Religion in Clays Quilt essays

Religion in Clays Quilt essays Clay Sizemore is an endearing character whose life shows how important the Pentecostal religion is to so many people of the Appalachians. Early in the book, the author calls those who don't attend church on Saturday night "sinners" (House 17), and this lays the groundwork for the rest of the book. It shows how important religion is to the people, and how they use religion as a basis for everything they do in their lives. While the Church plays an important part in everyone's life, it does not dominate their lives. They gamble, smoke, drink, and even carouse a bit, because they know they will be forgiven. House writes, "Gabe loved to drink, and he loved to have a big crowd around all the time" (House 25). The Church is a sanctuary for the people of Fire Creek, and it plays an important part in their lives - but it does not dominate everything they do. Unfortunately, it also makes them entirely too wary of strangers who do not believe what they believe, as Easter's reaction to newcomer Marguerite shows "She vowed never to talk to Marguerite again" (House 69). Marguerite is a Catholic who does not go to church, so she does not fit in the community, and the women will not accept her. This shows how narrow-minded they are, and how their religion sometimes gets in the way of their The Pentecostal religion began in Appalachia, and it is a stern and serious religion that people hold on to because it makes them feel better about themselves and the "sins" they may have. Many of the most severe Pentecostals will not drink, smoke, or listen to music other than church music, but the religion has relaxed a little all the time. However, Clay knows he cannot have it both ways, and he cannot continue to go to church when the ways of the church are so strict. He tells Easter "'I can't make myself believe the way you do. And I won't be no hypocrite'" (House 116). ...

Dietary and Activity Analysis Assignment Example | Topics and Well Written Essays - 1500 words

Dietary and Activity Analysis - Assignment Example The assignment "Dietary and Activity Analysis" presents the analysis of the author's dietary and activity, his energy intake and output, carbohydrate, alcohol, fat, protein, vitamin/mineral intakes and overall dietary intake based on 3-day average data. The paper contains the analysis of the estimated 3-day average daily expenditure in comparison with the 3-day energy intake. The author talks about the gaining or losing weight recently and if it is consistent with the differences between his energy intake and estimated energy output and his 3-day average daily energy intake. The energy consumed is analyzed during the weekend or weekdays and if it expends more energy on the weekends or weekdays. It is estimated that one should have at least 125 grams of carbohydrates a day and ideally, much more. Therefore the average intake compares with this minimum. The person requires more than 125 grams of carbohydrates per day for the energy supply to the body. The negative consequences of consuming less than this amount on a regular basis because less carbohydrate leads to more weight loss. Also, the percentage of the total calories contributed by carbohydrate based on the 3-day average intake is calculated. It is analyzed if the author's intake in line with the recommendations that 45-65% of the calories in his diet should come from carbohydrate. The grams of fiber consumed based on the 3-day average are also calculated and compared with the recommendation to consume 21-38 grams of dietary fiber/day.

S4 W8 Second WA Assignment Example | Topics and Well Written Essays - 500 words - 1

S4 W8 Second WA - Assignment Example THP has crafted ten principles and is working on them to make sure that its strategies are implemented properly. These principles are displayed in the figure below. THP started its operations in Africa back in 1987; two years after the famine hit the African world. THP started its program named as â€Å"Africa Prize for Leadership for the Sustainable End of Hunger†. The basic idea behind this program was to call up the capable African leaders to help their nation in fighting out against the hunger. The Africa Prize also believes in celebrating and acknowledging the hard work of these devoted individuals from time to time. This program is now a diversified one and out forming other programs by offering vast array of leadership services to the people of Africa. THP’s in 1990s started a decentralized and a more holistic kind of people centered approach known as Strategic Planning in Action. Thousands of villages in Africa have applied to SPIA in order to empower their dwellers to achieve improvement in the sectors of health, nutrition, education and family income. Women are the major producer of food for the household usage in Africa, yet government has not considered them in crafting agricultural policies in order to improve the production of crops. The idea behind initiating such program was to empower the tens of thousands of African farmer women through proper training in the agricultural field. Secondly, the program was a way to drive government’s attention towards the importance of women in this sector and also to the fact that the future of agriculture sector depends on the women food farmers in Africa. This latter task was accomplished by launching a massive advocacy campaign in African countries. AIDS has been progressing in the African countries for years and the main reason is that women have minimal or no power in these countries to protect themselves. â€Å"AIDS and Gender Inequality Workshop† launched by THP in 2003

Reception of Video Art in Galleries

Reception of Video Art in Galleries Critically examine the notion that the reception of video art is strongly affected by being seen in an art gallery situation Introduction Video art began as an avant-garde movement that challenged the very nature of art in the 1960’s and 1970’s with the likes of Nam June Paik, Bruce Nauman and Stuart Marshall. These artists created powerful pieces in response to the mainstream explosion of cinema and television, and as a challenge to the traditional artistic forms of painting and sculpture. The artists helped to bring art closer to the general public and relieved artists of the need to create specific objects. However, as technology has grown and video art has become more popular, it has moved from the fringes of art to the mainstream setting of the art gallery.[1] Before this the art gallery was a place for traditional forms of art such as painting and sculpture. One of the most interesting topics of discussion regarding video art is how this move into art galleries has changed the reception to video art. It is argued that the reception of video art is strongly affected by being seen in an art gallery si tuation. The aim of this essay is to critically examine this claim, and see how the setting of video art affects the perception of such art. This will be done by look at how setting influences artistic reception, looking at the reception of video art in gallery settings and other settings, and also how the medium of video art itself can influence the gallery experience. Influence of setting on art There are a number of studies and theories regarding the influence of setting on art and artistic reception in various mediums. It is clear that within video art the addition of a gallery setting would change the nature of the art itself. The earliest forms of video art were all on single screens outside of the art gallery setting, and the works were very much of a particular moment in time and had a fairly short lifespan as artistic pieces.[2] However, as video art moved into a gallery setting it merged with other forms of art to create the video installation. This meant the video art was now based in an environment – embedded in a particular time and space. This gave a physical aspect to vide art that had not previously been seen, and has had a major influence on the genre. Installation art is now one of the most common forms of video art, particularly in a gallery setting as it allows video artists to experiment in more ways than ever before. [3] This has meant that video art has merged into other genres, and become part of a larger multi-media, multi-form type of art rather than being a type of visual art on its own. The nature of galleries means that purely video art is being replaced with installation art as it has a more physical presence than traditional video art that was the antithesis of traditional physical art. [4]Another factor worth considering is the psychological aspect of reception towards art in a certain setting. Art that is viewed within a gallery setting may well be seen as more ‘respectable’ and ‘valuable’ than art seen in other settings, but it may also be seen as more ‘traditional’ and constrained than art outside of a gallery setting. There seems to be little research on this particular point, but the researcher supposes that this sort of difference in reception could be possible. Another factor with video art is that the setting of the art might determine how the art is created in itself. Video artists see their projects almost as their children, and therefore want it shown in a particular way as it was intended. If a video art piece was intended to be spontaneous and viewed in a casual setting, then a gallery viewing of such a piece may limit its effectiveness, or even possibly change its meaning altogether.[5] The reception of video art in a gallery setting Video art in a gallery setting is often received differently to how it might be received in a non-gallery setting. Video art in a gallery and video art in another setting may be the separation between what is known as ‘art’ and what is simply known as ‘media’ or ‘television’. The move of video art into the gallery setting has supported its claim to be a mainstream art form. This validation of video art, merely by being seen in an art gallery setting has moved it away from the medium of television and towards the concept of philosophical aesthetics. This is a major shift in the reception of video art from simply a popular culture medium to a valid and critical artistic medium.[6] Another way to look at it is that perhaps the reception of video art is not changed within a gallery setting, but that the actual form of the video art is in fact changed within the gallery setting. Rather than being video art in the form of tape, video art in a gallery setting is either in the form of a live video performance or as an art installation combined with other physical forms of art such as architecture, sculpture, or other interactive multi-media forms. The only way to really determine this is by viewing art exhibitions in both a gallery and non-gallery setting to see if the reception has indeed changed. However, at this point there is very little research on this area as most art pieces are created for one specific setting rather than multiple settings. Therefore, it seems more likely that in many cases the reception of the art is not influenced by setting, but the creation of the art itself is influenced by the setting it is to be placed in.[7] The biggest change perhaps is that video art has moved from the single-screen, non site-specific form to the site-specific installation form. In the original single screen form, which is close to the medium of television, then the gallery setting is unlikely to alter the reception of the art piece. This is because the piece is setting-neutral and will be interpreted individually by each person regardless of setting. However, the form of video art in galleries today is generally installation art, which is site-specific. The art has been created with a specific setting in mind, surrounded by other art forms. In this case the reception of the art would be changed in different settings, but it is unlikely that a site-specific piece would be viewed outside of a gallery or its specific setting.[8] Influence of video art on the gallery experience Video art has been influenced by the gallery setting in its creation more than its specific reception, but video art and other multi-media art has also influenced the gallery experience and changed the way in which art can be perceived. The placement of video art and other multi-media art forms within galleries has challenged the nature of what ‘art’ is and has changed the nature of a gallery. Before this, art in galleries was limited to paintings and sculptures, and therefore the definition of ‘art’ was concerned with things that hung on walls or sat on pedestals. Video art added a completely new element to the gallery space and changed the gallery experience itself. The previous ‘empty space’ in the gallery was now utilized as a part of the artistic framework rather than merely somewhere to display objects. The empty gallery becomes a place for performance and ideas in itself, and space became just as important as the objects within the galler y.[9] Art shifted from the premise of ‘art as object’ to one of ‘art as idea and action’. This not only changed the way in which galleries were seen, but also changed the nature of video art by putting it firmly in the realm of ‘acceptable’ art rather than merely a part of popular culture. It helped to separate video art from the medium of television, drawing a distinct line between the two. It also helped video art to merge into other art forms, and for other forms of art to embrace the influence of video.[10] Furthermore, the acceptance of video art influence the gallery experience by letting other newer formats over the last few years to infiltrate the once sacred gallery space. Computer visuals, Internet exhibits and even live musical and dramatic performance are now part of the gallery experience in many places – something that would have been almost unheard of 30 or 40 years ago.[11] Finally, the acceptance of video art in a gallery setting has influenced the way in which new galleries are designed and laid out. Rather than simply having traditional spaces for paintings and sculptures, new gallery designs incorporate larger areas for performance, installation art and other multi-media art forms. The influence of video art on the gallery experience is perhaps just as strong as the influence of the gallery setting on video art.[12] Conclusion The notion that the reception of video art is strongly influenced by the gallery setting is somewhat misleading. Whilst there is clear evidence that the genre of video art has been massively influenced by the gallery reception, this is more to do with the creation of art rather than its reception. Of course, its reception in terms of its acceptance and standing within the artistic community and amongst the general public has been heightened by its introduction into the gallery setting. However, the major change has been in the move from site-neutral, single screen video art to larger, multi-media installations that incorporate video art and are often site-specific within the gallery setting. Conversely, video art has a significant effect on the gallery experience. It has changed the nature of what constitutes art and what a gallery should look like, as well as pave the way for other newer forms of art to be accepted within the gallery setting. Over the last thirty or forty years, the acceptance of video art into the gallery setting has changed both the way in which video art is commonly created, as well as change the way the gallery setting as a whole is viewed and used. Bibliography Balagopal, R., 2005. Installation Art. (Online). Available at: http://infopedia.nlb.gov.sg/Research/articles/PFInstallationArt.pdf (Accessed 11th August 2008). Bruce, B.C., 2000. The Work of Art in the Age of Digital Reproduction. Journal of Adolescent Adult Literacy, 44(1), p. 66. Carter, C.L., 1979. Aesthetics, Video Art and Television. Leonardo, 12(4), pp. 289-293. Elwes, C., Neshat, S., and University of the Arts London., 2005. Video Art : A Guided Tour. London: I.B. Tauris. Hanhardt, J.G., Villasenor, M.C., 1995. Video/Media Culture of the Late Twentieth Century. Art Journal, 54(4), pp. 20-25. Lisus, N.A., and Ericson, R.V., 1999. Authorizing Art: The Effect of Multimedia Formats on the Museum Experience. The Canadian Review of Sociology and Anthropology, 36(2), p. 199+. London, B., 1996. Video Spaces. Performing Arts Journal, 18(3), pp. 14-19. Lovejoy, M., 2004. Digital Currents: Art in the Electronic Age. New York: Routledge. McCarthy, K.F., and Ondaatje, E.H., 2002. From Celluloid to Cyberspace: The Media Arts and the Changing Arts World. Santa Monica, CA: Rand. Millard, R., 2005. Notebook: Buying Video Art Is Not at All Simple. Artists Sell to Who They like, and Dictate How the Work Is Shown. New Statesman, 134(4730), p. 41. Phelan, A., 1984. The Impact of Technology and Post Modern Art on Studio Art Education. Art Education, 37(2), pp. 30-36. Suderburg, E., 2000. Space, Site, Intervention: Situating Installation Art. Minneapolis: University of Minnesota Press. Footnotes [1] Elwes, C., Neshat, S., and University of the Arts London., 2005, pp. ix-x [2] London, B., 1996, p. 14. [3] Hanhardt, J.G., Villasenor, M.C., 1995, pp. 20-21 [4] Balagopal, R., 2005. [5] Millard, R., 2005. [6] Carter, C.L., 1979, p 289. [7] Carter, C.L., 1979, p. 290 [8] Suderburg, E., 2000, pp. 2-14 [9] Phelan, A., 1984, pp. 30-33 [10] Lovejoy, M., 2004, pp. 101-103 [11] McCarthy, K.F., and Ondaatje, E.H., 2002, pp. 53-54 [12] Lisus, N.A., and Ericson, R.V., 1999, pp. 199-201

The Legacy of Queen of Elizabeth II Essay -- Biography of Her Majesty

In every country, there are individuals who have had an importance to their time period. This importance is highlighted by the individual’s background, roles, and actions. â€Å"â€Å"The things which I have here before promised, I will perform and keep. So help me God.† The words the Queen said on her Coronation Day as she laid her hand on the bible† (Bradford 4). At the young age of twenty five, Princess Elizabeth Alexandra Mary became Queen. The Queen is now the second-longest reigning Monarch in England, reigning for fifty nine years thus far. From the day of her coronation until present time, her daily actions have reflected on the entire country and Commonwealth. Her impact is very significant; she holds real and reserved powers for the entire Commonwealth. Queen Elizabeth was born on April 21, 1926 in London. Queen Elizabeth’s father was the second son to King George V, so he was not expected to become King. Her uncle, King Edward VIII, did not necessarily care for the royal duties. He opted to announce his abdication and marry Wallis Simpson; the two lived their life in exile as the Duke and Duchess of Windsor (Green 11). By doing this, his younger brother, King George VI, took over the thrown. Growing up, Elizabeth enjoyed being outdoors and riding horses. Her parents were not overly pushy with her education; this gave her the time to enjoy these outdoor activities. Her parents did hire a governess named Marion Crawford to overlook her and her sister’s education. She was tutored in history and the unwritten constitution of Great Britain, languages, and music. She was also taught about the Royal Collection of Art. Elizabeth’s mother â€Å"thought one could take formal education too seriously† (Green 12-13) . When World W... ...ends meetings and ceremonies. The evenings are usually reserved for meetings with prime ministers, receptions, charity events, or film premiers. Queen Elizabeth continuously fulfills royal duties, visits the Commonwealth, and attends public engagements and ceremonies. â€Å"All over the country every year, the police, civil servants, politicians, court officials, bishops, vicars and congregants swear the Oath of Allegiance to the Queen† (Shawcross 91). Because the British monarchy is the oldest in Europe, Queen Elizabeth II is an importance and her legacy will forever live on. Works Cited Bradford, Sarah. Elizabeth: A Biography of Her Majesty the Queen. London: Penguin, 2002. Print. Green, Robert. Queen Elizabeth II. New York: F. Watts, 1997. Print. Shawcross, William. Queen Elizabeth: The Queen Mother : The Official Biography. London: Pan, 2010. Print.

Starbucks Summary

This is to recommend that Struck to increasing the power of expand the international markets especially the countries that Struck has not been launched yet in order to gain more global market share thus generate more sales. Struck also need to reduce the power of expand domestic markets since the market in the US is approaching saturation and the marketing- warming expansion techniques has caused cannibalize existing store sales.Based on my analyzes on the case Planet Struck (A), Struck Coffee remains a leader in the coffee business in the world for a long time because the perceived premium product's cachet that they are offering customer something so far superior than customers' expectations and their ubiquitous positioning strategy that providing ready access to customer foot traffic. These are the biggest strengths of Struck. Based on its existing successful del, Struck has indicated continuing increased gross operating income and operating income. See Appendix#l ) This huge succe ss offers Struck more resources to expand its international market such as capital, existing business model, successful previous experiences and expert management team. At present, it is the great time for Struck to expand its international market, since the domestic market is approaching saturation. Even the marketing-swarming expansion techniques prevented competitor entry to the rake and helped Struck built strong brand awareness and recognition, it leads to downward trend in sales per store.As an illustration, between 1 995 and 1 998, Struck had averaged $0. 69 million sales per store per year but until 2002, the sales has been decreased to $0. 559 million per store. This data reflected the domestic market has approached the saturation. However there is still an opportunity to increasing the globally market share, since in year 2002, there are total of 4574 domestic stores but the total number of international stores are only 131 2, which is only quarter of the number of domesti c stores. See Appendix #4) Therefore, expanding international markets would lead to increasing the globally market share thus generate more sales and also will help the company to achieving its objective which is establish Struck as the most recognized and respected brand in the world. Struck has a pretty strong brand image to many of its customers as a â€Å"third place† where is a place between work and home that people can escape, reflect, read, chat and listen.This niche positioning strategy has differentiated Struck from its competitors and this strategy has also become to Struck strongest competitive advantage that provided customers an atmosphere of both warmth and comfort. In conclusion, the main plan of action right now should be to focus on expanding international market instead of domestic markets. Thus the global market share will be increased if the marketing strategy is executed correctly and cooperated with right partner.

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