What's Wrong With the WikipediaJews in the Middle Ages Entry Essay

What's Wrong With the WikipediaJews in the Middle Ages Entry - Essay Example A number of article entries have made fantastic claims about certain events, people, or facts without providing any authentic or credible sources to back them. Wikipedia is an open and free encyclopedia which is not considered to be a valid and trustworthy source by universities. Students are not allowed to cite information taken from Wikipedia while other schools have banned its usage. This research paper assesses the encyclopedic entry â€Å"Jews in the Middle Ages† by pointing out the untrustworthiness and unreliability of its content. It considers how the article is limited with reference to the history of the Jews by excluding several communities. It also studies how certain elements and aspects of Jewish history have not been added into the entry. The paper investigates and critically assesses how the article makes conclusions regarding the relations between the Jews and majority culture. The article extensively writes about the social conditions of the Jews living in West Europe. It fails to mention the history of the Jews who lived in the Middle East and Russia1. The Islamic caliphates were at the height of their intellectual, scientific, and philosophical achievements. Unlike the Christian West, Jews were actually tolerated and protected under Arab areas. The Jews had to pay a special tax called â€Å"Jizya† which was levied on minorities. Wikipedia’s article fails to write about the social conditions of the Jews in the Islamic caliphates. Jews rose to important positions inside the Islamic Caliphates like Solomon Ibn Gabirol and Yehuda HaLevi2. These Jews made extensive contributions towards the study of Judaism by writing interpretations of the Torah, philosophical beliefs, and prayers. An investigation of the article also reveals little information regarding the position of Jews in the Slavic nations. The Khazar kingdom in the middle ages was a Je wish state in the

Project Proposal Essay Example for Free

Project Proposal Essay 1. Recommend a project portfolio management method for your selected project. Provide a rationale for your recommendation. Note: Be sure to align your project with the strategic efforst of the organization. 2. Create an outline of an executive summary that includes the type of problem, requirements, and proposed business problems solutions. 3. State the vision and the goal of the project. Note: Be sure that the goals are specific, Measurable, Attainable, Realistic, and Timely (SMART). 4. Determine five (5) major deliverables of the project, and explain the importance of each one. 5. Provide the timeframe for delivering the solution to the project. 6. Create a table which contains the generic resources, including people, equipment , and materials needed to undertake the project. 7. Estimate the total budget for the project based on the cost of the resources specified in the table that you have created . Next, add contingency and any other additional costs (e.g. intangible cost, the cost of a change in culture or process within the the business etc.). Support your response. 8. Determine the key success criteria for your project. Provide a rationale to support your response. 9. Assume that your project is delivered on time, within scope, and budget. Justify your stakeholders’ satisfactory level with three (3) key success criteria, against which the project will be measured. 10. Use at least three (3) quality resources in this assignment.

Bertelsmann AG Financial Analysis Essay -- essays research papers fc

Bertelsmann AG Financial Analysis Report History   Ã‚  Ã‚  Ã‚  Ã‚  Bertelsmann AG was founded in July 1835 by Carl Bertelsmann as a print shop. Initially the company concentrated on Christian books and songs. In 1849 Carl Bertelsmann’s son Heinrich took over the publishing business, which employed 14, and extended the inventory of the publishing house to novels. At the time of his death in 1887, the staff had grown to 60.   Ã‚  Ã‚  Ã‚  Ã‚  Next to head the company was Johannes Mohn, son-in-law of Heinrich. The company’s growth slowed during this period and the focus was redirected to theological subjects. In 1910 he introduced paid vacation to the company. By 1921, when he turned control of the company over to his son Heinrich, the company had grown to 85 people.   Ã‚  Ã‚  Ã‚  Ã‚  Under the leadership of Heinrich Bertelsmann, the company experienced rapid growth and by 1939, the publishing house had grown to employ 400 people. New marketing channels were added as the readership became more mainstream in the late 1920’s. On the verge of World War II, the company moved from classical literature and fiction to include books with militaristic themes and eventually published books with nationalistic, racial and anti-Semitic content. The publisher insured its survival for most of the war by linking itself with the Nationalist Socialist ideology. Trouble started in 1944 when it was shut down by the German government as non-essential to the war effort and then crippled in March 1945 during an allied air raid on Gutersloh, in which only some of the printing machines survived.   Ã‚  Ã‚  Ã‚  Ã‚  After the war, the publisher was rebuilt by the fifth generation to lead Bertelsmann, Reinhart Hohn, whose influence continues to the present. He took the company from a medium-size printing company to a media conglomerate. In 1950 he established the Reader’s Circle, which bypassed the traditional marketing channels and allowed books to go directly to the reader. Within a year, it had 100,000 members and by 1954 membership had reached 1,000,000. The LP label Ariola Records was founded in 1958 which signaled the company’s entry into the music market. Bertelsmann entered the film industry with the purchase of Ufa Filmproduktionsgesellschaft in 1964. Mohn’s transition of the company culminated in 1971 with incorporation. He remain... ...tor-Presse Stutgart. The Sales to Asset Ratio of the Gruner + Jahr group is very high, at 1.90 (corporate is .81) which could indicate that demand is very strong. Sales to Asset Ratio of Random House is close to the corporate ratio at 1.02. The parent company also has a strong cash position, so operations in this division will have solid financial backing. Whether these efforts will be successful cannot be determined at this time, but Bertelsmann has a rich history and culture upon which to build. Bibliography Apuzzo, Matt. â€Å"Lawsuit: Sony BMG Blacklisted Agent†. Associated Press. 1 April 2005. 5 April 2005. . Bernstein, Leopold A. Financial Statement Analysis. Homewood, Illinois: Ricard D. Irwin Inc., 1978. Bertelsmann Media Worldwide. 4 April 2005. . Bertelsmann Media Worldwide. 2004 Annual Report. Blelefeld. 4 March 2005. Bertelsmann Media Worldwide. 2003 Annual Report. Blelefeld. 15 March 2004. Bertelsmann Media Worldwide. Press Conference, â€Å"Corporate Development and Strategy†. Berlin. 17 March 2005. Surman, Matt. â€Å"Bertelsmann Profit Rises in 2004.† Business Week Online 17 March 2005. 4 April 2005 . Wikipedia, the Free Encyclopedia. â€Å"Bertelsmann AG.† 4 April 2005. .

Analyze The Concept Of Creativity History Essay

In malice of its current popularity, the construct of creativeness, i.e. its name, is a recent impression that, however, went through a figure of development phases and metabolisms caused by the alterations in the manner the construct of creativeness was perceived by societies at assorted phases of development. The procedure is non finished yet. Sometime in the hereafter the general construct of creativeness will hopefully be converted into a specialised construct, i. e. its regularities will be enumerated while its specialnesss associating it presently to a civilization or a subculture will be eliminated. In the undermentioned text, the development of the construct of creativeness throughout history is reviewed briefly, with the focal point on of import mileposts and personalities. The mileposts are arranged in a temporal sequence, whereas outstanding personalities are quoted where necessary, instead than presented in a rigorous temporal sequence. It is intuitively easy to accept the thesis that originative Acts of the Apostless have been around every bit long as the gay sapiens, the androids and, so, populating beings. The construct of creativeness appeared much later, and came away really gradually.A On the long manner to set uping it, many intermediate new footings were generated, some of which have been used for centuries, in exceeding instances until our time.A They help us understand more easy what creativeness is and how it interacts with other operations in the rational sphere.A Theoretical positions of creativeness follow the development of human civilization and thought.A Therefore, the construct of creativeness is a constituent of the history of the human idea to the same extent as any other rational manifestation ( Briffault, 1928 ) . Much of the historical developments as accounted for in the undermentioned reappraisal are based on Tatarkiewicz ‘s book ( 1980 ) , Dictionnaire philosophique, and the undermentioned mentions: Verma ( 1969 ) , Lindberg ( 1976 ) , Abdus Salam ( 1984 ) , Agar ( 2001 ) , Ahmad ( 2002 ) , Steffens ( 2006 ) , Covington ( 2007 ) , Roshdi ( 2007 ) , and Medieval Classic civilisation ; An Encyclopaedia. Prehistoric times Remarkable and really advanced objects attesting to human originative mastermind are known from the art history. They originate from many parts of the universe and from many different civilizations and epochs.A Possibly the first illustrations of the earliest manifestations of creativeness are assorted objects produced by the Australian Aborigines.A The Aborigines are presumed to hold moved to Australia from India some 50 000 old ages ago.A Their most enigmatic originative merchandise is the throwing stick – for them runing tool, for us an puzzling object of scientific studies.AAOther of import manifestation of human originative act and thought originates from Egypt and Mexico.A These states distinguish themselves non merely by really advanced ability to bring forth objects, but besides by the scientific ( most frequently astronomic ) cognition embedded in these products.A The pyramids of Egypt and those of Mexico, Guatemala, or Belize, the Mayan calendar, and the manner of ut ilizing mathematics in Egypt and in Mexico, are perfectly astonishing even today. The Mayan uranologists had developed a spacial geometry separating from astronomy.A The mathematics they used is still more accurate than the computational algorithms that make the flow of informations in modern information webs possible ( Ferrera-Balanquet, 2009 ) . Another cultural country of great importance extends in Asia, peculiarly in the country consisting the present twenty-four hours Iraq, Iran, India, Sri Lanka and Cambodia.A Buildings, stuffs and assorted constructs of natural philosophies embedded in the edifices testify to the high degree of cognition these peoples possessed 1000s of old ages ago.A In China and Japan, excessively, creativeness enhanced cognition in a mode that after 1000s of old ages is still admired. India stands, as usual, apart in that it knew creativeness as â€Å" penetration † since times immemorial. For case, in the nonextant Pali linguistic communication the word vipassanA? consists of the Sanskrit prefix â€Å" vi- † and the verbal root a?spaA†º . It is frequently translated as â€Å" insight † or â€Å" clear-seeing, † One should non be misled by the â€Å" in- † prefix in â€Å" insight † .. â€Å" Vi † in ancient Aryan linguistic communications is tantamount to the Latin â€Å" dis- † . It is sensible to reason that in the word vipassanA? the prefix â€Å" vi- † generates the significance â€Å" to see apart † , or discern. Alternatively, the â€Å" six † can work as an intensive. In that instance vipassanA? may intend â€Å" seeing profoundly † . A Pali equivalent word for â€Å" VipassanA? † is paccakkha, menaing â€Å" before the eyes, † which refers to direct expe riential perceptual experience. Therefore, the type of seeing denoted by â€Å" vipassanA? † is that of direct perceptual experience and experience, as opposed to knowledge derived from concluding or statement. It has besides been adopted as the name of a sort of Buddhist speculation. Ancient Greece The people of Ancient Greece had no footings matching to â€Å" creativeness † or â€Å" Godhead † . Yet, the poet was considered to be one who creates. Whatever was â€Å" originative † in the present sense of the word, was called art. The construct of art ( in Greek i?Siiiˆ?iˆÂ ° , from which technique and engineering evolved ) , implied subjugation to regulations. Poetry ( from i?‚i?ˆiˆ?i?ˆiˆ?i? §i?Siˆ? – to do ) was an exclusion, although it was limited merely to i?‚i?ˆi?SiˆÂ °i?† iˆ?i ( poesy ) and to the i?‚i?ˆiˆ?iˆÂ °i?Si?si ( poet, or shaper ) who made it, instead than to art in general. The ground was that art was considered an imitation of what already exists, â€Å" the devising of things, harmonizing to regulations † , therefore subjugation to Torahs and regulations. In picture, music, or literature, there was no freedom.A They were governed by what was known as I?I?I?I?I? ( the Torahs ) .A This conservative attitude and demand for subjugation prevailed in the plants of Plato who claimed, chiefly in Timaeus, Dialogue of Ion, and in The Republic, that a good work is contingent on detecting an ageless theoretical account as suggested by Nature, and ne'er divert from that theoretical account. The ageless theoretical accounts were within range, in the surrounding universe, of which creative persons were the imitators.A A They therefore had to stay by certain rules.A In the ocular humanistic disciplines, freedom was curtailed by the proportions that Polyclitus had established for the human frame. He called them â€Å" the canon † ( significance, step ) . Likewise, in music, no freedom was necessary because tunes for ceremonials and amusement were known. They were prescribed as nomoi. Making of things harmonizing to regulations, or I„I µI†¡I†¦I · , was non considered to incorporate any creativeness at all.A In fact, if they had contained creativeness, the province of personal businesss would be considered bad by the Grecian criterions of that clip: Something similar to the negative perceptual experience of originative accounting presents [ Tatarkiewicz, 1980, p. 244 ] . Man ought to detect the Torahs of Nature and abide by them. Seeking freedom of action unnecessarily distracts him from seeking the optimal manner. In Ancient Greece the creative person was non an discoverer, he was a inventor [ Tatarkiewicz, 1980, p. 245 ] . It means that he had to analyze the Torahs of Nature, discover and see how related entities interact, and utilize them as a theoretical account. This world-view had its ain justification.A Nature is both perfect and capable to laws.A The creative person ‘s aspiration must be to detect these Torahs and submit to them, instead than seek the distracting freedom from these Torahs, a freedom that would debar him from achieving the optimum state.A Poetry stood outside these limitations.A The poet invented a whole new universe and gave it life.A The poet differed from the creative person, the impersonator, in that Torahs did non adhere him.A In malice of the absence of the term for creativeness, creative activity, or the Godhead, the poet, and merely the poet, was understood to be a creator.A Harmonizing to the Greek position, the poet was an discoverer, i. e. he put together unrelated entities and allow them interact in an arbitrary mode. This is what made poesy the lone exclusion from the regulations using to art. In footings of truthfulness of this world-view, Aristotle, who established the term truth, was non certain whether poesy required attachment to truth, i. e. whether it imitated Nature. He thought that poesy was in the kingdom that was neither true nor false [ Tatarkiewicz, 1980, p. 245-6 ] . The constructs of imaginativeness and inspiration, excessively, were restricted to poetry merely. Poets were seen otherwise and they saw things otherwise. But non everybody was reconciled with this limitation. An illustration can be found in the Odyssey, where a inquiry is posed why the vocalist should be forbidden to entertain his hearers with vocalizing as he himself will. Yet, even in this stiff environment of tenet, some advancement took topographic point. Therefore, in the third century, Porphyry of Tyros diagrammatically visualized the construct classs of Aristotle. In the 4thcentury of the Christian epoch, Pappus of Alexandria searched for a scientific discipline of innovation. He named his techniques â€Å" heuristics † . Antique Rome The Roman civilisation developed from the Grecian civilisation. It was younger, therefore more progressive and more explorative than was the civilisation of Greece. Therefore, things were seen in a different visible radiation in Rome, and the Grecian constructs were viewed as partly outdated. To get down with, the vocabulary was enriched with new constructs, which shook up the foundations of the Greek idea. This attempt happened to follow two counter-directions.A on the one manus, Cicero wrote that art embracings those things â€Å" which are known † ( â€Å" quae sciuntur † ) [ Tatarkiewicz, 1980, p. 245 ] . Horace, on the other manus, elevated painters to the degree of poets in giving them the privilege of make bolding whatever they pleased ( â€Å" quod libet audendi † ) , alternatively of following the â€Å" ageless theoretical account † .A Furthermore, in the worsening period of antiquity, Lucius Flavius Philostratus discovered a similarity between p oesy and art, and found that art and poesy have imaginativeness in common. Callistratos expanded these thoughts by saying that every bit much as the art of the poets and authors of matter-of-fact literature is inspired, so are the custodies of sculpturers. They, excessively, are gifted with the approval of godly inspiration. The freshness of these posits follows from the fact that Greeks had applied the constructs of imaginativeness and inspiration to poetry merely, but non to the ocular arts.A The Grecian linguistic communication had no word for making, whereas Latin had.A Creare and facere were two Latin words matching to the Greek IˆI?I µI?I†¦.A Yet, ab initio the two Latin footings had about the same significance ( Tatarkiewicz, 1980, p. 246 ) , and were therefore interchangeable. Christian religion Under mediaeval Christianity, the Latin â€Å" creatio † came to denominate God ‘s act of â€Å" creatio ex nihilo † ( i.e. creative activity from nil ) . â€Å" Creatio † therefore no longer could use to human activities. Its significance differed from the significance of â€Å" facere † ( to do ) .A Applied to human activities, facere was the lone word to be used.A Cassiodorus, the of import solon and author of the sixth century, explained that things made and created differ, because we can do but can non create.A His of import plants on this subject, written after his retirement, include De anima ( published 540 ) , Institutiones Divinarum et Saecularium Litterarum ( published likely 543-555 ) , and De Artibus ac Disciplinis Liberalium Litterarum [ Tatarkiewicz 1980, p. 247 ] . This more or less â€Å" secular † reading of creativeness collided with the antediluvian positions of some Christian writers.A To get down with, they believed that art did non belong to the kingdom of creativeness. In this regard they had the same belief as the Greeks. Medieval Christian authors granted no exclusion to poetry.A They claimed that poesy had to follow its regulations. Therefore it was an art, i. e. a trade instead than a originative activity.A The dominant figure among these authors was St. Augustine, a personality whose plants are of involvement even today.A He is claimed to hold used the word imaginativeness as a precursor to creativity.A Imagination, harmonizing to St. Augustine comprised temperament, generation, decrease, extension, telling, any sort of re-composition of images, etc. ( Rodari, 1983 ) . These really same constituents of â€Å" imaginativeness † are used even today [ Tatarkiewicz, 1980, p. 247 ] .Further alterations were recorded in the Middle Ages: poesy ‘s exceeding position was bit by bit revoked, because poesy had its regulations. It was therefore regarded as an art, i. e. a trade, instead than creativeness. The new, spiritual reading of the look notwithstanding, the sentiment that art is non related to creativeness persisted. The plants of two influential early Christian authors, Pseudo-Dionysius and St. Augustine, turn out it. The same can be said the plants of Hraban the Moor and Robert Grosseteste, in the thirteenth century.Renascence There are two periods in European history, called the Renaissance.A The first 1 is the twelfth century Renaissance. It was a period of many advanced and originative cahnges during the High Middle Ages, such as societal, political and economic transmutations. Parallel developments in doctrine and scientific discipline resulted in an rational revival of Europe.A The 2nd Renaissance is the Italian Renaissance in the 15th century.A Some historiographers claim that the alterations holding taken topographic point in the Middle Ages paved the manner to the Italian Renaissance, every bit good as to the scientific developments of the seventeenth century.AThe Gallic historian Jacques lupus erythematosus Goff, an agnostic, argues that the Middle Ages formed an wholly new civilisation, distinct from both the Greco-Roman antiquity, and from the modern world.A The mediaeval accomplishments of the human head and the human custodies can merely be related briefly. The First Rrenaissance. The most originative political Acts of the Apostless of the twelfth century were the initiation of the Hansa in Northern Europe ( along the southern shore of the North Sea and the Baltic Sea, with a few jaunts deeper into Central Europe ) , the Crusades, the rise of towns, and the rise of the early bureaucratic states.A In the cultural sphere the slangs began to replace Latin progressively, higher instruction became more outstanding, with universities shooting all around the European continent between the Atlantic and the Theisse river, the Romanesque art was bit by bit replaced by the Gothic art, the liturgical play, and a European system of jurisprudence was established.A These alterations are true milestones.A In the humanistic disciplines, more accent was put on architecture and sculpture, while in analogue there was a resurgence of involvement in Latin poesy and Latin classics.A An outer enlargement began in the late thirteenth century, when the Venetian adventurer Marco Polo set out to follow the Silk Road to China.A His documental Il Milone made Europeans more cognizant of the Far East, which inspired many missionaries ( Giovanni da Pian del Carpini, Giovanni de Marignolli, Giovanni di Monte Corvino, and others ) to travel east and spread Christianity.A The greatest spring of human cognition were, nevertheless, recorded in scientific discipline and technology.A Since Ibn Alhazen ( besides known as Alhazen, 965-1039 ) laid down the foundations of the scientific method, the accent was put on seeking truth.A Science therefore became a formal subject, different from philosophy.A In early Middle Ages, the Byzantine Empire, the most advanced civilization of antiquity, suffered losingss and a diminution in its scientific capacity.A Likewise, Western Europe, after the autumn of the Western Roman Empire, suffered a ruinous loss of knowledge.A This was partly offset by the attempts of Church bookmans, like Aquinas and Buridan, who preserved elements of scientific inquiry.A In that mode, by interpreting and copying the plants of Islamic bookmans Europe could get down catching up with the scientific finds of the Islamic universe, the Mediterranean basin, India, and China. The most of import stairss to Europe ‘s scientific recovery at that clip consist the undermentioned events: Development of the scientific method ( Alhazen, Biruni, Bacon, and Grosseteste ) ; Arithmetic and Algebra ( Al-Khwarizmi ) ; Differential concretion ( Bhaskara ) ; Mechanics ( Avicenna, with a ulterior part by Ibn Bajjah, besides known as Avempace, Buridan, Galileo, Descartes and Newton ) ; OpticsA ( Aristotle, Plato, Galen, Euclid, Hero of Alexandria, Ptolemaeus. In the tenth century, Alhazen proved through empirical observation that light propagates linearly ; A Robert Grosseteste developed a theory of optics based on the plants of al-Kindi and Ptolemaeus.A Roger Bacon expanded on Grossetestes ‘s theory and integrated Alhazen ‘s optics into it.A Finally, Kepler was able to utilize the foregoing findings to develop the modern theory of optics ) ; SurgeryA ( Abulcasis or Abu al-Qasim Khalaf ibn al-Abbas Al-Zahrawi developed processs and instruments of modern s urgery, such as the scalpel, syringe, vaginal speculum, etc. ) .A In 1266, Theodoric Borgogni published his Chirurgia, in which he advocates antiseptic surgery ) ; Alchemy and Chemistry ( The Jaberian Corpus, written in the tenth century by the Brotherhood of Purity ( Ismaylia ) , the Summa Perfectionis, by Paulus de Tarento, the Secret of Secrets by al-Razi ( Abu Bakr Muhammad ibn Zakariya Razi ) ; A Trigonometry ( al-Tusi, Regiomontanus and Puerbach made these methods wider known in the fifteenth century ) ; Navigation ( the astrolabe and the portable compass, Peter de Maricourt ) ; Accurate lunar modelsA ( Ibn al-Shatir ; Copernicus is believed to hold relied on al-Shatir ‘s theoretical account ) ; Incendiary arms and bombs ( flame-throwers, land- and sea-mines, and projectiles ) . Among of import technological achievements and developments, the followers can be listed: The windmill, foremost mentioned in 1185 ( England ) ; Paper industry began around 1270 ( Italy ) ; The spinning wheel ( thirteenth century ) ; The magnetic compass for pilotage, and the astrolabe ( toward the terminal of the thirteenth century ) ; Spectacless, in the late thirteenth century ( Italy ) ; The Hindu-Arabic numbers introduced to Europe in 1202 with the book Liber Abaci by Leonardo of Pisa ; The stern-mounted rudder, which can be found on church carvings.AThe doctrine developed in the Middle Ages was the Scholasticism.A It is founded on a reinterpretation of the plants of Aristotle, with farther polishs by bookmans like Avicenna, Averroes, Albertus Magnus, Bonaventure, and Abelard.A Scholasticism believes in empirical surveies, and its practicians supported the Catholic Church.A Possibly the most celebrated practician of Scholasticism was Thomas of Aquinas.A His Doctrine of head Teachs that the head of a newborn babe is a tabula rasa that was given the ability to believe, and to acknowledge signifiers, forms, or thoughts through a Godhead flicker. In the late Middle Ages, the rate of scientific advancement declined significantly due to the diminution of the Muslim imperiums and the Byzantine Empire.A This state of affairs lasted until after the Renaissance. The Italian Reanaissance. The Italian Reanaissance brought farther alterations into the manner of thought and life style of people.A The Renaissance doctrine is that of Humanism, which possibly is more a method of larning than a doctrine per Se. An approximative, but by and large accepted definition of Humanism is â€Å" the motion to retrieve, construe, and absorb the linguistic communication, literature, larning and values of ancient Greece and Rome † . Unlike the medieval bookmans, humanists would use a combination of concluding and empirical grounds in reading and measuring ancient texts in the original. Humanistic instruction focused on the survey of five humanistic disciplines: poesy, grammar, history, rhetoric, and moral doctrine. Above all, humanists asserted adult male ‘s mastermind and the ability of the human head, which is alone and extraordinary. Humanitarianism is more secular in some facets, but it unimpeachably developed against a Christian background, peculiarly in the Northern Renaissance.A That period gave mankind some outstanding theologists, all of them followings of the humanist method.A They include Zwingli, Calvin, Thomas More, Erasmus, and Martin Luther.A In peculiar, Dr Martin Luther must be viewed as the liberator of the human psyche, with whatever consequence it had on subsequent cataclysmal developments in society, scientific discipline, concern, and trade. Although the people of the Renaissance were good cognizant of their freedom and creativeness, the term creativeness was non established yet. It was non until the 17th-century that the word â€Å" creativeness † was applied for the first clip. The adult male behind it was Polish poet Maciej Kazimierz Sarbiewski ( 1595-1640 ) , besides known as â€Å" the last Latin poet † . Sarbiewaski applied the term merely to poetry. In his treatise, De perfecta poesi, he wrote that a poet â€Å" invents, † and creates afresh ( â€Å" de novo creat † ) in the mode of God ( â€Å" instar Dei † ) ( Tatarkiewicz, 1980, p. 248 ) . Other humanistic disciplines, in Sarbiewski ‘s sentiment, do non make. They simply imitate and copy. Why Sarbiewski regarded creativeness as something that lone poesy could be associated with, therefore excepting ocular humanistic disciplines, follows from his sentiment that humanistic disciplines ( other than poesy ) imitate and transcript, instead than make, in that they assume the stuff from which they create is already available, and so is the topic. At the terminal of the seventeenth century Andre Felibien ( 1619-75 ) called the painter â€Å" a Godhead † . Spanish Jesuit Baltasar Gracian ( 1601-58 ) saw art as the 2nd Creator that complements nature. This preparation is evocative of Sarbiewski ‘s preparations ( Tatarkiewicz, 1980, p. 248 ) . In the eighteenth century, the happening of the construct of creativeness in art theory kept increasing. It was complemented with the construct of imaginativeness. In Joseph Addison ‘s sentiment imaginativeness â€Å" has something in it like creative activity † . A similar sentiment was held by Voltaire ( 1740 ) . These writers, nevertheless, equated merely poet with Godhead ( Tatarkiewicz, 1980, p. 248-9 ) . Contrary positions proliferated, excessively, peculiarly in France. Diderot worked with imaginativeness, which he viewed simply as â€Å" the memory of signifiers and contents † , which â€Å" creates nil † . It merely combines, magnifies or diminishes. â€Å" The human head can non make † , wrote Charles Batteux. He, excessively, saw its merchandises as exposing the stigmata of the theoretical account used. Etienne Bonnot de Condillac ( 1715-80 ) and Luc de Clapiers, known as Marquis de Vauvenargues ( 1715-47 ) , proposed similar thoughts ( Tatarkiewicz, 1980, p. 249 ) . There were three grounds why they rejected the thought of human creativeness: Creation was at that clip reserved for creative activity ex nihilo. The latter was beyond adult male ‘s abilities. Creation is a cryptic act. Enlightenment psychological science, nevertheless, had no room for enigmas. Artists of that clip age observed their regulations. Creativity, nevertheless, seemed unreconcilable with regulations. The 3rd expostulation was, nevertheless, weak. Houdar de la Motte ( 1715 ) was one of the minds who suggested that regulations, excessively, â€Å" are a human innovation † ( Tatarkiewicz, 1980, p. 249 ) . The philosopher Marsilio Ficino wrote that the creative person ‘s work is the consequence of believing it up ( â€Å" excogitatio † ) . Leon Battista Alberti, the theorist of architecture and picture, claimed that he preordains ( â€Å" preordinazione † ) , and Raphael claimed that his thoughts determine his picture. Universal mastermind Leonardo district attorney Vinci claimed that it was his thought that determined how his picture was shaped, utilizing forms that do non be in nature.A Another painter, Raphael Santi, excessively, claimed that he painted harmonizing to his ideas.A Giorgio Vasari claimed that nature is conquered by art.A Paolo Pino, the art theorist from Venice claimed that picture is â€Å" contriving what is non † . Likewise, Paolo Veronese declared that painters take the same autonomies as they were poets and lunatics. â€Å" A new universe, new Edens † was what an creative person forms, maintained Federico Zuccari. Cesare Cesarian o extended this to architects whom he considered â€Å" demi-gods. † In the kingdom of music, harmonizing to the Dutch composer and musicologist Jan Tinctoris, a composer was â€Å" one who produces new vocals † . He therefore associated freshness with a composer ‘s work. Writers on poesy were even more consequent.A Capriano claimed that poetic innovations jumping â€Å" from nil † .A Francesco Patrizi held that poesy was a â€Å" fiction † , â€Å" defining † , and â€Å" transmutation † ( Tatarkiewicz, 1980, p. 248 ) . The developments in the Renaissance scientific discipline were every bit dynamic as in the arts.A Science and the humanistic disciplines were intermingled, which manifests best in the plants of Leonardo district attorney Vinci.A He made experimental drawings of nature and anatomy, set up and conducted controlled experiments in water-flow and aeromechanicss, systematic survey of gesture, and medical dissection.A Leonardo devised rules of scientific research method in the spirit of holistic, non-mechanistic and non-reductive attack popular today.A Leonardo deserves the name â€Å" the male parent of modern scientific discipline † .A A The focal point on the procedure for find, the scientific method, corroborated by influential advocates such as Copernicus and Galileo, is possibly the most important development of that clip. This radical manner of larning about the universe stressed the importance of empirical grounds, every bit good as the importance of mathematics, instead than foregrounding a given find. Age of Reason In the eighteenth century, the Age of Reason and Change, the construct of creativeness appeared more often in art theory.A Once once more, celebrated personalities needed an accessory construct to explicate and warrant creativity.A One such construct was that of imagination.A It was foremost used in 1712 by the English litterateur, poet and publishing house Joseph Addison.A He published 11 essays on imaginativeness in The Spectator.A In one essay he claims that merely the sense of sight supplies ideas to the imaginativeness. He speculated about a congruity between imagiantion and creativeness. By the same clip, the celebrated Gallic writer and philosopher Francois-Marie Arouet de Voltaire distinguished between inactive and active imagination.A On the latter he wrote in his Dictionnaire philosophique that â€Å" Active imaginativeness is that which joins combination and contemplation to memory. It brings near to us many objects at a distance ; it separates those assorted together, co mpounds them, and changes them ; it seems to make, while in fact it simply arranges ; for it has non been given to adult male to do ideas-he is merely able to modify them † .A Voltaire continued: â€Å" This gift of nature is an imaginativeness inventive in the humanistic disciplines – in the temperament of a image, in the construction of a verse form. â€Å" A Both writers therefore indicate that poets are originative, and they equate poet with creator.A A Modern times The opposition against acknowledging art as creativeness, seen in the preceding centuries, crumbled wholly in the 19thcentury. Now art gained acknowledgment as creativeness and, furthermore, art entirely was regarded as creativeness. At the bend of the twentieth century treatment of creativeness in the art every bit good as in the scientific disciplines, e.g. by Jan A?ukasiewicz ( Sinisi, 2004 ) , and in nature ( californium. Bergson, 1907 ) began. At this point concepts proper to art were applied to the scientific disciplines and to nature [ Tatarkiewicz, 1980, p. 249 ] . There was, nevertheless, a long waiting clip to the scientific survey of creativeness. The thought of some modern clip bookmans will be expounded in the subsequent chapter. The beginning of scientific survey of creativeness is by and large taken to be J. P. Guilford ‘s reference to the American Psychological Association in 1950. Many bookmans joined in the attempt to research creativeness in the old ages to come. They took a more matter-of-fact attack to this esoteric topic. As creativeness became established as a subject, bookmans realized that creativeness depends on being practiced. Creativity reveals itself in achievements and workss, instead than in words. While a sound theoretical attack still was of import, more and more accent was put on developing practical creativeness techniques. Important personalities exemplifying this attack include Alex Osborn, who in the 1950s invented brainstorming. In the same decennary, Genrikh Altov, subsequently naming himself Altshuller, came up with his â€Å" Theory of Inventive Problem Solving † , better known as TRIZ. In the 1960, Edward de Bono became celebrated after holding developed his influen tial theory of â€Å" Lateral thought. † These and other theories and techniques are expounded in more item in subsequent chapters.Mentions to the History of CreativityAbdus Salam ( 1984 ) , â€Å" Islam and Science † . In C. H. Lai ( 1987 ) , Ideals and Realities: Selected Essaies of Abdus Salam, 2nd ed. , World Scientific, Singapore, p. 179-213. Agar, D. ( 2001 ) . Arabic Studies in Physics and Astronomy During 800 – 1400 AD. University of Jyvaskyla Ahmad, Imad-ad-Dean ( 2002 ) . The Rise and Fall of Islamic Science: The Calendar as a Case Study. Conference on Faith and Reason, Al-Akhawayn University, Ifrane, Morocco, June 3. Bergson, H. ( 1907 ) . L'evolution creatrice. Downloaded in February 2010 from hypertext transfer protocol: //classiques.uqac.ca/classiques/bergson_henri/evolution_creatrice/evolution_creatrice.pdf Briffault, R. ( 1928 ) . The Making of Humanity, p. 202. G. Allen & A ; Unwin Ltd. Covington, R. ( 2007 ) . A Rediscovering Arabic Science. Saudi Aramco World, May-June 2007, pp. 2-16. Ferrera-Balanquet R. M. ( 2009 ) . Territorios en el Desafio: La Subjetividad Historica. Escaner Cultural. Downloaded en December 2009 from hypertext transfer protocol: //revista.escaner.cl/node/1643 Gorini, R. ( 2003 ) . â€Å" Al-Haytham the Man of Experience. First Steps in the Science of Vision † , International Society for the History of Islamic Medicine. Institute of Neurosciences, Laboratory of Psychobiology and Psychopharmacology, Rome, Italy. Lindberg, D. C. ( 1976 ) . Theories of Vision from al-Kindi to Kepler, Chicago, Univ. of Chicago Press, pp. 60-7. Rodari, G. ( 1983 ) . Gramatica de la fantasia.A Introduccion Al arte de inventar historias.A Editorial Argos Vergara, Barcelona, 1983.A Translated from the Italian original Grammatica della fantasia, Giulio Einaudi, Torino 1973. Roshdi Rashed ( 2007 ) . â€Å" The Celestial Kinematics of Ibn Alhazen † , Arabic Sciences and Philosophy 17, p. 7-55 [ 35-36 ] . Cambridge University Press. Sinisi, V, ( 2004 ) . A?ukasiewicz on Reasoning in the natural Sciences. Topoi, Vol. 23, No 2, pp. 229-233. ISSN 0167-7411 Steffens, B. ( 2006 ) . Ibn Alhazen: First Scientist, Morgan Reynolds Publishing, ISBN 1599350246. Tatarkiewicz, W. ( 1980 ) . A history of six thoughts: An essay in aesthetics. English interlingual rendition by Christopher Kasparek. The Hague: Martinus Nijhof. Verma, R. L. ( 1969 ) . â€Å" Al-Hazen: male parent of modern optics † , Al-Arabi, 8, pp. 12-13. Medieval Islamic Civilization: An Encyclopaedia, Vol. II, p. 343-345, A Routledge, New York, London. Dictionnaire philosophique e-books @ Adelaide, Perused in 2009 ( www.lucidcafe.com/library/95nov/voltaire.html )

Dracula Transformation Essay

Shadow of the Vampire is a post-modern text which is a reconstruction of Dracula, a novel by Bram Stoker, and Nosferatu a film directed by F. W. Murnau. The use of intertexuality in Shadow of the Vampire is a key aspect which allows it to echo; themes, the gothic mode and issues that are present in the other two texts. Through a clear pastiche, Merhige produces a new text from the old. Immortality is a key theme which has been subverted from the physical sense through sucking blood, as it’s represented in Dracula, to the spiritual sense through art by producing a perfect film which will outlast and entertain many generations. Bram Stoker uses many motifs such as the; wafer, stake, crucifix and garlic flowers to demonstrate the Count’s immortality as these reoccurring symbols show the limited objects that can rid of a vampire, emphasizing his strength and power. Although these symbols are all present and continual in Shadow (‘crosses aren’t for decoration’- villager says to Murnau), they don’t portray the immortality, instead Merhige uses film techniques to replace the language techniques of Dracula. The zoom in of the camera is an example as it shows the deep expression and desperation of Murnau to achieve his perfect picture and effectively his immortality. Dialogue and particular quotes make his goal obvious; ‘our memory won’t blur or fade’ and ‘context that will last like the graves’ and also shows his obsession to earn immortality. Murnau’s obsession with his picture in Shadow causes him to turn into the mad protagonist of the film and instead all our sorrowful emotions become aimed at Count Orlock, who is a poor and weak replication of the vampiristic image set by Dracula1. In Dracula the protagonist (being the Count) also becomes obsessed with immortality and the female characters (Mina and Lucy) as he repeatedly visits them; the illicit love that Dracula has for these women adds to the terror and gothic romance of the novel. As the female characters become threatened and distressed by the Count, they add to the suspenseful and mysterious atmosphere and engage the reader as they share similar emotions; 2 the female character of Greta in Shadow is a resonance of this distress as she is unknowingly affected by the presence of Orlock which causes her to turn to drug abuse to deal with it (does too Murnau and the producer). Greta is also unknowingly being distressed by the camera itself which acts as a symbol for an oppressive male protagonist which contains characteristics of Dracula: her naive comment; ‘theatre gives me life, this thing only takes it away’, is an example of irony and also foreshadows future events and feelings; such as she subconsciously knows it (like her other comments) but instead of acting upon it she again turns to drugs to avoid the fact. Murnau’s obsession is proven by his willingness to use other people as sacrifices, most notably Greta as he makes a deal with Orlock for her life. The flashbacks of Greta (before she is fed upon) causes shock to the viewer as the quotes like; ‘consider it a sacrifice for your art’ and ‘make the ultimate sacrifice for love’ cause the emotions of: sorrow, horror and excitement to flourish as the viewer realises Murnau’s ambition from the start and its inevitability. These quotes are well-crafted examples of foreshadowing and irony. His obsession with his art is continuously shown throughout as he makes ridiculous demands and is easily aggravated, such as when the photographer was bitten by Orlock, Murnau exclaimed; ’’lack of enthusiasm, I told you to fix it’’. In Dracula sacrifice is dominantly practiced in a positive way with the heroic group making many sacrifices to finally reach their goal of destroying Dracula; (however, this heroic group is omitted in Shadow and is the primary reason for Murnau’s success). Arthur sacrifices his love for Lucy to save her soul and his own, but as a result he must kill her gruesomely; also, the men (Morris, Billington, Van Helsing and Seward) sacrifice their blood in transfusions to keep Lucy alive. This is foreshadowed by Lucy as she previously exclaimed ‘if only I could have them all’ when she was deciding her lover between these men; this gives the blood sexuality to it (sexual innuendo) and this is an example of gothic romance with the presence of rival lover and multiple suitors. This sexuality of the blood is present in quotes such as: ‘the girl went on her knees†¦Ã¢â‚¬â„¢ and ‘away with you, he’s mine’ and these show the ruling and empowerment of the male characters in a patriarchal society. The sexuality given to blood in Dracula is again subtly echoed into Shadow of the Vampire, with Orlock’s lust and desperation for Greta being portrayed in the sexual sense as he is given blood from bats and other sources throughout the film but none satisfied him like Greta with him falling asleep soon after to lighten the mood with black humour before the action-packed ending is aroused. The mysterious atmosphere that is obvious in all three texts is similarly brought about through the usage of slightly subverted gothic elements and techniques. The empty and ruined castle setting of Dracula is important to setting the original supernatural/gothic tone that the novel continues throughout: as shown by Jonathan Harker’s diary entries; ‘the castle is a veritable prison and I am a prisoner! and ‘doors everywhere, locked and bolted’. Additionally, the position of the castle adds to the mystery; ‘just on the borders of three states†¦ portions of Europe’ as these names aren’t familiar to us. Shadow of the Vampire incorporates this setting as; small rooms, caves and an abandoned monastery are all used in the majority of the film and the transition of filming from the developed west to the unknown and strange east (Helgoland). Both texts also use the dark of night to represent the dark, supernatural tone that each are setting: Stoker uses the sun as a symbol of protection from evil (the dark) and is evident in comments of Mina; ‘I keep waiting till the sun†¦ be to me a safety’ and ‘that beautiful sun†¦ life was to me again’. Shadow of the Vampire sets most of its scenes in the dark and uses images of the silhouetted moon and shadows together with eerie background music to make the viewer feel uncomfortable and scared like the characters. Shadow uses haunting sounds like thunder and howling in night scenes to give the supernatural sense (in the same way Nosferatu does); which is an echo of the onomatopoeia used by Stoker such as; ‘muffled roar’ and ‘howling of dogs’. Both texts also make use of the gothic palette as a dominator of the colours used because they give the sense of age (grey), danger (red) or evil (black) which are essential to the quick-shifting moods as they hint to the audience what’s coming up next. Overall, the incorporation of a post-modern style and the subversion and inclusion of themes, issues and gothic elements from Nosferatu and Dracula were crucial to the success and transformation of Shadow of the Vampire. The continual success of this film is due to its excellent depiction of vampires and their nature which can be evident in modern day life and in the character of people; which has never been paralleled as it’s so ‘ferociously original’.

Insulation

Insulation Keeping things warmAim: To find out which of these four materials is a better insulator to water under the same conditions for 5mins the materials are Bubble wrap, Aluminium foil, Cotton wool and Tissue paper.Prediction: I predict that Bubble wrap or cotton wool will be the best insulators due to the fact that they are thicker materials. Bubble wrap also has thick holes, which will trap the heat, but cotton wool is the thickest material so I think that cotton wool will be the best insulator.Plan: For this experiment I will need to get all my required equipment. I will have too had the same amount of water at the same starting temperature. The same length of each material and the tin must be covered same length down with each material otherwise it wont be a fair test, the test should also go on for the same amount of time.English: Shows heat transfer, conduction, convecti...For carrying out this experiment we will also be required to consider all the safety issues such as wearing gogg les too make sure that no harmful chemicals can get into our eyes.Fair test: A fair test is when the whole test is carryed equally. In our test we had to make sure that we used the same amount of water and the same temp of water we had to also have the same length of material and it had to cover the same width of the tin.Convection:Convection is the flow of heat a hot region to a cool region, as opposed to the microscopic transfer of heat between atoms involved with conduction. Suppose we consider heating up a local region of air. As this air heats, the molecules spread out, causing this region to become less dense than the surrounding, unheated air. For...

jefferson and hamilton essays

jefferson and hamilton essays Both Thomas Jefferson and Alexander Hamilton are very popular known men today. Thomas Jefferson was born in 1743 in Virginia. Both had many different ways of looking at the world. Both were very different in many ways. Hamilton was a country person, while Jefferson likes to be a city person. At that time 95% of the people lived in the country, while only 5% of the people lived in the city. Thomas Jefferson was from the south. At that time there were two sides the North and the south. In the North the main image was that you were very religious. Though, in the south the main image was to fool around, basically to have fun. Jefferson could have been recognized as a country boy. Jeffersons idea for a government was that a farmer couldnt do what a local government could do, and a local government couldnt do what a state could have done, and a state couldnt do what a Federal Government couldnt do. Jeffersons beliefs included that aristocracy was a talent, while Hamilton thought that Hamilton thought aristocracy was a form of wealth. Jefferson could be known as a scientist, author, statesman, architect, philosopher, and a farmer. Jefferson wrote the Declaration of Independence, and came to know what is now America. Thomas Jefferson had many ups and down of his life. He became a president and served for two terms. Thomas Jefferson was the third president of the United States. After Jeffersons wife died in 1782 Jefferson became very lonely and sad. To overcome his loneliness Jefferson became a good friend with a married woman. They both liked the company of each other. No one knew if the friendship of the two was just more then friends. The year Jefferson was inaugurated it was 1801. Though, there was a secret relationship between Jefferson and his black housekeeper Sally Hemmings. He had several children from her as well. Jefferson never agreed too much of this but disagreed with it. Jefferson is th...