To demonstrate how the field of'globalisation studies'has moved on Annotated Bibliography

To demonstrate how the field of'globalisation studies'has moved on - Annotated Bibliography Example ? from ‘centripetal articulation of nation states.’ The sources of information in the article are based on library research on books , journal and projects. Furthermore, Sassen has utilized internet based research on drawing information pertaining to globalization of institutions, authority, territory and rights. To this end, Sassen draws several conclusions in the article. Foremost, the author contends that denationalization and global dynamics distort existing systems and meanings. In addition, the author believes that sovereign authorities of states are partially disaggregated whenever the unitary structures of states conform to a globalized structure. In addition, the author is quick to point out opportunities for exit that are available for the disadvantaged due the weakening of centripetal nation dynamics. Furthermore, the author asserts that denationalization dynamics, such as inclusion of human rights paradigms, post significant consequences. These include the di sassembling of bits and pieces of the nation state and state machinery as containers. In general, Sassen concludes that there are political and normative implications of centrifugal dynamics that arise out of

La Grande Odalisque Essay Example for Free

La Grande Odalisque Essay Jean Auguste Dominique Ingres was born on August 28th, 1780. He became one of Jacques-Louis David’s most famous and successful students. During Ingres time working with David, and eventually turning away from him, he became a part of the Neo-Classicism movement; leaving behind, but not forgetting the Romanticism methods. Neo-Classicism is the 18th century restoration of tradition principles which lead Ingres to be one of the most famous draftsmen. Ingres was an extremely precise and talented man of his time and was most famous for his portraits; especially his portraits of female nudes. In the year 1814, Ingres created one of his most famed masterpieces, La Grande Odalisque. It was created in Paris and still remains there in the museum by the name of The Musà ©e du Loure. The painting is well-known for its subject of fantasy and eroticism; she was a passive, mysterious and an unknown being to the Western world, which made her audience long for answers. Throughout Ingres life he created many pieces of work. In his well ahead years, Ingres continued to paint and surprise his faultfinders. He eventually ended up on top, being viewed as â€Å"one of the greatest living artists in France† during that time. (Rifkin 15) He left behind many fans but no apprentices to carry on the Neoclassicism heritage. Ingres painted many historical, mythological, and religious subjects; however, he is probably most respected for his portraits and female nudes. Ingress style highlights skilful formations, along with smoothly painted surfaces, and very thorough drawings. â€Å"In 1814, he created one of his many famous masterpieces, Grande Odalisque. It is 91 cm in height and 162 cm in length (35.8 Ãâ€" 63.8 in).† (Peirce 50) It is an oil painting on canvas, with a subject of make-believe and sexuality. The painting was commissioned by Queen Caroline Murat of Naples, Napoleon’s sister. It was painted in the Neoclassicism movement in P aris, along with many of his other works. This one in particular is of a nude female, who transpires to be an odalisque. â€Å"An odalisque was a female slave in an Ottoman seraglio, especially the Imperial Harem of the sultan.† (Peirce 54) La Grande Odalisque was formed by Ingres using some of David’s ideas and creating a female nude, in a bizarre and unfamiliar way. To the Western world she was nothing like they’d ever seen before, which caused confusion but a desire to want to know everything about her; â€Å"In the mind of an early 19th century French male viewer, the sort of person for whom this image was made, the odalisque would have conjured up not just a harem slave, itself a misconception, but a set forth fears and desires.† (Shelton 75) This was mainly because of the way in which Europe considered Islamic Asia; they viewed the people there as unique, barren and careless. To observers she was located in an almost make-believe world, much like how Western culture viewed the Eastern side o f the world; fantasized. At the time it was ignominious for its physical wrongness; in specific, â€Å"the nude female was thought to have three lumbar vertebrae too many†. (Shelton 78) It was an opinion stressed by art critics, but was never challenged or proven. When it had finally been studied, they found something out of the regular, â€Å"we measured the length of the back and of the pelvis in human models, expressed the mean values in terms of head height, and transferred them to the painting.† (Peirce 81) The falsification was found to be greater than what had been presumed originally; â€Å"La Grande Odalisque had five, rather than three, further lumbar vertebrae†(Peirce 81). Basically, she is structurally impossible; her pose is one that would be impossible to mimic. Since Ingres combined rationality and realism into his paintings some critics believe the deformation may perhaps exist on purpose and stand for an emotional motive. The way in which the woman’s head is placed and how it the distance it is away from her pelvis suggests, â€Å"the artist may have been marking the gulf between her thoughts and her social role† (Shelton 79) The face of the woman is where the observer’s eyes are drawn. Her expression is secluded, care-free and mysterious; giving her an almost secret filled feel about her. Her role as a harem is not to think of feeling; she is there only for the purpose of pleasure. â€Å"This theme is consistent with the role of women in the nineteenth-century views on female gender roles public women, i.e., prostitutes, fulfilled a vitally important social role as repositories of male sexual desire.† (Siegfried, Rifkin, Willey 34) Her gaze pulls viewers into her unknown world; captures and traps. The main reason for her existence is to wait upon a man, but not just any man; her husband. With knowing that her husband is the only man to ever see her in this state, the viewer is pulled in and knowing they will never be able to experience her, â€Å"she was part of the sultan harem, she was there to satisfy the carnal pleasures of the sultan, despise what she may feel or want. She reflects a woman ´s deep thoughts, complex emotions and feelings.†(Peirce 48) Her gaze tortures the viewer into looking and makes it difficult to look away. This piece is full of sensuality, mystery and romanticism. The woman is surrounded by a dark background; black with many different shades of blue. Her and her body are really the only aspect of the painting holding any light colours. With this, she stand out to the viewer; making her more striking than ever. Even with her imperfections she is blessed with flawless skin, shoulders, legs, arms and hands. The items nearby her, the peacock fan, the turban, and the pearls suggest an unfamiliar place; an exotic place. At her feet lies a hookah, which may come to the viewers as a shock; it’s not for tobacco but rather opium. The harem may come off to observers as irrational, passive and drugged, which creates more desire to know what she’s about. Is she offering it, or is she just high? That is a question that will never be answered, a question that keeps the viewers’ attention. La Grande Odalisque is what Western society believes a harem would look like. She is of the unknown but in a way that it becomes familiar. Since this is what the Western part of the world imagines and fantasizes about Islamic Asia, it makes them believe they are superior to what’s in front of them. Ingres conveyed his subject of wants and desires by painting La Grande Odalisque, and having the Western part of the world view it; you want what you can’t have. That is one way in looking at it, another is: â€Å"Some art historians have suggested that colonial politics also played a role.† (Shelton 81) Either way, Ingres combined what was happening to the world around him, two places so unfamiliar colliding together, with what the Western world wanted to see; what is actually happening is a completely different story than what one wants to believe is happening. La Grande Odalisque is recognized for its subject of desire for the unknown; her gaze, her pose, and the inferior, yet exotic, items surrounding her are what makes her so incredible to what people consider the norm. She has deficiencies but her overall appearance is perfect; she is nothing like her observers, which makes her that much more wanted; it’s a conflict between La Grande Odalisque and the viewer. Society, even today, is scared of the unfamiliar. We take situations, events and even the little parts in life that we are unsure of and turn it into something that can be confronted, even if it’s not reality; it’s what human beings do to feel safe from what we consider the abnormal. What makes this painting so unique is that people critique the way in which viewers see her, instead of the way she sees us; she is an unacquainted with us, as we are with her.

An Analysis of George Batailles The Story of the Eye Essay -- Story E

An Analysis of George Bataille's The Story of the Eye ...awareness of the impossibility opens consciousness to all that is possible for it to think. In this gathering place, where violence is rife, at the boundary of that which escapes cohesion, he who reflects within cohesion realizes that there is no longer any room for him (Theory of Religion 10). When Georges Bataille first published The Story of the Eye in 1928, anonymously and "in a limited edition of 134 copies" (Lechte 118), he had been at the Bibliothà ¨que Nationale in the department of numismatics for nearly six years. Bataille was thirty-one at the time of publication, and it was not his first or the most violent piece. "The Solar Anus" which preceded it actually looks ahead to the serious ethnographic articles, albeit often of a scatological nature, which Bataille wrote for Documents, a short-lived journal which he edited and founded in 1929. Active in surrealist and avant-garde circles, Bataille courted the radical left of the political and aesthetic arenas, although his professional work compelled him to function within rigid systems. While The Story of the Eye is often dismissed as adolescent writing (Bataille himself calling it juvenile in a preface to a later edition), I offer here a reading of The Story of the Eye in the context of his profession as a librarian and of his work as editor and writer for Documents, a journal that consolidates his reflections as antiquarian, literary artist, and amateur ethnographer. To read Bataille's fiction in concert with his sociological and critical writing elevates the radical negativity of its violent transgression to a positive value. The text of this novel contains, in an embryonic stage, the basic theories which... ...F. Bouchard. Ithaca: Cornell UP, 1977. 29-52. Gill, Carolyn Bailey. Bataille: Writing the Sacred. New York: Routledge, 1995. Hollier, Denis. "The Use-Value of the Impossible." Bataille: Writing the Sacred. 133-53. Lechte, John. "Surrealism and the practice of writing, or The 'case' of Bataille." 117-32. Nietzsche, Friedrich. On the Genealogy of Morals. Trans. Walter Kaufmann and R. J. Hollingdale. Ed. Walter Kaufmann. New York: Vintage, c1967, 1989. Richardson, Michael. Georges Bataille. New York: Routledge, 1994. Stoekl, Allan. Introduction. Visions of Excess: Selected Writings, 1927-1939. Georges Bataille. Minneapolis: U of Minnesota P, 1985. ix-xxv. Suleiman, Susan Rubin. "Transgression and the Avant-Garde: Bataille's Histoire de l'oeil." On Bataille: Critical Essays. Ed. and trans. Leslie Anne Boldt-Irons. Albany: SUNY P, 1995. 313-33.

Essay --

There are several different definitions of macro environment depending on what aspect we are referring. Macro environment could be defined as anything outside of business such as the economy, technology, and the power of natural and artificial. These factors are often uncontrollable. In Macro environment, many factors will affect the decision-making in any organization. To overcome and analyze these factors organization can categories it in to PESTLE model. The macro-environmental or external factors of KFC can be identified by using PESTLE analysis, which stands for economic, technology, legal and political, social - demographics and natural – environmental a) Economic: Economic factors represent the wider economy; it includes economic growth rates, levels of employment and unemployment, costs of raw materials such meat, petrol, energy, herbs, and steel, interest rates and monetary policies, exchange rates and inflation rates. These may also vary from one country to another. Hence, the economic factor depends on all these factors and upon a country as well. Thus, in a way the influences of economic factor are major and could be said as one of the most profound influences upon any industry. Industries, which depend on selling products, which are not a necessity, but rather depending on luxury, would rarely be able to profit b) Technology: What amount to technology is a question that depends upon two key factors firstly the adaptation capacity of an industry and secondly on availability of recent innovation. If we wish to place it in a vast arena, it involves changes in information and mobile technology, changes in internet and e-commerce or even mobile commerce and it include materials development and new methods of manufa... ...Its basic economy principle that corporations would usually have certain target groups, thus any that takes place within this group would in turn affect the corporation significantly. e) Natural- Environment: This factor usually involves availability of natural Resources and procedures or policy with regards to management of waste and etc. While this factor is not a key issue in all form of business, it plays a major function or role when it comes to mass production industries which lie heavily upon availability of raw materials. A prominent example would be uranium mining; if the area of mining has, ceases in availability of such material then the existence of the mining company would be placed to halt. The remnants of multiple tin mining factories could be seen all over Malaysia, which is due to decreased availability of the raw material.

Philosophy of Music Education in the Indian Context Essay

These goals must be the first and foremost reason why we teach music. To instill an even greater understanding and love of the domain thus enabling our students develop a genuine interest and continue a life long journey that’s undertaken in varying degrees and through diverse roles. Phenix (1986) stress on the fact that knowledge of methods makes it possible for a person to continue learning and undertake inquiries on his own (p. 11). Estelle Jorgenson in her book â€Å"Transforming Music Education† eloquently describes the need for music education to be transformed for the very reason that children be able to continue developing their knowledge beyond the classroom. Effective music education is built of a foundation that encompasses discussions, goals, materials and strategies, based on a teacher’s knowledge and experience of music and child development, educational guidelines and â€Å"overarching, and developing philosophy of music education† (Fiske, 2012). Before I elucidate my philosophy about music, I recognize the need to clarify my stand as a music educator who is passionate and determined to elevate the status of music education within classrooms around India. My Musical Experiences Music has always been a part of me for as long as I can remember. My earliest memories of music, especially the performance aspect, goes back to when I was three years old and sang a solo for a Christmas Concert that was organized by the radio station that my father worked at. I have memories of him kneeling on one knee and playing the guitar for me while I sang after which I was delighted to receive a big present from Santa. Ever since, I have enjoyed performing, and have so felt so comfortable on stage. All along I grew up listening to Christian gospel music and many contemporary arrangements of hymns. Supplementary to that my father offered me a rich experience of Indian hindustani devotional music. I learned songs by ear and didn’t realize what I was missing at this point, imagining what I learned in music to be the only way to absorb and internalize it. Performing was something that I enjoyed doing and it came naturally to me, partly because of my early initiation into leading worship at church. My true test of endurance came about when I was introduced to Western Classical Music at the age of 14, through the study of two years of piano. My teacher, like many others around, displayed an extremely formalistic approach and didn’t do much to expand my understanding of music beyond what was on the page and how I was supposed to read it. In response to this method I didn’t enjoy learning from the pages of notated music books, as much as I did learning by ear, and I continued to develop as a musician who played by ear and improvised at will. Studying opera during undergrad was a trying phase for me because of my inability to â€Å"connect the dots† as easily as I should have been able to. My aural skills remained excellent and I sometimes relied on that to carry me through certain phases. Hard work and determination became my motto, and I spent hours to understand and perfect music that was assigned to me, as I wanted to do my very best. Although I had composed songs earlier, without notating them, the study of music theory opened up a whole new world for me. I could now add variety and richness to my music through the concepts I was learning. Music became a new language for me; I was captivated by the way it lent itself to diverse experiences through different musical roles (something that I wasn’t aware of or didn’t pay attention to earlier). As a Music Teacher Although I initially joined a conservatory to study vocal performance, I found myself deeply drawn towards music education, and during my second semester decided to learn more about devising meaningful and persuasive trategies to improve the standard of music education in India. This thought emerged from an understanding that I had felt almost cheated for having lost out on so many years of studying music formally, yet effectively. I didn’t have a choice because structured music instruction simply wasn’t available at all the schools that I studied in, or the quality of instruction didn’t serve the purpose of educating or informing students like me. What gave the impression of a music class/lesson at school was in reality an enthusiastic way of keeping students occupied for forty minutes in simple singing, with a concert for parents every once a year. We learned songs by rote to perform them, year after year. During those years though, I didn’t realize the limitations that this system came with and continued to enjoy the fact that I was in choir and able to sing. This vacuum remains largely visible and unattended to in schools today, although some music educators in the recent past have taken huge steps towards improving the quality and effectiveness of their instruction in classrooms around India. Their efforts however remain predominantly an enthusiastic endeavor. What is urgently required is certainly something much more than sincere teaching. It calls for a transformation of the present system, giving room for every child to receive superior music education that fits into the whole. The need of every student being met in a transformed educational framework that constantly reshapes itself to accommodate new ideas and strategies. After all, as Regelski (2003) rightly points out that music (music education) is for everyone and not just for an elite few. The turning point in my decision to finally teach music myself came about when I enrolled my four-year-old daughter, Tiara, for after-school piano lessons. I hoped to give her a head start, with the understanding that she needn’t have to face the same challenges in learning music, like I had to. However, after a few classes, I realized to my complete dissatisfaction that there was no structure, no thought and imagination, and no clarity in what was being thought to her. Her fingering on the piano was all over the place for the two songs that her teacher worked on â€Å"Twinkle, Twinkle Little Star. † And â€Å"Baa Baa Black Sheep† Her teacher (I later learned wasn’t introduced to classical notation), taught her these songs by writing letters in a book and instructing her to commit it to heart. Lesson after lesson they would follow the same outline with no emphasis on any other musical aspects whatsoever. I decided I wasn’t going to take this lying down! I had to do all within my capacity to change the face of music education, as the vast majority of people understand it. I began studying about music education as well, to inform and equip myself for the task at hand. Around this period, my voice teacher encouraged me to coach students in voice, and I began shying away from it believing I was under qualified and needed many years of study to begin teaching. However, with a newfound passion and vigor, I accepted to coaching some of his voice students and also began to teach small groups of students on the history of music (because I loved learning about it). Meanwhile, I started training both my young daughters at home constantly developing new ideas and strategies to introduce musical concepts to them. A friend noticed my teaching style and asked if I would teach her daughter too, and thus began my professional journey as a music educator. Four years since then, I find myself accountable for the music instruction I offer to over 250 children across various age groups, who are part of my school. The need is so great within schools, and only a few educators are willing to take the extra effort of educating themselves and being channels of superior music instruction-catalysts of sorts. I am blessed to have a team of ten teachers who share in my vision and work alongside me in imparting music to the children who are part of our music school, â€Å"Harmony†. My long-term vision is to enhance the music programs in India for the betterment of as many children as possible. Individuals don’t realize what they’re missing until they’ve been given a taste of it, a glimpse of the bigger picture (much like my case). Through our school performances I aim on providing a window for the change to take place. A transformation that not only affects my students, but others around them as well through their personal interactions with each other and the community as a whole. My Personal Philosophy â€Å"A field or discipline without philosophical guidance, without critically examined ideals and commitment to their revision in light of the diverse and changing needs of those it seeks to serve, is more akin to an occupation han a profession† (Bowman & Frega, 2012, p. 23). For my vision to bear fruit and show evidence of becoming something concrete, I realize the need to develop my philosophy of music to an extent that equips me with the requisite tools to be able to initiate the change that I seek after. In the words of Jorgenson (2008), â€Å"I want to excavate beneath the superficial and demonstrable skills to think about the ideas and principles of music teaching, the things that drive and shape †. According to Kivy (2002), â€Å"A practice or discipline or body of knowledge, then, seems to become ‘eligible’ (If that is the right word) for philosophy, properly so–called, when it becomes for us a way of life: when it cuts so deeply into our natures as human beings that we are impelled to explore and reveal its innermost workings† (p. 7). It is necessary for me to â€Å"clarify the major dimensions of musical experience† so I can â€Å"effectively offer them to, and nurture them within, â€Å" my students (Reimer, 2003, p. 9), this despite the passion and conviction with which I teach and advocate the need for arts in schools. I have begun to develop a synergistic mindset in my philosophy of music education after my reading and researching the literature, coupled with practical experiences over the last few years. Reimer (2003) points out â€Å" A synergistic mind-set is one open to cooperation as an alternative to contention, to searching for points of agreement or confluence as an alternative to fixating on discord, to recognizing nuances in which seemingly opposed views are capable of some level of contention† (p. 30). I agree with Reimer’s democratic view that musical meaning is meaning that â€Å"individuals choose to give to and take from music, based on their life experiences and their musical orientations. † He further adds that there is to be no â€Å"one right way†, and calls for an adaptation of a synergistic blend in music teaching. Music must involve decision making through discernment and connections within a particular role (Reimer, 2003, p. 213). Eisner (1987) illuminates the need for a curriculum that â€Å"exploits the various forms of representation and that utilizes all of the senses to help students learn what a period of history feels like†(p. 7). Similarly, offering students a basis for understanding music in all contexts involves a thorough exploration of musical meaning within its definitive parameters, along with contemplation or reflection. Introducing students to the music and other art forms of various cultures is a wonderful way to broaden their understanding of the meaning of music. A student does not need to lose his own musical identity in order to study other music. On the contrary, in learning about other music, a student’s life is enriched. Reimer states, â€Å"In the spirit of adding to the self rather than substituting other selves for one’s self, the study of the music of foreign cultures enriches the souls of all who are engaged in it† (p. 191). Music and Meaning As advocates of music, music educators are often expected to express the meaning of music through words, yet words are incapable of truly describing the beauty and emotion felt through experience. â€Å"The concern is not to arrive at a definition and to close the book, but to arrive at an experience† (Ciardi, 1975, p. ). Ciardi states that there â€Å"still lingers belief that a dictionary definition is a satisfactory description of an idea or of an experience† (p. 1). Words may attempt to describe music, yet true meaning must be derived from the actual music experience Reimer (2003) discusses the difference between meanings drawn from words or language and the meanings found through music. He writes, â€Å"Language is created and shared through the processes of conceptualization and communication. Music is created and shared through the process of artistic/aesthetic perceptual structuring, yielding meanings language cannot represent† (p. 133). â€Å"The real power of music lies in the fact that it can be â€Å"true† to the life of feeling in a way that language cannot† (Langer, 1942, p. 197). Phenix (1986) highlights the need to look for aesthetic meaning in music concluding that there has to be a delicate balance between descriptive proposition that serves the purpose of laying out a historical background and allowing for freedom to gain perceptual features. Though music may evoke emotions in my students as they compose or serve as an outlet for their feelings when they perform, the ultimate significance of music lies in its ability to symbolize/portray deeply felt emotions. In the pages of his article, How Does a Poem Mean, John Ciardi (1975) shares with the reader his view that language is not capable of completely conveying the meaning that is discovered through experience. Living through the poetry is more powerful than attempting to interpret it. I believe that language does, however, serve a purpose of enhancing and is required when teaching for musical meaning. Words such as diction, metaphor, rhythm, and counter rhythm describe elements that lead to the understanding of form. Once a student can identify changes in the form through performance, â€Å"he will have identified the poem in action† (p. 95). He will no longer ask what the poem means but will see â€Å"how it means† (p. 95). Ciardi suggests questions such as, â€Å"Why does it build itself into a form out of images, ideas, rhythms? How do these elements become the meaning? † and â€Å"How are they inseparable from the meaning? † (p. 100). These questions are helpful in leading a student to the ultimate meaningful experience. Likewise, music students may use their knowledge of musical elements, such as rhythm and dynamics, to see â€Å"how† a piece of music means. Reimer (2003) says language has the essential function of disclosing and explaining the music. Music elements are inseparable from the performance of the music as they help to explain the musical experience. On their own, however, words and definitions remain dull and lifeless. I believe students should be immersed in the experience, while in a chorus, performing their instruments and listening to those around them. Meaning can be discovered through active participation in music and through the emotion and beauty the music portrays, for â€Å"Music means whatever a person experiences when involved with music† (Reimer, 2003, p. 133). Ciardi’s (1975) statement: â€Å"It is the experience, not the final examination, that counts† (p. 3) is particularly striking. The Indian society places high emphasis on examinations in music as with other subjects, very often overlooking the need for students to value their experience through the process of learning. I sometimes feel pressured by the community to meet high concert performance expectations and good examination results. Although I recognize that performance and the International music exams is a wonderful opportunity in which students can share their music with the community, or understand their level of competency, the true reflection of meaning in the music should be experienced in day-to-day music making within my classroom. I do my best not to focus on the examination repertoire alone but to include other music as well giving them a chance to draw out meanings and experience the music. Ciardi (1975) describes a poem as a â€Å"dynamic and living thing† (p. 10). He continues stating, â€Å"One experiences it as one experiences life. One is never done with it: every time he looks he sees something new, and it changes even as he watches† (p. 10). Similarly, music is capable of revealing something new each time it is experienced. The meanings my students derive from an initial listening of a piece of music may be vastly different than the meanings understood months or years later. The meaning of music constantly changes with personal life experiences and new perspectives. Reimer claims, â€Å"Music education exists to nurture people’s potential to gain deeper, broader, more significant musical meanings† (p. 133). I believe my students should derive their own meanings from the musical experience and without my influence. By explaining meanings to them, I face the fear of casting into oblivion the celebration of their own unique experience with the music, much the same way a language teacher might, in more ways than one, take away from the experience of a students â€Å"feelingful† experience of poetry as she explains the meaning in the verses of the poem. Instead of teaching â€Å"what† music means, I will instruct students on â€Å"how† music means, enabling them to derive meaning from experiences that occur beyond the classroom, and within their own roles. Feeling through Music â€Å"Music does for feeling what language does for thought† (Bowman, 1998, p. 200). As a musician, I understand the power of music to evoke feelings. Listening to or performing a great work of music in a concert hall may bring tears or chills to the musician in a way that only music is capable. Similarly, students’ emotional lives may be heightened by experiences in the classroom. According to Reimer (2003), the â€Å"emotional dimension of music-its power to make us feel, and to â€Å"know† through feeling-is probably its most important defining characteristic† (p. 72). In Western history, emotion has often been regarded less valuable than intellect (Reimer, 2003). Some people do not consider the arts to be as important as other core subjects such as math and reading in education due to the belief that arts are based on emotions and not reasoning or intellect. Recently, however, scientific scholars have begun to recognize that human intelligence, or cognition, is exhibited in a variety of forms, directly related to functions of the body, and tied to feeling. Dimensions of the mind, once thought to be separate and unrelated, are now known to work together, contributing to the things we know and experience. Anthony Damasio, a research neurologist, believes â€Å"feeling is likely to be the key factor in human consciousness itself and an essential ingredient in human cognition† (Reimer, 2003, p. 76). The capacity to feel â€Å"pervades and directs all we undergo as living, aware creatures† (p. 8). â€Å"Direct experiences of feeling are embodied in music and made available to the bodied experience of those engaged with it† (p. 80). The use of descriptive and symbolic language in the classroom, in the teaching of a varied repertoire of expressive music, aids in drawing out these responses of feeling from students. Including music that is heavy and loud or delicate and light will bring out an array of feelings. I believe students should be given an opportunity to articulate these feelings through journaling and in-class discussion.

Securities Paredes3 03 Essay

Securities Paredes3 03 Essay Securities Paredes3 03 Essay SECURITIES REGULATION OUTLINE PART ONE: RAISING CAPITAL I. SECURITIES REGULATION OVERVIEW A. Goals of Securities Regulation: The goals of securities market focus on the issuance of securities. These laws are all about disclosure. Investors need information. They are not able to kick the tires or to squeeze the fruit to test the product. So they need to make an informed decision when buying the product – a future stream of earnings. Nearly 84 million Americans (43.6%) of the US own some sort of stock. Institutional (pension funds, mutual funds, commercial banks, insurance companies) own the rest. 1) Assuring Informed Investor Decision-Making & Consumer Protection: Investors need to trust that the company they are investing in is doing the right thing. Securities laws instill trust because the disclosure of information will mean that the investor can be confident in the company. The investor knows that that there are protective measures and legal recourse. However: this can also lead to complacency. Ex. Enron: Thus investors not confident when laws not enf orced. Enron’s forms hadn’t been looked at in 3 years. 2) Allocative Efficiency: We want to ensure that stocks and other securities are priced accurately according to their true objective value. So long as the information that the regulations require is processed appropriately on the market, capital will flow to productive uses. The higher the value, the higher the price of the security and vice versa. We don’t want money being spent in places it shouldn’t be. However, corporations may restrict the outflow of information to prevent later liability actions. 3) Corporate Governance and Agency Costs: Sometimes agent/corporate interests will diverge from shareholder interest. Securities regulation mitigates these concerns, telling corporate managers don’t cook your books or stock will go down. Brandeis: â€Å"Sunlight is the best of disinfectants.† 4) Economic Growth, Innovation, Access to Capital: We want companies to be able to expand and grow. Securities regulation ensure that investors will feel confident about investing and then companies can get capital, expand, grow. A securities-centered economy like the US encourages entrepreneurial ventures. A banking-centered economy like Europe’s encourages firms dominance and corporate consolidation. 5) The Market for Lemons: Investors need to know which companies are lemons, which aren’t. Rigorous scheme of securities regulation allows the non-lemons to signal to market that they’re not lemons and thus investors won’t be afraid of investing. B. Overview of the Financial Markets: The securities markets are a subset of the many financial markets. There are non-securities markets (bank loans, treasury bills, CDs and commercial paper) and equity markets. The decision of which market for a company to enter is based upon the cost of capital in the particular market, the time necessary to effect a transaction, and regulatory supervision. When a financial product is considered a security, the breadth of the securities laws applies. C. The Equity Markets: 1) The Trading Markets: a) The Primary Market: The primary market is issuer transactions sold to investors. b) The Secondary Market: The secondary market are trading transactions between investors, done on NYSE, NASDAQ, Electronic Communications Markets. D. Regulatory Framework: 1) The SEC: The Securities & Exchange Commission is an independent administrative body charged with the administration of the securities laws. Subject to the Administrative Procedure Act, thus there are open meetings, advance notice of regulatory changes, opportunities for interested parties to comment. Very New Dealesque. Maintains EDGAR (Electronic Data Gathering, Analysis and Retrieval). a) The Composition: One Chairman and four commissioners. Each commissioner has a five-year term, staggered, no more than three can be from the same party. b) The Divisions:

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Silla, Paekche, and Karak are known as the three kingdoms in the Three Kingdoms period that occurred approximately between the years of 37 B. C. E. and 668 C. E. In coming together in unity, these three kingdoms enjoyed more freedom than they had for many years because of the lack of fighting between their three kingdoms as well as the unified front that they presented to others. Invasions became less frequent from common enemies, namely Japan and China, who would continue to invade and overtake Korea even in the twentieth century. The Three Kingdoms period was a time of flourishing art and ability. It was a time that Korea began to see more things Chinese mainly because of an invasion of another kind, Buddhism. It was during this time that many Korean people, mainly chungin class artists, began to notice and imitate Chinese art that was beginning to be imported. The chungin class in Korea was known as middle class. Theirs was a small group that consisted of educated laborers such as astronomers, physicians, interpreters and artists. This group was subordinate to the yangban, or nobility. The yangban’s taste in art differed in that from the chungin class. The chungin preferred a more realistic approach to art whereas the yangban’s taste was for the more dreamlike and fantastic. The chungin also preferred to speak in their native tongue, Hanguk (Korean) whereas the yangban considered it vulgar not to speak in Chinese. All Korean people who could write at this time did so in Chinese because the Korean characters were not â€Å"created† until the fifteenth century by King Sejong. Most secrets of the metal smithing and engraving have remained just that, secrets. There is a lack of written information on most Korean skills because most skilled workers utilized the master-apprentice system of passing information through generations. Whatever we do know about the creating of art during this time comes from the writings of ... Free Essays on Korean Jewelry Free Essays on Korean Jewelry Silla, Paekche, and Karak are known as the three kingdoms in the Three Kingdoms period that occurred approximately between the years of 37 B. C. E. and 668 C. E. In coming together in unity, these three kingdoms enjoyed more freedom than they had for many years because of the lack of fighting between their three kingdoms as well as the unified front that they presented to others. Invasions became less frequent from common enemies, namely Japan and China, who would continue to invade and overtake Korea even in the twentieth century. The Three Kingdoms period was a time of flourishing art and ability. It was a time that Korea began to see more things Chinese mainly because of an invasion of another kind, Buddhism. It was during this time that many Korean people, mainly chungin class artists, began to notice and imitate Chinese art that was beginning to be imported. The chungin class in Korea was known as middle class. Theirs was a small group that consisted of educated laborers such as astronomers, physicians, interpreters and artists. This group was subordinate to the yangban, or nobility. The yangban’s taste in art differed in that from the chungin class. The chungin preferred a more realistic approach to art whereas the yangban’s taste was for the more dreamlike and fantastic. The chungin also preferred to speak in their native tongue, Hanguk (Korean) whereas the yangban considered it vulgar not to speak in Chinese. All Korean people who could write at this time did so in Chinese because the Korean characters were not â€Å"created† until the fifteenth century by King Sejong. Most secrets of the metal smithing and engraving have remained just that, secrets. There is a lack of written information on most Korean skills because most skilled workers utilized the master-apprentice system of passing information through generations. Whatever we do know about the creating of art during this time comes from the writings of ...