The Country Of Ichibana Has Been At War With Tutu

Introduction The country of Ichibana has been at war with Tutu. Ichibana has lots of culture, but Ichibana needs to become a more stable country. Today, Ichibana and Tutu have stopped fighting; now Ichibana is looking for a government. Consulting Made Easy is dedicated to helping the country of Ichibana to gain a stable government and protect Ichibana s natural resources. Statement of the Problem or Need Ichibana needs a government because governments organize societies. When the country of Ichibana becomes more organized, Ichbana will be able to use natural resources much more efficiently (The University of North Carolina at Pembroke). When Ichibana learns how to use natural resources more efficiently, less of the resource is used. Since less of the natural resource is used, there will be less pollution and there will be more of the natural resource left over. If the natural resources of Ichibana are misused, then there would be more pollution, less usable soil, and little to no drinking water(UN News Center/FAO SOILS PORTAL | FAO). If Ichibana does not get a Government, they will become unorganized and the country of Ichibana will be in uproar. Statement of Solution Consulting Made Easy suggests that the country of Ichibana use a republican form of government modeled after the ancient civilization of Rome (How was Rome governed). Consulting Made Easy has found that the ancient roman civilization was very successful and using the republican system would benefit Ichibana

The Changes in Mental Illness Treatment Essay - 778 Words

The Changes in Mental Illness Treatment Since the early 1990s, the progress of mental illness treatment has increased quickly. Many patients with mental illness have been able to leave hospitals and live normal lives because of advancement in treatment. The treatment of mental illness has changed in many ways. Some of these ways are medical technology, medication, and the housing treatment. These changes in mental illness healing have led to a great success. Medical technology is one change that has led to advanced treatment of mental illness since the early 1900s. Firstly, â€Å"images produced by positron emission tomography (PET) and magnetic resources imaging (MRI) technology have revealed that a lot of the mental†¦show more content†¦Ã¢â‚¬Å"Hallucinations and voices that caused schizophrenia and other psychotic disorders have been stopped with the use of new medications†. (MHT, 2) â€Å"Just as aspirin can reduce a fever without curing the infection that causes it, psychotherapeutic medications act by controlling symptoms,† (MFMI, 4). â€Å"Another advantage of these medications is an increased understanding of the causes of mental illness. Scientists investigate the results of the medications, and through these results, they have learned a great deal about the working of the brain system.† (MFMI, 4) The use of new drugs has made it possible for mentally ill persons to live a normal life. Apart from medical technology and medications, the housing treatment has played a great role in improving the treatment of mental illness since the early 1990s. First and foremost, in the past the patients of mental illness were treated as prisoners by being isolated in hospitals or asylums but now they are treated as normal human beings with great care and respect. 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Reversal Of Impairment Loss On Individual Asset †Free Samples

Question: Discuss About The Reversal Of Impairment Individual Asset? Answer: Introduction Impairment loss refers to the reduction in value of the asset i.e. reduction of present value of amount that can be recovered from the asset from the carrying value of the asset. In Australia, AASB 136 deals with the accounting for the impairment of assets and reversal of such impairment. This essay is written for making an analysis regarding the process of reversing previously recognized impairment loss on the individual asset. Meaning of Impairment loss An impairment loss in reference to an asset refers to the additional amount in the carrying amount of asset over the present value of amount that can be recovered from the asset (Anon., 2017). This definition includes some words which require more clarification hence meaning of those words is, Carrying amount of asset = Book value of asset Recoverable amount of asset = Fair value of asset less cost of sale or value in use whichever is maximum Value in use of asset = Value that can be recovered from the use of asset, such value calculated by using present value techniques. Situations denotes presence of impairment loss Loss in consideration cannot recognized by the organization on own discretion. Every organization needs to make a test for impairment loss at the end of each year and impairment loss can recognize only having the presence of indicators of impairment loss. Impairment loss can be recognized by the organization for presence of the following indicators, Significant decline in assets market value. Major unfavorable market change regarding technology, legal guidelines and economic conditions of organization Increase in market required rate of return due to which value in use will decline Organizations market capitalization becomes lower than the amount shown by book value of net assets Significant damage or obsolescence of asset Expected significant change in entity like restricting etc which will put adverse effect on assets value Proofs regarding the decline in performance of asset (Reinstein Lander, 2004). Accounting for Impairment loss Impairment loss on an individual asset accounted by the organization by passing an accounting entry by debiting impairment loss account and crediting asset account. Such impairment loss will recognize in profit and loss account (International Accounting Standards Committee, 1998). Meaning of process of reversing previously recognized impairment loss Reversal of loss in consideration refers to the abolishment of the impairment loss recognized earlier. As per paragraph 110 of AASB 136, the organization required to make an assessment at the end of each year end regarding the indicators that prior recognized impairment loss still exists and if yes then up to what extent (Australian Accounting Standards Board, 2007). Reversal of impairment loss can be recognized as a situation where previously recognize Impairment loss diminished or eliminated. This situation arises due to the presence of some indicators. Such reversing previously recognized impairment loss provides a way to show increased earnings in the financial statements of the organization (Duh et al., 2009). Situations denotes need of reversing impairment loss An impairment loss cannot be reversed by the organization on own discretion. Every organization needs to make a test for reversing previously recognized impairment loss at the end of each year and impairment loss can reverse only having the presence of indicators of reversal of impairment loss. Impairment loss can be reversed by the organization for presence of the following indicators, Significant increase in assets market value Major favorable market change regarding technology, legal guidelines and economic conditions of organization The decrease in market required rate of return due to which value in use of asset will increase. Expected significant change in entity like abolishment of restriction on production etc which will put favorable effect on assets value Proofs regarding the better in the performance of asset (Australian Accounting Standards Board, 2007). Accounting for reversing previously recognized impairment loss Previously recognized impairment loss can be reversed. Such reversal can be made by organization for every asset as well as assets in cash generating unit but not for goodwill (Shoaf Zaldivar, 2005). Reversal of impairment loss cannot be more then the net impairment loss recognized earlier. The net impairment loss recognized earlier means impairment loss recognized earlier less amortization. After such reversal asset cannot have carrying value that would be when impairment loss does not recognize but depreciation will be recognized in the same manner. Such reversal for an asset does not revalued in past, recognized in the income statement as expense. Therefore it results in an increase in profits during the year and increase in carrying the amount of asset. On the other hand, reversal of impairment loss for asset revalued in past, recognized in the revaluation account. Hence, the reversal of impairment loss, for the asset revalues in past, results in an increase in revaluation reserve of the organization and increase in other comprehensive income during the year. Conclusion Above discussion regarding the impairment loss and reversal of impairment loss on individual asset concludes that no organization can account for impairment loss and reversal of impairment loss by own discretion. Such accounting needs the presence of some indicators which adhere to the various accounting standards. Reversal of impairment loss either results in a rise in book value of asset or rise in revaluation reserve of the organization. References , 2017. IAS 36 Impairment of Assets. [Online] Available at: https://www.iasplus.com/en/standards/ias/ias36 [Accessed 2017 september 12]. Australian Accounting Standards Board, 2007. Impairment of Assets. [Online] Available at: https://www.aasb.gov.au/admin/file/content102/c3/AASB136_07-04_ERDRjun10_07-09.pdf [Accessed 13 september 2017]. Duh, R.-R., Lee, W.-C. Lin, C.-C., 2009. Reversing an impairment loss and earnings management: The role of corporate governance. The International Journal of Accounting, 44(2), pp.133-37. International Accounting Standards Committee, 1998. Impairment of assets. International Accounting Standards Committee. Reinstein, A. Lander, G., 2004. Implementing the impairment of assets requirements of SFAS No. 144: An empirical analysis. Managerial Auditing Journal, 19(3), pp.400-11. Shoaf, V. Zaldivar, I., 2005. goodwill impairment. Review of Business, 26(2), p.31.

Subverted 19th Century Traditional Social Mores and Norms in Dracula Essay Essay Example

Subverted 19th Century Traditional Social Mores and Norms in Dracula Essay Paper Bram Stoker’s Dracula remains one of the more recognizable novels of its genre despite being published in 1897. A authoritative horror narrative which has been retold and produced over and over once more since its original publication. Dracula was particularly upseting when it originally was released because of how Stoker attacks Victorian epoch societal mores and norms throughout the full novel. Stoker subverts traditional nineteenth Century societal mores and norms in Dracula through the portraiture of sexually aggressive and self-asserting females. Jonathan and Mina’s relationship. and the opposite of Maternity. One of the first illustrations of Stoker’s subverting of traditional societal mores and norms in his novel is Dracula’s Wives. Our first brush with the â€Å"weird sisters† comes when they approach Jonathan Harker at the Count’s sign of the zodiac. Christopher Craft described the scene in his contemplation as so â€Å"Immobilized by the viing jussive moods of ‘wicked desire’ and ‘deadly fright. ’ Harker awaits an titillating fulfilment that entails both the disintegration of the boundaries of the ego and the thorough corruption of conventional Victorian gender codifications. † ( Stoker. Auerbach. and Skal 444 ) . We will write a custom essay sample on Subverted 19th Century Traditional Social Mores and Norms in Dracula Essay specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Subverted 19th Century Traditional Social Mores and Norms in Dracula Essay specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Subverted 19th Century Traditional Social Mores and Norms in Dracula Essay specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Trade is right that this is a clear corruption of conventional Victorian gender norms. Both Jonathan and the Dracula’s Wives represent a entire reversal of what would hold been considered normal or appropriate in the nineteenth Century. Dracula’s Wives are the attackers in this sexual scene while Jonathan is the inactive or cautious sexual spouse. His expectancy of the bite from one of the eldritch sisters is similar to that of a virgin adult female waiting for her spouse to perforate her for the first clip. The eldritch sisters represent the entire antonym of what a proper Victorian adult female is supposed to resemble. They are sexually aggressive and self-asserting alternatively of inactive and puritan. Another female character that on occasion reveals what would be considered really upseting at the clip of the novel’s publication is Lucy. Lucy at one point references to Mina that she wishes she didn’t have to take merely one adult male to be with and that she wishes she could be with all of them. Such a idea was considered disgraceful during the clip period and even though Lucy is cognizant that what she is stating is inappropriate she is non able to maintain from showing her true desires to Mina. The married womans and Lucy are a few of the cardinal xpressions of subverted nineteenth century norms in Bram Stoker’s Dracula. Jonathan and Mina’s relationship is another illustration of Stoker’s subverting of traditional nineteenth century societal mores and norms in his authoritative narrative. Throughout the book we see Jonathan and Mina’s characters switch gender functions from a more traditional representation to an upside-down representation. Mina is no ordinary Victorian age female. She does want to function her hubby and unlike Lucy doesn’t express the desire to be with any other spouses. but Mina is particular in the eyes of the male characters in the narrative. Van Helsing and the other work forces believe Mina’s head to be like that of a adult male. This would be considered a immense compliment at the clip because adult females were non frequently thought of being capable of believing on the same rational degree as work forces. On the other manus. Jonathan begins to fall apart. He suffers from febrilities which cause him to hold tantrums of about insanity. During this clip he surely is non believing on the rational degree that he one time did and it is clear that Mina is the more enlightened of the two lovers. This represents one inversion of traditional gender norms. Peoples didn’t considered that a adult female could be the more capable head in a relationship but that is exactly what Mina is during the bulk of the novel. That is non the lone illustration of gender reversal in Dracula. at one point Jonathan becomes swoon in public and to maintain him from falling Mina supports him. It would hold been considered really uneven to see a adult female in public back uping a adult male like this. Stoker uses Mina and Jonathan’s relationship as another corruption of 19th century traditional societal mores and norms in Dracula. Possibly the most distressing facet of Stoker’s Dracula is the opposite of pregnancy. The opposite of pregnancy represents an about perfect corruption of traditional nineteenth century societal mores and norms. Craft besides wrote is his contemplation. â€Å"Stoker emphasizes the freak implicit in such repeal of gender codifications by inverting a favourite Victorian maternal map. † ( Stoker. Auerbach. and Skal 453 ) . Maternity hasn’t changed much sense the nineteenth century. adult females are expected to care for the kids above all other duties. Acerate leaf to state the eating on defenseless kids by Lucy and Dracula’s Wives is a complete antonym of pregnancy. The banqueting on kids is peculiar upseting and flooring no affair what era one is born in and represents what is a overriding subject in Dracula the opposite of Maternity. Another illustration of the opposite of Maternity is the scene in which Dracula cuts his ain chest and forces Mina to imbibe from his lesion. Craft writes. â€Å"We are at the Count’s chest. encouraged one time once more to replace white for ruddy. as blood becomes milk. † ( Stoker. Auerbach. and Skal 458 ) . This reading is consistent with what I found. Clearly Stoker is making a distressing image that resembles a female parent feeding her babe and wholly turns pregnancy on its caput. Trade goes on to propose that possibly the scene represents more than merely an opposite of pregnancy and that the blood Mina drinks from the Count is really semen. I agree that the scene resembles forced fellatio but the resemblance to a female parent feeding her babe is excessively obvious a connexion non to be made. Inverse of pregnancy is the true symbol of this scene. In many ways Dracula can be viewed as in front of its clip. Many of the story’s developments. which were considered to be dismaying during the Victorian age. don’t cause many to bat an cilium in today’s society. Stoker subverts traditional nineteenth century societal mores and norms in Dracula through the portraiture of sexually aggressive and self-asserting females. Jonathan and Mina’s relationship. and the opposite of Maternity.

Susan Sontag Essay Example Essay Example

Susan Sontag Essay Example Paper Susan Sontag Essay Introduction In the essay titled â€Å"America Seen through Photographs Darkly† Susan Sontag discusses the advent of realism, the misinterpretations of realism, and the acceptance of surrealism as a substitute for realism in the realm of photography in America. Sontag chooses the thoughts of Walt Whitman to provide a framework for studying the works of photographers from the 1930s to the 1960s. In so doing, Susan Sontag makes many controversial statements. While some may be accepted logically, there are others which can be refuted. What is significant however is that Susan Sontag through this essay creates awareness of what beauty and importance means, and of what realism means in the context of photography.Walt Whitman perceived the democratic values of culture as that which existed beyond the contexts of beauty and ugliness, importance and triviality. According to Walt Whitman, nobody would fret about beauty and ugliness. The views of Walt Whitman changed the view of artists in many fiel ds dramatically. Artists took seriously Whitman’s program of populist transcendence of the democratic transvaluation of beauty and ugliness, importance and triviality. This resulted in an inclination to portray reality as it was rather than focusing only on traditional concepts of beauty. In the case of photography, this desire, instead of resulting in demystification of reality has resulted in a mystification of the art according to Sontag. This argument of Sontag is further strengthened by Susie Linfield who says that though photographs (of humanism) don’t explain the way the world works ..it’s true that photographs document the specific, they tend, also, to blur—dangerously blur—political and historic distinctions†. She explains this with the example. A photograph of a bombed-out apartment building in Berlin, circa 1945, looks much like a photograph of a bombed-out apartment building in Hanoi, circa 1969, which looks awfully similar to a p hotograph of a bombed-out apartment building in Baghdad from last week.This is a mystifying aspect of realism. Further according to Susie Linfield, people generally approach photographs, first and foremost, on an emotional level. She points out that Brecht regarded all feeling as dishonest and dangerous. In the book â€Å"Witness Iraq: A War Journal February–April 20003† there is one image showing six women in a cemetery outside Baghdad. The picture was taken by Jerome Delay, a French war photographer for the Associated Press and the caption tells us, â€Å"Relatives of Mohammed Jaber Hassan weep over his coffin . . . Hassan, 22, died when a bomb fell on a busy market in Baghdad’s Shula district.† Because the picture is dated â€Å"03/29/03,† we know that the bomb was probably an American one and that it was dropped on the civilian marketplace almost certainly by accident. If the picture were dated 2006, then, it would imply that the bomb was plant ed by insurgents in Iraq (Linfield, 2006). Thus, we can conclude that Susan Sontag is very right in pointing to the mystification that happens when photographers become humanistic in approach.Sontag says, â€Å"To photograph is to confer importance. No moment is more important than any other moment; no person is more interesting than any other person†. One of the most talked about photographs of recent times is the picture of an anonymous Afghan refugee woman taken by photographer Steve McCurry for the cover of National Geographic Magazine June 1985. The photograph showed the piercing stare of a young woman peering from a bedraggled cloak. The piercing green eyes epitomized the tragic story of dispossessed children everywhere and the image became a 20th-century icon. It was only recently in 2002, that Steve McCurry could trace her back and found that the woman’s name was Sharbat Gula (Connor, 2002).â€Å"Whitman thought he was not abolishing beauty but generalizing it . So, for generations, did the most gifted American photographers, in their polemical pursuit of the trivial and the vulgar†. Susan Sontag talks about Walker Evans as the last great photographer to have worked seriously in mood derived from Whitman’s euphoric humanism. She says that Evans was not as arty as Stieglitz. In the words of Sontag, â€Å"Evans sought a more impersonal kind of affirmation, a noble reticence, and a lucid understatement†. She justifies her statement that Evans was not arty by pointing out that Evan never tried to express himself in the photographs (like an artist does). He took photographs of architectural still life of American facades and exacting portraits of Southern sharecroppers in the 1930s. This view of Sontag is supported by Lincoln Kirstein who wrote ‘Looked at in sequence they are overwhelming in their exhaustiveness of detail, their poetry of contrast, and, for those who wish to see it, their moral implication†. Thi s explains why Sontag said that Evan’s project seemed to descend from Whitman. Evans project showed a leveling of discriminations between the beautiful and the ugly. Sontag further makes the point that everything is morally equivalent to a photograph. Evans wanted his works to be literate, authoritative and transcendent. Whitman preached empathy, concord in discord oneness in diversity. This message of identification with other Americans links Whitman and Evans in a subtle manner.â€Å"The moral universe of the 1930s being no longer ours, these adjectives are barely creditable today. Nobody demands that photography be literate. Nobody can imagine how it could be authoritative. Nobody understands how anything, least of all a photograph, could be transcendent†. John Szarkowski, in his introduction to â€Å"Walker Evans† explains the meaning thus: â€Å"The photographer must define his subject with an educated awareness of what it is and what it means; he must des cribe it with such simplicity and sureness that the result seems an unchallengeable fact, not merely the record of a photographer’s opinion; yet the picture itself should possess a taut athletic grace, an inherent structure, that gives it a life in metaphor†. There have been impressive photographers whose work can be considered literate, authoritative and transcendent, such as those of Weegee, Helen Levitt, Homer Page, Gordon Parks, Roy DeCarava, Robert Frank, and others. The works of these photographers convey the mixed artistic mood of the postwar period. The most subjective artistic photography of the period is seen in the work of Frederick Sommer, Minor White, Harry Callahan, and Aaron Siskind, while the art of applied photography is exemplified in fashion and portrait images by Richard Avedon, Irving Penn, Arnold Newman, and others. Thus, Susan Sontag seems to be somewhat pessimistically judgmental in holding that there is no one who understands what it means to be literate, authoritative and transcendent.Susan Sontag compares the works of Edward Steichen and Diane Arbus. Steichen’s work was aimed at showing all human is one and that human beings are attractive creatures. Steichen’s choice of photographs assumes a human condition or a human nature shared by everybody. Individuals are born work laugh and die everywhere in the same way. Arbus showed that this is a world in which everybody is an alien, hopelessly isolated, and immobilized, in mechanical crippled identities and relationships. Diane Arbus aimed at showing that all human is one and that human beings are horrific monsters. According to Sontag, while Steichen universalized the human condition into joy, Arbus universalized it into horror. Everybody Arbus photographed was a freak. This argument can be refuted. The main complaint Sontag places against Arbus is that she chose ugliness and horror subjects, made them pose, and took frontal pictures that were grotesque. Sontag , with an air of disapproval, claimed that Arbus’ work â€Å"lined up assorted monsters and borderline cases-most of them ugly; wearing grotesque or unflattering clothing; in dismal or barren surroundings’. Sontag says that Arbus interest in freaks expresses a desire to violate her own innocence, to undermine her sense of being privileged, to vent her frustration at being safe. This accusation by Sontag does not have any truth in it. Arbus’ work took a dark turn in her final works when her mental health deteriorated and that was seen in the collected grouped as â€Å"Untitled, 1970-71† in the retrospective organized by the San Francisco Museum of Modern Art that showed at New York’s Metropolitan Museum of Art in spring 2005. In her early works, Arbus brought out humanity in her subjects and coaxed out their personality. Sontag says that â€Å"Anybody Arbus photographed was a freak,† citing, as one of several examples, a boy waiting to march in a pro-war march wearing a â€Å"Bomb Hanoi† button. This earnest young man is definitely not a freak. The picture is of a naà ¯ve, fresh-scrubbed boy, rather typical of the 1960s, and shows the young man as he is. No doubt he is shown as ignorant and absurd in his act of wearing the Bomb Hanoi button, but he cannot be considered a â€Å"freak,† when the truth is that many Americans, sadly, supported the Vietnam War. One of the best pictures of Arbus is â€Å"The 1938 Debutante of the Year at Home, Boston, 1966,† a picture of an extremely privileged woman well into the transition from middle age to seniority smoking in her bed. Every pore of this woman exudes privilege, captured in astonishing clarity by Arbus, a perhaps unequaled master of technique (Dolack, 2006). This woman would not have considered herself a ‘freak’. Another photo that Sontag did specifically mention is the â€Å"human pincushion† of New Jersey, a middle-aged man who, while demonstrating his specialty, nonetheless is very proud. The privileged once-debutante and the circus performer are both comfortable with themselves and thus in front of the camera.Also evident in her attack on Arbus is the fact that Sontag considers the aim of a photograph is to make something beautiful. Well, one can disagree with this statement. A photograph doesn’t necessarily make something beautiful. Consider, for example, Garry Winogrand’s picture of a legless veteran surrounded by pedestrians on a busy New York street. It’s a very strong picture, compelling and well-made. Yet, the ugliness of that man’s situation is not only exposed but amplified. Then consider Winogrand’s picture of a black man looking at a rhinoceros in a zoo – the animal’s horn is missing and what’s left in its place is ugly and disturbing, as is the recognition seen in the man’s face. Thus, two photographers whose work quickly refutes S ontag’s contention are Robert Frank and Garry Winogrand. There are several others. Arbus explains: â€Å"Most people go through life dreading they’ll have a traumatic experience. Freaks were born with their trauma. They’ve already passed their test in life. They’re aristocrats.† These words show clearly that Arbus’s personal and intellectual attractions to oddities of nature and society convey a responsiveness that is also a sense of responsibility (Schjeldahl, 2005).Thus in the essay â€Å"America Seen through Photographs Darkly† Susan Sontag makes some intellectual observations and some controversial statements. While it is true that realism in American photography has been mystifying to a certain extent and every person is given importance in a photograph, it is false that there have been no photographers who understand the meaning of making a photograph ‘literate, authoritative and transcendent† Sontag is false in her claim that photographs should aim to capture the beautiful; – and false in her attacks on Arbus. Susan Sontag Essay Thank you for reading this Sample! Susan Sontag Essay Example Essay Example Susan Sontag Essay Example Paper Susan Sontag Essay Introduction In the essay titled â€Å"America Seen through Photographs Darkly† Susan Sontag discusses the advent of realism, the misinterpretations of realism, and the acceptance of surrealism as a substitute for realism in the realm of photography in America. Sontag chooses the thoughts of Walt Whitman to provide a framework for studying the works of photographers from the 1930s to the 1960s. In so doing, Susan Sontag makes many controversial statements. While some may be accepted logically, there are others which can be refuted. What is significant however is that Susan Sontag through this essay creates awareness of what beauty and importance means, and of what realism means in the context of photography.Walt Whitman perceived the democratic values of culture as that which existed beyond the contexts of beauty and ugliness, importance and triviality. According to Walt Whitman, nobody would fret about beauty and ugliness. The views of Walt Whitman changed the view of artists in many fiel ds dramatically. Artists took seriously Whitman’s program of populist transcendence of the democratic transvaluation of beauty and ugliness, importance and triviality. This resulted in an inclination to portray reality as it was rather than focusing only on traditional concepts of beauty. In the case of photography, this desire, instead of resulting in demystification of reality has resulted in a mystification of the art according to Sontag. This argument of Sontag is further strengthened by Susie Linfield who says that though photographs (of humanism) don’t explain the way the world works ..it’s true that photographs document the specific, they tend, also, to blur—dangerously blur—political and historic distinctions†. She explains this with the example. A photograph of a bombed-out apartment building in Berlin, circa 1945, looks much like a photograph of a bombed-out apartment building in Hanoi, circa 1969, which looks awfully similar to a p hotograph of a bombed-out apartment building in Baghdad from last week.This is a mystifying aspect of realism. Further according to Susie Linfield, people generally approach photographs, first and foremost, on an emotional level. She points out that Brecht regarded all feeling as dishonest and dangerous. In the book â€Å"Witness Iraq: A War Journal February–April 20003† there is one image showing six women in a cemetery outside Baghdad. The picture was taken by Jerome Delay, a French war photographer for the Associated Press and the caption tells us, â€Å"Relatives of Mohammed Jaber Hassan weep over his coffin . . . Hassan, 22, died when a bomb fell on a busy market in Baghdad’s Shula district.† Because the picture is dated â€Å"03/29/03,† we know that the bomb was probably an American one and that it was dropped on the civilian marketplace almost certainly by accident. If the picture were dated 2006, then, it would imply that the bomb was plant ed by insurgents in Iraq (Linfield, 2006). Thus, we can conclude that Susan Sontag is very right in pointing to the mystification that happens when photographers become humanistic in approach.Sontag says, â€Å"To photograph is to confer importance. No moment is more important than any other moment; no person is more interesting than any other person†. One of the most talked about photographs of recent times is the picture of an anonymous Afghan refugee woman taken by photographer Steve McCurry for the cover of National Geographic Magazine June 1985. The photograph showed the piercing stare of a young woman peering from a bedraggled cloak. The piercing green eyes epitomized the tragic story of dispossessed children everywhere and the image became a 20th-century icon. It was only recently in 2002, that Steve McCurry could trace her back and found that the woman’s name was Sharbat Gula (Connor, 2002).â€Å"Whitman thought he was not abolishing beauty but generalizing it . So, for generations, did the most gifted American photographers, in their polemical pursuit of the trivial and the vulgar†. Susan Sontag talks about Walker Evans as the last great photographer to have worked seriously in mood derived from Whitman’s euphoric humanism. She says that Evans was not as arty as Stieglitz. In the words of Sontag, â€Å"Evans sought a more impersonal kind of affirmation, a noble reticence, and a lucid understatement†. She justifies her statement that Evans was not arty by pointing out that Evan never tried to express himself in the photographs (like an artist does). He took photographs of architectural still life of American facades and exacting portraits of Southern sharecroppers in the 1930s. This view of Sontag is supported by Lincoln Kirstein who wrote ‘Looked at in sequence they are overwhelming in their exhaustiveness of detail, their poetry of contrast, and, for those who wish to see it, their moral implication†. Thi s explains why Sontag said that Evan’s project seemed to descend from Whitman. Evans project showed a leveling of discriminations between the beautiful and the ugly. Sontag further makes the point that everything is morally equivalent to a photograph. Evans wanted his works to be literate, authoritative and transcendent. Whitman preached empathy, concord in discord oneness in diversity. This message of identification with other Americans links Whitman and Evans in a subtle manner.â€Å"The moral universe of the 1930s being no longer ours, these adjectives are barely creditable today. Nobody demands that photography be literate. Nobody can imagine how it could be authoritative. Nobody understands how anything, least of all a photograph, could be transcendent†. John Szarkowski, in his introduction to â€Å"Walker Evans† explains the meaning thus: â€Å"The photographer must define his subject with an educated awareness of what it is and what it means; he must des cribe it with such simplicity and sureness that the result seems an unchallengeable fact, not merely the record of a photographer’s opinion; yet the picture itself should possess a taut athletic grace, an inherent structure, that gives it a life in metaphor†. There have been impressive photographers whose work can be considered literate, authoritative and transcendent, such as those of Weegee, Helen Levitt, Homer Page, Gordon Parks, Roy DeCarava, Robert Frank, and others. The works of these photographers convey the mixed artistic mood of the postwar period. The most subjective artistic photography of the period is seen in the work of Frederick Sommer, Minor White, Harry Callahan, and Aaron Siskind, while the art of applied photography is exemplified in fashion and portrait images by Richard Avedon, Irving Penn, Arnold Newman, and others. Thus, Susan Sontag seems to be somewhat pessimistically judgmental in holding that there is no one who understands what it means to be literate, authoritative and transcendent.Susan Sontag compares the works of Edward Steichen and Diane Arbus. Steichen’s work was aimed at showing all human is one and that human beings are attractive creatures. Steichen’s choice of photographs assumes a human condition or a human nature shared by everybody. Individuals are born work laugh and die everywhere in the same way. Arbus showed that this is a world in which everybody is an alien, hopelessly isolated, and immobilized, in mechanical crippled identities and relationships. Diane Arbus aimed at showing that all human is one and that human beings are horrific monsters. According to Sontag, while Steichen universalized the human condition into joy, Arbus universalized it into horror. Everybody Arbus photographed was a freak. This argument can be refuted. The main complaint Sontag places against Arbus is that she chose ugliness and horror subjects, made them pose, and took frontal pictures that were grotesque. Sontag , with an air of disapproval, claimed that Arbus’ work â€Å"lined up assorted monsters and borderline cases-most of them ugly; wearing grotesque or unflattering clothing; in dismal or barren surroundings’. Sontag says that Arbus interest in freaks expresses a desire to violate her own innocence, to undermine her sense of being privileged, to vent her frustration at being safe. This accusation by Sontag does not have any truth in it. Arbus’ work took a dark turn in her final works when her mental health deteriorated and that was seen in the collected grouped as â€Å"Untitled, 1970-71† in the retrospective organized by the San Francisco Museum of Modern Art that showed at New York’s Metropolitan Museum of Art in spring 2005. In her early works, Arbus brought out humanity in her subjects and coaxed out their personality. Sontag says that â€Å"Anybody Arbus photographed was a freak,† citing, as one of several examples, a boy waiting to march in a pro-war march wearing a â€Å"Bomb Hanoi† button. This earnest young man is definitely not a freak. The picture is of a naà ¯ve, fresh-scrubbed boy, rather typical of the 1960s, and shows the young man as he is. No doubt he is shown as ignorant and absurd in his act of wearing the Bomb Hanoi button, but he cannot be considered a â€Å"freak,† when the truth is that many Americans, sadly, supported the Vietnam War. One of the best pictures of Arbus is â€Å"The 1938 Debutante of the Year at Home, Boston, 1966,† a picture of an extremely privileged woman well into the transition from middle age to seniority smoking in her bed. Every pore of this woman exudes privilege, captured in astonishing clarity by Arbus, a perhaps unequaled master of technique (Dolack, 2006). This woman would not have considered herself a ‘freak’. Another photo that Sontag did specifically mention is the â€Å"human pincushion† of New Jersey, a middle-aged man who, while demonstrating his specialty, nonetheless is very proud. The privileged once-debutante and the circus performer are both comfortable with themselves and thus in front of the camera.Also evident in her attack on Arbus is the fact that Sontag considers the aim of a photograph is to make something beautiful. Well, one can disagree with this statement. A photograph doesn’t necessarily make something beautiful. Consider, for example, Garry Winogrand’s picture of a legless veteran surrounded by pedestrians on a busy New York street. It’s a very strong picture, compelling and well-made. Yet, the ugliness of that man’s situation is not only exposed but amplified. Then consider Winogrand’s picture of a black man looking at a rhinoceros in a zoo – the animal’s horn is missing and what’s left in its place is ugly and disturbing, as is the recognition seen in the man’s face. Thus, two photographers whose work quickly refutes S ontag’s contention are Robert Frank and Garry Winogrand. There are several others. Arbus explains: â€Å"Most people go through life dreading they’ll have a traumatic experience. Freaks were born with their trauma. They’ve already passed their test in life. They’re aristocrats.† These words show clearly that Arbus’s personal and intellectual attractions to oddities of nature and society convey a responsiveness that is also a sense of responsibility (Schjeldahl, 2005).Thus in the essay â€Å"America Seen through Photographs Darkly† Susan Sontag makes some intellectual observations and some controversial statements. While it is true that realism in American photography has been mystifying to a certain extent and every person is given importance in a photograph, it is false that there have been no photographers who understand the meaning of making a photograph ‘literate, authoritative and transcendent† Sontag is false in her claim that photographs should aim to capture the beautiful; – and false in her attacks on Arbus. Susan Sontag Essay Thank you for reading this Sample! Susan Sontag Essay Example Essay Example Susan Sontag Essay Example Paper Susan Sontag Essay Introduction In the essay titled â€Å"America Seen through Photographs Darkly† Susan Sontag discusses the advent of realism, the misinterpretations of realism, and the acceptance of surrealism as a substitute for realism in the realm of photography in America. Sontag chooses the thoughts of Walt Whitman to provide a framework for studying the works of photographers from the 1930s to the 1960s. In so doing, Susan Sontag makes many controversial statements. While some may be accepted logically, there are others which can be refuted. What is significant however is that Susan Sontag through this essay creates awareness of what beauty and importance means, and of what realism means in the context of photography.Walt Whitman perceived the democratic values of culture as that which existed beyond the contexts of beauty and ugliness, importance and triviality. According to Walt Whitman, nobody would fret about beauty and ugliness. The views of Walt Whitman changed the view of artists in many fiel ds dramatically. Artists took seriously Whitman’s program of populist transcendence of the democratic transvaluation of beauty and ugliness, importance and triviality. This resulted in an inclination to portray reality as it was rather than focusing only on traditional concepts of beauty. In the case of photography, this desire, instead of resulting in demystification of reality has resulted in a mystification of the art according to Sontag. This argument of Sontag is further strengthened by Susie Linfield who says that though photographs (of humanism) don’t explain the way the world works ..it’s true that photographs document the specific, they tend, also, to blur—dangerously blur—political and historic distinctions†. She explains this with the example. A photograph of a bombed-out apartment building in Berlin, circa 1945, looks much like a photograph of a bombed-out apartment building in Hanoi, circa 1969, which looks awfully similar to a p hotograph of a bombed-out apartment building in Baghdad from last week.This is a mystifying aspect of realism. Further according to Susie Linfield, people generally approach photographs, first and foremost, on an emotional level. She points out that Brecht regarded all feeling as dishonest and dangerous. In the book â€Å"Witness Iraq: A War Journal February–April 20003† there is one image showing six women in a cemetery outside Baghdad. The picture was taken by Jerome Delay, a French war photographer for the Associated Press and the caption tells us, â€Å"Relatives of Mohammed Jaber Hassan weep over his coffin . . . Hassan, 22, died when a bomb fell on a busy market in Baghdad’s Shula district.† Because the picture is dated â€Å"03/29/03,† we know that the bomb was probably an American one and that it was dropped on the civilian marketplace almost certainly by accident. If the picture were dated 2006, then, it would imply that the bomb was plant ed by insurgents in Iraq (Linfield, 2006). Thus, we can conclude that Susan Sontag is very right in pointing to the mystification that happens when photographers become humanistic in approach.Sontag says, â€Å"To photograph is to confer importance. No moment is more important than any other moment; no person is more interesting than any other person†. One of the most talked about photographs of recent times is the picture of an anonymous Afghan refugee woman taken by photographer Steve McCurry for the cover of National Geographic Magazine June 1985. The photograph showed the piercing stare of a young woman peering from a bedraggled cloak. The piercing green eyes epitomized the tragic story of dispossessed children everywhere and the image became a 20th-century icon. It was only recently in 2002, that Steve McCurry could trace her back and found that the woman’s name was Sharbat Gula (Connor, 2002).â€Å"Whitman thought he was not abolishing beauty but generalizing it . So, for generations, did the most gifted American photographers, in their polemical pursuit of the trivial and the vulgar†. Susan Sontag talks about Walker Evans as the last great photographer to have worked seriously in mood derived from Whitman’s euphoric humanism. She says that Evans was not as arty as Stieglitz. In the words of Sontag, â€Å"Evans sought a more impersonal kind of affirmation, a noble reticence, and a lucid understatement†. She justifies her statement that Evans was not arty by pointing out that Evan never tried to express himself in the photographs (like an artist does). He took photographs of architectural still life of American facades and exacting portraits of Southern sharecroppers in the 1930s. This view of Sontag is supported by Lincoln Kirstein who wrote ‘Looked at in sequence they are overwhelming in their exhaustiveness of detail, their poetry of contrast, and, for those who wish to see it, their moral implication†. Thi s explains why Sontag said that Evan’s project seemed to descend from Whitman. Evans project showed a leveling of discriminations between the beautiful and the ugly. Sontag further makes the point that everything is morally equivalent to a photograph. Evans wanted his works to be literate, authoritative and transcendent. Whitman preached empathy, concord in discord oneness in diversity. This message of identification with other Americans links Whitman and Evans in a subtle manner.â€Å"The moral universe of the 1930s being no longer ours, these adjectives are barely creditable today. Nobody demands that photography be literate. Nobody can imagine how it could be authoritative. Nobody understands how anything, least of all a photograph, could be transcendent†. John Szarkowski, in his introduction to â€Å"Walker Evans† explains the meaning thus: â€Å"The photographer must define his subject with an educated awareness of what it is and what it means; he must des cribe it with such simplicity and sureness that the result seems an unchallengeable fact, not merely the record of a photographer’s opinion; yet the picture itself should possess a taut athletic grace, an inherent structure, that gives it a life in metaphor†. There have been impressive photographers whose work can be considered literate, authoritative and transcendent, such as those of Weegee, Helen Levitt, Homer Page, Gordon Parks, Roy DeCarava, Robert Frank, and others. The works of these photographers convey the mixed artistic mood of the postwar period. The most subjective artistic photography of the period is seen in the work of Frederick Sommer, Minor White, Harry Callahan, and Aaron Siskind, while the art of applied photography is exemplified in fashion and portrait images by Richard Avedon, Irving Penn, Arnold Newman, and others. Thus, Susan Sontag seems to be somewhat pessimistically judgmental in holding that there is no one who understands what it means to be literate, authoritative and transcendent.Susan Sontag compares the works of Edward Steichen and Diane Arbus. Steichen’s work was aimed at showing all human is one and that human beings are attractive creatures. Steichen’s choice of photographs assumes a human condition or a human nature shared by everybody. Individuals are born work laugh and die everywhere in the same way. Arbus showed that this is a world in which everybody is an alien, hopelessly isolated, and immobilized, in mechanical crippled identities and relationships. Diane Arbus aimed at showing that all human is one and that human beings are horrific monsters. According to Sontag, while Steichen universalized the human condition into joy, Arbus universalized it into horror. Everybody Arbus photographed was a freak. This argument can be refuted. The main complaint Sontag places against Arbus is that she chose ugliness and horror subjects, made them pose, and took frontal pictures that were grotesque. Sontag , with an air of disapproval, claimed that Arbus’ work â€Å"lined up assorted monsters and borderline cases-most of them ugly; wearing grotesque or unflattering clothing; in dismal or barren surroundings’. Sontag says that Arbus interest in freaks expresses a desire to violate her own innocence, to undermine her sense of being privileged, to vent her frustration at being safe. This accusation by Sontag does not have any truth in it. Arbus’ work took a dark turn in her final works when her mental health deteriorated and that was seen in the collected grouped as â€Å"Untitled, 1970-71† in the retrospective organized by the San Francisco Museum of Modern Art that showed at New York’s Metropolitan Museum of Art in spring 2005. In her early works, Arbus brought out humanity in her subjects and coaxed out their personality. Sontag says that â€Å"Anybody Arbus photographed was a freak,† citing, as one of several examples, a boy waiting to march in a pro-war march wearing a â€Å"Bomb Hanoi† button. This earnest young man is definitely not a freak. The picture is of a naà ¯ve, fresh-scrubbed boy, rather typical of the 1960s, and shows the young man as he is. No doubt he is shown as ignorant and absurd in his act of wearing the Bomb Hanoi button, but he cannot be considered a â€Å"freak,† when the truth is that many Americans, sadly, supported the Vietnam War. One of the best pictures of Arbus is â€Å"The 1938 Debutante of the Year at Home, Boston, 1966,† a picture of an extremely privileged woman well into the transition from middle age to seniority smoking in her bed. Every pore of this woman exudes privilege, captured in astonishing clarity by Arbus, a perhaps unequaled master of technique (Dolack, 2006). This woman would not have considered herself a ‘freak’. Another photo that Sontag did specifically mention is the â€Å"human pincushion† of New Jersey, a middle-aged man who, while demonstrating his specialty, nonetheless is very proud. The privileged once-debutante and the circus performer are both comfortable with themselves and thus in front of the camera.Also evident in her attack on Arbus is the fact that Sontag considers the aim of a photograph is to make something beautiful. Well, one can disagree with this statement. A photograph doesn’t necessarily make something beautiful. Consider, for example, Garry Winogrand’s picture of a legless veteran surrounded by pedestrians on a busy New York street. It’s a very strong picture, compelling and well-made. Yet, the ugliness of that man’s situation is not only exposed but amplified. Then consider Winogrand’s picture of a black man looking at a rhinoceros in a zoo – the animal’s horn is missing and what’s left in its place is ugly and disturbing, as is the recognition seen in the man’s face. Thus, two photographers whose work quickly refutes S ontag’s contention are Robert Frank and Garry Winogrand. There are several others. Arbus explains: â€Å"Most people go through life dreading they’ll have a traumatic experience. Freaks were born with their trauma. They’ve already passed their test in life. They’re aristocrats.† These words show clearly that Arbus’s personal and intellectual attractions to oddities of nature and society convey a responsiveness that is also a sense of responsibility (Schjeldahl, 2005).Thus in the essay â€Å"America Seen through Photographs Darkly† Susan Sontag makes some intellectual observations and some controversial statements. While it is true that realism in American photography has been mystifying to a certain extent and every person is given importance in a photograph, it is false that there have been no photographers who understand the meaning of making a photograph ‘literate, authoritative and transcendent† Sontag is false in her claim that photographs should aim to capture the beautiful; – and false in her attacks on Arbus. Susan Sontag Essay Thank you for reading this Sample!

Free Essays on The Ceremony

The Ceremony by Silko The Truth In Our Lives Everybody goes through times/pressures in life where we are trapped in a phase where all our thoughts are but a blur. We are â€Å"confused† and uncertain of what to do, what to believe, what to think, etc.... Then we suddenly stop and ask ourselves, ‘Wait! What is the truth What is the right thing to do?’ The real deal is that life, as it is, is already a confusing piece of art. Why stress ourselves out with more things to think about? Why not just let ourselves go, fly high and live free with imagination and the ability to think whatever no matter if it is in wrong or right. In the book, Bless Me Ultima by Rudolfo Anaya, the author expresses his point by saying that everybody goes through they same processes in life. Everybody comes to self knowledge by tasting everything that is given to them and figuring the truth behind it. Not everyone has the same truths, we find our own. Throughout this book, Antonio is confused with who the real â€Å"God† in his life is. By figuring out who the real God is, I think that he thinks he can figure out his destiny. A real God is not all he’s looking for in life, but he is looking for a deeper meaning...something beyond life itself. Antonio is searching for something that would make sense to him because nothing seems clear to him. Tony’s looking for God is a way of looking for himself and finding himself. The pressure to see God a certain way expresses his need to destine himself to find a meaning - a meaning in life, a meaning to anything that gives him strength in his soul. We dream to explore - we grow to find our own truths. Antonio confuses himself with who to believe in because he is told all these different stories and such. The story of the Golden Carp felt enchanting to Tony. He felt as if it was something magical that was so rare that it was unbelievable. â€Å" I knew I had witnessed a miraculous thing, t... Free Essays on The Ceremony Free Essays on The Ceremony The Ceremony by Silko The Truth In Our Lives Everybody goes through times/pressures in life where we are trapped in a phase where all our thoughts are but a blur. We are â€Å"confused† and uncertain of what to do, what to believe, what to think, etc.... Then we suddenly stop and ask ourselves, ‘Wait! What is the truth What is the right thing to do?’ The real deal is that life, as it is, is already a confusing piece of art. Why stress ourselves out with more things to think about? Why not just let ourselves go, fly high and live free with imagination and the ability to think whatever no matter if it is in wrong or right. In the book, Bless Me Ultima by Rudolfo Anaya, the author expresses his point by saying that everybody goes through they same processes in life. Everybody comes to self knowledge by tasting everything that is given to them and figuring the truth behind it. Not everyone has the same truths, we find our own. Throughout this book, Antonio is confused with who the real â€Å"God† in his life is. By figuring out who the real God is, I think that he thinks he can figure out his destiny. A real God is not all he’s looking for in life, but he is looking for a deeper meaning...something beyond life itself. Antonio is searching for something that would make sense to him because nothing seems clear to him. Tony’s looking for God is a way of looking for himself and finding himself. The pressure to see God a certain way expresses his need to destine himself to find a meaning - a meaning in life, a meaning to anything that gives him strength in his soul. We dream to explore - we grow to find our own truths. Antonio confuses himself with who to believe in because he is told all these different stories and such. The story of the Golden Carp felt enchanting to Tony. He felt as if it was something magical that was so rare that it was unbelievable. â€Å" I knew I had witnessed a miraculous thing, t...

Bullying Essay Example | Topics and Well Written Essays - 750 words - 4

Bullying - Essay Example The rise of these technologies has resulted into a new form of bullying known as cyber bullying (Donegan 1). The new form of bullying has been on the increase in various communities set up. However, the problem has been rampant in various school causing grave effects. A reflection on bullying helps in understanding its effects in school. Bullying has been on the rise in various schools. Bullying is described as strange and extreme behavior usually among schoolchildren perpetrated by individuals having an advantage in terms of physical strength, popularity, or possession of damaging information (U.S. Department of Health & Human Services 1). The problem is usually repeated severally causing problems to the perpetrators and those targeted. Bullying may entail one of the following actions; making threats, spreading rumors, attack either physical or verbal, avoiding someone in a group or purpose (U.S. Department of Health & Human Services 1). Mostly, bullying occur during and after school hours (U.S. Department of Health & Human Services 1). Bullying occurs in various ways. First, it may arise through utterance or authoring mean things concerning an individual. Verbal bullying, on the other hand, may entail teasing, inappropriate comments, and threatening to cause harm (U.S. Department of Health & Human Services 1). Secondly, there are social bullying mostly perpetrated using social sites. Such form of bullying hurts someone reputation or relationship (U.S. Department of Health & Human Services 1). The problem is mostly perpetrated by spreading rumors about an individual. The other common form of perpetration is by use of physical strength. The effect of the challenge is through hurting a person’s body or possessions (U.S. Department of Health & Human Services 1). Bullying is a serious problem due to harm it cases in the society. First, it affects students in various ways. It may lead to health effects such as