Nothing that is worth knowing can be taught Essay Example

Nothing that is worth knowing can be taught Paper Learning is probably one of the most important things in life that we cannot get by without. In todays fast-paced life it has grown to be a cornerstone in most major economies. Education is being given a priority. Subjects such as biology and chemistry are the key to the new generation of money-minting industries. The allure of wealth pollutes the society. It becomes the survival of the smartest. When one is stuck with such societal expectations, one begins to wonder what exactly is worth knowing? One must realize that there is much more to life than that. We must also consider the pros and cons of such a taxing education system. In the pursuit of intellectual excellence, we might have actually missed out on real education. Knowledge without the heart is disastrous. Some of the worlds most brilliant minds were also the most destructive and caused a stain on the history of the world. An example is Hitler. He was a brilliant man but due to his desire for revenge and his warped ideas of society, he almost destroyed Europe in his rampage during world war two. Knowledge must be accompanied with good values. Some values can be taught but there are just some values that cant be taught. A good example is maturity. Maturity is not something that a teacher can lecture a student about. A person acquires maturity through experience. He will evaluate the experience and be wiser the next time. Maturity does not come with age, it must be acquired in daily life. Maturity can be gained if we overcome our fears. Maturity in words and actions will ensure that knowledge is not abused. Often missed out is also the lesson on relationships. Again relationship cannot be taught. We will write a custom essay sample on Nothing that is worth knowing can be taught specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Nothing that is worth knowing can be taught specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Nothing that is worth knowing can be taught specifically for you FOR ONLY $16.38 $13.9/page Hire Writer A person must be in a relationship to be able to gain any valuable knowledge from it. Several values such as trust and empathy can only be truly appreciated and learned when we go though a relationship. It is a truly exclusive lesson that even the best teacher will not be able to teach. Moral values are based on what somebodys conscience suggests is right or wrong, rather than on what the law says should be done or what a teacher teaches. Examples include integrity and honesty. These values are intrinsically learnt. For example, when a teacher advises you on meting datelines, he will give examples about the working world. As students we can never relate to that. By putting it into practice, can we then actually learn these values. Moral values are not academic values. They can be told to a student but it is only learnt when a person actually experiences it and learns by adopting the value. In a nutshell, When some one learns from experience or past mistakes, it will carry a bigger impact than when he is preached by a teacher. Pain is also something that cannot be imparted through just preaching and telling someone. It must be felt. Through the experience of pain, one will learn the true meaning of the word. It is then learnt and imprinted into the persons mind. Essentially, pain is felt and learnt. No matter how much a teacher says that pain is painful it will never be the same as the sensation itself. It wouldnt be right to deny that whatever that can be taught is worthless. Academics are important to a certain extent. They guarantee your future. They give you a firm footing to explore your areas of interest. Things such as wealth can be acquired through academic excellence. There is a thin line between learning and being taught. When one learns something, it is not necessarily taught to him. Most of the time, what we are taught is different from what we actually learn. Learning can be done independently from being taught. Learning is the acquisition of knowledge oneself while being taught is gaining imparted knowledge. To conclude, I would say that things that can be taught such as academics are important but you can only get so far with it. The things that are really worth knowing can never be taught. There is more impact when one learns from experience than when one is taught by a teacher. To end, not through what a teacher teaches, but through what a student learns, is life really experienced.

Governmental, Proprietary, and Fiduciary Funds Assignment

Governmental, Proprietary, and Fiduciary Funds Assignment Governmental, Proprietary, and Fiduciary Funds – Assignment Example The paper "Governmental, Proprietary, and Fiduciary Funds" is a good example of an essay on finance and accounting. Governmental funds -These are funds that are regarded as being used for typical governmental functions and they include the following. A debt-service fund is a form of a government fund that is fully devoted to the repayment of debt. This fund is obtained through budgetary allocation that the government does at the beginning of each of its financial year. Local debts arise from the amount borrowed from the local industries and investors. Capital projects funds are kept by the government in order to finance the acquisition of capital assets, building or renovation of government equipment and infrastructural development. This group of funds does not include capital assets paid for through the proprietary funds. (Ruppel, 2011). Permanent funds are composed of the various investments and other resources that the government is not allowed by the constitution to spend or conv ert into cash. This fund can only be spent in circumstances that the government is in short supply of funds to finance its projects that directly benefit the people.Proprietary funds -Proprietary fund is another type of government funds that are used for the accounting of the ongoing organizations and activities of the government that are deemed to be similar to the businesses in the private sector. The funds are regarded as self-supporting owing to the fact that such services are financed by user charges or on reimbursement basis (Finkler, et. al, 2013). There are two types of funds in this category namely enterprise funds and internal service funds.Fiduciary funds -These are funds used to account for the assets that are held by a unit of the government in a trustee capacity or as an agent to individuals or private organizations. This category is made of four types of funds namely investment trust funds, agency funds, private-purpose trust funds, and pension trust funds.

The Development of Banking in the Industrial Revolution

The Development of Banking in the Industrial Revolution As well as industry, banking also developed during the Industrial Revolution as the demands of entrepreneurs in industries like steam  led to a vast expansion of the financial system. Banking Before 1750 Before 1750, the traditional ‘start date’ for the Industrial revolution, paper money and commercial bills were used in England, but gold and silver were preferred for major transactions and copper for daily trading. There were three tiers of banks already in existence, but only in limited numbers. The first was the central Bank of England. This has been created in 1694 by William of Orange to fund wars and had become a foreign exchange storing foreign country’s gold. In 1708 it was given the monopoly on Joint Stock Banking (where there’s more than 1 shareholder) to try and make it more powerful, and other banks were limited in size and resources. Joint stock was declared illegal by the Bubble Act of 1720, a reaction to the great losses of the collapse of the South Sea Bubble. A second tier was provided by less than thirty Private Banks, which were few in number but growing, and their main customer was merchants and industrialists. Finally, you had the county banks which operated in a local area, e.g., just Bedford, but there were only twelve in 1760. By 1750 private banks were increasing in status and business, and some specialization was occurring geographically in London. The Role of Entrepreneurs in the Industrial Revolution Malthus called entrepreneurs the ‘shock troops’ of the industrial revolution. This group of individuals whose investment helped spread the revolution were based mainly in the Midlands, a center  for industrial growth. Most were middle class and well educated, and there were a substantial number of entrepreneurs from non-conformist religions like the Quakers. They have been characterized as feeling they had to be challenged, had to organize and succeed, although they ranged in size from major captains of industry to small-scale players. Many were after money, self-improvement, and success, and many were able to buy into the landowning elite with their profits. The entrepreneurs were capitalists, financiers, works managers, merchants, and salesmen, although their role changed as the business developed and the nature of enterprise evolved. The first half of the industrial revolution saw just one individual running the companies, but as time went on shareholders and joint stock companies emerged, and management had to change to cope with specialized positions. Sources of Finance As the revolution grew and more opportunities presented themselves, there was a demand for more capital. While technology costs were coming down, the infrastructure demands of large factories or canals and railways were high, and most industrial businesses needed funds to start up and get started. Entrepreneurs had several sources of finance. The domestic system, when it was still in operation, allowed for capital to be raised as it had no infrastructure costs and you could reduce or expand your workforce rapidly. Merchants provided some circulated capital, as did aristocrats, who had money from land and estates and were keen to make more money by assisting others. They could provide land, capital, and infrastructure. Banks could provide short-term loans, but have been accused of holding the industry back by the legislation on liability and joint-stock. Families could provide money, and were always a trusted source, as here the Quakers, who funded key entrepreneurs like the Darbys (who pushed forward Iron production.) The Development of the Banking System By 1800 private banks had increased in number to seventy, while county banks increased rapidly, doubling from 1775 to 1800. These were set up mainly by businessmen who wanted to add banking to their portfolios and satisfied a demand. During the Napoleonic Wars, the banks came under pressure from panicking customers making cash withdrawals, and the government stepped in to restrict withdrawals to just paper notes, no gold. By 1825 the depression which followed the wars had caused many banks to fail, leading to a financial panic. The government now repealed the Bubble Act and allowed joint-stock, but with unlimited liability. The Banking Act of 1826 restricted the issuing of notes- many banks had issued their own- and encouraged the formation of joint stock companies. In 1837 new laws gave joint-stock companies the ability to acquire limited liability, and in 1855 and 58 these laws were expanded, with banks and insurance now given limited liability which was a financial incentive for investment. By the end of the nineteenth century, many local banks had amalgamated to try and take advantage of the new legal situation. Why the Banking System Developed Long before 1750 Britain had a well-developed money economy with gold, copper, and notes. But several factors changed. The growth in wealth and business opportunities increased the need for both somewhere for money to be deposited, and a source of loans for buildings, equipment and- most crucially- circulating capital for everyday running. Specialist banks with knowledge of certain industries and areas thus grew up to take full advantage of this situation. Banks could also make a profit by keeping a cash reserve and lending out sums to gain interest, and there were many people interested in profits. Did Banks Fail Industry? In the US and Germany, industry used their banks heavily for long-term loans. Britons didn’t do this, and the system has been accused of failing industry as a result. However, America and Germany started at a higher level, and needed much more money than Britain where banks weren’t required for long-term loans, but instead for short-term ones to cover small shortfalls. British entrepreneurs were skeptical of banks and often preferred older methods of finance for start-up costs. Banks evolved along with British industry and were only a part of the funding, whereas America and Germany were diving into industrialization at a much more evolved level.

My Interactions with the Jesuit values Essay Example | Topics and Well Written Essays - 750 words

My Interactions with the Jesuit values - Essay Example Also, a compassionate and loving heart if not tempered by the logic and decorum emanating from the heart is but a rudderless ship, incapable of reaching its destination, being most of the time trapped in the morass of indecision and wavering. It is in the divine unity of the mental and emotional faculties that lies the true future of humanity and mankind. The Jesuit model of education actively inculcates the unity of human understanding and emotions. When the human personality is not amply mature and had not attained the ripeness ushered in by continual and persistent contemplation and education, the heart and the mind tend to be in a state a conflict. This is many a times markedly signified by having a strong desire to do something or engage in some activity that innately seems to be inappropriate or wrong. I believe that a preponderance of such instances in human life gives way to ample emotional and mental problems, which if allowed proceeding beyond a certain limit could degenera te into some kind of neurosis. Yet, ironically, I feel that this is the actual dilemma of the modern civilization so open to the winds of materialism and a deluge of information. Many a times in my life I felt that though I had everything that I materially desired and had access to most of the modern freedoms and rights, still there was something lacking within me that restrained me from evolving into a complete person. It is only after learning about, understanding and meditating upon the Jesuit value of the unity of body and mind that I realized that it was possible to pull myself out of this dilemma. I realized that the purpose of human existence and education is to aspire for a holistic development, the kind of evolution where the aspirations of the heart are shaped and molded by the discipline and formality emanating from the mind. This may seem nice to read, but, believe me, achieving such a state of existence is easier said than done, and requires continual practice and dedic ation, not to mention the immense need for prayer and self evaluation. It is only when a person has the good luck to be placed in the circumstances that are imbued with just the right values and ethics that one is able to instinctively realize the unity and harmony existing between the mind and the heart, the body and the soul. However, if, by the grace of God, one turns out to be blessed enough to placed under the tutelage of experts and institutions that encourage the flowering and evolution of the whole person rather than lopsidedly encouraging the segmented faculties of the human personality that one is able to evolve into a complete person in whom the yearnings and aspirations of the heart are propitiously tempered by the wisdom and maturity of the mind, leading to happiness and completeness in most of the spheres of life, are they spiritual, social, academic, economic or domestic. In that context, the Jesuit value of the unity of mind and the heart had a profound impact on var ied facets of my life. It not only helped me to proceed on a journey that promised happiness and grace, but also endowed me with the much required qualities like humility, patience and persistence. It encouraged me to engage with the complexities of the outside world with a deeply felt and morally

Quiz 1 Assignment Example | Topics and Well Written Essays - 500 words

Quiz 1 - Assignment Example The act protects people who are 40 or older. Hatch Act prevents people employed in the executive branch of federal government from engaging in partisan political activities. The Act does not apply to the president and high rank officials. It specifies the list of political activities officials can and cannot engage. In this case, Roth sued Board of Regents because his contract was not renewed. He claimed that it happened because he made critical statements about University administration. The Supreme Court had to decide whether this case included the violation of the first amendment concerning the freedom of speech. All employees at Duke Power Company were required to have high school diploma and pass IQ test which was not related to job performance. The court decided that the requirements of the company did not provide equal opportunities for promotion of employees who represented racial minorities. Employers must respect religious practice of their employees. They have to comply with Title VII of the Civil Rights Act of 1964 which lists their responsibilities before employees. They also need to provide accommodation for the employee if it does not cause undue hardships. â€Å"Loudermill rights† pose a requirement to have a due process before any employee is fired. Employers need to have a pre-termination meeting with employee and explain the reason why he or she is to be fired. The  Lilly Ledbetter Fair Pay Act of 2009 declares that compensation should not be discriminatory. This public law is based on the case where female supervisor Ledbetter had substantially smaller payment than her male co-workers who sis the same. The Supreme Court ruled that any discrimination based on sex is prohibited. In the case, Oncale was discriminated by his male employees and had no reaction from supervisor after he had complained about discriminatory action of his

Contemporary Chinese female art and artists Essay Example for Free

Contemporary Chinese female art and artists Essay Introduction In the 1990s, China adopted western feminism and it influenced and rapidly raised the Chinese feminism concept. There were many themes of exhibition focused on female art and female artists, an example of this is the â€Å"Chinese Women Art Exhibition†1 â€Å"Chinese Women Art Exhibition† in 1998, the Frauen museum (Women’s Museum), Bonn, Germany â€Å"Ã¥ Å Ã¥ ¤ ©Ã©â€šÅ -ä ¸ ­Ã¥Å"‹å ¥ ³Ã¦â‚¬ §Ã¨â€" Ã¨ ¡â€œÃ¥ ±â€¢Ã¢â‚¬ , é‚ ±Ã¨  Ã§ ­â€"åŠÆ', Ã¥ ¾ ·Ã¥Å"‹æ ³ ¢Ã¦  ©Ã¥ © ¦Ã¥ ¥ ³Ã¨â€" Ã¨ ¡â€œÃ¥ Å¡Ã§â€° ©Ã© ¤ ¨, Ã¥ Æ'Ã¥ ±â€¢Ã¨â€" Ã¨ ¡â€œÃ¥ ® ¶Ã¦Å"‰ä ¸ ­Ã¥Å"‹, æ ¸ ¯Ã¥  °Ã¥ Å Ã¦ µ ·Ã¥ ¤â€"å… ±Ã¨ ¨Ë†25ä º º. in 1998 and the â€Å"Century Female Art Exhibition†2 â€Å"Century Female Art Exhibition† in 1998, the China National Art Gallery, Beijing, China â€Å"ä ¸â€"ç ´â‚¬,Ã¥ ¥ ³Ã¦â‚¬ §Ã¨â€" Ã¨ ¡â€œÃ¥ ±â€¢Ã¢â‚¬ , Ã¥ â€¡Ã¦â€" ¹Ã¨Ë†Å¸Ã§ ­â€"åŠÆ',ä ¸ ­Ã¥Å"‹èâ€" Ã¨ ¡â€œÃ§  â€Ã§ © ¶Ã©â„¢ ¢Ã¦â€"‡åÅ'â€"èâ€" Ã¨ ¡â€œ,Ã¥ ¤ §Ã¥Å" °Ã¨ ³â€¡Ã§â€ ¢Ã§ ® ¡Ã§ â€ Ã¦Å"䎪 Ã¥â€¦ ¬Ã¥  ¸Ã¤ ¸ »Ã¦Å' ,Ã¥ ±â€¢Ã¨ ¦ ½Ã§  »Ã¥ ±â€¢(é™ ¶Ã¥â€™ Ã§â„¢ ½Ã¤ ¸ »Ã¦Å' ),èâ€" Ã¥â€œ Ã¥ ±â€¢(Ã¥ ¾ Ã¨â„¢ ¹Ã¤ ¸ »Ã¦Å' ),Ã¥ ¤â€"Ã¥Å"˜å ±â€¢(ç ¾â€¦Ã© ºâ€"ä ¸ »Ã¦Å' ),ç‰ ¹Ã¥ ±â€¢(è ³Ë†Ã¦â€" ¹Ã¨Ë†Å¸Ã¤ ¸ »Ã¦Å' )四個éÆ' ¨Ã¥Ë†â€ .Ã¥ ±â€¢Ã¨ ¦ ½Ã¨ ¨ ­Ã§ «â€¹Ã¤ ¸â€°Ã¥â‚¬â€¹Ã§ Å½Ã©  â€¦:æâ€"‡åÅ'â€"èâ€" Ã¨ ¡â€œÃ¥ ­ ¸Ã§ ¤ ¾Ã§ Å½(ç  ²Ã§ Å½Ã¨â‚¬â€¦:Ã¥ ¡Å¾Ã¥ £ ¬Ã¨â€" Ã¨ ¡â€œÃ¥ · ¥Ã¤ ½Å"Ã¥ ® ¤,劉è™ ¹,èâ€"݊ ¿ Ã§â€˜â€¢,æžâ€"Ã¥ ¤ ©Ã¨â€¹â€",æ ¢ Ã¦ ´ Ã© Ë†) æ‰ ¹Ã¨ ©â€¢Ã¥ ® ¶Ã§ Å½(ç  ²Ã§ Å½Ã¨â‚¬â€¦:Ã¥ §Å"æ  °,Ã¥ ­ «Ã¨â€˜â€º,æžâ€"Ã¥ » ¶,æâ€"‡é ³ ³Ã¥â€žâ‚¬,æ Å½Ã¨â„¢ ¹) æ” ¶Ã¨â€" Ã¥ ® ¶Ã§ Å½(ç  ²Ã§ Å½Ã¨â‚¬â€¦:Ã¥ ¤ Ã¤ ¿Å Ã¥ ¨Å",Ã¥ ¾ Ã¦Å¡ Ã§â€¡â€¢,Ã¥ ¼ µÃ¦ º «Ã¥ ¸â„¢,Ã¥ ­ «Ã© ¼Å½Ã§Å½â€°,Ã¥ ¾ Ã¨â„¢ ¹) in 1998. Only female artists could participate in this category of art exhibition. Although the exhibitions revealed the importance of women art in modern Chinese art, there was no specific description to define the quality of female art and female artists. From this it can be asked: What is Chinese female art and is it a category in the making of the modern and contemporary Chinese art? Contemporary Chinese art frequently referred to as avant-garde art, sustained to expand ever since the 1980’s as an improvement of contemporary, post-Cultural art developments. During this period, China opened the economic door to world and western influence poured into Chinese culture; bringing the concept of feminism in China. Furthermore, Chinese artist were also released from the control of extreme political condition, and female artists were set about to re-create their own image, contributing to a gradual awakening of women’s consciousness. Indeed, it is in this newly awakened consciousness that Chinese female art in contemporary world can be delineated. In this paper, I would like to discuss how three generation groups of female artists (1980s, 1990s, and overseas) present their works and how they express their female quality through those art pieces. Finally, I also would like to bring out the concept and definition of quality of female art in contemporary Chine se art. The ’85 New Wave Art’ movement brought about many young female artists who devoted themselves to approach the woman’s nature of body and also found new ways to present the attention on the female subject. Female artists alongside male artists, expressed their own attitudes towards contemporary China. In the beginning stages of this period, women artist paid little attention to their own expression through maintaining with the large scale influence and borrowing from modern western art. However, the nature of contemporary art developed so that the concept of women’s artistic consciousness started to emerge. After 1989, neo-expressionism brought new stage in China. Artists, both male and female, started to focus on the essence of human spirit and also emphasized on rational and critical concepts. Women’s consciousness began to emerge and women began to explore their own experience and find an appropriate way of expression in contemporary Chinese art. Most female artists pursued to define the essence of women’s consciousness or confirm women’s consciousness itself. They promoted freedom from traditional male-dominated society and pursued women’s equal position with men. Many women art exhibitions were also held in this period, and female art and female artists began to be paid attention. Since the 1980s, not only local Chinese female artists came about to give rise to Chinese women’s art, but some overseas Chinese female artists also worked to this end. They created the works through different experiences and feelings in looking for the essence of women’s consciousness. These artists mostly left China after the Cultural Revolution, prior to the social changes in China. They have their unique ways to present their ideas and expressions, like looking back to Chinese history and pursuing the art essences that they need. With differences in personal backgrounds and generations, female artists in all these three groups have varying and unique ways in presenting their art through different content and influence. But to Chinese female artists, the intention is to express their female touch and feeling in a changing Chinese society in which the women’s gender role is constantly changing and reshaping. In their art, females in these three groups share not only expressions and feelings based on their female sensitivity but also their observations to social concern. In the following sections, I choose three contemporary Chinese female artists, Hung Liu, Yu Hong, and Cui Xiuwen, and define the quality of female art through their works. Traditional female role in China Most literature focuses on Chinese culture and history with key stresses on the function of language, geography, philosophies, and art. On the other hand, women are missing in almost all fields. Chinese civilization’s culture and arts are male-dominated and male-oriented. Chinese art, whether primordial or contemporary, is art that instigated in or is practiced in China mostly by Chinese male artists. The arts of a society mirror man’s values and attitudes. Women were always portrayed as objects of observation by men. Moreover, according to I-Jing, â€Å"women are more naturally aligned with the spiritual and emotional bodies, which are more non-linear and spatially oriented (all those yin qualities); while men are more naturally aligned with the mental and physical bodies, which are more linear and temporally oriented (all those yang qualities).†3 Malin, David. 2006. Creating Sacred Space. Bodymath.com. http://www.bodymath.com/articles/archives/Feb06_Creating_Sacred_Space.pdf (February, 2006) Yang is mostly considered more important than yin, and is regarded as of secondary importance. This makes gender roles have typical stereotypes with women always portrayed with weakness and sickness. Chinese women had been confined to the family, at the mercy of their husbands for thousands of years. History and tradition have stifled women’s voices. In China, women lived within a society dominated by men, where women were not authorized to involve themselves in the public field and consequently were not integrated in historical descriptions. For example, in the Forbidden City, women were not allowed to walk in some public spaces because those spaces were symbolized as the male’s power and authority. â€Å"No woman ever took part in the grand ceremonies staged before the Hall of Supreme Harmony, which were supreme demonstrations of male ruling power.†4 Wu, Hung. Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the â€Å"Dream of the Red Chamber†. Writing Women in Late Imperial China, ed. Ellen Widmer Kang-I Sun Chang, 315-316. Stanford, CA: Stanford University Press, 1997. Undertakings by Chinese women highlight the custom of foot binding succeeded from late Song to Ming Dynasties and even sustained to several indications into the 20th century. Foot binding has an effect to a degree in all classes of Chinese women and at a certain point, persuaded women to have bound feet and to dwell in the private sphere of their homes. Having bound feet was directly correlated to Chinese art in modern times. Contemporary Chinese women role The year 1976 marked a shift in political, economic, and cultural policy, a shift that erupted out of the self-imported isolation of three decades and opened China up to the outside world. Western influence started to come into China and brought many new concepts to strike Chinese society. During the 1980s, the western feminism also began to influence and raised rapidly women’s consciousness. â€Å"By the mid-1980s, though, the plethora of newly founded womens magazines explicitly discussed womens problems at work and in the family. The pages of China Womens News were filled with exposà ©s and denunciations of discrimination faced by women. Feminist outcries began to appear with some regularity in print. This recognition of gender inequality also found expression in the emergence of separate womens organizationsschools, professional societies, and womens studies groups.†5 Hershatter, Gail Honig, Emily. Feminist Voices. Personal Voices: Chinese Women in the 1980’s. 308. Stanford, CA:Stanford University Press, 1988. Women became aware of their unequal state in society and began to pay attention on female issues. In 1990s, new modern women images emerged. Women focused on individual characteristic and pursued their confidence and profession. The new women were as strong and intellectual as men or better, and they could even afford more of what they desire without anymore having to depend on men and be at a lower statute in society. â€Å"Metropolis ran a special feature on women of talent in its November 1999 issue. One illustration show a confident woman pointing to the screen of her laptop computer while a male colleague with furrowed brow struggles to comprehend what he sees. An article entitled â€Å"Thirty Traits of the Talented Woman†6 â€Å"Thirty Traits of the Talented Woman† explains that the woman should be intelligent, sharp-witted, well-informed, knowledgeable, well-spoken, and has good taste; she is independent, self-respecting, and conscious of women’s equality; she if principled but gentle, with a good sense of humor, and easy to get along with. She is understanding, generous, and sensitive to the feelings to others, but not suspicious. She is a doer-straightforward, efficient, and self-controlled. She is a bit of a rebel but not confrontational. While she may be attractive to men, her attraction is based on personality, not beauty. Her life is well-balanced; love is never her only concern. Dadushi (Metropolis) 14 (November 1999): 102-103 lists her characteristics.†7 Julia F. Andrews and Kuiyi Shen. The New Chinese Woman and Lifestyle Magazines in the Late 1990s. Popular China: Unofficial Culture in a Globalizing Society. Ed. Perry Link, Richard P. Madsen, and Paul G. Pickowicz, 151. Lanham, Maryland: Rowman Littlefield Publishers, Inc., 2002 New modern women were portrayed as beautiful and intellectual individuals. They could stand in the same level in society with men. Contemporary Chinese female artists and works Contemporary Chinese female artists use a lot of ways to express and convey their feelings and this is done effectively in their image. Basically, there are five important themes involved in their works to describe their voice and thought. First, female artists usually use their sensitivity to express women’s touch through body and gesture. Body and gesture presentations help artists to voice their opinions and feelings accompanied with their understanding of being women. Cui Xiuwen8 Cui Xiuwen, born in Heilongjiang, China, 1970. She graduated with MFA from the Central Academy of Fine Art, Beijing, China in 1996. Cui Xiuwen’s works have consistently engaged themes of sexuality and gender. Her paintings show the blurred boundary between public and private, and the relationship between history and memory. She uses a wide range of media and subject matters to explore the messages she wants to pass, bringing disturbing insights to bear on those issues. , her series works, â€Å"Lovers† (1999), she creates bold and sensitive relationship and intimate activity between man and woman. In the piece, she reveals both heterosexual and homosexual features, and presents a nervous sexual interaction that hints at Paul Cezanne’s colors. In â€Å"Lovers 5† (1999), strong and intense orange color background emphasizes the two human figures in the front when having sex, and also marks the nervous and excited atmosphere between them. While seeing this painting, the feeling is along with two figures through position, activity, and touch. This is primary human nature and human form however is heterosexual or homosexual. â€Å"†I create themes about gender, not themes about sexuality,† she explains. â€Å"I focus on human beings, only the human form in the world. If you want to know what it is to be human, you have to gain an insight into the relationship between man and woman.†Ã¢â‚¬ 9 Ma, Maggie. The Colors of Cui Xiuwen. Artzine: A Chinese Contemporary Art Portal. http://www.artzinechina.com/display_vol_aid168_en.html Yu Hong’s10 Yu Hong, born in Xi’an,China, 1966. 1995 earned MFA from the Central Academy of Fine arts, Beijing, China. Simple and realistic are the two best words to describe her works. Initially, Yu Hong’s paintings combine highly realistic portraits wit unreal surroundings and colorations, suggestion a sense of dislocation from the world. She presents her world and experience through works without any extraordinary images or ideas. Though paintings often represent a tranquil feeling, they depict the significance of life. Her early work, â€Å"Nude† (1988) was against masculinity appropriation of the spectacle of woman’s body in the Cultural Revolution. She portrays realistically, woman’s naked body, smooth and soft pose which present the touch and quality of female. Yu Hong reverses the traditional must-be female image. She depicts naked woman body in front only with red high heel shoes. â€Å"Chinese pictures of the human body, clothes or semi-clothed, (in a furtive pornography [of specifically erotic pictures]), are-to Western eyes-meager, schematic and inadequate†.11 Angela Zito Tani E.Barlow.The Body Invisible in Chinese Art?. Body, Subject Power in China. Chicago: The university of Chicago Press. There were no naked body images in traditional Chinese pictures, but here Yu Hong presented the naked woman body to represent the true nature and beauty of human form intended   against masculinity of the body and tradition. Another type of presentation, like Hung Liu’s12 Hung Liu, born in China on the eve of the Cultural Revolution, 1982 earned her MFA in mural painting from the Central Academy of Fine Art, Beijing, China, immigrated to the United States later on and also earned MFA in visual arts from University of California, San Diego. She is interested in looking at how women existed in Chinese history for long time. Her works are touched with the painful reality of women’s status on China. As a Chinese woman and immigrant in the United States, Hung Liu chooses different ways to identify herself through looking back the Chinese history and portraying female issue on art work. Her paintings are based on late 19th and early 20th century Chinese photographs. Some were taken by foreign tourists, while others were taken by the Chinese. Often, the pictures are of beautiful young prostitutes. In traditional Chinese society, prostitutes belong to the low social class and disdained by people. But, indeed, they play an important role during that period, especially for photograph art and portrait paintings. In her work, â€Å"Odalisque† (1992), she creates a monumental altar to an anonymous woman, a turn of the century Chinese prostitute. Hung Liu reclaims a place in history for the Chinese prostitute by transforming the small photograph into large scale painting. â€Å"To the painting, with their flattened surfaces, Liu attaches wooden altars, on which she sets small jade-colored vases of glass flowers or tiny embroidered shoes for bound feet. Like the lacquer panels and the lifeless glass flowers, the prostitutes are mere decorations, passive, powerless, and empty in a culture that traditional counted emptiness as a female virtue.†13 Kim, Elaine H.1996. â€Å"Bad Women†: Asian American Visual Artists Hanh Thi Pham, Hung Liu, and Yong Soon Min. Feminist Studies, Inc. http://www.jstor.org/pss/3178131 The traditional Chinese clothing of the woman contrasts with the ornate, Western design of the sofa upon which she reclines and the flowered, Victorian-style backdrop. In addition, her gaze turns to the viewer and marks us conscious of viewer’s role as outside observers. The painting recalls the western artist, Edouard Manet’s painting, â€Å"Olympia† (1863). She touches a moment that registers the encounter between a past China and the trope of the prostitute, sexuality as commodity advertised through the relation of displayed body to the gaze of that Western technology, camera. â€Å"â€Å"I don’t want their stories to be forgotten; I don’t want them to disappear without a trace.† 14 Kim, Elaine H.1996. â€Å"Bad Women†: Asian American Visual Artists Hanh Thi Pham, Hung Liu, and Yong Soon Min. Feminist Studies, Inc. http://www.jstor.org/pss/3178131 As she says, she intends to document the anonymous women in history. Hung Liu’s painting combines western aesthetics with Chinese subject matter (prostitute), a cross-cultural blend that communicates her unique sense of beauty and emotion to the viewer through extraordinarily skillful handing of paint. Second, family and growing background are the significant influences to female artist when creating their works. Their works sometimes are revealed the images about family or childhood memory, and even extend to related personal expression and concern. Yu Hong, â€Å"Witness to Growth† (1966-2006), in which Yu Hong uses her own family photographs to create a self-portrait for each year of her life, and portraits for each year of her daughter’s life. The idea and composition of paintings dwell deeply in her concerned questions: What is the social expectation to female role in our society? How do these expectations build up the life of a woman? In this series of paintings, she not only narrates the story in how growing process, but also how society changes a woman’s life. Yu Hong discards an enthusiastic and rational thinking, but returns to the history by an imperturbable and objective manner instead. Yu Hong chooses a newspaper or magazine spread to complement each image of painting, and makes connection between private and public area of her own life. â€Å"Witness to Growth†(1995),a painting of herself aged twenty-nine years old, Yu Hong’s daughter lying on her body, family burden (role of mother) and society change (modern woman) bring heavy pressure and make her rethink the meaning of gender role and seek the balance between those roles. Next to the painting, artist places a contemporaneous China 1995 newspaper depicting â€Å"women waiting for job opportunity†. Chinese economy was flourishing rapidly during this period, and it also brought extremely competition in working position. Many women lost jobs, and many young girls lost opportunity of education. Society change quickly marked negative effect to female and deprived of their chance. At this time, western feminism came into China; women began to pursue their equality to men in society and also look for their female identity. This feminism trend aroused women to think about their roles between family and society as mothers and working women. In contrast, one year-old Yu Hong’s daughter, she seemed a new generation is growing. A new age is coming. The painting engages the juxtaposition of the weight of contemporary China’s history with the simplicity of life in its purest, most uncomplicated state of being. Here is a relatively quiet life lived in the midst of an almost constant political, cultural, and economic maelstrom. Yu Hong provides the necessary retreat into ordinary that enables the progression of life through the juxtaposition of the photograph and painting. Cultural Revolution was a significant historical event, especially rooted in people who grew up during this period. Hun Liu’s stunning reproductions of historical photographs of Chinese life, which address the cultural collisions she faced while coming of age during the decade of the Cultural Revolution in China. Personal items such as photographs were forbidden during Cultural Revolution, and her family destroyed most of their family photos out of fear. As a result, Hung Liu creates her paintings from anonymous photographs of historical China, particularly with reclaiming the lost histories of nameless women, has been strongly influenced by the losses she and her family suffered. Many of her paintings depict restrictive Chinese Cultural Revolution Scene and express her voice to against this history. Hung Liu’s painting, â€Å"Three Graces† (2001), the source photographs for this painting depict women in paramilitary uniforms in heroic poses, shown from below to give the appearance of greater height and stature. These fighters for Mao’s cause carry primitive rifles as they march forward to engage in the revolutionary struggle. During the Cultural Revolution, young students and young people were mobilized by Chinese government, called â€Å"red guards† or â€Å"Hong Wei Bing†. The Hong Wei Bing traveled throughout China, going to schools, universities, and institutions, spreading the teaching of Mao. They aimed to attack the old society (old ideas, cultures, manners, and customs) with violence, but indeed they followed blindly by government’s propaganda. And the Cultural Revolution also put young intellectuals and artist like Hung Liu into the rice fields to be â€Å"re-educated† by peasants. Hung Liu chooses plain clothes worn by the women in the original photographs with flowers, painted in the traditional Chinese style. The drips of oil paint that enliven the painting’s surface are a part of Western praxis with its reference to the personifications of beauty, charm, and grace. As she says, â€Å"â€Å"The oil washes and drips hat seep through my paintings contributes to a sense of loss while dissolving the historical authenticity of the photographs I paint from. Color is a way of making contact with subjects that are fading into the gray tones of history.†Ã¢â‚¬ 15 Going Away, Coming Home: 80 Blessings from Oakland Artist hung Liu. Port Of Oakland. http://www.museumca.org/press/pdf/Liu%20fact%20sheet%20fnl.pdf Through this revolutionary background, Hung Liu had experienced a deep touch. This painting not only looks for the memory of girls’ but also expresses Hung Liu’s feeling of the Cultural Revolution through the image and drip. Third, artists look for identifying women’s importance and missing recognition of social status because women in society are always ignored and made to play an unimportant role. Indeed, they are actually as significant as men in our world. Hung Liu’s paintings often narrate identity and story issues. She documents in her art the forgotten lives of anonymous people, especially those of women. She tries to recall their erased identity from society and appear their stories and meaning of existence back. Her work, â€Å"We have Been Naught We Shall Be all†(2007), a series of three canvases edged by bands to mimic widescreen film format, those works are inspired by Daughters of China (1949), a Ling Zifeng film based on the heroic actions of a group of women officers and soldiers during the Sino-Japanese War. Hung Liu’s empathetic response to the final moments of the women, as they carry a wounded comrade into the river to draw away enemy fire from the Chinese Resistance fighters, brings to the fore the theme of personal sacrifice. The images of women are taken by realistic presentation, Hung Liu bases on original photographic image of film. She reserves women’s face without any color and intends to keep their original identify and recall their heroic dignity, accompanied by respect. The paintings from left to right, it seems catching the moment and movement when women carrying the wounded body toward the front. Hung Liu uses the yellow color on three canvases, the background of left painting is coloring yellow, yellow is on wounded body and women’s figures of central canvas, and only little yellow color on right canvas. Moreover, yellow symbolizes the sharp memory. Hung Liu arranges the yellow on three canvases perfectly along with women’s action and moment. This presents a balance between image and time. Her art work is concerned about what has been lost in transit between female and history. Hung Liu desires to give those nameless women place in history, and she would like to identify those women as significant heroes in our society. As Hung Liu’s concept, Yu Hong creates the â€Å"She† series to portray the spirit and lives of women. The meaning of â€Å"existence† in our world is then recorded. Different career women have also played different roles to show their importance. â€Å"She-security guard†, Yu Hong arranges one photographic image picked by security guard aside with one oil painting made by her. The photographic image is taken in front of the museum in her leisure time. Security guard wears white shirt with likely smile. In the photo, she raises her hand and poses â€Å"YA†. Contrary to the next, the painting shows her working place. She wears yellow ochrecolor uniform and concentrate on her job with highly respect. The light is the parking light seems leading us to take a glance on her working place and tries to understand her work. Artist organizes this placement purposely and intent to show the importance of security guard in society. Yu Hong depicts the portrait image to let audience snoop security guard’s life between working place and personal life. She is the individual with singularity; no one can replace her in this career position. Yu Hong still presents her realistic style on paintings, and she intends to record different modern female in different levels of life. As she says, â€Å"If life can move slower, people can notice and pay attention in every detail and experience. I wish life could be freed from the restraint, so the essence of real life could be discovered. †16 â€Å"我å ° ±Ã¦Ëœ ¯Ã¥ ¸Å'æÅ"›ç”Ÿæ ´ »Ã§ ¯â‚¬Ã¥ ¥ Ã¦â€¦ ¢Ã¤ ¸â‚¬Ã© »Å¾, 這æ ¨ £Ã¤ º ºÃ¥â‚¬â€˜Ã¥  ¯Ã¤ » ¥Ã¥ ¾Å¾Ã¥ ® ¹Ã¥Å" °Ã§â€Å¸Ã¦ ´ », æ… ¢Ã¦â€¦ ¢Ã¥Å" °Ã© «â€Ã¦Å"Æ'. 我æ ³ ¨Ã©â€¡ Ã§ ´ °Ã§ ¯â‚¬,我å ¾Ë†Ã¥ ¸Å'æÅ"›ç”Ÿæ ´ »Ã¨Æ' ½Ã¥ ¤  Ã¦â€š  Ã§â€ž ¶Ã¤ ¸â‚¬Ã¤ ºâ€º, 這æ ¨ £Ã§â€Å¸Ã¦ ´ »Ã§Å¡â€žÃ¦Å" ¬Ã§Å"Ÿç‹€æ…‹æ‰ Ã¨Æ' ½Ã§Å"Ÿæ ­ £Ã¨ ¢ «Ã¤ º ºÃ¥â‚¬â€˜Ã§â„¢ ¼Ã¨ ¦ ºÃ¢â‚¬ . Enjoy the Life-Yu Hong. Febay.com. http://www.febay.com.cn/magazine/ArticleShow.asp?ArticleID=18433 (April, 2007) Yu Hong represents the reality of space on woman’s personal life and working life, elegant skills on portrait image, and female sensibility on woman’s experience. She also represents an inner desire of a female artist be responsible and conscious of women’s social status. Fourth, the present reality of sadness and pain of Chinese women who are suffering under a cruelly male-dominated world illustrate the image to challenge traditional patriarchy. In the works of Hung Liu, she has examined foot binding, practiced in China from the Song Dynasty until the beginning of the twentieth century. Many Chinese women’s feet were bound from birth to artificially confine their growth, distorting them into small, twisted fists that were sexually attractive to men. The painful, deforming practice of foot binding was used to make a Chinese woman walk in an extremely difficult way, but their mincing steps were considered delicate and lovely. Bound feet left women handicapped, which also ensured that they remained subservient. Moreover, it stressed the value of appearance while making a virtue of hiding one’s pain and suffering, making it a combination of esthetics and cruelty. In one piece of her work called â€Å"Bonsai† (1992), Hung Liu placed a photograph next to an anatomical line drawing showing the cross-section of a human body flanked on either side by Chinese characters. The only decipherable physiognomic attributes in this figural drawing are the heart, what appears to be a spine, and a suggestion of intestinal organs. What are most astonishing observations about this drawing are the absence of legs and the egg shape of the figure that almost mirrors the contour of the woman in the photograph. By placing these two images within the same interpretive context. Hung Liu has reinforced the notion of the woman’s incapacitated movement. Woman’s physical movement had been limited by the mutilation of her feet in the same way that a tiny bonsai tree is confined to restrict its growth. She had been bound by Chinese societal and cultural practices as an object of male gratification. Hung Liu shows the Chinese aesthetic tradition with cruel reality in male- dominated society. She also presents how unfair beauty standards were to women in the long period. As a Chinese woman, the piece would make a you think about your grand grandmother or grandmother suffering this pain in order to satisfy men’s taste and standard. Her art work is concerned about what has been severed from the surroundings. She touches the sadness and painful reality of women’s status in China. As a woman, she uses her sensibility to depict and voice for women’s gender role. From her paintings, not only narrate stories but also represent true reality in our society. The young artist Cui Xiuwen creates bold, sensitive caricatures of works as â€Å"Intersection Series† in 1998. In the piece, she records the full front side of a man’s naked body and dressed a young girl holding a rose. The painting is also done in connection with Cezanne’s colors and narrative story-telling and nervous relationship between female and male. Cui Xiuwen colors the girl’s dress and dog on green color. Green color symbolizes the protection from fears and anxieties connected with the demands of others (men). The rose is represented as girl’s pure virginity which is inviolate. Girl’s face also reveals innocence. On the contrary, man’ genitals are bit off by girl’s dog, blooding through his underwear. His extremely fearful and shocking face shows on his face with opened mouth and big eyes. In traditional Chinese society, patriarchy dominates the world and power. Genitals are the symbol of patriarchy. Cui Xiuwen boldly challenges to patriarchic society and tries to reverse the social position between female and male. In traditional Chinese art, art is confined to the men society. Women always played being viewed characters; men played viewer roles, but here, the artist breaks traditional art concept and reverses art presentation. The reversal shows Cui Xiuwen’s stance on the feminism. She makes up fictional story image to express her own challenging patriarchic desire. Intensive and extraordinary color and story throw a huge stone to the eyes of the audience. This also brings new dispute to contemporary Chinese society. Finally, concern about female and social issues, the year 1976 marked a shift in political, economic, and cultural policy, a shift that opened China up to the outside world. Afterward, society is changing rapidly. There are more and more social issues emerged such as teen-age crime and pregnant teen-age girl. Social value shifts to wrong path. Artists see this situation and use observations to bring the problem and question to audience. Yu Hong, she approaches new art presentation on â€Å"Figure and Ground†. The works portrays some young girls practicing gymnastics. Images seem simple, but paintings neatly summarized a sophisticated thread of thought the artist has been developing over the years, and they express that thought in a way that ties the works visually to certain aesthetic principles found in traditional Chinese painting. As a group, paintings represent a fresh vision and a new level in artist’s oeuvre. Each painting in the series depicts from one to three girls against a blank ground, bent into contorted positions as they practice gymnastics. Yu Hong bases the paintings on photographs she took at her daughter’s gymnastics class. The girls wear black leotards in addition to some combination of tight black pants, black and white striped shirt, and black slippers. â€Å"As the artist has said, the paintings â€Å"are all about girls doing artistic gymnastics. People, especially girls, have to change themselves to suit society.† The images are a simple but highly effective metaphor for the place of young girls in contemporary society.†17 Erickson, Britta. Figure and Ground: Yu Hong’s Gymnastics series. Yu Hong. Beijing, China: Loft. Although the students in Yu Hong’s daughter’s gymnastics class range in age from six to teenage, the age of the girls portrayed in Figure and Ground is narrowed to about nine to twelve. Those are the years when girls move from childhood to puberty and begin to come under the heavy pressure of society’s expectations. Teenage is a special period, and it is easy to lead a child to wrong path. Cui Xiuwen’s strength and certainty seems to have naturally transformed into a desire of the home, of having a family, and in a wish, difficult to admit but naturally inevitable, of maternity. This is what the images of her work, â€Å"Angel†, inspire. Artist approaches her own sensitive observation to current social issue related to young age girl. This work does not want to criticize a social and universal situation. It brings up the awareness and the realization of an individual as a singular feeling. Cui Xiuwen wants to express how a young mother, especially teen-age mother in China feels and what fears she has to face. She uses a young model to create strong emotions. Rows of white young girls, ghost like girls, and the same girl repeated over, and in the same state of pregnancy, but the figures are positioned at various scales, which express the different types of fear they have. Alone, staring at the horizon, scared and worried in a procession that goes from the Forbidden City and continues on what can be a highway such as the Beijing ring road o the expressway to the airport. This represents the time when society is changing, and girls are unable to go back to the prior time and have no choice but to go forwardt. They look at the front but only darkness is surrounding them. â€Å"â€Å"No longer wishing to see the outside world, reality, nor to be confronted by it or to have to deal with it†, is the artist’s explanation. Falling pregnant has distinctly different meanings and implications at different ages of woman. Both for the woman and it terms of how the external world judges the fact. Do they applaud or condemn. Cui Xiuwen asks â€Å"Can a woman choose to have a baby alone, single, because she bows to maternal instinct, and does not feel the need to be married?†Ã¢â‚¬ 18 Smith, Karen. Photo series â€Å"Angel† of 2006 and â€Å"One day in 2004†. Catalog of DF2 Gallery. Los Angeles:DF2 Gallery Cui Xiuwen brings the question to make the audience aware about the young pregnant girl’s problem rather than criticize her . She uses retrospective manner to represent the image on her works. Her works do not strike us, nor are they extraordinarily critical, but rather leave significant questions in our minds. Conclusion Yu Hong, Cui Xiuwen, and Hung Liu though are being in different generation groups; they all aim to represent female qualities and voice for women through their works. Yu Hong was brought into the world at the start of the Cultural Revolution in 1966, during which almost every aspect of Chinese life was being re-evaluated. When re-examining the historical evidence and cultural production of the period, it becomes difficult to imagine life being brought into the world during such a period of upheaval. In many cultural products that are marketed as personal memories, the political economic situation is placed directly into the foreground of the narrative, and personal details become a way of contextualizing the nation’s story. Yu Hong’s method of storytelling makes the personal much more central. Her generation, is a group existing between old (artists were trained as Russian realists) and young (artists were influence by emancipation movement) generations. Yu Hong’s works always present old tradition concept (family as central start point) and new social concept which is related to social issues. Cui Xiuwen has been called many things-avant-garde, transgressive, feminist, controversial, and even over-the-top-buts never creatively stagnant. She is born a new kind of human, who grew up in a relatively open social environment and came of age in the increasingly more globalised information age. Her paintings and later photographs are always with frank depictions of human sexuality and controversial issues, which present her ideas and feelings about the new modern society. But Hung Liu, she was born in 1948 in China. During the Cultural Revolution, she was sent to the country to work in the fields and be â€Å"reeducated†. Hung Liu studied the acceptable artistic style of Socialist Realism while in China. After immigrating to San Diego, she learned that it is important for an artist to think and that art is intertwined with, not separate from life. Her works depict the cultural mixing that takes place when an individual moves to a new country and also reality of hidden history in China. She much focuses on historical sources to present the image of reality. Three generation group of artists have their own unique presentations through their works and also are influenced on their own social backgrounds. But, female are the most important image and concepts of their commonality of works. By focusing on a female rather than on a male, three artists challenge a tradition of patriarchy. In the art pieces, the narrator (three female artists) and the protagonists (female image in works) are all women. As such, they present the viewer with a distinctively female view of the world. In historical constructions, women’s lives were generally touched only indirectly in contrast to their fathers, husbands, or brothers. Yu Hong, Cui Xiuwen, and Hung Liu show the women’s lives being immediately influenced by the external world and also their â€Å"existence† and â€Å"importance† in our society. History, society, and family have been great influences upon the development of female art in China. Because of the oppression that Chinese women have faced from a patriarchal society, female art exhibit intense emotions of sadness, pain, and revolution against the male dominated Chinese social stratification. There are many paintings, and photographs that depict the detrimental state that Chinese women were in during the more rigid periods of Chinese history. Various works of art from photos to paintings show female opposition against various Chinese traditions that have oppressed their gender for generations. Many female artists who driven by extreme emotion focused on work that mirrored their sense of retribution against male dominance. Art work that feature females â€Å"turning the tables† on men are common among more liberal female artists. There is also a lot of work that defy traditional Chinese art that is also patriarchal. Such works make use of non-conventional materials and subjects as a way to challenge the male dominated norms. This shows an image of the Chinese female artist as someone who wants to break free from an oppressive condition through the use of personal expression. The qualities linked with the use of the expression in art for them taking account of use of words importantly as the innermost artistic element, simplification, appropriation, representation of user or popular culture as well as art itself. The artists believe that art makes people realize the truth-at least the truth that is given to all to understand, and brings back eliminated women state in Chinese tradition. Chinese female artists have become more motivated to do art not only because of talent, but they convey reality and truth through art. In currently modern world, the majority is focusing on economic flourishing, globalization, and new technology. Most people have forgotten the essence of life and the simple things that make us live along with the many troubles of humanity and theses contemporary Chinese female artists, through exploring modern art are still preserving the real essence of making art and what art means to them, and the female artists also discover their own experience and find an appropriate way of expression in Chinese art. In relation to this, the female artist thus gives superior importance to the role of women in Chinese society. Many daring works aim to recognize female contribution to the family, government, and society which goes largely undistinguished in past generations. Here the Chinese female artists aim to open viewers’ hearts and minds to the true worth of the Chinese woman. Works of art that show how important Chinese women are also tend to show how much they are taken for granted. The Chinese woman artist was also found to be sensitive with the changing times. As society evolved over years of political, economic, and social change, so did female artistry change with it. In fact, female art can be concluded to be much more versatile than Chinese male art which is considered more traditional and unyielding to time. Another difference duly noted between male and female works of art in China was that females tend to express more depth and daringness in terms of depicting sensual subjects. Years of yearning for equality with their male partners have also implied years of dissatisfaction with how males see copulation rituals. The outlet of this repression can be observed with how meaningful and rich Chinese female works of sensual art are. The female artist takes her time to craft the intricate details that add flavor to a romantic scene. The female artist is able to bring out the humanity of a sensitive scene and does not confine the subject to feral lust. Instead, the focus is upon the intimateness of interaction that is not meant to sexually arouse but rather to emotionally move viewers. Lastly, the image of the Chinese female artist is one that is deeply devoted to the value of family. Influences from childhood memories can be seen in the works of many female artists and is regarded as a sense of personal beauty added to general themes. Those are the themes that provide the overall picture in which female art is framed. Chinese female art can be compared to a strong, demanding voice that echoes the grievances of an oppressed gender and outwardly shows how important it is and why people should take notice. It is forceful and bold, more than willing to reject the norms in order to convey its meaning to an internal society that it deems as largely unsympathetic to their concerns. At the same time, female art is delicate and sweet, showing not intent to please but a true expression of beauty. Lastly, it can be concluded that female art is greatly influenced by changing times and each generation of female artists have their own issues to face which are reflected in the works that they produce. Despite female art showing the capability of female artists, it is also a representation of quality artistic work. These qualities contents highly essence of female touch and voice, and also produce with strong female expression through the artworks. Female art is not only made by female artist, on contrary, it is an art with enthusiastic female quality. These five categories of female quality present the sense of female beauty and expression, artists’’ sensitivity of women, and extraordinary and skillful handling of paint. Observe the female art movement in the western society and Chinese society, there is no gap between them. In the west or China, the essence of quality of female art has maintained the same content and concept. In recently decade, female consciousness emerges and brings new concept to women. Women begin to understand themselves more and express their feelings to others. With a modern course of awareness in Chinese contemporary art in the global market, Chinese female artist are expectant that they will reach their ultimate objective; Chinese female artist must have a say. They will continue to explore and find a new way to express their art and voice for women, and the quality of female art will also get more abundant themes.

Sylvia Plath’s Mourning and Creativity Essay -- Sylvia Plath

Sylvia Plath’s Mourning and Creativity Abstract In this article, I concentrate on the connection between mourning and creativity in Sylvia Plath’s work. Melanie Klein postulates that the pain of mourning and the reparation experienced in the depressive position is the basis of creative activity. Through creative activity, one can restore lost internal and external objects and lost happiness. I argue that Plath’s work is an example of Klein’s idea that artists’ creative products represent the process of mourning. For Plath, art -- in her case, writing -- was a compensation for loss, especially the loss of her father. She seems to have continued writing as her exercise in mourning and reparation trying to regain not only her bereaved father but also her internal good object which was lost when her father died. Through her writing, Plath attempted to enrich her ego with the father-object. Keywords: Sylvia Plath, Melanie Klein, mourning, creativity, reparation In her paper, â€Å"Mourning and its Relation to Manic-Depressive States,† Melanie Klein claims that the work of mourning is a reliving of the early depressive position. I would like to quote Klein's account: My experience leads me to conclude that, while it is true that the characteristic feature of normal mourning is the individual's setting up the lost loved object inside himself, he is not doing so for the first time but, through the work of mourning, is reinstating that object as well as all his loved internal objects which he feels he has lost. He is therefore recovering what he had already attained in childhood. (Klein, 1988a, p. 362) According to Klein's hypothesis, the loss of the present object in the external world brings with it the mourner's unc... ...lath, 2000, p. 300). Works Cited Arnold, Matthew, The Poems of Matthew Arnold, ed. by Kenneth Allott, 2nd ed. by Miriam Allott (London: Longman, 1979). Ellmann, Maud, ed., Psychoanalytic Literary Criticism (London/ New York: Longman, 1994). Melanie Klein, Love, Guilt and Reparation (London: Virago, 1988a). ---, Envy and Gratitude (London: Virago, 1988b). Plath, Sylvia, Letters Home: Correspondence 1950-1963, ed. by Aurelia Schober Plath (London: Faber, 1976). ---, Johnny Panic and the Bible of Dreams and Other Prose Writings (London: Faber, 1979). ---, Collected Poems of Sylvia Plath, ed. by Ted Hughes (New York: Harper & Row, 1981). ---, The Unabridged Journals of Sylvia Plath, ed. by Karen V. Kukil (New York: Random House, 2000). Segal, Hanna, â€Å"A Psycho-Analytical Approach to Aesthetics,† International Journal of Psycho-Analysis vol. 33 (1952).

Mcdonalds marketing principles Essay

When McDoland’s venture’s out globally they have to use important standards of marketing. The two most important things that I have noticed that got changed with McDoalds strategy is their product presentation and their advertising strategies. In some countries they sold the same product as in the USA. Countries that did this was Bulgaria, Denmark, and Oman. The reason why they had similar products is due to the similar taste that the USA and these other countries share. In countries like the Philippines, Taiwan, and Thailand the food is much different then in the USA. The reason being is that Culturally they have a different dietary habits then us. So in those countries they ended up doing offerings like crispy chicken, rice, and spaghetti which is important so they can cater to regions needs and taste especially when it comes to something as important as food! Also it is important to note that one of McDonald’s great models is to standardize their popular items here and make it taste and looks the same whether its in Singapore, Spain or South Africa website. McDonald’s also has to be adaptive when it comes to building their franchises in other countries in order to gain success. Therefore the concept of â€Å"think global, act local† has been clearly adopted by McDonald’s and it is all over there international websites. One last thing to add about product development is the Indian website. In that country they had to rethink the way that they presented and processed their food according to the Indians tastes, value system, lifestyle, language, and perception. Mostly in all countries everyone loves their traditional hamburgers which are prepared from beef and pork. Since Indians don’t eat pork, McDonalds had to rethink their strategy which was to introduce chicken, lamb, and fish to satisfy the Indian Market. When it comes to advertising they use a wide array of advertisement. In the United Kingdom they like to use a lot of sports figures to promote their products. In France used a soccer player to boost their sales. And it seems to be working by standardizing their brand name, but at the same time making their advertisement decisions based on the â€Å"local culture†. Another great example of this is in Malaysia. Malaysia has a great up and coming young generation so McDonald’s could probably not have had the success they have  experienced without them focusing on the younger audience to younger generations of consumer. So to make in that market McDonalds is trying to invest heavily in tv marketing and aims it at children. Overall McDolands employed a great marketing strategy that focused on making sure that their products fulfilled the demands of the consumer and region base and made sure to keep them satisfied to have them keep on wanting to come back.

Art and Culture Essay

Art and culture are two terms which can never be separated and are deeply interlinked. Art refers to the quality, creation, appearance, or realm, based on aesthetics of what is beautiful, appealing, or is completely out of the ordinary. Art has many facets like theatre, paintings, music and other kinds of visual and abstract art. It has been seen that different cultures have different kinds of art because art of a country always reflects its culture, traditions and norms. The thoughts, ideas, rules & routines and famous signs and symbols common among the people of an area are displayed through art. A particular culture develops gradually and if its components are embedded in a family, generation or several generation this culture becomes permanent and its language and traditions become an imperative part of the society. By language, one does not only mean verbal enunciation of people to communicate but it also means communication through music, poetry, architecture etc. These cultural representatives show both meaning and value of art creation and more deeply the reason and value for the civilization taking place at that time. Each kind of art is an expression; it is the expression of human beings who exist as a part of culture. Therefore, culture and art go side by side and cannot be deemed as completely different phenomena. American culture and art have an old bondage. Pop Art became popular extending from America to all over the world in 1950’s and 60’and instantly became a very popular and widely accepted image of a modern America. Pop Art incorporates hard edges and displays the real life style. Warhol who is considered to be the father of Pop Art created and popularized its concept; pop art is a representative of the cultural aspects of society and is also deemed as abstract expressionism (Mamiya, 1992). The signs, symbols and artifacts represented by Pop Art are based on true American culture rooting from history. Another example is the local cultural activities that take place in the form of theatre, musical shows and dance. The visitors from all over the world come to enjoy the cultural activities at different venues in New York and Chicago such as Dallas Museum of Art, M Morton H. Meyerson Symphony Center and the Nasher Sculpture Center (Sherman, 2009). These activities are a true depiction of the American society and portray its traditions, values, norms and preferences in the form of art. References Mamiya, C. J. (1992). Pop art and consumer culture: American super market. CA: University of Texas Press Sherman, L. (2009). America’s Cultural Tourism Capitals. Retrived 21st March 2013 from: http://www.forbes.com/2009/08/20/america-culture-capitals-lifestyle-travel-arts.html

Free Essays on Addiction Reaction Paper

I attended a 12 step Alcoholics Anonymous meeting at St. Georges Episcopal Church in Maplewood. When I pulled along side the curb and stepped into the winter air, I felt a nervous twitch in my stomach. I had never been to a meeting before, or known anyone who had, so I did not know what to expect. The meeting was also in my community, so I was somewhat apprehensive as to who might be in attendance. I walked through the church doors, whose intimidating height and dark paint made me nervous enough, into a blindingly bright church hall, with bulletins stuck on every wall in the corridor, and about 10 or so middle aged people pacing back and forth, on cellular phones, making small talk, or reading the church bulletin. I found the sign with the bright, red arrow pointing downward, proclaiming â€Å"AA TONIGHT† in big, bold letters. I walked down the stairs and into a basement of a church, into a room of about 3 people, including the man who later introduced himself as the group leader. I explained to him that I had to do an assignment for school that required me to sit in a 12-step program. He then told me that I was lucky that tonight he had a more mature crowd who doesn’t seem to clam up when new people arrive. He also said that he had gotten about 4 new people in the past week, which was much more than he had gotten in the past 4 months. As people started to file in, he introduced me to them as they came in, and no one seemed uncomfortable. Before the session actually started, I looked around to take inventory. I was actually shocked to see the amount of people in attendance that seemed to me to look as if they were some of the most pious people in the community. One of the stereotypes of the physical characteristics of an alcoholic is supposed to be an untidy appearance; red, bloodshot eyes, or an overpowering, lingering scent of liquor on their breath and body. These people did not fit that stereotype; in fact, every member... Free Essays on Addiction Reaction Paper Free Essays on Addiction Reaction Paper I attended a 12 step Alcoholics Anonymous meeting at St. Georges Episcopal Church in Maplewood. When I pulled along side the curb and stepped into the winter air, I felt a nervous twitch in my stomach. I had never been to a meeting before, or known anyone who had, so I did not know what to expect. The meeting was also in my community, so I was somewhat apprehensive as to who might be in attendance. I walked through the church doors, whose intimidating height and dark paint made me nervous enough, into a blindingly bright church hall, with bulletins stuck on every wall in the corridor, and about 10 or so middle aged people pacing back and forth, on cellular phones, making small talk, or reading the church bulletin. I found the sign with the bright, red arrow pointing downward, proclaiming â€Å"AA TONIGHT† in big, bold letters. I walked down the stairs and into a basement of a church, into a room of about 3 people, including the man who later introduced himself as the group leader. I explained to him that I had to do an assignment for school that required me to sit in a 12-step program. He then told me that I was lucky that tonight he had a more mature crowd who doesn’t seem to clam up when new people arrive. He also said that he had gotten about 4 new people in the past week, which was much more than he had gotten in the past 4 months. As people started to file in, he introduced me to them as they came in, and no one seemed uncomfortable. Before the session actually started, I looked around to take inventory. I was actually shocked to see the amount of people in attendance that seemed to me to look as if they were some of the most pious people in the community. One of the stereotypes of the physical characteristics of an alcoholic is supposed to be an untidy appearance; red, bloodshot eyes, or an overpowering, lingering scent of liquor on their breath and body. These people did not fit that stereotype; in fact, every member...

Characters in superman study

Characters in superman study Jack Tanner is the protagonist of â€Å"man and superman† play he is the anther of â€Å"the revolutionist hand book†. he has a thin body and blue eyes .he is in the middle age .He speaks fluently. He is rich and single, unattached. He refuses the idea of marriage because he wants to be free form women, especially from Ann Whitefield. Moreover, he describes marriage as apostasy and shameful surrender. Tanner argues, Ann to challenge her mother through his speech against the tyranny of mothers and intends tanner to act hat he believes to be true moral sense. Through â€Å"man and superman† play. Tanner is pursued by Ann Whitefield and he tries to escape form her. At the end of the play tanner announces that life forces enchant him and he will marry Ann. The reader can see form the play that tanner just talks, in other words, he doesn’t translate ideas to actions tanner appears as condemned man who has no control over his fate. Ann Whitefield is the heroine of â€Å"man and superman† play. She is an intelligent woman. Ann is beautiful, graceful and respectable. She wears black dress. Most of the play’s characters are fascinated by her expect tanner who considers her a liar woman, Ann loves tanner and pursues him, but he doesnà ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â‚¬Å¾Ã‚ ¢t care of her. She is â€Å"the archetype of the vital woman† (James, lowers.1971). the most important purpose in her life is to find the right father for her children. So she purpose in her life is to marry him, who refuses her at first but accepts at the end. Ann plays her role successfully so the audience understands how she deceives most characters in the play. The reader can see from each act of the play that Ann does every thing to make people do what she wants. Briefly, she uses all means to achieve her destiny. Tanner describes her as a liar woman because she lid when she told him about the reason why Rhoda can not go with him to the trip. Roebuck Rams den Roebuck Ramsden is an old gentleman. He has a white hair. He wears a black overcoat. He works as a free trader. He is a respectable man; he holds an important position is society he is described by Shaw as â€Å"a man of means†( Shaw, 1973)who lives in quite and comfortable. He is the first person who opens and reads Mr. Whitefield’s letter and discover that he will be a guardian with tanner for Whitefield’s daughters, he shocks to discover that, because he hates tanner. Ramsden considers Tanner as a man without morals and he refuses to read tanners book â€Å"the revolutionists handbook† although he denies that this book is not too advanced for him. On the other hand, tanner sees Ramsden as an old-fashioned man. Ramsden wears, as show tells us suitable clothes with a respectable religious man he seems as a complete conformist, although he appears his proud on his position. Octavius Robinson

Overload protection systems Essay Example | Topics and Well Written Essays - 1000 words

Overload protection systems - Essay Example Depending on the type of overload, the appropriate protection systems are chosen and employed is design of machines. For instance, relays, overload release and circuit breakers are used to protect systems against mechanical overload (Bhalja & Maheshwari, 2011). The most common overload protection systems are mechanical and hydraulic overload protection systems. Mechanical overload protection systems are used in mechanical presses; the working principle is based on a delicate shear plate that requires approximately 130% capacity to be broken. When the shear plate is broken, a slide in position has some space of free distance that allows the press to go through a complete stroke. The shear plate is replaced after each case of overload. Hydraulic overload protection systems are more common because the force of the press can be restricted by controlling the hydraulic pressure, and the press can be restarted after an incidence of overload without having to change the plates. Overload prot ection systems (a) mechanical (b) hydraulic (Altan & Tekkaya, 2012). The system consists of an oil pad placed between the slide and the connecting rod to which pressure is applied when force is developing. The pressure from the oil is used to move another piston, which acts to intensify the pressurized air. In case the oil pressure (air pressure) exceeds a threshold value, the oil is sapped back into a tank. Therefore, the force applied is restricted and some space is created for free movement. (Altan & Tekkaya, 2012). a) Torque guard Torque guards are overload protection devices used in power transmission  applications. A spring with a load cam follower placed in a core and detent causes the core and load to rotate jointly. Thus the load always resets in one position and stays in phase when tripped. The system automatically resets when it goes back into the set position after tripping, normally by moving the machine after the overload is cleared. Torque guards assist to protect m echanical systems from damage that may result from extreme torque produced by jamming and overloads. The automatic reset and instant reaction capacity offers consummate guard and reduces down-time. The system disengages at the stipulated torque limit (Grote & Antonsson, 2009). b) Torque limiter A Torque Limiter is a torque overload system consisting of a spring loaded friction style. The load connected to the friction pads is regulated in order to transmit the process torque is transmitted. An overload torque that exceeds the set torque makes the system to slip, preventing overloads from passing through the system. The torque limiter stops slipping when the load drops below the set level, transmitting the torque. In a torque limiter, the phase between input and output is not kept constant. This system can be used in a chain drive with a machined sprocket placed between the friction pads to act as the slip interface so that shutdown and restart is not necessary (Grote & Antonsson, 20 09). Torque limiters are regularly used in applications such as conveyor systems, machine tools, and off-highway mobile equipment. c) Axial guard Axial guards are used in systems where the load acts in the linear rather than revolving direction. This overload protection device provides greatly accurate and repeatable trip point. The point of load set is simply adjusted by rotating a screw. The Axial Guard instantly trips when overload occurs and the tie between the load side and drive side is disengaged. The Axial Guard is reset by a slight push or pull in the reverse direction, allowing production to be revived swiftly and downtime to be reduced (Grote &