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Ap Literature Open Response Questions Essay. 2011: In a novel by William Styron, a father tells his son that life “is a search for justice.” Choose a character from a novel or play who responds in some significant way to of morality, justice or injustice. Matthew Fraser Speech. Then write a well-developed essay in which you analyze the character’s understanding of justice, the origin of morality degree to which the character’s search for justice is successful, and wood vinegar, the significance of this search for the work as a whole. 2010: Palestinian American literary theorist and cultural critic Edward Said has written that “Exile is strangely compelling to think about but terrible to experience. It is the of morality unhealable rift forced between a human being and a native place, between the self and its true home: its essential sadness can never be surmounted.” Yet Said has also said that exile can become “a potent, even enriching” experience. Select a novel, play, or epic in which a character experiences such a rift and wood vinegar, becomes cut off from “home,” whether that home is the character’s birthplace, family, homeland, or other special place.

Then write an essay in which you analyze how the character’s experience with exile is both alienating and enriching, and how this experience illuminates the meaning of the origin work as a whole. 2009: A symbol is an object, action, or event that represents something or that creates a range of associations beyond itself. In literary works a symbol can express an idea, clarify meaning, or enlarge literal meaning. Select a novel or play and, focusing on one symbol, write an essay analyzing how that symbol functions in the work and what it reveals about the characters or themes of the work as a whole. Do not merely summarize the plot. 2008: In a literary work, a minor character, often known as a foil, possesses traits that emphasize, by contrast or comparison, the distinctive characteristics and wood vinegar, qualities of the origin main character. For example, the ideas or behavior of the minor character might be used to serotonin psychology, highlight the weaknesses or strengths of the main character. Choose a novel or play in which a minor character serves as a foil to origin, a main character. Then write an nationalism essay in which you analyze how the relation between the minor character and the major character illuminates the meaning of the work. 2007: In many works of literature, past events can affect, positively or negatively, the present actions, attitudes, or values of a character. Choose a novel or play in which a character must contend with some aspect of the past, either personal or societal.

Then write an essay in which you show how the character’s relationship to the past contributes to origin, the meaning of the serotonin psychology work as a whole. 2006: Many writers use a country setting to establish values within a work of literature. For example, the country may be a place of virtue and peace or primitivism and ignorance. Choose a novel or play in which such a setting plays a significant role. Then write an essay in which you analyze how the country setting functions in the work as a whole. Do not merely summarize the plot. 2005: In Kate Chopin’s The Awakening (1899), the protagonist, Edna Pontellier is said to possess “that outward existence which conforms, the inward life which questions.” In a novel or play that you have studied, identify a character who conforms outwardly while questioning inwardly.

Then write an essay in which you analyze how that tension between outward conformity and inward questioning contributes to the meaning of the work. Avoid mere plot summary. Origin. 2004: Critic Roland Barthes has said, “Literature is the question minus the answer.” Choose a novel or play and, considering Barthes’ observation, write an matthew speech essay in which you analyze a central question the work raises and of morality, the extent to which it offers any answers. Explain how the author’s treatment of this question affects your understanding of the work as a whole. Avoid mere plot summary. 2003: According to critic Northrop Frye, “Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them, great trees more likely to be struck by lightning than a clump of grass.

Conductors may of course be instruments as well as victims of the divine lightning. Select a novel or play in example of macroeconomics, which a tragic figure functions as an instrument of the suffering of others. Then write an essay in which you explain how the of morality suffering brought upon others by that figure contributes to the tragic vision of the work as a whole. 2002: Morally ambiguous characters—characters whose behavior discourages readers from identifying them as purely evil or purely good—are at the heart of many works of serotonin psychology, literature. Choose a novel or play in which a morally ambiguous characters plays a pivotal role. Then write an essay in which you explain how the character can be viewed as morally ambiguous and origin, why his or her moral ambiguity is significant to the work as a whole. Avoid mere plot summary.

2001: One definition of example of macroeconomics, madness is “mental delusion or the eccentric behavior arising from it.” But Emily Dickinson wrote Much Madness is divinest SenseTo a discerning EyeNovelists and playwrights have often seen madness with a “discerning. Eye.” Select a novel or play in which a character’s apparent madness or irrational behavior plays an important role. Then write a well-organized essay in which you explain what this delusion or eccentric behavior consists of and how it might be judged reasonable. Explain the significance of the “madness” to of morality, the work as a whole. Do not merely summarize the plot. 2000: Many works of literature not readily identified with the mystery or detective story genre nonetheless involve the investigation of a mystery. In these works, the solution to the mystery may be less important than the knowledge gained in the process of its investigation.

Choose a novel or play in which one or more of the fraser characters confront a mystery. Then write an essay in which you identify the mystery and explain how the investigation illuminates the of morality meaning of the wood vinegar work as a whole. Origin Of Morality. Do not merely summarize the plot. Of SO Imperatives J. Lederer And Eugene. 1999: The eighteenth-century British novelist Laurence Sterne wrote, “No body, but he who has felt it, can conceive what a plaguing thing it is to have a man’s mind torn asunder by two projects of equal strength, both obstinately pulling in a contrary direction at the same time.” From a novel or play choose a character (not necessarily the protagonist) whose mind is pulled in conflicting directions by of morality, two compelling desires, ambitions, obligations, or influences. Psychology. Then, in a well-organized essay, identify each of the two conflicting forces and explain how this conflict within one character illuminates the meaning of the work as a whole. Of Morality. You may use one of the novels or plays listed below or another novel or play of similar literary quality.

1998: In his essay “Walking,” Henry David Thoreau offers the following assessment of literature: “In literature it is arab nationalism only the wild that attracts us. Dullness is but another name for tameness. It is the origin of morality uncivilized free and media, wild thinking in Hamlet and The Iliad, in origin of morality, all scriptures and mythologies, not learned in schools, that delights us. From the works you have studied in serotonin psychology, school, choose a novel, play, or epic poem that you may initially have thought was conventional and tame but that you now value for its “uncivilized free and wild thinking.” Write an essay in which you explain what constitutes its “uncivilized free and origin of morality, wild thinking” and how that thinking is central to serotonin psychology, the value of the work as a whole. Origin. Support your ideas with specific references to social media for recruitment, the work you choose. 1997: Novels and plays often include scenes of origin, weddings, funerals, parties, and other social occasions. Such scenes may reveal the values of the characters and the society in which they live. Select a novel or play that includes such a scene and, in a focused essay, discuss the contribution the scene makes to the meaning of the work as a whole. 1996: The British novelist Fay Weldon offers this observation about happy endings: “The writers, I do believe, who get the best and most lasting response from readers are the writers who offer a happy ending through moral development. By a happy ending, I do not mean mere fortunate eventsa marriage or a last-minute rescue from deathbut some kind of spiritual reassessment or moral reconciliation, even with the self, even at death.” Choose a novel or play that has the kind of example of macroeconomics, ending Weldon describes.

In a well-written essay, identify the origin “spiritual reassessment or moral reconciliation” evident in the ending and explain its significance in the work as a whole. 1995: Writers often highlight the values of a culture or a society by using characters who are alienated from that culture or society because of gender, race, class or creed. Choose a play or novel in which such a character plays a significant role and show how that character’s alienation reveals the surrounding society’s assumptions and moral values. 1994: In some works of literature, a character who appears briefly, or does not appear at all, is a significant presence. Choose a novel or play of literary merit and write an essay in which you show how such a character functions in the work. Psychology. You may wish to discuss how the character affects action, theme, or the origin development of fraser speech, other characters. Origin Of Morality. 1993: “The true test of comedy is that it shall awaken thoughtful laughter.” (George Meredith) Choose a novel, play, or long poem in which a scene or character awakens “thoughtful laughter” in the reader. Write an essay in which you show why this laughter is “thoughtful” and how it contributes to the meaning of the work. Speech. 1992: In a novel or play, a confidant (male) or a confidante (female) is a character, often a friend or relative of the of morality hero or heroine, whose roles is to be present when the hero or heroine needs a sympathetic listener to confide in. Frequently the result is, as Henry James remarked, that the confidant or confidante can be as much “the reader’s friend as the example protagonist’s.” However, the author sometimes uses this character for origin, other purposes as well. Choose a confidant or confidante from a novel or play of recognized literary merit and write an essay in which you discuss the various ways this character functions in the work.

1991: Many plays and novels use contrasting places (for example, two countries, two cities or towns, two houses, or the land and the sea) to represent opposed forces or ideas that are central to the meaning of the work. Choose a novel or play that. contrasts two such places. Of SO Imperatives By William J. Lederer And Eugene Burdick. Write an origin of morality essay explaining how the places differ, what each place represents, and how their contrast contributes to the meaning of the work. 1990: Choose a novel or play that depicts a conflict between a parent (or a parental figure) and a son or daughter. Write an psychology essay in which you analyze the sources of the conflict and of morality, explain how the matthew conflict contributes to the meaning of the work. 1989: In questioning the value of literary realism, Flannery O’Connor has written, “I am interested in making a good case for distortion because I am coming to believe that it is the only way to make people see.” Write an essay in which you “make a good case for distortion,” as distinct from literary realism.

Analyze how important elements of the work you choose are “distorted” and explain how these distortions contribute to the effectiveness of the work. 1988: Choose a distinguished novel or play in which some of the most significant events are mental or psychological: for example, awakenings, discoveries, and changes in consciousness. Of Morality. In a well-organized essay, describe how the author manages to give these internal events the sense of excitement, suspense, and example, climax usually associated with external actions. Origin. Do not merely summarize the plot. 1987: Some novels and plays seem to advocate changes in social or political attitudes or in traditions. Choose such a novel or play and note briefly the particular attitudes or traditions that the author apparently wishes to modify.

Then analyze the techniques the author uses to influence the wood vinegar reader’s or audience’s views. Avoid plot summary. 1986: Some works of literature use the element of time in a distinct way. The chronological sequence of of morality, events may be altered, or time may be suspended or accelerated. Choose a novel, an epic, or a play of recognized literary merit and show how the psychology author’s manipulation of time contributes to the effectiveness of the work as a whole. 1985: A critic has said that one important measure of a superior work of literature is its ability to produce in the reader a healthy confusion of origin of morality, pleasure and disquietude. Select a literary work that produces this “healthy confusion.” Write an essay in which you explain the sources of the “pleasure and example of macroeconomics, disquietude” experienced by the readers of the work and how this pairing contributes to the meaning of the work as a whole.

1984: Select a line or so of poetry, or a moment or scene in a novel, epic poem, or play that you find especially memorable. Write an essay in which you identify the line or the origin passage, explain its relationship to the work in which it is found, and analyze the reasons for its effectiveness. Wood Vinegar. 1983: From a novel or play of literary merit, select an important a character who is origin of morality a villain. Imperatives J. Lederer And Eugene. Then, in a well-organized essay, analyze the origin nature of the character’s villainy and show how it enhances meaning in the work. 1982: In great literature, no scene of violence exists for its own sake. Choose a work of of macroeconomics, literary merit that confronts the origin of morality reader or audience with a scene or scenes of violence.

In a well-organized essay, explain how the scene or scenes contribute to the meaning of the complete work. 1981: The meaning of some literary works is serotonin often enhanced by origin, sustained allusion to myths, the Bible, or other works of wood vinegar, literature. Select a literary work that makes use of such a sustained reference. Then write a well-organized essay in which you explain the origin allusion that predominates in the work and analyze how it enhances the fraser work’s meaning. Origin. 1980: A recurring theme in literature is “the classic war between a passion and responsibility.” For instance, a personal cause, a love, a desire for revenge, a determination to redress a wrong, or some other emotion or drive may conflict with moral duty. Choose a literary work in which a character confronts the demands of wood vinegar, a private passion that conflicts with his or her responsibilities. In a well-written essay show clearly the nature of the conflict, its effects upon the character, and its significance to of morality, the work. Arab Nationalism. 1979: Choose a complex and of morality, important character in a novel or play of recognized literary merit who mighton the basis of the example character’s actions alonebe considered evil or immoral. Of Morality. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we otherwise might. 1978: Choose an implausible or strikingly unrealistic incident or character in a work of fiction or drama of recognized literary merit. Write an essay that explains how the incident or character is related to the more realistic or plausible elements in the rest of the The Application of SO Imperatives Ugly American by William Burdick work, [and why the pairing of these elements contributes to the meaning as a whole.] 1977: In some novels and plays certain parallel or recurring events prove to be significant.

In an essay, describe the major similarities and differences in a sequence of parallel or recurring events in a novel or play and discuss the significance of such events. Origin. 1976: A character’s attempt to psychology, recapture or to reject the past is important in many plays, novels, and poems. Choose a literary work in which a character views the origin of morality past with such feelings as reverence, bitterness, or longing. Show with clear evidence from the example of macroeconomics work how the character’s view of the past is origin of morality used to develop a theme in the work. 1975: Unlike the novelist, the writer of a play does not use his own voice and only rarely uses a narrator’s voice to arab, guide the audience’s responses to character and action.

Select a play you have read and origin, write an essay in which you explain the techniques the arab nationalism playwright uses to guide his audience’s responses to origin, the central characters and action. You might consider the effect on the audience of things like setting, the use of comparable and contrasting characters, and the characters’ responses to each other. Support your argument with specific references to the play. Of Macroeconomics. 1974: Choose a work of origin, literature written before 1900. Write an essay in which you present arguments for example of macroeconomics, and against origin of morality, the work’s relevance for a person in 1974. Your own position should emerge in the course of your essay. You may refer to of macroeconomics, works of literature written after 1900 for origin of morality, the purpose of contrast or comparison.

1973: An effective literary work does not merely stop or cease; it concludes. Of Macroeconomics. In the view of some critics, a work that does not provide the pleasure of significant “closure” has terminated with an artistic fault. A satisfactory ending is not, however, always conclusive in every sense; significant closure may require the reader to abide with or adjust to ambiguity and of morality, uncertainty. In a well-organized essay, discuss the ending of a novel or play of acknowledged literary merit. Explain precisely how and fraser, why the ending appropriately or inappropriately concludes the work.

Do not merely summarize the plot. 1971: In retrospect, the reader often discovers that the origin first chapter of a novel introduces some of the major themes of the work. Write an essay about the first chapter of a novel in which you explain how the nationalism chapter functions to of morality, set forth major themes. 1968: In many plays, a character has a misconception of himself or his world. Destroying or perpetuating this illusion contributes to a central theme of the play.

Choose a play with a major character to whom this statement applies and write an essay in which you consider the following points: what the character’s illusion is and how it differs from reality as presented in the play and how the destruction or perpetuation of the illusion develops a them of the play. 1966: An individual’s struggle toward understanding and awareness is the example traditional subject for the novelist. In an essay, apply this statement to one novel of literary merit. Organize your essay according to origin of morality, the following play: 1) Compare the hero as we see him in serotonin psychology, an early scene with the hero as we see him in a scene near the end of the novel. 2) Describe the origin techniques that the author uses to reveal the serotonin new understanding and awareness that the hero has achieved. 1963: Character determines incident. Incident illustrates character. Write a well-organized essay evaluating this statement through a discussion of one character from origin, each of two novels. 1959: All kinds of books have been attacked, suppressed, or disapproved of by authorities, groups or individuals. Nationalism. Select an important work which you admire and which you propose to defend against possible objections. In a well-organized essay, present reasons why the work might be attacked, and base your defense on a consideration of origin, such matters as its language, the people in it, its mood and spirit, and serotonin, consequently its artistic purpose and its value for the readers. ? Choose an implausible or strikingly unrealistic incident or character in origin, a work of fiction or drama of recognized literary merit.

Write an example essay that explains how the origin of morality incident or character is of SO Imperatives Ugly American J. Lederer and Eugene Burdick related to the more realistic or plausible elements in the rest of the work. Avoid plot summary. ? The conflict created when the will of an individual opposes the will of the majority is the recurring theme of many novels, plays, and of morality, essays. Select the work of an essayist who is in opposition to his or her society; or, from a work of recognized literary merit, select a fictional character who is in opposition to Imperatives American by William J. Lederer, his or her society. Origin Of Morality. In a critical essay, analyze the conflict and discuss the moral and ethical implications for both the individual and the society. Do not summarize the plot or action of the work you choose. University/College: University of Chicago. Type of paper: Thesis/Dissertation Chapter. Date: 3 October 2016. Let us write you a custom essay sample on nationalism, Ap Literature Open Response Questions. for only $16.38 $13.9/page. Haven't found the Essay You Want? Get your custom essay sample.

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Internet Encyclopedia of Philosophy. Aesthetics may be defined narrowly as the theory of beauty, or more broadly as that together with the philosophy of art. The traditional interest in beauty itself broadened, in the eighteenth century, to include the sublime, and since 1950 or so the number of pure aesthetic concepts discussed in of morality the literature has expanded even more. Traditionally, the philosophy of art concentrated on social media, its definition, but recently this has not been the focus, with careful analyses of aspects of art largely replacing it. Philosophical aesthetics is here considered to center on these latter-day developments. Thus, after a survey of ideas about beauty and related concepts, questions about the value of aesthetic experience and the variety of aesthetic attitudes will be addressed, before turning to matters which separate art from origin of morality pure aesthetics, notably the presence of wood vinegar, intention. Origin! That will lead to a survey of some of the main definitions of art which have been proposed, together with an account of the recent “de-definition” period. The concepts of expression, representation, and the nature of social, art objects will then be covered.

The full field of what might be called “aesthetics” is a very large one. Origin! There is of macroeconomics, even now a four-volume encyclopedia devoted to the full range of possible topics. The core issues in origin of morality Philosophical Aesthetics, however, are nowadays fairly settled (see the of macroeconomics, book edited by Dickie, Sclafani, and Roblin, and the monograph by Sheppard, among many others). Aesthetics in this central sense has been said to start in the early eighteenth century, with the series of articles on “The Pleasures of the Imagination” which the journalist Joseph Addison wrote in the early issues of the magazine The Spectator in 1712. Before this time, thoughts by notable figures made some forays into this ground, for instance in the formulation of general theories of proportion and harmony, detailed most specifically in architecture and music. Origin Of Morality! But the full development of extended, philosophical reflection on Aesthetics did not begin to emerge until the widening of leisure activities in the eighteenth century. By far the of macroeconomics, most thoroughgoing and origin of morality, influential of the early theorists was Immanuel Kant, towards the end of the eighteenth century. Therefore it is important, first of all, to have some sense of how Kant approached the subject.

Criticisms of his ideas, and alternatives to them, will be presented later in this entry, but through him we can meet some of the nationalism, key concepts in the subject by way of introduction. Kant is sometimes thought of as a formalist in art theory; that is to say, someone who thinks the content of a work of art is not of aesthetic interest. But this is origin of morality, only part of the story. Certainly he was a formalist about the pure enjoyment of wood vinegar, nature, but for Kant most of the of morality, arts were impure, because they involved a “concept.” Even the enjoyment of parts of nature was impure, namely when a concept was involved— as when we admire the in The American Burdick, perfection of an origin, animal body or a human torso. But our enjoyment of, for instance, the of macroeconomics, arbitrary abstract patterns in some foliage, or a color field (as with wild poppies, or a sunset) was, according to Kant, absent of such concepts; in such cases, the cognitive powers were in free play. By design, art may sometimes obtain the appearance of this freedom: it was then “Fine Art”—but for origin of morality, Kant not all art had this quality. In all, Kant’s theory of pure beauty had four aspects: its freedom from concepts, its objectivity, the disinterest of the spectator, and its obligatoriness. Social For Recruitment! By “concept,” Kant meant “end,” or “purpose,” that is, what the cognitive powers of human understanding and imagination judge applies to an object, such as with “it is a pebble,” to take an instance. Of Morality! But when no definite concept is involved, as with the scattered pebbles on a beach, the wood vinegar, cognitive powers are held to origin, be in free play; and it is when this play is harmonious that there is the social media, experience of pure beauty. There is also objectivity and origin, universality in the judgment then, according to Kant, since the cognitive powers are common to all who can judge that the psychology, individual objects are pebbles.

These powers function alike whether they come to such a definite judgment or are left suspended in free play, as when appreciating the pattern along the shoreline. Of Morality! This was not the basis on of macroeconomics, which the apprehension of pure beauty was obligatory, however. According to origin of morality, Kant, that derived from the selflessness of such an apprehension, what was called in wood vinegar the eighteenth century its “disinterest.” This arises because pure beauty does not gratify us sensuously; nor does it induce any desire to possess the object. It “pleases,” certainly, but in a distinctive intellectual way. Pure beauty, in other words, simply holds our mind’s attention: we have no further concern than contemplating the object itself.

Perceiving the object in origin such cases is an end in itself; it is of SO in The J. Lederer and Eugene Burdick, not a means to a further end, and is enjoyed for origin, its own sake alone. It is because Morality requires we rise above ourselves that such an exercise in selfless attention becomes obligatory. Judgments of speech, pure beauty, being selfless, initiate one into the moral point of view. “Beauty is a symbol of Morality,” and “The enjoyment of nature is the mark of a good soul” are key sayings of Kant. The shared enjoyment of a sunset or a beach shows there is harmony between us all, and the world. Among these ideas, the origin, notion of “disinterest” has had much the widest currency. Indeed, Kant took it from eighteenth century theorists before him, such as the moral philosopher, Lord Shaftesbury, and it has attracted much attention since: recently by the French sociologist Pierre Bourdieu, for instance. Arab! Clearly, in this context “disinterested” does not mean “uninterested,” and paradoxically it is closest to what we now call our “interests,” that is, such things as hobbies, travel, and sport, as we shall see below. But in origin of morality earlier centuries, one’s “interest” was what was to one’s advantage, that is, it was “self-interest,” and so it was the serotonin psychology, negation of that which closely related aesthetics to ethics. The eighteenth century was a surprisingly peaceful time, but this turned out to be the origin of morality, lull before the matthew speech, storm, since out of its orderly classicism there developed a wild romanticism in art and literature, and even revolution in politics. The aesthetic concept which came to be more appreciated in of morality this period was associated with this, namely sublimity, which Edmund Burke theorized about in his “A Philosophical Enquiry into fraser speech, the Origin of our ideas of the Sublime and Beautiful.” The sublime was connected more with pain than pure pleasure, according to Burke, since threats to self-preservation were involved, as on the high seas, and lonely moors, with the of morality, devilish humans and dramatic passions that artists and writers were about to portray.

But in these circumstances, of course, it is wood vinegar, still “delightful horror,” as Burke appreciated, since one is insulated by the fictionality of the of morality, work in question from any real danger. “Sublime” and “beautiful” are only two amongst the many terms which may be used to social media, describe our aesthetic experiences. Clearly there are “ridiculous” and origin, “ugly,” for a start, as well. Wood Vinegar! But the more discriminating will have no difficulty also finding something maybe “fine,” or “lovely” rather than “awful” or “hideous,” and “exquisite” or “superb” rather than “gross” or “foul.” Frank Sibley wrote a notable series of articles, starting in 1959, defending a view of of morality, aesthetic concepts as a whole. He said that they were not rule- or condition-governed, but required a heightened form of perception, which one might call taste, sensitivity, or judgment. Serotonin! His full analysis, however, contained another aspect, since he was not only concerned with the sorts of concepts mentioned above, but also with a set of others which had a rather different character. For one can describe works of art, often enough, in terms which relate primarily to the emotional and mental life of human beings. Of Morality! One can call them “joyful,” “melancholy,” “serene,” “witty,” “vulgar,” and “humble,” for instance.

These are evidently not purely aesthetic terms, because of their further uses, but they are still very relevant to many aesthetic experiences. Sibley’s claim about these concepts was that there were no sufficient conditions for psychology, their application. For many concepts—sometimes called “closed” concepts, as a result—both necessary and sufficient conditions for their application can be given. To be a bachelor, for instance, it is necessary to be male and unmarried, though of marriageable age, and together these three conditions are sufficient. For other concepts, however, the so-called “open” ones, no such definitions can be given— although for of morality, aesthetic concepts Sibley pointed out there were still some necessary conditions, since certain facts can rule out the application of, for example, “garish,” “gaudy,” or “flamboyant.”

The question therefore arises: how do we make aesthetic judgments if not by checking sufficient conditions? Sibley’s account was that, when the concepts were not purely perceptual they were mostly metaphoric. Thus, we call artworks “dynamic,” or “sad,” as before, by comparison with the behaviors of humans with those qualities. Other theorists, such as Rudolph Arnheim and The Application of SO Imperatives Ugly American by William, Roger Scruton, have held similar views. Scruton, in fact, discriminated eight types of aesthetic concept, and we shall look at some of the others below. We have noted Kant’s views about the objectivity and universality of judgments of pure beauty, and there are several ways that these notions have been further defended. There is a famous curve, for of morality, instance, obtained by the nineteenth century psychologist Wilhelm Wundt, which shows how human arousal is quite generally related to complexity of media for recruitment, stimulus.

We are bored by the simple, become sated, even over-anxious, by the increasingly complex, while in between there is a region of greatest pleasure. The dimension of complexity is only one objective measure of worth which has been proposed in origin this way. Thus it is wood vinegar, now known, for instance, that judgments of facial beauty in humans are a matter of origin of morality, averageness and symmetry. Traditionally, unity was taken to be central, notably by Aristotle in connection with Drama, and when added to example of macroeconomics, complexity it formed a general account of aesthetic value. Thus Francis Hutcheson, in the eighteenth century, asserted that “Uniformity in variety always makes an object beautiful.” Monroe Beardsley, more recently, has introduced a third criterion—intensity—to produce his three “General Canons” of objective worth.

He also detailed some “Special Canons.” Beardsley called the objective criteria within styles of Art “Special Canons.” These were not a matter of something being good of its kind and so involving perfection of a concept in the sense of Kant. They involved defeasible “good-making” and “bad-making” features, more in the manner Hume explained in his major essay in this area, “Of the Standard of Taste” (1757). To say a work of art had a positive quality like humor, for instance, was to praise it to some degree, but this could be offset by other qualities which made the work not good as a whole. Beardsley defended all of his canons in a much more detailed way than his eighteenth century predecessor however: through a lengthy, fine-grained, historical analysis of what critics have actually appealed to in the of morality, evaluation of artworks. Also, he explicitly made the disclaimer that his canons were the only criteria of Imperatives American by William Burdick, value, by separating these “objective reasons” from what he called “affective” and “genetic” reasons. These two other sorts of reasons were to origin of morality, do with audience response, and the originating artist and his times, respectively, and either “The Affective Fallacy” or “The Intentional Fallacy,” he maintained, was involved if these were considered.

The discrimination enabled Beardsley to focus on the artwork and its representational relations, if any, to objects in the public world. Against Beardsley, over many years, Joseph Margolis maintained a “Robust Relativism.” Thus he wanted to say that “aptness,” “partiality,” and “non-cognitivism” characterize art appreciation, rather than “truth,” “universality,” and “knowledge.” He defended this with respect to aesthetic concepts, critical judgments of value, and literary interpretations in particular, saying, more generally, that works of art were “culturally emergent entities” not directly accessible, because of example of macroeconomics, this, to any faculty resembling sense perception. The main debate over aesthetic value, indeed, concerns social and of morality, political matters, and matthew speech, the seemingly inevitable partiality of different points of view. The central question concerns whether there is a privileged class, namely those with aesthetic interests, or whether their set of of morality, interests has no distinguished place, since, from serotonin psychology a sociological perspective, that taste is just one amongst all other tastes in origin of morality the democratic economy. The sociologist Arnold Hauser preferred a non-relativistic point of view, and was prepared to give a ranking of tastes.

High art beat popular art, Hauser said, because of two things: the significance of its content, and the more creative nature of its forms. Roger Taylor, by contrast, set out very fully the wood vinegar, “leveller’s” point of view, declaring that Aida and The Sound of Music have equal value for origin of morality, their respective audiences. He defended this with a thorough philosophical analysis, rejecting the idea that there is The Application of SO American J. Lederer, such a thing as truth corresponding to an external reality, with the people capable of accessing that truth having some special value. Instead, according to Taylor, there are just different conceptual schemes, in which truth is measured merely by coherence internal to the scheme itself. Janet Wolff looked at this debate more disinterestedly, in of morality particular studying the details of the serotonin psychology, opposition between Kant and Bourdieu. Jerome Stolnitz, in the middle of the last century, was a Kantian, and origin of morality, promoted the need for a disinterested, objective attitude to art objects. It is debatable, as we saw before, whether this represents Kant’s total view of art, but the disinterested treatment of art objects which Stolnitz recommended was very commonly pursued in his period. Edward Bullough, writing in 1912, would have called “disinterested attention” a “distanced” attitude, but he used this latter term to serotonin, generate a much fuller and origin, more detailed appreciation of the whole spectrum of attitudes which might be taken to artworks.

The spectrum stretched from people who “over-distance” to serotonin, people who “under-distance.” People who over-distance are, for instance, critics who merely look at the technicalities and of morality, craftwork of a production, missing any emotional involvement with what it is about. Matthew Speech! Bullough contrasted this attitude with what he called “under-distancing,” where one might get too gripped by the content. The country yokel who jumps upon the stage to save the heroine, and the jealous husband who sees himself as Othello smothering his wife, are missing the fact that the origin, play is an illusion, a fiction, just make-believe. Media For Recruitment! Bullough thought there was, instead, an ideal mid-point between his two extremes, thereby solving his “antinomy of distance” by origin, deciding there should be the wood vinegar, least possible distance without its disappearance. George Dickie later argued against both “disinterest” and “distance” in a famous 1964 paper, “The Myth of the of morality, Aesthetic Attitude.” He argued that we should be able to enjoy all objects of awareness, whether “pure aesthetic” or moral. In fact, he thought the term “aesthetic” could be used in all cases, rejecting the idea that there was some authorized way of using the word just to apply to surface or formal features— the wood vinegar, artwork as a thing in itself.

As a result, Dickie concluded that the aesthetic attitude, when properly understood, reduced to just close attention to whatever holds one’s mind in an artwork, against the tradition which believed it had a certain psychological quality, or else involved attention just to certain objects. Art is not the only object to origin of morality, draw interest of this pleasurable kind: hobbies and travel are further examples, and sport yet another, as was mentioned briefly above. In particular, the broadening of the aesthetic tradition in recent years has led theorists to wood vinegar, give more attention to sport. Origin! David Best, for instance, writing on sport and serotonin, its likeness to art, highlighted how close sport is to origin of morality, the purely aesthetic. But he wanted to limit sport to this, and insisted it had no relevance to social, ethics. Best saw art forms as distinguished expressly by their having the origin of morality, capacity to social media, comment on life situations, and hence bring in moral considerations. Origin Of Morality! No sport had this further capacity, he thought, although the enjoyment of many sports may undoubtedly be aesthetic. But many art forms—perhaps more clearly called “craft-forms” as a result— also do not comment on life situations overmuch, for example, decor, abstract painting, and non-narrative ballet.

And there are many sports which are pre-eminently seen in moral, “character-building” terms, for example, mountaineering, and the various combat sports (like boxing and wrestling). Perhaps the resolution comes through noting the division Best himself provides within sport-forms, between, on the one hand, “task” or “non-purposive” sports like gymnastics, diving, and synchronized swimming, which are the wood vinegar, ones he claims are aesthetic, and on the other hand the “achievement,” or “purposive’ sports, like those combat sports above. Task sports have less “art” in origin of morality them, since they are not as creative as the purposive ones. The traditional form of art criticism was biographical and sociological, taking into account the conceptions of the psychology, artist and the history of the traditions within which the artist worked. But in the twentieth century a different, more scientific and ahistorical form of literary criticism grew up in the United States and Britain: The New Criticism. Like the Russian Formalists and French Structuralists in the same period, the New Critics regarded what could be gleaned from the work of art alone as relevant to its assessment, but their specific position received a much-discussed philosophical defense by William Wimsatt and Monroe Beardsley in of morality 1946. Serotonin Psychology! Beardsley saw the position as an extension of “The Aesthetic Point of View”; Wimsatt was a practical critic personally engaged in origin of morality the new line of approach. In their essay “The Intentional Fallacy,” Wimsatt and Beardsley claimed “the design or intention of the artist is neither available nor desirable as a standard for The Application Ugly by William J. Lederer and Eugene, judging the origin, success of a work of literary art.” It was not always available, since it was often difficult to obtain, but, in any case, it was not appropriately available, according to them, unless there was evidence for wood vinegar, it internal to the finished work of art.

Wimsatt and Beardsley allowed such forms of origin, evidence for a writer’s intentions, but would allow nothing external to the given text. This debate over intention in the literary arts has raged with full force into fraser speech, more recent times. Origin! A contemporary of Wimsatt and arab, Beardsley, E.D. Hirsch, has continued to maintain his “intentionalist” point of view. Against him, Steven Knapp and Walter Benn Michaels have taken up an ahistorical position. Frank Cioffi, one of the original writers who wrote a forceful reply to Wimsatt and Beardsley, aligned himself with neither camp, believing different cases were “best read” sometimes just as, sometimes other than as, the artist knowingly intended them. Origin! One reason he rejected intention, at times, was because he believed the artist might be unconscious of the full significance of the artwork. A similar debate arises in other art forms besides Literature, for instance Architecture, Theater, and Music, although it has caused less professional comment in these arts, occurring more at the practical level in terms of media, argument between “purists” and “modernizers.” Purists want to maintain a historical orientation to these art forms, while modernizers want to make things more available for contemporary use. The debate also has a more practical aspect in connection with the visual arts.

For it arises in the question of what devalues fakes and forgeries, and by contrast puts a special value on originality. There have been several notable frauds perpetrated by forgers of origin of morality, artworks and of macroeconomics, their associates. The question is: if the surface appearance is much the same, what especial value is there in the first object? Nelson Goodman was inclined to origin, think that one can always locate a sufficient difference by looking closely at the visual appearance. But even if one cannot, there remain the different histories of the original and the copy, and also the different intentions behind them. The relevance of such intentions in visual art has entered very prominently into philosophical discussion. Arthur Danto, in his 1964 discussion of “The Artworld,” was concerned with the question of how the atmosphere of theory can alter how we see artworks. This situation has arisen in example fact with respect to two notable paintings which look the same, as Timothy Binkley has explained, namely Leonardo’s original “Mona Lisa” and origin, Duchamp’s joke about it, called “L.H.O.O.Q. Shaved.” The two works look ostensibly the wood vinegar, same, but Duchamp, one needs to know, had also produced a third work, “L.H.O.O.Q.,” which was a reproduction of the origin, Mona Lisa, with some graffiti on wood vinegar, it: a goatee and of morality, moustache. He was alluding in that work to the possibility that the sitter for the Mona Lisa might have been a young male, given the stories about Leonardo’s homosexuality.

With the graffiti removed the otherwise visually similar works are still different, since Duchamp’s title, and the history of its production, alters what we think about his piece. Up to the “de-definition” period, definitions of art fell broadly into serotonin psychology, three types, relating to representation, expression, and form. The dominance of representation as a central concept in art lasted from before Plato’s time to of morality, around the end of the fraser speech, eighteenth century. Origin Of Morality! Of course, representational art is still to wood vinegar, be found to this day, but it is no longer pre-eminent in the way it once was. Plato first formulated the idea by saying that art is mimesis, and, for instance, Bateaux in the eighteenth century followed him, when saying: “Poetry exists only by imitation. It is the same thing with painting, dance and music; nothing is real in their works, everything is imagined, painted, copied, artificial. It is what makes their essential character as opposed to nature.” In the same century and origin of morality, the following one, with the advent of serotonin, Romanticism, the concept of of morality, expression became more prominent. Even around Plato’s time, his pupil Aristotle preferred an expression theory: art as catharsis of the emotions. And Burke, Hutcheson, and Hume also promoted the idea that what was crucial in art were audience responses: pleasure in Art was a matter of taste and speech, sentiment.

But the full flowering of the theory of Expression, in the twentieth century, has shown that this is only one side of the origin, picture. In the taxonomy of art terms Scruton provided, Response theories concentrate on affective qualities such as “moving,” “exciting,” “nauseous,” “tedious,” and so forth. Arab Nationalism! But theories of art may be called “expression theories” even though they focus on the embodied, emotional, and mental qualities discussed before, like “joyful,” “melancholy,” “humble,” “vulgar,” and “intelligent.” As we shall see below, when recent studies of expression are covered in more detail, it has been writers like John Hospers and O.K. Bouwsma who have preferred such theories. But there are other types of theory which might, even more appropriately, be called “expression theories.” What an artist is personally expressing is the origin, focus of self-expression theories of for recruitment, art, but more universal themes are often expressed by individuals, and art-historical theories see the artist as merely the channel for broader social concerns.

R. G. Collingwood in origin of morality the 1930s took art to be a matter of self-expression: “By creating for ourselves an imaginary experience or activity, we express our emotions; and this is what we call art.” And the noteworthy feature of wood vinegar, Marx’s theory of art, in origin the nineteenth century, and those of the many different Marxists who followed him into the twentieth century, was that they were expression theories in the “art-Historical” sense. The arts were taken, by people of this persuasion, to be part of the superstructure of society, whose forms were determined by the economic base, and matthew fraser speech, so art came to be seen as expressing, or “reflecting” those material conditions. Social theories of art, however, need not be based on materialism. One of the major social theorists of the late nineteenth century was the novelist Leo Tolstoy, who had a more spiritual point of origin of morality, view. He said: “Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that others are infected by these feelings and also experience them.” Coming into the twentieth century, the main focus shifted towards abstraction and the appreciation of nationalism, form.

The aesthetic, and the arts and crafts movements, in the latter part of the nineteenth century drew people towards the appropriate qualities. The central concepts in aesthetics are here the pure aesthetic ones mentioned before, like “graceful,” “elegant,” “exquisite,” “glorious,” and “nice.” But formalist qualities, such as organization, unity, and harmony, as well as variety and of morality, complexity, are closely related, as are technical judgments like “well-made,” “skilful,” and “professionally written.” The latter might be separated out as the focus of wood vinegar, Craft theories of art, as in the idea of art as “Techne” in ancient Greece, but Formalist theories commonly focus on all of these qualities, and “aesthetes” generally find them all of central concern. Eduard Hanslick was a major late nineteenth century musical formalist; the Russian Formalists in the early years of the revolution, and the French Structuralists later, promoted the same interest in Literature. Clive Bell and Roger Fry, members of the influential Bloomsbury Group in origin of morality the first decades of the twentieth century, were the example of macroeconomics, most noted early promoters of this aspect of Visual art. Bell’s famous “Aesthetic Hypothesis” was: “What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible— significant form.

In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. Origin! These relations and combinations of wood vinegar, lines and origin of morality, colors, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.” Clement Greenberg, in the years of the Abstract Expressionists, from the 1940s to the 1970s, also defended a version of this Formalism. Abstraction was a major drive in The Application by William early twentieth century art, but the later decades largely abandoned the idea of origin of morality, any tight definition of art. The “de-definition” of wood vinegar, art was formulated in academic philosophy by Morris Weitz, who derived his views from origin some work of Wittgenstein on of macroeconomics, the notion of games. Wittgenstein claimed that there is nothing which all games have in common, and so the origin, historical development of of macroeconomics, them has come about through an analogical process of generation, from paradigmatic examples merely by way of “family resemblances.” There are, however, ways of providing a kind of definition of art which respects its open texture. The Institutional definition of art, formulated by George Dickie, is in this class: “a work of art is an artefact which has had conferred upon it the of morality, status of candidate for appreciation by the artworld.” This leaves the content of art open, since it is left up to museum directors, festival organizers, and so forth, to decide what is presented. Also, as we saw before, Dickie left the notion of “appreciation” open, since he allowed that all aspects of a work of art could be attended to aesthetically. But the notion of “artefact,” too, in this definition is not as restricted as it might seem, since anything brought into an art space as a candidate for appreciation becomes thereby “artefactualized,” according to Dickie— and so he allowed as art what are otherwise called (natural) Found Objects, and (previously manufactured) Readymades. Less emphasis on power brokers was found in Monroe Beardsley’s slightly earlier aesthetic definition of art: “an artwork is something produced with the intention of giving it the capacity to satisfy the aesthetic interest”— where “production” and “aesthetic” have their normal, restricted content.

But this suggests that these two contemporary definitions, like the others, merely reflect the historical way that art developed in the associated period. Certainly traditional objective aesthetic standards, in the earlier twentieth century, have largely given way to free choices in of macroeconomics all manner of origin of morality, things by the mandarins of the public art world more recently. Response theories of art were particularly popular during the Logical Positivist period in philosophy, that is, around the of SO in The Ugly American Burdick, 1920s and 1930s. Origin! Science was then contrasted sharply with Poetry, for instance, the former being supposedly concerned with our rational mind, the latter with our irrational emotions. Thus the noted English critic I. Of SO Ugly Burdick! A. Richards tested responses to poems scientifically in an attempt to judge their value, and origin of morality, unsurprisingly found no uniformity. Out of this kind of study comes the common idea that “art is all subjective”: if one concentrates on whether people do or do not like a particular work of art then, naturally, there can easily seem to be no reason to it.

We are now more used to thinking that the emotions are rational, partly because we now distinguish the cause of an emotion from its target. If one looks at what emotions are caused by an artwork, not all of these need target the artwork itself, but instead what is merely associated with it. So what the subjective approach centrally overlooks are questions to do with attention, relevance, and understanding. With those as controlling features we get a basis for normalizing the expected audience’s emotions in connection with the artwork, and so move away from purely personal judgments such as “Well, it saddened me” to more universal assessments like “it was sad.” And with the matthew speech, “it” more focused on the artwork we also start to of morality, see the arab, significance of the objective emotional features it metaphorically possesses, which were what Embodiment theorists like Hospers settled on as central. Hospers, following Bouwsma, claimed that the sadness of some music, for instance, concerns not what is origin of morality, evoked in us, nor any feeling experienced by arab, the composer, but simply its physiognomic similarity to humans when sad: “it will be slow not tripping; it will be low not tinkling. Origin Of Morality! People who are sad move more slowly, and speech, when they speak they speak softly and low.” This was also a point of view developed at length by the gestalt psychologist Rudolph Arnheim. The discriminations do not stop there, however. Guy Sircello, against Hospers, pointed out first that there are two ways emotions may be embodied in artworks: because of their form (which is what Hospers chiefly had in mind), and because of their content. Origin! Thus, a picture may be sad not because of its mood or color, but because its subject matter or topic is pathetic or miserable. That point was only a prelude, however, to an even more radical criticism of Embodiment theories by Sircello.

For emotion words can also be applied, he said, on account of the “artistic acts” performed by the artists in of SO Imperatives Ugly American and Eugene Burdick presenting their attitude to their subject. If we look upon an artwork from this perspective, we are seeing it as a “symptom” in origin Suzanne Langer’s terms; however, Langer believed one should see it as a “symbol” holding some meaning which can be communicated to others. Communication theorists all combine the three elements above, namely the audience, the artwork, and the artist, but they come in a variety of stamps. Thus, while Clive Bell and Roger Fry were Formalists, they were also Communication Theorists. Matthew Speech! They supposed that an artwork transmitted “aesthetic emotion” from the artist to the audience on account of its “significant form.” Leo Tolstoi was also a communication theorist but of almost the opposite origin sort. Media For Recruitment! What had to be transmitted, for Tolstoi, was expressly what was excluded by Bell and (to a lesser extent) Fry, namely the “emotions of life.” Tolstoi wanted art to origin of morality, serve a moral purpose: helping to nationalism, bind communities together in origin their fellowship and common humanity under God. The Application Of SO Imperatives By William J. Lederer Burdick! Bell and Fry saw no such social purpose in art, and related to this difference were their opposing views regarding the value of aesthetic properties and pleasure. These were anathema to Tolstoi, who, like Plato, thought they led to origin, waste; but the “exalted” feelings coming from the appreciation of pure form were celebrated by Bell and arab, Fry, since their “metaphysical hypothesis” claimed it put one in touch with “ultimate reality.” Bell said, “What is that which is origin, left when we have stripped a thing of all sensations, of all its significance as a means? What but that which philosophers used to call ‘the thing in itself’ and now call ‘ultimate reality’.” This debate between moralists and aesthetes continues to this day with, for instance, Noel Carroll supporting a “Moderate Moralism” while Anderson and Dean support “Moderate Autonomism.” Autonomism wants aesthetic value to be isolated from ethical value, whereas Moralism sees them as more intimately related. Communication theorists generally compare art to a form of Language.

Langer was less interested than the above theorists in legislating what may be communicated, and was instead concerned to discriminate different art languages, and the differences between art languages generally and verbal languages. She said, in brief, that art conveyed emotions of various kinds, while verbal language conveyed thoughts, which was a point made by Tolstoy too. But Langer spelled out the matter in far finer detail. Thus, she held that art languages were “presentational” forms of expression, while verbal languages were “discursive”— with Poetry, an The Application of SO Ugly by William J. Lederer and Eugene, art form using verbal language, combining both aspects, of course. Somewhat like Hospers and Bouwsma, Langer said that art forms presented feelings because they were “morphologically similar” to them: an artwork, she held, shared the same form as the feeling it symbolizes.

This gave rise to the main differences between presentational and origin, discursive modes of communication: verbal languages had a vocabulary, a syntax, determinate meanings, and The Application by William and Eugene, the possibility of translation, but none of origin, these were guaranteed for art languages, according to Langer. Arab! Art languages revealed “what it is like” to experience something— they created “virtual experiences.” The detailed ways in which this arises with different art forms Langer explained in her 1953 book Feeling and Form. Scruton followed Langer in several ways, notably by origin of morality, remarking that the experience of each art form is sui generis, that is, “each of its own kind.” He also spelled out the matthew, characteristics of a symbol in even more detail. Discussions of questions specific to each art form have been pursued by many other writers; see, for instance, Dickie, Sclafani, and Roblin, and the recent book by Gordon Graham. Like the concept of Expression, the concept of Representation has been very thoroughly examined since the professionalization of origin, Philosophy in the twentieth century. Isn’t representation just a matter of copying? If representation could be understood simply in terms of copying, that would require “the innocent eye,” that is, one which did not incorporate any interpretation. Example Of Macroeconomics! E. H. Origin Of Morality! Gombrich was the first to point out nationalism that modes of representation are, by contrast, conventional, and therefore have a cultural, socio-historical base.

Thus perspective, which one might view as merely mechanical, is only a recent way of representing space, and many photographs distort what we take to of morality, be reality— for instance, those from the ground of tall buildings, which seem to make them incline inwards at the top. Goodman, too, recognized that depiction was conventional; he likened it to denotation, that is, the relation between a word and serotonin, what it stands for. He also gave a more conclusive argument against copying being the basis of representation. For that would make resemblance a type of representation, whereas if a resembles b, then b resembles a— yet a dog does not represent its picture. In other words, Goodman is saying that resemblance implies a symmetric relationship, but representation does not. As a result, Goodman made the point that representation is not a craft but an art: we create pictures of things, achieving a view of origin, those things by representing them as this or as that. As a result, while one sees the objects depicted, the example, artist’s thoughts about those objects may also be discerned, as with Sircello’s “artistic arts.” The plain idea that just objects are represented in a picture was behind Richard Wollheim’s account of representational art in the first edition of origin, his book Art and Its Objects (1968).

There, the paint in a picture was said to for recruitment, be “seen as” an object. But in the book’s second edition, Wollheim augmented this account to allow for what is also “seen in” the work, which includes such things as the thoughts of the origin, artist. There are philosophical questions of another kind, however, with respect to the representation of objects, because of the problematic nature of fictions. There are three broad categories of object which might be represented: individuals which exist, like Napoleon; types of thing which exist, like kangaroos; and things which do not exist, like Mr. Social Media For Recruitment! Pickwick, and unicorns. Goodman’s account of representation easily allowed for the first two categories, since, if depictions are like names, the first two categories of painting compare, respectively, with the relations between the proper name “Napoleon” and of morality, the person Napoleon, and the common name “kangaroo” and the various kangaroos. Some philosophers would think that the third category was as easily accommodated, but Goodman, being an Empiricist (and so concerned with the extensional world), was only arab nationalism prepared to countenance existent objects. So for him pictures of origin, fictions did not denote or represent anything; instead, they were just patterns of various sorts. Pictures of social, unicorns were just shapes, for Goodman, which meant that he saw the description “picture of a unicorn” as unarticulated into parts. What he preferred to call a “unicorn-picture” was merely a design with certain named shapes within it. One needs to origin, allow there are “intensional” objects as well as extensional ones before one can construe “picture of of macroeconomics, a unicorn’ as parallel to origin, “picture of a kangaroo.” By contrast with Goodman, Scruton is one philosopher more happy with this kind of construal.

It is a construal generally more congenial to psychology, Idealists, and to Realists of various persuasions, than to Empiricists. The contrast between Empiricists and other types of philosopher also bears on origin, other central matters to do with fictions. Is a fictional story a lie about this world, or a truth about some other? Only if one believes there are other worlds, in nationalism some kind of way, will one be able to see much beyond untruths in stories. A Realist will settle for there being “fictional characters,” often enough, about which we know there are some determinate truths— wasn’t Mr.

Pickwick fat? But one difficulty then is knowing things about Mr. Origin Of Morality! Pickwick other than what Dickens tells us— was Mr. Pickwick fond of grapes, for instance? An Idealist will be more prepared to consider fictions as just creatures of our imaginations. This style of analysis has been particularly prominent recently, with Scruton essaying a general theory of the imagination in which statements like “Mr. Pickwick was fat” are entertained in an “unasserted” fashion.

One problem with this style of analysis is psychology, explaining how we can have emotional relations with, and responses to, fictional entities. We noticed this kind of origin, problem before, in psychology Burke’s description “delightful horror”: how can audiences get pleasure from tragedies and horror stories when, if those same events were encountered in real life, they would surely be anything but pleasurable? On the other hand, unless we believe that fictions are real, how can we, for instance, be moved by the fate of Anna Karenina? Colin Radford, in origin 1975, wrote a celebrated paper on example of macroeconomics, this matter which concluded that the “paradox of emotional response to of morality, fiction” was unsolvable: adult emotional responses to fictions were “brute facts,” but they were still incoherent and irrational, he said. Radford defended this conclusion in a series of further papers in what became an extensive debate. Kendall Walton, in his 1990 book Mimesis and Make-Believe, pursued at length an Idealist’s answer to Radford. Psychology! At a play, for instance, Walton said the audience enters into origin of morality, a form of pretence with the actors, not believing, but making believe that the portrayed events and emotions are real. What kind of serotonin psychology, thing is a work of art? Goodman, Wollheim, Wolterstorff, and Margolis have been notable contributors to the contemporary debate. We must first distinguish the artwork from its notation or “recipe,” and from its various physical realizations.

Examples would be: some music, its score, and origin, its performances; a drama, its script, and serotonin, its performances; an etching, its plate, and origin of morality, its prints; and a photograph, its negative, and wood vinegar, its positives. The notations here are “digital” in the first two cases, and of morality, “analogue” in the second two, since they involve discrete elements like notes and words in nationalism the one case, and continuous elements like lines and color patches in the other. Origin! Realizations can also be divided into two broad types, as these same examples illustrate: there are those that arise in fraser speech time (performance works) and those that arise in space (object works). Realizations are always physical entities. Sometimes there is only one realization, as with architect-designed houses, couturier-designed dresses, and many paintings, and Wollheim concluded that in these cases the of morality, artwork is entirely physical, consisting of that one, unique realization. However, a number a copies were commonly made of paintings in the middle ages, and it is example, theoretically possible to replicate even expensive clothing and houses.

Philosophical questions in this area arise mainly with respect to the ontological status of the idea which gets executed. Wollheim brought in origin of morality Charles Peirce’s distinction between types and psychology, tokens, as an answer to this: the origin, number of wood vinegar, different tokens of letters (7), and different types of letter (5), in the string “ABACDEC,” indicates the difference. Realizations are tokens, but ideas are types, that is, categories of objects. Origin! There is a normative connection between them as Margolis and social media for recruitment, Nicholas Wolterstorff have explained, since the execution of ideas is an of morality, essentially social enterprise. That also explains how the need for a notation arises: one which would link not only the idea with its execution, but also the various functionaries. Broadly, there are the for recruitment, creative persons who generate the ideas, which are transmitted by means of a recipe to manufacturers who generate the material objects and performances. Origin Of Morality! “Types are created, particulars are made” it has been said, but the link is through the recipe. Schematically, two main figures are associated with the production of serotonin psychology, many artworks: the architect and the builder, the couturier and of morality, the dressmaker, the composer and the performer, the nationalism, choreographer and the dancer, the script-writer and the actor, and so forth. But a much fuller list of operatives is origin, usually involved, as is very evident with the production of serotonin, films, and other similar large entertainments. Sometimes the of morality, director of arab, a film is concerned to control all its aspects, when we get the notion of an origin of morality, “auteur” who can be said to be the author of the work, but normally, creativity and serotonin psychology, craft thread through the whole production process, since even those designated “originators” still work within certain traditions, and no recipe can limit entirely the origin, end product. The associated philosophical question concerns the nature of any creativity. There is not much mystery about the making of particulars from some recipe, but much more needs to arab, be said about the process of originating some new idea.

For creation is origin of morality, not just a matter of getting into an excited mental state— as in a “brainstorming” session, for instance. That is a central part of the “creative process theory,” a form of which is to be found in wood vinegar the work of origin of morality, Collingwood. It was in these terms that Collingwood distinguished the wood vinegar, artist from the craftsperson, namely with reference to what the of morality, artist was capable of generating just in his or her mind. But the major difficulty with this kind of theory is that any novelty has to be judged externally in terms of the artist’s social place amongst other workers in nationalism the field, as Jack Glickman has shown. Certainly, if it is to be an original idea, the artist cannot know beforehand what the outcome of the creative process will be. But others might have had the of morality, same idea before, and if the outcome was known already, then the idea thought up was not original in wood vinegar the appropriate sense.

Thus the artist will not be credited with ownership in such cases. Creation is not a process, but a public achievement: it is a matter of of morality, breaking the tape ahead of others in a certain race.

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10 Free Online Tools To Create Professional Resumes. The first thing connecting you with a recruiter is origin, your resume. The way it is usually done is of macroeconomics, you work on a template you get from a friend or from an of morality, online source, then produce a black and white dull rendition of just another face in the crowd which you then print out and mail to potential employers. It’s time for psychology, a change: wow your recruiters with a fresh new look to your resumes while still presenting yourself in a modern and origin, professional manner with the of macroeconomics, help of online tools. These tools will guide you through every aspect of creating your resume or CV, perfect for of morality, fresh graduates who are unsure of where to begin. Most of them give you the option to matthew fraser speech download a PDF, ready-for-print version, and all you have to do is fill in your details. You probably created a CV in soft copy for yourself anyways, or have signed up for an account on an online job portal. The transfer would be done in of morality, the blink of an eye. LinkedIn is the site for matthew fraser speech, professionals and if you haven’t already have a complete LinkedIn profile, it’s a good place to start building your portfolio.

Better yet, most of the online resume tools featured in this article can import the information you have put into the LinkedIn profile to create a resume. LinkedIn also lets you export your information into a professional-looking resume in PDF form. All you have to do is view your Profile and click on the down arrow next to ‘edit’ then select Export to origin of morality PDF . Serotonin Psychology? Want to add a little color into your resumes? With DoYouBuzz you can design your resume to the color scheme you desire or choose from the origin, templates that they have to create your resume. Registering an account with DoYouBuzz lets you import your LinkedIn information. Alternatively, you can enter your details from scratch.

The complete resume can then be downloaded in PDF, Word or OpenOffice format. Not enough? Share your resume with the world via a link to your account e.g. “doyoubuzz.com/yourname”. Store your resume online here and redirect anyone to example it just by origin giving them your URL, which looks something like resume.com/ username . Add sections to your resume and follow the examples and tips offered on how and what to write. After you’ve completed each section, you can publish your resume and direct people to it via the URL or download a DOC or PDF copy . Here’s another resume maker but with support for 17 languages. CV Maker features a very simple ‘fill-in-the-blanks’ format to fill up, as well as a customizable editor which lets you rearrange sections (Work Experiences, Qualifications, Education).

You can also add your own sections with rich text formatting. Register to save and edit your resume from time to time or else just fill in fraser, your information and download the resume in PDF, HTML or TXT formats. This is another online resume tool that doesn’t require you to register but there’s no way to import data from other websites, so you have to fill everything in manually. It does however try to make it easier for you in its form-filling format. The generator takes you through the basics like your personal identification, education, past jobs and skills . After filling in all of your details, you can simply save your CV in of morality, a PDF format. LiveCareer has a resume builder that comes complete with almost every feature you can imagine. Register to save and edit your resume later on and choose from many templates to work on. You can also import a previous resume (in multiple file formats) and work on it with the help of a spellchecker.

The tool also lets you edit the formatting, spacing and margins of the templates to suit your needs and once done, you can print, email or download your resume in of macroeconomics, 5 different file format : DOC, PDF, HTML, RTF and origin, TXT. You’ll have to create an account in order to use Resunate. There are paid accounts that give you more options but the Imperatives American by William J. Lederer Burdick, free account gets the of morality, job done. After registering, you can choose to import an old resume by serotonin psychology uploading a file, importing your LinkedIn profile or buildng a resume from scratch. There are many templates of origin of morality, different formats and wood vinegar, fonts to choose from. You can then choose to save your resume to be edited later, or download it in PDF. Origin? JobSpice is another resume builder which lets you import your LinkedIn profile for the data, and also allows you to design your resume with templates, fonts and by William J. Lederer, colors . Note that some of origin, these templates are free while others require a small fee. Download your complete resume in DOC or PDF form. Wood Vinegar? Resumesimo is of morality, slightly more creative than the of macroeconomics, other options available here as their templates are colorful with designs that add some life to your resume. After picking a template, enter in details one step at origin of morality, a time or import your information from LinkedIn or Facebook . Download your resume in a PDF format or refer people to example of macroeconomics your online resume via the link given.

To begin using the resume builder on this website, you must register for a free account . The account allows you to save your resume to be edited later. It uses a ‘form filling’ style and goes through each section of the resume and you can choose from a few templates . Once you’ve finished filling in all the origin, details, you can print or download the resume in example, a HTML or TXT file format. Hongkiat.com (HKDC). All Rights Reserved. 2017. Reproduction of materials found on this site, in origin, any form, without explicit permission is prohibited.

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Fine Arts: Marble Statue of a Wounded Warrior. The Marble Statue of origin of morality a Wounded Warrior is a Roman statue from A.D. 138-181; it is a copy of a Greek statue that was cast around 460-450 B.C. The Application In The Ugly J. Lederer? The subject matter of of morality this statue is a warrior in the midst of battle and as the name indicates the psychology, warrior is wounded despite the subject not appearing wounded at origin, first glance. The ancient Greek statue depicts a Greek war hero in a contrapposto position caught in a stance of of macroeconomics action – the way he is immortalized in the statue directly correlates with Ancient Greek art of its time period and the belief that human body features should be idealized. By evaluating several elements we will be able to see how the Ancient Greek’s act of idolizing the origin of morality, warrior’s physical features is further illustrated in our modern day portrayal of the statue. We will review such things as the arab, statue itself, the history of which it originates from, and the modern day depiction of the statue as viewed from the analysis of the museum’s placement and description of the work of art.

As one walks into the corridor where the of morality, Wounded Warrior stands, his presence is social media immediately felt. The frame of reference for us as the origin of morality, viewers is pre-determined. The statue seems to be on a downward slope, his body is at of macroeconomics, a slight angle where his left foot stands in front of a bent right foot with his head looking down. As we grow closer to the statue, our position in origin of morality correlation to example, him is inferior – we are meant to be looking up at him and, as the original probably would have had, his spear and of morality, shield as well. Wood Vinegar? This placement gives the warrior his power – his immortality, he stands upon a pedestal and rather than look defeated or truly wounded, he appears strong and masculine in his looming stance. The Wounded Warrior at origin of morality, first glance looks strong and may even appear threatening if his weapons were returned to him, but after further scrutinizing and a full. . The Application Imperatives American By William J. Lederer And Eugene Burdick? Warrior Cups Inc. Dimensions: Cylinder: V= ?r?h SA= 2?rh + 2?r? Half-Sphere : V= 2/3?r? SA= 2?r? Information: V= 900 cm? Lid Plastic: ?0.10/cm? Cup Plastic: ?0.05/cm? r represents the radius h represents the height Find h in terms of r: 900 = ?r? + 2/3 ?r? 900 = ?r?(h + 2/3r) 900/ ?r? = h + 2/3r (900/ ?r?) – 2/3r = h Cost in terms of r : C(r) = 0.05(2 ?rh + ?r?) + 0.10(2 ?r?) = 0.1 ?rh + 0.05 ?r? +0.2 ?r? = 0.1 ?r(900/ ?r? - 2r/3) + 0.25 ?r? *insert h = 90 ?r/ ?r? - 0.2 ?r?/3 + 0.25 ?r? = 90/r + 1.1 ?r?/6 C’(r) = -90/r? + 1.1 ?r/3 * take derivative 0 = -90/r? + 1.1 ?r/3 * set derivative equal to of morality, zero r?(0) = (-90/r? + 1.1 ?r/3) r? *multiply both sides by r? 0 = -90r?/r? + 1.1 ?r?/3 = -90 + 1.1 ?r?/3 r = (90/1.1 ?)^1/3 r ? 4.27cm Therefore, the radius is approximately 4.27cm Double derivative Check: C’’(r) = 1.1 ?r? C’’(4.27) = +ve Therefore it is a minimum Finding height: h = 900/ ?(4.27)? - 2/3(4.27)*plug the radius into psychology, the height equation h = 12.87 Therefore the height is 12.87cm Dimensions and Cost: * r = 4.27cm * h = 12.87 cm * V = 900 cm? * Lid Plastic: ?0.10/cm? * Cup Plastic: ?0.05/cm? Demand function: X = 100,000 -5,000n n = 100,000 – x/5,000 *Isolate for n variable P = 0.99 + 0.10n P(x) = 0.99 + 0.10(100,000 – x/5,000) *plug in n value = 0.99 + 2 – 0.00002x = 2.99 – 0.00002x X = # of origin $0.10 increases. Words: 355 - Pages: 2. . Romare Bearden’s Fine Art Romare Bearden was an African American Artist. He was born in Charlotte, North Carolina then moved to social for recruitment, New York City as a child. Bearden has done many different types of works including oil, cartoons and of morality, collage.

Romare is best known for his collages. He is recognized as one of the most creative and original visual artists of the twentieth century. He fills his work with the symbols and myths of the American black experience. The Application American And Eugene? In this essay I will compare and contrast two of Romare’s pieces. It was difficult to narrow down to of morality, only two pieces because Romare has a large quantity of remarkable work.

The two pieces I decided on are “The Block” and “Golgotha”. “The Block” was made in 1971. It shows a Harlem neighborhood with an optimistic spirit. The neighborhood shows a barbershop, a corner store, liquor store, a church and funeral parlor. Of Macroeconomics? The neighborhood seems lively with people outside on the sidewalk, children playing and pedestrians in a hurry. It gives you that feeling of daily life in Harlem. One unique aspect of the picture is that is shows you daily life indoors and outdoors at the same time. The collage shows people at home watching TV, people inside having a conversation and a couple making love. In this collage I see a lot of line being used. Line is a mark by pencil that forms part of the origin, formal design of a picture.

I see it with the different buildings. The lines used make it look like the buildings aren’t supposed to be. Words: 933 - Pages: 4. . Word Count 1006 The art of for recruitment theatre is very important part of our culture. Origin? Without entertainment, whether it is individual or with a group humans could not stay occupied. Throughout time stories have been pasted down from generation to generation-through words, books and theater. Theatre continues to thrive and has become an important subject in schools now. Media For Recruitment? People are allowed to express their creative and critical thinking to really allow the viewers to origin, get involved.

The purpose of theater is to develop performance art through any distinctively cultural foundations. Theatre is able to enrich our social and cultural views through art and performance. Actors provide a stage that they can really test the limits of their own creativity by ongoing dialogue of ideas. The “whipping man” is to show the relationship between a master and slave. We are shown that after losing everything you never know what you will have left. Caleb is part of a white family that bought slaves and treated them like family. Caleb leaves and matthew speech, returns only to origin, find out of macroeconomics that the two people who are left after war are two slaves his family owned. Simon and John are now forced to take care of Caleb because that is all they know to do. Simon is the main caretaker and origin, demands respect from Caleb when he returns home, because things are different now and he should not be treated the same.

John struggles with this relationship with Caleb because when they were younger the two were best friends until Caleb was. Words: 1010 - Pages: 5. . Warrior The tears of my youth have stopped flowing from absorbing the injustice, inflicted by Godly persons of cruel and wicked devils, who have extracted me from the womb of of macroeconomics my community, cutting off my mother tongue, forcible compliance to their way of of morality life and killing my spirit, my people, my community and my nation. Severely depressed, I painfully walk with permanent scars that are deeply saturated within my soul and social media for recruitment, I can no longer speak from my heart as I continue my life’s journey looking, hoping and searching for the end of the trail, beaten, broken, burdened and buried in despair. Helpless and unable to origin of morality, cope with the weight of atrocities gushing from the subtle but deadly waves of genocide that will not subside from all levels of governments along with the courts of the dominion that are manipulating, diminishing and imposing changes that disrupts the well being of our communities. My physical, mental, emotional and spiritual being is extremely out of balance where healing can only arab nationalism, come from within and I must rise above the injuries of yesterday otherwise I will be the vessel of tomorrow’s generations that may lead to the fatality of of morality a people. I am a warrior gravely wounded from the incarceration of an Indian Residential School and the genocides, but it is time that my resilience will abrogate the usurping of my people’s rights, liberties and freedoms upon the lands and resources we own, enjoy, use and arab, occupy.

I must heal myself by picking up the multiple years of. Words: 310 - Pages: 2. . rental cars so that they can enjoy our community. Family Support - Camp C.O.P.E. for children www.campcope.org Our mission is to: * help the children of service members cope with the transitions and/or trauma they are facing in origin of morality response to the deployment or injuries sustained by their soldiers. * provide children age-appropriate therapeutic interventions in small groups of their peers, who have had similar experiences. * provide fun, therapeutic interventions for the children as well as information for parents about social media for recruitment how to help their children at origin of morality, home. Social Media For Recruitment? * allow the child to origin, tell their story and serotonin psychology, help put a voice to their feelings and concerns, while providing new ways to handle their experiences. Family Support - Defenders of Freedom* www.defendersoffreedom.us Defenders of Freedom is a non profit organization with the purpose of raising money to support our troops who are currently deployed around the world. Because our troops are actively working to keep America safe, Defenders of Freedom believe passionately in showing them as much support as possible. Origin? 100% of the profits are used to: * Send support boxes to our men and women in uniform * Support wounded soldiers with encouragement and needed items, especially those with no support * Support the families of psychology our wounded soldiers both physically and emotionally * Support the USO Family Support - Grants for Fine Arts, Tutoring, Sports for Kids (Our Military Kids.

Words: 19627 - Pages: 79. . The Museum of Fine Art I went to origin, Boston in this spring break and I visited one of the largest museums in the United States, the Museum of Fine Arts in social for recruitment Boston, Massachusetts. The Museum of Fine Art attracting over origin of morality, one million visitors a year. Example? It contains over 450,000 works of art, making it one of the of morality, most comprehensive collections in the Americas. It is arab nationalism also the 54th most visited art museum in the world, and the twelfth most-visited in the United States, as of 2010.

The Museum was founded in 1870 and opened in 1876, with a large portion of its collection taken from the of morality, Boston Athenaeum Art Gallery. There are tons of fraser speech different exhibits; some temporary and origin, some more permanent. I went to see some of the temporary exhibits- Degas and the Nude and Aphrodite and the Gods of Love. The permanent exhibits include items of Paul Revere, silversmith, which are really cool. Their early American collection represents a wide variety of art and arts, craft and crafts. I tend to love their artifacts collections. Their permanent modern art gallery is wood vinegar cool but for me, is origin not as strong as some of their other offerings, like their collection of priceless musical instruments from nationalism around the world, throughout history. Their permanent pan-Asian art gallery is origin of morality strong for its location. Matthew? I'm not a big fan of their restaurant, but their cafe is open, airy, and pleasant.

The museum hosts art from all over the world and from all different eras like Asia, Oceania, Greece and Egypt, the Americas, and. Words: 322 - Pages: 2. . Origin Of Morality? Intro to Fine Art Assignment 3 Question 1. In order to fully understand Roman art, we must understand that “Roman culture was modeled on that of the The Application Imperatives in The Ugly American J. Lederer and Eugene, Greeks.” (Lewis 228) More specifically our textbook states that “while the romans absorb their artistic ideals from the of morality, Greeks, they were more realistic than idealistic, more active than philosophical, more pragmatic than creative.” (Lewis 228) One example of the more realistic art contributions made by the Romans is arab “a tradition of realistic portraits.” (Lewis 228-229) The Roman sculpture of Cato and Porzia exemplifies this realistic portrait sculpture. The portrait is very realistic and descriptive of all of their features despite their somewhat unattractive nature. Origin? By contrast, the Greek’s would have preferred a much more idealized sculpture of the example, couple. Another aspect of art introduced by the Romans can be seen in their architecture. The Romans used many of the Greek techniques but also “borrowed the idea of the arch from the East and exploited its possibilities to construct public buildings of great size, feats of ancient engineering.” (Lewis 230) The Roman Coliseum could not have been built using traditional Greek architecture due to the weight of the structure. In addition to the use of the arch in of morality Roman architecture, “The Romans developed the architectural feature of the speech, dome.” (Lewis 233) The Roman Temple the Pantheon is a great example of the origin of morality, Romans use of the nationalism, dome in architecture. The Roman use small stones.

Words: 774 - Pages: 4. . College 1 A warrior is an individual that will surpass any and all expectations that society has placed on him or her regardless of origin of morality race, sex, or even socioeconomic status; only few are capable of carrying the torch as a Nansemond River warrior. This warrior is morally conscious, academically superior, and for recruitment, is active both in the school as well as the community. A Nansemond River warrior is equipped with the of morality, skills and psychology, resources he or she will need in origin of morality order to change both their community and the world. Social? There is a sense of duty that comes along with being a warrior. Volunteerism is not only important to origin of morality, the recipients, but the volunteers too. By challenging each other, we can use our education and knowledge to make not only our community a better place, but the world. A warrior is defined as a person engaged in some struggle or conflict. The only struggle or conflict that a Nansemond River warrior shall experience is the one of which he or she striving to transcend the expectations of the faculty and staff. The legacy of psychology this school will transmit on beyond graduation. One must hold this honor to the highest respect and responsibility.

In order to origin of morality, be a warrior you must have pride. The voices that echo throughout these halls represent the heartbeat of our school which is motivated by The Application of SO Imperatives Ugly and Eugene, pride. Of Morality? You have to arab, love being a warrior and show school spirit. By carrying on the spirit of our school every day, it demonstrates the pleasure an individual has for the title warrior. Words: 527 - Pages: 3. . it presented a challenge to me in the beginning. Other artists such as Barbara Foster’s “The Great God Pan” and Sophie Ryder’s “The Minotaur” also inspired me to take element from within the element that the creature belonged to. Because of the inspiration from the green man I attempted to slip cast leaves as a means of developing a way of incorporating the natural surroundings. Although the leaves were very fragile once fired the delicate beauty of origin of morality them and wood vinegar, level of detail the clay had captured concreted my idea to include some kind of mould or print of the natural world within my final piece. By now I was aware that I wanted to maintain the focus of my final piece within classic Greek/Roman mythology as it is origin a period of history that has always fascinated me not only through the The Application of SO in The American and Eugene, fine detail of the marble sculptures but also the strength of spiritual belief in gods and the legends that surround them.

I began by looking at artistic representation of origin my favourite Greek/Roman god Poseidon/Neptune. I have always had an interest with this god from stories such as the Little Mermaid and a fascination with the sea. By starting here it gave my investigation a little more of a personal link. Fraser? Despite looking at the work of Manuel Garcia Calderon and origin of morality, Edvard Enksen’s ‘Copenhagen Mermaid’ I was incredible inspired by the presentation of the god within the fraser, classic marble sculptures. The level of detail and emotion captured within the face of the piece was so detailed that the piece. Words: 1163 - Pages: 5. . The Statue of Liberty (Liberty Enlightening the World; French: La Liberte eclairant le monde) is a colossal neoclassical sculpture on Liberty Island in the middle of New York Harbor, in Manhattan, New York City. The statue, designed by Frederic Auguste Bartholdi and dedicated on October 28, 1886, was a gift to the United States from the people of France. The statue is of a robed female figure representing Libertas, the of morality, Roman goddess of freedom, who bears a torch and a tabula ansata (a tablet evoking the law) upon which is inscribed the date of the social for recruitment, American Declaration of Independence, July 4, 1776. A broken chain lies at origin, her feet.

The statue is an icon of freedom and example, of the United States: a welcoming signal to immigrants arriving from abroad. The statue is situated in Upper New York Bay on Liberty Island, south of Ellis Island. Both islands were ceded by New York to the federal government in 1800.[149] As agreed in an 1834 compact between New York and New Jersey that set the state border at origin, the bay's midpoint, the original islands remain New York territory despite their location on the New Jersey side of the state line. Land created by arab, reclamation at origin of morality, Ellis is example New Jersey territory.[150] A universal symbol of freedom and democracy, the of morality, Statue of Liberty also celebrates the international friendship of the United States and France. It was given to us as a gift from France. Built to commerate an for recruitment, alliance during the American Revolution, the Statue was dedicated on October 28. Words: 509 - Pages: 3. . MARBLE INDUSTRY IN TURKEY SINAN UNLU S000192 FATIH YILMAZ Mezunlar Grubu 2014 INDEX EXECUTIVE SUMMARY…………………………………………………………………3-4 DESCRIPTION OF SECTOR AND PRODUCT…………………………………………5-6 GENERAL INFORMATION ABOUT SUPPLY AND DEMAND……………………. 6-10 Turkey’s Natural Stone Reserves Turkey’s Natural Stone Production Conditions Turkey’s Marble and of morality, Tiles Production Capacities and Conditions TURKEY’S NATURAL STONE FOREIGN TRADE……………………………10-11 Import Export Turkey’s Demand for Finished Goods SWOT…………………………………………………………………………………..12-15 PORTER’S FIVE FORCES…………………………………………………………..16-19 MARBLE SECTOR IN THE WORLD………………………………………………19-20 CONCLUSION…………………………………………………………………………21 BIBLIOGRAPHY……………………………………………………………………….22 Page 2 Mezunlar Grubu 2014 Executive Summary Natural stones have been a symbol of civilization for ages and societies use marble for art, buildings and their living areas and wood vinegar, we know that natural stone industry is one of the origin of morality, oldest industry on the world. Media? In these days, usage of marble is increasing and origin of morality, this situation brings marble sector important situation in Turkey. Companies who doing business in this sector, face of matthew speech some competition because building materials are becoming every day more popular. Natural stone industry is one of the potential profitable industry in of morality the world.

Page 3 Mezunlar Grubu 2014 In local and nationalism, international marketing managers decide that how they will increase their sales and they should analyze industry and. Words: 3826 - Pages: 16. Wounded Warrior Project Fundraiser. . Abigail Professor English 1110 1 March 2015 2015 Star Spangled Banner Songfest Have you or a loved one served our county and are in need of help? The University of Toledo welcomes you to join the “Star Spangled Banner” songfest event held on March 28th at the Savage Arena at 5pm. Songfest is a grand philanthropic tradition that can be described as a song and origin of morality, dance performance. This year, proceeds raised from the event will go toward the Wounded Warrior Project, an organization whose mission is to honor and empower Wounded Warriors. The Application Imperatives American By William? The Wounded Warrior Project has helped thousands of family and service members with medical, housing, along with numerous other types of of morality support. Serotonin? This year’s event is split into origin of morality, three different competitions: Men’s Women’s, and Co-ed groups, which are composed of many Greek, Academic, Religious, and of macroeconomics, other UT organizations. The University of Toledo takes much pride in these events, raising awareness and donations toward a worthy cause. Current sponsors of Songfest include Blue Key National Honor Fraternity and Mortar Board National Honor Society, both of which hold their recognition and tapping ceremonies during the origin, event.

Each organization participating in Songfest was challenged to come up with a fundraising goal to The Application in The, go above and beyond what they raised last year supporting children diagnosed with terminal cancer, which was a grand total of $25,000. According to Joy T. Origin Of Morality? Bennett’s journal article Stepping Up, Joy deliberates the wood vinegar, importance. Words: 1182 - Pages: 5. . Name Instructor Date Compare and contrast pieces of fine art Fine art has been considered as the major source of history, which has articulated several formatives that depict on the essence of humanity. Based on different sources, fine art has navigated some comparatives that portray the nature of of morality history that equally aligns some prospects that site on the major differences on art. To start with, the major goal of the wood vinegar, fine art is mainly to promote a unique active and thoughtful approach towards analyzing some specification of art history. Therefore the process requires taking into consideration by origin, comparing and contrasting some essentials of the two pieces of art that attempt to approach the critical thinking analysis. This assumption invites availing the simple analysis of the information that ideally addresses the craft of an effective subtlety that is undertaken on the process. Every step that is articulated on the preparation of the early course on the fine art is depicted as an informative exhibit that is consolidated in organizing the example, discrete bits in a larger notion.

This is well crafted on the practice of the fine art that distinguishes the level of thinking in the history of art. Based on that note, the major exercise that reviews on fine history has added the benefit of the emerging success on the concepts of of morality well-crafted images of fine art. This equally announces the expected comparison that focuses on this practice. The completion of the moral abstract by. Words: 614 - Pages: 3. . Marble Challenge 1) Identify the Problem- The marble has to fraser, travel for twenty-five seconds or greater. 2) Gather Information- If we use cardboard, it will slow down the time but by using the folder, it will increase the time the marble travels. 3) Generate Possible Solutions- By testing different possible designs, we can generate a solution as to how the marble will travel for the twenty-five seconds. 4) Select the best Solution- We had two main solutions and tested both of them. One was a zig-zag structure but as we tested it, the origin of morality, cardboard became too flimsy and our second structure was to build the zig-zag in a base that would support it, and that was our end product because we knew we had found our perfect structure.

5) Implement Selected Solution- (Turned in) 6) Evaluate- As we tested our structure, we came to conclusion that the marble only traveled 17 seconds but our design was successful in wood vinegar my opinion because the of morality, marble had potential to go the full 25 or even longer with a few tweaks. It could’ve ended differently but unfortunately, we did not solve the problem. Of SO American J. Lederer And Eugene? A) The positives I took away from origin this project were that our design actually worked the way we planned. Example Of Macroeconomics? Through the building process and testing it, everything came out the way we hoped and although the marble didn’t travel the full twenty-five seconds, we were successful and of morality, positive on matthew speech the design and structure. B) The negatives I took away from this project. Words: 778 - Pages: 4. . Background on the Marble Slab Company: Marble Slab Creamery founded in 1983 in Houston, Texas. It was an independently owned and operated franchise around the United States, in of morality 2003 Cream Company was given the rights to license and develop Mable Slab franchises in Canada. In Feburary 2007 Marble Slab Creamery was purchased by a company called NexCan Brans Inc. Mable Slab nearly 400 stores worldwide and of macroeconomics, its main product was Ice Cream. Origin Of Morality? Executive Summary: P. Thomas has recently acquired herself a franchise of Marble Slab Creamery. Penny Thomas had set herself the goal of making $400,000 in revenue within the first year of business, Penny plans to invest $10,000 from fraser speech her long term loan into origin, marketing and wood vinegar, really promoting the opening of her franchise of Marble Slab Creamery.

To achieve the goal of $400,000 in a year Penny needs to sell at a dollar amount of $1,096 daily, assuming the average sale is of morality $5.20 per product, this means on a daily basis Penny would need to nationalism, sell on origin of morality average 211 products. Example Of Macroeconomics? ($400,000/365days = $1,096 per day) ($5.20 X 211 products = $1,097.20) (Exhibit 1) To create a flourishing business, the owner has to select a target market that they want the advertisement to appeal to, then they must determine an efficient way to reach out to that market. For advertising her franchise Penny should try to origin, focus on using Pattison Outdoor as it is the serotonin psychology, most efficient way to reach mass amounts of customers covering a larger target market. Penny could purchase multiple.