happens to have Shakespeare's greatest female role. The other members of the cast provide a well-balanced supporting role, and are not just stereotypes. Characters whom Shakespeare uses to illustrate his main theme of the variations of love are all more than one-use cardboards, as they must be fully drawn to relate to life. Those characters most easily accused of having a stock one-dimensionality are those inessential to the theme but important to the plot and useful as convenient foils, such as Duke Frederick and Oliver de Boys. The assertion of the question deserves this quote: "You have said; but whether wisely or no, let the forest judge."   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   There is no doubt, either in the critical or play-going mind, that Rosalind is the "grandest of female roles" (Hazlitt). She encompasses a multitude of character brushstrokes, from the love struck maiden to the witty arch tongue to the steel-backboned princess to the fiery Wise One (Hazlitt). To add to the demands of the character Shakespeare adds in an exterior sex change and further makes Ganymede pretend to be Rosalind to Orlando. Though this kind of "boy acting a girl acting a boy acting a girl" kind of transmogrifications were not uncommon upon the Elizabethan stage, the kind of mind and acting portrayed ... ...bits of character that are definitely not stock, as in Charles' original concern for Orlando and Sir Martext's refusal to be made a fool of by Touchstone. These make them more than stock, but they are still as cardboard when compared to Rosalind.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As You Like It contains as many characters as there are in life, but Rosalind is used as the vehicle for the Ideal. Her main supporting characters are full of life, and though not as much as Rosalind, it is still life for all of it. The less important characters have to be more one-sided to keep the plot uncluttered, but sometimes the one-dimensionality jars, as with Oliver. Rosalind's vibrancy would overshadow any other character, for to produce an Othello opposite her would create a conflict that this greatest of comedies does not need. Works Cited: Shakespeare, William. As You Like It. Bevington