Living as non

Introduction Living as a non- English speaking artist in an English speaking country is a fascinating challenge and an advantage to a nation since aliens in a country are play pivotal role in promoting cultural activities as well as innovation. Empirical and past comparative studies indicate that in the history of civilization and human culture, aliens in any given country have always been known as one major source of social vibrancy since they share local traditions with the local people alongside passing their own cultural values to the local population.Advertising We will write a custom research paper sample on Living as non-speaking English artist in English speaking country specifically for you for only $16.05 $11/page Learn More In cases such aliens are quite intimate with the local population. Then it is indefinite that a lot of unprecedented cultural exchange will indeed take place leading to a positive outcome. Brandellero indicates that due to the uniqueness of strangers or immigrants, local milieus dealing with production have developed keen interest of attracting and retaining them for purposes of enhancing growth and sustaining their economies (10). As this paper analyses, artists are important personalities in any cultural economy bearing in mind that they act as forerunners in harnessing and generating capabilities through their own artistic works. By so doing, they directly contribute towards economic growth of the respective countries they are living in. It is also against this scope that this paper explores non-English speaking artists living in English speaking countries, their impact on the economy and some of the challenges facing them. Understanding cultural and ethnic diversity In her publication, Brandellero argues that cultural diversity and its link to the status of an outsider is a factor that creates tension, but has a positive effect towards innovative potential (11). While cultural diversity has myriad of similarities to ethnic diversity, it is prudent to mention that the former is a key driver and a potential source of innovation, creativity and building positive relationships. The latter are essential in enhancing mutual competitiveness. In their cultural theory, Schwartz and Thompson elaborate that a new entrant into a foreign country may act as an intersection between the local community and outside world largely due to multiple ethnic and spatial ties. To emphasize on this, it is worth noting that contemporary immigrants, English or non-English speakers, are contributing immensely in strengthening of advanced urban economies by enhancing competitive advantages. Effective understanding of cultural and ethnic differences have become some of the most fundamental requirements which businesses and immigrant artists need today since it assists them in building relationships by fostering understanding of the cultural values of members of different cultures alongside interpreting of their behaviors and actions. The efficient performance of a non-English speaking artist as well as his or her participation in the growth of the economy of a host English speaking nation is to a larger extent, influenced by cultural differences experienced through complex interaction between the environment and individuals. Brandellero makes a significant contribution related to this argument by pointing out that an understanding of cultural diversity and ethnicity easily affect the degree of satisfaction, motivation results and behavior of individuals (35).Advertising Looking for research paper on social sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More His argument concurs with Hofstede’s model and networking theory that demonstrate how cultural differences impact on the dimensions of an organization in terms of networking, gaining social capital, relationship marketing and development of human resource (Brandellero 54). Add itionally, the differences also directly impact on intra organizational communication, problem solving capabilities and creativity levels. An artist who is living in the contemporary cultural economy has a greater advantage since the modern global economy has emerged as a thriving market offering colossal employment opportunities in many cities and countries globally. Brandellero posits that the cultural economy offer potential support for artists of all nation whether English speaking or non- English speaking, and massive opportunities to generate artistic capabilities for productive purposes (20). This is made possible by the spatial manifestations created by the cultural economy which play a pivotal role of attracting substantial and significant attention which is an important playing field in the revolution of culture in a new economy. Living as a non-English speaking artist Living as a non-English artist in another country as opposed to one’s own native land is a major c hallenge brought about by the diverse changes that are mainly structural, of global proportion and that continuously alter and impact on experiences. Research studies clearly indicate that living and working in a foreign country may affect a worker’s private realms and social life due to issues such as industrial capitalism and rational forms. Scholars on modern sociology point out that a lot of transformations involving cultural, political, economic and social processes happen differently in diverse nations and result in the emergence, development and flourishing of new structures of social life that may affect an immigrant worker. Brandellero argues that non-English speakers migrating to other English speaking nations in order to work ought to understand the culture of the country they are going to live in bearing in mind that this will shape how they relate with the locals and enhance their business performance (14). Needless to say, cultural understanding in a foreign lan d is of great essence if an artist is to reap the optimum benefits out of his or he artistic work. It is also prudent to underscore the fact that should cultural differences between artists and locals clash at any given point, then the expected benefits either to the artist or host country will be null and void.Advertising We will write a custom research paper sample on Living as non-speaking English artist in English speaking country specifically for you for only $16.05 $11/page Learn More Importance of effective understanding of cultural differences by non-English speaking artists National culture is a phenomenon that distinguishes one group from another. Therefore, different nations have unique cultures that affect or largely determine how they run their affairs. A country may express its culture through conceptual elements such as arts, rituals or beliefs. For non-English speaking artists living in English speaking countries, it is definite that the y indeed encounter myriad of challenges brought about by national culture. Besides, when employed, they serve, co-work and interact with workers and customers from different cultural backgrounds who manifest various gender, ethnic, regional and national beliefs. This calls for an effective understanding of the local or national culture of a host nation and development of coping strategies in order to be productive. Most importantly, the barrier posed by language differences may not be eluded in most cases since an artist may not be a multilingual speaker. According to Brandellero, for individuals or companies to perform successful business ventures in countries different from their own, they must have an effective understanding of different cultures (12). Besides, they must apply knowledge in management as tactics which are important for success. It is imperative to mention that non-English speaking artists have to be flexible and keep changing their strategies to meet the needs and challenges a new cultural environment presents. Those intending to innovate or invest in the cultural economy must incorporate knowledge in management with the strategies they have devised. With globalization taking rapidly taking effect, these artists must come up with ways to overcome organizational and national cultures and the diverse challenges posed by the same. Using Hofstede’s model, it is important to note that special cultures of diverse nations are based on different independent dimensions that include short term or long term orientation, uncertainty avoidance, masculinity or femininity, individualism or collectivism and power distance (Brandellero 62). Understanding of the different independent dimensions will greatly assist a non-English speaking artist to predict how societies or nations that host them culturally operate. It is imperative to note that the culture of a given society is the sum of its assumptions, beliefs and values. The man-made part of the cult ure of a society is influenced by the perceptions individuals have of their social environment. As such, a prescribed behavior of a particular society is shaped by those shared perceptions (Brandellero 43). An artist may not be able to directly observe culture, but can easily infer it from verbal exchanges and daily societal activities.Advertising Looking for research paper on social sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More Knowledge of different cultures enhances networking According to Pettigrew Whipp’s model of dimensions of change, effective understanding of different cultures assists business owner to develop their social networking behaviors (Brandellero 18). This argument clearly indicates that a non-English speaking artist who intends to succeed in his or her operations in an English speaking host country must possess or develop positive patterns of behavior necessary for social networking. Indeed, many businesses today are operated with an intention of growth and maximization of profits. Positive networking behaviors should be enhanced by the non-English speaking artists as will not only aid them to effectively understand the cultures of the environment they are situated and build good relationship, but will also assist them to acquire scarce resources for business growth. The effective understanding of factors such as masculinity and femininity cultures in a host country will enhance a positive networking behavior that will improve an artist’s relationship with the different cultures and aid it in obtaining external resources necessary to drive up arts business (Brandellero 19). Brandellero supports the above notion and points out that effective understanding of different ethnic cultures of a host nation is a means of success for business owners who have developed networking skills (35). In fact, it is a common denominator underlying a business agenda and is suitable for establishing a higher networking behavior. Mourkogiannis contributes to Brandellero’s argument by indicating in his moral purpose model that entrepreneurs, and in this case non-English speaking artists, should effectively and efficiently include social spheres in expanding their networks with a bid to develop a competitive advantage in a host nation (Brandellero 20). An artist can achieve this by raising his or her social status via vertical social mobility and learning the local la nguage. Additionally, studies have indicated that effective understanding of different cultures by a business creates for it a dyadic and interconnected relationship that has diverse ties such as influence, exchange and information. It is imperative to note that the aforementioned ties are part of a business’ assets that legitimizes the business, enables it to access resources and provides it with information. In agreement, different scholars have used interactive perspective to link cultural and economic resources to economic opportunity structure in analyzing the effectiveness of businesses understanding diverse cultures. According to them different ethnic groups, depending on the structure of economic opportunities, brings income to a business. From an interactive perspective, Brandellero points out that effective understanding of cultures helps in distribution of resources through built relationships (42). Different societies vary in terms of status, power and class. As s uch a non-English speaking artist in an English speaking host country will be supplied with capital from ethnic networks depending on social relationships and ties built on social obligation and trust. It is imperative to note that customer relationship and ties with a business depend on a cultural enclave the business is in. Knowledge of culture and relationship marketing According to neoclassical microeconomic theory, relationship marketing is an important marketing activity that businesses having their operations in different countries carry out for successful establishment and sustenance of relational exchanges (Brandellero 32). An artist in a foreign nation can create a long-term relationship between his business and individuals or groups within a particular host culture in a relational market. Neoclassical microeconomic theory presents a transactional school of thought that indicates that effective understanding of different cultures by a business will assists it in developing relational exchanges with the locals. Consequently, this will aid it in the maximization of profits if it is found in a competitive market. Additionally, an artist living in an English speaking host country can develop exchanges with the locals and demonstrate rational behavior that shows a deep understanding of diverse cultures. Consequently, this will cause an artist to fashion his or her products to meet the cultural demands of the host country thereby making the artist to become a utility maximizer and a price taker. Statistical literature revealing imbalance in art and theater Past statistical research evidences have indicated that receive neglect in some countries. For instance, a report carried out in the nineties indicated that the Australian media failed to show a reflection of the diversity of the Australian people. Advertisement pictures and other programs conspicuously made exclusions to cultures that are not English speaking while portrayals in comedy only showed stere otypical images of the non-English speaking people. Current statistics on non-English speaking representation in the media have shown estimations that slightly less than two percent of roles in the acting industry, especially in regards to mainstream drama in television, were directly played by other ethnic communities of Australia and the aboriginals (Bertone, Keating Mullaly 30), an indication that the level of participation of first generation Australians of the non-English speaking cultures is extremely low. This indicates that there is only a small amount of cultural recognition of the non-English speaking Australians in the acting industry. Such low levels of recognition show that either the acting industry is ignorant of the non-English speaking Australians or simply their willingness in participation is relatively low. Further reports indicated that in any given drama shown on the mainstream Australian televisions, out of the two percent non-English speaking actors, thirty five percent were Australians while the rest were a collection of all other cultures that are not English speaking. Such figures have been continually used in debates regarding the participation of such low numbers. Authors have argued that such figures represent a â€Å"pitifully† low when put into comparison with the more than one third of the Australian origin. More arguments have indicated that portrayal of numbers in the media industry is a very vital indicator of commitment and participation in arts. In cultural societies with many cultures, it is obvious that there are also talented individuals in all cultures. They are thus expected to perform specific duties as their talents dictate. In examination of the Australian culture, such low numbers of representation of other cultures in the theatre industry raise serious concerns about consideration of other cultures in Australian theatre. Being a non-English speaking artist in such a country stands a limited chance of pene tration in the theatre industry given the low figures shown in previous reports. Other measuring dimensions Bertone, Keating Mullaly (30) argue that it is not impossible to take measurements in regards to non-English speaking cultures, especially the first and the second generations, participation in the arts industry. They posit that ABS conducts census with details of birth place, employment and occupation. But there is omission of such cultures such as the Aborigines. With this consideration, they continue to argue that a report published in the mid nineties, indicated that there were only ninety five actors of the first generation out of the total 1506. This represented a mere six percent of the total actors in the acting industry, indicating a slight percentage of first generation participation of non-English speakers. These figures, they argue, represent only small fraction of numbers of what would be expected in the theatre industry. The second generation, with one Australia n parent composed of eleven percent. The English speaking of Australian origin comprised of more than sixty four percent of the total actors in theatre while those from English speaking countries comprised of the remaining eight percent. This still shows that consideration of non-English speaking people in Australian theatre industry was still low as reflected in numbers. The use of numbers has been greatly disputed as a general concept of determination of participation of non-English speaking people in the Australian theatre and thus new modes have been developed. Consideration of demographics and economic realities of those involved in the theatre industry has been adopted as a new approach to determination of participation. By consideration of demographics, another report published showed great diversities in regional representations. The report published by ASB showed that participation of people from outside Australia comprised of only thirteen percent of the total workforce. O ut of these, approximately six percent are from Europe and the USSR. Approximately five percent are from South East, North East and Southern Asia regions. The Oceania region is represented by only a fraction slightly less than one percent. Africa closes as the last in representation with only zero point five percent in the theatre industry. This is a clear indication that regions of origin play a role in determination of participation in the theatre industry (Bertone, Keating Mullaly 38). Implications Such statistical evidences provided above have not been directly explained. The cause of the presence of such statistical evidence is yet to be determined. But with surety, there seemed no suggestion or presence of literature that lack of interest in the non-English speaking population was the major cause of such low numbers in theatre participation. There is an attributed presence of attitudes and barriers resulting from the involved institutes. According to new evidences acquired by the ESB, there is a strong consideration of the view that opportunities available for non-English speaking Australians of the first generation were relative few compared to English speaking ones. This view, coupled with the previous fact of causal indicates that the non-English speaking people are marginalized in the Australian theatre. Given that they have not failed to show interest in theatre and acting, explanation of such numbers raise serious concerns. Determination of real cause of presence in theatre industry is yet to be achieved. Such under-representations may be considered invisible within public domain. Since research has revealed that there is a problem with cultural representations, alternation of the situation has failed to commence. Consequently, there has been automatic misrepresentation as multicultural societies are concerned. This misrepresentation is sending a wrong signal of exclusion to the world with an indication of non-belongingness in the mainstream theat re industry. This thus implies that non- English speaking people are considered stereotypes and thus considered suitable for low and more casual positions such as â€Å"Taxi driver, cook and Greengrocer† (Bertone, Keating Mullaly 76). Problem of funding It has also been noted that non-English speaking people undergo problems of funding in areas they participate, especially in regards to art. Bertone, Keating and Mullaly (78) continue to posit that the Non-English speaking in Australia especially the first generation seem to dominate in areas which are less funded in theatre than areas with well funded programs. These areas include youth theatre groups, ethno-specific companies and theatres that are considered to be communal (Bertone, Keating Mullaly 76). As a matter of fact, funding would be much appreciated especially in line with acquiring necessary knowledge needed either to fund their investments or acquire higher levels of education to support their works of art. These areas are not fully commercial and their contents are not of great influence in the media as mainstream contents are. As a result, they do not receive much attention from across English speaking Australians and are thus considered less competitive; hence the presence of a majority of non-English speaking groups. Due to this kind of attraction, there seems to be shunning from mainstream in regard to ethno-specific groups in Australia. As such, no commercial attachment is given. On the proportionality of funding, there seems to be a disproportional approach to the situation. As revealed from interviews, literature and available evidence from statistics, there is great bias in theatre and art funding from sponsoring bodies. Although there are steps that have been taken to contain the situation, the disparities have not been eliminated. With the creation of funding workshops and organization of church bodies to sponsor art in Australia, equal funding has not yet been achieved. The nati onal State government has also shown concern to lack of funding in multicultural art. As a result, it has shown great devotion by commitment through a creation of a funding program aimed at funding multicultural art in Australia (Bertone, Keating Mullaly 58). Despite these efforts, mainstream related theatrical organizations continue to dominate attraction of funding from willing bodies (Bertone, Keating Mullaly 62). This has been associated with related profits and achieved from productions related to mainstream. Sponsors have thus put more in mainstream with a view to regain or sell their image to the public. Project related events have increasingly dominated the mainstream art industry due to organizational perspective. Barriers to multicultural art In most countries with multicultural practices, there is always the problem of balance. In Australia, there seems to be a problem as regards this balance of English speaking and non-English speaking due to several barriers. To begin with, the domination of English cultures and traditions continue to alienate content related to non-English speaking cultures. Secondly, there is an observed lack of willingness as far as theatrical art is concerned. Attribution of class boundaries have locked out interest of multicultural participation in art. For instance, non-English speaking people are considered working class and thus thought as unsuitable for creation of artistic content suitable for mainstream art industry in Australia (Bertone, Keating Mullaly 35). Thirdly, there are discrimination related implications in auditioning processes whereby individuals are given content in a complex language. During funding applications, there is a problem with the application process whereby there is need for clarification of nationality and whether one is English speaking or not. These are aimed at eliminating non-English speakers from English speakers as theatre and art are concerned. Other problems such as market size and un observable risk taking in the industry for non-English speaking additionally added to the problem of limited numbers of non-English speakers in art and theatre. Conservatism has also been identified as one of the leading problems due to the fact that theatre audiences have been thought to be conservative and thus unlikely to accept new content, different from original English. Philosophical perspectives There have been diverse views in regards to the multicultural imbalance in art as depicted in Australia. Many philosophers have argued under the perspectives of social just, indicating humanistic approach to the situation. They claim that recognition of different cultures is imperative in a multicultural society. This creates a society that embraces diversity and respect for all human beings. They have however noted that, success in this regard needs careful planning and production of competent content (Bertone, Keating Mullaly 50). From the dimension of laizze fair, arguments such as industrial self-regulation of art and theatre industry should prevail without integration or intervention of external bodies. In either case, there has been proposition of recognition of multicultural practices in a society that has minority cultures that accept majority culture content. Conclusion It is evident from the discussion that there is marginalization of non-English speakers as artists in English speaking nations, for example, as apparent in Australia. Of great concern are those who do not understand English language for purposes of understanding the local culture. Although the claims have been arrived at from statistical approach, demographical and economic approaches have also shown correlation to supportive evidences. The obvious disparities have been attributed to several problems faced in art and theatre industry such as problems of funding, lack of will, discrimination and conservatism. Light from philosophical perspectives have raised attention to the situation. As argued from a social justice dimension, recognition of multicultural environment is important in fostering national unity and achievement of human respect. In most cases, the challenge posed by traditional and cultural balance has been noted as a growing challenge that needs t o be addressed for the sake of assisting artists who may be disadvantage by language barrier. As already mentioned, artists who are non-English speakers may be alienated by the dominant English cultures and works of art that may be dominant compare to those of non-English speakers. Although both art contents may be relatively similar, it is definite that non-English speakers who practice various works of art may be largely disadvantaged in one way or another. In terms of theatrical art, there seems to be lack of cultural willingness seems to be dominant in most English speaking nations bearing in mind that cultural differences may pose real challenge to non-English speakers. On a final note, it is prudent t o mention that societies differ a lot in terms of class, power and class. While these variations may be welcome in terms of diversity in generating resources both for native and non-English speakers, it is prudent to mention that ethnic differences may adversely play a negative role in alienating non-English speakers. Various factors play unique roles but of great importance are the role played by language in promoting cultural harmony. From the philosophical point of view, industrial self regulation of both art and theatre industry ought to take place with proper regulation of the industry by relevant bodies. There are doubts that regulation of artistic works may no be balanced or uniform across the board. As a matter of fact, those who may suffer in this situation are the aliens who are non-English speakers. It is indeed necessary to recognize multicultural practices among different artists from various backgrounds. Works Cited Bertone, Santina, Keating, Clare Mullaly, Jenny. The Taxi driver, the Cook and the Greengrocer: The representation of non-English speaking background people in theatre, film and television. Melbourne: The Australia Council, 2006. Print. Brandellero, Amanda. Crossing cultural borders? Migrants and ethnic diversity in the cultural industries. London: European Cultural Foundations, 2007. Print. This research paper on Living as non-speaking English artist in English speaking country was written and submitted by user Vivid H0rse to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

French Expressions Using the Word Quelque

French Expressions Using the Word Quelque The French word quelque literally means some and is also used in many idiomatic expressions. Learn how to say in a little while, somewhat, in a word, and more with this list of expressions with quelque. Some Jai quelques idà ©esI have some ideas.Jai quelque envie...I have some desire, I kind of want... About il y a quelque 10 ansabout 10 years agoquelque 5 000 voituresabout 5,000 cars Other Expressions quelque chose (pronoun)somethingquelquefois (adverb)sometimesquelque part (adverb)somewherequelquun (pronoun)someonequelques-uns, quelques-unes (pronoun)some, a few quelque distancesome distance fromen quelque sorteas it were, so to speak, in a word, in a wayet quelquesand change, a little more thanCà ©tait 5 euros et quelquesIt was 5 euros and change.quelque autre noun, quelques autres plural nounsome otherY a-t-il quelque autre restaurant  ?Is there some other restaurant?Jai quelques autres idà ©esI have some other ideasquelque chose de adjsomethingquelque chose dintà ©ressantsomething interestingquelque peusomewhat, rather, a bitquelque... quewhatever, whichever quelque prix que...At whatever price that...quelque tempssome timeattendre quelque tempsto wait a little whiledans quelque tempsbefore longdepuis quelque tempsfor a while

Is commercial surveilliance in the UK effectively monitored and Essay

Is commercial surveilliance in the UK effectively monitored and regulated by the Security Industry Authority - Essay Example he local private security industry including a long list of approving licences to companies such as security guards, vehicle immobilisers, the key holders, private investigators and the security consultants including the licensing of manned guarding which includes cash and valuables in transit, close protection, door supervision, public space Close Circuit Television (CCTV) systems, and security guard. (Security Industry Authority, 2007) According to Sir Digby Jones, the Director-General of the CBI, the â€Å"Security Industry Authority will bring us a better regulated and professional private security services throughout the country as it welcomes the introduction of a new standards in the security industry†. (SIA and CBI, 2005: 2) Based on a recent survey on 500 British companies in 2005, almost 25% never spend money on security devices and 49% did not bother to come up with a contingency plan in case of serious crimes or other related activities that may harm the normal functioning of the business. (Culver, 2005) CCTV Operators came into effect all over England and Wales. (SIA, 2007b) With the new Security Industry Authority vision1, it is possible to reduce the incidence of crime, promote peace and disorder, as well as eliminate the fear caused by criminal acts throughout the United Kingdom. For the purpose of the study, the researcher has stated the research proposal as â€Å"to determine whether the commercial surveillance in UK, particularly the licensing of the heavily promoted of CCTV installations, is really effectively being monitored and strictly regulated by the Security Industry Authority or not† by conducting an intensive up-to-date literature review. Based on the research proposal, the researcher will define a list of specific research questions that are directly or indirectly related to the research proposal. Aside from the literature review, the researcher aims to conduct a separate research proposal by using related survey questionnaires. These

Social Value in Business Essay Example | Topics and Well Written Essays - 500 words

Social Value in Business - Essay Example This paper outlines that the inferior methods and materials used for such huge promotion of goods turned the earth to a miserable planet, whereby leading the corporate sector to a disastrous future of unsettlement of business and accumulating loss of venture capital. In such a scenario, the concept of Social Value has to take the rein of the ethical chariot of global business. From this paper it is clear that companies now promote their classic style of involvement in socially oriented activities for their sustainability. Business giants across the globe now have identified that the core purpose of their work is not yet limited to making profit but also marginally focusing on the development of the human community. The new logical approach to business has paved the way for the introduction of many new schools of business thought; most basically, the two principles like corporate social responsibility (CSR) and creating social value (CSV) have been framed for the better approach of corporate entrepreneurs towards the society. While the CSR is a mandatory part of large organization under the guidelines of the government; Social Value creation is their intellectual investment in the long term profitability and sustainable growth of business. Under this new ethical mechanism, corporate structures have identified that creative approach to the promotion of a hea lthy social environment rewards them in the long-run with more popularity of the products and extended faith of stakeholders in every organization. Large companies like Coca-Cola and Dove Chemicals have already cut down their annual water consumption. Motor vehicle giants are on the run for fuel efficiency and lower levels of carbon emission. Johnson and Johnson has promoted improved healthcare policies and healthy time shift allocation to its employees for the assurance of a better and delivering workforce by minimizing the cost of hospital bills and post treatment.

Medival Armor Research Paper Example | Topics and Well Written Essays - 1250 words

Medival Armor - Research Paper Example The term â€Å"medieval† refers to the time from the 11th century AD until the end of the 15th century, known as the â€Å"Middle Ages,† as it is the â€Å"middle† period in time, separating the antiquity from modernity. This paper will investigate the different types of armor used in warfare during the Middle Ages, from small pieces of low-strength armor to the fully-enclosed suits of armor worn by the wealthiest of soldiers. In order to understand the types of armor used during the Middle Ages and the purpose behind each, it is necessary to understand some of the background behind the Middle Ages. Characterized by economic dislocation, plague, war, social upheaval and increased violence, the Middle Ages are sometimes referred to as the Dark Ages (McKay, Hill, Buckler 379). The middle ages began after the fall of the classical Roman Empire, and with that fall, the political organization of Europe was relinquished in favor of a much more fragmented style of gover nance – feudalism (Weapon 56). This system was based upon the division of the peoples into smaller land factions under the leadership of a noble. The noble would provide his subjects with a parcel of land in exchange for military service or protection. The people were responsible for providing their own arms and armor, and could be called upon to serve at any point in time. Domestic work, such as farming and household duties were left to the woman of the home (Stephenson 2). During the time period, war was often fought for religious causes and attacks from mounted nomad tribes (Weapon 56). After the invention of the riding stirrup in the 8th century, soldiers no longer arrived at the battle on horse and fought on foot, but rather they fought on horseback, since the stirrup provided much better stability when using a spear or sword (Weapon 57). Large battles known as â€Å"pitched battles† were fought usually in open spaces, between enormous masses of infantry and caval ry. The opposing infantries attempted to break the ranks of their enemy, and once this feat was accomplished, the mounted cavalry would enter the battle, slaying as many infantrymen as possible, while further disrupting the enemy ranks (â€Å"Medieval Warfare†). In addition to pitched battles, forces often utilized siege warfare to breach the fortifications of the enemy. In order to understand the armor used during the middle ages, it is necessary to understand what types of weapons were used against the armor. There were three main categories of weapons used: bladed weapons, staff weapons, and the bow and its variations. The weapon of choice for most soldiers was the sword – a heavy cutting weapon used to hack through anything in its path (Weapon 62). In addition to the typical long and flat sword, there were sharply-pointed thrusting swords with blades that became progressively longer as armor developed accordingly (Weapon 62). The next major weapon of choice was the staff weapon – basically, a combination of either the spear or lance with an axe, hammer or mace. The result of this combination was a weapon that could be used like a lance during a charge or like an axe during close hand to hand combat (DeVries 29). In addition to bladed and staff weapons, bows and its variations were fairly common during combat. Longbows were capable of firing an arrow up to 360 yards (Weapon 78). Even more capable than the longbow was the crossbow, a weapon with a horizontal bow attached to a stock. The bow was held in place with a latch, and would fire at the pull of a trigger, at

Fashion industry

Fashion industry INTRODUCTION The fashion industry today is a very complex network. We have the marketing research people, who research the needs of the consumers, then we have the designers who design the garments, we also have the manufacturers who produce the garments and we have the distributors and retailers who sell the products to the consumers. The end consumer behavior is always changing and it getting very hard to determine what the consumer wants. To be able to deliver the right product, at right place, right quantity, and right quality to the right customers is becoming more and more challenging. Eventually all the finished products have to reach the ultimate consumers and here the role and responsibility of the retailers has become more vital [1]. Retailing is the process of buying and selling goods to the ultimate consumers. Over the last couple of decades the retailing has undergone drastic changes. Especially in the 1980s the departmental stores faced difficulties with the merger mania. During thi s period we have seen the emergence of different kinds of retailers such as discounters, chain organizations and hypermarkets. With the changes of trends and the shopping experience of the consumers, the trends in retailing have been changes after all the retail business is itself built on change [2]. Today the retailing process has moved from the traditional ways to more and more modern ways. The present retailers can be classified into the following ways: Retail branch companies Voluntary multiple chains Integrated wholesalers Franchise Department stores Mail orders/Internet Outlets Independent shops Boutiques / Concept stores. Each of the above listed retailers has their own uniqueness. In particular the boutique concept has got a very long history. Boutique is a term originated from French which means little shop[1]. It all started with the Paris couture houses which allowed the customers to buy perfumes and accessories. The Boutique has emerged on the United States, United Kingdom, Italy, Germany etc. with different themes. Over the time the boutique concept has moved to a highly individualized and specialized merchandise intended to a well defined and a narrow range of customers. In the late 1990s some of the European retailers expanded the boutique concept to a life style theme. These boutiques were termed as ‘concept stores and were specialized in cross-selling of different products under one roof without the use of separate departments [3]. These concept stores featured products ranging from very high prices to moderate prices dealing in only designer clothes and/or hand crafted fashions and/or trendy accessories and/or antique clothing [1]. The concept stores mostly carry products of different mix of brands and products [4]. These stores are facilitating partnerships to enable the concept, thereby securing in terms of total buying. Intention is to approach edges with the aim of creating â€Å"concept stores†. Concept stores idea would rather be the operation related to elite and highly specialized class. Below is the image of the Kisan concept store in the New York City [5]. But now a day this concept has been applied to the normally mass market highly expensive items which are intentionally made at small number to keep the uniqueness of the product. Today the concept stores run with a specific consumer in mind and having the different brands product in it which could be apparel ranges, books collections, jewelry, fragrances, furniture etc. The concept is exclusively (but not primarily) while it urges to the relationship between the customers and products quality. One of the first concept stores to open was ‘10 Corso Como in Milan, Italy. This was followed by ‘Colette in Paris, ‘Quartier 206 in Berlin. The concept of ‘concept store has not only confined to the fashion industry but has also moved to electronics with brands such as Apple, Dell, Microsoft etc. opening their concept store to showcase their latest innovative products. The concept of a concept store is very complicated and as mentioned above has been changing over time. The concept of these stores is also quite different in different locations. Hence there is always a discussion about the future trends of the concept stores. This paper is an attempt to discuss the solutions to such questions which are listed below: What is the concept of a concept store? What are the products and services offered in a concept store? How will be the customer experience in such concept stores? 1. METHODOLOGY The purpose of this report is to study the concept of a concept store. This can be possible only when a practical case has been studied. The aim here is present a practical case which can be well supported with theoretical studies from various literatures and sources. Hence Storm Fashion, a concept store in Copenhagen, Denmark was selected and a thorough study was carried out. The information about Storm Fashion was collected from various electronic sources. In addition to this the Storm store was visited and the owner Mr. Rasmus Storm was interviewed. Further, the customers of Storm Fashion were asked for their opinion and share their experiences. 2. STORM FASHION: Copenhagen city has lot to offer for fashion industry, though it is not considered to be among biggies such as Paris, Milan, London or New York. Copenhagen has got a lot of potential and this has been proved by the fact that several Danish designers have been employed permanently by international fashion houses [6]. Seeing the potential for the luxurious market several brands such as Prada, Max Mara, Chanel, Hermà ©s and Louis Vuitton, Gucci etc have opened their stores in the posh localities of Copenhagen. Today Copenhagen has established itself as a fashion metropolis of the northern Europe with several internal brands and concept store. This potential for luxurious and unique products was discovered by Mr. Rasmus Storm and with this boost he opened the Storm concept store in the year 1994 at Elmegade, the North Bridge, Copenhagen. In the year 2001 the store was shifted to St. Regnegade in the central of the Copenhagen city. The aim of Mr. Rasmus Storm was to provide world class unique products to his customers. Soon the Storm store was one of the most recognized and trend setting concept stores. It was one of the first stores to accommodate world class brands such as Thom Browne, Dries van Noten, Ralph Lauren, Comme des Garcons, Raf Simons, Chloà ©, Ann Demeulemeester og Haider Ackermann. He not only confined his store for only fashion products but also extended it wide selection of products such as beauty products, photography, DVD movies, music and books on art and fashion [7]. The storm store hold the products ranging from leading Danish and international designer brands, like several of them on often found in Copenhagen. Due to its uniqueness and its popularity Storm store has received the Danish Fashion Award for best retail space was given to Storm in spring 2008. Most of the products displayed in the Storm store are handpicked by Mr. Rasmus Storm who travels all over the world for the best and unique products [8]. The most important thing for the selection of products is networking where different designers and artists are met for inspiration. Below the products offered in the Storm store have be briefly described. 3.1 Mens clothes The clothing line has the designer touch of a classic, archetypal school quality in a simple and marked by seriousness, gravity, solemnity. The Store has leading brands such as Dior Homme, Burberry Prorsum, Dries van Noten, Gitman vintage, Junya Watanabes, Visvim etc. The collection is seasonal and also contains selected shoes and boots of brands such as Ring Wing, The original boat boots etc. Some of the products are show below 3.2 Womens clothes We can see the delicious classic touch like French Chloà © in the Womens clothing. The collection includes the delicate and special things belong to the exciting Belgian designer Haider Ackermann Colombian, Ann Demeulemeester Parisian misc/fashion duo Kitsunà ©, Swedish Burglar etc. Some of the products are shown below [7]: 3.4 Skincare and Magazines: Storm has and is always in touch with the latest updates from fashion and design world. Storm has books and magazines of Fantastic Man, Knick Knight, Nils Stà ¦rk, Stephen Sprouse, Albert Watson, Camouflage etc. Storm also offers pure skincare, hair care products from Bumble Bumble, Dover Street market, Mayday Mayday etc [7]. 3.5 Accessories: Storm also offers wide range of product for both men and women in the form of fragrances, eye wear, bags, lighters, sneakers, candles, watches etc. Storm offers very unique products such as Zippo X Ambush lighter (available in only 2 retailers in Europe), Mismo X Storm, Fat Cat Stuff X Storm etc [7]. 3.6 Store Appearance: The Storm store was designed by Leif Jà ¸rgensen from LLLP and he tried to combine the feminine and the masculine themes combined with the use of materials like glass and wood prominence. The central focus was to keep the store very clean with simple colors such as white, wood and black so the focus is on the clothing, other products and not the store itself. The interiors of the storm store can be seen below 3. ANALYSIS A SWOT analysis was done to analyze different factors that influence the performance of the Storm concept store. 4.1 Strengths One of the main strengths of Storm stores is its ability to showcase products which are unique and very diverse. With this uniqueness and diversity, the Storm store has earned an image which has earned its own individuality. Storm store does not seem to be like any other store but has its own unique identity and reputation. Another important strength of the Storm store is its leadership in the form of Mr. Rasmus Storm who has a great passion and vision. Mr. Storm is always travelling all over the world in search of new designers, artists and products [8]. The best example is the Zippo X Ambush lighter which Mr. Storm brought from Japan. Another strength of Storm store is products that are amalgam of soft and elegance touch. The store presence is also one of the driving forces for the customers to come in. Especially the interiors which are very clean and do not steal the focus from the products displayed. Another strength of the Storm store is the customer experience with a good rece ption. The stores personal is very warm and are always helpful in finding the right products for the customers [10]. 4.2 Weakness One of the main weaknesses of the Storm store is its webpage which is very limited with the information, products classification etc unlike the French concept store Colette which has got a very good webpage. A lot more can be done with the webpage as most of the customers today are tending towards the web experience of anything. The webpage also does not have the web shopping which is very unusual for a store like Storm. The webpage does not even keep the database of the customers and the customer choices which need to be addressed. Another weakness which was inferred from the customers is that the products sold are way too expensive [10]. Although Storm was established in the year 1994, it still has only one store. Keeping in mind its popularity and uniqueness, the Store can be expanded to other locations. The Storm store does not carry products from leading brands like Chanel, Prada, Gucci etc which it used carry a few years ago. 4.3 Opportunities Storm fashion has got a very good reputation not only in Denmark but also in Sweden, Norway, Germany etc. Even though it was established 15 years ago it has its presence in Copenhagen city only and has got a great potential to expand into other cities. Hence the store may be expanded into other locations such as Stockholm, Paris, Berlin etc. The webpage can be modified to accommodate feature such a product classification, virtual wardrobe, web shopping etc. Although the products offered at the Storm store are much diversified but there is still room for more diversification. This can be further explored. Storm Fashion is very high-end targeteting people with quite a lot of money, it would be nice if they had some less expensive stuff but still kept their profile as being exclusive and nice [10]. The Storm store can also focus on a few customers catering their choices and tastes and offer some very exclusive products accordingly. 4.4 Threats One of the main threats for the Storm store is the emergence of new concept stores in the Copenhagen city which tend to maintain the same exclusivity. A best example is Wood Wood store which is in the near proximity of the Storm store. Another common weakness is the counterfeit products. Although Storm offers very exclusive products, getting a counterfeit product is becoming very easy these days. The Economic crisis has also played its part in the Storms growth rate. Especially the fluctuating currency exchange rate of the Danish-Swedish kronor has decrease the customer buying from Sweden. Due to this Storm has been lost almost 15% of its revenues for the past couple of years [8]. 4.5 Key Success Factors Some of the key success factors of Storm have been listed in the table below: Key Success Factors LOW HIGH 1 2 3 4 5 Brand Value Product Range Advertisement Consumer Experience Web experience Leadership Price Range Growth rate In most of the cases the well designed strategic plan has the potential to integrate the performance of company. But low thoughts are given to implementing, accountability and executing for the success of business, while there are many factors which can be present as the key success factors for any business or for products. Based on the above discussion we can simply sum up the idea that the Storm store has a very good brand identity as compare to the other concept stores in Denmark. This is due to the product range they offer to their valuable customers, they have very reliable products which are decorated according to the consumers taste. Also Mr. Rasmus Storm kept this in such a great leadership that his store is now one of the famous concept store in Scandinavia and it has also won the best concept stores award in Denmark in the year 2008.The factor behind this victory is the uniqueness and product range but although they have unique stuff but with very high price that could be t he one the point which could go in the opposite way. Another portal where they are lacking is their web experience for their customers and same shadow covers the advertisement media. They must go for the new web features and easy customers interface portals to remain on the hype in this recession time. 4. CONCLUSIONS RECOMMENDATIONS: The Storm store has been very successful and there is still a lot more room for growth both in terms of sales and presence. To do so, there are some issues that have to be dealt with. 5.1 Web Experience: The webpage of Storm store is not very exciting when compared to its counterparts. Hence a lot more can be done to improve it. The first and the foremost things that should be done is the inclusion of the product catalogue which could classify the products into different categories. This will make the customer to search for the product he is looking directly without wasting lot of time. The other thing that can be done is the introduction of web shopping. Web Shopping is a process where the customer can log on to the web page and select his products and do the payment online, and then the products will be delivery to the location mentioned by the customer [11]. The web shopping business is growing very rapidly, a very good example for this the www.youheshe.com which is doing very good business. The web shopping can not only make people buy the products from their homes but also will allow the sale of products to the customers who cannot access the Storm store (Demographic advantage). The web shopping will also allow the customers to buy the products at whatever time they like irrespective of the store opening or closing times. Another significant thing that can be done is maintain the customer database. The success of business can be measured by the relationship with the customers, therefore the information technology systems have designed the online plate through with customers feedback and demands can be observed by day to day basis on growing in popularity. (CRM) Customer relationship management is not just a web application developed, but its an approach to know about the customers behaviors and their needs in term of creating the stronger relationships with them [12]. In other means we can use this CRM to interact with customers in effectively and efficiently manner. Nevertheless, successful CRM relies on the use of adequate technology. If this is considered for the Storm store, it can be implemented in the webpage which will allow tracking the customers choices and feedback. We will get the details regarding the customers choices, taste, mood and their buying capability so we can merge the collected data and get the better results. Once the customer login to the website and search for their products, it will enable the store to offer the customers with their preferred choices based upon their previous online behavior. This will obviously save the customers precious time and they dont have to search for whole products ranges while on the other hand customer will not get irritate by not struggling for the products they need. Using the internet and the CRM application we can also introduce a concept that has the potential of being the next big thing. Its called the ‘virtual wardrobe and if this works out it can very well be the competitive advantage over the internet for fashion brands seeking to increase their market base while at the same time keeping the exclusivity factor real [13]. This virtual wardrobe perfectly fits into the concept of the Storm store. The virtual wardrobe shall include the concept of keeping an online wardrobe of all the items that a customer has bought over the internet so that when a customer goes to buy a new product he/she goes into their online wardrobe and sorts through the items there to see which ones they have already bought so that they can choose another product that is according to their choice after seeing their wardrobe [14]. This way a customer online profile is made based on the choices that they have made of their clothes which can then be interpreted by pro filers of the brand to assess the characteristic of their client. This concept has a lot of potential in that it can seek to identify the personality of the customer based on their choices and from there the brands. This can also be used as a tool for gauging the loyalty of a customer according to the number of items that are present in the wardrobe. Customer satisfaction surveys can relate to the experience that the customer had when using this web application. The possibilities are endless. Its just a matter of using ones imagination. 5.2 Expansion Diversification: The Storm store has a great potential for expansion geographically. Given the required financial assistance, the Storm store can be expanded to other markets such as Stockholm, Paris, Berlin, and New York etc. The product line can also be diversified by collaborations with different artists and designers. It can collaborate with designers and artists from countries like India which is home for various culture, world class craftsmanship, music, literature etc. 5.3 Marketing: Marketing as a science requires a number of qualities that are an essential and integral to the success of the organization. Although marketing nowadays is a very broad term yet there are some aspects of marketing that are not taking a more interactive role with the consumer. Marketing does not mean spending a huge amount of money on advertising. There are many cost efficient ways of marketing. One of such way of marketing is the viral marketing. Viral marketing, as the name implies is word of mouth marketing where a group of people are told about a certain product, service, store etc and those people spread those words to different people there by creating a chain reaction. This will allow that product, services, store to become more popular. Viral marketing can be done in many ways and is influenced by many factors. The best way of spreading the good will is by shear customer experience. Once the customers come to a store and finds what they is looking for, then obviously they woul d recommend the store to their friends. This would make others interested in the store there by increasing the customer flow and sales. Other easy way of marketing the Storm store is with the help of Social Networking Sites such as Facebook, Twitter, MySpace, Orkut etc. A profile of the Storm store can be created in these sites and information regarding the new arrivals, discounts etc can be updated regularly. This will also allow the customers to write about their experiences, suggestions, feedbacks etc. This medium can also be used to meet the customers and know about their opinions. The Storm can even create a customer club where it can arrange different activities such as exhibitions, parties etc. This will keep the customers more loyal builds up a good trust towards the store. The Storm store which started off as a small store is now very popular among its customers because of its unique identity. This identity has helped it to become one of the well noted stores in the northern Europe. The leadership of Mr. Rasmus Storm has played a major role in the transformation of the store into a world class one. By implementing the above suggestion, the store and its identity can reach a larger customers and locations there by increasing the revenue and the brand identity.

Spinning Misconceptions :: Break Dancing Culture Essays

Spinning Misconceptions The music pounded loudly on the dance floor as people stood in a circle. Nodding my head to the beat, I stepped out and did a few dance steps before I went down to the ground. On my hands and legs, I began walking rounds to the beat, throwing in a little bit of flare to it all, as much flare as I could think of. A few moments into the step, I jumped onto my hands and twisted my legs in the air. Freeze! So far, the crowd seemed silent; they just casually watched me mess around as if I was making a fool of myself, for it looked so simple to them. After some more dance steps, I jumped onto my right forearm and split my legs in the air above my head. Freeze number two! The hard-to-please crowd gave little response. I find it very difficult to dance to a crowd who shows such little response: neither positive nor negative feedback. So I jumped into the move that they gave their attention to see. I did a windmill: I rolled around on the floor as I swung my legs around in the air. The crow d finally gave me cheers of satisfaction. From the few years I learned about the break-dancing culture, I discovered a drastic difference between the popular view of the dance and an actual break-dancer’s view. Most misperceive the dance to be a bag of fancy aerobic tricks; however, the dance is more than that, for it includes the profound creative expression that makes it a unique portion of the hip hop culture. The first response I notice from people when I say that I break-dance is the emphasis on spinning on the head or just plain old spinning around. Flares (a gymnastic move where the dancer swings his legs around with only arms as support), head-spins, and other flashy moves are the main thing people associate with break dancing. â€Å"What, break-dance? What, you can spin on your head?† is an extremely common response. When people watch any type of breaking, they anticipate the showy stuff. Most have a superficial view of the dance and lack the profound appreciation for the art and culture. I find that people unconsciously categorize the dance into two parts: moves they think they can do, and moves they wished they could do.

Love and Memory in Deuteronomy Essay

Love and Memory in Deuteronomy, is the prompt for this weeks reflection paper. First, we must identify what each of those terms means to us in context to Deuteronomy and for me Love does not just mean love in the sense that we all know. Although you could easily write a reflection amount the many ways God displayed his love to his people, like when he parted the seas for them and crushed the Egyptians behind them, or when he was slow to anger when they chose to worship Baal while Moses was a top Mt. Sinai, but I choose to interpret love in Deuteronomy as God’s continued faithfullness to his people. â€Å"Know therefore that the Lord your God is God, the faithful God who keeps covenant and steadfast love with those who love him and keep his commandments, to a thousand generations.† (Deuteronomy 7:9, English Standard Version) Here God is described as a faithful God, and one who will always love those that love him, and follow his word. This is such a powerful verse and really speaks to the faithfullness of God to his people, here it shows that God is obligated to us, that he must love those that love him. I think it also shows that he is bound to look out for us because he is our â€Å"faithful† creator, and that as the creator he is obligated to look out for us, to satisfy us, and provide for us, and ultimately look out for us enough so that we may seek him out and follow him with out Faith. That creation of the Covenant is the ultimate example of God’s faithfullness to us as it takes out all mystery and makes things most certain for us, and shows his commitment to us as a people, because of the covenant we know all the cornerstones of His divine government. The many ‘I wills’ in Deuteronomy cover everything that we as a people might need in both the past, present, and future. There is no avenue of life that we can venture to where we can not find God, and he has given us clear definition of His heart and intentions by his word and covenant. God’s love in Deuteronomy can best be described as his faithfullness to us, and as mentioned prior, there is no greater example of this than his Covenant, and new Covenant with us through Jesus Christ. â€Å"And you shall remember the whole way that the Lord your God has led you these forty years in the wilderness, that he might humble you, testing you to know what was in your heart, whether you would keep his commandments or not.† (Deuteronomy 8:2, English Standard Version) Memory plays a huge role in Deuteronomy as God is very clear in this verse, that the people are to remember, that all they have been through was a way for God to see what was in their heart, to see what kind of people they were. Memories, in general, throughout time are always a great way to see someone’s true heart. There were times the people worshipped false idols or cried out against the Lord, and in those moments peoples true natures were revealed, the memories of those times are a great reminder of where people stood, and as it says in that verse that is what it was all about, was for God to measure their true hearts. This principle is still the same today, we are often judged by our past deeds, and it is not because we do not believe people can not change or that people do not deserve new chances, but often times we are what we do, and again the memories of our past actions are a great way to measure who we are as people.

Human Eye Essay Example

Human Eye Essay Example Human Eye Essay Human Eye Essay The  human eye  is an organ which reacts to light for several purposes. As a conscious  sense organ, the eye allows  vision. Rod  and  cone  cells in the  retina  allow conscious light perception and vision including color differentiation and the perception of depth. The human eye can distinguish about 10 million colors. [1] In common with the  eyes of other mammals, the human eyes non-image-forming  photosensitive ganglion cells  in the retina receive the light signals which affect adjustment of the size of the pupil, regulation and suppression of the hormone  melatonin  and  entrainment  of the  body clock.The eye is not properly a sphere, rather it is a fused two-piece unit. The smaller frontal unit, more curved, called the cornea is linked to the larger unit called the sclera. The corneal segment is typically about 8  mm (0. 3  in) in radius. The sclera constitutes the remaining five-sixths; its radius is typically about 12  mm. The cornea and sclera are connected by a ring called the limbus. The iris – the color of the eye – and its black center, the pupil, are seen instead of the cornea due to the corneas transparency.To see inside the eye, an  ophthalmoscope  is needed, since light is not reflected out. The fundus (area opposite the pupil) shows the characteristic pale optic disk (papilla), where vessels entering the eye pass across and optic nerve fibers depart the globe. How to take care of our eyes? Do s: * Make it a habit to clean your eyes daily. * In order to avoid eye fatigue, only read under sufficient and uniform illumination. * Rest your eyes for a while if they feel tired. * Keep away from the targets of darts and arrows. Walk, dont run, when holding sharp object, keep the point turned down. * Watch out for pointy things, such as tree branches. * Wear eye safety equipment when playing eye hazardous sports * Wear safety goggles when engaged in eye hazardous chores. * Wear prescription gl asses, if needed, with polycarbonate lenses. *If your eyes feel uncomfortable, consult an eye doctor. Dont s: * Do not look at the sun or any strong light source directly. * Do not use other peoples towel, handkerchief or cosmetics. If any particles get into the eye, do not rub the eye with your hand. Close the eye for a while and let your natural tear wash the particles out. * Avoid throwing pointed or sharp objects, sand or dirt. * Avoid playing with firecrackers. Keeping Your Eyes Healthy Theres also the possibility that we may be developing an eye health problem, like glaucoma, with no early noticeable symptoms. Seek medical attention if you notice any of the following symptoms: * blurred vision, even if gradual over time * sudden loss of double vision * flashes floaters in vision * sudden marked distortion in vision * severe redness of the eye * severe pain in the eye, itching or dryness * scratchy feeling of eye * light sensitivity, especially if severe or painful * halos arou nd lights * discharge with pain or redness of the eye * inability to see at night * protrusion of the eye * pain or loss of vision * fluctuating vision Any of there can indicate serious medical condition, because many aliments can be controlled if detected at an early stage. Seek medical advice promptly if there is anything wrong.To maintain proper health, vitality and functioning of your eyes and ensure a lifetime of reliable use. It is important to have regular eye exams by a qualified eye doctor. Childrens eyes should be examined by an eye doctor immediately after birth. Thereafter children should have their eyes checked at around three years of age and every year after till seven. After the age of forty, an eve exam should be carried out every year or two, and then every year after 65. Keep your eyes healthy and lead a happy life.

Biography of Winslow Homer essays

Biography of Winslow Homer essays Winslow Homer is widely regarded as one of the forerunners of the great nineteenth-century American Painters. Homer was a New Englander by birth and long ancestry. Circa 1636, Captain John Homer, an Englishman living in the west of England and active in maritime shipping, immigrated to America. He settled in Massachusetts where, almost two centuries later, his descendant Winslow Homer was born in Boston on February 24th 1836. Winslow grew up in the nearby village of Cambrige, a short walk from Harvard University. His mother was, like his father, of old New England Yankee stock, and he undoubtedly inherited her artistic talent. She encouraged him as a child, when he started to show an aptitude for drawing, she was a skillful amateur watercolorist. Around the age of eighteen Homer became apprenticed to a Boston lithographer, John H. Bufford, here he learned to copy other peoples drawings onto printing stones, he also produced sheet-music covers and other commercial works. His o nly form of training was at local art classes, where he learned the basic principles and styles of art. He also studied under Frederick Rondel, a well-known painter in Boston. This lasted for roughly two to three years until he grew tired and set himself up as a freelance illustrator at the age of 21. Much of his work was published in the newly popular pictorial weeklies including Harpers Weekly, which was one of the most popular magazines in its day. His illustrations almost always focused on the life he observed around him in the city and country. He drew his illustrations on wood blocks that were then engraved by others, following the usual practice of the time. In 1859 he moved from Boston to New York to be closer to the Harpers office and also because he was now determined to become a painter. New York was the center of the American art world. He took a few lessons at the National Academy but soon discontinued them, finding t...

BESCO Measurement Essay Example | Topics and Well Written Essays - 500 words

BESCO Measurement - Essay Example The unit used for the y-axis as well as the and x-axes is 1. On the x-axis, each unit is used to represent 10 years. The time period covered in the graph runs from 1950 to 2010. On the y-axis, the rate of development runs from 0 to 700,000. Each unit is used to represent 100,000 units of development. The markings on the line of the graph are used to show series of development. For the first 10 years, which is between before time in record to the mid 1950’s, there was no much change and hence it can be said the development then was constant. Moving on further towards 1960, there was a very slight increase in development. The time period between 1970 and 1980, the rate of development of the fad rose higher by a few units. The rate of development was gradual from the time data used to fill the graph started being collected till the mid 1980’s, the rate of growth recorded according to the graph was a bit gradual, since the line graph remains constant during this time period. However, rapid development started being recorded as from the mid 1980’s and onwards. 1990 marked the beginning of another series and from then, rapid rates of development can be seen from the graph. Between 1990 and 2010, the rate of development in the ten years alone rose from 50,000 to 290,000. This was one of the highest rates of development recorded in the time period. This sharp can be due to a number of factors. However, this is something that we cannot be able to tell from the graph. The year 2000 marked the beginning of the final series on the graph. Between 2000 and 2010, a sharp increase was recorded according to the graph. The steep line shows this high rate of development of the fad. The actual figures of the development increased from 290,000 in 2000 to 610,000 in 2050, which was the end of the time period under

RESEARCH STRATEGY PAPER Essay Example | Topics and Well Written Essays - 750 words

RESEARCH STRATEGY PAPER - Essay Example The things that one will take into consideration as possible solutions to the problem would likewise be presented. Statistics show that there are an alarming number of students who leave school for a variety of reasons. According to Alliance (2007), almost seven thousand students become dropouts every school day. It revealed that if the students who dropped out of the class of 2007 had graduated, the nation’s economy would have benefited from an additional $329 billion in income over their lifetimes. The implications of the students’ dropping out are not realized until it is just too late. It should be emphasized, however, that it is actually never too late to go back. College life poses strategic differences from high school making students totally unprepared for it. There are varieties of factors that scholars and researchers on the topic identify as the reasons why students fail in college. In this regard, this essay aims to determine the rationale behind barriers to collegiate success through an identification of the kinds and sources of information needed to address the problem, and an enumeration of suggested solutions after analyzing the rationale for failure to succeed. The discourse proffered by Taft College (2007) clearly depicted distinct differences in the areas of time, costs, responsibilities, classes, professors and tests with guiding principles stated for each classification. This information can be gathered through relevant secondary sources of scholars and researchers who conducted studies on the subject. Most of the information can be viewed from electronic sources. College education is basically voluntary and more expensive where students learn how to manage their own time. Students are expected to take accountability and responsibility for their academic performance through prioritizing compliance to