Mobile Systems Paper Essay Example for Free

Mobile Systems Paper EssayWith so many web and mobile applications available today, it is difficult to cause a particular one that impacts more individuals and businesses than others. Many applications perform one or two tasks well, but I believe Google bowel movement is one of those applications that anyone stub find useful. Whether youre a student or a business person, Google movement can be of use in anyones life.Google Drive is unique because it has several(prenominal) different purposes and functions. The first function of Google Drive is its asperse storage. Google Drive itself gives its users 5GB of free space to upload documents, music, pictures, and videos to keep as a backup or to everyot with others. If needed, storage size can be expanded up to 16TB for a fee. Another feature that is key to Google Drive is it incorporates its Docs application as well as Gmail in it. This allows users to create documents, spreadsheets, presentations, and more that will automati cally save right to Google Drive and also give the ability to share it through email. Other aspects that can be found on Google Drive is that it is available on every modern browser, but alongside that Drive will offer the ability to find out up to 30 different file types (Geek.com,2012). One final way that Google Drive can now be used is on any mechanical man or iOS device. Users can now create, edit and view almost everything the same as they would if they were on their computer using it.Although some of the features of Google Drive are standardized to that of other applications, There is no other application that streamlines as many features into one application to make its users as productive and efficient as possible. With the incorporation of Google Docs and Gmail, users can create and share without having to open multiple applications. Another great change that it has brought to users is that it works with practically everything. Drive works on all browsers and all Android and iOS devices, so people can get work done at anytime, anywhere whether it is for school or work. Being a student, I expression this application has lowered school costs due to it being free and the fact that it has cloud storage.Students no long-lived have to have flash drives at the computer lab, now they can just log into Google Drive and access everything they need. And, with the addition of the mobile versions of Google Drive, last minute edits of papers andpresentations are no longer a reason for a melt down. The final benefit Google Drive gives to its consumers is the ability for Gmail to attach up to a 10GB file because of its integration. The attachment is technically a link for the recipient to download, but it enable users to have the luxury of sharing large videos or other data very easy and seamless (Geek.com,2012).With the riddance of a few items, Google Drive contains an abundance of features needed for everyday tasks. One item that Drive is lacking is media str eaming. This definitely needs to become a prospective enhancement so users can stream their music and videos from their drive application on mobile devices. With media streaming enabled, many users would only need to use Google Drive and could un clutter their home screen full of unecessary applications. The other enhancement that is directed towards the mobile version only is that users cannot create spreadsheets, forms, or drawings at this time (LaptopMag.com,2012). I am sure that Google will enable this in future updates, but it does cause some restriction for users for the time being.Mobile technology has become a necessity for students and business persons to stay productive while not in face up of their everyday computer. Google Drive is now expanding how mobile devices can be rough-and-ready by letting users share, store, create, and edit items from anywhere. This allows users more control on how they spend their time instead of being dependent on being in front of a compu ter. I know as a Google Drive user that it has helped me stay productive by storing all of my school work in their cloud storage. I can work from my phone or on any computer and it all works the same. I believe Google Drives consistency between run systems and devices is what makes this application so nice. No matter what I am using Google Drive on I can feel comfortable using it.ReferencesLaptopMag.com (2012, April 27). Google Drive Review.Retrieved from Laptopmag.com.Geek.com (2012, April 24). Google Drive has arrived, clearly targetsbusinesses. Retrieved from Geek.com.Geek.com (2012, November 27). With Google Drive integration, Gmail now offers 10GB attachments.Retrieved from Geek.com.

Rationalizing Economic Development and Environmental Sustainability Essay Example for Free

Rationalizing Economic Development and Environmental Sustainability EssayThere happens to be a two-fold task governing the existence of economic development and environmental stability national progress towards economy depends on natural resources, and natural resources needs alternate to continue the cyclical mode of economic development. In this manner, these two important national concerns continuously exist with a common approach of relationship. In claim, the economy depends on the environment and the stability of the environment likewise opts for support from the sectors enriching the economy.In issues occurring between economic development and environmental stability, there be claims that the arousal of the economy inhibits the perceptual constancy of the environment. The energy sector primarily is one of the profound avenues governing this relationship. An exemplification of such is the report of Woodwell and Ramakrishna (2004) entitled mankind Bank undermines eff orts on global thawing It states there that the World Bank favorably considered the continued support for the expansion of new-fangled sources of fossil fuels, one of the principal causes of climatic distraction.It came up with a decision that interests on recommending support to the less developed countries which are good prospects that can sell oil or gas or coal to the world markets. Furthermore, the onlyeged deed brings back into the limelight the ongoing inconsistency between the voices of the scientific community that provokes on the worlds state, and the ears of what the economic and political communities bear. In fact, the environment is cosmos changed in conduct that annihilates its life-supporting capacity. Instead, it seeks for immediate efficient steps to stop the erosion.Such report only signifies how the trend of coming up with possible sources of oil, gas or coal can be much of a danger to the environment, to the inhabitants surrounding the possible resources, and to the planet earth as well. Global warming for the past decades continuously alarms the people of its degrading effects on the environment. Drastically, different industries governing the economy surely have directly or indirectly implied to such dilemma. In posture with this, the question is back to basic What does the environment do to the economy? Indeed, there is a need to assess the economic rank of the environment through its fundamental means, ways, and processes. Taking a look with CIDAs Policy for Environmental Sustainability, an article called Assessing the Economic Value of the Environment states that taking into consideration the economic values implied to all environmental values, which may be of cultural, aesthetic, or spiritual, is not possible. Moreover, programmers are in constant need to assess the environments value to know its value in economic terms, and to assess the economys value to identify its value in making of environment decisions.In contrast with th e macro and little level, there is a need to emphasize the pros and cons of doing economical activities that may affect that of the environment. Furthermore, the article The Complicated Interrelationships of Poverty, Population and Natural Resources from the same policy states the sophisticated be web of cause and effect relationships among poverty, population growth, degradation of natural resources and natural resource consumption (11). Three factors such as population, environment and poverty are commonly indivisible.In this manner, such dilemma is perceived in most of the less developed and highly populated countries. Most of the highly populated countries aggregate much of its resources creating a slash on its natural resources yet may incur a probable high or low effect to its economy. Indeed, in terms of economic development and environmental sustainability, the whole process is inevitably diversified. With this, the relationship between the economy and the environment tak es action upon the people and their surroundings.Works CitedWoodwell, George M. and Ramakrishna, Kilaparti. World Bank undermines efforts on Global Warming. The Boston Globe 11 August 2004. Assessing the Economic Value of the Environment. January 1992. Canadian International Development Agency. 13 April 2007 http//www. acdi-cida. gc. ca/inet/images. nsf /vLUImages/Policy2/$ rouse/ENV-E. pdf The Complicated Interrelationships of Poverty, Population and Natural Resources. January 1992. Canadian International Development Agency. 13 April 2007 http//www. acdi- cida. gc. ca/inet/images. nsf /vLUImages/Policy2/$file/ENV-E. pdf

Problem Of The Piazza D Italia Cultural Studies Essay

Problem Of The situation D Italia Cultural Studies EssayWith habitual topographic point or aras we usually mean roads, streets, squ ars, beaches and parks, but also free friendly government structures and humanity institutions are luck of public space.The moment public areas withstand been formed they have been a platform for gathering population and groups from divers(prenominal) origins. It is a place where people aro utilise meet socially and exchange ideas.Public spaces play a social as sound as a political office staff in society and are the mirror of this society. (Carr et al.,1992)Creating such places has always been a promontory of discussion from the beginning. Especially since the 20th century public areas went through major changes. It is at that placefore that their role and existence in the future are in the 21st century more than ever a point of discussion. These discussions have started with the arrival of current times. In this period in that locati on have been realized different public spaces which each in their own way have given a contribution to these discussions.There are some creations which are very successful, but also some projects which are less prosperous.Within modern time we seat distinguish different periods of style and of movements, of which the post-modern style is a good example. berth d Italia in New Orleans, Louisiana, knowing by Charles Moore, is such a public space project of post-modernism.From the beginning until the very present thither have been different discussions in architectural society as well as in public circles ab out(a) the role of the Piazza dItalia as a public area.The Piazza knows some restrictions within the way the design has been realized, which ca spends that people do often feel that the upstanding domiciliatenot be experienced as a public space.In this turn up there will be look intoed what causes the out of sight problem of the Piazza d Italia. The square often gives an iso lated and estranged impression toward its users. The cerebrate for this batch have different causes. That is why it is important to research with this essay why en how the Piazza gives the impression of isolation and strangeness and also why the visitors do not experience this square as a real public space. Ultimate goal is to find out on which move there have been discussions in the past and, more important, during the post-modernism period and if these discussions are still up to date with the present 21st century.The structure of this essay is as follows within this research it is important to know what postmodernist architecture truly means. In the first part we will get into detail by looking at the beginning of this period, the characteristics and to what extent this period differs from the modern architecture.The second part will then describe the Piazza d Italia. First of all we will look at the ideology and ideas of Charles Moore about its role as a public space within society, referring to his essay You Have To Pay For The Public Life from 1965.The next step is describing the original design of the Piazza and subsequently the around recent result of the design.In the third part of the essay we will, according to the book Architectural Positions, compare the recent Piazza d Italia with the various themes and essays as written by different architects. We will look into the differences and similarities between the Piazza dItalia and the theories in the book Architectural Positions.In the final part of the essay there will be the conclusion which will summarize the result of this essay and where the conclusions about the problem of the Piazza dItalia will be designated.PostmodernismIn this part of the essay we will look into the meaning of postmodernism as a style within architecture. Also it is important to know how postmodernism has taken shape, its charactistics and in what respect it differs from modern architecture. term answering these questi ons we will use the book Architectural Position and the Western history of architecture.Postmodernism is a style within the architecture which has formed around 1960 as a response to modernism. Modernism is characterized by very straight, functional designs, without any ornament. According to reviewers this led to a certain extent of uniformity.Postmodern architecture stock-still characterizes itself by its free shapes, fanciful details and references to the past. Postmodernism is since the eighties on the acclivity and has an important position within the modern-day architecture. According to the Dutch philosopher Rene Boomkens there are four historical and philosophical stages of modernity which have eventually have led to postmodernismThe first one starts in the mid-nineteenth century, when new inventions, scientific breakthroughs, and the rise of intentness inspired amazement, but also a distinct sense of ephemerality (Avermaete et al., 2009).The second stage, between the deu ce world wars, the liberating and progressive potential of modernity was strongly emphasized. Scientific and technological advances inspired profound confidence in the perfectibility of society and the progress of culture generally meaning Western culture. Modernity was experienced as distant from the past and aiming at the future (Avermaete et al., 2009).The third stage of modernity had a more diffuse character. It showed both regressive and progressive tendencies and reached its apex in the late 1960s, with the sexual revolution, and the Paris protest of May 1968 and the Amsterdam Provo movement. One key feature of this stage was the emergence of the welfare state and mass culture, resulting in growing economic prosperity and social mobility, but also in an increasing process of individualizations (Avermaete et al., 2009).The fourth stage is postmodernity.The difference between modern and postmodern architecture can essentially be reduced to the use of ornaments, puffment, loca l specialties and rich details from which the modern architecture has taken a distance. But we do see them in postmodern architecturePiazza d ItaliaRegarding this research we will take a look in this chapter at the Piazza dItalia in New Orleans, designed by postmodern architect Charles Moore.In his essay You have to pay for the public life, 1965, Charles Moore starts a discussion about the role of Disneyland as a public space. Charles Moore describes Disneyland as a very important and successful place, offering possibilities to the changeability of public milieu. He describes how in this fantasyland full with dreams, stories, small and monstrous dramas, visitors get the possibility to invigorate, watch, and be watched in this area. Also Charles Moore deems the success of Disney is due to the fact that the designers of Disneyland used historical buildings and public places to recreate a world with which visitors can identify themselves and a space which they can create as their ow n.The fact that visitors have to pay a fee at the entrance to get into Disneyland, guarantees that Disneyland as public space will stay clean and tidy and that there is no place for junks and vagabonds, according to Charles Moore in his essay.Also Charles Moore discusses in his essay the rise of privatizing modern American cities, want floating groups of islands, which can only be reached by car, and how these cities miss the re-imagination of the public qualities which Disneyland creates.During the seventies Charles Moore tries to learn a lesson from his admiration for Disneyland and to use the positive qualities in his design for Piazza d Italia in the centre of New Orleans in America.Piazza dItalia is an urban public square in the centre of New Orleans, Louisiana in the United States of America. It has been designed in 1978 as a social gathering centre for the Italian community, which lived there in large numbers during the seventies.Charles Moores design consisted of a city blo ck which contained an already existing high office tower and around this block he designed a single-floored building where different activities, publicly as well as commercially attached to the American Italian community, were housed .In the middle of this building there was a round square with lots of decorative motives and ornaments, with a wide range of influences from Egyptian to Art Deco. From the design we can easily conclude that Charles Moore, akin in Disneyland, uses historical references to stimulate a feeling of re-imagination with its visitors. Already from the beginning Piazza dItalia, as an urban public space, was confronted with problems regarding further developments. It appeared that it was impossible to find public or private investors who would be prepared to pay for further development and realization of the square. The result of this shortcoming of investors led to a totally different Piazza dItalia of the year 2012 than was meant by the original design, becaus e only a part has been realized of what Charles Moore has designed. This square consists of a revolving plateau with tiles in different shades of grey, light and dark, which like an amphitheatre draws the attention to the fountain, formed as in an Italian landscape, surround by bright coloured concrete pillars. Furthermore the square holds a belfry as an entrance at the south side and at the north side there is a passage which reminds of a keyhole. The square is located at the foot of the office building and is surround by streets and parking places. As a result of the unfinished state of affairs the Piazza dItalia is also cognize to be named the first postmodern ruin.ThemesIn this chapter the most recent result of the Piazza d Italia will be criticized and be searched according to a some themes from the book Architectural Position combined by Tom Avermate, Klaske Havik and Hans Treeds. As described in the introduction, Piazza dItalia gives an aliented and isolated feeling in re gard to its environment and this results in that people do not feel it as a real public space in which one can recreate. To find out what the problem is the Piazza will be discussed and compared on the basis of several themes from the book Architectural position.The first theme is the definition. The essay of Adriaan Geuze will be reviewed and there will be made a comparison between the ideology of public space by Adriaan Geuze with the Piazza dItalia and in what ways there can be found similarities. Adriaan Geuze writes in his essay Accerating Darwin that Public space must challenge, provoke and disorient, he argues that only when the users of urban spaces are given an active role and can make spaces in the city their own, its possible to speak of a significant urban experience, a real public sphere. In this essay Adriaan Geuze describes the Maasvlakte snuggle Rotterdam to explain his conviction about the definition of public space. The Maasvlakte is an industrial area and as such part of the port area of Rotterdam. This area has been described by Geuze as an unprogrammed public space which gives its users the opportunity to recreate and to make the space their own. This withstanding the fact that this area never was meant to be recreational, but is actually in use by industrial factories and warehouses with a lot of heavy truck traffic. According to Adriaan Geuze the Maasvlakte is the ultimate public space for its users because they are totally free to use the space in their own way, since they are not restricted and isolated by defined and assigned spaces. Also Adriaan Geuze says in his essay that nterventions in public space, or rather, in the public landscape, should no longer be focused on generating greenery, the real challenge is to create space and textures for city dwellers to colonize in their turn. genius can play a role in this but is not a priori the main role. If we should make a comparison between the essay of Adriaan Geuze and the Piazza dIt alia in its present situation, the conclusion can be made that the Piazza does not suffice at all to the ideology and ideas of Adriaan Geuze.The Piazza is too programmed because it is surrounded by parking lots and office buildings. Furthermore the square itself makes a statement with its appearance. Therefore there is no freedom for visitors to create their own and to recreate. If the square had been developed according to the first design of Charles Moore, than indeed it would have given this space, combined with surrounding activities. This would have given visitors the feeling of freedom. The square would have been surrounded by locations and activities, which would have strengthen the picture of an Italian oasis in the busy American grid structure. A place to go to happily, escaping the city. Also Adriaan Geuze states that temperament itself can help with improving the qualities of public space. However, with the Piazza we can establish that, while the square is unfinished, th ere is no way of using nature to embellish the space.The second theme is Monumentality for which we use the essay The Monumentally Informalby James Stirling, 1984.In this essay Stirling connects the question of monumental to a buildings ability to communicate with larger social groups. win over that a public building should be monumental as well as informal and populist, Stirling categorizes his realized projects in two terms abstract and the representational. countermand is being the style related to modern movement and the language derived from cubism, constructivism, the Style and all the ism of the new architecture. Representational is being related to tradition, the vernacular, history, recognition of the familiar and generally the more timeless concerns of the architectural heritage. When comparing the Piazza dItalia with the vision of Stirling in his essay, one can conclude that it is better to place the Piazza in the category representational. The square refers in an exag gerated way to historical references and traditions, while the category abstract is totally absent. The absence of the Abstract is maybe a reason that the square is not being experienced as a modern monument, because it simply does not have its own character in which one can recognize its era. Instead we recognize the square more or less as a historical ruin. Historical ruins draw attention to the visitors, because they have a story to tell and their own rich history. Generally ruins are an attraction as such and are public places for which one has to pay to visit, like Charles Moore describes in his previously mentioned essay Disneyland. However, as a ruin Piazza dItalia sadly misses its back-up story and history, so it cannot be an attraction in this relation.ConclusionIn the stage setting of this essay the question has been made why the Piazza dItalia leaves such an isolating and estranged impression, causing it not to be a public space experience. In this conclusion it will be emphasized that this essay is directed to the most recent result and not to the original design of Charles Moore. In the three parts of this essay there has been research to the various opinions and ideas of other architects to be able to answer the research question. As a result of this research there can be concluded that the reason why the square is not a success, can be related to the fact that the square is a strange division within an urban environment, with contrasting mise en scenes. We can also conclude that the square is a by all means a presence because of its image and looks, without possibilities for visitors to recreate and make the space their own. As James Stirling describes the role of public buildings in his essay, a public space should be abstract as well as having available representative qualities. The fact that the square looks like a ruin, without any associated (historical) characteristics, leads to alienation.Furthermore the square presents many historical references, which are completely out of context and are clearly unfinished.The English architectural critic Charles Jencks pointed out that the quality of the square resided in the fact that it appealed simultaneously to at least two groups to architects and an engaged minority that are concerned with architectural problems, but also to the broad public or visitors that are interested in questions of comfort, of traditional building methods and lifestyle. This combination of popular and specialist elements and images were the ideal recipe to reconcile the tension between the architect and the users of public space.AVERMAETE, T., HAVIK, K. TEERDS, H. 2009. Introduction. In AVERMAETE, T., HAVIK, K. TEERDS, H. (eds.) Architectural Positions. Amsterdam SUN

History of the Feminist Art Movement

History of the Feminist Art MovementBefore the twentieth century, women ruseists struggled to p machinationicipate in the male person- prevail device world. Male domination forbade egg-producing(prenominal) learning in general. Women had minimal access to courses in artwork history, philosophy, and anatomy of the human body. Not gaining any perspective of the human anatomy hindered the women workmans from creating realistic portraits or accurate gallant scenes. Along with the educational limitations, pistillate creative persons were forbidden to sketch from live models because it compromised their integrity. Proper social protocol would suggest that self-expression of a egg-producing(prenominal) person was limited to bearing children, conform to proper social etiquette and lace making. Some women mechanics rejected social protocol of marriage to pursue emancipation inside their exquisite expressions. These female artists laid the entry for checkity of esthetical freed om despite the harsh regulations hardened on their moving-picture showings.These pioneering female artists would discreetly incorporate feminist meanings into their work and wanted to remove the sexual activity label from their artworks. The purpose of de-gendering their art was to compete and find recognition of their talents within the art society. By de-gendering their paintings, female artists started to gain recognition of their talents. During the early(a) nineteenth century, female artists reputations affirmed their talents and they slowly achieved success. The twentieth century marked a major social and cultural movement for them. Female artists insisted equality within society by disagreeing the gender biases and limited opportunities within the art community. Their disfavor provided a foundation for women artists to excite for equality and justice within museums and art galleries. Along with verbally struggle for equality, these women designed their art to cros s gender, sexual, and social norms. Early generation feminist artists inspired future generations of female artists to explicate the stereotypes of art. Pioneering female artists had the courage to create exquisite masterpieces, expose the gender biases within the art community, and shatter creative boundaries within society.This path for womens equality in art was received with criticism and objectification. Noticeable detachment of male to female artists is elaborated in Johann Zoffanys group portrait of the sorely founded Royal Academy in 1772. Female artists Kaufmann and Moser are not included among the male artists hardly their portraits hung on the academys walls (Chadwick 7). Their aesthetical talents were comparable to the gentlemen within the academy, yet, Zoffany treated these women as objects, not equals. During the fifteenth and sixteenth centuries, women were barred from the study of the nude models that formed the basis for donnish training.The lack of academic training provided to these women did not stifle them from succeeding within the art community. Sofonisba Anguissola illustrated in fifteenth century that women could challenge the male artist, even with the limitations investd on their artistic boundaries. Women were confined to paint only self-portraits or respectable landscapes. Sofonisba Self-Portraits exemplifies her techniques in painting by the contrast, lights, and colors used in her portraits. These portraits incorporate her place within society, culture, and her cause virtuoso. Sofonisbas father stifled her paintings when she became of age to marry. She refused to stop painting and defied society by continuing to paint when she was married and was bearing children (Chave). Her portraits still flummox the art community with her brush techniques.Artemisia Gentileschi challenged society with her portrait of Susanna and the Elders created after the conviction of Artemisias rapist. She lived a horrible life of torture, rape, and deception. Her father was a great artist and ran his testify studio for inspiring male artist. Her father taught her how to paint within the boundaries of properly raised females. During one of her fathers sessions a young student lured Artemisia to an outside room and pillaged her at the age of twelve. The charge of rape was unheard of and the case was taken to the high courts. At the trial, her thumbs were bound and tightened with each question asked by the court. This torture was to hold the court that she was telling the truth under pain. The young gentleman was convicted, which embarrassed her fathers reputation. Artemisias father disowned her for many stratums over the judges ruling. She was able to transform her exasperation and personal pain over the years to create artistic masterpieces. With her success, she overspreaded a school for women artist at the young age of 14 (Mieke).Womens liberation was still considered absurd through the 1800s, but one woman artist took the world by surprise. Rosa Bonheur was an extraordinary woman that was restricted to drawing and painting wildlife portraits and landscapes. Rosa structured messages of empowerment and rebellion in The Horse Fair, which illustrates horses being pulled and shoved by the male handlers. The message of The Horse Fair was translated over the years as the horses represented the womens struggle for equality and freedom. In her personal life, she broke the mold by dressing as a man, having a female companion, and controlled her own cash (Madden). Rosas conviction to be a woman artist and self reliant demonstrated early ambitions of womens liberations.The womens liberation movement started to gain momentum in the early 1900s with the Womens Suffrage Movement. This movement involved women uniting for equality within the social and political plaques. These rebellious women uprooted themselves from the daily tasks of cooking and cleaning to picket the White family for equality. The f eminist movement for equality did not gain much political ground and many of these organizations disbanded over the inequality frustrations. This movement influenced many women to start exploring their own freedoms within society. This female exploration developed into various feminist organizations that promoted carefree attitudes of dancing, smoking, and enjoying life. Enjoying life was short lived for the early feminist groups due to the coarse Depression in the 1930s. During WWII, feminist started to pull out of the depression and began performing masculine rolls within society. Rosie the Riveter was an mountain range of the powerful women supporting their family and the country while at war. The image of Rosie fueled the sense of independence and freedom within women lives. Unfortunately, the war ended and men returning home from war wanted their positions back as the family provider. Women returning to the role of homemaker did not sit well with the feminist organizations b ecause they started to gain social and political freedoms (Nguyen). The early 1900s laid a foundation for women rights and freedom of self-expression and liberation. However, it took some other twenty years for the feminist movement to gain any ground within society or the art community.Through the 1960s and 1970s, America was veneer the Vietnam War and social changes within the largest social structure, the Catholic Church. Women realized their lack of theatrical performance within society and the art community. They began to organize themselves into support groups in influence to raise ken of equal opportunities. A new wave of feminism gained momentum by actively questioning gender norms and tackling stereotypes. The Womens Liberation Movement in the Sixties started with the fence for Civil Rights among blacks, the left-wing political student innovation of 1968, and the demonstrations against the Vietnam War (Humm 132). In addition, these protests included the struggle for a bortion-rights, sexual freedom, social, and economical equality.The Womens Liberation and female artists became intimately joined forces in fighting for visualizing the injustices of society. The inequality of women expanded into the artistic community that escorted the first protest on the American art world. These protests focused on racism and sexism within the art community that enraged many feminist. The progress for equality was beginning to become organized and powerful, which allowed for all injustices to be fair game. whizz of the organizations was the Art domesticateers Coalition that was formed by artist George Takis. He removed one of his sculptures from the Museum of Modern Art or MoMA in 1969, which drew attention to his disapproval of the treatment of various artists (Gross). However, his protest for women artists equality was not as important to him as other causes. This infuriated the women artists within the group to strike out on their own.The Women mechanics i n Revolution or WAR was an established as a fragment organization to protest the male dominated Art Worker Coalition. Cindy Nemser is an art historian and critic, who published numerous journals in the 1970s about the liberation of women artists. She attended one of the first meetings of WAR. They gained recognition as artists and not as objects within the art community (Russell and Spencer 112). One of the crucial topics during the first meeting was the debate whether to have an all womens artist line of battle. A few women felt fearful that they would be stigmatized by exhibiting their artwork with only women. Within moments the debate resolved to the resolution to have a exhibit featuring twelve women artists, which they would call X12X. The intention of this exhibit was to illustrate the power and talents of women artists and it became a milestone for equal artistic rights. These twelve women artists conducted their exhibition on the roof in the East Village, NYC in 1970. Arti sts were Iris Crump, Lois DiCosola, Maryann Gillies, Silvianna Goldsmith, Helene Gross, Doloris Holmes, Arline Lederman, Inverna Lockpez, Carolyn Mazzello, Vernita Nemec, Doris OKane, and Alida Walsh (Bock DiCosola).That same year of the X12X exhibition the A.W.C. and W.A.R. collaborated to protest the actions of the Whitney Museum. The Whitney Museums Annual opening in 1970 featured 143 artists and only 8 of the artist were women (Gross). This lack of women artists representation in the museum piloted demonstrations by the Women Artist in Revolution and the Art Workers Coalition. These organizations advocated equal opportunities by direct open letters, demonstrations, and media inter visualizes. The purpose of these demonstrations was to insist that all the art institutions reorganize the museums exhibition agenda. These demands included topics of feminism, anti-racism, and anti-war movements that compulsory to be incarnate into the museums exhibitions. In addition, these demands included the participation of the art institutions to exhibit and place minorities and womens artists within society. Due to the intensive fight for equality of female representation at the museums the Whitney Museum raised from 5% in 1970 to 22% in 1971. These protests capable many avenues for social and artistic equality within society (Tobias). other organization fighting for women artists rights was AIR or Artists in Residence. The AIR Gallery open in 1972 and is the first non-profit gallery that exhibits women artists in America. These female artists would determine what programs and exhibits would be illustrated in the gallery. Also, each female artist would have the opportunity to demonstrate their works by designing and installing their own show. Some of these exhibits would attract some commercial message venues but the majority of the exhibits would challenge the view against the stereotypes of women in society (Chave).This artistic evolution opened numerous opportuniti es for writers to focus on the history of womens equality within the artistic society. Moreover, these writers wanted to expose the tainted past with the historical perception of women artist. Linda Nochlin published an essay in 1971 called, Why Have There Been No Great Women Artists? This essay inspired women artists to reject art history of women because of the injustices within the educational and cultural opportunities. These rejections offered women the authority to reject the customary artistic education, which was held in reserve for male artists. She communicates that the fault for the lack of women artist did not lie within their stars or hormones. Linda explains that women artists do not have the golden nugget of genius and continues to state that women artists were not natural with the genes to be a great artist because of the lack of a penis (Nochlin). Lindas publication encouraged many women artist to reject the past and reach within their soul to find new inspirations within female art.Judy Chicago read Nochlins essay and began to re-educate herself in art history by rejecting the tilted observations of male art history. Judys earlier exhibitions of her work at the Jewish Museum included paintings as the Rainbow Pickets and Primary Structures. These earlier artworks utilized the Minimalists approach (Chave). However, this approach to art was abandoned with the awareness of the fight for womens equality within the artistic community. Nochlins essay inspired women like Judy to move toward the feminist art faction and to usher in aspirations of artistic creativity. The female artists of the revolution went beyond gender bias to create a new generation of stirring and proactive art. This evolution of womens expressionism facilitated the new wave of liberating topics that was collective into paintings, sculptures, and education (Lucie-Smith 196).Miriam Schapiro embraced the female experience of crafts and developed a new median of art. She was inspi red by this feminist movement to demonstrate and elevate the status of crafts to a fine art through sewing, collage, and painting. The use of embroidery and cross-stitching within art has come to be known as femmage. Femmage was a word that stood for hand sewn art that incorporated different fabrics and textures. This unique use of crafts elevated her work to the high-art of collages, which is seen in the Dolls House at the Womanhouse protrusion (Bock DiCosola). Schapiro wanted to encourage the ordinary housewives to be inspired and make aware that their daily tasks could be turned into beautiful art. Her popularity within the womens community allowed her to challenge the establishments of injustices and encouraged women to emerge from the isolation of the housewifes persona. Schapiros enthusiasm for liberating the housewife included educational projects with Judy Chicago.Judy and Miriam became acquainted by their recognition of each others earlier artistic challenges in the male d ominated art society. They first met at a dinner held in the home of Allan Kaprow, where they discussed the possibility of Schapiro lecturing at the university where Judy resided. Both of these women embraced the emancipation of women and women artists. The first advancement of educational programs for women in art was created by Judy at California separate University. Judy and Schapiro integrated their talents to design the first Feminist Art political program at the California Institute of Arts (Lucie-Smith 194). It was the intention of this school to create a new generation of artists, who had an expanded knowledge of the feminist self awareness. These challenges and recognition of each others work encouraged Judy and Miriam to have an exhibit that allowed the women artists to express their new femininity.In 1972, Womanhouse project was a brainstorm of Judy Chicago and Miriam Schapiro and integrated the Feminist Art Program at the California Institute of the Arts. This exhibiti on encouraged students of the Feminist Art Program to participate. The intention of the Womanhouse is to showcase womens performances and art outside of the school environment. Projecting the students into the social community gave a new purpose for their art and a chance to open the minds of the public to liberating womens artistic abilities. This exhibition joined forces with all the students to prepare a dilapidated house in a suburban area of Hollywood. Students that worked several jobs had to order their lives to create new pieces for the exhibit. Beyond their own works of art, the students became laborers in repairing windows, rewiring electric and other carpentry related tasks. Unfortunately, the undertaking of this project became overwhelming for the students and staff. Numerous students were pushed to their limits and suffered balance deprivation and exhaustion in preparation. Judy became the general of this project by yelling, poking, and pushing students to their limits (Sider). The students and staff managed to convert this house into a month long art exhibition for the public. Each woman was given a room to create whatever they wanted, providing it followed the parameters of the females experiences.The Womanhouse exhibition was received with mixed reactions by the critics. These participating artists were less concerned with the critics and more(prenominal) concerned with raising the conscious awareness in femininity. Each night of the show, the media and spectators filled the exhibition rooms to interact with many talented artists. The general, or Judy, created the flow Bathroom that included a waste basket overflowing with dirty, bloody pads. She overly scattered around the bathroom various feminine hygiene projects. Another inventive use of household items is the Linen Closet designed by Sandra Orgel. The Linen Closet illustrates a women trapped inside the closet or incorporated into the closet next to the folded towels. The head of the fe males appears to have been chopped off and placed on the self. The one leg appears to be outside but also given over to the body, it seems to be that she was stuck inside the boundaries of traditional womens duties. The traditional womens duty was challenged by a room called Waiting at Womanhouse. Waiting at Womanhouse was performed by Faith Wilding, which involves her academic session in a room with her hands folded while she rocks back and forth reciting words that stereotyped women. Faith would mutter words like, waiting for someone to ply me, put me on the toilet, or waiting for menopause. The message provided by this piece demonstrates the outdated suppression of females but also provides a powerful voice to break the cycle of oppression. Nurturant Kitchen was a combined insulation by Susan Frazier, Robin Weltsch and Vicki Hodgetts. The Womanhouse exhibit provided a creative outlet for the artist to explore the feminist view of unequal opportunities in society. Moreover, it illustrates the talents that women possess when they are not muffled by the male dominated society (Sider).During the Womanhouse exhibit, another organization for womens equal rights was beginning to assemble. In 1971, the Women in Arts Foundation or WIA became a structured foundation that addressed the discriminations against women artists. This foundation challenged the unfair practices of jurying female artists for shows. Also, they provided educational and professional information to these artists, so that they could govern their careers with knowledge. A majority of these educational programs tackled topics dealing with various law practices, grants, art dealers, and coping with critics (Morgan). The WIA organization also contributed in protests that took to the streets of New York. They would have boob tube interviews, speeches, and even picketed events that were unjust to the female artist.WIA conducted a protest in front of MoMA, which included numerous open letter campaign s to the New York museums to reorganize their ignorance toward women artists. The result of this protest led to the Women pick Women exhibition that opened in 1973. This show included only 109 of nearly 500 WIA members (Tobias). Although the percentage of women was low, it still set a actor for future womens exhibitions. Women Choose Women was essential not only because it was the first womens museum exhibition but it gained recognition by the art community. It was important because it demonstrated that women artists were no nightlong under the control of the male influences and these males could no longer determine what works of the females would be exhibited. Also these women artists would decide how these exhibitions would be interpreted. Inverna Lockpez was one of the artists featured in this exhibition with an untitled painting. Lockpez was always involved with the womens movement since the early sixties and felt that this show was overdue. Buffie Johnson, Betty Parsons, and Mary Frank were among some of the diverse artists that were featured in this exhibit. This show illustrated various womens artistic abilities and was hosted by the New York Cultural Center (Jolly). The Women Choose Women show set precedence for other women artists to unify and take control of their artwork.The Women Choose Women and the sexual revolution aided in the liberation of homosexual and bisexual female artists. However, the fight for womens freedom was still ongoing and to tackle another homecoming for female homosexual equality would be challenging. The League for the Advancement of Lesbianism in the Arts was founded in Los Angeles. This foundation provided a safe environment for their members to explore the freedom of sexuality through their art. In New York City lesbian artists protested the lack of support within the art community. Ellen Turner, Maxine Fine, Flavia Rando, Ellen Turner and Fran Winant would target high traffic dwell areas and saturate them with copies of their artworks. These artwork flyers would have the female artists drawings, which was stamped with the word lesbian art across the flyer. In 1974, the Lesbian Herstory Archives was founded in New York City by Joan Nestle and Deborah Edel. The undertaking of this foundation was to gather and preserve records of lesbian lives and activities so that future generations will have access to the material. Moreover, lesbian artists were gaining some recognition in 1978 with A Lesbian Show exhibition (Jolly).Harmony Hammond created the A Lesbian Show which was an exhibition that featured lesbian artists. In the early 1970s, she exhibited art pieces that resembled the feminist attitudes of the times. Beyond the confronting of the current feminist agenda, Harmony came out as a lesbian and became a strong voice for future generations of lesbian artists. She is an accomplished artist that incorporates lesbian feminism into her paintings, sculptures, and writings. Her artistic works incorpor ates the female stereotypical household materials into her sculptures and paintings. Some of these materials included the use of blankets, curtains, and any recycled cloths that were transformed into crocheted painted rugs. Harmony also experimented with latex and rubber materials in her sculptures which are illustrated in her bag collection. Today, this pioneer of womens art is still an accomplished artist, writer, curator, and publisher on the topic of lesbian art (Russell and Spencer 220-221).In the 1970s there were many foundations that supported the feminist fight. However, lets go beyond the organizations or exhibitions and explore a few of these pioneering feminist artists. These women used their artistic creativity to express unique insights within feminist art. It is important to recognize each of these following women as courageous and bold women within their own convictions to poke out the artists awareness to female art and equality.Cindy Sherman established her reputat ion as an artist by using Untitled Film Stills to provide a different potential on photography. In the late 1970s, she created a series of black-and-white photographs which the artist depicted herself dressed in the guises of clichd B-movie heroines. Another artist that used study within the artistic community was Joyce Wieland. She was a painter, writer, and director of her own movies, which include The Far Shore. Joyce is called the pioneer of the idea of women working together to create art. She was the first artist to hire outside individual quilters to quilt various pieces for her Reason Over Passion(Chadwick 383). Joyce was considered one of the most important artist figures with the U.S. and Canada.Judy Chicago used other female artists to aid her creation of the 1979 piece called The Dinner Party. She had taken the idea of getting other women to help her from Joyce Wieland, but unlike Wieland, Judy Chicago never paid the slew who worked for her. This Dinner Party took fiv e years to complete and she has since received a bad reputation for exploiting the work of other artists by taking the credit for herself (Chadwick 229). Judys efforts and film helped the feminist movement toward a positive direction but after this show her past accomplishments were over shadowed by her greed.Benglis is the next feminist artist that rocked the artistic community. Her creations are very unusual concepts of the use of latex. During the feminist movement, she poured latex and foam to create sculptures. Benglis angrily created these works of art to represent the male dominated fusion of paintings and sculptures that had taken place within Process Art and Minimalism. Movement of the material was the purpose for creating these sculptures with the foam and latex. Benglis work was met with controversy over the critical awareness of the abstraction of content and the gesture of the mass (Tobias). Her creations of sculptures were very formal but used unique materials that ca ptured the audience imagine.The sculptures during the feminist movement varied from latex to fiberglass. Hesses favorite(a) material was fiberglass, which incorporated organic geometric elements into the sculptures. Most of her sculptures were rigid and contained mechanical shapes and forms. Unfortunately, during her peak of artistic genius, Hesse discovered that she had a brain tumor. It has been said that her unique smudge gave her the inspiration to boldly use materials like latex, rubber, and cheesecloths to define movement within the sculptures (Chadwick 340).The last feminist artist that inspired this research for the liberating art movement was Betye Saar. She began creating artworks that incorporated the social injustices arranged within boxes with windows. Saar used mixed media collages, assemblages, and installations to illustrate her message of freedom. Saars work had a methodic element of passage of life, death, and rebirth. Each of her artworks conveyed stories of equ alities, her own mixed culture, and the fight for civil liberties. The majority of her art work deals with issues of race and gender equality. The Liberation of Aunt Jemima forces the audience to see the injustices within the social boundaries of life(Barko).In closure, the evolution of the artistic freedom illustrates the level of bias within the education and opportunities offered to the early pioneer women artists. During the late 1960s and early 1970s, female artists began to organize and fight for equal artistic and personal freedoms. These early struggles for equal exhibitions led many female artists to conduct protests and boycotts of various museums to gain recognition. Various female artists that had the opportunity to exhibit their works opened new avenues for future feminist artists. These artistic pioneers illustrated that females are just as talented, bold, and provocative as male artists. The golden egg theory that males had a represent from God to be great artists wa s trampled by the feminist artistic movement. Moreover, these feminist artists demonstrated that their artworks were just as marketable as the male artists works. The organizations formed by these women were used to provide support and advancement within the artistic community. Many of these feminists artistic organizations still exist today. They still continue to fight for equality and equal exposure for the female artist and their artworks. Nowadays, women artists are able to benefit from these pioneers of liberation however, to benefit from the past is to maintain the level of artistic freedom in the future.Work CitedAnguissola, Sofonisba. Self Portrait. 1561. Painting. http//www-english.tamu.edu/pers/fac/phillippy/_women_artists/anguissola/. 30 Nov. 2009.Barko, Cortney Cronberg. Rediscovering Female Voice and Authority The Revival of Female Artists in Wendy Wassersteins The Heidi Chronicles. Frontiers A ledger of Women Studies 29.1 (Mar. 2008) 121-138. Academic Search Elite. E BSCO. Westmoreland County Community College Learning Resources Center. 23 Aug. 2009 .Benglis, Lynda. Quartered Meteor. 1969. Photo.http//www.cheimread.com/exhibitions/2002_10_bettina-rheimslynda-benglis/. 30 Nov. 2009.Bock DiCosola, Lois Ann. Feminists Who Changed America 1963-1975 . 2007. 13 September,2009. .Bonheur, Rosa. The Horse Fair. 1853. http//www.shepherd.edu/englweb/artworks/A8.jpg. 30 Nov. 2009.Chave, Anna C. I Object Hannah Wilkes (Feminism). Art in America 97.3 (Mar. 2009) 104. MasterFILE Premier. EBSCO. Westmoreland County Community College Learning Resources Center. 23 Aug. 2009 .Chadwick, Whitney. Women, Art, and nightspot . 4th Ed. Canada Thames Hudson orb of Art, 2007.Chicago, Judy. The Dinner Party. 1974-79. Photo. http//arthistory.about.com/od/from_exhibitions/ig/spring07/sp2007exh_03.htm. 30 Nov. 2009.Chicago, Judy. Menstruation Bathroom. 1973. Photo. http//feministartrevolution.blogspot.com/2007/12/womanhouse-1973.html. 30 Nov.2009.Chicago, Judy. Rainbow Pick ett. 1965. Photo.http//www.lewallencontemporary.com/judychicago. 30 Nov. 2009.Frazier, Susan, Hodgetts, Vicki, Weltsch, Robin. Nurturant Kitchen. 1973. Photo. http//feministartrevolution.blogspot.com/2007/12/womanhouse-1973.html. 30 Nov.2009.Gentileschi, Artemisia. Susanna and the Elders. 1610. Painting. http//www.artemisia-gentileschi.com/susanna.html. 30 Nov. 2009.Gross, Alexander. The Artists Branch of the Movement. deep down the Sixties Book. 2009.September 15,2009. .Hammond, Harmony. Bag XI. 1971. 1973. Photo. http//www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/harmonyhammond.php?i=832. 30 Nov. 2009.Hammond, Harmony. Floorpiece VI. 1973. Photo. http//www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/harmonyhammond.php?i=832. 30 Nov. 2009.Hesse, Eva. Right After. 1969. Photo. http//www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/eva_hesse.php?i=1700.30 Nov. 2009.Humm, Maggie. The Dictionary of Feminist Theory. 2nd ed. capital of Ohio Ohio State Universi ty Press, 1995.Lucie-Smith, Edward. Movements in Art Since 1945. 1st Ed. Canada Thames Hudson World of Art, 2001.Jolly, Margaretta. Lesbian Herstory Archives. 2009. LHEF, Inc..13 September,2009. http//www.lesbianherstoryarchives.org/index.html.Lesbian Herstory Archives. Lesbian Herstory Archives Photo 1974. Photo. http//www.lesbianherstoryarchives.org/index.html. 30 Nov. 2009.Lockpez, Inverna. Untitled. Movements in Art Since 1945. 1st Ed. Canada Thames Hudson World of Art, 2001.Madden, Gerry. Rosa Bonheur, a Boy in Petticoats. Hopscotch 16.6 (Apr. 2005) 36. MasterFILE Premier. EBSCO. Westmoreland County Community College Learning Resources Center. 22 Aug. 2009 .Mieke, Bal. The Artemisia Files Artemisia Gentileschi for Feminists and Other Thinking People. 1st ed. Chicago University of Chicago Press, 2005.Morgan, Ann Lee. Feminist Art. Art Journal 54.3 (Fall95 1995) 102. MasterFILE Premier. Westmoreland County Community

The Concept Of Banal Nationalism

The C at a timept Of Banal NationalismI go out begin this essay with introducing some sociologists put on on nationalism. Ronald Rogowski (1985 cited in Billig, 199543) viewed nationalism as the striving by members of nations for territorial autonomy, unity and independence. Anthony Giddens mentioned nationalism as a phenomenon which is primarily psychological (1985, p.116 see excessively Giddens, 1987, p.178 cited in Billig, 199544). According to his view, nationalism happens when normal animation is disturbed (Billig, 199544). He thought that nationalist feeling atomic number 18 not so much a part of regular day-to-day kind life (1985, p.215 cited in Billig, 199544), but draw to be fairly remote from most of the activities of day-to-day social life he thought that ordinary life is affected by nationalist sentiments only in fairly unusual and often relatively transitory conditions (p.218 cited in Billig, 199544). According to the writing of Michael Ignatieff, nationalism wa s being described as dangerous, stimulated and the property of others (Billig, 199546).There ar different real life examples that support the root word of timeworn nationalism According to the Day Survey, journalists and politicians unremarkably adopt the phrase the nation (Achard, 1993 cited in Billig, 1995116). It leads the readers to assume a story is happened in the homeland, unless the contrary is introduced in the topic or first paragraph of the story (Billig, 1995116). For the digest section of the British press, Billig mentions that the notion of the weather implies a national deixis, which is routinely repeatedthe reports tend to be similar and contain a map of Britain, which is not actually labeled as Britain the see of the national geography is presumed to be recognizable (Billig, 1995116-117). Also, the maps present the weather in Europe and the north Atlantic in Telegraph, Guardian, Independent and The Times always put the British Isles in a central kettle of fish (Billig, 1995117). Billig in like manner discovered that there was much more national intelligence operation show than international news being mentioned in the British press (Billig, 1995117). Fowler claimed this phenomenon as the homocentrism of the press, which is a preoccupation with countries, societies and individuals perceived to be like oneself (1991, p.16 cited in Billig, 1995118). By reading the British Press on a day-to-day basis people are being mindlessly reminded that Britain meant to be the centre of worlds nations to them which things happening locally within the Britain are important to them. The peoples sense of belonging to Britain may be unconsciously intensify through this daily practice of reading the British press. This example in line with the concept of banal nationalism which reveals that national individuation is nothing lifelike but is socially constructed and maintained through daily activities such as reading a newspaper.In addition to the ex ample of the British press, there was a research carried out on the Turkish Press that supports the judgment of banal nationalism thirteen out of thirty-eight Turkish newspapers used the Turkish stagger or slogans such as Turkey for the Turk, The new newspaper of new Turkey or the map of Turkey as their logos which directly or indirectly remind the Turkish people of their national identity (Yumul -zkirimli, 2000789). The unimaginative repetitive act of the Turkish newspapers which act as a continuous, albeit barely conscious, reminders of the nationhood they are equal to the unwave flag which unmindfully reminding the Turkish of their national identity and homeland (Yumul -zkirimli, 2000790). Seventy-six per cent of the Turkish newspapers divided the local news and the foreign news domestic news items are associateified under subject headings and do not carry a specific caption like Home news show (Yumul -zkirimli, 2000790). The Turkish Newspapers usually use an unlabelled ma p of Turkey to report the weather which reinforce and naturalize at the level of the unconscious the geographical shape of the homeland which the reader has encountered countless times in the course of his lifetime (Yumul -zkirimli, 2000790). We can also notice the banal nationalism through the sport news on the Turkish press. For instance, Fanatik, after reporting the victory of the 14-16 age-group team of Galatasaray over the Dutch Ajax quotes the managers of Galatasaray Let them learn from us, instead of us taking them as examples (Yumul -zkirimli, 2000800). This example of the Turkish press demonstrates that banal nationalism is taking place in different nations. The slogans, imbalance amount of local news and foreign news, style of weather reports, and satisfy of the sport news of the Turkish press creates a sense of us and them between our nation- Turkey and others- the foreign nations. The readers will be unconsciously reminded near their national identity- Turkish. This example once again reveals socially constructed characteristic of the national identity.Example that supports banal nationalism can also be found among the Scots Newspapers Daily degrade a Scottish tabloid, which its masthead was stated as Your Papers-Made in Scotland and also Scotlands Champion, which ensemble unambiguously fixes the centre of its social and spatial deictric and evokes the Record as the defender of the Scottish nation (Law, 2001306). There are far more examples that supporting the inclination of banal nationalism in our daily life. For instance, the content and style of TV proagrammes, content of TV news reports, the words used by the politicians, and the name of road signs, etc.Nation reveals the sense of a we locomotion together through time, acting collectively in our own space, with a common fate (Anderson, 1983 cited in Wetherell Potter, 1992141). The people of a nation contain an idea of national character, a set of personality traits and attitudes which people share in common, distinct from others, such as the Australians and British, and it constructs a framework of rituals, icons, anthems and flags (Wetherell Potter, 1992141). The national identity is thus a persons sense or feeling of belonging to a nation. Banal nationalism contributes to the understanding of the national identity in many ways. For instance, it challenges the social identity theory social identity theory suggests that conflict can occur where the ingroup has absolutely nothing to gain from competing with the outgroup Tajfel believes that having identification with a group will increase self-esteem and so national identity helps us to find meaning in our lives (Houghton, 2009171-172). Billig doesnt agree with this theory because he thinks that it fails to grasp how the social crime syndicate of national identity is actually constituted, and why it persists basic to Billigs argument is that such identities are not cognitive schemata, but rather patterns of pra ctice and habit construct into the material and social environment We do not just adopt such social categories because they fill certain psychological needs, we adapt to a social environment that renders these categories real and imperative (cf. Eagleton 1991 40 cited in Hearn, 2007660-661). Banal nationalism demonstrates that a person who adopts a national identity is through consistent development and seeing perhaps mindlessly and routinely that build his or her sense of belonging to a particular nation but not like what has been claimed by the social identity theory that a person adopts a particular national identity is because of the innate need psychologically.Another parcel of banal nationalism is that it challenges the concept of things about nationalism and national identity are far away from what ordinary people can reach or experience in a steady established Western nation. Instead, it reveals that many ordinary people are experiencing nationalism in their eeryday life but just in another form from what they expected.In addition, the theory challenges the supposed dichotomy between our civilised societies and their violent ones (Skey, 2009334). Local people within a nation usually deny they are nationalist or nationalism but point these things to the people in other nations because they usually see nationalism as something negative, dynamic, emotional which I mentioned in the previous part of the essay. However, the theory of banal nationalism reveals that nationalism is actually crucial for them to form and reform their national identities nowadays.Banal nationalism also draws our attention to the ongoing production of a hegemonic discourse whose power comes from being seen as natural, taken-for-granted, common sense (Sutherland, 2005 196 cited in Skey, 2009334) which in line with what Jan Penrose has claimed our adoption of nations as natural divisions of the global territory and population is essential to the maintenance of the existing geopo litical order (Penrose, 1994 161-81 cited in Skey, 2009334). The concept of banal nationalism once again reminds us that the divisions of the worlds nations are not happened naturally and neither the adoption of our national identities.However, on the other hand, there are different critiques to the idea of banal nationalism which may undermine the value of this theory Mirca Madianou (2005) claimed that take account of media theory which has long argued that audiences cannot simply be seen as either coherent or empty vessels that uncritically absorb the media messages that they encounter (cf Abercrombie and Longhurst, 1998 Gillespie, 2005 cited in Skey, 2009336). It challenges that people who receive the messages from the newspapers, TV programmes, TV news, etc are not homogenous in equipment casualty of mentality or perception toward different ideas. Different people will interpret and react differently when they receive the messages from the banal signifiers. For instance, peopl e from different social class and political background will think differently. The concept of banal nationalism ignores the complexity of the audiences within a nation.There is also a critique that claiming Billig has fall in to problems of assuming a settled and largely benign socio-political landscape even in what Billig has labelled as established, democratic nations(199593 cited in Skey, 2009337). Jackie Abell et al. challenge the idea that any modern states are stable in the sense of being unchallenged over time, or lacking in internal tensions or extraneous challenges is highly questionable and as such should be critically evaluated in terms of its ideological function (Abell et al., 2006 208 cited in Skey, 2009337). The political and social situation of a nation could be far unstable and worse than Billig has expected even in a developed nation.To conclude, the argument of this essay demonstrated the importance and contribution of the theory of banal nationalism for understa nding national identity in both the social and political aspects. However, in my opinion, its value might have been declining and advance to decline in the future. Apart from the reasons of the above critiques and limitation, to certain extent it is also because of the improvement of technologies and process of globalization. The relationship between the media and the nation is being made ever more complex through the widespread use of the internet (Eriksen, 2007 cited in Skey, 2009336), satellite broadcasting (Madianou, 2005 cited in Skey, 2009336), mobile phones etc It means that people in a nation have more choices to receive various information from other part of the world but not just from the national-operated media. Besides, globalization will also enhance the mobility, fluidity, and movement of people. These factors may increase the complexity of audiences in a nation since there are more different groups of people in terms of ethnicity, culture, gender, etc gather in diffe rent nations. These different groups of people may interpret and react differently from the banal signifiers and perceive themselves as having different national identities from the others.

Comparing Grovers Growing Up White In America and McBrides Work, What Color Is Jesus? :: Compare Contrast Essays

Comparing Grovers Growing Up White In the States and McBrides Work, What Color Is Jesus? Racial issues have been overabundant for the last fifty years. The two authors Bonnie Kay Grover and James McBride share their racial views in their respective works Growing Up White In America and What Color Is Jesus? Each author has a different view on exactly what travel rapidly is and how it is used. Bonnie Kae Grover is a white female who believes that race has been used as a weapon. Specifically, she focuses on how white people use their color of skin to be controlling of other people. Her gripe is on the design of white culture. She questions the validity of the statement and believes it is precisely just American culture and those who think of it as white culture just moved in desire theyve discovered it (Grover 377). She examines some similarities in todays white culture and the historical attitude of the exploring Europeans. The Europeans, when inhabiting North America, just moved in and said they had matinee idol on their side and the Indians werent much anyway but a few of them could work for them sometimes if they behaved themselves, and the rest were lined up for disposal (377). The Europeans believed themselves headmaster to the Indians any and all action fair and unfair alike taken against the Indians was justifiable because it helped the Europeans. Grover argues that this irresponsible approach is the basis of the white culture. White culture is simply American culture taken and modified as seen fit by white people. James McBride focuses his essay on his parents. His mother was white and his father black. He felt confusion which color was he? McBride remembers when he was ten, he approached his mother with the question while she was working on the kitchen table. Her thoughtful response was only iodin word pliers (391). He was not the only one in the family to have this question. His older brother took it an extra step and during Sunday school asked the reverend slightly the skin color of Jesus.

Justice Essay -- essays research papers

JusticeWhen the question is asked "Can we live in a just world?" In effect it isasking us a variety of things. "Can there be justice for all?" and "Can therebe compare for all people?". The answer to this question is noneUnfortunately we live in a world where justice has never really transpired. Thefirst justice that I would like to speak about is person-to-person justice. Blessed arethose reared in a household innocence of the deadly sin of envy. Their liveswill be tormented by a grinding rage that they are not beautiful, orfamous, or favored with gifts of fortune. They will not demand as a naturalright or an entitlement of personal equality with everybody under the sun normaintain that their opinions are as good as anybody elses. They will not coveta neighbors goods. And thus they may come to sock peace of soul. Theinjustice of equality 10/15/93 The point of this statement is not to say thatenvy makes equality. When we entreat for "personal equali ty" with people, we wishto deny what we really are and allow for superficialness. We become so obsessedwith our possessions that we forget who we are and the beauty of our differences.Aristole said that "it is unjust to treat unequal things evenly". All peopleare different, that is exactly what makes us human, so when we treat peopleentirely the same, we deny their identity. For example that does not mean thatI should not treat all people with respect, but I fee...