Thesis Solo Parenting - 1856 Words

Solo Parents: Aquino gov’t should implement RA 8972 by Lorela Sandoval. Published on August 25, 2012 Although long been passed in year 2000, the Solo Parents’ Welfare Act of 2000 or Republic Act 8972 has yet to be completely implemented by the national and local governments, according to Carina Javier, president of the Solo Parents Support Group at the Department of Social Welfare and Development-Central Office (DSWD-CO), in a recent Philstar.com report. RA 8972 is an act that provides special benefits and privileges to solo or single parents and their children, which include livelihood assistance, counseling services, education scholarships or discounts, flexible work schedule, additional work leaves, and health or medical assistance,†¦show more content†¦Ã¢â‚¬Å"We can therefore say her son President Aquino clearly understands the enormous challenges facing solo parents who are raising their families by themselves,† she said in the Manila Bulletin report. Violators of said bill will face fines of up to P200,000 and jail term of not less than one year. Republic Act No. 8972 or the â€Å"Solo Parents’ Welfare Act of 2000†is the Philippine law on single parents. It was promulgated on November 7, 2000. The law provides comprehensive program of services for solo parents and their children to be carried out by the Department of Social Welfare and Development (DSWD), the Department of Health (DOH), the Department of Education, Culture and Sports (DECS), the Department of the Interior and Local Government (DILG), the Commission on Higher Education (CHED), the Technical Education and Skills Development Authority (TESDA), the National Housing Authority (NHA), the Department of Labor and Employment (DOLE) and other related government and non-government agencies. (Sec.2, RA 8972) You are considered a single parent if you are: [1] A woman who gives birth as a result of rape and other crimes against chastity even without a final conviction of the offender: Provided, That the mother keeps and raises the child; [2] Parent left solo or alone with theShow MoreRelated65 Successful Harvard Business School Application Essays 2nd Edition 147256 Words   |  190 Pagesexperience may look very similar to your experience. Do not fret. Her essay is traditional in both its anecdote and style. Many applicants will discuss lessons learned when effecting change from a consultative role. More still will start their essay with a thesis state... ment, followed by an example, and end with more detailed reflection on the example. That being said, Stacie still manages to stand out in several ways. When competing with thousands of essays on the same topic, 5 65 Successful HarvardRead Morepreschool Essay46149 Words   |  185 PagesAdministrators Baccalaureate Pathways in Early Childhood Education (BPECE) *During the development of the foundations, these individuals worked for the California Department of Education. ix California Alliance Concerned with SchoolAge Parenting and Pregnancy Prevention (CACSAP/Cal-SAFE) California Association for Bilingual Education (CABE) California Association for the Education of Young Children (CAEYC) California Association of Family Child Care (CAFCC) California Association

Society Have Become Dependent On Technology Free Essays

Today’s society is too dependent on technology. With all the advancements to our standard technology such as the internet, cell phones, computers, iPad and all other wireless and electronic devices. Today’s technology has change society with many thinking that can’t exist without these devices. We will write a custom essay sample on Society Have Become Dependent On Technology or any similar topic only for you Order Now Technology has brought the world to our fingertips. It has change the workplace, and the way we learn. Society’s dependence on technology paired with the rise of technology is a disadvantage to humanity as whole. What was considered a luxury is now considered a necessity. Advancements in communications technologies is a benefit to our society. Dependence can best be seen when there is a power outage over an hour, people go into instant panic mode. Dependence on technology will inevitably lead to advances in technology, creating new social standards, thereby furthering the same dependence on technology. Technology also creates a world that demands things in a rapid manner. It provides a faster means of communication, makes a person more efficient and organized. Deepak Chopra, MD author and founder of The Chopra Foundation states that technology doubles every year and in 10 years will be a million times more. Let’s look back at history in the early to mid-1900 when children and adults didn’t rely on television and computers but spent time with family and friends in person having face to face communication. Technology has affective how children play. Fewer kids play outside due to video games and other electronic devices. Today I can be in my home playing a video game with a friend in his home in other state through the internet online. Every day millions of people turn on their cell phones, log on to their social networking sites and spend hours each day texting, messaging, and blogging. Pew Internet reports for cell phones activities this year (2013) shows 91% of American adults own a cell phone. Younger adults are more affluent in the use of cell phones. Texting continues to be the most common cell phone activities, with 81% of cell owner’s text. Texting is popular among younger adult and college educated. Many persons access the internet through their cell phone, with more that 34% admitting mostly accessing the internet from their phones. Pew’s report also identify half of cell owners send and receive email from their phone. It was also noted that 49% of cell owners used their phones to look up directions, recommendation and other information related to their location and 48% of owners listening to music on their phones. The Apple iPad a newer device falls somewhere between the smart phone and notebook computer. It allows a person to accomplish their routine task for work, school and home. Technology is the major reasons for the changes in society. Technology has taken over our lives and has provided shortcuts and an easy way out. Many people admit that their smart phone or other electronic device runs their life. The military uses technology to monitor our Nation against national treat . Technology is a vital element of the advancement of education, healthcare, communication and transportation. How to cite Society Have Become Dependent On Technology, Papers

American culture free essay sample

The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popular music, from those—such as classical orchestral music—normally available to the elite of learning and taste. Popular art forms are usually seen as more representative American products. In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American people. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous. Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II. But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals. What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future. While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, are less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers. In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on critics and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms. These critics often relied less on aesthetic judgments than on social measures and were eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artistic heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were established in the past. In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded materials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts. The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence. American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administration, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances. Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, many painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism. Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the innovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women). Color, shape, and movement dominated the canvases of abstract expressionists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock painted by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each artist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity. The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of the abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement. Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American Midwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp. Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement and an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence. Cornells boxes exemplify the modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art movement that began in the 1950s. Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtensteins large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art. These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and popular art. Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhols pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break free of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship. Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative process. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products. Photography. Photography is probably the most democratic modern art form because it can be, and is, practiced by most Americans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters. They also published a magazine called Camera Work to increase awareness about photographic art. In the United States, photographic art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man. Throughout the 20th century, most professional photographers earned their living as portraitists or photojournalists, not as artists. One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Institute). He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique. Adamss elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photographed urban conditions and workers, including child laborers. Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a hotographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of the period. In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of document ary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power. Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied in the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph. Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish. The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazines. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography. Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially. The decorative arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. 4. Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of American culture in the first half of the 20th century. These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama. The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country. Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country. The American performing arts also blended Latin American influences beginning in the 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States. In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent. Noted Russian-born choreographer George Balanchine established the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well. By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using innovative musical styles, moved to the United States in 1939. German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras. Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples. Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans. He even invented a new kind of piano. During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a movie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera. By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of Americas greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse. In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting. He brought the art of classical music to the public, especially through his Young Peoples Concerts, television shows that were seen around the world. Bernstein used the many facets of the musical tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences. New York City, the American center for art performances, experienced an artistic explosion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet. As the variety of performances expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional productions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s. Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico. American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably Americas most durable music form. Starting in the 1960s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme. This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds have become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold. At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts. . Arts and letters The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popul ar music, from those—such as classical orchestral music—normally available to the elite of learning and taste. Popular art forms are usually seen as more representative American products. In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American people. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous. Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II. But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals. What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future. While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, are less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers. In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on critics and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms. These critics ften relied less on aesthetic judgments than on social measures and were eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artisti c heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were established in the past. In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded materials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts. The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence. American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administration, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances. Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, many painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism. Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the innovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women). Color, shape, and movement dominated the canvases of abstract expressionists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock painted by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each artist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity. The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of the abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement. Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American Midwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp. Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement and an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence. Cornells boxes exemplify the modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art movement that began in the 1950s. Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtensteins large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art. These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and opular art. Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhols pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break free of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship. Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative process. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products. Photography. Photography is probably the most democratic modern art form because it can be, and is, practiced by most Americans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters. They also published a magazine called Camera Work to increase awareness about photographic art. In the United States, photographic art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man. Throughout the 20th century, most professional photographers earned their living as portraitists or photojournalists, not as artists. One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Institute). He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique. Adamss elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photographed urban conditions and workers, including child laborers. Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a photographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of the period. In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of documentary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power. Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied in the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph. Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish. The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazines. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography. Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially. The decorative arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. . Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of American culture in the first half of the 20th century. These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama. The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country. Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country. The American performing arts also blended Latin American influences beginning in the 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States. In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent. Noted Russian-born choreographer George Balanchine established the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well. By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using innovative musical styles, moved to the United States in 1939. German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras. Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples. Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans. He even invented a new kind of piano. During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a movie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera. By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of Americas greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse. In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting. He brought the art of classical music to the public, especially through his Young Peoples Concerts, television shows that were seen around the world. Bernstein used the many facets of the musical tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences. New York City, the American center for art performances, experienced an artistic explosion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet. As the variety of performances expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional productions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s. Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico. American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably Americas most durable music form. Starting in the 1960s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme. This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds have become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold. At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts.

Mental Turbulence free essay sample

The lessons we take from failure can be fundamental to later success. Recount an incident or time when you experienced failure. How did it affect you, and what did you learn from the experience? Mental Turbulence With all the anger and pain I accumulated over my lifetime, I wrenched my hand into a fist and launched one devastating punch at my demonic reflection. The mirror shattered on impact, spewing out shards of glass in every direction. After a moment of silence, reality cleared my mind. My head dropped, and my eyes narrowed in on my hand now covered in blood and regret. I can’t do this anymore! The anger burned my throat as my mind screamed in agony. I want to die. My junior year of high school was suppose to be challenging, according to every parent and teacher who I talked to, but I never expected it to turn out the way it did for me. We will write a custom essay sample on Mental Turbulence or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The start was just how I expected, stressful but manageable. Then, in the second semester of my junior year, my stress got the best of me and my life crumbled before my eyes. It started in Pre-Calc, I hated the class to begin with, but I pushed myself through the first semester hoping that Calculus would be more enjoyable. My goal from the time I was in eighth grade was to take calculus in high school so I could be one step ahead in college, but things weren’t looking up based on my performance in the classroom. It took me one test to realize that I was completely and utterly unprepared for what was to come. Physically exhausted, my expectations I was setting for myself were influencing my behavior. The days dragged on, and nobody was there for me other than my family and Vicky, my girlfriend. Practically every other day I was having a severe panic attack which made me start to miss school. I sank deeper and deeper into a pit of depression and anxiety as I fell behind in my studies. As my self-esteem dropped my views on my life did as well. With nothing going my way it seemed like I was getting in the way of everyone else around me, dragging them down with my sorrow. I felt like running away from everything was my best opinion, but I knew it would not help me in the long scheme of things. In my parents eyes, the next step for me was getting help. They looked into every possible therapy and counseling center they could. They began to make a binder full of medications and doctor recommendations. Nothing was off limits if it meant helping me find inner peace. By the end of April, I had visited the emergency room three times to be in a safe environment opposed to my bedroom where I had the privacy to suffer alone. I can still vividly remember the high-tech hospital beds that smelled like freshly washed laundry. It made me feel comfortable amid the chaos. After that third visit, my mom sat me down and through tears, cried â€Å"There is a spot that just opened up†¦ at the Center†¦for Mental health†¦ and if we respond today, you can get help there.† Is this the right thing to do? What if I didn’t know if this was a positive step to take or not, but I reluctantly agreed, â€Å"I will go, it’s for the best.† I wanted to stay in the comfort of my home, but I knew I couldn’t get better without some drastic change in my life. No matter how hard I tried I could not break free from this feeling of worthlessness, I needed something new, something different. At the Center, my life was completely different. I couldn’t open a door without asking a superior.Cellphones, shoes, or contact with anyone on the campus was not allowed. I met others in various states all trying to find themselves and change their outlook on life. The first night there I sat listening to a girl scream herself to sleep while a group of leaders tried to help her remain calm. In the back of my mind, I still hear her cry for help when I think about the Center. Looking back on my experience, I reflect on the good and the bad that came from being admitted to the Center. Talking to the friendly faculty, I was able to better understand how life would be like after I left the safety of the Center. Although I hated every moment away from independence and my family, I’m grateful for being able to participate in the program. I will especially remember the group decisions I was a part of where we learned how to use skills to control stress in our life. If it wasn’t for my decision to go to the Center, I’m not sure if I would be alive today. Today I still deal with stress and anxiety, but I have experience, family, and skills that I have learned to help me successfully control my anxiety. It was hard to realize that anxiety is something you can’t get rid of, but I know that by changing the way I think about situations I can not just handle adversity but excel in it. One of the many skills that I learned at the Center was mindful thinking. That means being open minded and focused on positive thoughts. To do that you have to first be honest with yourself. For me, that meant realizing that I have weaknesses. I am not perfect. Then you share these observations with others and develop a plan to get better. Personally, I talked to my parents about these areas of difficulty and developed a plan to make these weaknesses, strengths. Finally, you act, fail, and progress. College will require me to use mindful thinking because there will be stressful scenarios. I will stumble. That is the truth, but I know I can persevere and grow by overcoming these challenges.

Genealogy of Legendary Singer James Brown

Genealogy of Legendary Singer James Brown The man often referred to as the Godfather of Soul was born James Joseph Brown in a small shack in rural Barnwell County, South Carolina. His father, Joe Gardner Brown, was of mixed African-American and Native American descent, and his mother, Susie Behling, was of mixed African-American and Asian descent. This family tree is presented with an  ahnentafel  numbering system. Check these tips for reading this family tree. First Generation 1. James Joseph Brown was born on May 3, 1933, outside of Barnwell, in Barnwell County, South Carolina, to Joseph Gardner Brown and Susie Behling. When he was four his mother left him in the care of his father. Two years later his father took him to Augusta, Georgia, where he lived with his paternal great-aunt Hansom (Scott) Washington. His aunt Minnie Walker also helped with his upbringing. James Brown married four times. He wed his first wife, Velma Warren, on June 19, 1953, in Toccoa, in Augusta County, Georgia, and had three children with her: Terry, Teddy (1954–June 14, 1973), and Larry. That marriage ended in divorce in 1969. James Brown next married Deidre Jenkins, with whom he had children Deanna Crisp, Yamma Noyola, Venisha, and Daryl. According to his autobiography, they were married on the front porch of a probate judge in Barnwell on October 22, 1970, and divorced on January 10, 1981. In 1984, James Brown married Adrienne Lois Rodriguez. They separated in April 1994 and had no children. The marriage ended when Adrienne died on January 6, 1996, in California from complications following plastic surgery. In December 2001, James Brown married his fourth wife, Tomi Rae Hynie, at his home on Beech Island, South Carolina. Their son, James Joseph Brown II, was born on June 11, 2001, although James Brown questioned his paternity. Second Generation (Parents) 2. Joseph Gardner Brown, known affectionately as Pops, was born on March 29, 1911, in Barnwell County, South Carolina, and died July 10, 1993, in Augusta, Georgia. According to family history, his father was a married man and his mother worked as a housekeeper in the home. The story says he was born Joe Gardner and took the name Brown from the woman who raised him after his mother left him, Mattie Brown. 3. Susie Behling  was born Aug. 8, 1916, in Colleton County, South Carolina and died Feb. 26, 2004, in Augusta, Georgia. Joe Brown and Susie Behling were married, and their only child was James Brown: 1 i. James Joseph Brown Third Generation (Grandparents): 4.–5. The parents of Joseph Gardner Brown are uncertain, but his siblings (or half-siblings) were the children of Edward (Eddie) Evans and wife, Lilla (surname possibly Williams). Edward and Lilla Evans appear in the 1900 U.S. Census in Barnwell County, South Carolina, and in the 1910 U.S. Census in Buford Bridge, Bamberg County, South Carolina. By 1920 it appears that Edward and Lilla Evans had died, and their children are listed as the children of their aunt and uncle, Melvin and Josephine Scott in Richland, in Barnwell County, South Carolina. This means that either Edward Evans or Lilla Williams is a parent of Joe Brown. 6. Monnie Behling was born about March 1889 in South Carolina and died between 1924 and 1930, probably in South Carolina. His parents were Stephen Behling, born about May 1857, and Sarah, born about December 1862, both in South Carolina. 7. Rebecca Bryant  was born about 1892 in South Carolina. Her parents were Perry Bryant, born about 1859, and Susan, born about 1861 in South Carolina. Monnie Behling and Rebecca Bryant were married and had the following children: i. Docia Behling, born about 1908ii. Arris Behling, born about 1910iii. Jettie Behling, born about 19123. iv. Susie Behlingv. Monroe Behling, born about 1919 in Fish Pond, in Bamberg County, South Carolina, who died May 4, 1925, in Bamberg County, South Carolinavi. Woodrow Behling, born May 24, 1921, in Fish Pond, in Bamberg County, South Carolina, who died May 25, 1921, in Fish Pond, Bamberg County, South Carolinavii. James Earl Behling, born Feb 5, 1924, in Fish Pond, in, Bamberg County, South Carolina, who died July 3, 2005, in Bamberg County, South Carolina

(Updated Guide) Weighted GPA Calculator

(Updated Guide) Weighted GPA Calculator SAT / ACT Prep Online Guides and Tips Most likely, during high school you've taken a mix of classes: some honors, some standard, and some APs. The weighted GPA reflects that those classes have different difficulty levels. So what's the easiest way to figure out what your weighted GPA is? We have two great methods to calculate it! What Is a Weighted GPA? Your GPA, or grade point average, is a way for colleges to quickly see a solid, summary indicator of your intelligence, work ethic, willingness to challenge yourself, and skills. A weighted GPA showcases the hard work and challenge of your high school career by reflecting whether the classes you took were standard level, honors level, or AP/IB level. It does this by adding .5 to every honors class GPA conversion decimal and adding 1 to every AP class conversion decimal, creating a scale that goes from 0.0 to 5.0. So, for example, imagine Diane gets an A in AP French and Sven gets an A in standard level Geography. A weighted GPA would recognize that the AP class was most likely harder, so Diane’s A would become 5.0, while Sven's A would be 4.0. Here is a table that explains how all this usually works in more detail: Letter Grade Percentile Standard GPA Honors GPA AP/IB GPA A+ 97-100 4.0 4.5 5.0 A 93-96 4.0 4.5 5.0 A- 90-92 3.7 4.2 4.7 B+ 87-89 3.3 3.8 4.3 B 83-86 3.0 3.5 4.0 B- 80-82 2.7 3.2 3.7 C+ 77-79 2.3 2.8 3.3 C 73-76 2.0 2.5 3.0 C- 70-72 1.7 2.2 2.7 D+ 67-69 1.3 1.8 2.3 D 65-66 1.0 1.5 2.0 F Below 65 0.0 0.0 0.0 How Do You Calculate Your Weighted GPA? There are two different ways to calculate your weighted GPA. Class-by-class method This method goes through each of the classes that you've taken, one by one: #1: First, convert all the final class grades you’ve gotten, keeping careful track of whether the course was honors level, AP level, or standard. #2: Next, add up all of these converted decimals– this is your sum. #3: Then, count the total number of classes you have taken. #4: Finally, divide the sum by the number of classes and round to the nearest tenth- this is your weighted GPA. Pro tip: you can't simply add each individual year's GPAs together and divide by 4 because you may have taken a different number of classes each year. Sorted-classes shortcut method If you've already done an unweighted GPA calculation, then this method is for you: #1: First, count separately the number of standard classes, honors classes, andAP classes that you've taken. #2: Next, add yourunweighted converted gradesum+(.5*number of honors classes) + number of AP classes. This is your weighted sum. #3: Finally, divide the weighted sum by the total number of classes you've taken. Step Calculation Let's gothrough an example of how this works in practice bycalculating the weighted GPA of spymaster aliasJane Doe. We will be calculating the GPA Jane submits on her college applications, so we will leave off her senior year grades. Note that on hertranscript, classes marked with a â€Å"+† are honors classes, and those marked with an â€Å"a† are AP classes. First let’s convert her grades. I will convert them into weighted and unweighted format so you can see the difference: 9th grade 10th grade th grade Unweight. Weight. Unweight. Weight. Unweight. Weight. 3.0 4.0 3.3 3.8 3.3 4.3 3.7 3.7 4.0 4.0 4.0 4.0 4.0 4.0 3.0 3.0 3.3 3.8 3.0 3.0 3.3 3.8 4.0 5.0 3.3 3.8 3.7 4.7 4.0 5.0 Total 17.0 18.5 17.3 19.3 18.6 22.1 Honors classes 2 2 1 AP classes 0 1 3 Total number of classes 6 6 6 Boy, Jane really stepped up her game junior year! Nicely done. Class-by-class method: Sum of weighted scores=59.4 Number of classes taken = 15 Jane'sweighted GPA =59.4 / 15 = 4.0 Sorted-classes method: Sum of unweighted scores = 52.9 Number of honors classes = 5 Number of AP classes = 4 Number of classes taken = 15 Weighted sum = 52.9 + (.5 * 5) + 4 = 59.4 Jane's weighted GPA = 59.4 / 15 = 4.0 What’s Next? Now that you've gone through our weighted GPA calculator, check whether Jane was right to go all out academically junior year by learning which year of high school is the most important for your college applications. Let us help you figure out the pros and cons of weighted and unweighted GPAs with our comprehensive explanation. Explore what a good or bad GPA score is, and how you compare to the average high school student. Get the scoop on whether colleges use weighted or unweighted GPAs when assessing your application. Want to improve your SAT score by 160 points or your ACT score by 4 points? We've written a guide for each test about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now:

Explain the theme of Work and Identity in Kafkas The Metamorphosis Essay

Explain the theme of Work and Identity in Kafkas The Metamorphosis. How is Kafkas work existentialist - Essay Example Gregor is forced to work hard; â€Å"slavery† can be the best term to describe Gregor’s state in the family. He is forced to make cash for the family members. Gregor is viewed as a source of income to the family but not as a member of it. The family has shown that without money, received from Gregor’s hard work, they have no business in associating with him. The neglect is witnessed after the metamorphosis process. Gregor had to undergo revulsion and neglect from the family members as a result of the metamorphosis process. In addition, the effects of money can be seen to be present in the family immediately they begin working. Work and money has made it difficult for family members to communicate, and to eat together (Kafka par 1). On debt, Gregor longs for the day; he will be able to pay all his debts and quit the job. As long as the debts are owed, Gregor cannot stop working because the family depends on the salary received from the job. Debt and work; denied Gregor the freedom from restrictive demands of the society. During the metamorphosis process, Gregor escapes from the debts and duties which have long troubled him. However, the metamorphosis, which is seen as escapism, does not fully help Gregor in achieving full freedom. The family members have decided to imprison Gregor in his room (Kafka par 4). On existentialism and work, an individual’s destiny depends upon that individual and their ability to make choices. Kafka explains the metamorphosis process in relating the way in which Gregor must work to provide for the family. Family duty had to be done by Gregor. Gregor needed money to provide for the basic need to his parents as well as send the sister to a school. Work and family duty has to be done, despite the challenges being experience. However, the efforts put in place by Gregor in providing for the family is not appreciated. The family sees him as a source of income, slave, and a bother (Kafka par 6). After the

1.In 2003 the government outlined how Every Child Matters. Discuss Essay

1.In 2003 the government outlined how Every Child Matters. Discuss both the developmental needs of children, and the appropriate social work response, in rel - Essay Example The case of Victoria Climbe can be marked as a revolution in the history of reforms for the children. It prompted the government to understand the needs and requirements of the children in the world. As children grow up they have certain requirements which ought to be fulfilled and the scheme ‘Every Child Matters’ assures every child of his right. This article would further discuss the developmental needs of children and the appropriate social work response in relation to the outcomes of the scheme. Many of the children living in this world are deprived of their basic needs and hence the governments are implementing different schemes to ensure that the children are getting their basic needs. The scheme ‘Every Child Matters’ has a total of five aims to provide the children with their basic necessities Health is a basic necessity for all the people in this world and thus children ought to have all the facilities to maintain their health. The scheme is implementing different strategies to ensure that the children are healthy mentally, physically and socially both. The children ought to have their basic right to exercise different activities to ensure that their health is maintained. They require health facilities if they are undergoing any major problem with their health. The environment that the children are provided depends upon the state, parents and the school and thus this environment should be healthy. The scheme has made the concerned authorities aware of the n ecessities of these children. The societies in the UK have started working towards a better environment for the children. Different sporting events are organized by the scheme so that the children can participate and have a healthy routine. The schools in which the children are studying have an important obligation of maintaining the environment for the

PE analysis of performance Essay Example for Free

PE analysis of performance Essay When playing rugby, my position is flanker. I have some obvious strengths and weaknesses when I am playing, and this piece of writing will consider these and evaluate ways to improve my performance.  I think that one of my main strengths as a flanker is pressurising the scrum half a lot. At scrums and rucks I am quick to move around the side to rush the scrum half into passing, possibly forcing an error, or just tackling the scrum half, enabling a turnover or if not it slows down the oppositions ball. This is a main strength required when playing flanker and I think that I use it well most of the time, but I have to be careful to stay onside so as not to give away any penalties. I think that a second strength in my game is that I am aggressive when making tackles or running with the ball. I have more agility because I run in a position where I can side-step relatively easily. I tend to tackle low, and run low when I am carrying the ball so it is more difficult to be tackled. I think that when we are playing I stay positive even if we are losing and try to motivate the team. I need to get a bit lower when I am running with the ball, if I want to get further, but I run low enough to gain a reasonable distance and I am able to shrug off tackles when running if I am aggressive. I think a main weakness in my game is that although I sometimes take a good crash ball, I tend to hang off the rucks too often and I need to get more stuck in because I might sometimes stand in the channel between the scrum half and fly half, which is getting in the way of a pass, and a phase of play in the backs may be better than one in the forwards. I need to stay in the rucks and mauls more often that I stand in the line. Also I think I need to improve my reaction time, especially when reacting to the stimulus, often being the referees whistle. This would suggest that I was concentrating wholly on the game, but if I was more aware of the stimulus then I would give away fewer penalties and infringements, but also, my game would be more disciplined. I could sprint rather than jog to the breakdowns sometimes, so that I could spoil more opposition ball or even turn it over. Improving Performance Over time I will take actions which will increase my strengths and decrease or totally get rid of my weaknesses. This section will help to prioritise the areas for improvement and the areas where my performance is at its optimum level.  I think that the most important of my weaknesses to work on is reaction to the stimulus. I am fairly disciplined, but if I could improve my reaction time then I would become much more disciplined and not make as many errors. I need to focus more on the game as a team sport and think of what effect my actions may have on the game and rest of the team E.g. giving away a penalty. The reason for my strength in putting the scrum half under a lot of pressure is the combination of strength and speed used to get around the breakdown quickly and hit him low and hard. Power enables this to be done with relative ease.  The reason for my main weakness is that I concentrate on one separate thing in the game, such as the man I am marking or the tackle I am about to make, rather than the whole game itself, such as offside and overlaps. I think that the target of giving away less that one penalty each game is easy to fulfil, and it should progressively lower to one per every two games and so on. Also taking training seriously as if it was a match and putting in all the tackles and looking for options instead of taking the first one that comes into my head. Assess the whole situation, not just one small part of it.  I could possibly keep a tally of how many infringements I make in match situations in training, and then aim to make less than this amount in a match. I could record the number I make in a match and aim to concede less in the next match that I played in.  To monitor the progress of my strengths I could record how many turnovers I make and how many times I force an error on the scrum half due to applying a lot of pressure. In training match situations I need to concentrate on the game and the teams performance, not just my own. Increasing my levels of fitness would allow me o get to breakdowns more quickly, thus making me less likely to stand out and possibly get in the scrum half and fly halfs channel. An exercise that would help to increase my strengths and at the same time help to diminish my weaknesses would be practising a rush defence from the triple threat position as it would help me to advance with the line and stay onside at all times possible.

Facism in America :: essays research papers

Since mainstream left-liberal media do not seriously ask this question, the analysis of what has gone wrong and where we are heading has been mostly off-base. Investigation of the kinds of under-handed, criminal tactics fascist regimes undertake to legitimize their agenda and accelerate the rate of change in their favor is dismissed as indulging in "conspiracy theory." Liberals insist that this regime must be treated under the rules of "politics as usual." But this doesn't consider that one election has already been stolen, and that September's repeat of irregularities in Florida was a clear warning that more such thuggery is on the way. If the "f" word is uttered, liberals are quick to note certain obvious dissimilarities with previous variants of fascism and say that what is happening in America is not fascist. It took German justice minister Herta Daeubler-Gmelin to make the comparison explicit (under present American rules of political discourse, sh e has been duly sacked from her cabinet post); but at the liberal New York Times or The Nation, American writers dare not speak the truth. The masked assertion that we are immune to the virus ignores degrees of convergence and distinction based on the individual patient's history. The Times and other liberal voices have been obsessed over the last year with the rise of minority fascist parties in the Netherlands, France, and other European countries. They have questioned the tastefulness of new books and movies about Hitler, and again demonized such icons of Nazism as Leni Riefenstahl. Is this perhaps a displacement of American anxiety onto the safer European scene, liberal intellectuals here not wanting to confront the troubling truth? The pace of events in the last year has been almost as blindingly fast as it was after Hitler's Machtergreifung and the consolidation of fascist power in 1933. Speed stuns and silences. The proposed Iraqi adventure, which is only the first step in a more ambitious militarist agenda, has been opposed by the most conservative warmongers of past administrations. If the test of any theory is its predictive capacity, Bush's extreme risk-taking is better explained by the fascist model. Purely economic motives are a large part of the story, but there is a deeper derivation that exceeds such mundane rationales. Several of the apparent contradictions in Bush's governance make perfect sense if the fascist prism is applied, but not with the normal perspective. To pose the question doesn't mean that this is a completed project; at any point, anything can happen to shift the course of history in a different direction.

Pompeii- Politcal Life

Pompeii, as a typical Roman colony provincial towns, was self-administrating in local matters, but subject to imperial decree from Rome. However, the emperor rarely interfered except where the empire’s security or local order was threatened. After the revolt in the amphitheatre between Pompeians and Nucerians in AD 59 the emperor, Nero, dismissed the two chief magistrates, had two more elected and appointed a law-giving prefect to supervise them. The inhabitants did not rail against such interference and constantly demonstrated their loyalty to the imperial family by constructing dedicatory statues, shrines, arches and buildings. The actual government, the executive body, consisted of two duumviri and two aediles, annually elected by the comitium, the people’s assembly of which all adult male citizens were members. The Duumviri were the two chief magistrates of each town and were placed the highest in political life. During their years of office, the Duumviri wore a toga with a thick purple boarder and would enjoy the best seats at the public games or at the theatre. Because they were endowed with the power to revise the Council Roll, the ‘Quinquennales’ commanded the greatest respect. The annual election of these four magistrates was the comitium’s only function, and the elections did not fail to generate a fair deal of passion and excitement which can be seen in Source A which is showing graffiti of a political matter drawn on a wall to notify the people of Pompeii about the political event occurring. Of the four magistrates, the two aediles were in charge of public buildings, including temples such as the Temple of Isis, which can be seen in source B. The Temple of Isis In Pompeii, only freeborn male citizens over 25 with good moral character could vote. Housing blocks or districts constituted electoral areas. The Senatorial and the Equestrian classes represented and served the Roman Emperor. For senators, it was a hereditary position, with the requirement to have property valued at 1 million secterces. Senators were usually wealthy Romans who visited their villas in Pompeii. Equites were identified by togas with a narrow purple stripe. Equites served the Emperor in important posts such as commanders of fire services and military officers. It was not a hereditary position and was only given to men with property equal to 400,000 secterces. Decurions, were elected to run the town. Two were called duumviri, and were senior magistrates. They presided over elections, carried out decrees of the Decurion council, and were in charge of justice and finance. The two junior Decurions were the Aediles. They managed the dayto- day running of the town, upkeep of public buildings, water supply, sanitation, street markets and maintained order. Aediles were unpaid and needed other occupations to pay their employees. Politics and religion were heavily intertwined, where religious roles became political. The Augustales was an imperial cult of freedmen, which afforded its members political power. Membership was purchased; therefore a degree of wealth was required. Located one block away from the Forum in Pompeii is the Temple of Fortuna Augusta which housed the Augustales. characteristic was self-governance. .The duumviri were in charge of justice. Every five years, the duumviri were also responsible for organizing the census of all citizens and of revising the list of members of the ordo decurionum, the legislative council (or senate). It had about 100 members (decuriones), among them the former magistrates and other citizens appointed by the duumviri every five years. They had to be free-born citizens and wealthy enough to be able to spend considerable sums on the community. Some professions (such as gladiators, actors and innkeepers) were excluded from membership, which otherwise appears to have been relatively open. The Aediles, however, being the two lower ranking magistrates of the two towns, were responsible for the everyday administration. The reconstruction of Pompeii’s political structure is mainly based on epigraphical evidence such as the many election slogans on the walls of private as well public buildings, and on comparisons with other, similar colonies. The dramatic change from basically independent Samnite town to a Roman colony had of course a great impact on Pompeii’s townscape and the lifestyle of its inhabitants. The epigraphic evidence suggests that political activity in Pompeii was intense, especially leading up to the elections in March of each year. It appears from the thousands of electoral notices painted on the walls that most people, including women, were politically aware and enthusiastic. BUILDINGS The city council met in the lavishly decorated Curia chamber on the southern side of the Forum adjacent to the Comitium (People’s assembly) in the southern-eastern corner. The Comitium was a roofless building where town meetings were held during which the citizens could question the members of the government. The evidence for heavy gates suggests that some meetings might have been quite boisterous. It may also have been used on polling day. On the other side of the Curia was the small Tabularium where all the government. Business was recorded and filed, including tax records. Next door were the offices of the magistrates. The basilica was the seat of the judiciary and law courts, as well as a centre for business activities. Basilicas usually followed a standard plan: a long rectangular central hall, flanked on either side by a colonnaded aisle and an apse at one end. The central hall in Pompeii’s Basilica was two storeyed with light filtering through from the upper gallery. At one end, five doors linked the hall with the Forum and at the other was a raised podium where the magistrate, as judge, sat above the lawyers, witnesses, plaintiffs and defendants. It is believed that the tribunal podium was accessed by portable wooden steps which were removed during a session so that the public could not reach the judge. The two duoviri made judgements about: unworthy decurions, electoral candidates without the required qualifications, inappropriate behaviour during elections, and misuse of public funds, robberies and murder. They were responsible for sentencing, but could only give the death penalty to foreigners and slaves. ELECTION FEVER About half of the electoral manifestos and propaganda discovered in Pompeii related to the election of March AD 79. Earlier slogans were whitewashed over to make advertising room for the next group of candidates. To identify himself, a candidate wore a white toga (candida) and employed a slave to whisper his name to all with whom he came in contact (nomenclator).

Reflection on a clinical skill Essay

This essay will discuss a clinical experience in which I feel more competent in practicing. I will use a reflective model to discuss how I have achieved the necessary level of competence in my nurse training programme.The reflective model I have chosen to use is Gibbs model (Gibbs 1988). Gibbs model of reflection incorporates the following: description, feelings, evaluation, analysis, conclusion and an action plan (Gibbs 1988). The model will help facilitate critical thought process as it relates theory to practice. Discussion will include the knowledge underpinning practice and the evidence base for the clinical skill. A conclusion to the essay will then be given which will discuss my reflection skills, acknowledge my competence and show my personal and professional development. Trigger Event The clinical skill I have chosen to reflect on within this essay is my first IV start. I have chosen this as my first clinical placement is on a surgical unit, where Intravenous therapy is a widely used to administer medication. I was very happy to finally be able to start developing this skill as I have seen it done several time and was ever able to acquire the process in which is needed to start an intravenous. Appraisal The first stage of Gibbs (1988) model of reflection requires a description of events. As a transitioning Registered Practical Nurse to a Registered Nurse the expectation are that I will have develop this scope in my practice. I had observed this clinical skill on a variety of occasions and had previously administered IV medication and antibiotics under supervision. On this occasion I was being observed by my clinical educator. I had gathered all the necessary things I needed which included a bag of normal saline. My clinical educator was talk me through the procedure step by step and informed me that I should never place the tape on any surface as tit leads to cross contamination, and I should always clean blood from around the IV site. The facility also uses chlorhexadine instead of alcohol as eliminates stinging sensation. The second stage of Gibbs (1988) model of reflection, which is a discussion about my thoughts and feelings. I was aware of being under the supervision of my educator and other classmates this made me feel  very nervous and self- conscious. Once my professor said I am in do not advance I realize how truly nervous and under pressure I was feeling. I held my breath as I did not want this vain to blow and have to stink the patient again. This patient was an elderly gentlemen and I did not want the patient to feel that I did not know what I was doing. I thought that as I had been observed this clinical procedure on many other occasions it would be easy for me to do but it was very challenging, finding an appropriate vain, the right size of needle and wanting to get success on my first try made this a very trying experience. Exploration Evaluation is the third stage of Gibbs (1988) model of reflection and requires the reflector to with state what was good and bad about the event. This experience was filled with emotion because for many years I have been an rpn and I always wanted to be able to start an IV and I finally got to do just that. I think the best thing about this experience is I got it the first time and my instructor made it seem so effortless. So many times I had place tape on the hand rail of a bed in preparation of taping a dressing, I never thought of the fact that I was taking all the germs from that rail onto the patient. This one little thing has caused me to change my present practice. Integration Stage four of Gibbs (1988) is an analysis of the event, where Gibbs encourages the reflector to make sense of the situation. I will do this by exploring the skill and look for other opportunities to get more starts that I will feel more confident in my practice. In conclusion the use of this model of reflection has helped me to structure my thoughts and feelings appropriately. My level of awareness concerning evidence based practice, and its importance, has been enhanced with the use of critical reflection. My competence, within this clinical skill, has been further developed and I now feel that my personal and professional development is progressing. Using this reflective model has helped me to realise that my learning is something which I must be proactive in. Furthermore as a student nurse I have recognised that reflection is an important learning tool in practice.

Modernism essays

Modernism essays Select some groups of artists who sought to interpret the world in new ways. How have they done this? Towards the end of the nineteenth century changes in the temperament of the social structure, and economic character of Europe caused artists to abandon previously held art making conventions and instead seek to interpret the world in new and revolutionary means. More of an attitude than a specific style, the modernist ideology produced a series of groups who each interpreted the world in their own unique and distinctive styles that will never cease to influence contemporary artists. Characterised by the French term avant-garde meaning advance guard; the nature of modernism represented what is modern is new, original, and cutting edge. Modernism began with the Impressionists depictions of the fashionable bourgeoisie and radical means of painting fleeting light. Successive movements quickly emerged bringing their own unorthodox methods and artistic geniuses to the phenomenon, most notably; the faceted and fractured portrayal of life by Cubism; the bold brushstrokes of Fauvism; the revolutionary ideology of Futurism; and the consumerism orientated pop art movement. Culture becoming more urban and less rural, an increasingly industrial world, the growth of secularism, and the freedom to experiment all contributed to the creation of the Impressionist movement and concurrently Modernism. Impressionism started in 1870 saw a zenith for around 20 years while the popularity of post-impressionism began to rise. Focused mainly in Paris, artists sought to interpret the world in a manner different from the traditional means of academic painting. Manet can be seen as the father of impressionism and was somewhat of a martyr attracting much antagonism of the official Salon and the critics as seen by the response to his painting Olympia, yet he was accorded the adulation of the young artists for his innovative and undeniab...

Assignment: Law practical writing

Assignment: Law practical writing March 20, 2015 xxxx Dear Mr Carlos Santiago, Mr Alfonso Ribeira owns one hectare land, which he uses for producing ethical foie gras. He does this by using a method of forced-feeding geese. Ethical foie gras is produced by making use of the natural instinct of geese to eat the wild yellow lupines seeds in the winter months. Which is then used for the production of foie gras. Due to the conduct of which occurred on 1 December 2014 – when insecticide was applied on my client’s property by the defendant Mr. Carlos Santiago – my client, Mr Alfonso Ribeira, has suffered losses both towards his geese and his business. Therefore I hereby demand, on behalf of my client Mr. Alfonso Ribeira, a sum of (approximately) ‘10.000,- to compensate these loss(es). This liability is based on the basic rule for tort liability in the Draft Common Frame of Reference (DCFR) found in Art. 1:101, (1): †A person who suffers legally relevant damage has a right to reparation from a person who caused the damage ‘intentionally’ or ‘negligently’ or is otherwise accountable for the ‘causation’ of damage.† The demand has been established on the basis of negligence and causation, which has lead to legally relevant damages. These actions are the following: You were aware of Mr Alfonso Rebeira’s business on his hectare; The insecticide comes with a precaution measure, on when and how to use it – making it evident that it should not be applied on windy days – for which you have ignored. The insecticide was blown on the lupin seeds. You were fully aware that the geese were eating the seeds, and that this would cause in their death, yet no warning was given to your neighbor at the time that the product was sprayed. The death of the geese has caused damage to Mr Alfonso Rebeira’s business and therefore an economic detriment. The fact that you used the insecticide on a day which was prescribed NOT to use, has led to the chain of liable activities. The decision to use the insecticide on a windy day has resulted in negligent behavior, according to Article 3:102: ‘A person causes legally relevant damage negligently when that person causes the damage by conduct. Does not meet the particular standard of care provided by a statutory provision whose purpose is the protection of the person suffering the damage from that damage. Does not otherwise amount to such care as could be expected from a reasonably careful person in the circumstances of the case’ On the one hand you have followed the statutory regulations by applying the insecticide between the required months, as stated in the regional Insecticide Regulation (2008). On the other hand you did not amount to the expected care when you sprayed the insecticide on a windy day regardless of the warning stated on the label. Therefore you have not met the standard stated in Article 3:102 (b). This makes you liable for negligence. Regarding the insecticide regulation, you have had enough time to use the product on a windless day between the months. Furthermore, since you have had more than enough time to spray the insecticide on a windless day after the 1st of December, you have acted negligently. The activity that occurred negligently: on 1 December 2014, (the defendant) Carlos Santiago applied an insecticide to his young olive trees in accordance with the regional Insecticide Regulation (2008) which stated: * Insecticide can be applied only from 1 May to 1 January at the discretion of the user. The label on the insecticide prescribed the following precaution; To spray the insecticide on windless days. Art. 4:101, (1) (1) A person causes legally relevant damage to another if the damage is to be regarded as a consequence of: ‘ (a) That person’s conduct; or ‘ (b) a source of danger for which that person is responsible (2) In cases of personal injury or death the injured persons’ predisposition with respect to the type or extent of the injury sustained is to be disregarded negligence DCFR: Article3:102 Negligence ‘Apersoncauseslegallyrelevantdamagenegligentlywhenthatpersoncausesthedamagebyconductwhicheither: (a)Doesnotmeettheparticularstandardofcareprovidedbyastatutoryprovisionwhosepurposeistheprotectionofthepersonsufferingthedamagefromthatdamage; (b)Doesnototherwiseamounttosuchcareascouldbeexpectedfromareasonablycarefulpersoninthecircumstancesofthecase’ issue rule analyses application conclusion Alfonso Ribeira started a business producing ethical foie gras. – Carlos owns the adjacent hectare. (Ethical foie gras is produced by making use of the natural instinct of geese to eat acorns, different types of grasses and the wild yellow lupines seeds in the winter months) On 1 December 2014, Carlos applied an insecticide to his young olive trees in accordance with the regional Insecticide Regulation (2008). Insecticide can be applied only from 1 May to 1 January at the discretion of the user. here is light wind in these months and therefore the toxic product does not easily spread to neighboring fields. The product labels also warn users to spray the insecticide on windless days. On 1 December 2014 a strong wind hit the region. Carlos, carried out his plan to spray his trees on that day. The yellow lupines were exposed for a few days to the insecticide. Result: 50 geese died because they ate the seeds of the yellow lupines.