Essay on Financial Management - 1083 Words

Caselet 1 Case1: Credit Decision - Agarwal Case On August 30, 2006, Agarwal Cast Company Inc., applied for a $200,000 loan from the main office of the National bank of New York. The application was forwarded to the banks commercial loan department. Gupta, the President and Principal Stockholder of Agarwal cast, applied for the loan in person. He told the loan officer that he had been in business since February 1976, but that he had considerable prior experience in flooring and carpets since he had worked as an individual contractor for the past 20 year. Most of this time, he had worked in Frankfert and Michigan. He finally decided to work for himself and he formed the company with Berry Hook, a former co-worker. This†¦show more content†¦In the northwestern United States, many of the Perluence products are marketed by a wholly-owned subsidiary, Bajaj Electronics Company. Operating from a headquarters and warehouse facility in San Antonio, Strand Electronics has 950 employees and handles a volume of $85 million in sales an nually. About $6 million of the sales represents items manufactured by Perluence. Gupta is the credit manager at Bajaj electronics. He supervises five employees who handle credit application and collections on 4,600 accounts. The accounts range in size from $120 to $85,000. The firm sells on varied terms, with 2/10, net 30 mostly. Sales fluctuate seasonally and the Examination Paper of Financial Management IIBM Institute of Business Management 4 average collection period tends to run 40 days. Bad-debt losses are less than 0.6 per cent of sales. Gupta is evaluating a credit application from Booth Plastics, Inc., a wholesale supply dealer serving the oil industry. The company was founded in 1977 by Neck A. Booth and has grown steadily since that time. Bajaj Electronics is not selling any products to Booth Plastics and had no previous contact with Neck Booth. Bajaj Electronics purchased goods from Perluence International under the same terms and conditions as Perluence used when it sold to independent customers. Although Bajaj Electronics generally followed PerluenceShow MoreRelatedFinancial Management14158 Words   |  57 PagesFINANCIAL MANAGEMENT – AN OVERVIEW Unit structure: 1. Introduction 2. Learning objectives 3. Section title Meaning Definition Objective Advantages of wealth maximization Criticisms of wealth maximization Scope Functions of Financial Management Role and function of the finance manager Financial Management and Economic Financial management and Accounting Evolution of financial management Functional areas of financial management Financial decisions Have you understood questions Read MoreFinancial Report On Financial Management1594 Words   |  7 Pages Nevertheless, besides the advantages as mentioned above, financial reports have a number of disadvantages. Firstly, the expensive cost of providing audited financial statement that meet requirements of IASB (International Accounting Standards Boards) is a common problem of a firm. Secondly, because financial statement based on a specific time or period, it is historical record of financial status of a firm so it has a little value in predicting and forecasting the future performance of this firmRead MoreA Summary On Financial Management1359 Words   |  6 Pages68 per share, on revenue of $23.5 billion. However, the exclusion of unusual items such as tax benefits, legal expenses, and net reserve releases depressed net income to $5.4 billion, or $1.32 per share. These results surprised analysts as the financial services company failed to thrash the consensus estimate from 29 analysts of $1.38; which led to an immediate plunge of 1.56% in the stock price. Stock Movement: As you can see from the chart above, following the dispursement of the earnings reportRead MoreFinancial Management and Analysis2206 Words   |  9 PagesFinancial Management and Analysis Table of Contents Introduction 3 Presentation of the companies 3 Ratio analysis of the companies 5 Profitability ratios 5 Liquidity ratios 7 Efficiency ratios 9 Gearing ratios 11 Investment ratios 12 Ratio analysis strengths and weaknesses 14 â€Æ' Introduction Financial analysis involves the use of various financial statements, which perform several functions. Basics of financial analysis consist of a balance sheet and income statement.Read MoreFinancial Management2459 Words   |  10 PagesCHAPTER 14 FINANCIAL AND OPERATING LEVERAGE Q.1. A.1. Explain the concept of financial leverage. Show the impact of financial leverage on the earnings per share. The use of fixed-charges sources of funds, such as debt and preference capital, along with owners’ equity in the capital structure is known as financial leverage (or gearing or trading on equity). The financial leverage employed by a company is intended to earn more on the fixed charges funds than their costs. The surplus will increase theRead MoreA Note On Financial Management1753 Words   |  8 Pagescosts as financial specialists would require extra pay to have the stock of the illiquid resources which have higher exchange fetched opposite a fluid resource. The present study looks a t the liquidity of the Government securities market in India. The Government securities business sector is seen as a standout amongst the most imperative money related business sector as it connections monetary action to loan cost. National banks utilize the business sector to perform residential financial operationsRead MoreFinancial Management Paper591 Words   |  3 PagesStatement of Operations and Financial Statements 1. List several efforts that have been enacted by payors to control costs. 2. Explain the ramifications of allowing/disallowing an individual to be able to sue his or her HMO. 3. What are each of the financial statements commonly called in for-profit health care organizations and in not for-profit care organizations? Financial statements are commonly called balance sheets, income statement, statement of owner’s equity, or statementRead MoreFinancial Management2360 Words   |  10 PagesLesson # 1 Financial Management: Introductory Notes and Words Concepts of Finance and Financial Management Financial Management refers to the proper management of finance functions of an enterprise or organization. In other words, financial management is concerned with the financial decision-making and other financial aspects. Thus, financial management involves financial planning, financial organization, financial coordination and control, financial reporting, financial mergers, combinationsRead MoreA Research On Financial Management1461 Words   |  6 Pagesdescribes on the first section a research about financial managers, which is covered with the job description, the roles, the skills Knowledge, work environment and the rewards job outlook. What is the financial management? â€Å"Financial Management means planning, organizing, directing and controlling the financial activities such as procurement and utilization of funds of the enterprise. It means applying general management principles to financial resources of the enterprise† Read MoreFinancial Manageme nt Of The Healthcare Organization1371 Words   |  6 PagesFinancial Ratios Analysis Raven Washington MHA 612: Financial Managerial Accounting Professor Jack Lazarre October 27, 2014 The financial management of the healthcare organization needs to handle financial matters carefully in order to perform well. Ratio analysis is a kind of financial statement analysis that is utilized to get a fast indication of an organizations financial performance in most important sectors, for that reason the healthcare organization must utilize ratio

Flow of Silver Free Essays

In the mid sixteenth century a silver mine located at Potosi, South America was formed. This silver mine was one of the few major silver mines in the world, the others located in Northern Central America and Southern Japan. This certain mine was known for its distinctive rich black flint. We will write a custom essay sample on Flow of Silver or any similar topic only for you Order Now Extensive excavation required more than three-thousand Indians to work away with picks and hammers to break up the ore and bring It up to the surface. Just after refining the ore, the silver Is shipped to Spain then from Spain to India, China, East Indies, Great Britain, and Imperial Russia. But all this only happened after the Spanish took over the city and put the Indians on silver mining overdrive. According to the Spanish royal records thirty-six million silver coins have been taken out of the mine since the Invasion. Meanwhile In Spain, the high process ruined Spain as prices attracted Asian commodities with silver currency flowing out nonstop to pay for them. The constant flow of silver from Potosi made the Spanish very blind with their riches. Once the silver from Potosi was gone Spanish economy would plummet. Aslan Trading ships where so common that some Spanish oads where paved with the extra granite cobblestones taken out of the Chinese trading ships’ ballast to compensate for the massive weights from the sheer load of silver. Silver economy was almost the complete opposite in the Chinese areas, for the need of silver was there, and there In large quantities. It Just seems that way because of the lack of an actual metal currency. The venerable elders of my home district explain that the reason grain is cheap despite poor harvests in recent years is due entirely to the scarcity of silver coin. † This is a quote from a report given to the Emperor from a Ming dynasty official. Basically since the Chinese national government uses silver as tax payment and gives little back Into the Chinese economy cycle. Because of this, Chinese citizens are very wise with their small amount of funds. Spain wasn’t the on ly place China imported silver from. Importations from Japan where there also, but not in quantities as large as Spain. Japanese silver Is mined from South Japan then shipped to China, India, and mainly Portugal. Japan doesn’t ship directly to Portugal. What happens is that Portugal sends their trading ships sail over to Macao, China carrying their cargo of silk, gold, erfume, and porcelain. Then they sail over toJapan where they returned with, to the Portugal’s surprise, six-hundred thousand coins worth of Japanese silver, The Portuguese use this in their favor in china. They do so by feeding Japan’s silver to China to get what they want. Bring Japan resources and get silver. Bring the silver over to China to get resources and luxury goods. Bring the luxury goods back to Portugal, and the resources over toJapan. Which brings the focus back to China, Ming dynasty to be exact. Ming dynasty dye shops would allow their customers to have onsiderable amounts of cloth and silk dyed right before deciding the actual costs of said dye. This used to be paid in rice, wheat, soybeans, or fowl, but during the dynasty everything from tools to cattle was paid In silver coins. Also, speaking of silk, Chinese officials have realized how much silver the Spanish have In relation to how much they trade for. So they did an experiment. China sent trading ships with equal amounts of goods to Luzon, located in the Philippines, and Spain. To their slight surprlse tney return Trom tne pnlllpplnes almost trlple wnat tney usually recelve Trom rading to Spain. Plus, they will also accept most native Chinese fruit, porcelain pottery, and sugar. Then there’s Europe, Europe also trades with Asia. Sadly, they draw nothing of actual use, yet they pay them in valuables such as gold and silver, these commodities never return. The luxury of Asian spices have tainted the Europe population, most of them think of it as a necessary ingredient. Because of the pleasure that Asian products bring to all of Europe, including the colonies, and also to the Spaniards in America, Breaking up the trade was never a favorable idea for England. How to cite Flow of Silver, Papers

Chemistry Lab Write-Up free essay sample

To demonstrate how changing the temperature at which a reaction takes place affects the rate of the reaction, the reaction between calcium carbonate and 1. 0 M hydrochloric acid will be observed at 5 various temperature readings. The 5 varying temperatures are targeted towards being at 10? C, 20? C, 30? C, 40? C, and 50? C. It is highly improbable that each trial for each of the 5 different temperatures will be the exact temperature that was targeted, so it’s just important that you end up having a temperature fairly close to the targeted temperatures so that the rates of reactions that you do receive are as correct as possible. The rates of reaction will be obtained using an apparatus that will guide the carbon dioxide gas being produced from the reaction between the 1. 0 M hydrochloric acid and the calcium carbonate from a reaction chamber into a flask containing water. This experiment will be performed by placing about 3. 0 grams of calcium carbonate chips into a flask containing 35 mL of 1. 0 M hydrochloric acid at one of the targeted temperatures. This flask is called the reaction chamber because it is the flask that contains the actual occurring reaction. The reaction between calcium carbonate and hydrochloric acid creates carbon dioxide as one of its products. When the carbon dioxide goes through the tube connected to the plug that seals the reaction chamber it enters the flask containing the water the water will be pushed up a different tube and will displaced into a 50 mL graduated cylinder where you can measure how long it takes for the water to be displaced up to a certain mark on the graduated cylinder using a stopwatch. In this specific experiment you will measure how long it takes for 15 mL of water to be displaced by the carbon dioxide gas being produced from the actual reaction. Background: The rate of a chemical reaction is inversely related to time. This means that the longer a reaction takes, the lower its rate. Rate can either be measured by the increase of product concentration divided by the time taken to achieve that concentration or by the decrease of reactant concentration divided by the time taken to reach that concentration of reactant (An Introduction to the Collision Theory in Rates of Reaction). The collision theory states that a chemical reaction is dependent on the collisions between reacting molecules (An Introduction to the Collision Theory in Rates of Reaction). But, for a reaction to occur, these molecules must collide in the correct orientation and they must collide with sufficient energy to be able to overcome the activation energy needed for a reaction to take place (An Introduction to the Collision Theory in Rates of Reaction). Factors that have an effect on the rate of a reaction include the concentration of reactants at the beginning of a reaction, the surface area of the reactants, pressure at which the reaction held, the use of a catalyst, and the temperature at which a reaction is held(An Introduction to the Collision Theory in Rates of Reaction). Increasing the concentration of the reactants at the initiation of a reaction increases the rate of the reaction because as the concentration increases, the frequency of successful collisions between reacting particles increases as well (Ford 123). Therefore, lowering the concentration of the reactants decreases the rate of the reaction. Decreasing the particle size, or increasing the surface area of the reactants increases the rate of the reaction because by subdividing the reactants you allow for more of the reactant to be exposed and that will lead to higher probability that the reactants will collide and react(Ford 124). Increasing the pressure will increase the rate of reaction, only if the reactants are in a gaseous form because increasing the pressure will decrease the volume which will then increase the concentration of the gases and lead to more successful collisions(Ford 124). The use of a catalyst will always increase the rate of a reaction because it provides a lower activation energy for a reaction to undergo successfully (Ford 124-25). Temperature affects the rate of a reaction immensely. Increasing the temperature will increase the rate of all reactions because temperature is a measure of the average kinetic energy of the particles and so the higher temperature represents an increase in their average kinetic energy (Ford 123). This also means that there will be a larger amount of particles exceeding the activation energy needed to collide successfully and react; this translates into an increase in the rate of the reaction (Ford 123). Many reactions tend to double their reaction for every 10? C increase in their temperature (The Effect of Temperature on the Rates of Reaction). But, by lowering the temperature at which a reaction takes place you lower the rate of reaction just as much as you increase the rate when you increase the temperature. Being able to control the temperature at which a reaction takes place is important because by being able to control the temperature you are also able to control the rate at which reactions happen, but most importantly you are able to control how fast you yield the product from the reaction. For example, in the Haber Process the product that is being produced is ammonia (The Haber Process for the Manufacture of Ammonia). By using a low temperature the equilibrium of the solution shifts to the right and yields more product, but using too much of a low temperature and the reaction will take an extraordinarily long time to create ammonia as a product. To solve this problem pressure and concentration of reactants are increased in order to be able to use a higher temperature so that the rate of the reaction is high, yet still produces a good amount of ammonia (The Haber Process for the Manufacture of Ammonia). In this experiment the reaction between 1. 0 M hydrochloric acid and calcium carbonate will be studied. The equation for the reaction between these two substances is: CaCO3(s) + 2HCl(aq) CaCl2(aq) + CO2(g) + H2O(l) The calcium carbonate reacts with the hydrochloric acid in order to produce calcium chloride, carbon dioxide, and water. In this experiment the rate of the production of the carbon dioxide will be indirectly measured through the timing of how long it takes for 15 mL of water to be displaced. But, if we are measuring how long it takes for 15 mL of water to get displaced into the 50 mL graduated cylinder we are also measuring how long it takes for 15 mL of carbon dioxide gas to displace the 15 mL water into the 50 mL graduated cylinder. Hypothesis: If the temperature at which the reaction between 1. 0 M hydrochloric acid and calcium carbonate increases, then the rate of the reaction between the 1. 0 M hydrochloric acid and calcium carbonate will increase as well. According to the collision theory, if the temperature at which any reaction is held is increased then the rate of that reaction will always increase (An Introduction to the Collision Theory in Rates of Reaction). Temperature is a measure of the average kinetic energy of the particles and so a higher temperature represents an increase in their average kinetic energy (Ford 123). This also means that there will be a larger amount of particles exceeding the activation energy needed to collide successfully and react; this translates into an increase in the rate of the reaction (Ford 123). But, temperature and the rate of a reaction are directly proportional. If you increase the temperature of a reaction the rate will increase as well, but if you decrease the temperature the rate will decrease too. Variables: Independent Variable: The temperature at which the reaction between 1. 0 M hydrochloric acid and calcium carbonate is held is the independent variable because it is the only variable that is being altered during the experiment. In the experiment we change the temperature of the 1. 0 M hydrochloric acid before the calcium carbonate is added for the reaction to proceed to 5 different temperatures. The 5 varying temperatures are to be approximately: 10? C, 20? C, 30? C, 40? C, and 50? C. We are able to change the temperature of the 1. 0 hydrochloric acid by emerging the 500 mL Erlenmeyer Flask containing the 35 mL of hydrochloric acid into cold or hot water baths. By changing the temperature of the 1. 0 hydrochloric acid, the temperature at which the calcium carbonate and the hydrochloric acid react is able to be changed and we are able to observe how the temperature at which a reaction between 1. 0 M hydrochloric acid and calcium carbonate affects the rate of the reaction. Dependent Variable: The rate of the reaction between the 1. 0 M hydrochloric acid and the calcium carbonate is the dependent variable because it is the variable that is being affected by the changes in the independent variable, which in this experiment is the temperature at which the reaction is held. By changing the temperature at which the reaction is held you will either increase or decrease the rate, depending on whether you increased or decreased the temperature at which the reaction is held. To measure the rate of the reaction between the 1. M hydrochloric acid and the calcium carbonate, we will time how long it takes for the CO2 gas that is produced from the reaction between the hydrochloric acid and the calcium carbonate to displace 15 mL of water. To displace the water and measure the amount of time it takes to displace it we will use a water displacement apparatus that will allow us to take the carbon dioxide gas produced to enter a water chamber and displace the water from that chamber into a 25 mL graduated cylinder, and we will use a stopwatch to time how long it takes for 15 mL of water to be displaced. Controlled Variables: 1) The concentration and amount of hydrochloric acid used should remain consistent throughout the entire experiment. Therefore you should only use 1. 0 M hydrochloric acid and only use 35 mL of it when conducting a reaction with calcium carbonate. To make sure your hydrochloric acid is of the same concentration every time you conduct a reaction, use the hydrochloric acid from the same source every time, and to make sure you use 35 mL for every trial use a 50 mL graduated cylinder to measure the amount of hydrochloric acid before you place it into the 500 mL Erlenmeyer Flask. It is important to use hydrochloric acid with the same concentration throughout the entire experiment so that the rate of the reaction between the hydrochloric acid and the calcium carbonate isn’t affected by anything other than the temperature. If hydrochloric acid is of a higher concentration than 1. 0 M, Â  then the rate of the reaction will be faster than it should be, but if you use a hydrochloric acid with a concentration lower than 1. M then the rate of the reaction will be slower than it should be. 2) The amount of water being displaced should be consistent throughout the entire experiment, therefore you should time only how long it takes to displace 15 mL of water. To measure that you are timing how long it takes to displace 15 mL of water, use a 25 mL graduated cylinder. To get the most accurate rates as possible, start the stopwatch after you place the calcium carbonate into the 500 mL Erlenmeyer flask containing the 1. M hydrochloric acid at one of the 5 targeted temperatures and you have sealed the flask with the cork, then stop the stopwatch as soon as you see the water being displaced reach the 15 mL mark on the 25 mL graduated cylinder. 3) The amount of calcium carbonate used throughout the experiment should remain constant, so you should use 3. 0 grams every time you perform a reaction between the calcium carbonate and the 1. 0 M hydrochloric acid. To make sure that you are using approximately 3. 0 grams of calcium carbonate in every experiment performed use a weighing balance to measure out the calcium carbonate. It is important to use 3. 0 grams of the calcium carbonate in every experiment because if you use more than 3. 0 grams then more carbon dioxide gas will be produced and the rate will increase because water is being displaced faster because of the excess amount of calcium carbonate. But, if you use less than 3. 0 grams of calcium carbonate then the rate will be slower than it should be. METHOD Materials: 500 mL Erlenmeyer Flask 300 mL Erlenmeyer Flask 2 corks (plugs for that fit the 500 mL and 300 mL Erlenmeyer Flasks) Rubber Tubing 25 mL Graduated Cylinder 50 mL Graduated Cylinder Weighing Balance Weighing Paper Stopwatch Calcium Carbonate Chips 1. 0 M Hydrochloric Acid 2 Glass Bowls Thermometer Heating Plate 400 mL Beaker Water Ice Procedure: Setup: Using the 500 mL Erlenmeyer Flask, 300 mL Erlenmeyer Flask, the rubber tubing, the 2 corks, and the 25 mL graduated cylinder make a water displacement apparatus like the one displayed in the diagram below. [pic] 2. Fill up the 300 mL Erlenmeyer Flask up to the 250 mL with water before each trial of the experiment is conducted. The larger 500 mL Erlenmeyer Flask is the reaction chamber in which the 1. M hydrochloric acid will be placed to react with the 3. 0 grams of calcium carbonate chips. The 25 mL graduated cylinder is where the water will be displaced into as the carbon dioxide gas enters the water chamber from the reaction chamber and displaced the water. Make sure to dispose of the water displaced into the 25 mL graduated cylinder after each trial. Experiment: Reaction at 10? C Set up an ice bath by putting ice and water into the glass bowl and set it aside so you can cool the hydrochloric acid later in the experiment. Using a clean 50 mL graduated cylinder, measure out 35 mL of 1. M hydrochloric acid and then place the measured out hydrochloric acid into the 500 mL Erlenmeyer Flask and set the flask with the 1. 0 M hydrochloric acid into the ice bath. Stick the thermometer into the hydrochloric acid and wait until the temperature of the hydrochloric acid drops to about 10? C. While waiting for the temperature of the 1. 0 hydrochloric acid to drop, use the weighing balance to measure out 3. 0 grams of calcium carbonate. First, place a piece of weighing paper on th e balance and tare it. After you have tared the weighing paper, measure out the 3. 0 grams of calcium carbonate. Put the calcium carbonate aside until you are ready to react it with the 1. 0 M hydrochloric acid. Swirl the 1. 0 hydrochloric acid in the ice bath until it reaches 10? C. If your temperature goes below 10? C, take the Erlenmeyer Flask with the hydrochloric acid out of the ice bath and wait for the temperature to go up to 10? C. Record the exact temperature of the hydrochloric acid in the 500 mL Erlenmeyer Flask. Once the temperature of the 1. 0 hydrochloric acid is about 10? C, place the 3. 0 grams of calcium carbonate into the 500 mL Erlenmeyer Flask containing the 1. 0 M hydrochloric acid at 10? C and cork it and start the timer. Stop the timer once 15 mL of water is displaced from the water chamber into the 25 mL graduated cylinder. Record the amount of time it took for the water being displaced to reach the 15 mL mark on the 25 mL graduated cylinder. Set up the water displacement apparatus for the next trial. Repeat steps 2-7 4 more times until you have done a total of 5 trials for the rate of the reaction between 1. 0 M hydrochloric acid and calcium carbonate at 10? C. Reaction at 20? C Set up an ice bath by putting ice and water into the glass bowl and set it aside so you can cool the hydrochloric acid later in the experiment. Using a clean 50 mL graduated cylinder, measure out 35 mL of 1. 0 M hydrochloric acid and then place the measured out hydrochloric acid into the 500 mL Erlenmeyer Flask and set the flask with the 1. 0 M hydrochloric acid into the ice bath. Stick the thermometer into the hydrochloric acid and wait until the temperature of the hydrochloric acid drops to about 20? C. While waiting for the temperature of the 1. 0 hydrochloric acid to drop, use the weighing balance to measure out 3. 0 grams of calcium carbonate. First, place a piece of weighing paper on the balance and tare it. After you have tarred the weighing paper, measure out the 3. grams of calcium carbonate. Put the calcium carbonate aside until you are ready to react it with the 1. 0 M hydrochloric acid. Swirl the 1. 0 hydrochloric acid in the ice bath until it reaches 20? C. If your temperature goes below 20? C, take the Erlenmeyer Flask with the hydrochloric acid out of the ice bath and wait for the temperature to go up to 20? C . Record the exact temperature of the hydrochloric acid in the 500 mL Erlenmeyer Flask. Once the temperature of the 1. 0 hydrochloric acid is about 20? C, place the 3. 0 grams of calcium carbonate into the 500 mL Erlenmeyer Flask containing the 1. 0 M hydrochloric acid at 20? C and cork it and start the timer. Stop the timer once 15 mL of water is displaced from the water chamber into the 25 mL graduated cylinder. Record the amount of time it took for the water being displaced to reach the 15 mL mark on the 25 mL graduated cylinder. Set up the water displacement apparatus for the next trial. Repeat steps 10-15 4 more times until you have done a total of 5 trials for the rate of the reaction between 1. 0 M hydrochloric acid and calcium carbonate at 20? C. Reaction at 30? C Fill up a 400 mL beaker of water and heat it up until boiling on a hot plate. After it starts boiling place the water into the glass bowl. Using a clean 50 mL graduated cylinder, measure out 35 mL of 1. 0 M hydrochloric acid and then place the measured out hydrochloric acid into the 500 mL Erlenmeyer Flask and set the flask with the 1. 0 M hydrochloric acid into the water bath. Stick the thermometer into the hydrochloric acid and wait until the temperature of the hydrochloric acid increases to about 30? C. While waiting for the temperature of the 1. 0 hydrochloric acid to increase, use the weighing balance to measure out 3. 0 grams of calcium carbonate. First, place a piece of weighing paper on the balance and tare it. After you have tared the weighing paper, measure out the 3. grams of calcium carbonate. Put the calcium carbonate aside until you are ready to react it with the 1. 0 M hydrochloric acid. Swirl the 1. 0 hydrochloric acid in the water bath until it reaches 30? C. If your temperature goes above 30? C, take the Erlenmeyer Flask with the hydrochloric acid out of the water bath and wait for the temperature to g o down to 30? C. Record the exact temperature of the hydrochloric acid in the 500 mL Erlenmeyer Flask. Once the temperature of the 1. 0 hydrochloric acid is about 30? C, place the 3. 0 grams of calcium carbonate into the 500 mL Erlenmeyer Flask containing the 1. 0 M hydrochloric acid at 30? C and cork it and start the timer. Stop the timer once 15 mL of water is displaced from the water chamber into the 25 mL graduated cylinder. Record the amount of time it took for the water being displaced to reach the 15 mL mark on the 25 mL graduated cylinder. Set up the water displacement apparatus for the next trial. Repeat steps 17-23 4 more times until you have done a total of 5 trials for the rate of the reaction between 1. 0 M hydrochloric acid and calcium carbonate at 30? C. Reaction at 40? C Fill up a 400 mL beaker of water and heat it up until boiling on a hot plate. After it starts boiling place the water into the glass bowl. Using a clean 50 mL graduated cylinder, measure out 35 mL of 1. 0 M hydrochloric acid and then place the measured out hydrochloric acid into the 500 mL Erlenmeyer Flask and set the flask with the 1. 0 M hydrochloric acid into the water bath. Stick the thermometer into the hydrochloric acid and wait until the temperature of the hydrochloric acid increases to about 40? C. While waiting for the temperature of the 1. 0 hydrochloric acid to increase, use the weighing balance to measure out 3. 0 grams of calcium carbonate. First, place a piece of weighing paper on the balance and tare it. After you have tared the weighing paper, measure out the 3. grams of calcium carbonate. Put the calcium carbonate aside until you are ready to react it with the 1. 0 M hydrochloric acid. Swirl the 1. 0 hydrochloric acid in the water bath until it reaches 40? C. If your temperature goes above 40? C, take the Erlenmeyer Flask with the hydrochloric acid out of the water bath and wait for the temperature to g o down to 40? C. Record the exact temperature of the hydrochloric acid in the 500 mL Erlenmeyer Flask. Once the temperature of the 1. 0 hydrochloric acid is about 40? C, place the 3. 0 grams of calcium carbonate into the 500 mL Erlenmeyer Flask containing the 1. 0 M hydrochloric acid at 40? C and cork it and start the timer. Stop the timer once 15 mL of water is displaced from the water chamber into the 25 mL graduated cylinder. Record the amount of time it took for the water being displaced to reach the 15 mL mark on the 25 mL graduated cylinder. Set up the water displacement apparatus for the next trial. Repeat steps 25-31 Â  4 more times until you have done a total of 5 trials for the rate of the reaction between 1. 0 M hydrochloric acid and calcium carbonate at 40? C. Reaction at 50? C Fill up a 400 mL beaker of water and heat it up until boiling on a hot plate. After it starts boiling place the water into the glass bowl.

Three Rivers Optical Essay Example

Three Rivers Optical Paper Executive Summary Three Rivers Optical is a company located in Pittsburgh which supplies lenses to the ophthalmic community. Steve Siebert, CEO and head of marketing faces different challenges on deciding if he should keep trade shows he has been doing as sales have not been proficient enough, and whether he should invest in new trade show to grow TRO’s market share. Steve’s plan is to invest into different states such as California and Michigan in the next five years. As TRO is moving towards the west, it needs to invest in trade shows International Vision Expo West and Midwest Vision Conference Expo. Trade shows are a very important investment in the eyes of TRO since they generate sales, and more importantly attract new accounts. Trade shows have to be used for brand recognition, and as a channel between the company, and its customers. Marketing trade shows through direct mail, mails, and advertising is very important to reach customers that do not know TRO’s product, and to reach actual customers for new product introductions. To follow up with trade shows, TRO needs to outsource its salespeople, and reduce its budget on SECO, and International Vision Expo east Today, marketing is â€Å"the activity, set of institutions, and processes for creating, communicating, delivering, and exchanging offerings that have value for customers, clients, partners, and society at large† (AMA. ) Three Rivers Optical has been trying to grow its business through trade shows. Three Rivers Optical is a family-owned business located in Pittsburgh and was created in 1969. TRO is a lab supplying lenses for opticians, optometrists, and ophthalmologists and has been ranked among the 25 leading manufacturer of optical laboratories in the country. We will write a custom essay sample on Three Rivers Optical specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Three Rivers Optical specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Three Rivers Optical specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Steve Siebert, CEO and head of marketing, is facing a problem which many companies are facing today which is how to grab more shares in the market a company is in. Based on the geographical distribution of optical good stores, do Steve’s plans for growth make sense? In the next five years, Steve’s plans for growth are to be in western Ohio, Indiana, and south and central Michigan. When TRO has enough accounts to be profitable in those geographical areas, Steve wants to move to Denver, and end in California. Using data from the case, it shows that California, Michigan, and Ohio are ranked top 10 in sales for optical goods stores. The advantage TRO has on his competitors are it is recognized leader in the industry, and has been selected Transition Lab of the Year and honored by the Optical Lab Association as one of the top 25 labs in the country. Based on geographical distribution of optical good stores, Steve’s plans for growth do make sense. He is aiming growth in profitable states. On the other hand, Steve’s plans should include states that are actually closer to him, and that are, as well, ranked in the top 10 in sales such as New-York, and Illinois. Are trade shows a viable option to generate sales, sales leads, and new customer accounts? If so, in which shows should he invest? Trade shows are a viable option to generate sales as it is an excellent way to find new accounts to help TRO grow. According to a study conducted by the Center for Exhibition Industry Research (CEIR), â€Å"86% of show attendees were the decision-maker or influenced buying decisions, and 85% had not been called on by a salesperson before the show† (Entrepreneur. com. ) Dwyer, F. Robert, Tanner, John, F. ,Trade say that â€Å"shows are ranked second to advertising in terms of the marketing communication budget. Also, trade shows are great opportunities for TRO to converse, and create relationship with customers which will lead those to be potential buyers. TRO should invest in International Vision Expo West, and Midwest Vision Conference Expo because both of them are attended by the ophthalmic community, and they are located in the two regions TRO wants to expend its business to. Finally, if TRO wants to grow its business in the Midwes t, and in the west, he has to attend both trade shows to grab potential buyers,, and more importantly to make his brand known, and create relationship with new customers. For the shows TRO already does, what should the strategic plan be? What tactics should be included? TRO has to use different channels to engage current and potential customers. First, TRO has to understand which customer it wants to sell to, define its goals (sales, new accounts, etc.. ), and inform customers months before by the use of phone calls, direct mail, email or written invitations to invite, introduce, and attract current and new customers to come and visit TRO’s booth. Another way to engage new customers is by advertising in trade publication and newspapers about new product introduction, and for brand recognition. Very important strategic plan is to follow-up with the customer after the trade show. TRO might consider an alternative for its salespeople as it seems to be too expensive, and maybe look into outsourcing it. TRO needs more salespeople to follow-up, attract, and look for customers. Another recommendation might be to lower the budget for SECO and International Vision Expo East trade shows as they might have reached their full potential of sales, and keep the trade shows to maintain the brand image, inform and introduce new products, grab potential shares from competitors and keep the relationship with their actual customers. WORK CITED Dwyer, F. Robert, and John F. Tanner. Business marketing: connecting strategy, relationships, and learning. 4th ed. Boston: McGraw-Hill Irwin, 2009. Print. Definition of Marketing American Marketing Association. Marketing Power American Marketing Association. Web. 02 Dec. 2011. http://www. marketingpower. com/AboutAMA/Pages/DefinitionofMarketing. aspx. Trade Shows Definition | Small Business Encyclopedia | Entrepreneur. com. Business Small Business | News, Advice, Strategy | Entrepreneur. com. Web. 02 Dec. 2011. http://www. entrepreneur. com/encyclopedia/term/82542. html.

How nurses can advance in their careers if they dont want to be nurses forever

How nurses can advance in their careers if they dont want to be nurses forever Sometimes we get so focused on our current jobs that we forget to focus on â€Å"the big professional picture,† which includes our entire career arc- from start to finish. The truth is, we should always think about our professional lives as a journey rather than a single destination and have a plan for the next rungs on our career ladders while we give our best effort on our current step. This includes all of the nurses out there. While being a nurse is an important and satisfying job that demands a great deal of focus and attention, and also offers professional challenges and options, nurses should also devote some time towards thinking about their full career journeys- and whether or not they want to be nurses forever.It isn’t uncommon for someone who’s traveled deep (or not so deep) into a career path to start thinking about other paths- many people who are mid-stream in their careers start thinking about making changes, often in an effort to take on new chall enges, build new skills, and expand their horizons. We should never feel â€Å"locked into† a career path just because we’ve been at it for several years. Career satisfaction is an important concept to strive for, and if you’re experiencing professional fatigue, malaise, or burnout on the job, it may be a sign that you might want a change.The prospect of a major career change or overhaul can be a scary one, but here’s some good news for nurses who may be dealing with this- nurses often have a wealth of valuable, transferable skills that they could use effectively in a variety of professional settings and scenarios.Nurses build a wide array of key skills during their tenures that they can use to their advantage in other professional roles. They are typically adept at problem-solving, planning, and organization in a variety of high-pressure situations. They build and routinely demonstrate critical management and leadership skills, and are usually quite effe ctive at time management. In addition, the nature of their work helps them build key people skills- it’s no surprise to learn that nurses possess excellent communication and teamwork abilities, and also demonstrate empathy towards others. What’s more, the unpredictable nature of nursing helps nurses become adaptable and flexible in all sorts of situations. All of these skills are useful in careers across industries and fields- whether in nursing or beyond healthcare. Many nurses also choose to obtain an advanced nursing degree, which allows them to pursue other career opportunities beyond nursing but within healthcare. Areas of specialization include nurse anesthetists, nurse attorneys, nurse researchers, and nurse midwives.Here’s the bottom line- if you’re a nurse who’s considering a career change, there’s a lot to be optimistic about. You’re likely equipped with a wealth of valuable experience and transferable skills that will serve you well in whatever career path you choose to pursue. Good luck!

Spanish Phrases Using Sangre

Spanish Phrases Using Sangre Blood has long been a symbol of life, so it shouldnt come as a surprise that the Spanish word for blood, sangre, makes itself into a wide variety of phrases, many of which have little to do with blood in a literal sense. One such phrase - sangre azul, meaning blue blood - has even made its way into English in the form of blue-blooded. As a term referring to someone from higher social levels, the Spanish phrase originally referred to the visible blood veins of people with fair complexion. The following are some of the most common sangre phrases along with an example each of their usage. Alguien in these phrases means someone, while algo means something. Spanish Phrases Referring To Blood chuparle a alguien la sangre (literally, to suck the blood out of someone): to bleed someone dry. El sector pà ºblico es el drcula que chupa la sangre de este paà ­s. The public sector is the Dracula that is bleeding this country dry.helar la sangre (literally, to freeze the blood): to scare stiff, to curdle the blood. No es una gran pelà ­cula pero tiene un montà ³n de sustos y uno en concreto me helà ³ la sangre. It isnt a great film, but it has a ton of frightening moments and one of them in particular scared me spitless.No llegà ³ la sangre al rà ­o (literally, the blood didnt arrive at the river): Things didnt get all that bad. Pero no llegà ³ la sangre al rà ­o y con el paso de los meses, Federico volvià ³ a casa. But it didnt turn out all that bad, and with the passage of the months, Federico returned home.llevar algo en la sangre (literally, to carry something in the blood): to have something in ones blood. Mi hijo lleva la mà ºsica en la sangre. My son has music i n his blood.quemar la sangre a alguien (literally, to scald someones blood): to make someones blood boil; to cause someone to be extremely angry. Me quemaba la sangre cuando salà ­ del cine. My blood was boiling when I left the movie theater. (The verb encender can be used instead of quemar.) de sangre caliente: warm-blooded. Con algunas excepciones, todos los mamà ­feros y aves son de sangre caliente. With some exceptions, all mammals and birds are warm-blooded.de sangre frà ­a: cold-blooded. No se sabe si los pterosaurios eran animales de sangre frà ­a. It is unknown whether pterosaurs were cold-blooded animals.de sangre ligera (literally, thin-blooded): having a likable personality. Aquà ­ descubrir el espà ­ritu jovial de los habitantes, gente de sangre ligera que vive con una actitud positiva. Here you will discover the cheerful spirit of the inhabitants, a likable people who live with a positive attitude. (This term is used primarily in Central and South America. The opposite term is de sangre pesada.)sudar sangre: to sweat blood, to put forth an extraordinary effort. Te prometo que sudarà © sangre, si es necesario, para llevarte hacia mi lado. I promise you that I will sweat blood, if necessary, to bring you to my side.tener mala sangre (literally, to have ba d blood): to have bad intentions, to be evil. Se necesita tener mala sangre para crear un virus destructivo. You have to be malicious to create a destructive virus. tener sangre de horchata (literally, to have the blood of horchata, a beverage often made from almonds, rice or tiger nuts): to be extremely calm, to have no feelings, to have the blood of a turnip. Normalmente en este tipo de situaciones tiene sangre de horchata. Normally under these circumstances hes very calm. (In some regions, the word atole, a corn-based drink, is used.)no tener sangre en las venas. (literally, to not have blood in the veins): for someone to not have any life (usually used figuratively in reference to emotions). El que pueda permanecer imperturbable y no baile con esta seleccià ³n es porque no tiene sangre en las venas. Anyone who can just stay still and not dance to this piece doesnt have any life in him.

Asian Management Essay Example | Topics and Well Written Essays - 2500 words

Asian Management - Essay Example In this context, the management has to be reformed in order to meet the requirements set by the constantly changing environment. Currently, management presents two forms covering the needs of privatised sector and SOEs. Under these terms, SOEs are subjects either to the line system (depended on the central industrial ministry) or the block system (representing the local government institutions). As of the main industrial areas in which SEOs operate, the following ones can be used as an indicative sample: oil, telecommunications, aviation, power and steel. The role of the management team to the performance of the above organizations has been considered as significant, however the presence of particular elements (like the close dependency from the central government or the use of a highly bureaucratic system when applying the managerial plans in practice) often create a net of negative influences to the management’s daily operations. In the modern industrial and economic environment, governments not only ‘shape their countrys economy but also their culture and penetrate deeply into the dynamics of organizations’. Moreover (Tjosvold, 2002, 741) organizations must be understood ‘within their larger context, in particular in terms of their dependence on government’. In this context, facilitative governments are ‘supportive of independent organizations, operate through predictable laws and regulations, and are strong, whereas nonfacilitative governments are hostile, erratic, and weak; organization and management in the embrace of government shows that nonfacilitative governments require managers to accommodate to complex dependencies’. Particularly regarding China, managers in private companies, ‘unsure how to cope with many vague and contradictory laws, indicated that they were dependent upon the good graces of government officials more than established state-owned enter prises (SOEs)’. On the other hand it has been proved (Zhu, 1994, 1, 12)

Starbucks Essay Example | Topics and Well Written Essays - 250 words - 2

Starbucks - Essay Example Each company faces problems and obstacles, even successful ones like Starbucks. One of the main challenges that Starbucks is facing is dealing with competitors. Coffee retailers are scattered all over the world in huge numbers. By involving thousands of shops operating in the coffee field, and as the competition increases, it makes the task more difficult for Starbucks to maintain its place. Also, the most obvious challenge that Starbucks is dealing with is the current financial crisis in America. Compared to other cafes prices, Starbucks is one of the most expensive cafà © shops in the world, and a number of consumers find the prices are exaggerated (Fellner 2010). A recent research made by a team of mystery coffee researchers shows that, the rates in Starbucks compared to Costa Cafà © and Cafà © Nero is the highest (Burks 2009). As seen on the graph above, Starbucks has experienced fluctuations in profit, starting from 2005 with a steady increase in the net income, and then it dropped down in 2008, decreasing the net profit from more than $600 million to less than $400 million. On the other hand, sales grew in 2010 getting the highest net income over the earlier 5 years. In 2010, Starbucks turned about 11% of its revenue into free cash flow (FCF). The company earned more than  £600 million cash on net income (Nadine 2008). Also, there has been a surprising increase in the company’s net income in the last year. In the third quarter of 2011, the income rose up to 33%, earning more than $880 million net income. Howard Shultz stated on July 11, 2006, "First and foremost I want to thank you for making Starbucks the $6.4 billion global company it is today, with more than 90,000 employees, 9,700 stores, and 33 million weekly customers." Taking the 33,000,000 weekly customers and dividing it by 7 you will get 4.7 million customers per day. Since that time Starbucks has added many, many new stores so

Microsoft PowerPoint Essay Example for Free

Microsoft PowerPoint Essay The development of add-ins into existing and established computer applications such as Microsoft’s PowerPoint is increasing use and function extending not only the longevity of programs but also software development and networking. The PowerPoint versions beginning with the 2003 edition have allowed for greater among Microsoft’s in-house as well as independent developers to create add-ins for various users that in effect has created UI’s unique for individual users (Wenzel, 2007). Majority of the add-ins that has been developed have focused on enhancing the visual appeal of PowerPoint such as animation, interactivity and media. The effort is seen to be motivated by the objective of making PowerPoint not just a basic or generalist presentation (Microsoft Office, 2007). Bridging between Microsoft programs is also evident since the add-ins do not only affect PowerPoint but also other Office programs as well as other non-Office programs such as Producer 2003 or independent programs produced by Macromedia, Java and even open source technology (Harrison, 2001; â€Å"Microsoft PowerPoint Add-Ins†, 2002). Thought there have also been efforts in developing add-ins to extend from the Microsoft platform, there are still significant security issues particularly regarding macros, language and technology copyrights. Overall, current developments in PowerPoint add-ins remain focused on UI development and visual development and functionality. Accesses to the program’s functions have not differed significantly except for the increased control over performance to afford shifting between desktop and mobile use (Wenzel, 2007). The strategy for the PowerPoint franchise is its ease of use and the remaining dominance of Microsoft operating systems as a platform. However, the add-ins are indication that other operating systems are being recognized and the need to be user-focused in development.

Sahara Desert Essay -- essays research papers fc

Sahara Desert The Sahara Desert is the world’s largest desert area. The word Sahara comes from the Arabic word sahra’, meaning desert. It extends from the Africa’s Atlantic Ocean side to the Red Sea and consists of the countries of Morocco, Algeria, Tunisia, Libya, Egypt, Mauritania, Mali, Niger, Chad, and Sudan. It is about 5,200 miles long. Overall, the Sahara Desert covers 3,500,000 square miles. The geography of the desert is varied. In the west, the Sahara is rocky with varied elevation. It does contain underground rivers, which sometime penetrate the surface, resulting in oases. The central region of the Sahara has more elevation than the other areas, with peaks such as Emi Koussi and Tahat. Even though the area lacks rainfall, these peaks are snowcapped during the winter. The Eastern part of the Sahara, the Libyan Desert, is dry with very few oases. The Sahara's landscape features include shallow basins, large oasis depressions, gravel-covered plains, plateaus, and mountains, sand sheets, dunes and sand seas. Sand sheets and dunes cover over 25 percent of the Sahara’s surface. The most common types of dunes include tied dunes, blowout dunes, and transverse dunes. Within the Sahara are several pyramidal dunes that reach over 500 feet in height while others reach over 1,000 feet. Researchers have for many years tried to figure out how these dunes were formed, but the case remains unsolved. The boundaries, however, are not clearly defined and have been shifting for millennia. The Sahara was once a fertile area; millet was cultivated there over 8000 years ago. About 10,000 years ago, the Sahara was used as land for grazing in which elephants, giraffes and other animals thrived. It is estimated that in 4,000 B.C., the climate began to get drier. The fertile landscape dried up and the desert widened, creating the form that appears today. As conditions gradually became drier, however, and desertification set in, farmers abandoned their land and the animals migrated to other areas. The Sahara’s climate is very hot and dry. Although it is very hot during the day, it does become cold at night. On average, it only has 8 inches of rainfall per year. The Sahara's climate consists of b... ... whole, the Sahara is one of the harshest environments known to man. The majority of the people living in the Sahara Desert are nomads, which means that these people continuously move from region to region in search of better living conditions. It is believed that the first nomadic peoples came to this region after domestic animals were introduced to the Sahara 7,000 years ago. Evidence suggests that the Sahara accumulated diverse groups that quickly formed dense populations throughout the region. The majority of the groups lived separately, but depended on each other for trade. One of the main problems that are happening to the Sahara desert is the continuing development of the boundaries of the desert. This is known as desertification. As global warming continues to increase, the probability of more desert regions becoming bigger is more likely. Bibliography n.a. http://library.thinkquest.org/10898/sahara.htm. â€Å"Sahara Desert† ThinkQuest 1998. n.a. http://library.advanced.org/~16645/the_land/saha_cl.shtml â€Å"People and Places: Sahara Desert† 1998. "Sahara," Microsoft ® Encarta ® 97 Encyclopedia.  © 1993-1996 Microsoft Corporation.

How do bacteria affect human lives? Essay

Bacteria interact and are a constant in our day to day lives, perhaps more than suspected. Bacteria are often thought of as bad, however this is untrue, there is also many types of ‘good’ bacteria. ‘Good’ bacteria can benefit us by simply helping our digestive system work and helping us in the process of fermentation. Bacteria are extremely helpful in the production of many things such as fuel and medicine. But bacteria directly affect our production of food which, therefore, directly affects us. Without bacteria we wouldn’t have things like; cheese, sour cream and yoghurt. Bacteria are extremely helpful in the dairy industry as it works within food as a decomposer. Bacteria is needed in cheese as a starter culture, the culture grows in the milk, converting the sugar, lactose, into lactic acid giving the cheese the correct amount of moisture and the correct acidity. Cultures are also used in yoghurt, where it does a similar job as the one done in cheese. The culture is responsible for its taste, texture and once more, its acidity. The viscosity of the yoghurt is determined by its quantity of polysaccharide chains. Food products other than dairy which use bacteria in their production are; wine, dried meats and health food industries, where yeast, lactic bacteria and starter cultures are used. Bacteria doesn’t stop helping us with food there, some bacteria defend against harmful bacteria and aid digestion. These are all examples of bacteria benefiting human life. Bacteria even help destroy toxins and help the immune system mature (1)! However they’re bad bacteria often found in foods, products like milk can contain less beneficial bacteria which can be harmful. Most bacteria in milk comes from the skin of the cow and in production, however healthy cows equal less bacteria. This means in third world countries such as Uganda, where they often use unhealthy cows and goats as their main source of milk, more bacteria is likely to be within the milk making some ill and passing on disease. In places such as Britain, the milk goes through many processes making sure all or most harmful bact eria have been removed. An example of when bacteria are really not that beneficial to our lives is  disease causing bacteria. Bacterial pathogens can cause things like salmonella (food poisoning). Bacteria can also cause diseases like Cholera. Cholera is a huge killer, killing 120,000 a year and making many others extremely sick. Its bacterium is Vibrio Cholerae which is often killed by acidic conditions in the stomach, where the hydrochloric acid and digestive juice stay. Vibrio Cholerae is often taken in to the body through the ingestion of water contaminated with faecal matter containing the pathogen and rarely the ingestion of food, also containing faecal matter with the pathogen. Carriers then carry the pathogen; therefore it is able to spread making it very deadly. Unfortunately, cholera has few or no symptoms, so it is hard to tell if someone has Cholera meaning it sometimes spreads unnoticed. A symptom which can be linked with cholera is diarrhoea, meaning many carriers are often left being severely dehydrated. The amount of deaths that Cholera causes really reflects on how much this disease affects our lives. In 2010 and 2011, certain areas went through the major cholera epidemics, these were; Haiti, the Dominican Republic, Central Africa and the Pacific region with Papua New Guinea. The major cholera epidemic started in Haiti in October 2010, and it also affected its close neighbouring country, the Dominican Republic. At the end of 2011 (when the outbreak was still ongoing) there were 522,335 cases of cholera and 7001 deaths had been reported by the 25th of December in Haiti (2). Another example of bacteria benefiting us is bacterial vaccines. Bacterial vaccines are full of killed or attenuated bacteria. It seems crazy to inject bacteria which cause very harmful diseases into the body; however since they are dead they are not able to harm the body. But they do activate the immune system as it recognises it as foreign so it has to attack the bacteria. The immune system starts to produce antibodies for that particular bacteria and these build up and build up until there is enough to destroy the bacteria, this bacteria and antibody is then are remembered by memory cells meaning that next time they are infected with that bacteria the immune system instantly recognises the bacteria therefore killing it straight away, preventing the disease and preventing the same bacterial infection later. One example of a bacterial vaccine is the Tuberculosis vaccine (3). The BCG vaccine is the most common vaccine. It gets to over 80% of all new born  children in the countries which are part of the national childhood immunisation programme. In 2011, in the countries who were hoping to vaccinate each and every child, the levels of use of the vaccine ranged from 53% in Equatorial Guinea and 54% in Ethiopia, to more than a much larger 99.5% in India and China, two largely expanding countries (4). The increase of vaccinations in poorer areas of the world has lead to a much higher life expectancy, greatly affecting our lives. Bacteria are majorly affecting every single one of us in our lives, from common colds or to making cheese. The ‘good’ and ‘bad’ bacteria help and harm us. Overall, bacteria affects our lives more than any other and are highly beneficial and dangerous. References (1) – http://www.effca.org/content/bacteria-food-production (2) – http://www.who.int/gho/epidemic_diseases/cholera/epidemics/en/ (3) – http://www.drugs.com/drug-class/bacterial-vaccines.html (4) – http://www.tbfacts.org/bcg-tb-vaccine.html (5)

Education and Edutainment Essay

The idea that learning can be fun, and fun can promote learning, is transforming attractions that once saw themselves as primarily either education- or entertainment-oriented. It’s even spawned a new word: edutainment. The American Heritage Dictionary defines edutainment as â€Å"the act of learning through a medium that both educates and entertains.† In that definition, learning is the key element. We’d suggest that when applied to the location-based entertainment (LBE) industry, the emphasis is switched. We define LBE edutainment as â€Å"events, programs and attractions where the entertainment qualities are the primary draw, with the learning or education being a byproduct.† We see edutainment as any entertainment that also delivers educational content in an entertainment format. It consists of two equally important parts: the format (entertainment) and the message/content (education). Our research indicates the first use of the word edutainment was for educationally oriented CD-ROM games used to teach children in an entertaining way. As best we can determine, our company was the first to apply the word in the LBE industry to describe the children’s play & discovery centers we starting producing for our clients in the mid-’90s, which we called ‘children’s edutainment centers.’ The articles we authored about edutainment centers published in industry magazines during the late ’90s imbedded the term into the industry’s lexicon. Given a choice between just education, just entertainment, or a combination of the two, more LBE guests prefer the two-fer. A couple of examples: One survey of videogame manufacturers and designers found that they believe that a game with up to 50% educational content will still be perceived as entertainment. And many informal learning institutions like zoos, museums and botanical gardens are adding entertainment elements to their offerings in recognition of the greater appeal of this combination.

Treatment of Bipolar Disorder

Treatment of Bipolar Disorder It is normal to experience mood changes throughout the day. In high mood, one may feel happy and energized while in low mood one may feel sad and inactive. To a normal person, the mood changes do not get out of control; one is able to have a balance between the high and low moods.Advertising We will write a custom research paper sample on Treatment of Bipolar Disorder specifically for you for only $16.05 $11/page Learn More Unlike normal people, people with Bipolar disorder experience extreme and sustaining mood changes that interfere with their lives (Smith, Segal and Segal par 3). The extreme mood swings experienced by Bipolar disorder patients lead to severe psychological distress that makes it impossible for the patients to lead normal lives. Also referred to as Manic Depression or Bipolar Affective Disorder, Bipolar disorder is categorized as one of the serious mood disorders. The mood disorder is characterized by extremely high (manic or hypomanic) and unusual depression states that last for days or weeks. Bipolar disorder can lead to very severe effects if not treated. Mood swings resulting from the disorder can affect school or job performance, break relationships or even lead to suicide. Pharmacotherapy and psychological therapy are the treatment options that are found to be most effective with Bipolar disorder patients. As aforementioned, Bipolar disorder has great effects on normal functioning of the patients. The sad thing about Bipolar disorder is that it tends to be a life time problem and getting an effective treatment is a challenge. However, early diagnosis and treatment of the disorder lead to positive results. Use of medication is the common option for treating Bipolar disorder (Smith, Segal and Segal par 14). Medications referred to as ‘mood stabilizers’ are used to counter mood swings and reduce the symptoms of the disorder. Use of mood stabilizers for on a long-term basis is known to have positive res ults on Bipolar disorder patients. However, since patients respond differently to mood stabilizers, different medication should be tried in order to come up with the best combination for a particular patient (Sachs, et al. 9). For effective treatment, mood stabilizers are used with combination of antidepressants and anticonvulsants. The mood stabilizer that is found to be most effective with most Bipolar disorder patients is Lithium (Sachs, et al. 9). The mood stabilizer is used together with anticonvulsants such as Carbamazepine, Valproic acid and Lamotrigine. The effective combination of medications has to be used for a long time in order to prevent reoccurrence of the mood changes. Many Bipolar disorder patients however tend to default medication. It is therefore advisable for Bipolar disorder patients to continue with their medications even when they feel as if they are cured. Although medications provide the most immediate intervention to Bipolar disorder, they do not completel y cure the disorder but manage it. In addition to medications, a Bipolar disorder patient has to adopt a lifestyle that supports wellness.Advertising Looking for research paper on psychology? Let's see if we can help you! Get your first paper with 15% OFF Learn More Though medications are the most obvious treatment option for Bipolar disorder, better results are attained when the patients receive psychotherapy alongside medications. Therapy helps Bipolar disorder patients to manage various issues resulting from the disorder, including affected self-esteem, work and relationship. Psychotherapy can also be of great help if a Bipolar disorder patient is struggling with other issues such as substance abuse. Considering that treatment for Bipolar disorder can continue for a long time, psychotherapy helps to keep the patient in medications and therefore increase chance for success. Cognitive-behavioral therapy, Family-focused therapy and Interpersonal and social rh ythm therapy are the common psychotherapies with Bipolar disorder (Smith, Segal and Segal par 16). Cognitive-behavioral therapy is particularly helpful in helping a Bipolar disorder patient to manage symptoms. This type of therapy targets the thinking patterns of a patient and can help Bipolar disorder patients to avoid triggering the symptoms through their thinking patterns. Interpersonal therapy is very important to a Bipolar disorder patient. The psychological therapy helps Bipolar disorder patients to manage their relationships, which could be highly affected by the mood disorder. Interpersonal therapy also helps the patients to manage stress and therefore reduce occurrence of the symptoms. Considering that Bipolar disorder affect biological rhythms, social rhythm therapy can be of great help to Bipolar disorder patients. In addition to the above mentioned therapies, family focused therapy can be incorporated in treatment of Bipolar disorder. Bipolar disorder affects not only th e patient but also other family members living with the patient. Family focused therapy helps in addressing the effects of the disorder to the family and therefore helps to create a strong support system for the patient. Bipolar disorder is among the severe mood disorders. Apart from affecting the normal functioning of the patients, Bipolar disorder can have severe effects on a patient’s relationships or even lead to suicide. For better results, a Bipolar disorder patient should seek early treatment. Medications and psychological therapy are the main treatment options for Bipolar disorder. Mood stabilizers such as lithium are effective in treating the disorder. The mood stabilizers are used together with anticonvulsants and antidepressants in order to achieve the better result. In addition to medications, psychotherapy is used to achieve the best result. Therapies such cognitive therapy, family-focused therapy and interpersonal therapy help in managing symptoms and helping th e patients to live well in spite of their suffering. Sachs, Gary, David Printz, David Kahn, Daniel Carpenter and John Docherty. The Expert Consensus Guideline Series Medication Treatment of Bipolar Disorder. Apr. 2000. 22 Nov. 2010. https://www.psychguides.com/bipolar/Advertising We will write a custom research paper sample on Treatment of Bipolar Disorder specifically for you for only $16.05 $11/page Learn More Smith, Melinda, Jeanne Segal and Robert Segal. Treatment for Bipolar Disorder: Getting Help and Choosing Treatments. Nov. 2010. 22 Nov. 2010. https://www.helpguide.org/

Important Female Artists of the Surrealist Movement

Important Female Artists of the Surrealist Movement Founded in 1924 by writer and poet Andrà © Breton, the Surrealist group was comprised of artists whom Breton had handpicked. However, the movements ideas, which focused on exposing the subconscious through exercises like automatic drawing, were not contained to the select few whom Breton capriciously favored or shunned. Its influence was worldwide and found its strongest outposts in Mexico, the United States, Europe, and Northern Africa. Due to Surrealism’s reputation as a male discipline, female artists are often written out of its story. Yet the work of these five female artists upends the traditional narrative about Surrealism’s focus on objectifying the female body, and their participation in the movement is testament to the fact that the Surrealist ethos was more expansive than art history has previously assumed. Leonor Fini Leonor Fini was born in Argentina in 1907, but she spent her youth in Trieste, Italy after her mother fled an unhappy marriage to Fini’s father. As an adult, Fini became well-acquainted with the Surrealist group in Paris, befriending figures such as Max Ernst and Dorothea Tanning. Her work was exhibited in MoMA’s seminal 1937 â€Å"Fantastic Art, Dada, and Surrealism† show. Fini was taken by the idea of the androgyne, with which she identified. Her lifestyle was in keeping with her unconventional approach to gender, as she lived in a menagetrois with two men for over forty years. She spent summers in a rundown castle on Corsica, where she gave elaborate costume parties, for which her guests would plan for months. Leonor Fini with one of her paintings. Francis Apesteguy/Getty Images Finis work often featured female protagonists in positions of dominance. She illustrated erotic fiction and designed costumes for her friends’ plays. She would also design her own costumes for social events. Her often over-the-top self image was photographed by some of the era’s most well known photographers, including Carl van Vechten. Perhaps Fini’s greatest commercial success was in designing the perfume bottle for Elsa Schiaparellis â€Å"Shocking† perfume. The bottle was made to look like the naked torso of a woman; the design has been mimicked for decades. Dorothea Tanning Dorothea Tanning was born in 1911 and grew up in Galesburg, Illinois, the daughter of Swedish immigrants. Stifled by a strict childhood, the young Tanning escaped into literature, becoming acquainted with the world of European arts and letters through books. Confident that she was destined to become an artist, Tanning dropped out of the Art Institute of Chicago in favor of living in New York. MoMA’s 1937 â€Å"Fantastic Art, Dada, and Surrealism† cemented her commitment to Surrealism. It was not until years later that she became close to some of its key characters, when many moved to New York to escape the growing hostility in Europe due to the Second World War. Portrait of Dorothea Tanning, 1955.   Michael Ochs Archives/Getty Images When visiting Tanning’s studio on behalf of his wife Peggy Guggenheim’s â€Å"Art of this Century† Gallery, Max Ernst met Tanning and was impressed with her work. They became fast friends, and eventually married in 1946, after Ernst had divorced Guggenheim. The couple moved to Sedona, Arizona and lived among a cohort of fellow Surrealists. Tanning’s output was varied, as her career spanned around eighty years. Although she is perhaps best known for her paintings, Tanning also turned to costume design, sculpture, prose, and poetry. She has a large body of work consisting of plush humanoid sculptures, which she was known to use in installations throughout the 1970s. She died in 2012 at age 101. Leonora Carrington Leonora Carrington was born in the United Kingdom in 1917. She briefly attended the Chelsea School of Art, then transferred to Londons Ozenfant Academy of Fine Arts. She met Max Ernst in her early twenties and soon moved with him to the south of France. Ernst was arrested by the French authorities for being a hostile alien and later by the Nazis for producing degenerate art. Carrington suffered a nervous breakdown and was hospitalized at an asylum in Spain. Her only means of escape was to marry, so she married a Mexican diplomat and left for the United States, where she was reunited with many of the Surrealists in exile in New York. She soon moved to Mexico, where she helped to found the Womens Liberation Movement and ultimately spent the rest of her life. Carringtons work centers on symbols of mysticism and sorcery, and often deals with significant recurring images. Carrington also wrote fiction, including The Hearing Trumpet (1976), for which she is best known. Sculpture by Leonora Carrington in Mexico City.    Meret Oppenheim Swiss artist Meret Oppenheim was born in Berlin in 1913. At the outbreak of the First World War, her family moved to Switzerland, where she began to study art before moving to Paris. It was in Paris that she became acquainted with the Surrealist circle. She knew Andrà © Breton, was briefly romantically involved with Max Ernst, and modeled for Man Ray’s photographs. Oppenheim was best known for her assemblage sculpture, which brought together disparate found objects in order to make a point. She is most famous for her Dà ©jeuner en Fourrure also called Objet, a teacup lined in fur, which was exhibited at MoMA’s â€Å"Fantastic Art, Dada, and Surrealism† and was reportedly the first addition to the collection of the Museum of Modern Art by a woman. Objet became an icon of the Surrealist movement, and though it is responsible for Oppenheim’s fame, its success has often overshadowed her other extensive work, which includes painting, sculpture, and jewelry. Though she was crippled by the early success of Objet, Oppenheim began to work again in the 1950s, after several decades. Her work ËÅ"has been the subject of numerous retrospectives around the world. Often addressing themes of female sexuality, Oppenheim’s work remains an important touchstone for understanding Surrealism as a whole. Dora Maar Dora Maar was a French Surrealist photographer. She is perhaps most famous for her photograph Pà ¨re Ubu, a closeup of an armadillo, which became an iconic image for Surrealism after it was exhibited at the International Surrealist Exhibition in London. Maars career has been overshadowed by her relationship with Pablo Picasso, who used her as muse and model for many of his paintings (most notably his â€Å"Weeping Woman† series). Picasso convinced Maar to close her photography studio, which effectively ended her career, as she was unable to revive her former reputation. However, a significant retrospective of Maars work will open at the Tate Modern in the fall of 2019. Photographs by Dora Maar of her lover, Pablo Picasso.   Getty Images Sources Alexandrian S.  Surrealist Art. London: Thames Hudson; 2007.Blumberg N. Meret Oppenheim. Encyclopedia Britannica. https://www.britannica.com/biography/Meret-Oppenheim.Crawford A. A Look Back at the Artist Dora Maar. Smithsonian. https://www.smithsonianmag.com/arts-culture/pro_art_article-180968395/. Published 2018.Leonora Carrington: National Museum of Women in the Arts. Nmwa.org. https://nmwa.org/explore/artist-profiles/leonora-carrington.Meret Oppenheim: National Museum of Women in the Arts. Nmwa.org. https://nmwa.org/explore/artist-profiles/meret-oppenheim.

Shawshank Redemption Essay Example | Topics and Well Written Essays - 1000 words

Shawshank Redemption - Essay Example In Shawshank Redemption, the major themes revolve around the power of intelligence, the power of friendship and the power of hope. In the movie, Shawshank redemption, one could appreciate how the power of intelligence becomes portrayed. The character Andy on arrival to Shawshank prison, asked his friend Red to help him procure a rock hammer, polishing cloth and a large poster of Rita Hayworth. Nobody actually knew the importance of these 3 things until one day when Andy made an escape to Mexico after boring a hole through the prison walls. In addition, it is via Andy’s intelligence after helping the prison guard with family and financial issues while working at the prison’s license plate factory that he managed to secure a job as a person who did their paper work. Just from that simple act of intelligence, Andy managed to secure a status where he became protected from the notorious prison gang called Sisters that used to molest him. In addition, through his intelligence , he manages to secure a place as the prison’s librarian and expands it more in a century. Through his association with the guards, he managed to do money laundering business ran by Norton. Andy therefore gained much reputation in prison and ultimately became the people’s hero as he escaped prison, leading to Norton giving up on the search and resigning. Intelligence has been demonstrated in many prison movies, for instance Prison Break. In Prison break for instance, the main character, Michael Scofield uses his wit in order to get his brother out of prison. Prison break is majorly a season that depicts how intelligence could be of great value in evading problematic situations. The character Andy could be likened to Michael Scofield in Prison Break as both used intelligence to break out of prison. In relation to the theme, in my past experience, I have been saved a lot by depicting some act of intelligence and highly appreciate its use in real life. In Shawshank Redemp tion, power of friendship remains a theme that gets depicted entirely in the film. Andy on arrival at Shawshank made friends with Red. It is via the friendship that Andy managed to secure the very items that his used in plotting his escape. Andy asked Red to secure for him a rock hammer, polishing cloth and a poster of Rita Hayworth. If not for being friends, Red would not have secured these items for Andy. In addition, Red always was present to talk and console Andy after being mishandled by the gang called Sisters. It is while working at the prison’s license plate factory, that Andy made a deal that saw his friends get 3 beers while working at that place. In addition, in gaining favor from the prison guards and Norton, Andy managed to have his friends protected too from the gangs that used to torment in mates. As a sign and gratitude to true friendship, Andy had earlier on told Red about the money and the key in the mountain rocks near the prison that eventually led Reds to joining him in Mexico. Red on being released some few years after Andy’s escape, one day went to the area where he was told he would find a key, but got more than he had hoped for, a true friend asking Red to join him in Mexico. The movie ends with Red being overjoyed about meeting his prison and lifelong prison. In relation to Prison Break, Michael Scofield, cared and treated his brother as a

Al Nakheel Blue Community Essay Example | Topics and Well Written Essays - 3000 words

Al Nakheel Blue Community - Essay Example The Blue Community intends to create awareness for the need to develop the coastal waterfront involving in the process along with Nakheel's own experience and expertise, NGOs, think tanks and stakeholders encouraging them to be active instruments of their Blue Community initiatives. The question may arise as to why Nakheel is aiming to promote the Blue Community. According to Sultan Ahmed bin Sulayem, Executive Chairman of the company, "Almost two thirds of the world's population lives in coastal communities and a large amount of development is taking place in these locations" (UAE Press Release, January 20, 2008). The company intends to invest significantly to bring about changes in these environments through research and development with the vision of becoming leaders in sustainable development of coastal communities through its Blue Community initiatives. Formed in 2001, Nakheel can be considered pioneer and frontrunner in the domain of construction of innovative and iconic buildings and landmarks. As regards waterfront development, with the launch of the Blue Community, they have become setters of standards and rules in this field for the others to emulate. The Blue Community launch event held on a dome specially constructed for the purpose on the beachfront by the Palm Jumeirah was attended by prominent figures from government, industry and media. It went with the first ever Tourism Development Project & Investment Market (TDIM) event of Dubai held between January 20-22, 2008. The stand that Nakheel put up for the event, the largest in the company's history, featured two massive domes for displaying all the waterfront development projects undertaken by the company. This included a model of Dubai Promenade allowing the visitors a look at this waterfront community. Dubai Promenade created "a virtual peninsula along the emirate's shor eline, anchored by a spectacular wheel-shaped five-star hotel" (www.nakheel.com). At the TDIM exhibition, a 13-meter long scale model was unveiled by Nakheel demonstrating the company's vision of Dubai's growth through development of waterfront with projects under Blue Community. Before we venture further into the "Blue Project", let us look at the characteristics of the construction industry in the UAE. With the transformation from a buyers' market to a sellers' market, over the last decade there has been a boom in the UAE construction industry. This construction boom is most visible at Dubai and Abu Dhabi. Going by per capita expenditure on construction, UAE is the world leader with presence of close to 6000 construction companies. The total value of the UAE construction industry for 2008 has been assessed at USD15.26 bi as per a Business Monitor International Report which is projected to go up to USD22.44bi by 2012. 3 There are various reasons behind this tremendous growth. Not much entry barrier is there to hinder the UAE construction industry. Rather there exist major driving forces in Dubai like a stable political climate, tax-free status and on the whole a liberal business environment to facilitate expansion of the industry. Further impetus to construction indu

Pharmacy Personal Statement Example | Topics and Well Written Essays - 750 words

Pharmacy - Personal Statement Example I believe taking up the field of Health Science and Medicine Pharmacy shall allow me to make a positive contribution towards health science. Therefore, the significance of Health Science and Medicine Pharmacy cannot be underestimated as we can learn from Louis Pasteur’s work that played a major role to save lives of million people against the infection. I believe as we progress further into the twentieth first century the field of health science will face several challenges and I want to play may part to tackle these challenges. I love to work, understand different types of drugs and their contents that may affect people’s health to transform their lives. In my opinion, the field of medicine is a vast field, and by enrolling in the course I shall be able to enhance my knowledge and apply it to make other’s lives better. I have always dreamt of running my own business for Aurvedic medicines, and I believe that by enrolling in the course, I shall be able to accompl ish my dream. The field of Health Science and Medicine Pharmacy is a tough field, which requires students to work with a higher dedication. Though, I have encountered several difficulties during the course of my A-level, my aspiration and hard work towards the field assessed me to gain good grade in the next round. I believe my determination and interest in the fields of sciences shall persuade me to the course more effectively with good grades. For me, the field of Health Science and Medicine Pharmacy is more a passion to me, since my sixth grade. I was always curious to know how these small pills can actually work to fight diseases. In addition, the dream to work in a place where I can dedicate myself to serve the humanity drove me to work harder to acquire good grades in the second round of A levels. I have worded as HSE Assistant Trainee in a Marine company. It allowed me to enhance my knowledge regarding Health and Safety Environment. In addition, it also provides me

Egon Schiele: Influences on and Impact in Art

Egon Schiele: Influences on and Impact in Art Was Egon Schiele ahead of his time or just in touch with it? A master of expressionism or practising pornographer and paedophile? What was the driving force behind his most memorable images; those being his nudes and self portraits? Looking at economic, social, personal influences, was he milking the times and environment for self gain or was he a hormone raging self absorbed youngster finding himself? Introduction Expressionism is described in typically polemic terms in the preface for the 1912 exhibition in Cologne, featuring new artists of this genre. In it, it says: â€Å"the exhibition is intended to offer a general view of the newest movement in painting, which has succeeded atmospheric naturalism and the impressionist rendering of motion, and which strives to offer a simplification and intensification in the mode of expression, after new rhythms and new uses of colour and a decorative or monumental configuration – a general view of that movement which has been described as expressionism.† Schiele certainly fulfilled the loose terminologies expressed above, as a great deal of the subject matter he explored, primarily his nudes and his self-portraits, were concerned with the constant need to redefine and explore different ways of expressing these themes; a simplification and intensification in the mode of expression. At times, Schiele reduces the broad sentiments of Impressionism to a single streak; he cuts out all that is unnecessary, reducing his backgrounds to a simple wash of colour, and thus focuses on his primary interest, that of the human subject. Schiele was also extremely concerned with the notion of self in his work; he is frequently cited in critical work as a narcissist and, with over 100 self portraits to his name, each of which appear to be concerned with showing himself in various, often contradictory ways, this would appear to be true. But, beyond simple glorification of the self, Schiele seems to be doing something else in his self-portraiture. By picturing himself in such a varied and at times contradictory way, Schiele in turn questions his own authenticity, and attempts to align himself with that great canon of artist in society, as a contemporary Promethean or Christ-like figure. â€Å"Allegory, unmasking, the presentation of a personable image, and close scrutiny of body language as influenced by the psyche, all met most palpably where Schieles eye looked most searchingly – in his self-portraits, his odyssey through the vast lands of the self. His reflections on and of himself filled a great hall of mirrors where he performed a pantomime of the self unparalleled in twentieth century art.† Indeed, the ambiguity of Schiele as regards himself is a dense and complex subject, which regards both â€Å"truth†, and a more subjective appraisal of art in Viennese society during the time in which Schiele was painting. Schiele was also concerned with breaking down and fundamentally opposing the traditions of Viennese culture and art which, at the time, were largely very conservative in opinion. In his art, Schiele would strike out at the culture that celebrated Biedermeier art and the slavish reproduction of classical works that he was taught at Viennas Academie der Bildunden Kunste (Viennas Academy of Fine Art), which he was admitted to on the grounds of his exceptional talent as a draughtsman. Most prominently, he would break these rules, and was thus ahead of his times with his extremely controversial oeuvre, which broke from these schools almost completely, both stylistically and in terms of the subject matter that they conveyed. But it is extremely difficult, if not impossible when considering any artist to extricate him / her from the times in which he / she was born. An artist is inevitably bound to the world around him / her, and thus, it is important to consider the economic, social and cultural trends that were prevalent at the time. Schiele was part of the expressionist movement – which immediately set itself up against the heralded principals of art in Vienna, by setting up its own artist-led business entities, using the work and the life of Klimt as an example. I will expand upon the layered history that led up to Viennese expressionism, and hope to extrapolate the extent to which Schiele was paving the way for a new generation of artists. Schieles art was especially controversial in its subject matter. In his early work especially, unflinching portraits were painted that not only showed Schiele in uncompromising positions, but also subjects such as proletariat children, who were invariably portrayed naked, and painted with a grotesque and sickly eroticism that draws you unerringly into these taboo areas. Whether Schiele was deliberately trying to shock and provoke the modesties of the Viennese public, or whether he was trying to uncover a more universal, spiritual or sexual truth is subject to debate. Overall, in this essay, I will discuss how the history of Vienna impacted upon the work of Schiele, looking at the cultural, social and economic impact of Schiele. I will also look at how Schiele uses the self-portrait, especially how he chooses to either promote, or at least define the prevalent role of expressionist artist in his work. Then I will look at how the abundance of these controversial self-portraits, along with innumerable photographs of Schiele posing, in turn makes Schieles identity in his work more ambiguous. Then I will look at the more pornographic side of Schiele, and question how Schiele, deeply embedded in the cultural and moral codes of the time, reacted entirely against them and established his own, art of â€Å"ugliness†. History Of Viennese Expressionism Fredrick Raphael, in his preface to Dream Story by Arthur Schnitzler, suggests something about the Viennese psyche; he says that: â€Å"In 1866, Bismarcks Prussia destroyed Austro-Hungarys bravely incompetent army at Sadowa. The effect of that defeat on the Viennese psyche cannot be exactly assessed. Austria had already suffered preliminary humiliation by the French, under Louis-Napoleon, but Sadowa confirmed that she would never again be a major player in the worlds game. Yet conscious acceptance of Austrias vanished supremacy was repressed by the brilliance and brio of its social and artistic life. Who can be surprised that Adlers discovery of the inferiority complex, and of compensating assertiveness, was made in a society traumatized by dazzling decline? It was as if the city which spawned Arthur Schinitzler and Sigmund Freud feared to awake from its tuneful dreams to prosaic reality.† Indeed, the times in which Egon Schiele was making his mark on the Viennese establishment was a time where the Viennese art community were at their most conservative, or most susceptible to lapsing into these â€Å"tuneful dreams†. Schieles self-imposed mission, it seemed, was to violently shake these people into a state of consciousness. But that isnt to say that Schiele existed entirely in a vacuum, living entirely by his own rules. Comini stresses that: â€Å"The content of Schieles Expressionism then was a heightened sense of pathos and impending doom, and an acute awareness of the self. Schieles Expressionist form drew from the great European reservoir of Symbolist evocativeness.† So, from a veritable melange of varying influences, Schiele managed to get his form, which combined that of exceptional draughtsman, with an inescapable desire for portraying the artistry of â€Å"ugliness†, something of which Schiele was something of a pioneer. In 1897, Schiele joined the painting class of Christian Griepenkerl; who was a deeply conservative artist devoted to neoclassicism, or the slavish devotion and replication of classic works of art. This involved long hours copying the works of the Old Masters at Viennas Academy of Fine Art. Schiele was enrolled for his superior draughtsmanship, but he was eventually alienated from it because he didnt see the relevance or the importance in neoclassicism. Thus, he became something of a troublemaker to the establishment, and was eventually forced out. This was echoed 100 years hence by the Romantics; an art group who pursued a loose programme intended to reinvest art with emotional impact. The Romantics, however, proved too unpalatable to the Viennese citizenry, who instead preferred the work of Biedermeier artists. Kallir says: â€Å"On the whole, Germans proved more receptive to Romanticism than Austrians who shied away from such intense expressions of feeling and took refuge in the mundane cheer of the Biedermeier.† She goes on to say: â€Å"Biedermeier [†¦] was geared more to the applied than to the fine arts, though in all its myriad incarnations it promoted the personal comforts of the middle class Burger. Biedermeier painting revolved around idealized renditions of everyday life, scenes of domestic bliss, genre pictures portraying ruddy-cheeked peasants, and picturesque views of the native countryside.† Being born into this highly stringent, conservative environment must have shaped Schieles defiance somewhat, as Schiele not only seems to break with what was established in Vienna as profitable art, but he almost seems to occupy exactly the opposite role. Even in works by Klimt, who was deemed controversial at the time, there are still elements of decorative palatability that makes his work visually and aesthetically appealing. Schiele seems to be deliberately working against this formula; which was brave considering that art, at the time, depended on patronage and buyers to actually sustain a profit. Schiele didnt seem concerned in the slightest that his work wouldnt get a buyer. In fact, the market is abandoned almost completely. In Schieles early work, art becomes â€Å"ugly†; his figures are pallid and atrophied; the composition of the pieces are unconventional and thus attack the sensibilities of the audience. Upon his break from Viennas Academy, and much akin to Klimt, whom he admired and painted on a number of occasions, Schiele set up his own group, entitled simply, â€Å"The New Art Group.† This was similar to Klimts route, as he set up the Viennese Secession, of which Schiele would play a part, which came from and used the tried and tested formula of the Genossenschaft betdender Kunster Wiens (Vienna Society of Visual Artists), a project financed by Emperor Franz Josef as a means of promoting art in the city. However, this system was not without its drawbacks. â€Å"Its progressive potential was [†¦] undermined by a policy of majority rule, which generally granted victory to the conservative faction. Within this context, the societys role as dealer was particularly disturbing to the younger, more forward-thinking minority, from whom exclusion from major exhibitions could have adverse financial consequences.† Similarly, the capitalist nature of art, coupled with the conservatism of the market made for a very difficult time for the progressive artist, and perhaps was a reason behind why Schiele opposed the artistic community with such fervency and vitriol, and often resorted to shock tactics and self-publicity to get himself heard. Klimts Secession operated on similar principles to the Vienna society: â€Å"†¦the Secession [†¦] was principally a marketing agent for its members work.† Thus, again it proved difficult for the younger, more radical artists to break through, despite Klimts support. Later, funds from patronage dwindled, so it was necessary for artists to seek out new markets. â€Å"The withdrawal of official patronage pre-empted the Secessionists to seek new ways of generating the sales and commissions necessary to keep them in business.† Ultimately, this meant that socialist, and personal art became more prominent a theme. The monumental, allegorical themes that Klimt and Schiele tended to attack (although Schieles work was deeply personal, it was also very monumental and took a number of influences from Klimt and symbolist art), no longer had a substantial market. Klimts decorative style, coupled with his established name, could still sell work to his established clients. Schiele, however, had no such luck, and it was only in 1918, the last year of his life, that Schiele managed to break even with his work. Although Schiele did not seem overly concerned with the economic potential of his works; in fact, he even seemed to equate poverty and suffering to the role of an artist in general, and Schiele was probably one of the most uncompromising artists of the twentieth century in terms of pandering to a particular audience; it is nevertheless important to consider economics, social and cultural conditions because, Schiele, by setting himself and his role as an artist in direct opposition to the establishment, also put himself in the long-standing tradition of artist in opposition to mainstream society. Kallir points out that: â€Å"The Secession, the Galerie Muethke, and the Wiener Werkstatte [, the latter two being establishments set up in the wake of the gradual reduction of patronage funds and a need to find and establish new markets for art], in the formative first decade of this century were peculiar products of their times that shared common aspirations and limitations. It was important to all concerned that these entities, although ostensibly committed to marketing art, were artist-run.† So, although economics were a concern in art, they were not necessarily, as dictated previously with the majority run Vienna Society of Visual Artists, primarily about making money and transforming the Viennese art scene into a profitable industry. Economics was an incidental concern, only foisted upon the establishment by chronic necessity: â€Å"The artists evinced a tacitly accepted loathing for art-as-business (Schiele could be particularly eloquent on this point) and a determination to place aesthetic considerations above economic ones.† So, as is fairly obvious from the art that he made, Schiele was against the motive of making money from art. But this reveals an interesting contradiction that plagued expressionist and other, later artists seeking to make a living from art at the same time as challenging the social and economic processes that ultimately fund its creation: â€Å"[I]f the primary goal [of these entities] was to serve the artistic community, these organisations could not entirely ignore their secondary purpose: to sell art.† So, Schiele, like many other artists, was cut between a requirement for money (which was especially apparent now that the former staple of patronage monies had all but dried up), and a requirement to express uncompromisingly his artistic expression. Schiele would not settle for the former, and instead pursued the latter with a vigour and an intensity that, at the time, was quite extraordinary. Schiele and Self-Portraiture. Of all the artists in the 20th century, or indeed any century, Egon Schiele was probably one of the most self-conscious. But, in Schiele, the self is a very problematic subject. Schoeder suggests: â€Å"In his self-portraits, Schiele shows himself as wrathful, with a look of spiritual vacancy, or as if racked by a severe spasm of hysteria; or arrogantly looking down his nose, with head tossed back; or apprehensively or naively peering out of the picture. Which Schiele is the real Schiele?† Schiele seems to instinctively divide himself into differing components, but also, he uses art to singularly pursue his own political views of the role of artist, in many ways using self-portraiture to assert, rather than fragment his own personality. The ambiguity with which Schiele regards himself can be looked at in a number of ways. 1. The Artist-as-Martyr It could be argued that Schiele was simply posing, or playing the varying roles of artist to gratify his ego. This is interesting because Schiele was definitely working toward a specific identity as artist. In 1912, Schiele was arrested for three days for publishing obscene works where they could be displayed to children. An item of his work was subsequently burned in the courtroom. In prison, he creates a number of interesting works of art, that are especially interesting because their titles read like manifestoes. Titles such as Hindering the Artist is a Crime, It Is Murdering Life in the Bud! (1912), For Art and for My Loved Ones I Will Gladly Endure to the End! (1912), and Art Cannot Be Modern: Art Is Primordially Eternal (1912). Certainly, judging from these titles, Schiele definitely has a number of ideas regarding the artist, his specific role, and what separates a true artist from a charlatan. Schiele, in his highly polemical, hyperbolic painting titles, equates the artist with suffering and martyrdom, suggesting that he will â€Å"endure†, and immediately glorifying the artist as a giver of life and eternal well being to the masses. Schroeder goes on to say: â€Å"Behind these works lies the idealization of suffering in the Romantic cull of genius, as updated in the last years of the nineteenth century through the writing of Friedrich Nietzsche and through the posthumous response to Arthur Schopenhauer. [†¦] The turn of the century saw the apogee of the Artist-as-Martyr legend, in which the relationship between suffering and greatness draws so close that the pose of suffering may in itself constitute a claim to the higher grades of artistic initiation.† So, the implication here is that Schiele was indeed acting a specific role of artist, that he was assuming a specific â€Å"pose of suffering† that was in many ways an act of fulfilling his societal role as an artist. Certainly these roles of suffering were explicit in his work. In Self-Portrait Standing (1910), Schiele portrays himself as contorted and thin; his face is twisted into an ugly grimace, and the colours used are mottled, pale and rotten. His arms are deformed and his positioning is unnatural and forced. His eyes are hollow and there is no context to the portrait; the background is a simple cream colouring. To exaggerate his alienation yet further, Schiele highlights his body with a shock of white. This has the effect of drawing the subject even further out of his environmental world, and, along with the forced hand gestures, serves to make us see the subject as an exhibit, rather than as part of a natural world. As Schroeder points out: â€Å"On the white expanse of paper, they do not exist: they are exhibited.† In his principal work, Hermits (1912), he paints himself with Gustav Klimt, whose own break with neoclassicism and ornate style of expressionism was a major influence on Schieles early work. Klimt is seen as asleep, or else resting on the shoulders of Schiele, who stands in front of him in a large black cloak. Mitsch suggests that in Hermits, â€Å"[s]eldom has the human body been visualised so exclusively as a materialization of spiritual forces [†¦].† But the painting is called Hermits, which suggests something about the role of artist that Schiele observed, although the painting certainly displays elements of the spiritual; as Steiner suggests, â€Å"he presents the master and himself in a picture where two male figures in monklike garb and with aureoles about their heads are seen on a monumental plinth.† In Hermits, Schiele and Klimt both look glum; Schiele stares defiantly back through the painting. The vast black cloak serves to homogenize the body of Klimt and Schiele, and thus portrays the role of the artist in general as one of blackness, of a biblical darkness. But, the title is more secular: Steiner goes on to say that: â€Å"We see Hermits (as the painting is called) and not saints, and the tone is no longer mystical and remote but one of delicate equilibrium between the two men – the elder, Klimt, deathlike, and the younger, Schiele, looking grim, doubtless because the artist leads a solitary life, condemned by society to suffer.† So, Schiele, in a very modernist way, is simultaneously divorcing himself from the establishment of the religious school of Neoclassicism, but is also contemporising it. In similar ways that Freud brought scientific rigour, and secular practice into studies of the human psyche, Schiele was in turn taking religion out of mystical, allegorical artwork, and instead putting himself into it. This artistic position, as forerunner to Klimt, in a sense, emerging from the body of Klimt, but staring out defiantly and uniquely, epitomizes Schieles position. Steiner suggests that: â€Å"At the time that he painted Hermits, Schiele was already seeing himself as a kind of priest of art, more the visionary than the academician, seeing and revealing things that remain concealed from normal people.† 2. The Artist-As-Protean The ambiguity with which Schiele forges his own identity can also be seen in a different way. The variance between different forms of self-portrait merely represent different sides of the Schiele character. This would certainly fit into the Freudian notion of self – as a stigmatized, fragmentary and anarchic collection of different preconceived notions. For instance; Freuds basic notions of Id, Ego and Super-Ego serve to fragment the self – psychoanalysis in general serves to this effect, and, in a number of Schiele self-portraits, he uses the quite unusual system of the double portrait to encapsulate this fragmentation. Fischer makes the point that â€Å"[t]he familiar repertoire of Freudian psychology with its ego and super-ego, conscious and unconscious realms, might equally be applied to these dual self-portraits.† A great deal of photography of Egon Schiele (of which a great deal exists) utilizes the effect of double exposure, thus, a doubling of the self. In one untitled photograph of Egon Schiele , he is seen firstly staring into the distance, while another image of himself looks back, observing himself intently. Steiner says that: â€Å"Schiele countered the sensory fragmentation of the self by means of a multiple self which came little by little to form a visual concept which reconstituted his unity with the world in a visionary way.† Indeed, during the time when expressionism was most active, a serious redefinition was underway, on the secular, theoretical grounds of Nietzsche and Freud, and also due to the cataclysmic human and social catastrophe of the Great War. In Hermann Bahrs 1916 book, simply entitled Expressionism, he says: â€Å"Never was there a time so shaken with so much terror, such a fear of death. Never was the world so deathly silent. Never was man so small. Never had he been so alarmed. Never was joy so far away and liberty so dead.† But he rallies against this bleakness, which is encapsulated in other modernist and expressionist works; works such as Eliots Wasteland and the paintings of Munsch and the German school of expressionism: â€Å"Now necessity cries out. Man cries after his soul, and the whole age becomes a single cry of need. Art, too, cries with it, into the depths of darkness; it cries for help; it cries after the spiritual: that is expressionism.† So, by ploughing the ambiguities of the self, this reading would assume that Schiele was, in many respects, crying â€Å"after his soul†, so to speak; searching among the myriad of different identities available to him, a concrete or at least a compatible sense of self that had eluded him, along with an entire generation of artists dispossessed by the Viennese establishment. The various parts of Schieles meticulous, and almost surgical self-analysis falls into a number of distinct camps, but also seems to, in a more generalised sense, work against the pattern of self-portrait or nudity established by other artists. Up until that time, generally speaking, the nude was seen in a grandiose sense: the painted nude women, such as those in Degas, were painted as Goddesses, resplendently beautiful, radiant, often placed in scenarios that depicted frolicking jollity or natural equilibrium; and the men, who were much rarer in contemporary art, were generally seen as heroic, muscular and noble. Schiele breaks entirely with this long-established tradition. Firstly, the school of nude self-portraiture at the time only comprised of a single person; Richard Gerstl, whose painting Self-Portrait, Naked stood on its own at the time as the only painting to be done of the nude artist. Schroeder points out: â€Å"Just how uncommon is was to depict oneself naked is revealed by the fact that before 1910 only one precedent existed in the whole of Austrian art.† Thus, Schiele was already putting himself in the position of pioneer of a particularly exhibitionist genre. But, in unsheathing the artist of the attire that would previously assign to him his identity, Schiele places a whole new dynamic in the art: the dynamic of the self itself. One of Schieles most important works Seated Male Nude (1910), Schiele portrays himself covering up his own face. Indeed, in most of his self-portraits, especially his early ones, his posture is contorted and manufactured; he is posing and the background again is simply a plain, unembellished white. In Seated Male Nude, Schiele is grossly emaciated, his feet have been cut off, and his nipples and eyes glow red, suggesting that there is a deep demonism within him. He is seen as grotesquely, disturbingly ectomorphic; â€Å"the figure looks as though it has been taken down from a gothic crucifix: it is angular, and looks carved: Schiele was seeing himself as Christ without a loin-cloth. The red highlights of his eyes, nipples, navel and genitals make the body look as if it were glowing from within.† But, also, the red â€Å"glowing from within† also exposes another central tenet of Schieles work – namely, that it gives the appearance that he is hollow inside. Schiele preserved his more allegorical, symbolic works for the medium of oil; paintings such as Hermits discussed earlier, and thus, this hollowness cannot be overlooked as having greater metaphorical meaning, and would suggest the reasons behind why Schieles self-portraiture varied to such a large degree; namely, that the inner self which Schiele was desperate to uncover, was absent, or simply defined as a mad, glowing redness. â€Å"[S]pastic and hunch-backed, or with a rachitic deformation of the ribcage: this was the artist as an image of abject misery – a cripple [†¦] the dirty colouring, with its shrill accents, makes the flesh tones ugly and aberrant. In Seated Male Nude, a self-portrait, the artist mutates into an insect. The absence of feet [†¦] [is] an amputation. This is a mangled soul in a mangled body. We see through the body into the soul.† Indeed, the mangled soul is non-existent, the inside is hollow and empty. So, insomuch as this is similarly affected by social and cultural developments at the time, Schiele is moreover offering a more detailed and theoretically astute reading of the self and warring and dissolute factions. Schroeder says that: â€Å"If all of these self-dramatizations reveal the true nucleus of the painters psyche, then he must have been a fragmented personality, unlikely to escape the diagnostic attentions of the genius Sigmund Freud. The question is just how much of his psyche is conveyed by his self-portraits, either those with grimaces or those that express a frozen resignation? What and whom does Egon Schiele really see in his studio mirror? [†¦] It makes all the difference in the world whether he is observing his own body as an act of direct, emotional self-knowledge or whether in his imagination he is slipping into someone elses role and experiencing his own self as that of another person.† So, that Schiele depicts himself as a variety of different people doesnt necessarily mean that he is living up to a certain artistic function; in a sense, glamorizing the role of the artist as a suffering person. Art As Pornography Schiele has been regarded by many critics as a pornographer. Looking at his paintings, which often draw attention to the genitals, to eroticized regions of the human body, as well as the contorted and mechanistic quality to the nude portraits, which appear twisted and exploited. Schiele was eventually put in prison for his indecency, although this was due to his eccentric practice of showing his work to the friends of the children who were painted, often nude. Schroder suggests that â€Å"[i]n Schieles early pictures of children the objective embarrassment of the models lowly social origins is reinforced by the embarrassment of their obscene nakedness.† This would suggest that the portraits themselves are designed to be as exploitative and as pornographic as possible. The children portrayed are certainly seen in an especially lurid light; and their embarrassment is portrayed by their forced poses, the absence of environment, etc. However, it is often difficult, at the time and later, to extrapolate eroticism from pornography, and in Schiele, this is particularly difficult. Schiele himself denied accusations of pornography, and certainly, the nudes have greater substance and meaning in terms of formulating an Expressionist identity of the self. Mitsch suggests that Schiele â€Å"expresses [in his eroticism] human bondage and is to be understood as a burden that is painful to bear. Aimed, from the beginning, at outspokenness and truthfulness, it assumes almost inevitably a daring form.† So, here difficulty with regarding Schieles output is highlighted. The work is about expressing human bondage, but it is also exaggerated and mutilated and â€Å"outspoken†. So Schiele acts as both pornographer and eroticist, and also strikes out more clearly at exposing the truth behind the body. Schiele himself commented on accusations that his work is pornographic made by his Uncle, by replying in a letter, saying that â€Å"the erotic work of art is scared too.† The painting Reclining Girl In A Blue Dress (1910), establishes this difficulty. In it, a girl is portrayed, leaning back and revealing her genitals. Her genitals are high-lighted in white, and draw the eye to the girls genitals using both composition and colour. The brush-strokes are strikingly crude, almost sketchy. Fischer says that â€Å"[i]t is impossible to defend this picture against the charge of pornography. Even so, Schieles radicalism of form places him beyond too simplistic a categorisation.† He goes on to say: â€Å"He was not merely out to satisfy a shallow voyeuristic impulse. Pubescent lust and delight in discovery, the naà ¯ve symbolism of distinguishing sexual features, and boyish stratagems for looking up girls skirts are combined in the twenty-year-old artists way of viewing the world with the invention of ingenious new forms, which took the Schiele of 1910 a step forward, out of the world of teachers and uncles and into the radical world view of the Expressionist avant-garde. In the years ahead, Schiele pursued this distinctive combination obsessively.† So, according to Fischer, even though his work was pornographic, the forms in which this pornography took and the means by which Schiele painted these pornographic images, allowed us to question the nature of the images and thus elevate them to something beyond pornography. Schiele was certainly obsessed with portraying the self: his images, despite being, at times, shamelessly provocative and deliberately controversial to the conservative Viennese public (the pre-conceived role of an artist to challenge the perception of the ordinary people would stress this, and was a certain depiction of the artist that Schiele would live by), would also put stress on the techniques and the principles applied to the painting in order to elevate it beyond mere titillation or voyeurism. In his nudes, Schiele was definitely looking to get closer to his, and societies view of the human condition in the confusing wake of secularism, the transmogrification of belief toward the self (in Freud and Nietzsche, for instance), and the selfs role in society. Naturally his view is not a particularly optimistic one, and he is frequently out to establish the pain in the heart of the self – his cut-off, mutilated and distorted figures serve to expose the more desultory aspects of the self, and thus his images appear less as pornographic, and more as pieces that actually challenge and oppose the traditionally porno