Cuba A Bright Future Essay Research Paper free essay sample

The struggle for personal identity Essay Example For Students

The battle for individual character Essay The battle for individual character Essay The theme I have decided for my examination exposition is that of Personal Identity. We have gone over this subject in numerous accounts that we have done in the course. Various creators have taken care of this subject in an alternate manner and by investigating this we will have the option to perceive what individual character intends to individuals. The connection among self and society is basically fierce and the battleground on which this battle is battled by personality. Set forth plainly, character is simply the discernment by others, tested by the social world (Fontana Kotarba, 1984, pp. In The Wifes Story, the creator Bharati Mukherjee takes a gander at the subject of Personal Identity in regard to the Indian Culture. The primary character in the story, Panna, leaves her family so as to get a Ph.D. This is seen when she says Ive made it. Im making a big deal about my life. Ive left home, my significant other, to get a Ph.D. in a custom curriculum (Meyer, 1997, pp. 424) She is presented toward the Western world and is battling between her Indian personality and the one of the Western World. She is making a decent attempt to situate herself in this world. She needs to acknowledge the American culture, and yet she wouldn't like to lose her Indian perspectives. She wouldn't like to follow the conventional traditions where the spouse remains at home and is either manhandled by the husband or by her parents in law. Pannas look for personality can likewise be seen when her better half stays with her from India. He doesn't care for when she spruces up in western garments an d converses with other men. Panna doesn't support of her spouses thinking, however she despite everything needs to satisfy him. With him she needs to imagine that nothing has changed. She realizes that things have changed, yet she needs to do everything to cause him to accept something else. In this way she is battling in the whole story. The following creator whose work we are going to take a gander at is James Joyce of Eveline. In this story the creator has treated the subject of individual character in regard to the adoration for families. In the accompanying story, the primary character, Eveline, originates from a family where the dad is extremely prevailing. Her mom has passed on and on the deathbed, Eveline guaranteed her that she would deal with the family. In her psyche, she imagines that the main explanation she is remaining with such her predominant dad is a direct result of the guarantee she made to her mom. She wouldn't like to forsake her family. Simultaneously she is battling to shape a self personality. She gets an opportunity to leave from her family and structure her very own personality. She is befuddled about what to do. At long last she selects her family realizing that they love her as well and that is the place she can be best distinguished. Kaluger (1984, pp. 261) says that during the ID stage, kids for the most part react to individuals whom they love or who have some attribute or force that they appreciate. Kids increase a conviction that all is good by relating to a more established individual whom they love, in whom they have total certainty and trust. Martin luther lord jr. EssayBy taking a gander at the above stories, it is seen that the primary characters are scanning for their own personality. They all are looking for themselves and are extremely confounded and battling. They need to accomplish there objectives, regardless of what comes in their direction. By taking a gander at the various stories it tends to be seen that for one to pick up the genuine character, the person needs to confront the general public as well as themselves as well. In the event that they can acknowledge who they truly are and defeated their apprehensions instead of claiming to be another person or fleeing from their feelings of trepidation, they can locate their own personality. ReferencesFontana, Andrea, Kortarba, Joseph A. (1984) The Existential Self In Society. London: The University of Chicago Press, pp. 11. Kaluger, George, Kaluger Meriem F. (1984) Human Development The Span of Life. Columbus: Merrill Publishing Company, pp. 261. Meyer, Bruce. (1997). The Stories-Contemporary Short Fiction Written in English. Scaroborough: Prentice-Hall Canada Inc, 301-305, 421-443.

How to Ask Your Professor for a Letter of Recommendation Via Email

How to Ask Your Professor for a Letter of Recommendation Via Email If you are applying for a job, an internship, or a graduate program, it is inevitable that you will need to ask one of your professors for a letter of recommendation.While it a necessary thing, it can still be a stressful and daunting experience. It can almost be as anxiety-inducing as asking your crush to be your prom date.Luckily, unlike your crush, your professors are accustomed to being asked for letters of recommendation, and they will be happy to help push you closer to your academic or career goals, so you don’t have a lot to worry about.When it comes to requesting for a letter of recommendation from your professor, the best approach is to ask the professor in person.If you are unable to ask in person, however, you can still do it via email.Email is also a good option if you know that the particular professor is comfortable with digital communication. CHOOSING THE RIGHT PERSON TO ASKBefore we get into how to request a recommendation letter via email, the first thing you need to do is to make sure you are asking the right person.In order to determine the best person to ask, you first need to understand the purpose of a recommendation letter.Normally, the recommendation letter is meant to accompany your resume, cover letter, and any other material that you send as part of your application.But why is it really required?The other documents that form part of your application are a factual summary of your academic qualifications, your skills, and your other accomplishments.While they give a good picture of who you are and what you can do, someone cannot really tell what you are like as a person, or what it is like working with you.This is where your recommendation letter comes in.The recommendation letter adds personality to your resume and cover letter.It discusses things that cannot go into your resume, such as your personality, your ambition, your character traits, how well you connect with other people and so on.Since the recommendation letter talks abou t your personality and character, this means that you should ask for a recommendation from a professor who knows you well and can point out specific incidences in your life to highlight various aspects of your personality and character.Many recommendation letters are usually filled with generic praise that could apply to anyone, and therefore, the more specific your letter of recommendation is, the more likely it is to sound genuine, and the more likely you are to get noticed and appreciated.Of course, if a professor does not know you well, they cannot write a recommendation that is specific to your personality and characteristics.Therefore, if you want a strong letter of recommendation, you should choose a professor who has a personal relationship with you and has a good opinion of you.Before requesting the professor, ask yourself the following questions:Does this professor know me by name?Is the professor familiar with my work?Have I performed well in this professor’s class?Have I worked with this professor outside of class?Have I always acted ethically and professionally in the professor’s class?If you can answer positively to all the above questions, then you have the right person to request for a recommendation letter.Aside from ensuring that the professor knows you personally and has a favorable opinion of you, you should also go for professors who have a reputation for writing the strongest recommendation letters.WHEN TO ASK FOR THE LETTER OF RECOMMENDATIONAside from asking the right person, you also need to make sure that you send the request at the right time.Your professor are most likely very busy with teaching, grading, and even handling other similar requests from other students.In addition, writing a great letter of recommendation takes some time and thought.Therefore, you need to give your professor ample time to work on your letter.At the very least, you should send the request about a month before the application deadline, and if possible, send it even earlier.Aside from giving the professor enough time to write your letter, this also ensures that you have enough time to ask another professor in case the first one declines your request.In addition to sending your request in time, you should also make sure to include the due date for the recommendation letter.This way, the professor will be aware how much time they have to work on your letter.THINGS TO KEEP IN MIND WHEN REQUESTING A LETTER OF RECOMMENDATION VIA EMAILKeep It ShortLike I just mentioned above, professors are busy people with a lot on their table.They have to prepare lectures and tests, deal with other departmental issues, handle requests from students, and so on.Therefore, unless you want to get ignored, you should keep your email to your professor short and sweet. You should be focused on one key thing â€" getting them to agree your letter of recommendation.Therefore, don’t include any unnecessary information and details in the email.Just get straight to the point. If they agree to write the letter of recommendation and need more information from you, they will ask for it.They might even request for an in-person meeting to review your resume, therefore you can save all the extra details for later.Remind Them Who You AreOne of the biggest mistakes many students make is to send an email to the professor with the assumption that the professor knows who you are.The professor interacts with many students every single day, and unless you communicate with the professor via email on a regular basis, then you should remind the professor who you are.This avoids confusion and ensures that the professor has a good idea who they are writing the recommendation for.Make Your Request Assertive And SpecificYou don’t want to simply ask the professor if they can write you a letter of recommendation for you. Of course, the professor can write a letter of recommendation!Making such a weak request will only result in an ordinary recommendation lett er that might not help your application in any way. Instead, you want to be specific about the kind of recommendation letter you want.Therefore, instead of saying “can you write me a letter of recommendation?” say something like, “would you be willing to write me a strong letter of recommendation that will help me get considered for this position?”Of course, being specific and assertive does not mean that you should be cocky or demanding. That will only get your request ignored.Don’t Assume Your Request Will Be AcceptedWhen writing your email to the professor, never make the mistake of assuming that the professor will automatically agree to your request.The professor is under no obligation to write the letter of recommendation for you.By agreeing to write it, they are just doing you a favor. Therefore, when writing the email to your professor, it should be in the form of a request that gives the professor room to deny the request.The professor will be more likely to grant your request when you ask graciously, compared to when they feel like you are demanding for the letter of recommendation.In case the professor denies your request, I know it might hurt a little. However, don’t read so much into it. Having a professor deny your request does not mean that you are a bad student.The professor might have denied your request because they either feel they don’t know well enough to write a great letter, or perhaps they might not have enough knowledge about the position you are applying for to write an effective letter.Therefore, if a professor denies your request, don’t hold it against them. Simply ask another professor.WRITING THE EMAILWith that out of the way, let’s now go into writing the actual email.Below are the steps to follow when writing an email to request a letter of recommendation from your professor.Use A Professional Subject LineYour professor may have a lot of emails in his or her inbox, therefore you want them to know from the onset what your email is about. You should make this clear in the subject line.If your subject line does not make it clear what they should expect from the email, there is a chance that your email might get ignored.Below is an example of a great subject line:“Request For Letter Of Recommendation”Use A Proper SalutationStart your email with a proper salutation, just the way you would on a formal letter. Unless you are on a first name basis with the professor, address them using their professional title.For instance, let’s assume you are writing the request to Dr. Robert Langdon, who was your molecular biology professor. In this case, you should use the salutation “Dear Dr. Langdon.”If you are on a first name basis with the professor, however, it is okay to address them by their first name in the email, in which case the salutation would be,“Dear Robert.”Introduce Yourself And Refresh The Professor’s MindAfter the salutation, you should start by introducing yourself to the p rofessor and writing a few sentences to help the professor remember who you are. Keep this section brief.One or two sentences will do. A great way to do this is to state your name and mention the classes which of the professor’s classes you have taken.If you have had a one-on-one interaction with the professor, you can also mention it briefly. Below is a great example of how to introduce yourself:“My name is Sienna Brooks. I took your class on molecular biology in my senior year, and you helped me with my project on genome sequencing.”State The Purpose Of Your EmailAfter introducing yourself, you want to quickly move to the purpose of your email. If you keep talking about irrelevant things, the professor might stop reading your email.Make it clear that you are requesting for a letter of recommendation and let them know why you need the letter. Below is an example of how to explain the purpose of the email:“Since we will be breaking for summer at the end of the semester, I’ m applying for an internship position at the Centers for Disease Control and Prevention (CDC), and I was hoping you would be willing to write a strong letter of recommendation for me.”Explain Why You Chose ThemWith the purpose of your email out of the way, use the next paragraph to explain why you chose them specifically to write the letter of recommendation for you.There are several different ways to approach this section.You could talk about your relationship with this professor, what you have learnt from them, and how they have impacted your life.Alternatively, you could tell a little more about yourself, why you are interested in the position for which you are applying, and why you think this particular professor’s recommendation will go a long way in helping you secure the spot.If the professor has a connection with the organization you are applying to, you can mention it here.Remember, keep your reasons professional.However, you are allowed to use some little flattery here . As the saying goes, a little flattery can get you everywhere.Below is an example of how to explain why you chose this particular professor:“Your classes have helped me learn about all the awesome possibilities that can be achieved through molecular biology.After your classes, I became particularly interested in genome sequencing, and I feel that an internship at CDC would really help me become more versed with this interesting topic.Considering that you helped me on my genome sequencing project, I feel that your recommendation would go a long way in helping me secure this position.”Alternatively, you could say:“Honestly, I had not considered a career in pathogen genome sequencing, but after taking your classes and reading some of your works on the subject, I have become greatly interested in the subject, and I feel that interning at CDC will provide me with the basis I need to pursue a career in this field.Considering your extensive contribution to this field, and seeing as you have partnered with CDC in many of your research projects, I feel that a recommendation from you would be really helpful.”When explaining why you chose the professor, always use a genuine reason.The professor might easily spot a made up story, especially if they know you well, and this might hurt your chances of getting a good recommendation from them.Mention What You Hope They Will SayIf you don’t mention what you want your professor to include in your recommendation, then you have no way of ensuring that they actually talk about what you want.Therefore, you should briefly mention a little of what you expect your professor to talk about.If there is some information about you that the professor does not know, yet you want it mentioned in the letter of recommendation, you can also slip it in at this point.However, you have to do this tactfully. Don’t explicitly tell the professor what you want them to say. Instead, you should mention it as a subtle suggestion.Below is an ex ample of how you could do this.“Having worked with you on the genome sequencing project, I believe you have a good idea of how hard I worked on that project and some of the challenges I encountered during the project.I was hoping you could talk about my commitment to delivering high quality work and my ability to deal with challenges, since these are some of the qualities the employer is looking for.”Attach Other Important DocumentsIn case the professor accepts your request, they will need some more information about you. You don’t want them to start emailing you back and forth asking for this information or the other.To make things as easy as possible for the professor, attach other relevant documents in the email, such as your resume, a list of the classes you’ve taken, activities you might have taken part in, any awards you might have won, and so on.Once you attach them, mention it within your email with a statement like:“You will find attached a copy of my resume and a list of some of the activities I have participated in and the awards I have won. In case you need more information or want to meet in person to discuss something, I will be happy to meet and share the information.”Let Them Know How To Submit The RecommendationIn most cases, the professor is required to upload or submit the letter of recommendation by themselves.If this is the case, you should provide your professor with the instructions on how to submit the letter of recommendation as well as the due date so they don’t submit it too late.Below is an example of how to write this part.“The letter of recommendation is supposed to be submitted before the 1st of April, 2019. You can upload it through this link.”Express GratitudeThe final paragraph of your email should thank the professor for their consideration, whether they write the letter or not.Let them know that you appreciate their taking the time to read your email, as well as for the effort that will go into writing the letter.In addition, express your appreciation for everything you have gained from having them as your professor.Below is an example of how to do this:“Thank you in advance for taking the time to read this request and for your consideration. I also want to thank you for everything I have learnt under your instruction. I know the things I have learnt from you will be very helpful in my future career, and I cannot be grateful enough.”Close ProfessionallyRemember that this is a professional email, therefore you should close it professionally.Don’t leave the email hanging. You could close with something like “Best regards, Sienna Brooks.”That’s it. With those few steps, you will have crafted a very professional email requesting for a letter of recommendation from your professor.Once you are done with the final step, your email should look as follows:To: RLangdon@xyz.comFrom: SiennaBrooks@abc.comSubject: Request For Letter Of RecommendationDear Dr. Langdon,  My name is Sienna Brooks. I took your class on molecular biology in my senior year, and you helped me with my project on genome sequencing. Since we will be breaking for summer at the end of the semester, I’m applying for an internship position at the Centers for Disease Control and Prevention (CDC), and I was hoping you would be willing to write a strong letter of recommendation for me. Honestly, I had not considered a career in pathogen genome sequencing, but after taking your classes and reading some of your works on the subject, I have become greatly interested in the subject, and I feel that interning at CDC will provide me with the basis I need to pursue a career in this field. Considering your extensive contribution to this field, and seeing as you have partnered with CDC in many of your research projects, I feel that a recommendation from you would be really helpful.Having worked with you on the genome sequencing project, I believe you have a good idea of how hard I worked on that project a nd some of the challenges I encountered during the project. I was hoping you could talk about my commitment to delivering high quality work and my ability to deal with challenges, since these are some of the qualities the employer is looking for.You will find attached a copy of my resume and a list of some of the activities I have participated in and the awards I have won. In case you need more information or want to meet in person to discuss something, I will be happy to meet and share the information.The letter of recommendation is supposed to be submitted before the 1st of April, 2019. You can upload it through this link.Thank you in advance for taking the time to read this request and for your consideration. I also want to thank you for everything I have learnt under your instruction. I know the things I have learnt from you will be very helpful in my future career, and I cannot be grateful enough.  Best regards, Sienna BrooksWRAPPING UPThe letter of recommendation is a crucial document when you are applying for a job, an internship or a graduate program.If you find it awkward asking for the letter of recommendation in person, or if your professor is comfortable with digital communication, you can request for the recommendation letter via email.When it comes to sending the request via email, remember to keep it short, refresh your professor’s mind, make your request assertive and specific, and let go of the assumption that the professor will automatically accept your request.With that in mind, and if you follow the instructions shared above, you will have no problem requesting for letters of recommendation via email.

Guidelines For Address All Of The Points Below - 1705 Words

You are required to address all of the points below. You may include further comments or discussion that is relevant. You must integrate relevant concepts, models, frameworks, theories and/or technical competencies (use in text references) from secondary research and other business disciplines you have studied e.g. Management, to support your discussion. THE TASK: 1. Include a copy of, or produce, an organisational chart of your organisation, showing your role and briefly discuss where your role fits in the organisation. Drawing on relevant theory, comment on the advantages and disadvantages of the structure of your organisation. Sophie (Director) Ricky (Director) Yourim (Manager) Aaron (Chinese Market Manager) Bridget (Accountant) Haotian (IT Part timeï ¼â€° Zeyu (Office Coordinator) Lena (Manager Assistant) Anthony (Chinese Market Assistant- Part time) Feiyang (Manager Assistant – Part time) Mashal (Marketing coordinator -Part time) Generally, I am the manager who can in charge management, marketing and accounting department. As I look after 8 employees, I have one full time and part time staffs to assist my work. In marketing department, Aaron is theShow MoreRelatedAssignment 21196 Words   |  5 PagesConvergence is when the routing tables of all routers are at a state of consistency. A network is not operable until the network has converged 7 Is RIP considered to be a fast or slow converging protocol? 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The Burden And Blessing Of Mortality - 1327 Words

Mortality has always been a difficult subject to discuss within the public sphere. People, more often than anything else, fear death so greatly that they avoid this topic all together. Perhaps it is the unknown factor about the afterlife (or lack thereof) that so petrifies people, causing them to distract themselves from a serious debate on the effects of mortality to our earth. Hans Jonas writes in The Burden and Blessing of Mortality about the universal advantage of human mortality and the perceived burdens of it as well. Like Jonas, I will argue that mortality is a beneficial concept in the realm of external issues like preserving our earth’s resources, and internal issues like existential meaning and motivation. Diametrical†¦show more content†¦There is one interesting consequence to the potential execution of this idea, and it deals mainly with psychosis. When it’s phrased as â€Å"immortality† people see it as a remarkable idea that would reve rse depression and emotional pain. On the contrary, this is likely to bolster elements like this. If we are constantly, figuratively standing still it is going to lead to far greater mental disabilities and issues than the ones we see today. Jonas believes that the concept of defeating death is wrong from the beginning, and it comes from a palpable confusion of what life is. Living and dying are interwoven together, he thinks. Each is a different side to the same procedure. Life reiterates itself as important, but can only do this since it is contested. The whole nature of value enters into the world through living and dying (Jonas, p. 36). Another point outlines how evolution would be impossible without death. Neither component would progress in any way. The process of death plays an inventive role. It celebrates uniqueness and variety, and the greater type of life’s subjectivity. Jonas asserts that with dying we allow room for future life. Birth exists because dying exists, and the arrival of fresh life has significant value in itself. It permits us to â€Å"see the world for the first time, see things with new eyes, wonder where others are dulled by habit, and start out from where they had

Exploring The Concept And History Of Art Museums Art Essay Free Essays

In today ‘s society graphics has about turned itself into a famous person icon, with art gross revenues estimated to be over 13 billion per twelvemonth and apart from the drugs trade it is the biggest unregulated market in the universe. Museum civilization has hence had to alter over the old ages. Art museums used to be topographic points were people came to see art, whether it be pictures or sculptures. We will write a custom essay sample on Exploring The Concept And History Of Art Museums Art Essay or any similar topic only for you Order Now There are legion museums all over the universe and most major metropoliss will hold a celebrated museum. These museums draw big Numberss of tourers and art partisans to come and see the present and past pieces of art. The architecture of an art museum or gallery, peculiarly a modern art museum is frequently considered to be a work of art every bit much as the contents in the museum. The Guggenheim art museum in Spain is an illustration of an art museum which is famed for its elaborated an unusual architecture. Most art museums specialise in exhibiting a specific type of art, for illustration the Tate Modern in London is an art museum that entirely exhibits modern-day plants of modern art. 2.0 History In the seventeenth century there were no such things as art auctions, rich Godheads or affluent business communities would monetary value each object and invite buyers to come and see the art. This was a slow procedure as it lacked the exhilaration or inducement of today ‘s auctions. Some of these screenings would last for yearss and in the instance of Duchess of Portland lasted 38 yearss. The bulk of these gross revenues were sold for little net incomes. In 1795 Calonne and Trumbull were the first to accomplish high monetary values for there aggregations and towards the center of the nineteenth century an wholly new strain of aggregators were born ; they were for the most portion work forces who had made big lucks in industry in England and other states. They were untrammelled by â€Å" roll uping † traditions, and their investing was about entirely extended to the creative persons of the twenty-four hours. The dispersions of these aggregations began in 1863 with the Bi cknell Gallery, and continued at irregular intervals for many old ages The following large measure in the art universe was in America in the 1970 ‘s. Robert Skull and His married woman Ethel had acquired a big aggregation of inexpensive art, normally paying 1000-2000 lbs each for a Rauschenberg or a Jasper Johns and they besides purchased James Rosenquist ‘s f1 11 for 45k. Fig 1: James Rosenquist ‘s F1 11 ( www.pierretristam.com ) Equally shortly as it was purchased Mr Skull lent it to the metropolitan manager of art in New York. This was a astute move immediately increasing its value of the picture. In the game between museums and aggregators, Mr Skull would shortly keep all the cards. On the 18th October 1973 the Skulls auctioned off 50 pieces from there aggregation. Mr Skull was a really sharp booster, the most written and talked about adult male in art at the clip. The auction was picked by angry creative person whose plants Skull had bought for non really much, including Robert Rauschenberg. The auction was a great success and broke many records in the art universe at that clip. After the Skull auction was over the art universe ‘s accent shifted from aesthetes to money ; everyone would desire a piece of the action. By the mid 1980s high monetary values made proprietors want to sell there aggregations, auction houses were flooded with expensive pieces. This attracted another new strain of purchaser to the biggest unregulated market in the universe, they viewed art strictly as an investing and monetary values went sky high. The cost of such monetary values was that art became admired non by any critical position but for its monetary value, auction houses were the new butcheries of gustatory sensation, directing some art to inflamed celebrity and this kept on traveling. These monetary values made it difficult to separate what was existent art and what was n’t. It had a cultural map so that you could n’t do your ain opinion. The rise in monetary values has affected museum civilization, when the metropolitan museum of art New York bought Aristotle contemplating idea of home run by Rembrandt, all of the rumors and all of the inquiries in the art universe so were inquiring ‘is it traveling to be in the national gallery in London or the national gallery Washington? ‘ . In today ‘s society when anything of import comes on the market they are sent to private galleries who bid the highest to expose these chef-d’oeuvres. Fig 2: Aristotle contemplating idea of home run There is no manner a museum can vie ( www.designlessbetter.com ) in today ‘s market. The art museums of the yesteryear have non given up though. With the aid of mass media, accents on spectacle and the cult of the famous person chef-d’oeuvre museums have managed to pull the public back in. What has been gained in these new Numberss in the gallery has besides been lost with what they used to stand for. Today the Tate is a now trade name name, the Louvre is a trade name name and so is the Guggenheim. With the spread of these big planetary trade names come the creative persons that feature in them. 3.0 Damien Hirst The current richest life creative person in today ‘s society is Damien Hirst. He owes most of his success to a big private aggregator called Charles Saatchi. During the 1990 ‘s Hirst was a outstanding member of the Young British Artists who dominated the art scene in Britain during this clip. After Hirst left college he organized assorted independent exhibitions to which he was introduced to a adult male called Charles Saatchi. Charles Saatchi was a really wealth man of affairs and ran a planetary advertisement bureau with his brother. Mr. Saatchi loved art and helped patronize promising creative persons from the Young British Artists. When Saatchi saw Hirst ‘s major installing ( A Hundred Years ) consisting of a big glass instance incorporating maggots and flies Fig 3: A Hundred Old ages feeding off a decomposition cows caput he was astonished and so ( www.artnet.com ) bought it. Over the following few old ages Hirst and Saatchi became close friends and in 1991, Ch arles Saatchi offered to fund whatever graphics Hirst wanted to do. The consequence was showcased in 1992 in the first Young British Artists exhibition at the Saatchi Gallery in North London which was besides owned by Mr. Saatchi.The Saatchi Gallery was a topographic point of modern-day art, and therefore the gallery ‘s shows, had distinguishable stages, get downing with US minimal art exhibitions, so showcased the adult male of the minute Damien Hirst along with the Young British Artists, Fig 4: The Physical Impossibility of Death in the Mind of Someone Living, It was opened in 1985 by ( www.artchive.com ) Mr Saatchi in order to demo his ample aggregation to the populace. The gallery was a major influence on art in Britain during its clip. It has besides had a history of media contention, which it has courted, and has had extremes of critical reaction. Quite a batch of creative persons shown at the gallery are unknown non merely to the general populace but besides to the commercial art world.The rubric to Hirst ‘s work was The Physical I mpossibility of Death in the Mind of Someone Living, It featured a 14ft shark enclosed in a glass instance and became a symbol British art in the 1990 ‘s therefore being Hirst ‘s first major accomplishment. With the aid of Charles Saatchi Hirst was able to go on bring forthing art cognizing at the dorsum of his head his work was to be centre phase at the Saatchi Gallery. Over the following 12 old ages Damien Hirst became a family name as he produced other big decease related plants of art such as. Fig 5: Away from the Flock Fig 6: Mother and Child Divided Fig 7: Hymn Fig 8: Oops brown painting In April 2003, the Saatchi Gallery opened at new premises in London, with a show that included a Hirst retrospective. This brought an ever-growing strain in his relationship with Saatchi to a caput. Hirst disassociated himself from the retrospective to the extent that he has ne’er put it on his CV. Hirst said Saatchi was â€Å" infantile † and â€Å" I ‘m non Charles Saatchi ‘s barrel-organ monkey†¦ He merely recognises art with his billfold†¦ he believes he can impact art values with purchasing power, and he still believes he can make it. † ( hypertext transfer protocol: //en.wikipedia.org/wiki/Saatchi_Gallery ) Shortly after this the brace had one more show together in the White Cube Gallery, London so went there separate ways. Today Damien Hirst is the universe ‘s richest life creative person ; he still continues to bring forth graphics and has had exhibitions all over the universe. His latest creative activity is called ‘Love of God ‘ . It was exhibited in the White Cube gallery, London and was a human skull recreated in Pt and covered with over eight 1000s diamonds and is estimated to of cost Hirst 15 million Fig 10: Love of God ( www.artnet.com ) pounds to do. The asking monetary value for the piece was 50 million lbs ; although the piece did n’t sell outright it was bought by a pool that included Hirst himself and his gallery the White Cube. In November 2008, Hirst exhibited the diamond skull at the Rijksmuseum in Amsterdam, despite public contention. The skull was exhibited following to pictures from the aggregation of the museum that were selected and curated by Hirst. The museum manager, there was n’t controversy nevertheless to demo the skull in the historic museum among the board members. Throughout Hirst art calling he physically doing all his early work, but from his rise celebrity and to day of the month he has ever used helpers. The sum of work he produces mean he needs a mill apparatus like Andy Warhol used to utilize in the 1970 ‘s when he founded ‘The Factory ‘ . It was an art studio, were he employed art workers to mass green goods prints and postings. This method of bring forthing art has led inquiries about Hirst ‘s genuineness, and in 1997 a picture that Hirst said was a â€Å" counterfeit † appeared at sale, although he had antecedently said that he frequently had nil to make with the creative activity of these pieces. â€Å" Hirst said that he had merely painted five topographic point pictures himself because, â€Å" I could n’t be sleep togethering arsed making it † ; he described his efforts as â€Å" crap † – † They ‘re shit compared to†¦ the best individual who of all time painted musca volitanss for me was Rachel She ‘s superb. Absolutely sleep togethering brilliant. The best topographic point painting you can hold by me is one painted by Rachel. † There is another narrative of a picture helper who was go forthing and asked for one of his pictures. Hirst told her to, â€Å" ‘make one of your ain. ‘ And she said, ‘No, I want one of yours. ‘ But the lone difference, between one painted by her and one of mine, is the money. â€Å" ( Hirst, Damien and Burn, Gordon ( 2001 ) . On the Way to Work. Faber ) With art at head of concern and civilization in today ‘s society Museums have been forced to demo a new face lift image to pull the public back into its doors, while little galleries and auction houses have become the new genteelness evidences for up and coming creative person of tomorrow. The Architecture of these edifices themselves has besides had to alter. The White Cube Gallery in St.James ‘s London, the Guggenheim in New York which was renowned as one of the architectural icons of the twentieth century are both really good illustrations of alteration. 4.0 The White Cube The White Cube branded gallery, known most normally in the universe for its modern-day commercial art, is place to creative persons like Damien Hirst, Tracey Emin and many other internationally celebrated creative persons including members from the Young British Artists which is how it achieved its repute by giving one individual shows. Its most recent gallery opened in 2006 in St.James ‘s Street and was designed by MRJ Rundell A ; Associates. It was the first free standing edifice in the country and he provides 5000 ftA? exhibition infinite. The gallery is a crisp-edged box and stands out from the edifices around it, Harmonizing to the Architects the edifice was designed to esteem the cardinal qualities of discretion and modesty of the St James ‘s country. Fig 11: White Cube Gallery ( www.cosmur.co.uk ) 5.0 The Guggenheim The Guggenheim of New York was the first art museum edifice to be designed to retroflex a piece of art. Designed by Frank Lloyd Wright in the late 1950 ‘s it was a disclosure to the architecture universe. It is a edifice that has become every bit celebrated as the art aggregation it displays. The Guggenheim dances gracefully between Fig 12: Guggenheim New York ( www.gallery.egyptsons.com ) architecture and sculpture. Since the gap of the Guggenheim New York the Guggenheim trade name has opened another three galleries in Venice, Berlin and Bilbao. The gallery in Bilbao was opened in 1997 and was designed by Frank Gehry. It is a dramatic construction with its swirling signifiers and its frontage of Ti, glass, and limestone.The curves on the edifice were designed to look random. Using computing machine plans to assist plan the edifice ‘s construction it made it executable to construct forms that architects off earlier old ages would hold found impossible to build. Fig 13: Guggenheim Bilbao ( www.artknowledgenews.com ) With modern museums and galleries going more similar pieces of art, the following coevals of art galleries in my sentiment will be like fantasy islands pulling people non for the art but for the experience. The Guggenheim is constructing a new Gallery in Abu Dhabi which will be the largest Guggenheim in the universe with a floor infinite of 450,000 ftA? . The Guggenheim Abu Dhabi joins other taking international civilization establishments including the universe celebrated museum trade name the Louvre, in the unprecedented creative activity of a vivacious civilization finish for visitants from around the universe. 6.0 Decision The art universe attractively copies our money driven, famous person obsessed amusement civilization, same arrested development on celebrity, same obeisance to mass media that grabs our attending with its noise and waver. Art should do us experience more clearly, more intelligently, it should give us consistent esthesiss that which otherwise we would non hold had, that is what market civilization is killing. In the 1960 ‘s art was a manner of doing money, started as a drip and turned into a stampede. If art does n’t state us about the universe we live in so I do n’t believe there is much point in holding it. How to cite Exploring The Concept And History Of Art Museums Art Essay, Essay examples

What does Hou Hsiao

One of the foremost features of realist editing in cinema is directors’ utilization of particularly long takes, which are meant to ensure the spatio-temporal unity of the explored themes and motifs.Advertising We will write a custom essay sample on What does Hou Hsiao-Hsien achieve through the use of the long takes in the film? specifically for you for only $16.05 $11/page Learn More Apparently, by choosing in favor of long takes, as the integral element of realist movies’ spatio-temporal structure, directors are able to achieve a number of aesthetic objectives, such as ensuring the plausibility of movies’ semantic content, providing viewers with the in-depth insight into the workings of characters’ psyche, and allowing viewers to gain a better understanding of the explored themes and motifs’ significance. Moreover, according to Bazin, viewers’ exposure to the realistically edited movies, which feature an abundan ce of long takes, helps them to address their innermost psychological anxieties, concerned with viewers’ strive to preserve the spatial three-dimensionality of existence.1 As it was noted by Nitzan, ‘The long deep-focused take, enhancing †¦ three-dimensionality of objects shot in close-up†¦ satisfies spectators’ craving for the mummification of being while positioning them in such a way that they could aesthetically experience the flowing passage of objective time’2 In this paper, I will aim to explore the validity of an earlier suggestion at length, while analyzing what appears to be the significance of utilization of long takes in Hou’s 2001 film Millennium mambo. The foremost aspect of how Hou went about providing the in-depth portrayal of film’s characters is the fact that, in Millennium mambo he refrained from emphasizing these characters’ singled-out psychological traits, while allowing viewers the liberty of interpreti ng them on their own, within the context of how the characters are being shown in the process of tackling life’s challenges. In its turn, this endows Millennium mambo with the spirit of intellectual honesty. After all, unlike what it is being the case with formalist/expressionist directors, in this particular movie Hou had made a point in treating audience’s members as such that are being fully capable of defining the semiotic significance of film’s themes and motifs, without a director needing to actively ‘assist’ them, in this respect. In its turn, this leaves very little doubt as to the fact that the specifics of Hou film’s editing are indeed being consistent with Bazin’s idea as to what accounts for the extent of a particular cinematographic work’s spatio-temporal unity, which according to this French movie-critic is being reflective of the extent of director’s willingness to treat viewers as ‘existential sovere igns’, fully capable of relying on their own sense of rationale, when it comes to defining the essentials of film’s aesthetic/semiotic appeal.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More This, of course, reveals Hou as a devotee of realist editing, concerned with the absence of ‘expressionist tricks’, such as back-in-time flashbacks, the presence of abstractionist close-ups, and the deliberately undermined integrity of film’s temporal spatiality. As Totaro pointed it out, ‘Expressive editing invents meaning through juxtaposition of the images†¦This is trickery; it removes the freedom on the part of the spectator†¦ If the scene has only one simple meaning why insult the audience’s intelligence with needless and obvious close-ups? Contrarily, if the scene is complex why presuppose only one meaning?’3 Nevertheless, even though ther e are no traces of expressionist editing in Millennium mambo, in this film Huo did succeed with revealing the whole scope of characters’ psychological traits – mainly, by the mean of ensuring the spatio-temporal soundness of characters’ ‘in-action’ representation. For example, the beginning of the movie features a rather prolonged take of Vicky walking down the sidewalk (00.02.06 – 00.04.37). Yet, despite the fact that this take is not being formally concerned with director’s intention to provide viewers with the better understanding of Vicky, as a character, by being exposed to the earlier mentioned scene spectators do in fact gain a certain insight into Vicky’s psychological constitution. The reason for this is simple – the manner in which Vicky walks (with the cigarette in her hand) implies her being a rather spontaneous person, who take life as it comes, while trying to enjoy it to the best of her ability. The watchin g of movie’s consequential parts does confirm the soundness of the initial insight into the essence of Vicky’s existential mode, provided by this particular scene. After all, throughout movie’s entirety, Vicky never ceases to position herself as an easy-going individual, who is being quick enough to forgive her boyfriend’s (Hao-Hao) verbal and physical abuses. As it was mentioned earlier, the realist editing, closely associated with directors’ willingness to utilize long takes, often results in endowing realistic movies with the spirit of perceptional authenticity/genuineness. The reason for this is apparent – by representing characters’ act in a spatially prolonged manner, directors encourage viewers to draw parallels between the ‘cinematographic reality’ on the screen and the reality of their every-day living.Advertising We will write a custom essay sample on What does Hou Hsiao-Hsien achieve through the use of the long takes in the film? specifically for you for only $16.05 $11/page Learn More Given the fact that the reality of people’s every-day living often appears rather unsightly, in aesthetical sense of this word, it does not come as a particular surprise that many of realistically edited movies’ long takes represent reality ‘as it is’, even if such reality’s cinematographic representation appears to be detached from movie’s main idea. The scene, in which Vicky and her friends socialize in the bar (00.04.49-00.10.07), illustrates the legitimacy of an earlier suggestion. After all, the main feature of this scene is that the conversations, which take place between the partying individuals, do overlap to the point of being unintelligible to the viewers. This, however, does not lessen scene’s cinematographic appeal because, by being exposed to this particular take, viewers do get the genuine sensation of how they would feel, had they found themselves among the partying young people. Just as it is being the case in Orson Welles’s film Citizen Kane, which contains a number of spatially prolonged scenes, in which characters’ conversations can hardly be heard, due to the loudly played music in the background, the ‘bar scene’ in Millennium mambo cannot be referred to as being particularly appealing, if assessed through the lenses of classical editing-methodology. As Martin suggested, ‘Hou films his dinner-table or restaurant scenes (and bar scenes, we may add) with a kind of maximum suppression of expository, explanatory information, and by the same token a maximum openness to all the instant possibilities of interrelation, of reshuffling of intersubjective identities’.4 Yet, when analyzed within the context of what represents this film’s overall semiotic significance, the spatially prolonged take of Vicky and her friends being shown in the bar appears in dispensible, as it does provide audiences with a comprehensible insight into characters’ positioning in life. Moreover, viewers’ exposure to this particular take does convince them (on unconscious level) that, unlike what it is being often the case with expressionist directors, the ideologically-charged manipulation with the specifics of their psyche’s functioning never accounted for Hou’s subtle agenda.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More In the earlier mentioned take, director had left it for the audience’s members to define their own attitude to what they get to see on the screen – those who are being no strangers to socializing in the bar will be most likely to find the spirit, emanated by this take, appealing. Alternatively, moralistically minded viewers will be most likely to find the ‘bar scene’ as an implicit proof of characters’ moral depravity. However, the earlier outlined different categories of viewers will still find the ‘bar scene’ representationally honest. Apparently, Hou never ceased being aware of the foremost principle of realist editing, which presupposes the full appropriateness of cinematographic representation of reality proper. As it was noted by Wilson, ‘There is no reason why film presentation should not reflect certain aspects of the normal perceptual position. This alternative style would respect the complexity of the purely spatio-tempo ral integration of a field of action while being willing to leave, e.g., the psychological and causal integration of the action less articulated’.5 In Millennium mambo, the ‘actual reality’ appears to be the focal point of director’s attention – in full accordance with Wilson’s suggestion. The soundness of this suggestion can also be illustrated in regards to the film’s scene in which Vicky comes homes, undresses, spends some time in the shower, lights up a cigarette and ends up being annoyed by Hao-Hao’s trying to have sex with her (00.10.54-00.16.25). The whole earlier mentioned plot’s developments take place in a clearly consequential manner, with no montage cutting being applied, whatsoever. Moreover, while shooting this particular take, Hou had made a point in applying the ‘perceptually deep’ shooting-technique, made possible by director’s choosing in favor of using the camera with deep-focus lens es. In its turn, this allowed Hou to provide a clearly defined aura of three-dimensionality to the scene – even though that for duration of this scene, Hao-Hao mostly remains in Vicky’s background (in another room), viewers get to perceive him in a manner as if they happened to be physically present in Vicky’s apartment. This, of course, does add to the extent of take’s authenticity rather immensely. The same can be said about this scene’s sheer duration (6 minutes), which emphasizes the spatial particulars of a continually deteriorating relationship between Vicky and Hao-Hao. After all, as it appears from Millennium mambo, there were no many objective reasons for both characters to decide in favor of breaking up with each other for good (this is why the off-screen narrator tells that it has never taken too long for Vicky and Hao-Hao to reconcile, after having had a particular break-up). Yet, it also appears that the idea of breaking up with each o ther never ceased affecting both characters’ existential modes. The reason for this is simple – just as it is being shown in the earlier mentioned take, both: Vicky and Hao-Hao continued to co-exist in the state of an extreme psychological tension. And, it was namely by exposing viewers to the long take of Vicky and Hao-Hao dealing with their mutual annoyance of each other that the director was able to provide watching audiences with the clue as to where this tension had originated out of, in the first place. There can be little doubt as to the fact that, had Hou resorted to the classical or the expressionist editing-methodology, while striving to reveal the hidden roots of psychological incompatibility between Vicky and Hao-Hao, he would not be able to achieve the same effect. The reason for this is quite apparent – it is only when the essence of a relationship between both characters is being revealed to the viewers in a spatially plausible manner, that they c an grasp what amounted to the objective preconditions for this relationship to begin deteriorating. A good illustration to the legitimacy of an earlier statement can also serve the long-take scene in which Hao-Hao begins to grub in Vicky’s wallet and finds a long-distance calling bill, which in turn causes him to suspect her of having some affair on a side (00.33.15-00.37.38). Even though that, throughout this scene’s entirety, Hao-Hao continues to act as nothing short of a mentally deranged individual, viewers do not find Hao-Hao’s act as being utterly implausible, simply because scene’s spatio-temporal unity does help to accurately portray the subtleties of a process of an individual becoming gradually filled with the irrational anger. The foremost aspect of this process can be defined within what represents the conceptual framework of cause-effect dialectics, when one thing leads to another. After having found a long-distance calling bill in Vicky†™s wallet, Hao-Hao begins to grow ever more suspectful of his girlfriend – yet, there is a whole spectrum of emotions to this process. As it can be seen in this particular scene, Hao-Hao does try to prevent his irrational anger from taking over his rational being. However, at the scene’s conclusion, he fails at that rather miserably, while becoming enraged to the point of being ready to hit Vicky with his fist. The conversation that takes place between the two characters, heard in the scene, is helping to facilitate the extent of scene’s authenticity even further, ‘Hao-Hao: Who were you calling? Vicky: I told you, I called home! Hao-Hao: Who did you call? Vicky: I said, I called home†¦ Hao-Hao: You’d better not be lying†¦Vicky: Crazy! Why would I lie to you? Hao-Hao: I’ll fucking beat you, you know’ (00.35.48). It is needless to mention, of course, that Hou’s utilization of a continuous take (in this scene) was diale ctically predetermined, as it was the main contributing factor to ensuring scene’s spatio-temporal unity – hence, the heightened measure of this scene’s overall semiotic credibility. Nevertheless, it would be quite inappropriate to refer to Hou’s tendency to take advantage of long takes in Millennium mambo as such that is being solely concerned with director’s strive to emphasize the spatial realness of the explored themes and motifs. It appears that, by having an abundance of long takes in this particular movie, Hou also aimed to highlight the metaphysical significance of a theme of existential alienation, which is being integrally interwoven into plot’s very unraveling. There is a memorable scene in the movie, formatted as a single take, when Vicky is being shown sitting in front of the window, with viewers being exposed to the sight of passing trains outside (01.33.36 – 01.35.30). While referring to the significance of this particu lar scene, Hasumi states, ’All that is visible is a constant stream of trains passing back and forth outside the window by which she (Vicky) stands. Nothing tells her where he has gone. All she can grasp for in this foreign city is the absent shadow of his (Jack’s) treasured presence, but it has vanished into the distance’.6 It is understood, of course, that just as it is being the case with the earlier discussed movie’s scenes that feature a clearly defined spatio-temporal integrity, this particular one does help viewers to gain a better insight into Vicky’s state of mind. This, however, is not only the scene’s purpose. Apparently, while focusing camera on hotel’s window, so that viewers would get to see passing-by trains, Hou wanted to emphasize that the very passage of time results in ‘objectualization’ of people’s subjective desires and anxieties. Hence, tragic undertones to this particular scene – the p assage of time remains irrespective of how people position themselves within the reality’s spatial framework. Therefore, it will only be logical to assume that there is also a symbolical quality to how Hou went about incorporating long takes in Millennium mambo. The validity of this suggestion can be illustrated in regards to the movie’s final scene, which features a prolonged take of Yubari’s snowy street (01.38.36 – 01.39.42). Even though that there is no cinematographic action can be seen in this particular scene, it does convey the idea that the very subtleties of time’s passing naturally predispose people to continually revise their emotionally-charged attitudes towards the surrounding reality. In its turn, this idea correlates with the spirit of spontaneity, emanated by Hou’s film. The fact that Hou’s movie Millennium mambo appears to be extremely realistic may very well have to do with the particulars of director’s ethno -cultural affiliation. After all, Confucian (Apollonian) tradition does encourage its affiliates to reflect upon reality’s ‘vanishing’ emanations, as opposed to be contemplating upon how these emanations reveal the essence of some fixed ‘metaphysical’ reality, as it is being the case with Christian (Faustian) tradition, for example. Nevertheless, it would be much more appropriate to discus Hou’s cinematographic realism as such that is being reflective of his endowment of intellectual honesty and of his innate dislike of artificially sophisticate pretentiousness (the foremost feature of avant-gardist/formalist movies). In Millennium mambo, Hou positioned himself as an individual who firmly believes that, regardless of what accounts for the ethical undertones of objective reality’s manifestations, these manifestations represent the aesthetic value of ‘thing in itself’. Such Hou’s cinematographic positioning, of course, is being fully consistent with Bazin’s belief that the actual purpose of a cinematographic art is to help people to realize the full extent of reality’s aesthetic beauty ‘as it is’, without depriving this reality of its spatio-temporal unity, ‘A film form†¦ permits everything to be said without chopping the world up into little fragments that would reveal the hidden meanings in people and things†¦ without disturbing the unity natural to them’.7 Thus, it would only be logical, on my part, to conclude this paper by reinstating once again that it is namely the fact that in Millennium mambo, Hou succeeded rather marvelously in ensuring a spatial integrity of the explored themes and motifs, which accounts for this movie’s foremost aesthetic value. I believe that this conclusion is being fully consistent with paper’s initial thesis. Moreover, I believe that is namely the realist methodology of film editing, which will be inc reasingly resorted to by movie-directors in the future. The fact that, as of today, the genre of ‘auteur film’ (associated with directors’ utilization of the expressionist editing-methodology) continues to fall out of favor with the majority of moviegoers, leaves very little doubt as to the full validity of this suggestion. Reference List Adrian, M, ‘What’s happening? Story, scene and sound in Hou Hsiao-Hsien’,  Inter-Asia Cultural Studies, vol. 9, no. 2, 2008, pp. 258-270. Bazin, A, ‘The evolution of the language of cinema’, in What is cinema?, University of California Press, Berkley,1967, pp. 23-40. Hasumi, S, ‘The eloquence of the taciturn: An essay on Hou Hsiao-Hsien’, Inter –  Asia Cultural Studies, vol. 9, no. 2, 2008, pp. 184-194.  Millenium mambo, [film], Palm Pictures, New York/Taipei, 2001. Nitzan, B, Film: The key concepts, Berg Publishers, Oxford GBR, 2007. Totaro, D, ‘Andrà © Bazin: Pa rt 1, Film style theory in its historical context’, Off  Screen, 2003, retrieved https://offscreen.com/view/bazin4 Wilson, G, ‘Film, perception, and point of view’, MLN, vol. 91, no. 5, 1976, pp. 1026-1043. Footnotes 1 A Bazin ‘The evolution of the language of cinema’, in What is cinema?, University of California Press, Berkley,1968, p. 36. 2 B Nitzan, Film: The key concepts, Berg Publishers, Oxford GBR, 2007, p. 13. 3 D Totaro, ‘Andrà © Bazin: Part 1, Film style theory in its historical context’, Off Screen, 2003. 4 M Adrian, ‘What’s happening? Story, scene and sound in Hou Hsiao-Hsien’, Inter-Asia Cultural Studies, vol. 9, no. 2, 2008, p. 263. 5 G Wilson, ‘Film, perception, and point of view’, MLN, vol. 91, no. 5, 1976, p. 1031. 6S, Hasumi, ‘The eloquence of the taciturn: An essay on Hou Hsiao-Hsien’, Inter-Asia Cultural Studies, vol. 9, no. 2, 2008, p. 192. 7 Bazin, p. 38. 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