Ethics Of Cloning Essays (2607 words) - Cloning, Molecular Biology

Ethics Of Cloning Running head: Downside of Cloning The Ethical Downside of Cloning Ethics in Health Care October 17, 1998 Introduction For the first time the cloning of a whole human being seems really possible. It is absolutely necessary to consider the harm that can be done and move to curb abuses. Also, it is important to understand some of the theory underlying the desire to build a better human. The Ethical Downside of Cloning With recent developments in the cloning of the first whole mammal with Dolly the Sheep, for the first time the cloning a whole human being seems really possible. For years, clones have been the subject of popular fiction, but the technology was lacking. Now the ethics of doing so must be carefully considered. While almost all world health and religious bodies are coming out in opposition to the idea, it must be accepted that someone somewhere will try it. Thus, it is absolutely necessary to consider the harm that can be done and move to curb abuses. What immediately springs to mind for most people with the possibility of cloning whole people is the ideas of creating supermen or a master race which dominated the Nazis. But the theories of eugenics from which they operated were also touted in America and the rest of the Western world. Thus, it is important to understand some of the theory underlying the desire to build a better human. Eugenics is concerned with the social direction of human evolution. A distinction is made between positive and negative eugenics. Positive eugenics aims to increase reproduction of individuals who have traits, such as high intelligence and physical strength or fitness, which are considered to be valuable to society. Negative eugenics seeks to decrease reproduction among people believed to be inferior or below average mentally and physically (Glass). Cloning for better humanity, then, is normally associated with positive eugenics. Overall, since the Nazi experience, eugenics as a movement has been largely discredited, but the ideas still linger and many of the same arguments for cloning humans are used today, but with protests that they are not related to the abuses of the Eugenics proponents of the 1920s and 30s. The goal of eugenics was to create a superior human being, and with this creation, to in time create a superior human race. The First International Congress for Eugenics was held in 1912 in London. Rather than being a fringe movement, it was hailed by a number of luminaries of the day. For example, Charles Darwin's son presided, while Winston Churchill led the British delegation. Among the Americans present were the presidents of Harvard and Stanford universities and Alexander Graham Bell. The Germans present advocated racial hygiene, which later became Nazi policy. According to historian Stefan Kuhl, German eugenecists enjoyed a special relationship with their counterparts from the United States (Nazi Eugenic). The beliefs of these groups contain elements that are still being brought up in discussions of cloning humans. They included trust that selective breeding and choice of genetic traits is an effective means of improving the overall quality of the human species, the conviction that heredity directly determines physical, physiological, personality, and mental traits in adults, and a belief in the inherent inferiority of some races and social classes and superiority of others (Allen). In the early Thirties, it was believed that the race, indeed the world, needed to be purified of those elements of humanity that would bring the breeding pool down. To that end, the crippled, the mentally deficient, sufferers of hereditary diseases, and those thought to be racially inferior were to be stopped from breeding. Forced sterilization was one means of accomplishing this goal. Euthanasia, the killing of people for the greater good, was also a means of purging the world of inferior people. Germany adopted a sterilization law in 1933, which made people with such hereditary disabilities as Huntington's Corea, feeble-mindedness, blindness and deafness, grave bodily deformity, and hereditary alcoholism subject to forced sterilization for the good of the people (Lifton 301). Today many of these same subjects are being addressed with therapeutic abortions and genetics counseling. In America, breeding for a better race was supported. For example, the Pioneer Fund, an American eugenics foundation, proposed that American pilots should

Positive learning enviroment Essay Example

Positive learning enviroment Essay Example Positive learning enviroment Essay Positive learning enviroment Essay To be effective in analyzing and evaluating strategies I will require to establish and maintain a positive learning environment (PEEL) within my lessons, I will first establish what constitutes a PEEL through my own understanding including further research. I will then go on to analyses and evaluate the strategies I will use, focusing on the overarching ideas of behavior management (MM) and expectations, safety and assessment. I will link these to the Teachers Standards (TTS) throughout. A PEEL, echoing the words of Jacques and Holland (2007,104), has attractive displays based on hillsides work is tidy has a purposeful atmosphere when children are working promotes children self esteem. This is by no means a definitive list explaining how to create a PEEL, but addresses the important strategies I will use to create a PEEL and discuss throughout this essay. Behavior for learning (FL) must be addressed when discussing how to create a PEEL. Both are high on the agenda of myself as a trainee teacher, the government and teaching unions. The government has given the role of shaping FL to the head teacher of individual schools who is required by the Department for Education (UDF) (2014, 4) to produce a school behavior policy effective as a strategy for establishing and maintaining a PEEL, which sets out procedures to promote good behavior, self-discipline and respect prevent bullying ensure that pupils complete assigned work and which regulate the conduct of pupils. These concepts must be included within each schools behavior policy to create an established expectation of behavior within the school. Looking at the behavior policy of Twofold Junior School (TTS), the school motto is Be proud to shine (TTS, 014,2), this has been developed by the children into a code of conduct summarized by the words Learn, Safe, Happy, Respectful (TTS, 2014, 2), echoing the requirements from the UDF for FL. The TTS behavior policy is vast and encompasses an amalgamation of ideas including behavior management and expectations, reward systems and inappropriate behavior management which will equip me as a trainee teacher to establish and maintain a PEEL within my lessons. Teaching unions to an extent, agree with the concepts outlined above from the UDF. Their interest in FL also aligns itself with the protection of pupils learning and teachers careers. In the National Union for Teachers charter Learning to Behave A Charter for Schools (no date,3) Any behavior that prejudices teaching and learning within schools is unacceptable For some teachers it can be the trigger for leaving the profession. Young people who exhibit unacceptable behavior diminish their own chances as well as those of their peers. Thinking how FL must be established through a government led school behavior policy and how it affects the Jobs of teachers, pupils and their learning through teaching unions it becomes clear how FL must first be established before a PEEL can exist. This is why I will begin with addressing BUM and expectations for a PEEL within this essay. In accordance with TTS of the Teachers Standards (TTS), teachers are to Manage behavior effectively to ensure a good and safe learning environment (UDF,2011,12). Therefore BUM as a strategy for a PEEL is of utmost importance. TATS highlights the need for clear rules and routines accordance with the school behavior policy (UDF,2011,12) rules and routines create and shape the learning environment the way I want it to be. Having experienced how classrooms operate with and without a set rules and routines those with established lassoer rules having a quicker and more resolute way of dealing with inappropriate behavior I understand their need as a BUM tool within the classroom. I have also found through covering classes with a set of classroom rules on the wall, when asking the pupils my expectation of their behavior, they are quick and well equipped to respond. I will begin my teacher training creating a set of rules and routines with the pupils in agreement with Cicadas and Overall (1998,199) that Routines will work better if there is a shared and agreed understanding about them better if the children have helped to set them up. Through creating a set of rules and routines with my pupils, there will be a classroom behavior expectation which reflects the school behavior policy, promotes positive behavior and a feeling of security for the children of what to expect and what my expectations as a teacher are of them. As per Toss behavior policy Children know the consequence of breaking the rules TESTS supports this process which will encourage children to take a responsible and conscientious attitude to their own work and study (UDF,2011 , 10) to own their behavior. Classroom rules and routines are extremely useful to maintain PEEL they have been constructed together and can be referred back to throughout the year to reinforce positive behavior. BUM strategies to aid and enforce classroom rules and routines are in great supply from differing praise and rewards systems, to strategies of dealing with inappropriate behavior which are vital in constructing FL and a PEEL. TTS has a long list in its behavior policy to support BUM rewarding positive behavior includes merit marks, stickers, golden time and many more which I can utilize as strategies for FL for a PEEL. I have observed one strategy use throughout Year 3 at TTS of the brick move which highlights good and inappropriate behavior. It is a BUM strategy, which leads to golden time on a Friday afternoon where children can play with toys and sports equipment of their choice a reward for working hard throughout the week. The brick move reward strategy is similar to that of a traffic light system using more Jumps from start to finish. This strategy can be used in a number of ways, moves forward for correct behavior expectations and praising courteous behavior as expressed in TATS, but also moves backwards to highlight inappropriate behavior. One of the most effective uses I have seen and used of the brick move strategy is its use for positive discipline and reinforcement of behavior. Toss behavior policy for dealing with incidences of inappropriate behavior includes tactically ignore, acknowledge on-task behavior and privately and openly encourage positive behavior (TTS,2014,4) all focus on deferring negative behavior and reinforcing positive behavior through a brick move. I have used this within classes, rewarding the pupils showing expected behavior and have found it very effective as a BUM tool. I know positive discipline is a fantastic aid to establishing and maintaining both BAL and a PEEL and agree with Rogers, positive discipline isomer than ones use of language it is about creating the best environment and social climate for teaching and learning. (Rogers ,2007,52). The TTS state the classroom should be a safe and stimulating environment for pupils, rooted in mutual respect (UDF,2011,10). Teeming with ideas, this extract requires breaking down into three parts safety, stimulation and respect. I will address these in the next paragraphs to discuss strategies I will use to create a PEEL. Abraham Mascots Theory of Human Motivation (1943) is an influential theory when thinking about the importance of safety within a classroom to establish a PEEL. Mason spoke about a hierarchy of needs required by humans to succeed in fulfilling their potential something which has been debated time again by those working in schools. Mason states There are at least five sets of goals, which we may call basic needs. These are briefly physiological, safety, love, esteem, and self- actualization. (Mason,1943). It is widely agreed that Mascots basic needs must be met for a PEEL to be established, children learn more effectively when they feel better bout being in this group and coping with this work, when fundamental needs are being met. (Rogers,1998,226). Greenhorns discusses strategies for a safe atmosphere within schools in his publication The classics are hard to beat (2012), including, clear expectations around behavior, supported by consistent sanctions. I have already discussed BUM through rules and routines these are also fundamental to feel safe children know what to expect, therefore feel secure. Its also necessary for children to know what to expect from myself as a teacher, It is important for teachers of all ages ND experience to be clear about exactly who they errand what they expect from their pupils. (Dixie,2007,8). When I first covered classes, I didnt introduce myself or state any expectations of rules or behavior BUM was difficult and I was inconsistent with it I know the children didnt feel they were in a safe or secure environment. Through observing lessons, it became clear an established expectation and consistency from teachers was expected by the children this is what I will aim to project throughout my teacher training, Young people want certainty from the adults in their lives. They need you to create and enforce boundaries to give them a feeling of security. (Cooley,2010,9). Creating a safe environment within a classroom to establish a PEEL requires using the strategy of inclusion. Inclusion provides a feeling of safety and security through the idea that children feel comfortable in the knowledge that as a teacher I will ensure that they have full access to the curriculum, Lessons should be planned to ensure that there are no barriers to every pupil achieving As a teacher, I am required to ensure Inclusion means enabling pupils to participate in the life and work of mainstream institutions to the est. of their abilities, whatever their needs (Dixie,2011 , 14), which suggests to create a PEEL inclusion must be linked with differentiation to create a safe environment. Differentiation maintains ITS B children are challenged within their own abilities and I should set high expectations for every pupil and plan stretching work for pupils whose attainment is significantly above the expected standard (UDF,2013,8). Inclusion and differentiation as strategies to establish a PEEL is a huge and varied group of ideas, from SEEN to GET children, deploying support staff effectively through focus roofs and one-to-one help as needed by ATSC, they are key tools which will able me to create a PEEL through engaging appropriate support systems. I will address ideas of stimulation within the classroom within the next paragraphs. As explored earlier, its important for children to feel safe and secure within a classroom to establish a PEEL my classroom will need to be a space that provides pupils with adequate light, heat and seating space and the opportunity to drink fluids, will hellhole pupils feel safe, secure, happy and ready to learn. This refers to Mascots idea that Asia needs of a person must be met a PEEL established, before they can fulfill their potential. The layout of a classroom is also important for BUM to create FL and a PEEL throughout wider reading I know there are many ways to structure a classroom I have thought about all as a strategy to create a PEEL and believe putting desks in groups in my Year 3 training year will be most effective. I will use rewards systems through table points, differentiate levels and set targets more effectively by grouping children of a similar ability together I will also be arranging my classroom so that I can get to ACH student quickly and easily without disturbing or moving others. Positive stimulation for a PEEL also comes through the effective use of displays within a classroom they are an invaluable tool and strategy for a teacher to promote positive messages that can be transmitted through the medium of effective collapsibility. (Dixie,2011 ,31). Classroom displays, if used effectively, suggest to pupils academic ideals, a positive attitude towards work and a reinforcement of an authority of rules, they can as TESTS states Encourage pupils to take a responsible and conscientious attitude to their own work and study (UDF,2011 , 10). Displaying established classroom rules and routines will provide me as a trainee teacher, a tool and strategy to refer back to throughout the course of the year to ensure positive FL to maintain a PEEL. Stimulation within the classroom is also created through displays of children work by putting their work up on the wall I will be displaying exemplary work to be followed, bettered and create high expectations which children want to attain as per ITS. I will be setting targets for them to aspire to where They feel valued, they feel a sense of belonging, which in turn makes them feel happier about school. A happy child is a child who is less likely to cause disruption. (Dunn,2012,49), therefore a valuable strategy to create and maintain FL and a PEEL. Respect is the final part of the extract from the TTS I will look at, the idea that The development of a positive classroom climate depends on this relationship being two-way, your respect for pupils should be reciprocated in their respect for you, (Caribou,1998,70). Respect must be mutual for a PEEL to exist, as per DOTS At its heart, good behavior management is about good teacher/student relationships. I know as a teacher I am required to be knowledgeable about my students as stated by TESTS wrought educational means by having appropriate expectations and planning the correct level of work, but also understanding that behavior always has a reason and is quite often routed in the history of the child. I also believe that respect leads to a PEEL through consistent and fair teaching which takes us back to BUM and children knowing what to expect and what the teachers expectations are. Establishing a PEEL through respect should also be taught in the classroom, Students have to learn to accept that they are responsible for their behavior and its effect on others and the classroom environment. Rogers ,2008,153). Through being a respectful classroom, you can see that FL becomes positive, which in turn creates a PEEL. To close, I will address the idea of maintaining a PEEL through utilizing assessment effectively. Formative assessment as a strategy for PEEL can be seen in learning objectives, learning expectations, targets and many other means. Formative assessment links Joins the idea that in creating high expectations for pupils, a PEEL will be established as set out in ITS and the National Curriculum Teachers should use appropriate assessment to set targets which are deliberately ambitious. Targets also help your less able children feel a sense of achievement. (Cooley,2010,50) thus embedding the concept of a PEEL. As set out in ATSC, formative assessment can be used as a strategy to guide pupils to reflect on the progress they have made (UDF,2011,10). Both self, peer and teacher assessment through feedback, are amazing tools to create a PEEL through giving the responsibility of learning to the children, therefore Mascots idea that the creation of self esteem (through assessment) as a basic need allows children to fulfill their potential, The need to foster pupils self-esteem as learners is monumental to establishing a positive classroom climate, (Caribou,2008,73), therefore, The purpose of self- and peer-assessment is to help children to have a better understanding of assessment and therefore what constitutes progress and success.

Full analysis of Dell PLC Essay Example | Topics and Well Written Essays - 3000 words

Full analysis of Dell PLC - Essay Example The strategy enabled the organization to serve the needs of their customers with some very effective solutions. Dell custom assembled each computer according to the selection of options by the clients, which lead to lower prices than competitors but enhanced convenience to customers and to the company (Wikipedia, 2007). Over the past twenty three years, Dell worked hard and overtook industry giants following their own business model of direct selling instead of going through retailers and reseller (Lee, 2006). Dells mission is simple enough for both the customer and for all other stakeholders in the company. They wish to be the most successful computer company in the world at delivering the best customer experience in markets they serve. However recently the company has faced multiple challenges and has missed their sales forecast figures in six consecutive quarters, surprising for a company which consistently produced results beyond expectations. In the third quarter of 2006, Hewlett Packard dislodged Dell from its leadership position and sold more notebooks (Olenick, 2006). This paper aims to conduct SWOT and PEST analysis for dell and make recommendations in order for Dell to reclaim its leadership position in the industry. Strengths: The biggest strength of Dell is its direct business model. Dell wasn’t the first company to try the direct sales model, but was the first one to make it a success in the technology industry (Wikipedia, 2007). The business model helped accurately identify customer’s needs and made the computer assembly model one of the leanest in the industry. The focus on the model helped company develop their supply chain where components are delivered just in time for assembly (Margulius, 2006). The company ordered the required components only after the customer places the order for the system. It facilitated in not only identifying the customer’s

History Assignment Example | Topics and Well Written Essays - 1250 words

History - Assignment Example â€Å"In two years, through murder, mutilation, or suicide, half of the two hundred fifty thousand Indians on Haiti were dead.† Zinn goes on to explain, â€Å"a report of the year 1650 shows none of the original Arawaks or their descendants left on the island.† 3. One major difference in worldview between European and Native American cultures is the idea of property rights. Europe’s aristocracy thrived on land ownership, and in a culture where land meant power, ideas on dissolving property rights were scarce. The Native Americans, mostly, believed in living in harmony with the land. Humans were only part of the larger picture. So to destroy a forest to build a city isn’t just egocentric, its sacrilegious. When Europeans attempted to buy Native American lands in some instances, some Native Americans couldn’t understand the idea of owning the land. 4. While differences certainly existed in the slavery systems in Africa and the Americas, Americans bein g much crueler to our slaves and Africans viewing slaves more as indentured servants, I think the similarities are too outstanding to ignore. Slavery anywhere should be intolerable to humanity everywhere. I think Dr. Akurang-Parry summarized this sentiment best in his article Ending the Slave Blame: â€Å"The viewpoint that â€Å"Africans† enslaved â€Å"Africans† is obfuscating if not troubling. The deployment of â€Å"African† in African history tends to coalesce into obscurantist constructions of identities that allow scholars, for instance, to subtly call into question the humanity of â€Å"all† Africans. Whenever Asante rulers sold non-Asantes into slavery, they did not construct it in terms of Africans selling fellow Africans. They saw the victims for what they were, for instance, as Akuapems, without categorizing them as fellow Africans. Equally, when Christian Scandinavians and Russians sold war captives to the Islamic people of the Abbasid Empir e, they didn’t think that they were placing fellow Europeans into slavery. This lazy categorizing homogenizes Africans and has become a part of the methodology of African history; not surprisingly, the Western media’s cottage industry on Africa has tapped into it to frame Africans in inchoate generalities allowing the media to describe local crisis in one African state as â€Å"African† problem.† (source: http://www.ghanaweb.com/GhanaHomePage/NewsArchive/artikel.php?ID=180999) 5. English people migrated to North America to escape religious persecution, for the possibility of achieving power or wealth in the new colonies, and to make money on early expeditions to North America. 6. England wanted to establish colonies in North America to expand its cultural influence, for the possibility of gold or natural resources, and to out muscle the French and Spanish who were colonizing the area at the time. 7. An indentured servant was a worker, typically a young per son from Europe, who agreed to work a certain number of years for a master if that master would pay for their voyage to America. These workers were crucial to our developing economy, as low wage workers were scarce and slaves were expensive. 8. One similarity between all the colonies is

Communication Strategy Employed By Pop Artist Rihanna Film Studies Essay

Communication Strategy Employed By Pop Artist Rihanna Film Studies Essay In this essay, I will be analyzing how Rihanna has used the media to communicate or portray her different messages through her music. On the other hand, however, there is the media that has its own version of those messages thus, constructing different realities for the perceiving audience. The Media provides information and updates on various happenings and issues on all aspects to the public thus providing them basic knowledge and information to enable them make their own judgments and perceptions such as, social perceptions (Sadaf, 2011). Sadaf (2011) explains social perception as the means in which we make sense of our social world through media representations as it plays an important role in making some issues important and some issues important. I will then discuss Rihannas communication strategy to her audience through her music as well as persona using the narrative theory through communication as a structure. In reality, there is no RIHANNA. Her real name is Robyn Rihanna Fenty. Rihanna is a concept adopted by the music industry to sell music as Wall (2003;153) says, Stars are a form of capital in which a record company invests significant sums of money to gain publicity and reinforce an image they believe will in turn will generate greater sales of that stars records. The stars image however is not real. It is a representation of wider social values and a constructed set of individualness where the audience feels it knows the stars personality but in truth, this image is just a media text. How authentic a star may feel to its audience depends on success of the construction of the stars persona around the different facets of their personality (Wall, 2003; 153). Robyn Rihanna Fenty dropped two of her names and only took on Rihanna because it not only sounds exotic but also there was no Rihanna in the music business. That accorded her authenticity as an artist because when her name was mentioned, people would immediately know which Rihanna it was. Rihanna has thus been able to communicate messages of authenticness through the way she sings dresses and acts while in the public. This is a way for her to tell the public about herself and how her music is supposed to be understood.( Machin,2010;32) This she does through her choice of album names and sleeves from which the audience can make a guess at what she will sound like. Machin (2010; 34) also says that the images used on the album sleeves help communicate certain discourses, values, identities and so on. The chosen typefaces used for the artists name on the sleeve also communicate ideas and attitudes. In my observation, Rihannas public persona and her album sleeves contribute towards her authenticness as a musician but at the same communicating varying messages. Dyer (1987 cited in Tolson 2001) defined authenticity or the act of being yourself as a concept derived from the ideology of individualism where individuals are said to possess an inner irreducible essence. A true self behind whatever public face, or mask they may project. Rihannas authenticness can best be seen in an interview with Oprah on the Oprah Winfrey Show where the viewing audience was teased with a Rihnaana as youve never seen her before opening line. In this interview, Rihanna talks about her life and her relationship with Chris brown. Oprah succeeds in making her cry which is the epitome of the show as through Rihannas tears, the audience is able to feel her emotion. Tim Wall (2003;153) says the audience is made to feel like it knows the stars as individuals but that this experience is mediated through interviews, records, photos but the knowledge obtained about the stars is a product of carefully executed campaign plans all so to encourage the audience buy the stars records and an array of assorted merchandise. However, in the real world, there is no actual audience as they are mere constructions. An audience exists when a certain role has been played out that identifies with certain people who in turn become the audience. (Mafalda 2012) In the interview with Oprah Winfrey, Rihanna played the role of the victim by both the relationship with Chris Brown and in the media. However, the interesting part about the interview was how she turned the story around depicting Chris as troubled and in need of help. While the media had showed her as the victim, she called Chris the victim constructing a different reality for the audience from the one made by the media. Rihanna was able to expand her audience after her publicized domestic violence case with then boyfriend, Chris Brown. The issue was extensively covered by the media in which she was depicted as a vulnerable woman while Chris Brown as a beast. In turn, she used this to earn her more sympathizers and therefore generating a larger audience as she was now looked as a beacon of hope for domestically violated women while Chris Brown lost a few of his own audience as he was now labeled a woman beater. Celebity and scandal are closely linked where scandal is supposed to increase the celebrity quotient of the star. The scandal isnt just about the celebritys life alone but of events that accord them iconicity and notoriety (Nayar, ;113). Rihannas biggest scandal is her involvement with ex boyfriend Chris brown even though he beat her up early in the relationship and not even the fact that he has a girlfriend. Rihanna stirs controversy in her communication through her openness about sex. Wall (2003) suggests that Sexuality and the representation of gender and sexual preference play significant roles in the music and image of individual artists. Rihanna has featured numerous times in mens adult magazines such as GQ and Esquire, also singing a lot about sexual tendencies in songs such as Te Amo in which she plays out a l esbian scene and SM. SM refers to Sadism (S) and Masochism (M) defined by Weinberg (1987) as the frame with which people distinguish their pretend play from actual violence or domination; this frame hinges on the BDSM credo, safe, sane, and consensual. Another commonality is the recurring elements that are played with, including power (exchanging it, taking it, and/or giving it up), the mind (psychology), and sensations (using or depriving use of the senses and working with the chemicals released by the body when pain and/or intense sensation are experienced) (Pawlowski,  2009) In the song SM, Rihanna plays with the media in a way that depicts her first as an object for study. However, she is able to conquer the power from the journalists through BDSM. Edwards (1993) takes the concept of a beauty ideal one step further and contends that the black women featured in music videos exemplify physical characteristics of the tragic mulatto. Many of the black women featured in music videos depict a Westernized beauty ideal of lighter skin, long hair, and blue or green eyes. Previous research findings show that color tone could have some influence in the way a celebrity is perceived and is able to appeal to their audience. People attribute higher status and grant more power and wealth to people of one complexion, typically light skin, within the groups designated as non-white (Hunter 2011) Charles (2009a) suggests that hegemonic representations of white skin are thoroughly rooted in multiple social institutions including education, religion, mass media, and popular culture where images of white beauty do not simply rely on white women with blonde hair and light eyes to sell products. Rihanna uses her body to sell her image, through displaying her femininity recognizable through, for example, edgy clothing that combines frilly, pretty femininity with a masculine style and garments that suggest a more porn-inspired raunch (Levy, 2005). celebrity culture, through the pop musicians (Baker, 2004), provides a rich source of meanings around sexuality. These meanings appear to be heavily saturated by raunchy (see Levy, 2005) representations in music videos where body revealing clothing is accompanied by acts of sexual simulation, self-touching, sexual poses and so on (Jackson, Vares Gill, 2012). She has been able to promote her own personal brand through social networking skills using platforms like twitter, instagram, as well as her uniqueness in her hairstyles, fashion sense, lyrics and attitude. While a good brand elicits thoughts, a great brand elicits feelings. She has been able to create emotional friendships with her fans whom she calls the Rihanna Navy through her social network sites publicizing personal events such as the death of her grandmother whom she called grand gran Dolly. Rihanna has also been able to establish with time an archetype for her brand personality and story. This is in her on camera character as a defiant hardcore girl. This image can be seen in latest albums such as Good girl gone bad, Rated R and Unapologetic. Rihanna has been able to set herself as a brand using her fashion sense, being endorsed by brands such as Armani, Nivea, Oprah, Nike and Clinique increasing her social capital. Her diversity in the brands she promotes suggests her success as a star. However, When celebrities endorse a particular product, the public is more likely to believe in its effectiveness and purchase the product, and when a celebrity particularly endorses a skin-lightening product, they are also endorsing the act of skin-lightening itself, suggesting that their own beauty is attainable and that skin-lightening is a mainstream, culturally acceptable act (Hunter,2011). McCracken (1989 cited in Grace Phang ;4) states that a consumer sees a celebrity endorsing a product and they recognize the essential similarity between the message, product, and celebrity and transfers the meanings of that celebrity to the product simply because Celebrities play roles where their image carries the meanings of those roles. All above factors mentioned have helped her build an identity as a celebrity. However, her Caribbean beats and looks had been around for a while and to succeed as a star she had to undergo a massive change. The duet with Justin Timberlake saw her morph from the girl dancing to Pon De Replay to the woman that invoked desire. This metamorphism in character and identity expanded her fan base. Her identity did not just change with her choice of songs but also her wardrobe. She cut her hair short and dyed it black which also grew a series of metamorphism where it went from cheek length to just one side long the other remaining short, to being boyishly short and finally red. This cutting of her hair was not just fashion sense speaking but she was communicating to an audience. Rihanna has been able to express herself in a variety of ways especially through her dress code, most notably her hairstyles. However, this is a mere strategy to sell her image, as it is a constructed image that the audience associates with her. As observed, all music or movie stars are a mere construction, they are a source of capital for record companies that own them. (Wall,2003;153). A lot of money is invested in Rihanna as the brand, therefore, developing and publicizing her star image is not just to sell individual records as people always need something new to keep them interested but as a brand or commodity (Wall,2003; 154). This practice involves ongoing maintenance of a fan base, performed intimacy, authenticity and access, and construction of a consumable persona. popularity is maintained through ongoing fan management; and self-presentation is carefully constructed to be consumed by others.

B-2 bomber :: essays research papers

WHAT IS THE B-2 BOMBER?   Ã‚  Ã‚  Ã‚  Ã‚  Stealth Aircraft, military aircraft, fighters, and bombers designed to elude detection and tracking systems, such as radar and infrared monitoring. Stealth technology is used to mask unmanned objects such as cruise missiles. The United States is a world leader in developing and deploying stealth technology, although much about its program remains classified.   Ã‚  Ã‚  Ã‚  Ã‚  Stealth technology includes a variety of design features that affect an aircraft signal, also called its signature, on tracking systems. These features include an aircraft shape and the materials used to build it. For example, it is harder for a radar to detect an aircraft that has smooth and rounded curves. Special composite materials or coatings on the surface of an aircraft can absorb or deflect radar signals. Engines placed within the body of the aircraft and exhaust vents may be arranged to mask the heat coming from engines and help hide an aircraft from heat seeking sensors. Reducing the noise and vibrations produced by stealth aircraft may also minimize its acoustic signature. In addition, stealth aircraft are equipped with special electronics for suppressing or confusing enemy monitoring systems.   Ã‚  Ã‚  Ã‚  Ã‚  Since the use of radar during World War II (1939-1945), air forces worldwide have tried to develop methods of confusing radar or making it ineffective. Early attempts at this included the targeted aircraft attempting to electronically jam radar or to release metallic strips to produce false readings. However, in the 1950’s and 60’s, new electronic tracking methods and the new waves devised to confuse them kept pace with one another, prompting military engineers to look for ways to completely mask aircraft.   Ã‚  Ã‚  Ã‚  Ã‚  American aeronautical engineer Clarence L.

A Comparative Study between Johann Sebastian Bach and George Frideric Handel

Johann Sebastian Bach and George Frideric Handel were both Baroque composers who used the Italian and French styles that were the basic language of the Baroque. The study of Bach and Handel is interesting because of their marked similarities and subtle differences. Bach and Handel were of Saxon ancestry. They came from neighboring towns, Bach from Eisenach, Handel from Halle, and were born but one month apart in the same year, Handel in February, Bach in March, 1685 (Young, 1962). They were both masters of concerto in all its forms:sonata;suite;fugue;opera;cantata;both sacred and secular;oratorio;mass;passion.Both Bach and Handel learnt their art by making copies of all the works of acknowledged masters. Bach and Handel were studious copyists throughout their lives. Besides Johann Christoph, Bach took as models the Italians, Frescobaldi, Corelli, Vivaldi, Lotti, Caldara, Legrenzi, Marcello and many others. His special interests led to keyboard music, to violin music and to choral mus ic. Handel, under Zachau, made an anthology of excerpts from Froberger, Kerll,Strungck, Johann Krieger. During his later career he was influenced by Alessandro Stradella, Giacomo Carissimi, Georg Muffatt, Karl Heinrich Graun, Giovanni Clari and others.Though they sound like brilliant stars rising at the same time, they charted their different paths in music according to their individual natures. There was no musical tradition in Handel's family, his father was a prosperous surgeon who intended George Frideric for the Law; on the other hand members of the Bach dynasty had been for generations conspicuous in musical affairs in Thuringiaevering. Bach remained within the boundaries of his Saxon fatherland throughout his life and was a good citizen and was the father of twenty children.Handel, on the other hand was the man of the world, honored all over Europe. He was bold and outgoing in nature. The one tragic similarity in their lives is that they both went blind at the end of their li ves (Young, 1962). While Bach's grave was forgotten, Handel, who died nine years later, in 1759, was laid to rest in the English pantheon, Westminster Abbey. In those days, music was solely written for the sole purpose of immediate performance, its preservation beyond that moment being a secondary consideration. â€Å"Occasional† or commissioned work used to be the rule.Bach wrote his cantatas for the services of St. Thomas' Church in Leipzig, and Handel wrote his operas for special performances and strictly to suit the voices of the personnel that happened to be available. Bach’s work was mostly unrecognized and neglected for many generations till the 19th century. He was recognized as a great musician by the world only 75 years after his death. The later 18th century knew Bach mainly as an instrumental composer who wrote especially for the organ and the piano (Bekker, 1927). People tended to interpret Bach’s from diverse viewpoints.Bach used to be considered a contrapuntist pure and simple, a learned musician who treated music as a sort of mathematics (Bekker, 1927). From this viewpoint, Bach seemed to be principally a servant of the church, a sort of Protestant Palestrina who also wrote secular music. Later it became apparent that he could not after all be counted simply as a composer of Church music, so he was looked upon as a romantic poet. The romanticists, declared that Bach was the archromanticist, and should be interpreted with the utmost feeling and expression.Some felt that Bach's music was inherently emotional (Bekker, 1927). Whatever the angle of perception, Bach came to be regarded as the great builder of musical form. Contrastingly, Handel, the cosmopolitan composer and impresario, was internationally famous in his own lifetime. He was primarily a writer of oratorios (Young, 1962). His instrumental compositions were not considered serious enough for study. The Italian operas which he composed in were considered worthless in the eyes of the critics of that period (Bekker, 1927).Today however, things have changed and Handel's operas are in the repertoire of nearly every great opera-house (Bekker, 1927). Bach used a personal synthesis of the Flemish and Italian styles with German counterpoint, Handel showed a strong early inclination toward the extroverted and dramatic world of Italian opera (Krantz, 2007). In short, it can be said that Bach looked inward and Handel outward. Bach composed cantatas and organ music and, by his genius and talent for seeing holistic symbolism in words and music, he extended the character of his models (Young, 1962).Handel, more fluent, more rhetorical, and a free agent with his way to make in the world seized the formalized patterns of entertainment music in secular cantata, in oratorio, in opera, and in instrumental music (Young, 1962). Both Bach and Handel had different personalities. Bach was an introvert whereas Handel was an extrovert. Handel assimilated the various nati onal styles and specialized in each of them separately. Bach assimilated the various influences with his own personal style and arrived at a fusion of national styles in which the single elements are inseparable (Dorak, 2002).The main works of Handel are his operas, written from an universal perspective for an international public. The main works of Bach are his cantatas, written for the local churches, and his passions, the monuments of his liturgical severity. Handel, being a widely traveled musician has visited many international centers of music. Bach, on the other hand confined himself within the limits of central Germany. Bach’s great works include the Passacaglia and Fugue in C Minor, most of the great preludes and fugues, and the 45 chorale-preludes gathered in Das Orgelbuchlein [the little organ book].His instrumental compositions are the Chromatic Fantasy and Fugue; the English Suites; the French Suites; the Two-Part and Three-Part Inventions; and Book I of the cele brated Well-Tempered Clavier. He also wrote several unaccompanied violin sonatas and cello suites, and the Brandenburg Concertos, recognized as the best concerti grossi ever composed. The St. John Passion was performed (1723) at Leipzig and his Magnificat was presented shortly after he assumed that post.Many more of his superb religious compositions followed: the St. Matthew Passion (1729), the Christmas Oratorio, the sonorous Mass in B Minor, and the six motets. The principal keyboard works of this period were Book II of The Well-Tempered Clavier and the four books of clavier pieces in the Clavierubung and the Goldberg Variations. His last notable compositions were the Musical Offering composed (1747) for Frederick the Great and The Art of the Fugue (1749). In all his positions as choir director, Bach composed sacred cantatas—a total of some 300, of which nearly 200 are extant.There are also over 30 secular cantatas, composed at Leipzig, among them Phoebus and Pan (1731). Th e bulk of his work is religious. In his instrumental and choral works he perfected the art of polyphony, displaying an unmatched combination of inventiveness and control in his great, striding fugues (The Columbia Encyclopedia, 2004a). Handel's 46 operas include much of his finest music; among them are Julius Caesar (1724), Atalanta (1736), Berenice (1737), and Serse (1738), which contains the tenor aria now known as Largo. Handel's opera, ‘Messiah’ was presented in Dublin in 1742.An essentially contemplative work, it stands apart from the rest of his 32 oratorios, which are dramatically conceived, and its immense popularity has resulted in the erroneous conception of Handel as primarily a church composer. Other outstanding oratorios are Acis and Galatea (1720), Esther (1732), Israel in Egypt (1736–37), Saul (1739), and Judas Maccabeus (1747). He also composed about 100 Italian solo cantatas; numerous orchestral works, and the anthem â€Å"Zadok, the Priest† (1727) for the coronation of George II, which has been used for all subsequent coronations (The Columbia Encyclopedia, 2004b).There is one particular text that was set to music by both Bach and Handel. This is Eilt ihr angefocht'nen Seelen in the Passion Oratorio (by Handel) and in the St. John Passion (by Bach). They used the same key and the same pictorial representation of ‘haste', and the choral interjections at dramatic points are also common. Bukofzer, however, has opined that Handel's music is inferior because it lacks the highly individual stamp that distinguished Bach from all other composers (Dorak, 2002). When one considers their particular musical styles, Johann Sebastian Bach's music is not pompous, not theatrical; it is not court music, not gala music.His music was essentially introspective music; he did not think of the audience for whom he composed; his music is the product of his inner reflections. It is an outward expression of his tender feelings. Even in the most grandiose and eloquent moments of his â€Å"Passions† he still remains intimate. Bach’s music thus addressed itself mainly to the connoisseur. Handel wrote for the world, for the court, for the stage. His music is naturally brilliant; he has the gift for clear sonorities and powerful rhythms, which make a physical impression on the crowd, exalt and carry it away.His breadth and simplicity of design make his work illuminating, he is popular. But Bach's art is one that aims to say many things in an instant – in a single word (Landormy & Martens, 1927). This richness sometimes made it difficult for people to understand and appreciate. Handel focuses most on the harmonic clarity of his ensemble; he makes choice of what he wishes to say, he is sober, concise; He prefers to use the simple air of accompanied monody rather than polyphonic complexities (Landormy and Martens, 1927).Dynamic patterns in music were principally of two types: the melodic, which made use mainly of the voice and is known as thorough-bass, and the contrapuntal, which made use mainly of instruments and is mistakenly called polyphony (Bekker, 1927). On the superficial level, one may find that Bach is a composer of instrumental music in contrapuntal style and Handel on the other, a composer of vocal music in thoroughbass style. Some might classify the work of Bach, the pious man as subjective and Handel, the worldly man as an objective type. But these distinctions are not firmly based.Both were religious men who were also practical in their approach. They were both introspective as well as objective and both wrote vocal as well as instrumental music, and both made use of thorough-bass as well as of contrapuntal forms. They figured bass and counterpoint, and although they performed individually, they were also teachers in singing. They even chose to specialize in the same musical instrument: the organ. Bach lead his congregation in the singing of cantatas on Sundays o r the Passions on high holidays at St. Thomas's church at Leipzig much in the same way as Handel conducted his operas and his oratorios (Bekker, 1927).Bach’s music can be termed as intensive melodies whereas Handel’s music can be termed extensive melodies. Bach uses very dense contrapuntal texture with complex and chromatic harmonies. On the other hand Handel uses a simple template for his expressions and hence his work is meant for instant sensuous appreciation. The extensive quality of Handel's melodies allows his music to be amplified whereas this is not possible in the case of Bach's music. Amplification would destroy the transparency of the contrapuntal process. The vocal component of Bach’s music is very difficult to perform.There are disjunct movements and awkward intervals. There is no overlapping between the instrumental and vocal lines. In fact, the free-voiced choral polyphony of Handel and the strictly linear, instrumentally conceived polyphony of Ba ch form the two poles of late Baroque music (Bekker, 1927). Handel considers the flow of ideas more important than elaboration whereas to Bach, elaboration is more important. The fast changing textures in his choral writing clearly indicate that for Handel, counterpoint is only a means to a dramatic end (Krantz, 2007). On the contrary, Bach takes it as an end in itself which must be consistent.By nature of its conception, Handel’s counterpoint reaches its apex through the vocal medium. Handel’s work depends so much on the vocal component so much so even his keyboard fugues seem to call for text and become most excellent in vocal form. This accounts for the success of Handel in vocal music (Krantz, 2007). Bach is more adept at the instrumental form. Bach prefers to submit his choral polyphony to an instrumental standard. To quote Tevfik Dorak: â€Å"In the flexibility of his choral idiom, Handel surpasses Bach in the same measure as Bach surpasses Handel in contrapunta l consistency† (Dorak, 2002).One of the major differences between them lay in their individual conception of tone. A person who conceives tone vocally will also feel instrumental music as vocal, and the person who conceives tone instrumentally will also feel vocal music as instrumental. Some comparative features among the two great masters are as follows (Dorak, 2002):Bach conceived tone instrumentally and Handel vocally.Bach focused a lot on spiritual music and created profoundly religious cantatas, passions and masses. Handel treated even religious theme based oratorios such as the â€Å"Messiah† with a theatrical effect. This was more popular to the middle class audience.The vocal component of his music was used essentially as a melodic instrument with the most intricate demands of counterpoint expected of it. Handel's writing for the voice is completely idiomatic and the freer contrapuntal textures are more vocally conceived and are contrasted with powerful choral w riting.Handel demonstrates the Italian conservatism in his music and uses very simplified form. Bach is conservative in his adherence to the complex polyphonic texture, but progressive in his choice of modern forms, such as the concerto form of Vivaldi. Similarly, the organ style of Handel is clearly influenced by the idiom of the harpsichord as the opposite is true for Bach.Bach is related to the immediate future in his attitude because of modern day focus on instrumental music, while Handel is related to the past. On the other hand the melodic, homophonic figured bass chosen by Handel is more relevant to modern music than Bach's contrapuntal style. Thus both these composers are in some ways relevant to the past and in some other ways relevant to the future. The two great masters of the Baroque period were not beyond criticism.Bach was criticized because he was too intellectual and, paradoxically, because an excess of reason conflicted with the aesthetic precepts of the Age of Reas on. Handel was criticized for exceeding the conventional in the extras which he introduced into his orchestration to underline his dramatic appreciation of scene and situation. Whatever be the criticisms, it remains undeniable that these two masters of Baroque were outstanding in their natural talent. Though they belonged to the same place and same period and produced musical works of similar genre, they differed in their styles of expression.This difference actually was a major asset to these great masters who remained true to their inner beliefs. The honesty of expression combined with their outstanding talents has helped define baroque music.BibliographyDorak, Tevfik (2002). Handel and JS Bach. http://www. dorak. info/music/jsbgfh. htmlBukofzer MF. Music in the Baroque Era. WW Norton & Company Inc. NY, 1974, pp. 345-9.Krantz, Allen (2007). George Frideric Handel. http://www. classicalarchives. com/bios/handel_bio. html Landormy, Paul and Martens, H. Frederick (1927).A History of Music. Charles Scribner's Sons. New York. 1927. The Columbia Encyclopedia (2004a).Bach, Johann Sebastian. Sixth Edition. Columbia University Press. New York. 2004 The Columbia Encyclopedia (2004b).Handel, George Frideric. Sixth Edition. Columbia University Press. New York. 2004. Young, M. Percy. (1962).The Choral Tradition: An historical and analytical survey from the sixteenth century to the present day. W. W. Norton Publishing. New York 1962. Bekker, Paul (1927).The Story of Music: An Historical Sketch of the Changes in Musical Form. Translated by Alice Kortschak and Herter Norton. W. W. Norton and Company Inc. New York. 1927.