Explaination of poem and find out the figuratives PowerPoint Presentation

Explaination of poem and find out the figuratives - PowerPoint Presentation Example They also look for women with whom to sleep once drunk The author also says that water had no color to insinuate that when it comes to drinking, there is no discrimination. Even among sworn enemies like the occupants of Lebanon and Damascus, people tend to get along quite well in their drunken stupor. This underscores the irony behind drinking habits. The attitude and the tone of the poem are condescending and positive. The poet wonders why people cannot do certain things when they are sober. MacEwan notes that while drunk, people also do shameful things that they would not do under normal circumstances. The poet also highlights that even in the most drunken stupor; drunken people have a way of finding their way home. Some get home sweaty and sometimes with urine on themselves (brine and ammonia). Throughout the poem, the poet shifts between themes of carelessness, sexual immorality and friction because of drinking. All throughout the poem, the poem uses metaphor and symbols to allocate various meanings to the word

6340 week 1 posts Assignment Example | Topics and Well Written Essays - 250 words

6340 week 1 posts - Assignment Example The questions you have raised shed are amazing because you bring out an aspect of research and teaching experience of the faculty that are existing which have not been discussed by others and none of the advertisements I have encountered mention any of that. I however wonder if you would explain why there is need to know the experience of the existing faculty and what relevance that information has on the roles of the nurse educator (OShea, 2002). I also think a secondary research will provide some of that information. The first job’s requirement of employing a US citizen is not only limiting but also prejudicial because US is composed of many nationalities some of whom are more educated and qualified and I have an experience of that. In addition to the questions about accreditation of the institution, the accreditation of the nurse educator who will be employed there may be questioned later by future employees and hence should be a point of concern for the applicants (National League for Nursing Certification Governance Committee, 2005). Further information especially about accreditation can be obtained from websites of higher education in that

Rogier van der Weyden Biography

Rogier van der Weyden Biography Rogier van der Weyden, one of the most well-known and influential Netherlandish painters of the fifteenth century, was born in the city of Tournai in Belgium in about 1400. A son of a cutler, after completing his apprenticeship with Robert Campin, he moved to Brussels where he was made the official painter to the city. He also undertook important commissions for the greatest members of the Burgundian court, including the famous Duke Philip the Good. His career was extremely successful. He quickly established a prosperous workshop and an international reputation. Van der Weydens powerful religious paintings reflect an intense personal belief; his portraits are often characterised by a tender, reflective godliness. His expressive, naturalistic style was widely imitated, and set the pattern for Netherlandish painting and had a profound effect on Europe as a whole. Brussels Official Painter About 1427 Rogier van der Weyden was apprenticed to Robert Campin, then a leading painter of Tournai. Because the age of twenty six would have been rather late for doing that, some scholars argue that the painter probably only formally registered when he saw the possibility of establishing himself as an independent master. In his article on van der Weyden for example, A.J. Wauters points out that no text now remains, by which accuracy of the statement that Rogier began his apprenticeship in 1427, as made by the copyist of the register of painters of Tournai, called Recuiel de St. Luc, can be tested. For him the date seems improbable as Rogier was then already a husband of Elisabeth Goffaert and the father of a son named Corneille. It is almost certain for the author, that the copyist must have made a mistake, perhaps writing 1427 instead 1417. And, as early as 17th of November 1426, on one of Rogiers visits to Tournai, the Magistrate offered him the wine of honour, in recognition of the gleam which he castes on his town. His career had opened already then, under the greatest patronage, says Wauters. In French-speaking Tournai, Rogier was known as de la Pasture. The name was translated to Van der Weyden when he moved to Flemish Brussels. Before 1435, he settled there and was appointed official painter to the city. The new title led to official commissions such as the four panels on the theme of justice painted for the court room of the Town Hall. They illustrated the justice of Trajan and Herkinbald, a legendary Duke of Brabant, and were intended as a permanent reminder to the judges of their well-known family. This vast project must have taken several years to complete. The first panel bears the date 1439, and it is assumed that the others were finished in the 1440s. Rogier may have worked as a sculptor before he became a painter. As a rule, painters in those days were familiar with sculpture. Not only did they polychrome statuary, but one of the challenges to the art of painting was to create the illusion of sculpture, especially on the outsides of the shutters of an altarpiece. Rogiers father is said to have been a sculptor, and Robert Campin is mentioned as both, painter and sculptor. The artist was involved in various works for the city, including designs for decorative schemes and sculptures. It seems that Van der Weyden did not have to travel in search for employment, as we know of only one journey: in 1450 he went to Italy, visited Rome and Ferrara (the portrait of Lionello dEste dates from this time, the altar panels at Frankfort and Florence are likely of the same period). The Major Commissions His employment as town painter did not stop van der Weyden accepting other commissions. Rogier did a great deal of portrait paintings, particularly because after Jan Van Eycks death he was the most renowned painter in the Netherlands. In his time, the court resided mainly in Brussels, where it claimed his services, and the demand for portraits of nobility gradually grew. Brussels was a favourite residence of the Burgundian duke, Philip the Good, for whom Rogier worked, although he was never made an official court painter like Jan van Eyck. It was, however, van der Weyden who produced the most popular portraits of Philip and his son Charles the Bold. The painter attempted to create an ideal image of the Duke. That was exactly what the contemporaries wanted, so his portraiture made van der Weyden very successful and popular. He was sought after by the grandest nobleman and bourgeoisie, who wanted him to record their faces for posterity. Members of the Burgundian court, such as Philips illegitimate son Antony, also turned to him for portraits, often wanting their own images eternalized in adoration of the divine in a diptych format. Commissions for more public works, especially large altarpieces, also came van der Weydens way. An example is the great Last Judgment altarpiece ordered by the fabulously wealthy Burgundian chancellor, Nicholas Rolin and his very religious third wife, Guigonne de Salins. The work was commissioned for Rolins hospital in the Hotel-Dieu in Beaune, where it still hangs. Constructing of the hospital was accepted by Pope Eugenius IV in 1441. The dedication of hospital was to St. Anthony, who is shown in the shutter of the picture (the dedication was changed by Pope Nicolas V to St. John the Baptist, who is prominent in the interior scene of the Last Judgment ). The work began in 1443. The polyptych is the artists largest work, made of fifteen panels of different sizes. It was placed in the end of the nave, behind the altar, in a chapel separated from the nave by a wooden partition, through which patients could fallow the mass from their hospital beds. It was also the tradition to open the wings of the polyptych on Sundays and feast days. Jean Chevrot, the Bishop of Turnai, had Van der Weyden paint the triptych of the Seven Sacraments, which are: Baptism, Communion, Confirmation, Confession, Extreme Unction, Holy Orders and Matrimony. The masterpiece is a good example of a big appeal the Christian sacraments had in early Netherlandish painting. The acts are presented around the central Crucifixion scene. The importance of the central panel is emphasised by enlarged figures. The figures of St. John and Mary overcame with grief are characteristic feature in Rogiers art. The magnificent Descent from the Cross was commissioned by the Louvain Archers Guild. As an altarpiece it was intended for a chapel in Louvain, but fell into Spanish hands in the sixteenth century. Today, it is on display in the Prado in Madrid. Christs pale body is being taken down from the cross by Joseph of Arimathea and Nicodemus. The corpse is almost immaculate and shiny apart from his bloody wounds. The crown of thorns hurt his forehead; a Roman soldier stubbed his midriff with his spear; here are the holes in Jesus hands and feet. This is the central scene of the picture. The corps forms a bow with the upper arm of his mother Mary Magdalene. Her immense sorrow causes her to collapse. In her fall, her body takes on the same shape as her sons, implying that her co-suffering. Susie Nash In Northern Renaissance Art points out, that apart from underlining the Virgins co-passion, Jesus and her poses are also brilliantly designed to refer to the patrons of the work, since both evoke the shape of a crossbow. Thus while the actual crossbows in the image are tiny, hanging from the tracery in the corners, the poses of Christ and the Virgin stamp the guilds identity on this work in an unmissable way. Each figure in the painting seems to be in the precise place. The sense of movement is limited on every side. Caught in sculptural form, grief and sorrow have nowhere to go remarks Max Frielà ¤nder. Despite the busy narrative and all the figures taking part, Van der Weyden managed to build a convincing and intimate atmosphere, without giving a viewer a sense of crowdedness. The picture combines telling details with dramatic spatial density and unstable rhythm. Like Jan van Eyck, Rogier had the rare ability to combine grandeur of forma and delicacy of detail. The figures are almost life-size and their torment is expressed so passionately that it overwhelms the viewer completely. Rogier van der Weyden often found an inspiration in the genius of Jan van Eyck. Madonna with St. Luke is an example of the influence van Eycks Rolin Madonna had on Rogier. As the town painter of Brussels he must have know and adored this masterpiece, but at the same time he departed from van Eyck with new motifs and ideas, which were later used in his own workshop. Typical of the art of van Eyck is the striking atmospheric effect of chiaroscuro. Rogier took over the external elements of the setting, the hall with the three apertures opening on the garden completed by a wall, the two figures with their backs to the spectator, and the view of both banks of the river. To the younger master the architectural solutions of the elder artist seemed, above all other things, to be worth imitating. Van der Weydens Madonna, as a completely independent representation of this subject, established a new convention. Rogiers saint Luke is not himself painting the Mother of God, like in the earlier pictures, but recording the silverpoint sketch. In Rogiers works is was the content the mattered the most. In order to make the importance of the religious meaning stronger, he returned to the dominance of line (the contour was the main tool of expression in fourteenth century art). His figures and surrounding them architecture are always clearly and expressively outl ined. The monumental Escorial Crucifixion is the largest single panel by the artist. Rogier van der Weyden presented it himself to the Carthusian monastery of Scheut near Brussels in the en of his life, after his eldest son Corneille entered the Carthusian monastery. The monks sold the painting in 1555 to Philip II of Spain. The King placed the painting in the Escorial, where, in the late seventeenth century, it was badly damaged in a fire, which, along with following restorations, left the masterpiece in a very bad state of preservation. The three figures seem very isolated. The figure of Saint John and Saint Mary represent two corresponding images of sorrow. This and their earnest faces make the narrative of the picture hard to read. Unlike his Descent from the Cross, this scene is placed in a stone niche, not in an altar shrine. The artists painted the figures of Virgin Mary and Saint John where we would rather expect sculpture, which reminds us of the cut in stone, monumental Crucifixion groups.We could still see them today in some churches. The stone-coloured garments, with definite, harsh folds, emphasize the sculptural quality of the picture and may also suggest the white habits of the Carthusian monks. The sculptures were often placed against real or painted fabrics. Rogier used a bright red cloth of honour, which, contrasting with the delicate tones of the panel, emphasises the overall emotional effect of the figures and presents them as saints. Van der Weyden lived in prosperity since arriving in Brussels, and later, as a successful painter in great demand, managed to increase his fortune greatly over the thirty years of his career. No wonder than that he could afford the donation of his huge Crucifixion to the monastery in Scheut, which must have meant a considerable devotion of time and money. Rogier had also enough funds for a number of other gifts to churches in Brussels, and donations to the destitute. Van der Weyden died in 1464 and was buried in the cathedral of Brussels, Saint Gudule. The artists genius was honoured with a requiem service. Van der Weydens son, his grandson, and his great-grandson, all became painters, but none of them shared his success. Conclusion Rogiers influence and fame reached far and wide from Brussels, all the way to Germany, Italy and Spain. In the studios of the Netherlands it ruled pictorial invention and methods of work throughout the second half of the century. Van der Weyden run a large workshop where copies were being made to his design. The students later repeated Rogiers compositional ideas, with more or less success. In van der Weydens time there was no simple divide between ecclesiastical and secular patronage. The bishops and heads of religious houses often came from the same noble families as the courtiers. All the personages who have been identified as donors of altarpiece of Rogiers hand (Pieter Bladelin, Nicolas Rolin, Jean de Chevrot, the Bishop of Tournai) were eminent men who had grown great in the favour of the court. His art was well suited to express the sombre splendour of secular as well as religious ceremonial, and it appealed especially to the dignitaries of the church. The position Van der Weyden had achieved through his art could be illustrated by his association with the highest levels of society. He belonged to the prestigious confraternity of the Holy Cross in the church of St-Jacques-sur-Coudenberg and prospered sufficiently to make not only investments in Tournai stock but also, as I have already mentioned, he was able to present religious foundations with gifts, particularly to the Carterhouses of Scheut and Herinnes where his son was a monk. However, the access to one of the greatest painters of the age was not restricted to dignitaries of church and state. Van der Weydens service was available to all who could afford it. Corporate commissions, such as that of the Louvain Archers Guild for the Descent from the Cross, could involve lower-ranking members of society in the commissioning the work of art. The Descent from the Cross is probably Rogier van der Weydens most impressive work. According to Davies, this picture alone makes it easy to credit that Rogier was the dominating painter of the north in the fifteenth century: A sentiment of pity, so much then in peoples minds, clear presentation of forms easily recognised; strong and sincere piety; spirituality without strangeness; technical mastery. The Descent from the Cross made a profound impression on his contemporaries, as testified by many copies and copies and imitations, and it almost certainly established Rogiers fame. Susie Nash adds: The originality of these figu res, and the beauty of their shapes were so powerful that artists repeated them throughout Europe for a hundred of years: this is arguably the most influential painting of the fifteenth century. In Early Netherlandish Art Max Frielà ¤nder talks about two cogent reasons why Rogier van der Weyden became the most influential painter of the fifteenth century outside Italy: firstly, his retrospective, completely non-revolutionary art was in harmony with the traditional tendencies still existing everywhere, and secondly, the essential character of his style proclaimed itself, not, as in the works in van Eyck, in the execution, but in the design, for which reason it was easier to learn and led to a more or less satisfactory result, even if the pupil was incapable of rising to the height of master ship. Even a retrospective artist is, however, up to a certain point, limited to the artistic tendencies of his own time. Van der Weyden was often obedient to the stylistic demands of the new naturalism. He had to struggle to achieve a certain lifelikeness of effect, which in his works, is not an essential factor as it is in the works of Robert Campin and van Eyck. This is why fifteenth c entury painters outside the Netherlands, especially the Germans Spaniards, and French, became familiar with the new Flemish realism through the works of the most naturalistic of all old Netherlandish masters. Rogiers influence goes into breadth. His contribution consists of ideas, types, themes, joy and the sound of music on the one hand, dramatic tension and moral grandeur on the other. Bibiography Ludwig Baldass, Jan van Eyck, Phaidon Publishers Inc., New York, 1952 Jan Bialostocki, Sztuka cenniejsza niz zloto, Tom 1., Panstwowe Wydawnictwo Naukowe, Warszawa 1991; Adam Bochnak, Historia Sztuki Nowozytnej, Tom 1., Panstwowe Wydawnictow Naukowe, Warszawa Krakow 1985; Davies M., Netherlandish Primitives: Rogier van der Weyden and Robert Campin, The Burlington Magazine for Connoisseurs, Vol. 71, No. 141 (Sep., 1937), pp. 140-145, Valentin Denis, All the Paintings of Jan Van Eyck, Vol. IV in the Complete Library of World Art, Oldbourne Press, London 1961; Brian Fallon, Van Eyck, Studies: An Irish Quarterly Review, Vol. 71. No. 284 (Winter 1982), pp. 360-377; Max Friedlà ¤nder, Early Netherlandish Painting, Vol. I, The Van Eycks Petrus Christus, A.W. Sijthoff, Leyden 1967; Max Friedlà ¤nder, Early Netherlandish Painting, From Van Eyck to Bruegel, Phaidon Press Ltd., London 1956; Davies M., Rogier van der Weyden. An essay with a critical catalogue of paintings assigned to him and to Robert Campin, Phaidon Press Ltd., London 1972; Susie Nash, Northern Renaissance Art, Oxford University Press, 2008 Wauters A.J., Rogier van der Weyden I, The Burlington Magazine for Connoisseurs, Vol. 22, No. 116 (Nov., 1912), pp. 75-82; http://hoocher.com/Rogier_van_der_Weyden/Rogier_van_der_Weyden.htm http://www.nationalgellery.org.uk http://artbible.info http://www.wga.hu

Managing Diversity in the Workplace Essay -- Diversity Management, Cul

"We need to give each other the space to grow, to be ourselves, to exercise our diversity. We need to give each other space so that we may both give and receive such beautiful things as ideas, openness, dignity, joy, healing, and inclusion." -- Max de Pree Workplaces today have become increasingly diverse with employees of different genders, races, cultures, ethnic origins, and lifestyles. Changes in the cultural make-up of organizations have been so vast that it has become imperative for leaders and supervisors to understand cultural diversity and how it can affect their organization. By understanding how this diversity can affect their organization, leaders are taking steps to assure a conflict-free environment and are helping promote positive outcomes for the business, as well as its employees. â€Å"Diversity today is being viewed as a key means to strengthen the human capital of an organization and improve overall performance† (Bowes, 2007/2008). Studies have shown that diverse workforces can positively affect and strengthen the organization, but what can organizations do to assure this type of environment? What programs or tools do leaders need to implement when looking to improve their ability to manage this diversit y? The main purpose of this research paper will be to explore what methods organizations and leaders can use to successfully manage increased cultural diversity within the workforce. This research will reflect not only why it is important for organizations to embrace the differences in a diverse workplace, but will discuss the consequences that may occur if they do not incorporate effective methods for addressing a multicultural population. A clear discussion of the educational tools used in this project ... ...y and its impact on the interaction level within the nursing workforce. Dissertation Abstracts, DAI-B 67/12, Jun 2007 (AAT 3246919), Abstract. Web. 15 May. 2015. http://proquest.umi.com/?did=1253511131&sid=1&Fmt=2&clientId=13118&RQ Hendricks, E. (2005, November 6). It’s Good for Business: Diversity: helps companies better serve customers. The Provience, p. A.42. Web. 21 May. 2015. http://proquest.umi.com.ezproxy.apollolibrary.com/?did=923079241&sid=3&Fmt=3&clientId=13118&RQT=309&VName=PQD Spiers, C. (2008, Summer). The Business Benefits of Diversity. Management Services, 52(2), 26, 5pgs. Web. 18 May. 2015. http://proquest.umi.com/?did=1507581611&sid=1&Fmt=3&clientId=13118&RQT=309&Vname=PQD. Walton, S. J., M.A. (1993, May). Cultural Diversity: An asset, Not a Liability. R & D Innovator, 2(5), 37. Web. 27 May. 2015. http://www.au.af.mil/////c.pdf

Alcohol withdrawal syndrome Essay

Should the drinking age be lowered? This question is one that has hounded us for decades. At age eighteen we are legal adults, we can join the military, vote, and anything else that any adult could legally do. So then why can we not drink till age 21? In my opinion we should not lower the drinking age. If we keep the drinking age to 21 we can save lives, save people from becoming addicted to alcohol, and lastly our brains are not fully developed till at least age 21. We know through history that keeping the drinking age at 21 can save lives. In 1971, we adopted the 26th amendment and this not only lowered the voting age but also began lowering the drinking age around our country. End result leading to 29 states lowering the drinking age. Immediately we began to see a steep increase to teen death in relation to alcohol. Shortly after 24 states rose the drinking age again and by 1984 there were only 3 states left with the drinking age of 18. According to the NHTSA (National Highway Traffic Safety Administration), â€Å"increasing the minimum drinking age to 21 is credited with having saved 18,220 lives on the nation’s highways between 1975 and 1998.† Alcohol addiction is very serious. We say addiction runs in families and based on this I feel like most families have at least one relative addicted to alcohol. Alcoholism is a medical and social problem in our country. â€Å"At least 75-80% of defendants involved in felony crimes or serious misdemeanors were either under the influence of alcohol or drugs when they committed their crime or committed their crime to obtain money to obtain alcohol or drugs or to survive because they have lost their financial resources due to their addiction,† Said by criminal justice experts. Alcohol addiction can lead to high divorce, suicide and dropping out of school rates. We also know that teenagers can become addicted to alcohol quicker (6-18 months) while adults can come addicted to as late as 5 years, this studied was conducted by Karen Burger. The longer we can postpone alcohol use, the better the chance that a person will never have an addiction or problem with alcohol. Lastly and most importantly alcohol can affect your brain growth immensely if you are a heavy drinking or even drink at all before age 21. This is because the brain has not fully developed until you are AT LEAST 21. Alcohol affects the area of the brain that control judgment which is why people tend to do more immature things while intoxicated rather then when they have a good head on their shoulders. Drinking at younger ages makes you less appreciate the consequences for the risky actions that you are taking with drinking underage. It also slows perceptual and motor skills. Drinking in these formative years and cause irreversible damage and the only person you would be hurting would be yourself. In conclusion, I believe the drinking age should not be lowered based on these very serious reasons. We need to help our country stay in tact and create less crimes and deaths and more people who want to help our country prosper. All and all drinking at any age is bad for you until you learn how to handle it, only you can decide when that is. If you plan your life out intellectually you can all the time in the world to figure it out.

Cold War between 1945-1949 Essay

The Cold War starting from 1945 to its end had lasted for 44 years. 44 years of different degrees and stages of tension between the two Superpowers. Who was to blame for the outbreak and development of the Cold War? Both sides were to blame, and the Soviet policies between 1945 and 1949 were, thus, responsible for it to a certain extent. Economically, the Soviets did not allow its Eastern Bloc to receive the US’s Marshall Plan aid, and set up Comecon to oppose it, and these actions by the Soviets increased the tensions between the US and the USSR. Marshall Plan was first introduced by Secretary of States George C. Marshall at Harvard University on June 5, 1947 and was passed by the US congress in March 1948. The Marshall Plan was aimed to help the reconstruction of the post-war European countries, and the countries that needed it. It was an economic and technical aid. 10% of the American GDP would go into the aid. As the British Prime Minister Winston Churchill had once said, â€Å"It was the most unselfish act in history, and it was a stunning success.† However, the Russian historians can argue that it was not the most unselfish act in history. Their reason was that if the countries wanted to receive the aid, it had to open up to America and would give America a chance to look into their infrastructures and how damaged the countries were. This was not what Stalin wanted; he did not want the USA to know about how devastated Soviets was. Therefore, the USSR foreign minister, Vyancheslav Molotov, called the Marshall Plan â€Å"the Dollar Imperialism†. The USSR then in 1949 set up Comecon as a counter-Marshall Plan organization formed primarily to prevent the Central European countries that had expressed interest in the Marshall Plan from getting the money. Thus, the increased in tension because of the USSR preventing countries from taking the Marshall aid could not fully blamed on the USSR. Politically, Winston Churchill, the former British Prime Minister, gave the Fulton Speech, which only contributed to the increasing tension between the two superpowers. On March 5 1946, Mr. Churchill gave his â€Å"Sinews of Peace† in Fulton, Missouri, which was the famous â€Å"Iron Curtain† Speech, and in which he condemned the USSR for taking over other countries and called for the union of â€Å"English-speaking† countries to fight it. For this, the Russian  called Churchill a ‘warmonger’. The reason why this happened was because on October 9, 1944, Stalin and Churchill had a secret pact in Moscow where they agreed on the ‘Spheres of influence in Balkans’. In other words, Churchill gave Soviets the part which it took over later on, and condemned Stalin for doing what he agreed on. His was acting as a hypocrite. Therefore, the decline in the relation between the USSR and the West was not solely because of the USSR. Militarily, the Berlin Blockade in June 1948, which was the closest point where the World War Three might break out before Cuban Missile crisis, was started by Stalin, so one may argue that it was Stalin’s fault. In the orthodox point of view, it was Stalin who started the Blockade and nearly pushed the world into WWIII, so it was his fault. However, when the causes of the Blockade were examined, one may argue otherwise. On June 1, 1948, America and France announced that they were going to combine their zones in West Germany and create a new zone call the ‘Bizonia’. They broke the agreement they signed with the USSR in the Potsdam Conference in July 1945, in which they agreed that they would split Germany into four zones so that Germany would not be strong enough to stand up and start WWIII again like what Hitler did. They broke the agreement and broke the remaining trust between them and the USSR. Furthermore, in Potsdam Conference, they also agreed that the USSR could take 10% of the other three German zones GDP as reparation, but they never paid the money. Even Stalin himself said that the real reason why he started the Blockade was because of American and France’s introduction of the new currency in the West zone which directly cost the East Germany a lot of skilled workers because they all fled to the West zone, the effect of the two causes listed previously above could not be neglected. Therefore, even though it was Stalin who started the blockade but it was not entirely his fault in doing so. From the reasons above, examined from military, economic and political point of views, the outbreak and development of the Cold War was not only the USSR’s fault, but also the West. Therefore, the Soviets was responsible for it to only an extent.