Art History for Power and Beauty Inherent-myassignmenthelp.com

Question: Examine about theArt History for Power and Beauty Inherent of the Earth. Answer: Workmanship since 1945: Ana Mendieta, Tree of Life, 1977 Ana Mendieta is viewed as one of the most significant specialists of the world post 1945. As she would see it, My craft is grounded on the confidence in one all inclusive vitality which goes through everything; from bug to man, from man to phantom, from apparition to plant, from plant to cosmic system (Gallery et al). The Tree of Life or Arbol de la Vida finished by her in the year 1977 is one of her most critical works and in this specific work like different works of her she harps on the topic of the female goddess and the celestial vitality (Gallery et al). The female figure in this specific work of art is frequently deciphered as an outline of the female goddess and the vitality which involves with her. In the assessment of different pundits this specific work of art of Mendieta speaks to the innovative, fruitfulness of the heavenly ladylike and the force and magnificence innate in the earth (Gallery et al). This specific work of art of hers speaks to a female figure remaining be fore a tree and is frequently viewed as one of the ideal models of the advanced craftsmanships. Along these lines, this work of art ought to merit a spot inside the Two Rivers Gallery. Craftsmanship since 1945: Alberto Giacometti, The City Sqaure, 1948 Giacometti is a post war craftsmen whose fine arts have been tremendously refreshing in the current occasions. He is celebrated for his works of art which join inside them statutes of oddity, expressionism and others to depict the state of the cutting edge world (Mathews). The City Sqaure of Giacometti was motivated by the grimness which he encountered during the Second World War and is an individual record of the repulsions which he experienced during the war (Mathews). In the assessment of numerous researchers and pundits this specific work of art of Giacometti attempts to show the eventual fate of humanity if humankind keeps on enjoying the acts of war (Mathews). In the assessment of others this specific work of the specialists shows human segregation, helplessness, and indestructibility (Mathews). Accordingly, it tends to be said that different pundits just as researchers have offered various understandings of a similar work anyway none of the pundits or the researchers can deny the significance and the imaginativeness engaged with the fine art. Another intriguing thing to note about the work is that the whole work has been cut out on a bit of bronze. Subsequently, it very well may be said that this specific work of Giacometti merits a spot in the Two Rivers Gallery. Workmanship since 1945: Nora Heysen, Motherhood, 1950 Nora Heysen is another cutting edge craftsman whose works have much impacted the course of the advanced workmanship. It is to be noticed that simply like the works of art of Giacometti, the craftsmanships of Heysen have likewise been quite impacted by the war and its related angles. In this way, her Motherhood finished in the year 1950 is viewed as one of the most appropriate articulations of the grim hardware of war and the peril which it postures to the cutting edge society (Hylton). In the assessment of numerous pundits just as researchers this specific fine art of Heysen speaks to the defensive sentiments of a mother to shield her kid from the abhorrences of the war (Hylton). It is to be noticed that after the two extraordinary wars numerous craftsmen have attempted to delineate the destructive side of the war by the utilization of different hardware anyway this specific gem stands apart among them as it utilizes the apparatus of human feelings and the defensive sentiments of a m other towards her youngster to commute home the purpose of Heysen (Hylton). Subsequently, it very well may be said that this specific fine art of Nora Heysen merits a spot in the Two Rivers Gallery. Present day Art in Europe and America 1900-1945: Pablo Picasso, Minotaur Kneeling Over Sleeping Girl, 1933 Picasso is viewed as one of the most significant pioneers of the cutting edge specialty of painting and it is an impression of this that a large number of his works of art are viewed as models or structures from which the different present day craftsmen make their craftsmanships (Dillenberger and Handley). His Minotaur Kneeling Over Sleeping Girl created in the year 1933 was probably the most punctual fine art and shows a portion of the predominant subjects of his in scaled down topic which would be additionally evolved in his later works (Dillenberger and Handley). Notwithstanding that, this is the primary model in line among a few attempts to be acknowledged through the rest of the piece of the decade by the painter where he utilized the topic of the unbelievable Minoan animal Minotaur intermittently (Dillenberger and Handley). It is to be noticed that the Minotaur fantasy finds rehashed use in the later works of Picasso and on account of this specific explanation Minotaur Kneeling Over Sleeping Girl is viewed as one of the most significant works in the gun of Picassos fine arts (Dillenberger and Handley). Subsequently, it tends to be said that this specific craftsmanship of Picasso should discover a spot in the Two Rivers Gallery. European and American Art, 1840-1910: Van Gogh, Midday Rest, 1890 Van Gogh, the ancestor of Picasso is regularly viewed as probably the best craftsman of the nineteenth century as well as all things considered (Schulze and Windhorst). He is viewed as perhaps the most punctual professional of the craft of expressionism and the work of art Midday Rest made in the year 1890 is regularly viewed because of this specific fine art (Wilkie). This specific work of art has an intriguing history behind its creation. As per numerous pundits, Van Gogh left Paris in the wake of remaining in it just for three days and this specific work of art of Van Gogh is considered to the created after his retirement from the clamoring society of Paris (Wilkie). In the assessment of Van Gogh, Auvers is exceptionally delightful. There were numerous old covered rooftops, something that is turning out to be uncommon (...) It is altogether rustic, unmistakable and pleasant. (...) I am practically certain that on these canvas I have enunciated what I can't communicate in words, sp ecifically how solid and gladdening I discover the open country (Schulze and Windhorst). It is this specific peacefulness just as the excellence of the place where there is Auvers that went into the formation of the artistic creation. This specific work of art of Van Gogh shows a man and a lady taking rest in the provincial zone of Auvers away from the clamoring society of Paris. Along these lines, it tends to be said that this specific canvas of Van Gogh merits a spot in the Two Rivers Gallery. References Dillenberger, Jane, and John Handley.The Religious Art of Pablo Picasso. Univ of California Press, 2014. Display, Hayward, et al.Ana Mendieta: Traces. Hatje Cantz, 2014. Hylton, Jane.Nora Heysen: light and life. Wakefield Press, 2009. Mathews, Timothy.Alberto Giacometti: The specialty of connection. IB Tauris, 2013. Schulze, Franz, and Edward Windhorst.Mies van der Rohe: A basic memoir. College of Chicago Press, 2012. Wilkie, Ken.The Van Gogh File: The Myth and the Man. Keepsake Press, 2012

Bi-lingual Education Example

Bi Bi Bilingual Education The site d â€Å"Bilingual Education: A critique†, by Peter J. Duignan, is an instructive site that assesses the development of bilingual training since the Civil Right Act of 1968 and Bilingual Education Act of 1968. Its motivation is in this way to instruct. The creator of has investigated the act of bilingual instruction by giving its experience contentions for and against it, and a helpful methodology of multicultural just as multilingual training. Moreover, Duignan has considered the suitability of bilingual instruction dependent on set up claims and profiled Latinos. Few bilingual training advocates have been distinguished and their feelings talked about (Duignan). Hoover Institution press site partners itself with this distribution by Duignan. It gives a rundown of â€Å"Bilingual Education: A critique†, which shows the improvement of bilingual training (Duignan). Peter J. Duignan, a productive essayist, is a senior part at the Hoover Institut ion. Duignan has an experts and doctoral degrees in history from Stanford University. He is a partner of the Stanford University African Studies Committee and the Council of European Studies (Duignan). Duignan is additionally an individual from African Studies Association, Association of Research Libraries, East Studies Association, American History Association, and Royal Historical Society, among others. Duignan has far reaching distributions on relative pioneer history, movement, African list of sources and documentation, present day European history, U.S. international strategy, Atlantic Alliance, just as Hispanics in the United States. Duignan’s current distributions incorporate Bilingual Education: A Critique, The Spanish Speakers in the United States: A History, NATO: Its Past, Present and Future just as African and the World. Subside J. Duignan has gotten a few honors, which incorporate the Rockefeller Foundation grant, worldwide association, Guggenheim partnership, an d Ford remote region cooperation to Africa (Duignan). The site is subsidized by the Hoover Institution of Stanford University. The article by Duignan is under the monographs of Hoover Institution’s distributions. Moreover, the article’s copyright is possessed by the Board of Trustees of Leland Stanford Junior University. I accept that the data contained in the distribution is right considering the author’s qualifications. Duignan gives exact subtleties of bilingual instruction while referencing the occasion of their event. Furthermore, Duignan has put together his work with respect to other certify discoveries just as distributions (Duignan).Work CitedDuignan, Peter J. Bilingual Education: A Critique. 1998. . 27 October 2011.

Genre Kryptonite Boy Heroes

Genre Kryptonite Boy Heroes This is a guest post from Sharanya. Sharanya is an elementary school teacher in Washington, DC. When she’s not running around after children like a madwoman, she likes to sit and inhale books and coffee. She’s had a life-long love affair with middle-grade and YA lit, and hopes to write her own novel(s) in those genres some day. Follow her on Twitter @srsharms. ____________________ If it weren’t for fictional boys, my life as a teacher would be so much harder than it already is. The cheeky ones, the quiet ones, the cocky ones, the angry ones, the hearty ones, the supercilious ones â€" they’re all welcome on my bookshelf. I love mothering them. I love turning on my sharp Teacher Voice to tell them in no uncertain terms that the plan they’re thinking of is unequivocally ridiculous. They never listen, of course, but I happen to be very used to that. But more importantly, I love what they tell me: Be patient with us. Don’t give up on us. Take us seriously. These boys remind me that if we want to live in a world where people are treated with dignity no matter what they look like, sound like, or want in life, it starts with kids just like them. Boys who realize they have to step up and do something about the world they live in. It started with my best friend. She gave me a book called The Book of Three, and that’s how I met Taran. Taran was thirteen, Taran was an Assistant Pig Keeper, and Taran was a world-class idiot. A lovable idiot, but still. It amazed me that Gwydion was ever able to keep him close in order to protect him because frankly Taran needed a swift kick in the butt and an exhausting round with the Cauldron Born to knock all of the sense into his head. Because he didn’t get why he couldn’t just run around in the woods tumbling head first into as many fights as possible since that’s how the cool kids are supposed to do it (you see what I mean about the idiocy). But then, something happened. He started getting older. And I don’t just mean in a he-got-taller-and-his-voice-probably-got-way-less-squeaky way. In the second book, he was sacrificing his chance for recognition in order to get a job done. In the third, he was trying to figure out how to talk to girls (bless him). In the fourth and fifth, he took some time to finally figure out who he was, and began to lead others with his new found confidence. And the coolest part of all? I got to be there for every step of the process. The eye-rolling, laugh-out-loud, gasping, cheering, tear-jerking process. And then I started to find others like him. I could wax poetic about how Harry Potter changed my life, but I won’t. And I say this not because I want to dismiss Harry (AS IF I EVER COULD), but because many, many other, frighteningly brilliant people have written scores of essays on things like the significance of Harry lifting his right pinky on page 463 of the fifth book already. (No, I don’t think that actually happened). So, you know. Sure, I could tell you that Harry is probably the most influential Boy Hero not only of my life but of this entire millennia thus far, but I think you know that already. And if you didn’t, please crawl out from the rock you’re under ASAP. It’s really nice and sunny up here. After Harry came Percy Jackson, who came into my life at exactly the right moment. Since Riordan taught middle and high school English for about many years, it should come as no surprise to anyone that he is extremely fluent in Boy-speak. Still, his ability to capture the essence of twelve-year-olds, in all of their awkward, sarcastic, hilarious glory, and distill it into one book is freaking magical. Because that’s what Percy wasawkward, angry, and hilarious. He won me over not just with his wit and humor but also with his incredible sense of loyalty, his powerful leadership skills, and his friendships. And it was around this time that I realizedI have a Definite Type. Types like Bartimaeus and Nathaniel from The Bartimaeus Trilogy (brooding, angry, full of acerbic wit and sarcasmyep, I sooooo have a Type).   And types like Alex from The Unwanteds (a recent read about kids who go to a school that’s basically Hogwarts School for the Arts), who turns from being shy and scared to being creative but insecure to being unbelievably awesomewhile still dealing with being shy and creative and insecure. And definitely types like Artemis Fowl, the ultimate anti-heroalso known as the 12-year-old boy who turned being spoilt and bratty into a life-altering sciencebefore realizing what he actually wanted was to save the world. In the end, these characters, these brave, bratty, brilliant kids, capture one simple idea perfectly: there is possibly nothing in the world more magical than watching a boy slowly but surely learn how to actually grow up. ____________________ Follow us on Twitter for more bookish goodness!

What Is Environmental Degradation - 810 Words

4.2 BACKGROUND The increasing severity of global environmental challenges has prompted increased attention to the relationship between international trade and environmental degradations. On the one hand, there is a growing strand of literature on environmental degradations that focuses on emissions relocated by trade. As shown in the comprehensive surveys of Jayadevappa and Chhatre (2000), Wiedmann et al. (2007) and Sato (2012), there has been a growing interest since the 1970s for the interactions between trade and environment. A number of studies were carried out to estimate the physical amount of pollutants embodied in trade. Early contributions were made by Walter (1973) and Shui and Harriss (2006). More recent studies employ Global†¦show more content†¦(2011), which are discussed below. Muller and Mendelsohn (2007; 2009) use a so-called Air Pollution Emissions Experiments and Policy (APEEP) model to calculate the marginal damage associated with emitting an additional ton of pollution in the US. Air emission data used by the authors is provided by the US Environmental Protection Agency’s National Emission Inventory (NEI), which encompasses all anthropogenic emissions of six air pollutants (SO2, PM2.5, PM10, NOx, VOC, and NH3) in 48 states of the US (USEPA, 2006; 2009). The APEEP model first connects emissions of air pollutants to physical effects, by employing the USEPA national emission inventory of air pollution. Those physical effects include adverse effects on human health, decreased timber and agriculture yields, reduced visibility, accelerated depreciation of materials, and reductions in recreation services. Then, the model translates the physical effects into monetary terms using standard estimates of mortality and morbidity risks, market values of goods or services, and results of other valuation studies (e.g. Chestnut and Rowe, 1990; McClelland et al., 1993). Muller and Mendelsohn (2007; 2009) first calculate baseline damages of the year 2002’s emissions, and then calculate damages of one additional ton of emission. This procedure is repeated for each of the six pollutants in each of the 10,000 different sources locations. The estimated marginal damage,Show MoreRelatedPoverty And Poverty1302 Words   |  6 Pagesthat poverty and environmental degradation are connected. These impoverished communities are not only contributors to the pollution, like we all are, but they are victims of pollution (Shah, 2005). Due to constant demand of the wealthy, many areas that are impoverished are used as an area devoted to supplying the needs of those at any cost or a dumping ground of unwanted goods. Many times these actions are taken from a social and economic stance rather than a humane and environmental stance. TodayRead MoreThe Incompatibility Between Economic Sustainability And Ecological Sustainability1714 Words   |  7 Pagessustainability and ecological sustainability is a contentious issue, specifically within the area of politics, technology, society, financial economies and environmental issues. When discussing such a matter the terms, sustainability, economic sustainability and ecological sustainability should be defined. Sustainability: the equality of environmental, social and economic necessities between today’s generation and tomorrow’s generation. Economic Sustainability: the employment of various strategies toRead MoreThe Environmental Degradation Of Natural Resources1435 Words   |  6 PagesThe environmental degradation of natural resources, such as fresh water resources and fish or sea live stocks have become burning issue of potentially violent conflict between the nations. There are numerous historical examples that related to this issue. For example, the Ethiopian decision to store Nile water behind the walls of the Grand Ethiopian Renaissance Dam have brought ongoing tension between the Egypt, the Ethiopia and Sudan. The second characteristic is the relationship between environmentRead MoreStudent Action Plan( Shuang Ma) Essay633 Words   |  3 Pagesdefinition of ecological integrity. Clearly, human activities result in many environmental changes that enhance some species, ecosystems, and ecological processes, while at the same time causing important damage to others. The challenge for the concept of ecological integrity is to provide a means of distinguishing between responses that represent improvements in the quality of ecosystems, and those that are degradations. Nature is the material world, especially as surrounding humankind and existingRead More Our Attempts to Control the Natural World and the Environmental Crisis1357 Words   |  6 Pagesthe Natural World and the Environmental Crisis    As reports of ecological degradation increase around the world, human concern about environmental issues is also heightening. Scientists, philosophers and others have all begun the process of determining the causes of the environmental crisis and trying to sort out how to fix these problems. In this essay, I would like to examine two of the most widely expounded philosophies on the cause of environmental degradation in the Western hemisphereRead MoreNineteen Lessons Of Environmental Sociology By Kenneth Gould And Tammy Lewis1324 Words   |  6 PagesThe authors of the book â€Å"Twenty Lessons in Environmental Sociology†, Kenneth Gould and Tammy Lewis, provide a critique on the interactions of various social systems and ecosystems by many different scholars and institutions. A combination of neo-Marxist ideas are used as a base of the world-system theory to create the system for the neoliberal theories (Gould and Lewis p. 39). The world-system theory is looking into economic relationships based off of social changes that are occurring around theRead MoreEnvironmental Degradation Of The Environment940 Words   |  4 Pages Many individuals will argue that population growth or technological development are the primary causes of environmental degradation. There is also a third cause of environmental degradation that people hypothesize, which is our values. These people believe that major values influence population growth and technological development. The argument is that values are more important, and influence population growth and technological development. Key values come from national, racial and religious culturesRead MoreConsumption Overpopulation and Its Effects on the Environment1082 Words   |  5 PagesConsumption Overpopulation Think about a sign that says EARTH Max Capacity 10 billion. Based on what they have the human population plans out parties. They have a lack of space and resources. Anyone who would plan these parties would have to take in account for the amount of people that would have to scrunch in with each other, and how many people would not have enough food to last the party. Which basically makes it so the guests are down to a certain number. Our planet is a close similarityRead MoreThe Destruction Of The Environment In Margaret Atwoods Oryx And Crake?1110 Words   |  5 Pages the environment had a great impact on the decisions made throughout the novel. One of the decisions made to improve the environment was the invention of the BlyssPluss pill. Crake, the mastermind behind this creation, firmly believed that the degradation of the environment was the result of the foolish actions of humans. With the concept of eliminating and improving the overall environment, the BlyssPluss was a p roduct created to improve nature manipulated by humans, the human built setting. InRead MoreEconomic Growth and the Environment1594 Words   |  6 PagesEconomic Growth and Environment Introduction Economic growth and the use of environmental resources go hand in hand. No country or economy will be able to sustain economic growth without using the natural resources available in the environment. The constant need for resources is the fuel for economic growth and any country going through a heightened level of economic activity tends to use more resources from the environment. Relationship between economic growth and environment The relationship

“Writing to Learn” in a Math Classroom Essay - 889 Words

Theory of â€Å"Write to Learn† Reading and writing are the basis of the original meaning of literacy. This definition, however, changed over time and culture. The term has expanded to include computer literacy, digital literacy, information literacy, health literacy, etc. (Vacca, Vacca, Mraz, 2011). Nevertheless, the most important change to the term literacy is expanding the use of reading and writing. Literacy is defined as understanding, thinking and practicing the use of language in different cultural/social settings through the use of all types of media which allows people to communicate and make meanings (Vacca et al., 2011). To support this new meaning of literacy, specifically in the classroom, a new method or strategy has emerged†¦show more content†¦Furthermore, it allows students to investigate and make sense of their learning through writing. Lastly, â€Å"write to learn† activities allow all students, specifically English Learners, practice Engli sh writing skills and vocabulary in multiple contexts. Students can never have too much practice in writing. Allowing students to write in their mathematics classes gives them a chance to continue this practice as well as adopt a whole new vocabulary collection, specifically in math. Connections to Sociocultural Theory The â€Å"write to learn† strategy can be successfully used in a mathematics classroom alongside a lesson applying sociocultural theory. Sociocultural theory, as founded by Lev Vygotsky, emphasizes the role of society and culture as leaders in teaching students (Ormrod, 2011). Vygotsky also proposed that play, or acting certain jobs, and apprenticeships, learning a job by watching an adult, are both very important basis in helping students advance through their ZPD, the zone of proximal development, where students are challenged with tasks that lead them to their full development or potential (Ormrod, 2011). One example of play from sociocultural theory is having students write unset letters, a â€Å"write to learn† activity (Vacca et al., 2011). If students were studying the history of the Pythagorean Theorem, for example, they can write a letter to Pythagoras thanking him for the theorem andShow MoreRelatedNational Assessment Of Edu cational Progress752 Words   |  4 Pagesthe 8th and 12th grades in 2008, students scored high on the writing portion, but low in mathematics (Wilcox, Monroe 2017). Fortunately, many teachers are integrating math into multiple disciplines such as writing and literacy, technology, science, social sciences and concrete or real-life examples, and music. Teachers are asked to blend mathematics into writing so students can think, write and discuss their thinking to understand the math content on a deeper level of understanding. According toRead MoreThe Influence Of Aiden On The Classroom1443 Words   |  6 PagesAiden Aiden is very socially aware and has positive peer relationships in the classroom. He is able to solve problems and is not afraid to speak when he has a concern. Aiden is very eager to learn in both language arts and mathematics, he works really hard and puts in effort in order to build his fluency and accuracy when reading and adding his numbers. He is able to understand basic addition word problems and solve for the unknown using pictures, dots, or manipulatives. He is fluent in telling hisRead MoreLiteracy As A 21st Century Educator1604 Words   |  7 Pagesthought that comes to mind is reading. However, literacy is so much more. It is in everything we do, from reading a book to getting from one location to another. We often do not realize how much literacy is in every aspect of our daily lives. As a math teacher, I chose to explore this concept as it relates to mathematics. I wanted to gain a general understanding of how literacy is intertwined in mathematics, from vocabulary to word problems. As a 21st century educator, literacy plays a crucial roleRead MoreGraduation Speech On The Classroom853 Words   |  4 Pageshave observed three individual students in my 4th grade classroom. All of the learners in the classroom are very intelligent students; however, three students stand out to me on a daily basis for different reasons. ‘Student A’ receives special education services for her reading and writing skills. She works with a para every day to work on her reading and handwriting skills. ‘Student B’ is a gifted learner and participates in an advanced math program that the 4th and 5th grade classes receive, ifRead MoreUnderstanding The Dimensions Of Dr. Howard Gardner s Multiple Intelligences936 Words   |  4 PagesMultiple Intelligence Understanding the dimensions of Dr. Howard Gardner’s Multiple Intelligences, deciphering which intelligence your students learn best by, and implementing a variety of modalities in the classroom proves beneficial to students and teachers. Being able to capitalize on student’s intelligence strengths increases learning in the classroom, increases standardized test scores, and increases students independence. Similarly, tailoring lessons to reach students through a variety ofRead MoreMy Philosophy On The Philosophy Of Education844 Words   |  4 Pagesteacher, to ensure that my students are able to have a strong foundation of mathematical skills when they leave my classroom. Some students believe that they are not mathematically gifted; therefore, incapable of learning mathematics. I believe to the contrary, all students with motivation, sustained by the teacher, and confidence in his/her mathematical skills can be successful in the classroom. Furthermore, when establishing my philosophy of education, I relate most to the beliefs and practices of theRead MoreLimiting A Student s Capabilities1611 Words   |  7 Pagesa student from what he or she can do or learn. In the writings of â€Å"Hidden Intellectualism,† by Gerald Graff, Graff writes about the limits that are put on students throughout their educational experiences. Graff states, â€Å"People think of someone with poor grades, but with â€Å"street smarts† is a complete waste†(Pg.264). And that someone who is intelligent, but does not show it in the classroom is not actually intelligent. Graff explains throughout his writings that â€Å"high schools and colleges are at faultRead MoreLiteracy, Social Studies, And Science922 Words   |  4 Pagesmathematics, science, and social studies. Literacy skills are being integrated into class instruction across the curriculum. Literacy skill can be used as a tool of thinking and learning by the students in a mathematics, social studies, and science classroom. The use of literacy in these subjects has become highly important in education. This literature review will address the following themes: †¢ The effect literacy has on mathematics, social studies, and science. †¢ Literacy strategies that can be usedRead MoreObservation Of The Westminster College Class Edu 562 Field Experience1225 Words   |  5 PagesWestminster College class EDU 562 Field Experience was related to observation and participation with a first grade classroom, on Monday, January 4, 2016. Upon arrival the class teacher provided instructions to assist in the set up of the classroom January calendar, make a graph of the lunch choices, and to pass out morning work for the students to complete as they arrived in the classroom. At 8:30 a.m. the teacher welcomed most of the students with excitement as they entered the room. She informed theRead MoreAssistive Technology And Instructional Technology1551 Words   |  7 Pagesâ€Å"The number one benefit of information technology is that it empowers people to do what they want to do. It lets people be creative. It lets people be productive. It lets people learn things they didn t think they could learn before, and so in a sense it is all about potential.† –Steve Ballmer Technology can be very empowering especially for children who are exceptional. In understanding both Assistive Technology and Instructional technology one may begin to see how they can both beneficial to student

Gender and Leadership Literature Review - 5185 Words

Gender and Leadership Literature Review 1. Introduction Leadership theories and literature describe what leaders should do and on the other hand literature also exists on what leaders actually do, the former are prescriptive and the latter are descriptive (Bratton et al; 2005). Leadership style is a relatively consistent set of behaviours that characterise a leader (DuBrin; 1995). The main leadership theories encompass the trait, behaviour, contingency, power influence, and gender influence and exchange leadership perspectives. This paper focuses on transformational leadership and thus will detail the theory underpinning transformational leadership vis a vis gender differences in†¦show more content†¦Modern theory proposes that women lead differently than men (Bratton et al; 2005). This theory tends to promote the idea that women have the characteristics and skill that are necessary for effective leadership and that these skills and characteristics include a more interactional leadership style, the ability to build consensus, a tendency to empower others, and a greater ability to nurture others (Bratton et al; 2005). Robbins (date) in Swanepoel et al (2003) points out that the similarities between women and men tend to outweigh the differences, and that these differences suggest that men are comfortable with a directive style while female managers prefer a democratic style (Swanepoel et al; 2003). The gender perspective argues that women leaders have an interactive, people centered, participative management style. Women leaders are associated with consensus building and power sharing. Views in favour of the gender perspective advocate for equal opportunities at the work place; full utilization of women to utilize available human resources; acknowledgement of the â€Å"special contribution† women can make the work place due to their leadership style and alternate approaches to situations (Bratton, et al; 2005). Swanepoel et al (2003) state that in general women follow a transformational leadership style, which emphasises followers, consensus, and the use of charisma, personal reference and personal contact toShow MoreRelatedGender and Leadership: Literature Review5170 Words   |  21 PagesGender and Leadership Literature Review 1. Introduction Leadership theories and literature describe what leaders should do and on the other hand literature also exists on what leaders actually do, the former are prescriptive and the latter are descriptive (Bratton et al; 2005). Leadership style is a relatively consistent set of behaviours that characterise a leader (DuBrin; 1995). The main leadership theories encompass the trait, behaviour, contingency, power influenceRead MoreHuman Resource Management : The Effective Methodology Of Managing Human Capital956 Words   |  4 Pageswould like to place emphasis in perception. The first topic is Human Resource Management: The effective Methodology of Managing Human Capital. The second topic is The Constraint of Women in Leadership Roles. The demand of a transforming world influences roles in human resource management and women occupying leadership position. Both topics depth with challenges that produce opportunities to structure organizations future. In order to sustain the advance ment of the United States economy, organizationsRead MoreOrganizational Psychology : Gender And Leadership938 Words   |  4 Pagescauses of the phenomena studied by organizational psychology underlying. Research on gender and leadership focuses on both college students and executives in various business settings. A common theme concerns the idea that a good leader is model described incompatible male with feminine behavior, sometimes thought of as think-Manager. For example, to provoke some settings pronounced stereotypes. If the expected leadership style of an organization at a given hora direct, exacerbate uncaring, or from topRead MoreThe Between China And China842 Words   |  4 Pagesand females is 85:15 or more lower, the industries would be defined as male-dominated industries (Gardiner Tiggemann, 1999). Before staring the interview, researcher asked the interviewees about the gender radios about their companies and the descriptions of organizational environment. Once the gender radios was less 85:15, the data could be calculated in the research.Before doing the interview, the interviewees also be asked weather they are voluntary to do the interview and during the interviewRead MoreAnalysis Of Kirkpatrick And Locke s1156 Words   |  5 PagesNunnelee Week 2 Homework MG401 Chap. 3 4 (1) Identify and discus each of the traits that emerged from Kirkpatrick and Locke’s (1991) review. What reason can you apply as to how and why each of these traits is important? Drive: Aspect of drive characteristics includes ambition, achievement, tenacity, initiative, and energy. These aspects act in combination as a conclusive trait that supports high-level effort, or drive. Drive is important, in that in order for leaders to be successful, they mustRead MoreGender in Leadership1639 Words   |  7 PagesResearching in Business HR 3010 Title: Gender in leadership Introduction To what extent does gender affect leadership style? This literature review aims to critically identify and analyze whether female and male leadership style differ in business. It has been claimed that men make better leaders than women because of the leadership style they implicate. To this affect perhaps women have not been given a fair chance to show their leadership skills. This review will interpret international articlesRead MoreResearch Methodologies966 Words   |  4 Pagespertaining to leadership, management and the culture as it pertains to the organization. This paper will delve into the qualitative aspect of research methodology and the methods of literature reviews and surveys as tools for gather information, knowledge, cause and effect of hypotheses as they relate to leadership and organizational culture. A discussion of general limitations and research methodology for the final research paper help to prepare for the presentation of solutions to leadership help toRead MoreUnderstanding The Cognitive Processes Of Organi zational Psychology950 Words   |  4 PagesUnderstanding the cognitive processes of organizational psychology light on the causes of events based on stereotypes. Fri and the leadership of the research focuses on a variety of business environments, students and administrators. the general manager of the matter, I think it s a good model is sometimes described as a thought that is incompatible with the behavior of male and female leader refers to the idea. For example, the pronunciation of certain parameters in order to promote stereotypesRead MoreDQs: Gender and Leadership Diversity1058 Words   |  4 PagesFor your initial post to this discussion, read the articles dealing with gender and leadership diversity and respond to the following questions. 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Construction Planning and Execution

Question: Discuss about the Construction Planning and Execution. Answer: Introduction: Construction planning and execution of construction planning is the most challenging activity for the management of construction projects. Numbers of things are involved in this such as choice of technology, how work tasks are defined, estimated time for resources which are required and also for individual tasks, and identify the risk involve in different tasks. It is necessary for good construction plan that it develops after considering the budget and work schedule. Construction planning is the most difficult task that is done by the management of construction. After considering the above technical aspects that are mention above it is necessary that management also focus on various organizational decisions related to relationship between participants of project and which organization should be included in the project. Therefore, it is clear that construction planning is the base for construction project and it must be done with complete understanding of things (Project Management f or Construction, n.d.). In this report, we discuss the actions required to be taken by the project manager and action required to be taken by the contractor in case of compensation events. This report also contains the procedure for events notified by the project manager and procedure for events notified by the contractor. A part of this report contains the explanation on conditions guiding payment in the NEC 3 ECC conditions of contract, contractual standing in terms of conditions governing contractual program in the NEC 3 ECC conditions of contract and Dispute resolution methods that can be used to resolve the problem in the NEC 3 ECC conditions of contract. There is also a separate section which describes the comparison of advice given by NEC3 ECC condition of contract with condition of contracts either JCT11 SBC/Q or the FIDIC Red Book form of contract. At last, we conclude the report with brief conclusion. Compensation events: Compensation events are those events which change the cost of the project and time required to complete the project, but usually these events are not happened because of the fault of the contractor. Events which result in change of the price of the project, key dates of the projects, and completion date of project. In large number of case contractor demands more time and money to complete the project. There are some good examples of compensation events: Employers actions such as employer fail to provide access of land to contractor on time. Actions conducted by project manager such as instruction given by project manager to stop or delay the work. Actions of supervisor such as when supervisor gives instructions to contractor for searching defects in project, and no defects are found. Actions which are conducted by other people such as actions of statutory bodies and other contractors. Other events which are not in the control of any party such as whether conditions. The above mention events are mention in the clause 60.1 of NEC3 (Kingston, 2015). Actions taken by project manager in compensation events: in case if compensation event is arise because of the instructions of project manager which is related to search of defect or there are some changes in the work. In such case the first duty of project manager is to notify the contractor related to compensation event, and then instruct him to provide quotation. In case of all compensation events, contractor notifies the project manager. When contractor receive notification from project manager and also receive an instruction to submit the quotation then he submit the quotation within 3 weeks. The period of 3weeks can be extended by the project manager in an agreement. When notification is received by the project manager from the contractor he responds in no or yes. Project manager says no if: That action is the fault of contractor. Event does not occurred and not going to occur. That event does not affect the completion time of project or cost of project. Event occurred is not listed in the agreement or clause. In all their cases, except above mention cases the project manager says yes to contractor to provide a quotation. When project manager gives instruction to the contractor for providing the quotation, the project manger after discussion instruct the contractor to provide other quotations also which mention the alternative method of dealing with the event. In some cases when event is not clear then project manager state some assumptions, and if those assumptions are not right then it will be considered as another compensation event (SCE, n.d.; Hide, n.d.). Actions taken by contractor in compensation events: The next step is filing of quotation by contractor to the project manager. In NEC3 quotation deals with both compensation events that is time and money. It has a special place in the NEC3. On receipt of notification from project manager or supervisor related to any defect or other matter, then it is the duty of the contractor that he submits quotation for such notification to the project manger or supervisor. It is necessary that quotation is prepared by following the procedure stated in the contract, and when contractor submit that quotation to the project manager or contractor then he must include all the details of assessment. If compensation event has any effect on the completion date or price then quotation must include all the revised details of that program (Devonshires, n.d.). When project manager receipt the quotation then it is necessary that he respond within 2 weeks from receipt of quotation or any extended period. Reply of the project manger to the quotation must include these responses: Acceptance of quotation by project manager. Confirmation that a proposed event will not be instructed by project manager. One more notification from project manager that quotation was not prepared properly by contractor, and quotation must be submitted again. Project manager also states reason for that. A notification that project manager will assess the compensation event (CECA, n.d.). In the present case, Ministry of Health decided to construct a new university teaching hospital, and this project consist new build accommodation and the refurbishment of existing properties. This new project also has underground car park and a dedicated cycle centre and ten electric car charging points. The project was given on the basis of NEC3 ECC conditions of contract, and contractor will design the part of work as stated in the information. In this compensation event is occurred because of the fault of employer, as employer does not handle the site to the contractor on time because of which work delayed. There are some other faults from employer side as the employer does not work within the time shown on the accepted program. There are some other issues also supervisor does not reply to the queries of contractor, and he also conduct test. Therefore there are number of compensation events which cause delay in this project. This project was also delayed because of the fault of contractor as contractor does not made agreed payments to workman and also pulled them off from site which results in dispute, but these events does not consider as compensatory events because this is the fault of contractor. Conditions Guiding Payment in the NEC 3 ECC: Now, construction projects for public have special requirements related to payment. These special requirements are set up by the OGC that is Office of Government Commerce. For the successful implementation of any contract it is necessary that contract must contain fair and transparent payment practices. It is necessary for parties to working with each other in good faith and with mutual trust. On 1st January 2008 following payment commitments are set up by OGC: It is the right of the company that they receive full and clear payment on the due date. From ethical point of view it is not right that payments are delay, and holding of payments without any valid reason. It is necessary that fair payment will be decided between the contractor and client, and also throughout the complete supply chain. The process of payment must be transparent, and properly communicated to the members of supply chain that when and how much they received. Companies must consider whether it is appropriate to operate some relevant contracts on open book basis. The correct payment made by the client also represent that the work is carried out in proper manner, and products are supplied according to the contract. If client hold any amount then it must be partial, and withholding must be on valid reason that was justified according to the terms of contract. For ensuring the effective cash flow system under contract, it is necessary that contract of construction states provision related to regular payments and period of payment must not exceed more than 30 days. It is necessary to avoid the payment delay that clients and contractor must agree on the procedure related to payment at the outset of their agreements. Payment must be made through BACS transfer and will be transferred through supply chain. Procedure related to monitoring, auditing and dispute resolution must be agreed between the parties to the contract and stated in the contract (NEC3, n.d.). Procedure of payment under NEC3 Engineering and Construction Contract: When contractor get paid by the client? On each assessment date contractor calculate the amount due to the contractor. Calculation of amount due: the price for the work done till that date + any other amount that is due for payment to the contractor, and less any amount which is already paid to the contractor or retained from the contractor. Within 7 days from assessment date, project manager will certify the amount due to the contractor, and within 14 days from the assessment date the deadline for withholding must be issued to the contractor. Within 21 days from assessment date payment must be made to the contractor. In case if client does not pay the amount or send any withhold notice then in such case contractor has right to suspend the work or contractor can go for adjudication (CCC, n.d.; CCC, n.d.). Terms and conditions governing contractual program in the NEC 3 ECC: NEC3 contracts are the standard contracts, and they ensure good management of construction contracts, and also flexibility and clarity in contracts. These contracts can be used for the entire project, and they will be helpful in complete life cycle of the project. It is necessary that construction contract must contain some general clauses, and those general clauses are (NEC, n.d.): General terms- contract must include some general terms such as in case of any failure by any party in enforcement of any term, and then in such case such failure shall be considered as waiver of that term. Any waiver shall not affect the validity or enforceability of the contract. Contractors responsibilities- the employer, contractor, and project manager have a responsibilities which must be stated in the provisions of the contract, and it also stated not only contractual terms but some trust and co-operation terms also. Such terms must be defined in alphabetical orders, and some important terms are Equipment and Plant and Materials, key dates related to construction project, information related to site, etc. Time, testing and defects- in contract the completion date must be specified. It must contain provision related to period in which contractor submit the project to the client. Both starting and completion date must be set out in the contract. Starting date is necessary because from that date risk is passed to the contractor. Testing clause is required to test and inspect the work at the site by the client and other experts, and in case any defect is found then set the accountability for that defect. Compensation events- contract of construction must described the events which are considered as compensatory event in the time of construction, and also stated terms which relate to the effect of those events on completion time and key dates. It also states the events which are at employer risk and does not occur because of the fault of contractor. Payment- it is necessary that contract must define payment procedure, so that later conflicts can be avoided by the party. Payment option are mainly defined in these three key terms that is contract price, price for work done till that date, and defined cost of the project. Risk and insurance- contract also mention the risk involved in the contract, and which risk is covered by employer (NEC, n.d.; NEC, 2016). Dispute Resolution Mechanism under NEC3: In NEC3 contracts there are two approaches for resolving the dispute that is adjudication and arbitration. First stage is adjudication; if dispute is not resolved at this stage then second step is arbitration and litigation. ECC contracts provide two methods for dispute resolution that is W1 and W2. W1 is used at those contracts where Housing Grants, Construction and Regeneration Act 1996 are not applicable. W1 is the recycled version of NEC2 provision, and it mentions the right of parties related to adjudication. Whereas, W2 is usually used in UK, and this is different from W1 where any party can make referral of arbitration. The arbitrator can be decided by the parties, and his name must be named in the contract data. In case arbitrator is not mentioning in the contract or he resigned and unable to act then in such case parties can choose another arbitrator (Sheriden Gold, 2010). Comparison between NEC3 ECC and FIDIC: NEC and FIDIC are the standard form of contract, that become part of families for procuring works or consultancy services (FIDIC) and goods, works or services (NEC). In 1991 NEC was launched, and this contract is identified for the purpose of clarity, flexibility and to set good management practices (NEC, n.d.). FIDIC contract is a traditional form of contract, and used at international level, and in 2006, Palestine cabinet ratified this contract. In Gaza more than 37% Palestine use these contracts. Some main difference in these contracts is related to time, quality and cost. In NEC the project manager shall act on behalf of the employer and in FIDIC engineer act on the behalf of employer. Both the contracts have number of differences but both contracts are designed for the purpose of international use, and both have their roots in common law of jurisdiction (Besaiso, 2012). Conclusion: At last, the report is concluded that NEC3 contracts are standard family contracts, and are designed to use at international level. These contracts almost define every important aspect related to construction contract such as time, payment, compensatory events, risk, liability, etc. compensatory events are those events which change the cost of the project and time required to complete the project, but usually these events are not happened because of the fault of the contractor, and in the present case there are number of compensatory events which cause from the fault of supervisor and employer. In this report we described every important aspect of contract, and it is necessary in terms of contract that we state all the important clauses of contract in construction contract. References: Project Management for Construction. Construction Planning. Retrieved on 29th November 2016 from: https://pmbook.ce.cmu.edu/09_Construction_Planning.html. Kinston, L. (2015). Compensation Events Under NEC3. Retrieved on 29th November 2016 from: https://www.mondaq.com/x/425098/Building+Construction/Compensation+Events+Under+NEC3. SCE. construction contract and commercial consultants. Retrieved on 29th November 2016 from: https://www.stevencevans.com/nec3-compensation-events-a-practical-guide/. CECA. Compensation Event procedure and assessments under the NEC3 engineering and construction contracts. Retrieved on 29th November 2016 from: https://www.ceca.co.uk/media/96888/seminar_notes_-_386e__-_compensation_event_procedure___assessment_under_the_nec3.pdf. Hide, G. Compensation events and movement of completion date. Retrieved on 29th November 2016 from: https://gmhplanning.co.uk/wp-content/uploads/2011/10/Newsletter-47-Compensation-events-and-Completion-Date.pdf. Devonshires. CONSTRUCTION LAW UPDATE: Compensation Events under NEC3. Retrieved on 29th November 2016 from: https://www.devonshires.com/wp-content/uploads/2016/02/Compensation-Events-under-NEC3.pdf. SCE. NEC3 compensation events. Retrieved on 29th November 2016 from: https://www.stevencevans.com/wp-content/uploads/2013/02/a-practical-guide-to-compensation-events.pdf. NEC3. OGC fair payment practices for use with NEC Contracts. Retrieved on 29th November 2016 from: https://www.neccontract.com/getmedia/0ef6a62f-c520-4d57-b09a-87537cbedd77/Government-fair-payment-practices-for-NEC3-Contracts.pdf.aspx. CCC. when are payments due under nec3. Retrieved on 29th November 2016 from: https://www.contract-consultants.com/publication/CCC-publication24.pdf. CCC. Payments nec3 engineering and construction contract. Retrieved on 29th November 2016 from: https://www.contract-consultants.com/publication/CCC-publication43.pdf. NEC. NEC3 Dictionary. Retrieved on 29th November 2016 from: https://www.neccontract.com/About-NEC/NEC3-Dictionary. NEC. These notes form a brief overview of elements of ECC to assist delegates in dealing with the case studies. Retrieved on 29th November 2016 from: https://www.necelearning.com/main/materials/additional/m2/03%20Intro%20to%20ECC%20Course%20Notes.pdf. NEC. (2016). Terms and Conditions. Retrieved on 29th November 2016 from: https://www.neccontract.com/Terms-and-Conditions. Sheriden gold, (2010). NEC3 dispute resolution provisions. Retrieved on 29th November 2016 from: https://www.sheridangold.co.uk/assets/depot/files/d001_nec3_dispute_provisions_article_sg.pdf. Elliot, F. (2007). Adjudication under the NEC3. Retrieved on 29th November 2016 from: https://www.fenwickelliott.com/files/Adjudication%2021%20-%20Adjudication%20Under%20the%20NEC3.pdf. Besaiso, H. (2012). Comparing the Suitability of FIDIC and NEC Conditions of Contract in Palestine. Retrieved on 29th November 2016 from: https://www.hq-sf.org/wp-content/uploads/2015/theses/eng/Haytham-Adel-Besaiso.pdf. NEC. A comparison of NEC and FIDIC. Retrieved on 29th November 2016 from: https://www.neccontract.com/getmedia/2bd4ffb9-8e1e-4684-af86-1d913152f10d/A-comparison-of-NEC-and-FIDIC-by-Rob-Gerrard.pdf.aspx.

Slavery In Times Essays - Elections, Slavery, Democracy,

Slavery In Times Slavery! When I think of government, the first type that comes to mind is a democratic government. I am most used to it because I live in, theoretically, a democratic society. So with that, my views are based on a democratic ideal. First, the reason I think people establish governments is so that they can work together as a whole to attain a better life. One where they would not need to worry about chaos and destruction. I would assume that if these individuals established a government, in order to have a civil state, they would want no one person, or few persons, to have complete control over them. The people wouldn't voluntarily give their lives to a rulers' ideals. Hopefully, they would all know that the best ideals are the ideals of all the people brought together, in an organized fashion, to form a consensus. In a representative government, this would be done by voting for a representative that holds beliefs close to those of the people he or she is representing. In reading Rousseau's selection, I have to agree with his idea that no single person would voluntarily allow his or her life to be the property of an another. That person just might as well save themselves from years of suffering and just commit suicide. In terms of government, citizens of a state would not give up all of their freedoms at the single command of the government's wishes. What's the point of searching for a better life if the government is taking complete control of how you do it? It defeats the ideals of human nature. Those that make us strive for that better life. People still feel the need to be an individual, even when they are a part of a huge government. Of course, in today's society, we give up some freedoms to have a voice in the consensus, such as killing someone at pure will. For example, here in the United States, when the Constitution was written, we agreed to abide by its laws, even as they change through the course of time. We, as citizens of this country, agree that, as so long as we vote the laws into action, we will follow them. Theoretically, the people make the laws that they live by. This is done through their representative in government. This concept is great, but it does not always work. For instance the prohibition of alcohol in the early 1920's. Thankfully, we allow this process to be flexible. The prohibition of alcohol was later repealed. When slavery is practiced, the masters are going against the ideal of human nature that we are all responsible for our own lives. In condoning slavery, the masters are agreeing that even their own life can be the property of another. I am sure that they would not enjoy being a slave. We live in this world as the only beings that can rationalize logically. I believe that freedom is one of those human nature elements. I think that being a slave would only make you realize how important it is to have freedom. Too bad that we, who are free, take it for granted. And I think that had the masters of slaves appreciated their own freedom, they would have understood what they were doing. I hope.

Palazzo Ruccelai essays

Palazzo Ruccelai essays The Palazzo Ruccelai was one of the first works by Leon Battista Alberti. He was an Italian architect, architectural theorist, and universal genius. Albert was the most important early Renaissance architect after Filippo Brunelleschi (Gympel, 44). The "Palazzo" originated in Florence. The monumental private building is derived from "palatium." This Latin word comes from the Roman hill which Emperor Augustus and his successors lived. During the 13th and 14th centuries, many of Italian towns were destroyed during the power struggles. This explains why the exterior of the Early Renaissance palaces were dark, defensive, raw and uninvited (Gympel, 44). Construction on the Palazzo Ruccelai began somewhere between 1455 and 1460. Leon Batista Alberti designed the original Palace to have five bays, the center being where the door was located. Later on, two more bays were added by someone else (class notes 1/19/00). There are three stories on this building. Each story is equal in height and rustication is uniform. This "evenness" is what gives the Renaissance its name. Most buildings made at this time have similar attributes. Each story has its own column capital to it. The ground floor has the Tucson order, the middle floor has Alberti's own design, and the top floor has the Corinthian order. I thought in Leon Battista Alberti's treaty, The Ten Books of Architecture, I would find out what each of the column capitals meant to him, but all I could find is dimension requirements for each order. The Colosseum has similarities with the Palazzo Ruccelai also. I believe some of Alberti's ideas came from at least the columns. It has a similar placement of the columns. They both have the Tucson order on the ground story, and the Corinthian on the top story. Where the Palazzo Ruccelai has the composite though, the Colosseum has the Ionic (Kostof 207). I wish I could find what was on the inside of this building. This could ...

Business argument and ethics Essay Example | Topics and Well Written Essays - 3500 words

Business argument and ethics - Essay Example Historically in the United States, government has been wary of large corporations who appear to accumulate monopolistic powers where they control both the supply of a particular commodity as well as its price. The belief is that monopolies constrain competition and that prices are kept at an artificially high level as a result. In some instances, government has gone so far as to order these huge corporations to be spilt into smaller companies. This occurred early on with the railroads and more recently with the Bell system of telephone companies. The latest industry that finds itself in the sights of government regulators is the information technology sector in general and the Microsoft Corporation in particular. This essay examines Microsoft’s business practices and argues that the company has an unfair market advantage in violation of federal anti-trust laws. Microsoft Corporation is an international computer technology company that produces hardware and software products for computer-related devices worldwide. The company is a leader in technological innovation and excellence and for years has dominated the market for computer operating systems software. Critics of Microsoft’s business practices argue that its monopoly over essential software technologies places its competitors at an unfair disadvantage. This is particularly the case for Microsoft’s operating system software, Windows. The majority of computers sold worldwide with the exception of Apple, come with Microsoft Windows operating system installed. Microsoft also provides a number of application software programs that are compatible only with Windows. Microsoft is also the major player in the rapidly expanding and lucrative Internet market, although Google has also certainly become a legitimate competitor in the Internet environment as well. Internet Explorer was the browser of choice for several

Public Perception of Race and Crime Assignment Example | Topics and Well Written Essays - 500 words

Public Perception of Race and Crime - Assignment Example Furthermore, the research design incorporated the use of Computer Assisted Telephone Interviews (CATI). This method was effective in the random assignment of questions to the respondent. Consequently, it eliminated potential response biased information. The authors further employed a regression analysis of the responses. This was essential in determining the degree of stereotypes in relation perception on crime and policy formulation. Other research designs that could have been incorporated would have been facing to face interviews with the white and black respondents. This would have helped to clearly capture their personal attitudes on racial decisions pertaining to crime and policy formulation. Â  The research had sought to prove that the racial stereotypes applied to African-Americans influenced public opinion, especially of the majority whites’, on issues of crime policy formulation. To this end, the research employed the use of Computer Assisted Telephone Interviews to collect data. Consequently, the research findings clearly revealed that the racial stereotyping of the African Americans by whites’ played a strong role in influencing public perception of crime and punishment. In particular, whenever the crimes were violent and committed by African American. Moreover, when punitive policies are being formulated, the racial stereotypes attached to the blacks played a major in determining the severity of the punishment. Moreover, the racial stereotypes in formulating criminal policy are also fuelled by the political sentiments pertaining to the crime. Â  To this end, several implications can be drawn from these results. Foremost, the political and social environment is still pervaded by racism towards the African American population. This is evident in the formulation of criminal policies that are more punitive to the blacks in comparison to the white population.

A Study On Football Hooliganism Sociology Essay

A Study On Football Hooliganism Sociology Essay Before talking about football hooliganism, it first must be clear how this phenomenon is defined. What is football hooliganism? In the literature many definitions are given, but actually none of them really covers the whole problem, we believe. The main reason for that is that hooliganism is something that has expanded all over the world which makes it is a very complicated problem actually. Between the countries, and even within countries and clubs, there are many differences. For example: some hooligan groups are very well organised, others not; one group is more violent than the other; some violence is directly related to sport, other not, etc. So you can say that hooliganism is many-sited and worldwide, what makes it a very complex problem. Eric Dunning stated that there actually is no precise definition of football hooliganism: â€Å"it lacks legal definition, precise demarcation of membership and is used to cover a variety of actions which take place in more or less directly f ootball-related contexts† (Spaaij, 2005). We take this as our starting point in this paper, showing that the problem is very complicated and very hard to attack. To Guilianotti there are two important ‘types of football violence. Some violent behaviour can be called spontaneous, other violence is more organized. The first type, the spontaneous violence can be caused by a ‘wrong decision of the referee for example or even by a wrong â€Å"word† of someone. These are situations that couldnt be foreseen and it can lead to total chaos. It is very dangerous and it requires a fast reaction of the police. The latter type, the organised violence, may even be more dangerous and larger of size. ‘The battlefield in Beverwijk Holland is a good example of this type of violence. Two hooligan groups (Ajax and Feyenoord hooligans) met each other at an open field and fought with each other. The rest is history; one man died. Even today this event has a great impact. But this is only one example, and so many other examples can be mentioned here to illustrate the problem of well-organised hooligan fights against other groups and the pol ice. Even innocent people, like father and son, are not safe anymore in those situations. Through the years many things had changed and organisation of violent behaviour actually became easier due to the internet and mobile telephones for example. Another point is that the stadium is not the anonymous place anymore as it used to be in the past. The security had become a lot better, so it became harder to riot in the stadium itself. Rioters now find other, more anonymous places where they can still go on with their illegal activities. This makes it of course harder to control for the police. The preceding examples were just given to illustrate how difficult the phenomenon hooliganism is and how many problems it entails. The above distinction by Guilianotti (spontaneous vs. organised) is a very general one and it does not cover the whole problem according to us. Spaaij makes several efforts to give a more precise definition of football hooliganism. By trying to conceptualize the phenomenon he had to deal with several problems. Below, some of most the relevant problems are briefly described to show how difficult it is to define hooliganism. 1. In the past hooligans mainly fought against other hooligans. Actually, nowadays there are a lot of examples where hooligans attacked the police or other innocent people, like ‘normal fans. This is very dangerous of course because now nobody is safe anymore. 2. Where the violence used to be in and around the stadiums, now it more and more spread to all kind of other places like housparties, open fields and other locations that are not related to the sport. This shift in violence is probably due to the better security in and around the stadiums. So it really becomes a wider and more incontrollable problem. Like the first problem this is a very important point in this paper. 3. Football hooliganism not always means violence in the way of really attacking other people or demolishes all kinds of stuff. For al lot of so-called hooligans, group feeling is most important and violence is not a priority. To them it is all more symbolic opposition. 4. Like Guilianotti stated already, not all the incidents are well-planned. Actually there are a lot of situations where the violence was not planned at all. Like said before one single event can lead to a big riot. This is dangerous of course because of the ‘surprise element and it becomes harder to counter by the police. Many people, like the police, think that hooligan groups are always very well-organised, but this is definitely not always the case. The rate of organisation differs from country to country and even within countries and clubs there are many differences. Some groups have a real hierarchical (criminal) organisation, like in the army, while other groups just fight with almost no organisation at all. This is another point what makes it so difficult to define hooliganism. Although, there is no precise definition of football hooliganism; almost everybody acknowledge the problem of the violence that seems to go hand in hand with this specific group of football ‘fans. The last thirty years it really became a sociological problem en many efforts had been made to attack this so-called ‘English decease. A lot of different prevention strategies led to a decrease of violent behaviour in and around the stadiums in many countries all over the world. But despite all the efforts that are made, hooliganism remains a disturbing problem (Spaaij, 2001). The next chapter describes some good working prevention strategies to counteract hooliganism. How to prevent football hooliganism? As mentioned in the introduction, football hooliganism is a very old phenomenon. â€Å"Even in the 1870s, when the game got its modern form in England, there was violent behaviour of spectators† (Dunning, 1986). But the last thirty, forty years the problems did become bigger and bigger and the phenomenon became a real societal problem. Something had to change and the authorities did a lot to prevent the violence that comes with hooliganism. But what is a good strategy to prevent this complex problem? First, it must be clear that there is not a single strategy to fight hooliganism. In the previous chapter it was stated that there are a lot of differences between groups in every country and city. Every group has its own characteristics which entails different problems. So one has to look at the specific problems causes by an group and the Spaaij gives some good working strategies It is also important that there is an international and national exchange of prevention strategies. Good-working strategies in one city or nation could then be implemented in another city or nation for example. So, successful prevention of football hooliganism requires cooperation between a variety of institutions and agents, and also between football clubs and fan clubs. Their commitment is very important and the task is to continue the development to make even better strategies for the future . Over the years many successful strategies are developed to prevent football violence. Like is said before these strategies came from all over the world thanks to the great effort of many relevant authorities. Now some four forms of prevention are discussed briefly. First, the police forces are discussed. There has been a change in policing football matches. It used to be very aggressive just responding to the problems as they arise. Thats why the police got a bad name, especially in Southern and Eastern Europe and in Latin America (Frosdick, Holford and Sidney, 1999). They used too much violence according to a lot of people and this had a counterproductive effect. So something had to change. The last ten years the policing changed into more proactive and intelligence-led, especially in Britain, The Netherlands, Germany and Belgium. This so called proactive and intelligence-led policing is advanced and appears to be very successful in these countries. Special police officers for examp le are closely monitoring the activities of hooligan groups. So the police forces are now trying really hard to prevent violence, whereas the old way of policing actually was just a reaction to the violence. Nevertheless, significant variations exist in the investments made in intelligence-led policing in different countries and in different localities (Spaaij, 2005). Second, fan projects as a prevention strategy. An important aim of a fan club is to improve the relationship between the hooligans and the club. However, it is difficult to determine the preventative effects of fan clubs. Evidence suggests that certain projects have improved the relationship between hooligans, clubs, youth workers and the police, and have prevented young fans from identifying with football hooliganism (Bieleman, De Jong, Naayer and Nijboer, 2004). But there are also hooligan groups who dont want to be in a fan club. They want to distinguish themselves from regular fans and they will go on with their ho oligan activities. Third, the football club itself has a major role in preventing hooliganism. For a very long time clubs where trying to please the hooligans, by giving them free tickets and an own territory within the stadium for example, because they were afraid of reprisals. All this favours only led to expansion of the group and that couldnt have been the intention of the clubs (Spaaij and Vià ±as, 1996). So clubs have to make a statement, they have to take action, just like FC Barcelona did with their zero-tolerance policy for example. Fourth, and finally, real football fans are important in the prevention of hooliganism. With their supporters organizations they can achieve a lot of good for the sport. They are against racism and violence and they cooperate with many institutes. Many of these supporters organizations contribute to conferences, debates or educational programmes promoting the positive social functions of sport. This is a very good thing, especially for young fans, because they are learning that violence is a bad thing and that this is not good for the sport. References: Dunning, Eric, Murphy, Patrick Williams, John: â€Å"Spectator Violence at Football Matches: Towards a Sociological Eplanation†, 1986 Dunning, Eric: â€Å"Towards a sociological understanding of football hooliganism as a world phenomenon†, 2000 Giulianotti, Richard: â€Å"A different kind of carnival†, 2001 Spaaij, Ramon: â€Å"The prevention of football hooliganism: a transnational perspective†, 2005

Brian Clarks Play Whose Life Is It Anyway? Essay -- Brian Clark Whose

Brian Clark's Play "Whose Life Is It Anyway?" The play "Whose Life Is It Anyway" by Brian Clark was made into a stage play and film. The television play was made in 1972 and the stage plays in 1978. In the play,† written by Brian Clarke, the intense argument of committing Voluntary Euthanasia is discussed. The main point of the play, Ken Harrison, once an imaginative, devoted sculptor, is involved in a terrible car crash. Following a long operation, Ken is paralyzed from the neck down; he is informed that he may never be able to move his body ever again. Brian Clark in a similar way uses different characters to show a different view of Ken's possibilities. Dr. Emerson thinks Ken's life is precious and should be kept at any cost, no matter what Ken's wishes are. Dr. Scott also wants Ken to stay alive but values Ken's opinion and thoughts more than Dr. Emerson, she thinks sympathy a lot. Dr. Travers shows a view on Ken's problem, he sees it the same way as Dr. Emerson, and thinks of it as a mental patient wanting to commit suicide, and is happy to back up Dr. Emerson in a court of law, and also sees it as doing a favor for Dr. Emerson, no matter what he finds whilst talking to Ken. In order to make the play more dramatic the debate further Brian Clark uses a dramatic point. The point is that before Ken suffered his accident he was happy and wanted to go on living, but at that time people listened to him and he could have argued a point and people would have listened to it. Now that Ken finds himself in a situation where he doesn't want to go on living, few people want to listen to him: 'Only my brain functions unimpaired but even that is futile because I can't act on any conclusions it comes to.... ...uthanasia is becoming his decision. The lights out at the end of the play represents kens decision to follow euthanasia if the light would have been left on then he may have decided to live. Euthanasia should not be made legal because it will be easily misused unnecessarily. Euthanasia would not only be for people who are "terminally ill", it will become non-voluntary. I also believe that Euthanasia is a rejection of the importance and value of human life. Emotional and psychological pressures could become overpowering for depressed or dependent people. If the choice of euthanasia is considered as good as a decision to receive care, loads of people will feel guilty for not choosing death. Financial considerations, added to the concern about being a burden could serve as powerful forces that would lead a person to "choose" euthanasia or assisted suicide.

Ethnic Autobiography About Self

A Rasin in the Sun Act II, Scene I Later on the same Saturday, Beneatha emerges from her room cloaked in the Nigerian clothes that Asagai has brought her. She dances around the apartment, claiming to be performing a tribal dance while shouting â€Å"OCOMOGOSIAY† and singing. Ruth finds Beneatha’s pageantry silly and questions her about it. Meanwhile, Walter returns home drunk. He sees Beneatha all dressed up and acts out some made-up tribal rituals with her, at one point standing on a table and pronouncing himself â€Å"Flaming Spear. † Ruth looks on wearily. George Murchison arrives to pick up Beneatha.Beneatha removes her headdress to reveal that she has cut off most of her hair, leaving only an unstraightened afro. Everyone is shocked, amazed, and slightly disappointed with Beneatha, prompting a fierce discussion between Beneatha and George about the importance of their African heritage. Beneatha goes to change for the theater, and Walter talks to George about business plans. George does not seem interested. Walter then becomes belligerent as he makes fun of George’s white shoes. Embarrassed, Ruth explains that the white shoes are part of the â€Å"college style. George obviously looks down on Walter—calling him â€Å"Prometheus†Ã¢â‚¬â€and Walter gets even angrier at him. George and Beneatha finally leave, and Ruth and Walter then begin to fight about Walter going out, spending money, and interacting with people like Willy Harris. They do begin to make up, though, by acknowledging that a great distance has grown between them. Mama comes home and announces that she has put a down payment on a house with some of the insurance money. Ruth is elated to hear this news because she too dreams of moving out of their current apartment and into a more respectable home.Meanwhile, Walter is noticeably upset because he wants to put all the money into the liquor store venture. They all become worried when they hear that the hous e is in Clybourne Park, an entirely white neighborhood. Mama asks for their understanding—it was the only house that they could afford. She feels she needs to buy the house to hold the family together. Ruth regains her pleasure and rejoices, but Walter feels betrayed, his dream swept under the table. Walter makes Mama feel guilty, saying that she has crushed his dream. He goes quickly to his bedroom, and Mama remains sitting and worrying.Act II, Scenes II On a Friday night a few weeks later, Beneatha and George return from a date. The Youngers’ apartment is full of moving boxes. George wants to kiss Beneatha, but she does not want to kiss. Rather, she wants to engage George in a conversation about the plight of African-Americans. It seems that George wants to marry a â€Å"nice . . . simple . . . sophisticated girl. † Mama comes in as Beneatha kicks him out. Mama asks if she had a good time with George, and Beneatha tells her that George is a â€Å"fool. † Mama replies, â€Å"I guess you better not waste your time with no fools. Beneatha appreciates her mother’s support. Mrs. Johnson—the Youngers’ neighbor—visits. Mama and Ruth offer her food and drink, and she gladly accepts. She has come to visit to tell them about a black family who has been bombed out of their home in a white neighborhood. She is generally insensitive and unable to speak in a civil manner. She predicts that the Youngers will also be scared out of the all-white neighborhood once they move in and insults much of the family by calling them a â€Å"proud-acting bunch of colored folks. † She then quotes Booker T. Washington, a famous African-American thinker and assimilationist.A frustrated and angered Mama retaliates by calling him a â€Å"fool. † Mrs. Johnson leaves the apartment. Walter’s boss calls, telling Ruth that Walter has not been to work in three days. Walter explains that he has been wandering all day (oft en way into the country) and drinking all night (at a bar with a jazz duo that he loves). He says that he feels depressed, despondent, and useless as the man of the family. He feels that his job is no better than a slave’s job. Mama feels guilty for his unhappiness and tells him that she has never done anything to hurt her children.She gives him the remaining $6,500 of the insurance money, telling him to deposit $3,000 for Beneatha’s education and to keep the last $3,500. With this money, Mama says, Walter should become—and should act like he has become—the head of the family. Walter suddenly becomes more confident and energized. He talks to Travis about his plans, saying that he is going to â€Å"make a transaction† that will make them rich. Walter’s excitement builds as he describes his dream of their future house and cars, as well as Travis’s potential college education.

Joseph Cornell Box

Sample details Pages: 34 Words: 10138 Downloads: 7 Date added: 2017/06/26 Category Statistics Essay Did you like this example? Introduction My dissertation explores the power of engagement exerted on the viewer by the boxed constructions of Joseph Cornell. These boxes have fascinated me for many years, giving me an irresistible urge to satisfy my curiosity. I feel compelled to respond to the invitation to look into each boxed frame, and I am lured into the world within Cornells boxes. Don’t waste time! Our writers will create an original "Joseph Cornell Box | Arts Dissertation" essay for you Create order When I look into a Cornell box it is like seeing things again, but for the first time. I am forced to interact, to reassess what I see, yet I do so willingly. The lure feels like magic. I have chosen this subject for my dissertation because I am intent on discovering where the power in Cornells boxes originates. Two basic questions arise about the power of curiosity that Cornells boxes evoke in the viewer: does the power come from the box, the device that Cornell used, or does the power come from what is in the box? What part does the viewer play in the equation? These are the main questions in my mind as I begin this study. I am also curious to discover other artists who have used the device of the box to contain their work, as I myself have done, and so I will look at a selection of other artists who frame their work in a box, Betye Saar, Mariko Kusumoto, and Joseph Bennett. I will compare the motivation and intention of these artists, and look at the nature of the message that their work delivers. By looking at the work of these artists in comparison with the work of Joseph Cornell, I hope to find answers to my questions. I will explore these issues in five chapters. In order to find out more about the power that comes from Cornells boxes, I believe that it is essential to look closely at the mind behind the work. The first chapter will look at Cornells formative years, and I will offer my view of the gradual coming together of seven particular circumstances in his life. The next will consider the effect of these special circumstances on Cornells work, seeking to identify the layers of meaning that Cornell displays in his boxes. I will look at the power of the box as a containing device in chapter three, and will consider the effects that it creates. The fourth chapter will look at three other artists who have used the box as a device for containing their work. I will identify the intentions, the motivation, the content, and the message of these artists. My concluding chapter will draw together all the main threads of the enquiry, and will present the results. All questions will be answered, and I will summarise the findings. I have drawn my research from a variety of sources, electronic as well as published, from interviews, CD and DVDs, from my visits to galleries and exhibitions, and from correspondence. Chapter 1: The Mind behind the Boxed Constructions: Seven Phases. This chapter sets the foundation for understanding more about the power that comes from Cornells boxes. In order to discover the mind behind the work, I will examine the significant aspects of Cornells life, highlighting the particular circumstances that have shaped his ideas, and I will set this in the context of his time. It is not within the scope of this study to describe Cornells life in minute detail, but nonetheless I consider it essential to look carefully at his formative childhood experiences. I will show that these experiences have a direct bearing on the enquiry, agreeing with Arthur Danto that:- The life and art are reciprocal in that it is hard to imagine Cornells art made by someone with a life greatly different from his. This makes biography unusually relevant to critical appreciation in his case, one of the rare examples in which someones art is almost a transcription of lived experiencetransfigured, to be sure, by a kind of magic that biography would have no way of accounting for. Should it bet in Italic? (Little Boxes the cloistered life and fantastic art of Joseph Cornell. By Arthur Danto) page, book details? Born in 1903, into an artistic and prosperous family in Nyack, New York, Joseph Cornell enjoyed a close-knit, affectionate family life. There were servants and nurse maids to help run an idyllic home life for the Cornell family, in a stylish area on the edge of the Hudson River. Josephs energetic young parents, of Dutch origin, were musical and artistic. His well-educated mother had planned to become a kindergarten teacher before marriage, she wrote film scripts as a diversion, was an avid reader, and a pianist. Her husband was a textile designer, with a hobby of carving wooden toys and making furniture. (McShine, 1990: 92) The impressionable Joseph would have absorbed much from this rich, artistic, and secure atmosphere. He was the first of four children: two sisters, Elizabeth and Helen, followed in the next two years, and then a brother, Robert, who arrived when Joseph was six. Robert, who was later diagnosed with cerebral palsy, was to become a central part of Josephs life. These early days would later be recalled with affection and nostalgia by Joseph, who particularly remembered family holidays, trips to nearby Coney Island, the penny arcades, theatre visits, vaudeville shows, seeing Houdini at the Hippodrome, museum visits, family celebrations, listening to music with the family at home on Sundays, and numerous other happy family scenes. Like his mother, young Joseph was an avid and inquisitive reader, enjoying fairy stories, the tales of Grimm and Hans Anderson, poetry, essays, and information books on a wide range of subjects. In the next chapter I will show how these early experiences, the first phase in the journey of the artist, have strong echoes in Cornells work. Josephs world was badly disrupted at the age of thirteen when his father died of leukaemia. This must have been a horrific nightmare for Joseph, for as well as the grief and ongoing feelings of loss, his mother was soon compelled to relocate with her young family, to a vastly different and reduced lifestyle. Five months later, Joseph became a scholarship boarder at Phillips Academy in Andover, Massachusetts, with yet another massive emotional adjustment to cope with. His curriculum choices were biased towards science yet also included four languages and literature. Records indicate that Joseph was nervous, sensitive and he experienced nightmares and stomach ailments, which may well be attributed to the feelings of loneliness and loss that he was forced to bear. His headmaster suggested that Joseph should repeat a year since he needed increased maturity, but he left after four years and did not manage to gain his diploma. There can be no doubt that Joseph retreated into an internal world at this time to escape from his torments, to a spiritual place that would become more and more real to him. Already a strong duality of feeling had set in, an inner spiritual world that was quite separate from the physical earthbound world. These lonesome experiences, in contrast to Josephs earlier happiness, set the foundation for the art that was to follow. I see this period as the second significant phase in the artists development. Joseph left school in 1921 and took on the responsibility of supporting the family, and also of caring for Robert, whom he adored. Being extremely shy, Joseph did not enjoy his first post as a textile salesman in Lower Manhattan, the place of wondrous amusements (ref)(little blue book?). (Schaffner, 2003: page) However, the city life seems to have been the catalyst to his development as an artist. Between appointments, Joseph could visit bookstores and galleries, or sit in cafeterias just thinking, reading, watching, and jotting down his many ideas. All forms of art and knowledge captured Josephs imagination, particularly ballet, literature, theatre, science, art, astronomy, history, cinema, and almost everything French. (McShine, 1990: 96) His multifaceted curiosity was innate, Hartigan writes. (artblogbybob.blogspot.com) Here was the third phase in Cornells preparation for artistic expression, Josephs introduction into the rich artistic life of Manhattan. Joseph Cornell has been described as an extraordinary artist yet he had no formal instruction in art. How could this be? Some clues from Josephs early years have already been identified, and now another indication emerges, for it was during these years, while working in Manhattan, that Joseph started his legendary collecting of ephemera, prints, books, postcards, records, calendars, photographs, and found objects and items from thrift shops. At the same time, his interest in theatre, film, music, art, dance, and especially the movies, took off. Joseph had immersed himself in every possible cultural experience that he could afford, and had become familiar with the contemporary American art scene. (McShine, 1990: 96) I see this period of avid collecting as the fourth phase, leading Cornell onwards to his unique artistic and poetic expression. In the mid 1920s, Joseph was introduced to Christian Science. Part of the appeal to him was its belief in the healing power of goodness, which later cured his own stomach problems. Josephs enthusiasm as a new and devout member caused his sister, Elizabeth, to convert, and she later remarked that it was Christian Science that led to Josephs striking art work. (Hartigan, Hopps, Vine, Lehrman, 2003: 37) Richard Vine describes the central belief of harmony and completeness in Christian Science as a vital link to Cornells work, which was about to make its entrance. (Hartigan, Hopps, Vine, Lehrman, 2003: 38) Mary Baker Eddy, Discoverer and Founder of Christian Science, stated that This scientific sense of being, forsaking matter for spirit, by no means suggests mans absorption into Deity and the loss of identity, but confers upon man enlarged individuality, a wider sphere of thought and action, a more expansive love, a higher and more permanent peace. (McShine, 1990: 97) Joseph was a devout member of the Christian Science movement until the end of his life, which required daily prayer and meditation, lecture and church attendance, and a belief in the healing power of God. This became an integral part of Cornells life, extending his interest into metaphysical thoughts and the world beyond. An element of Christian Science belief is to uplift others, to emphasise the completeness of Gods plan. The idea of unity is an abiding element of Cornells work, and I see this as a crucial fifth stage in his awakening, to inspire others to pursue uplifting voyages into the imagination. (https://www.pem.org) In May 1929, the family moved again, buying the home where Joseph, his mother and brother would live for the rest of their lives. It was fittingly referred to as a small frame house in Utopia Parkway, Flushing, the Queens area of New York. Soon after 1930, both of Cornells sisters married, and the next year, as the Depression set in, Joseph was one of the fifteen million people to lose his job. Was this was a lucky break for Cornell, who now had time on his hands? It is possible that he started making his early collages at this time, but there is no way of knowing. The period of unemployment could be seen as a sixth stage of opportunity, for now Cornell had time to further explore Manhattan, Brooklyn, and Long Island, with its galleries and museums, his beloved sanctuary and retreat of infinite pleasures. (https://artblogbybob.blogspot.com) Although New Yorks art scene did not have many galleries exhibiting modern art during the 1920s, when Paris was the fashionable art capital, the famous Julien Levy Gallery opened in November 1931. It very soon became the headquarters for Surrealism in America and it was here that Cornell first discovered Surrealist art and literature. A short time after his first memorable visit, Cornell returned to the gallery with some of his own work, early montages made from illustrations that were scissored out of nineteenth century books. Levy was thrilled and accepted Cornells work straightaway for the forthcoming exhibition, Surrealisme, in January 1932. This was a life-changing event for Cornell, and could be seen as the seventh phase, his launch as a young artist. (McShine,1990: 99) ..his is a slow process, a gradual accumulation of artistry mirroring his gradual accumulation of artistic material. (htpp://www.artblogbybob.blogspot.com) The artistic material that Joseph was accumulating came from a variety of sources. After the First World War, theatre, art, exhibition, and cinema were all popular distractions. The silent film industry was very popular in New York City with the first talking picture premiered in Broadway in 1926. There was great enthusiasm for the new technology cars, air travel, and the telephone. Cornells intense admiration of the French symbolist poet, Stephane Mallarme, and his growing love for the music of Claude Debussy, ranked highly among other influences. Both these artists, in their own field, attempted to catch the fleeting moment in word, sound, or image, and this would be soon be Cornells quest, as the next chapter will show. This chapter has looked at Cornells formative years, and I have interpreted Cornells life up to this point as a seven phase journey, a route where unique elements are gathering power together, soon to find expression. The next chapter will show how the memories, experiences and ideas of Cornell come together in his innovative boxed constructions. (1712 including quotes) Chapter 2: There is no Impression without Reflection This chapter will identify the particular way that Cornell expressed his memories, experiences and ideas in his boxed constructions. The title of this chapter is taken from a quote about personality types. It suggests: Introverts find energy in the inner world of ideas, concepts, and abstractions. They can be sociable but need quiet to recharge their batteries. Introverts want to understand the world. Introverts are concentrators and reflective thinkers. For the introvert, there is no impression without reflection. (www.masterteacherprogram.com) This appears to exactly describe Cornell, a shy and reflective person from childhood onwards. Although he did not enjoy this description of himself, all accounts of his lifestyle declare it to be accurate. Introverts want to develop frameworks that integrate or connect the subject matter. To an introvert, disconnected chunks are not knowledge, merely information. Knowledge means interconnecting material and seeing the big picture. (www.masterteacherprogram.com) I believe that the seven particular conditions I identified in chapter one, magnified by Cornells introspective personality, produced his reflective and metaphysical view of the world. This is not to say that the seven conditions in themselves are unique. What is unique, I believe, is the combination, the foundation, the context, and the particular sensibility of Joseph Cornell, that caused the seven circumstances to lead to his unique artistic expression. His memories, experiences and ideas intermingled in his inner world, bringing a new clearer understanding of existence, that everything was connected. New associations were formed with richer deeper meanings and symbols, and a transformation occurred. Using a variety of objects from his personal vocabulary of symbols, Cornell constructed his boxes. His work became a fusion of art, literature, poetry, sculpture, science, theatre, cinema, dance, wonder, and more. All of these threads combined to form a new medium of poetic imagery. His boxes contain fragments of what he sees as perfect in the spiritual sense, reassembled and purified to become physical memorials for his subjects. The first Cornell box that I saw was Planet Set, Tte Etoile, Giuditta Pasta (ddicace) 1950 at the Tate Modern in London. It was displayed at waist height in a large cabinet painted in bright white paint and covered with a clear glass panel. From the moment I entered the room I felt drawn to the work. It really was quite an emotional experience for me. I scarcely noticed the other art works surrounding it, such was the lure of the box. The power was even greater than I had imagined with its mysterious and poetic associations. The display caption describes the work: Giuditta Pasta, a nineteenth-century Italian opera singer. Cornell idolised a number of almost-forgotten stars of the ballet and opera, who epitomised for him the ideals of the Romantic era. The box includes astronomical charts and two balls balanced on rods, which suggest planets orbiting the sun. This astronomical theme may relate to a contemporary account, which Cornell kept among his cuttings, in which Pastas voice is described as evoking the beauty of the night sky. (https://www.tate.org.uk) Pastas voice was described by her biographer, Henry Pleasants, as having the ability to produce a kind of resonant and magnetic vibration, which, through some still unexplained combination of physical phenomena, exercises an instantaneous and hypnotic effect upon the soul of the spectator. ( Quoted in Five Centuries of Women Singers, 2005, Greenwood Publishing Group, By Isabelle Putnam Emerson p 114 ) The hypnotic effect upon the soul that Pastas voice induced is echoed in the hypnotic effect upon the soul that Cornells box induced in me at the Tate, London. Viewing the dreamlike arrangements of objects in Cornells boxes, it is easy to understand how his work came to be associated with Surrealism, the art of the absurd, with its links to mixing the weird and the wonderful, dream and reality, the unconscious, and the uncanny, in a shocking sort of way. Surrealism was deeply influenced by Sigmund Freuds theories of the unconscious. For the Surrealists the dream was a source of pure imagination, an expression of the marvellous and the unexpected. (https://cdhi.mala.bc.ca/jengine/index.htm) Although Cornell was inspired by the New York Surrealists, exhibited with them, and used the same sort of materials and ideas, Cornells work developed very differently. As I have shown, Cornells life was sharply focused on eternity, infinity, and another spiritual world rather than anything reckless and earth-bound. This box, a tribute to Lauren Bacall, is based on the penny arcade games that Joseph loved as a child. Many of Cornells favourite associations can be identified. There is the Manhattan skyline and the game element: a wooden ball hurtles through the box, flicking past Bacalls face, like a snippet of flickering film. As it rattles past, the viewers attention is drawn towards a snapshot review of Bacall at earlier stages of her life, perhaps signifying that film captures our childlike imagination. Bacall seems trapped in her childhood and her innocence behind the thick blue glass. Cornell was infatuated with Lauren Bacall and her looks, and, says Schaffner, reminded him of a Renaissance painting by Botticelli. (Schaffner, 2003: 95) Cornells silent fascination with a series of women is another recurring theme in his work. This particular box is based on an afternoon at the movies. Cornell saw the film, To Have and Have Not, many more times and made copious notes that he would use later. In his personal notes he wrote: the penny arcade symbolizes the whole of the city in its nocturnal illumination a sense of awe splendour overriding (its) violence in darkness. (Tashjian, 1992: 122) The Bacall Box is interactive and can be played as a game but it is silent, perhaps a reminder of the early movies. Cornell describes it as a machine reminiscent of the early peep show boxes worked with a coin by plungers with an endless variety of contraptions. (fullstops before or after .?) (Tashjian, 1992: 125) There are many layers of meaning and loaded associations in Cornells boxed constructions, generally reflecting back to his experiences. Many of his favourite themes appear in each box in one way or another his nostalgia for childhood, his reverence for life, his idealisation of women, his encyclopaedic knowledge, his fascination with astronomy, his love of the expressive arts, his devotion to his brother, his familiarity with Manhattan, and his passion for French culture, all of these elements bound together and transformed by his beliefs about the nature of life and of infinity. I believe that the unifying factor in Cornells work is his yearning to keep his memories fully present and alive. It is vitally important for him to revisit his cherished experiences and revel in the delight that they originally caused. Perhaps each box contained a vivid dream, an essential treasure, a piece of information, a remembered conversation, or a vital truth. Perhaps revisiting the work refreshed Cornells energy and insight and his relationship with his subject. I suspect that it is all of these. By capturing a fleeting thought, a memory, an idea, a portrait, or a fragment of his imagination, Cornell expanded the two dimensions of a traditional frame into something greater to contain his whole experience. Somehow, Joseph Cornell found a way to combine all these aspects into one medium, and he invented his novel frame. The box construction was Joseph Cornells innovation. He generally made the boxes as gifts for particular individuals, people who had made an impact on him, sometimes people he had never met or who were dead. The memories were very much alive to him, however, in the works created around his subjects. There is a strong aspect of entertainment in Cornells boxes. Infused with a childlike sense of wonder and fantasy, he retained his ability to see the world through the eyes of a child. Edward Skip Batcheller, a great nephew of Josephs, offers valuable insight into the Cornell home that he remembers visiting as a boy. He describes Cornell as a benign eccentric man who lived timelessly, and says that he was very spiritual, and often seemed to be in another world. Cornell would take naps as he needed, living and working through day and night with no regard for the clock. Above all, Skip says, Josephs brother, Robert, was the primary source of his inspiration. Joseph took the responsibility of amusing and entertaining his brother very seriously, as his notes show. The two brothers would sometimes work alongside each other on constructions, and playfulness or amusement was a vital ingredient. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Skip says that the Cornell house was cluttered with art, piled high with saved publications, jottings and notebooks. It was like a laboratory for boxes they were everywhere, the garage, the yard, his sisters homes, and in their sheds. I find it significant that Skip describes Cornells boxes as always being on his mind. Like special friends, it appears that Cornell needed to interact with his boxes, to refer to them as if they could communicate back to him, in a shared dialogue from another world. This helps me understand why Cornell sometimes asked for a box to be returned, as if he were going back to add an afterthought to a conversation or to include a newly discovered aspect of meaning that had since occurred to him. Because he had compiled so much information in his dossiers and collections and had worked on ideas and images long before commencing the work, Joseph was already deeply immersed in the world and ideas of his subjects. I imagine that the boxes were like meeting places for the intimate memories he had shared with his subjects, in a spiritual sense. To him, the immortalised celebrity of each box was somehow still alive and living in the miniature world that Joseph had constructed for his chosen star. Yet, despite the great benefits of the box device that Cornell invented to contain his poetic expression, he also recorded frustration with its form. Even that expanded frame was not always sufficient to contain all the threads of meaning that he wanted to convey. The disappointment was expressed as (an) intense longing to get into the boxes this overflowing, a richness and poetry felt when working with the boxes but which has often been completely extraneous in the final product. (Caws, 1993: 188-194) ( page no.?) (CAWS, M, Ed., 1993, Joseph Cornells Theater of the Mind: Selected Diaries, Letters, and Files, New York, Thames Hudson, 188-194.)/ Cornell placed great importance on dreams. Richard Feigan, an art dealer who knew Cornell well, described him as being on another planet. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Could he mean hypnagogic, a word sometimes used in regard to Cornells visionary work, or is Cornell communicating as in a whispered prayer, transformed or transported onto a different spiritual plane? The definition of hypnagogia helps us to understand this state: An individual may appear to be fully awake, but has brain waves indicating that the individual is technically sleeping. Also, the Individual may be completely aware of their state, which enables lucid dreamers to enter the dream state consciously directly from the waking state. (https://www.wikipedia.org) Cornells urge to download his feelings into his boxed constructions suggest that he had special links set up between his imagination and the unseen world, as if engaged in urgent and ongoing conversations. Leila Hadley Luce, interviewed on this subject, says He travelled in his mind. He encompassed places. He absorbed them. Its like being in a dream world, but very, very real. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) Walter Hopper, a respected American artist, describes Cornells work as sublime, saying that something very special and transcendent was going on here. (Hartigan, L.R., (2003) The Magical Worlds of Joseph Cornell [CDROM] Thames Hudson, New York) (correct form of referencing?) This chapter has acknowledged the huge power evoked by Cornells boxed work. I have shown that great power arises from Cornells special way of communicating his experiences, his memories, his ideas and his dreams. His work is visionary, and has a timeless quality, taking no account of whether a particular person is alive or dead for it made no difference to his appreciation of their relationship with him. Cornells unique ability to connect different branches of knowledge into one focused creation prompted the invention of his new device, the box, to contain his multi-dimensional work. The next chapter will look more closely at the device of the box. (2097 inc. quotes) Chapter 3: The Power of the Box: Free-Form Contemplation This chapter will look at the power of the box as a containing device, and will consider the effects that it creates. I will show how the box frame can separate the artists work from its surroundings into an experience within its own world. I will try to establish whether the framing box has a bearing on the way the viewer focuses upon it in a spirit of curiosity. This will take us to consider the nature of curiosity. ..by virtue of its very presence the box makes an announcement: I contain something valuable. In concealing, the box reveals. (Gunter, 2004: 6) The box, as opposed to a two dimensional frame, encloses space for storing, protecting or displaying one or more objects. Tony Lydgate calls this a contradiction, in the sense that the box reveals, by hiding. Straight away, the nature of the box sets up the enquiry, What is in here? Who has put this in here, and why? A box can usually be opened and closed, and it has depth and space, whereas a frame shows everything at once, the flat or textured visual material that it is designed to enhance and border. Everything within a two-dimensional frame is immediately evident: there are no internal walls to inspect, no surprising variation in what it may contain, no mysterious recesses to discover, no drawers to open, no room for sculpture or for a third dimension. The frame is fitting for a standard two dimensional image, but the box is innovative and exciting with its third dimension and its opportunity for interaction. It introduces novelty and is very different and separate. Curiosity is evoked by the viewer wanting to know and check what is contained within. An open question is set up in the mind, and a range of associations present themselves in the imagination. The box can instantly evoke curiosity. Containing art in a boxed frame offers the artist extra freedom, both aesthetic and creative. The box has more surfaces that can be decorated, both inside and out, the space can be used to contain fascinating three-dimensional scenes, it can be left empty, or filled with historic, nostalgic, personal, or other types of material. The artist has freedom to create intrigue and mystery by the arrangement of his objects within the space of the four walls, and the effect can be altered by using some or all of the planes. Two dimensional framed art in a gallery might be affected by neighbouring work, whereas work in a box invites the viewer to come close, excluding all neighbours while privately inspecting and interacting with its contents. There may be a sense of the voyeur peering into a private window, adding excitement to what is perceived in the box. Since Cornell, many artists have used the box form in an individual way to encase their artwork. I will look at some of this work in the next chapter. Throughout history, boxes have been a basic and necessary part of civilization. Ornate boxes were used by early man for carrying and storing a variety of valued items. In ancient Egypt, the dead were buried in highly decorated boxes. Ancient Egyptian boxes have been found containing cosmetics, jewellery, writing tools, and even slippers. One, made for an Egyptian lady in 1800 BC, was decorated with gold fittings and carnelian stones. Precious boxes are still crafted today. In the 16th and 17th centuries, Cabinets of Curiosities held strange and wonderful collections that had been gathered by explorers, the rich and the noble. Initially these were elaborate rooms where an assortment of exotic items was displayed, to inspire awe and to evoke wonder and curiosity. The collections were categorised according to the owners wishes, and reflected the collectors personal ideas of how to impose order on objects from the natural world. In time, these diverse collections developed into actual cabinets, and later the contents became the precious items now in our museums, which still inspire wonder, awe, and curiosity today. The adult Cornell vividly remembered his fascination with collections and exhibits in polished wooden cases and frames as a boy. Years later he amassed his own personal Wunderkammer in the cellar of his home in Utopia Parkway, a vast collection of objects, dossiers of information, jottings and notebooks, that chronicled his feelings and ideas. To appreciate the sense of awe and wonder that vast collections inspire, and in preparation for this study, I visited the Ashmolean Museum in Oxford, which was opened in 1683, the nearby Pitt Rivers Museum, The British Museum in London, which opened in 1759, and The Natural History Museum in Tring, Buckinghamshire. All buildings house remarkable collections that, once private, have now been gifted to the nation. The vast number of collections of so many species and artefacts evoked a deep sense of wonder in me, and I noticed people of all ages displaying intense curiosity and amazement as they gazed at the exhibits. Cornell savoured his childhood sense of awe and wonder all through his life and we see reminiscences of these nostalgic memories in many of his boxed constructions. Joseph Cornell, Untitled (a Butterfly Habitat), 1940 Religious groups use special and decorative boxes to contain their most holy objects. Catholic churches have a box containing relics of a particular saint built into the altar, known as the sepulcrum. A locked tabernacle on the altar contains the sanctified host. An air of awe, mystery, and reverence is linked to these special boxes. Our most treasured possessions, jewels, money, curios and keepsakes, are often protected in special boxes. Boxes with hidden compartments were very popular in Victorian times, fuelling the feel of mystery and concealment. It isnt just the box that can evoke feelings of excitement and curiosity but the associations that have been attached to it in earlier years. Consequently, once an animated attachment has been fixed to a box or a particular container, the magic might last indefinitely. Again in Victorian times, we learn of the Penny Arcades, the mechanical fun box machines: Curious, quaint, beautiful and bizarre: devious mechanical marvels of mahogany, oak, iron and brass occupied side shows, bars, guest houses, arcades and piers from before the turn of the century. Their attraction is broad. Diverse in form and theme; a whole social milieu is captured in lively period images and pop-art graphics, giving both historic and aesthetic appeal. (https://www.pennymachines.co.uk) After putting a penny in the slot, there was a handle to pull, a ball to shoot, or a scene to watch, and the chance to win another go or have your penny returned. The fun was in operating the machine with its many and various ingenious functions rather than winning the prize. Joseph Cornell used his memories of these fun slot machines, adding a layer of nostalgia, chance, or history to his tribute. His penny arcade pieces, like the original Victorian machines, were designed to be used as a game, adding a visual and a sound quality. It is highly likely that Cornell devised his penny arcade pieces to amuse his brother, Robert, with whom he shared a very close bond. In mythology, the popular tale of Pandoras Box suggests intrigue. Pandora was given a box by the gods and told not to open it, but her strong curiosity got the better of her. She opened the box (it was actually a jar) and out flew several illnesses and undesirable things, just leaving Hope behind. Another box that has inspired contradiction and curiosity is the telephone box. It is a private space on a public street, a box where you can be seen but not heard. It is an anonymous space yet often is used for deeply personal conversations. When researching the subject of boxes and curiosity, I discovered a humorous angle, called the Medicine Chest Caper. It is said that people feel an irresistible urge to open a bathroom cabinet when visiting anothers home. To exploit this urge, pranksters fill the cabinet with ping-pong balls to booby trap their over-curious visitors. Here is another instance of the power of curiosity with a box, when the imagination or the inquisitive mind becomes engaged with the nature of its hidden contents. But what is curiosity? To me, curiosity is a pleasant state of persistent inner questioning, along with an urge to discover possible answers. It is when my inner mind starts to contemplate and say I wonder and why? It also contains an element of wonder and excitement. Curiosity makes my mind scan through associations that already exist in my own experience, trying to find a link with what I am seeing in order to make sense. Einstein expanded this view when he said: The important thing is not to stop questioning. Curiosity has its own reason for existing. One cannot help but be in awe when he contemplates the mysteries of eternity, of life, of the marvellous structure of reality. It is enough if one tries merely to comprehend a little of this mystery everyday. Never lose a holy curiosity. (https://www.personal-development.com) Einstein is suggesting that curiosity is a sacred gift, an insatiable appetite to explore creation. This fits perfectly with Cornells own Christian Science view, that life is an endless discovery of the meaning and unity of life. The allure of Cornells mysterious boxes has been well documented, and it is possible to identify some sources of his attraction to using the box frame for his work. Beyond the peep shows and shadow boxes of his youth, Cornells writing shows that he was fascinated with shop window displays. His jottings reveal that he would spend time contemplating the completeness they could offer as he absorbed the contents of the displays, sealed in their own world. (Caws, 1993: 165) The view seen from ones seat in a theatre or cinema gives the impression of looking into a box, or a window, and this is similar to Josephs experience of travelling into town on The El, the elevated railway, where he could peer into the windows and glimpse strangers private lives being played out in the public gaze. This feeling is carried over to the viewer of a Cornell box. Peering in could induce exciting, strange or disturbing feelings, even perhaps, a voyeuristic sensation. Hartigan says that (https://artblogbybob.blogspot.com) (Correct way?) Cornell equates art with the experience of life itself, as just another window upon the world. (NEED to check page reference) (Hartigan) quoted on (https://artblogbybob.blogspot.com) The objects in a Cornell box are sealed behind glass, concealed by shadows, filtered, hidden, and cropped. The glass pane acts as a fourth wall in his miniature theatre, showing the contrast between his two worlds, of chaos and of order, safety and danger. As a teenager, Cornell had shared his fear of infinite space with his sister. To young Josephs fear of large empty spaces, a defined space would have brought comfort and solace. The box conveys a sense of security, definition and order, rather than chaos or undefined space. Containment denotes safety. Whether expressed by the frame of a box or a collage, his intent was similar directing us to a highly defined space or field of vision for free-form contemplation. (NEED to check page reference) (Hartigan) quoted on (https://artblogbybob.blogspot.com) This chapter has looked at the different ways boxes have been used historically, showing how an air of mystery and wonder has often been linked to the boxs purpose. I have shown how the form of the boxed frame, coupled with a sense of curiosity, generates intrigue in the viewer. The viewer feels a need to peer inside, and an expectation of discovery and anticipation is set up in peoples minds from an early age, from memories of gifts, treasures or novelties in boxes. I have also mentioned how experiences from Cornells early life are echoed in his boxed constructions. It has become clear that the device of the box is powerful in evoking a sense of curiosity because of its general and its particular associations in every mind, from childhood onwards. Chapter 4:Enlarged Individuality (improve this title) This chapter will look at other artists who have used the box as a device to enclose their work and it will identify the intentions, the content, and the effects of this work in comparison to the work of Cornell. The three artists whose work I will explore are Betye Saar, Mariko Kusumoto, and Joseph Bennett. These artists are all living and working today and they have all used the box device to frame their work. Each artist has a different intention and different results, which I will contrast with the work of Cornell. I will first look at Betye Saar, an American artist born in 1926, who is well known for her shadow box constructions that deal with the memory of racism in her country. Betye, who comes from a mixed heritage of African, Irish and Native American, felt very angry about the way that black people were perceived. She began to focus on using derogatory images of black people in her work. A famous example of this work is The Liberation of Aunt Jemima, exhibited in 1972. This was a wooden box displaying a black smiling mammy, holding a rifle in one hand and a broom in the other. Aunt Jemima is a recognizable trademark for advertising pancake flour in America. Betye Saars message in this box was about the way African-American women were treated as sex object, as domestic soldier. And it was about this particular womans revolt to be free of that image. (https://www.npr.org) The Liberation of Aunt Jemima, 1972. Betye saw a Joseph Cornell exhibition in 1968 and was greatly influenced by his assemblages, although the beginning of her passion to create recycled art occurred when she was a young girl visiting her grandmother in Watts. She remembers seeing Simon Rodia sculpting the Watts Towers during the period of 1921-1951. Seventeen interconnected structures were built, the tallest over thirty metres high, and they were filled with found objects. Betye remembers the experience vividly, saying Ive seen corn cobs in there, Ive seen tools. Its like, the cement is wet, what can we put in here? (https://www.npr.org) Another influence on Saars work was the American artist, Romare Bearden, whose first collages appeared in the 1960s, at the time of the Civil Rights Movement. Bearden also used found materials to create collages which carried powerful messages about African-American life. Betyes motivation to create art works was anger at the racism issues: Beardens work helped her to define her message, and Cornells to find the medium and the form. The intentions of Saars boxes are about declaring her reactions to the experience of racial issues in her country. Saar uses a mixture of images and symbols from different cultures and religions, bringing a spiritual dimension to her work. The pieces speak of cultural differences, stereotypes, and the liberation of African Americans. Like Cornell, symbols and visual metaphors are a central role in Saars work, although hers are rooted in her physical environment. The content of her boxes are collections of materials such as photographs, advertisements, toys, fabrics, figurines, household objects and musical instruments, bought from flea markets and junk shops. Betye uses nostalgic bric-a-brac to portray her broad social messages, particularly in the choice of real fabrics that have been worn by the real characters she is championing. Here is a link to Cornell, who took great pains to obtain significant mementoes of his subjects to use in his tributes. Like Cornell, Betye Saar revisited her earlier themes, particularly with The Liberation of Aunt Jemima, for what the artist calls unfinished business. In the revisited work of 1998, Workers and Warriors: The Return of Aunt Jemima, Betye refines her message and expands on her previous approach. Using vintage washboards, as if each is a window, the pieces have been collaged with Black Collectibles from the 1940s to 50s - debasing images of slavery-era black women often sold to tourists in southern areas of the United States. The message is still the same, if not more muted than her original piece, aiming to shock the public and cause radical changes in the perception of black Americans. (Insert) Cant find workers and warriors image have you seen it? Betye Saar essentially wants the viewer to be seduced by the beauty and the mystery of her work, to draw her viewers closer. The frames are the perfect medium for her to gather her viewers close up to her message. Then, once she has captured the attention, the focus sharpens so that the story hiding inside the box can be discovered. Her powerful statements about race, stereotyping, and gender cannot be missed. By concentrating the viewers eye into the frame, Saar is able to hold the viewers attention while all the elements of her message are absorbed and hammered home. Betye often invites interaction by creating puzzles for her viewers to decode which, like the playful elements in Cornells boxes, is a shared similarity. Unlike Cornell, Betyes concerns are very much of this world rather than the metaphysical themes of Cornells, although her energy appears as immediate, heartfelt, and strong, and her passion is evident. The second artist I am going to look at is Mariko Kusumoto, born in Japan and brought up in a four hundred year old Buddhist temple where her father was a priest. Marikos boxes are made from old wood, polished metals and found objects, which are replicas of the materials, colours and textures in her childhood temple. Mariko creates multiple doors and compartments in her constructions, and fills them with highly detailed miniature worlds that reflect her childhood memories of living in the temple. She describes her intentions: I am striving to create a world of shadows, light, silence, spirituality, and my personal memories. (https://www.mobilia-gallery.com) Another of Marikos sources comes from her fascination with the Tansu box, a tall dark wooden box found in the temple, with multiple drawers and compartments. This must have seemed a gigantic chest of drawers to a young girl and Mariko describes it as being dark with hidden secrets lurking inside the drawers that invoked a thrill for her as she set about her regular task of polishing it. It seems that Mariko wants to recreate the sense of wonder and excitement that she experienced each time she looked inside the Tansu box, her main motivation being nostalgia for what she has lost. I could never anticipate what would appear from the darkness. I had mixed feelings of excitement and fear whenever I opened it. It was a great wonder box to me. The darkness inside the tansu stirred up my imagination. (https://www.mobilia-gallery.com) When I look at Marikos boxes, I sense the same darkness and hidden secrets that I imagine her to have seen as a child, although her boxes are much smaller. Perhaps the small scale draws the viewer over to look within, to open each compartment and look inside to the magical world of memories that she has created. There is a childlike thrill in Kusumotos art, as with Cornells, with the invitation to play, touch, and cooperate. Most of my pieces are interactive the viewer must keep opening things to see the secrets inside or push, pull, or wind up something to see movement or hear sounds. (https://www.americancraftmag.org) Iroha Uta (interior), 2003 Photo: Lee Fatheree From Marikos description of her inspirations, we learn that she is recreating elements from her past for which she has a nostalgic longing. The absence of the familiar childhood home, the temple with all the curious artefacts it held, has intensified her feelings of being Japanese amongst the diverse cultures in the United States. As time goes by, my memories become stronger and more vivid. This feeling is the inspiration of my artwork today. (https://www.mobilia-gallery.com) Here are echoes of Cornells nostalgia, to recreate a poignant and happy memorial to childhood memories, although Cornells yearning for the past is part of his belief that everything is connected. Again, the three dimensional frame is the essential medium for Kusumoto, who wants to envelop her viewer in the mystery, darkness, space and atmosphere of her miniature world. By using the device of the box, the viewer can soak up the spiritual atmosphere that Mariko has designed without any outside interference. As wit h Betye Saar, the intention of Kusumotos work is planted in the physical world, reliving the sense of nostalgia for her experiences as a child in Japan and searching for new understanding in the noisy western world with its diverse cultures. My third comparison is Joseph Bennett. A self taught American artist, Bennett began his creative career in 1999 creating boxed assemblages. He uses found objects such as rusty metal, aged wood, photos, and toys. He has said that he was heavily influenced by Joseph Cornell and that the experience of seeing Cornells boxes in a 1968 exhibition changed his life. (https://www.artbybennett.com) For Bennett, the Intention of his boxes is to reinvent discarded objects, transforming them into newly discovered loved objects. He gives them a new lease of life, and falls in love with their beauty. He says I believe that this body of work began during childhood; standing in front of my fathers workbench and admiring all that lay before me tangled wire and rust, heavy metal and bits of color, dusty cabinets hiding treasures beneath faded cobwebs. (www.artbybennett.com) Unlike Cornell, Joseph Bennetts reasons for making his boxed assemblages do not seem to come from a deep inner yearning for spiritual expression. Rather, he simply finds joy in presenting discarded objects in a new light, as a purely aesthetic exercise. With his lifelong partner and inspiration, Eli Hans, Bennett is involved in the interior design and transformation of homes so as to create an aesthetically pleasing environment that supports life goals in a perfect balance of form function. (www.sublimeinteriors.com). This accords with his Artists Statement, of transforming discarded items into newly loved pieces. Configuration? Details? Configuration is an attempt to think outside the box and add color and movement to my work. This piece continues to be my lover Elis favorite piece. (ref Bennetts blog). I can see the strong influence of Cornell in this piece but I cannot detect either a development from it or a personal angle. Bennetts work is predominantly an aesthetic activity but is linked to a desire to retain discarded items. He says that he sees his work as a form of art-activism, saying Its a passive way of teaching about not consuming so much I want people to appreciate things that they would otherwise throw away. (https://pem.org) Bennett is involved in a campaign to alleviate world poverty for which exhibiting his work raises money. I notice that Bennett has dedicated some of his work to Cornell. He has also dedicated a piece of art to a famous public performer, Joseph Beuys, which is a very Cornellian thing to do. Many of the found objects used in Bennetts work are the same or very similar to those used by Cornell, as are the overall designs and compositions, although I sense a more cluttered feeling in Bennetts pieces. These are my personal responses to Bennetts work, after having a brief e-mail correspondence with him. (REF) (Joseph Bennett recently sent me an image of a new piece that has not yet been displayed, although he has made no direct comments about this piece so far. INSERT and describe?) This chapter has taken a close-up view of the work of three artists who have all used the boxed device to frame their work. Each has a different emphasis and message, with very different subject matter, materials, and intention. In every case, the artist has felt an urge to expand the space that contained their message by using the box frame. Whether an intricate metal sculpture with multiple doors and compartments like Kusumotos, or bric-a-brac, fabric and black figurines like Saars, or found objects that have been liberated into a new existence like Bennetts, the boxed frame has played its part in transforming the materials into works of art that powerfully engage the viewer. I have compared the intentions, motivations, and effects of these three artists with the work of Cornell. The final chapter will pull all the threads of this study together, and will reconsider the various elements of the power of Joseph Cornells boxed constructions. Conclusion This concluding chapter seeks to summarise the findings of the study and arrive at a new understanding of how Cornells boxed constructions exert their powers of engagement on the viewer. Throughout this study, I have kept my initial questions in mind. In my introduction I asked where the power of engaging with a Cornell box originates: does the power come from the box or from what is in the box? What part does the viewer play in the equation? As I studied each element of the enquiry, many answers began to emerge. Firstly, concerning the power of engagement with the viewer, I found that a spirit of curiosity is fundamental to making the first connection. Curiosity is a natural, energetic and active human state that seeks answers. The idea of what can be in this box? sets up a chain of expectation, priming the curious viewer to want to know the answer, and so that person is likely to accept the invitation to look inside. This willingness to engage leads the viewer to enter into a relationship with the artist by investigating the work further. Once glimpsed, some sort of connection has been made. What follows may be a brief encounter, or it may be a deep and lingering fascination for what is discovered within. A spirit of playfulness and an open mind connects the viewer with the scene inside the artists window, and the message of the artist then becomes available for free association. At this point, the interested viewer may be seeking to understand the intention of the artist, or simply enjoying the flashes of memory and the personal associations that the work induces with no interest in the artists message at all. The essential point is that an engagement has occurred. The viewer has accepted the challenge or the opportunity to find points of contact, to be reflective, or to revisit personal memories which may resonate from the contents of the box. In summary, curiosity is the key, and the inquisitive viewer feels compelled to cooperate. Concerning the power of the box itself, this study has shown that from childhood onwards, boxes are an integral part of everyday life, with associations of excitement, fun, awe, intrigue and joy. In this sense, the box as a device has an appeal all of its own. Even if the box were empty it is likely that a curious person would still need to look inside, just to be sure that nothing was being missed. The box, with its depth and space, carries the opportunity for more senses to come into play than a conventional two-dimensional frame, which is an added bonus. The more senses that are excited in the viewer, the greater will be the impact on the imagination. My conclusion about the boxed frame is that it has a special appeal of its own for all the reasons discussed, evoking the curiosity that is essential to capture the viewers interest. What is contained in the box is the third element of the enquiry. The contents of the box may have an instant appeal that transfixes the viewer, or the curiosity may be short-lived and easily satisfied by a quick uninvolved glance. The reaction of the viewer will depend on a variety of factors, such as ones interest in topical issues, ones sensory reaction to what is viewed, ones tolerance of enigmas, ones appreciation of the particular colour and form used, and other similar considerations. Clearly, some scenes will resonate more with one person than another, as with all personal preferences. A deeper understanding of a particular artists imagery and symbolism would enhance the experience of appreciating that body of work. This is especially true of Cornell, whose rich symbolism and imagery is multi-layered. The study looked at the work of three artists who have used the box as a containing frame for their work, with a range of intentions, style, and message. It was shown that Bennett uses his frames to design an aesthetic experience for the viewer, Saar wants to publicise the burning political issues of racism and gender in order to provoke reaction and social change, while Kusumoto is externalising her inner feelings of nostalgia and longing, to keep alive and savour her childhood memories of Japan. These artists have used the physical space of the frame to create an earthly message, a display that inspires their viewers with here-and-now social, personal, and political issues. Cornells work was shown to be on a different level, since he did not primarily create his constructions with a viewer in mind. Creating his pieces arose from a strong compulsion to rearrange and reinterpret earthly experiences so that they were aligned with a purpose beyond earth, almost as in a vision or a prayer. In this way of connecting to unseen things, Cornell linked in to a potent energy which, even if not comprehended by the viewer, still exerted an uncanny power over him. His work expressed mans connection with infinity, the world beyond earth which Cornell believed was an illusion. His many threads of poetic knowledge were woven together and transformed into layers of meaning that lead the viewer back to contemplate the source of creation through the elements and symbols of his work. In Cornells case, the boxed construction was surely the only possible frame that could contain all the elements of his multi-faceted vision. Summarising all the points that have emerged from the study, it is clear that there is a strong link between the attitude of the viewer and the device of the box. Curiosity is the link between the two. The box has its own power because of our associations from childhood onwards. The viewer cooperates with this power by demonstrating the human characteristic of anticipation, curiosity, and a yearning to be entertained. At the start of the study, my intuition was that Joseph Cornell exerted a unique power of engagement with his viewer because of the special nature of his poetic imagery in the boxed constructions. Now, at the end of the enquiry, my hunch has not altered but it has expanded. I now believe that the power is a shared force. I believe that the power originates from all three areas, from the box itself, from the latent curiosity and the willingness to cooperate on the part of the viewer, and also from the contents within the box. The last factor is the one that decides how long the viewer remains spellbound and connected to the work in the box. The starting point for Cornells work was his life experience, his perceptions, and his continued wonderings. I believe that the seven phases I identified in his early life are the key to his unique and powerful artistic expression, as this study has shown. Ken Johnson, writing in The Boston Globe, says: the feeling one gets with Cornell is that being boxed in whether by familial circumstances or by neurotic shyness is what led to the cultivation of an extraordinary lively and adventurous inner life. He didnt think outside the box; rather, he thought deeper into the box by transforming its interior into a space of infinitely elastic possibility. Every box sculpture he made represents the triumph of a wide-ranging imaginative vision over the deadening captivity of external, terrestrial existence. (Quoted from The Boston Globe , see print out) The trio of curiosity, the device of the box, and the unique message of Cornell, indeed exert a great power of engagement with the viewer, which I now understand to be the human quest for knowledge and understanding. I conclude with Cornells own words: All things are interrelated. As above, so below. We are fragments of an unutterable whole. Meaning is always in search of itself. Unsuspected revelations await us. (SIMIC, C) where from?