Globalism and increased Essay Example for Free

Globalism and increased Essay With the current trends that prevails within societies, globalism and increased connectedness has brought about considerable advantages for people to move and transfer from one destination and culture to another. The patterns then of ethnoscapes transcend to create better means for analyzing the role of individuals in the socialization process. Seeing this, such dynamics then becomes crucial as it shapes the dynamics of the social realm by tapping into social networks, connections, and brings about a new definition and meaning on how people perceive reality and the physical boundaries that bind people together. Applying the principle of ‘ethnoscape’ in my artwork, it can be argued that it seeks to complement the themes provided by the term. In particular, the two females in the picture demonstrate the connections and scope of how the process can be applied in the way people view the world today and its associated realities (Nowakoski, p. 1). The two females then justify the existing perspectives of how one can now transcend over common boundaries and become vital instruments in the development of an ‘ethnoscape’. To better understand this transition, it is first important to look at the woman in the background and determine her relevance of how the term ‘ethnoscape’ is applied. Here, it can be argued that the symbolism of the woman facing backwards and in fetal position exemplifies the relative constraint felt by people to move. There are specific boundaries that bind the woman to exhibit herself and become a vibrant individual in her own right. This analogy can then be related to the trends of the past, where common ideas of nation and government are dictated by the sovereignty and geographical proximities and boundaries of a given land. Here, the meaning of location and place denotes not where the people are but rather the particular standards and norms that derive the place as is (Nowakoski, p. 1). These constraints in meaning then emanate in the woman as she herself feels enclosed with what she has. In addition, she has a fixed boundary that is mandated by the location she is in. On the other hand, the foreground picture of the naked woman demonstrates the liberation from the traditional meanings of place and territory. Here, she portrays the idea of today’s ethnoscape where one is liberal and free to choose wherever she wished to go. In a way, this creates appropriate features as it allows the formulation of what she really wants. These in turn are not limited to the idea that she can only create networks via the use and application of place but rather transcend over territories and debunking the meaning and control that place-based networks have over individuals (Nowakoski, p. 1). Overall, the artwork is a depiction of a woman’s transcendence from the common boundaries dictated by location to a more connected and opens means to create networks and affiliations. Here, the idea of ‘ethnoscape’ becomes applied as it showcases the ability of the woman to recognize her abilities and not limiting her roots to mainly the geographical and land boundaries that bind people together. Work Cited Nowakoski, Pete. Transnationalism and Globalism. 1996 accessed 9 August 2010 from, http://english. emory. edu/Bahri/transnationalism. html

Feeling Sympathy for Gertrude and Rhoda in The Withered Arm, by Thomas

Feeling Sympathy for Gertrude and Rhoda in The Withered Arm, by Thomas Hardy The Withered arm is typical of Hardy's novellas, as it is a tragedy. It involves two main characters, Rhoda and Gertrude. Rhoda and Gertrude both have their own different problems that the must face. Rhoda and Gertrude become friends after they first meet. Rhoda had an illegitimate child to farmer lodge who marries Gertrude. Before Rhoda and Gertrude meet Rhoda does not know what Gertrude is like so is bitter about the idea of her marrying farmer lodge who hardy hints Rhoda is still in love with. Rhoda is described to be old before her age and works as a milkmaid. She receives no help in the upbringing of the boy she had with farmer lodge so she works hard to care for him. The other milkmaids talk about her and they start to talk about the subject of farmer lodges new wife. This part makes you feel some sympathy for Rhoda as she is being talked about when she is still there. Because of the times Rhoda was not at all respected for bringing up a child on her own but instead she was treated as a social outcast. No one seemed to blame farmer Lodge for what had happened. The other milkmaids will think nothing of talking about her business when she is there. This makes you feel sympathy for Rhoda because in this day and age the farther would be forced to help at least financially with the upbringing of his son and Rhoda would be respected for her hard work in bringing up a child on her own. Rhoda is curious about the new wife and sends her son of to "check her out", as it would be. She wants to know what his new wife is like. Hardy gives the impression that Rhoda is jealous of the new wife or a least angry that he is taking a new... ...ge says that he is away on holiday. You feel sorry at her desperation as she is only doing this so farmer lodge will like her for her physical beauty but she does not seem to mind. The body that she touches happens to be Rhoda's son and farmer Lodge is with her. You feel sorry for both the women equally as much at the end of the story but for different reasons. Rhoda has had her whole life taken away from her however little it was and Gertrude has now died as a result of trying to improve her physical beauty. In conclusion I think that you can not feel more sympathy towards either woman as they are both in the same boat and it is because of each other that they had so much grief and hardship. If they had nether met or had anything to do with each other then they would not have been like they were. It was all a matter of situation and circumstances.

Effects of Automobiles Essay

Automobiles have become a big part of today? s society. Whether it be a car or van, the modern American citizen probably can? t go a day without using one. These machines are the main escorts for our daily travels from work to home. Most Americans depend on their vehicles to run well so that they can maintain their everyday treks of commuting back and forth. These automobiles have been the cause of an abundance of jobs throughout the United States. A great number of our citizens are employed by automobile production plants, car repair industries, and other automobile related positions. To think that cars could have been non-existent makes us wonder where thousands of our citizens would find work. We know that a big part of the United States industrial and trading world relies on the automobile and its components. Another view of our life without automobiles deals with our visual perspective. Car and truck advertisements consume a great deal of air time for television commercials. We see these luxurious machines and little by little we are tempted and pressured into investing into one of them. Numerous amounts of our modern movies also involve automobiles. For example, ? Speed? and ? Batman? both deal with automobiles of some sort. Whether it be the common city bus or the exquisite vehicle entitled the ? Batmobile? , these both influence our ideas of the automobile world. On the reverse side, though, automobiles have also been the cause of much of the world? s pollution. The carbon-monoxide released by a car? s exhaust pipe spews into our environment making our air dirty and the earth a bit closer to extinction. With all these pollutants in our air, it often makes it hard to breath and difficult to see. Many times we find a layer of dirt and grime on the back bumper of our cars and realize that about thirty times this much is tossed into the air each day by one individual vehicle. Any automobile which runs on diesel fuel releases a thick cloud of black smoke into the environment constantly. This disgusting smog stains buildings, covers trees, and hovers above many of our major city in large masses. Automobiles also contain some fluids that can be deadly to us and our wildlife. We often hear of gasoline spills by tanker trucks or by ships, both of which are meant to supply our automobiles with fuel. The gasoline encompasses huge areas of our oceans and suffocates our animals with blankets of black slime. Our own greed for bigger and better things causes many of our nation? s animals to die each year. Accidents are another default of today? s modern automobiles. Cars and trucks are the cause of the deaths of thousands of Americans annually. Almost everyday, numerous accidents can be witnessed by a single individual. Resulting from these broken parts and twisted sections of steel, are dead bodies and broken families. The yearning for speed and the desire for competition has ended the lives of many automobile owners. Young drivers often compete against each other in races and other dangerous games. Many times, these foolish schemes end in fatality. Another leading cause of death in automobiles results from alcohol abuse. This terrible mixture of drinking and driving commonly ends in death of the driver and of other innocent civilians. The automobile has been the victim of trillions of fender benders and more serious accidents. This has caused concern in the mind of society, and with it has come precautions. The cars and trucks of today have been formatted with all types of life saving gadgets to make traveling easier and less risky. These high tech automobiles of today have revolutionized our world. We have gone from a crank engine to an eight cylinder, one hundred sixty horsepower engine. We have progressed from speeds of twenty five miles an hour to speeds well over one hundred miles an hour. Roads have expanded, bridges have been widened, and new breeds of automobiles have been introduced along the way. This constant change of what appears to have a good outcome also brings along some negative aspects. These downfalls include those discussed above and many others. With every great step towards technological breakthroughs in the automobile world, new problems and hindrances arrive which are sure to lead to more fatal outcomes. Though cars have changed our lifestyle for the better, the extra impact of negative effects has hurt our society as a whole.

Anni Albers and Beyond 5 Women Artists of the Bauhaus School

Though the Bauhaus was founded as an egalitarian enterprise designed to break down barriers of hierarchy, the radical school was not radical in its inclusion of women. Opportunities for women were more abundant in the early days of the Bauhaus, but as the school was quickly overwhelmed by female applicants, the weaving workshop soon became the repository for most female students (though there are some notable exceptions). Architecture, considered the highest of the programs offered at the Bauhaus, did not admit women. Anni Albers Perhaps the best known of the Bauhaus weavers, Anni Albers, was born Annelise Fleischman in 1899 in Berlin, Germany. Studying art from a young age, the independent 24-year-old decided she would join the four-year-old Bauhaus school in Weimar in 1923. When asked where she’d like to be placed, she insisted on joining the glassmaking workshop, as she had glimpsed a handsome young professor inside, whose name happened to be Josef Albers, eleven years her senior. Black, White, Grey (1927).   Courtesy of the Josef and Anni Albers Foundation Though she was denied placement in the glass workshop, she nevertheless found a lifelong partner in Josef Albers. They married in 1925 and remained together for more than 50 years, until Josef’s death in 1976. While at the Bauhaus, Albers made a name for herself as a writer and as a weaver, eventually serving as master of the weaving workshop in 1929. She received  her diploma after completing her final project, an innovative textile for an auditorium, which both reflected light and absorbed sound. Albers would employ the skills in designing utilitarian textiles she learned at the Bauhaus throughout her life, completing commissions for everything from school dormitories to private residences. Her Éclat design is still produced by Knoll today.   Albers would go on to teach weaving at the post-modernist school Black Mountain College, where she would move with her husband in 1933 after the Nazis forced the school to shutter. Gunta Stà ¶lzl Gunta Stà ¶lzl was born Adelgunde Stà ¶lzl in 1897 in Munich, Germany. Stà ¶lzl arrived at the Bauhaus in 1919 after having served as a Red Cross nurse in World War I. Though she came from a family of weavers (including her grandfather), she did not immediately start her education in the weaving workshop, which was formed after her arrival to accommodate the large number of women enrolling in the school. When the school moved to Dessau in 1927, Stà ¶lzl was the first woman to hold a teaching position and would eventually become Master of the weaving workshop, where she embraced an interdisciplinary approach and collaborated with fellow Bauhaus teacher, architect and designer Marcel Breuer to make furniture, to which she would add her colorful textiles as upholstery. A chair by Marcel Breuer with upholstery by Gunta Stà ¶lzl.   Via Wikimedia Commons Stà ¶lzl married Arieh Sharon, a Palestinian Jew, and received Palestinian citizenship, which enabled her family to escape Germany during the Second World War. Stà ¶lzl resigned from her position at the Bauhaus in 1931, fed up with the anti-semitic harassment she received due to her husband’s heritage. The family moved to Switzerland where Stà ¶lzl ran a weaving mill until she was in her seventies. She died in 1983. Otti Berger Otti Berger, born in 1898 in Croatia, was a highly successful commercial designer of textiles, establishing her own business beyond the walls of the Bauhaus. Berger entered the weaving workshop at the Bauhaus in Dessau in 1926 and became known for her ability to express theories of weaving verbally, publishing the influential essay Stoffe im Raum (Materials in Space) in 1930. Berger served briefly as co-Master of the weaving workshop with Anni Albers while Gunta Stà ¶lzl was on maternity leave in 1929. In 1932, Berger set up her own weaving studio, where she produced patented designs, but her Jewish heritage impeded her entry into Germanys Imperial Council for the Visual Arts, which hindered her business’s growth. As the Nazi’s power increased, Berger tried to escape the country, but was unsuccessful in her attempt to find work in England. Finally offered a position in 1937 at the Chicago Bauhaus (where Laszlo Moholy-Nagy and other Bauhaus professors had decamped after the school’s closing in 1933), she briefly made a detour to Yugoslavia to visit a sick relative. Before she could make it to the United States, however, passage out of the country was barred. Otti Berger died in a Nazi concentration camp in Poland in 1944. Isle Fehling Isle Fehling was a German costume and set designer. She arrived at the Bauhaus in 1920, where she attended stage and sculpture classes. By 1922, at the age of 26, she had patented a design for a circular stage that allowed for productions in the round. After leaving the Bauhaus she became a successful stage and costume designer, and was known for her architectural, geometric designs, which she produced as the sole costume designer at the Schauspieltheater in Berlin. Though she worked in the theater by profession, Fehling never abandoned her love of sculpture. Working in both abstract and figurative work, she produced many portrait busts of significant members of Germany’s theater scene. As with many of the Bauhaus artists, Fehling’s work was labeled â€Å"degenerate† by the Nazi party in 1933. Her studio was confiscated and her worked bombed in 1943, leaving little of it behind. Ise Gropius While not an artist herself, Ise Gropius was an instrumental figure in the success of the Bauhaus project. The second wife of Walter Gropius, Ise acted as the school’s unofficial face of public relations and marketing. She often wrote about the school for publication in the German press. Ise Gropius at home.   Getty Images The courtship of Ise and Walter Gropius was fairly unconventional, as they fell in love at first sight when Ise heard Walter speak about the Bauhaus at a lecture in 1923. Already engaged, Ise left her fiancà © for Walter, who had divorced Alma Mahler three years earlier. The Bauhaus was as much a school as it was a way of life, and Ise Gropius was an instrumental piece of the lifestyle. As the wife of the director, she was meant to exemplify the â€Å"Bauhaus woman,† running a functional and well-designed home. Largely unsung, Ise Gropius impact on the success of the Bauhaus should not be underestimated. Sources Fox  Weber, N.  and  Ã‚  Tabatabai Asbaghi, P. (1999).  Anni Albers.  Venice: Guggenheim Museum.Muller U.  Bauhaus Women. Paris: Flammarion; 2015.Smith, T. (21014).  Bauhaus Weaving Theory: From Feminine Craft to Mode of Design. Minneapolis, MN: University of Minnesota Press.Weltge-Wortmann S.  Bauhaus Textiles. London: Thames and Hudson; 1998.