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