Freedom of Speech in Campus - Free Essay Example

Sample details Pages: 2 Words: 563 Downloads: 1 Date added: 2018/12/27 Category Rhetoric Essay Type Assignment Level High school Tags: Freedom Essay Student Essay Did you like this example? According to the Margaret Wente in her article, the freedom of the speech in the universities is being faced with some challenges where it is almost dying. The way freedom of the speech is applied in the university it is becoming scary. Universities have been experiencing difficulties when it comes to the freedom of expression since it contains different cultures and different people with different thoughts, ideas and cultural background. The choice of the language or words for one to freely express ideas and thoughts is challenging. This paper will discuss the choice of the language at the universities and its fairness as it is used in the Margaret Wentes article. In the today universities, the choice of the language or the idea to be freely expressed should be done carefully, the ideas or language should be contained and neutralized so as it may avoid suppressing important opinions. This is because there is the issue of counterculture where different cultures view ideas differently. The freedom of the speech or the ideas and languages that are chosen in the universities should accommodate the other rights for it to be fair. They should include equality rights, diversity, and inclusion of all the people or students at the universities. For the freedom of the speech to thrive in the universities, it must be accompanied by respecting and acknowledging the diversity among the different cultures among the university communities. The language or idea chosen to be expressed should not damage the rights of the other cultures and communities as it should portray equal rights, diversity in beliefs and culture and should not be discriminative but inclusive. The freedom of the speech in the universities should be fair such that it should not violate the rights of the others in the society. The people should be free but they should make sure that what they speak should not offend the others. The speech should not interfere with the social justice. The speech should not interfere with the traditional values that are used in the truth-seeking. According to the Karl Marx who is the philosopher in advocating for the social justice, he argued that for social justice to be achieved the right words should be chosen. The words are said to be a dangerous weapon. For the freedom of the speech to be fair, it should conform to the concept of the words as a weapon. The language chosen should be right to ensure that one group is not disadvantaged by the freedom of the speech in our campuses. The freedom of speech should balance not to discriminate the different groups in the universities. Both minority and majority students should be served equally by the chosen ideas or thoughts being passed across. The language used in the freedom of the speech should not be abusive or offensive to other individuals in the universities. To conclude, for the freedom of the speech to be fair and prevail in our universities it should be fair and neutral. The choic e of the words chosen should not offend each other students on the campuses. Freedom of the speech should respect the other rights of the students, like the equality rights and should also recognize the diversity of the individuals and be inclusive in all its aspects. This will enhance peaceful environment in our campuses where students express themselves freely without offending each other. Don’t waste time! Our writers will create an original "Freedom of Speech in Campus" essay for you Create order

Questions On The Equation For Regression - 1545 Words

Question 3-Results Question 3. The following equation was deduced from the Heredia, (2015) question 3, and it was based on the equation for regression. These are the results: Ã" ®=b+mx or Ã" ®=mx+b, Ã" ®= dependent variableï‚ ®overall, a= constant b, b1=predictor 1ï‚ ®GRE score on quantitative b value, x1 = GRE score on quantitative. b2=predictor 2ï‚ ®GRE score on verbal b value, x2=GRE score on verbal. B3=predictor 3ï‚ ®ability to interact easily b value, x3=ability to interact easily. Equation- Ã" ®=a+b1(x1) +b2(x2) +b3(x3) ï‚ ®Overall college GPA=2.250+0.002 (GRE, quantitative+0.028(ability to interact). Step 1-If the model is significant with a significant value of 0.014, less than 0.05. High F value (3.907), lower significance value (.014). Step 2=Amounted accounted for=R2=.203ï‚ ®20.3% of the variance is accounted for by the predictors. There was a moderate effect size. There is a moderate correlation (R=0.451) between the three predictors variables. They are: (GRE on quantitati ve, GRE scores on verbal, and the ability to interact easily), and the dependent variable is overall college GPA. B values-GRE scores on quantitative has the greatest influence on the overall college GPA (B=.397) followed by the predictor the ability to interact (B=0.145). The predictor GRE on verbal has a negative influence on the overall GPA (B=-0.26). The predictor GRE score on quantitative is the best predictor (significance=.010). The GRE on verbal is significant at .855 and the capability to interact easily isShow MoreRelatedManagerial Econ Chapter 51686 Words   |  7 PagesAn estimated regression coefficient is 10 with a standard error of 5. The null hypothesis is that the partial regression coefficient equals zero. What is the value of the t-statistic for testing the null hypothesis of the regression coefficient? Choose one answer. | a. 2 | | | b. 0.5 | | | c. 5 | | | d. 1 | | Correct Marks for this submission: 1/1. 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By definition, a regression equation is an equation used in statistics to find out whatRead MoreAutorama Case1023 Words   |  5 Pagesdata on size (â€Å"sqfoot† in square feet) and selling price (â€Å"price† in dollars), which are stored in the ï ¬ le shore.xls. Use the data in that ï ¬ le to answer the following questions: †¢ Use Kstat or Excel to construct a scatterplot for these data with size on the horizontal axis. †¢ Use Kstat to dtermine the estimated regression equation. †¢ Predict the selling price for a home with 2,600 square feet. 3. Accesss bschools2002.xls which contains data regarding the top 30 business schools based on the 2002Read MoreMultivariate Statistical Analysis : Natural And Physical Processes1078 Words   |  5 Pagesinteresting research questions about natural and physical processes are so complex that they require multivariate models and multivariate statistics. There are several types of multivariate models such as Mu ltidimensional Scaling, Principal Components Analysis, Cluster Analysis, Linear Mixed-Effects Modeling, Canonical Correlation, Multivariate Factor Analysis, Logistic regression and so on, each with its own type of analysis (3). Logistic Regression Introduction: Logistic regression is also called LogitRead MoreWhat Relationship Does Exist Between?1612 Words   |  7 PagesCorrelation between Followers and Downloads Linear Regression Model Regression line model is an approach to model the relationship between a scalar dependent variables Y and one or more explanatory variables donated X based on the following equation: Y= a + b .X Therefore To find the relationship between Followers and Download we will find Correlation Between the variables that will tell us the relationship between two variables and we will find regression Line. 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For-Profit Colleges Free Essays

â€Å"The Booming Business of For-profit Colleges† Higher education is a very profitable field, and because of that, for-profit schools have been placed under scrutiny. In the documentary College Inc. , Michael Smith, the correspondent, investigates the promise and tremendous growth of for-profit colleges in the higher education industry. We will write a custom essay sample on For-Profit Colleges or any similar topic only for you Order Now With the student’s best interests in mind, many people have begun to question the integrity of these schools. However, they do not take into account the benefits that these for-profit colleges can offer to non- traditional students, giving them the opportunity to obtain a quality education, and arketable Job skills. For-profit colleges are continuously accepting the abundance of students who have realized that they need to go back to school because Jobs are scarce, and education is needed. Advertising plays a huge part in the large number of students enrolled in for-profit colleges. Successful colleges typically spend twenty to twenty five percent of their total revenue on advertising. This marketing encourages students to take the next step and enroll themselves in a college that they may not be academically or financially ready for. Because College Inc. presents he audience with interviews from multiple sources including former students, school executives, government officials, and enrollment advisors, it effectively portrays the many different perspectives of the industry, and the tension within it. Michael Clifford, a former musician who never went to college, purchases struggling traditional colleges, and turns them into for-profit companies. He believes that it takes the three M’s to turn a college around: Money, management, and marketing. To fund these turnaround projects, Clifford presents to his investors the benefits of putting money into fixing these colleges. From an investor’s point of view, for-profit colleges can be a huge source of income. Jeffery Silber, a senior analyst at BMO Capital Markets, says â€Å"From a business perspective, it’s a great story. miou’re serving a market that’s been traditionally underserved. And it’s a very profitable business it generates a lot of free cash flow. † But from a student’s perspective, it is not fair for their education to be turned into a business. Enrollment advisors play a huge role in the success of for-profit colleges. They are required to recruit a large number of s tudents. The pressure to grow has presented questions about nrollment techniques. Some colleges have been accused of using high pressure sales tactics to get students to fill out application papers. Many of these colleges say they do not have quotas, but Tami Barker, a former enrollment advisor at Ashford University, says she was instructed to make 1 50 calls a day, and close on at least twelve students a month. â€Å"l didn’t realize Just how many students we were expected to recruit. † says the former enrollment counselor. â€Å"They used to tell us, you know, ‘Dig deep. Get to their pain. Get to what’s bothering them. So, that way, you can convince hem that a college degree is going to solve all their problems. † Enrollment advisors convince students that attending college will be easy and affordable even when they are not academically, or financially capable. Dan Golden says â€Å"The concern is that they’re bringing in students who can’t succeed or graduate, loading them with debt. † The documentary College Inc. presents its audience witn a great deal ot students who felt that they were mislead by these enrollment advis ors. The debt load of for- profit students is more than twice the amount of students at traditional schools. Anne Cobb, a former student at The University of Phoenix, says an enrollment advisor at the university helped her get a student loan even though she was swimming in bills. Sherry Haferkamp, a graduate from Argosy University-Dallas says she believed a lot of lies that were told to her, and it was not until after the fact that she realized they were anything but the truth. When she talked to an enrollment counselor at Argosy, he said â€Å"You know, instead of applying for the master’s program, go ahead and apply for the doctorate program. They’ve got two spots available, so you better apply right now. After obtaining her degree, and accumulating over 100,000 dollars in federal student loans, Sherry finds out that her degree is not even accredited by the American Psychological Association. She feels that she is at a dead end, and filed a lawsuit claiming that she was defrauded. The documentary College Inc. , was effective in its purpose of showing the importance of for-profit schools. A large number of students who would never have been accepted into a traditional college, have now been given the opportunity to obtain a degree. Investors who have put money into these failing colleges have profited a great deal. Michael Clifford turned traditional colleges that were in a downward spiral, and close to shutting down into successful for-profit schools. Even though the documentary shows a few students who are unhappy with their experiences, it seems that more people have benefited from these colleges than those who have not. How to cite For-Profit Colleges, Papers

Tony Liang Essays (1680 words) - Anthozoa, Coral Reefs, Acroporidae

Tony Liang M. Poffenroth Biology 10 14 April 2016 Elkhorn Coral Acropora Palmata The Acropora palmata(Lamarck, 1816), or elkhorn coral, is a vital reef-building coral located in the Caribbean, Bahamas (Patterson, 2002), Florida Keys, Virgin Island, and Venezuela. A. palmata are typically found in shallow waters between one to five meters deep with water temperatures between 26 and 30 celsius. Scientific classification are Kingdom Animalia, Phylum Cnidaria, Class Anthozoa, Order Scleractinia, Family Acroporidae, Genus Acropora ,and Species Acropora palmata. The NOAA Fisheries has declared this species of coral to be threatened. The structure of the elkhorn coral is large and complex with many branches, that resemble elk antlers. These branches provide habitats for many other species such as lobsters, parrotfish, snapper shrimps and other reef fish in the caribbean. A. palmata colonies expand at an extremely fast pace; the average grow rate is 2- 3.9 inches or 5-10 centimeters per year and can eventually reach up to 3.7 meters or 12 feet in diameters (Gladfelter , 1982). The color shades range between brown to yellow-brown because of the symbiotic zooxanthellae, type of algae which provide corals with nutrients and remove waste products, living inside the tissue of the coral. Majority of elkhorn corals reproduce asexually when branches break off of the colony and attach to the substrate, and as a result forms a new colony called a fragmentation. Sexual reproduction can occur, when individual colonies are both male and female release millions of gametes once a year in August. Coral larvae begin life living in the plankton for a couple of days until larvae can find a suitable colony to settle in. Infectious disease is one of the major contributing factors in the massive decline in A. palmata (Muller, 2012). Such disease are caused by microorganisms such as bacteria, fungi, viruses, or protozoans that enter the coral, survive, and reproduce inside the coral exponentially which deteriorates the physiological health of the coral. Between 1996 and 1998, white-pox disease is responsible for approximately 85% decline of A. palmata throughout the Florida Keys (Holden, 1996). White-pox disease was first reported in 1996 on Eastern Dry Rocks Reef off Key West, Florida, and is linked with the bacteria Serratia marcescens. S. marcescens is a gram-negative motile bacterium that is mostly found within the gut of many vertebrates including humans, but it can also survive as a free-living microbe in soil and in seawater. Although the putative pathogen S. marcescens was not consistently found in corals displaying signs of white-pox disease, colonies that displayed signs of white-pox disease in the Bahamas appeared to be healthy. Such conflicting findings suggest that S. marcescens might not be the only causative agent of white-pox disease or that the bacteria might be the only pathogenic under certain environmental conditions. Field studies conducted in the reefs in the Florida Keys suggest that white-pox disease is contagious since elkhorn coral colonies with white-pox disease are clustered together (Sutherland, 2004). However it has not been scientifically confirmed since field studies did not take into account naturally clustered distribution of elkhorn coral colonies in the studied area. In addition, colony fragmentation within the population is a common form of asexual fragmentation for A. palmata. Because fragmentation is the dominant form of reproduction, elkhorn offsprings are located in close proximation with other colonies of the same genotype. For instance, in the Florida Keys, USA, patch reefs that contain several colonies of elkhorn coral but they all had the same genotype. Hence, without wholly knowing the distribution of coral genotypes, the clustering of white-pox infected coral may be a result of the genotypic susceptibility of clones, and not a result of white-pox being contagious. Environmental factors such as water temperature and irradiance can also exacerbate the likelihood of fostering disease outbreaks (Harvell, 2009). Temperature changes are found to be associated with white syndrome (Kline, 2008) documented in the Great Barrier Reef, Haulover Bay, reefs in St. John, and in the Florida Keys. White-pox is a seasonal disease that tends to increase during months of high ocean surface temperatures. Several studies suggest a positive correlation between the prevalence of infectious disease on A. palmata susceptibility to be more likely from the results of high water temperature(Roth, 2013), rather than from the result

Surrealism - The Movement and Artists Who Defied Logic

Surrealism - The Movement and Artists Who Defied Logic Surrealism defies logic. Dreams and the workings of the subconscious mind inspire art filled with strange images and bizarre juxtapositions. Creative thinkers have always toyed with reality, but in the early 20th century Surrealism emerged as a philosophic and cultural movement. Fueled by the teachings of Freud and the rebellious work of Dada artists and poets, surrealists like Salvador Dalà ­, Renà © Magritte, and Max Ernst promoted free association and dream imagery. Visual artists, poets, playwrights, composers, and film-makers looked for ways to liberate the psyche and tap hidden reservoirs of creativity. Features of Surrealistic Art Dream-like scenes and symbolic imagesUnexpected, illogical juxtapositionsBizarre assemblages of ordinary objectsAutomatism and a spirit of spontaneityGames and techniques to create random effectsPersonal iconographyVisual puns  Distorted figures and biomorphic shapesUninhibited sexuality and taboo subjectsPrimitive or child-like designs How Surrealism Became a Cultural Movement Art from the distant past can appear surreal to the modern eye. Dragons and demons populate ancient frescos and medieval triptychs. Italian Renaissance painter Giuseppe Arcimboldo  (1527–1593) used trompe l’oeil effects   to depict human faces made of fruit, flowers, insects, or fish. The Netherlandish artist Hieronymus Bosch  (c. 1450-1516) turned barnyard animals and household objects into terrifying monsters. Did Salvador Dalà ­ model his strange rock after an image by Hieronymus Bosch? Left: Detail from The Garden of Earthly Delights, 1503-1504, by Hieronymus Bosch. Right: Detail from The Great Masturbator, 1929, by Salvador Dalà ­. Credit: Leemage/Corbis and Bertrand Rindoff Petroff via Getty Images Twentieth-century surrealists praised The Garden of Earthly Delights and called Bosch their predecessor. Surrealist artist Salvador Dalà ­ may have imitated Bosch when he painted the odd, face-shaped rock formation in his shockingly erotic masterpiece, The Great Masturbator. However, the creepy images Bosch painted are not surrealist in the modern sense. It’s likely that Bosch aimed to teach Biblical lessons rather than to explore dark corners of his psyche. Similarly, Giuseppe Arcimboldo’s delightfully complex and freakish portraits were visual puzzles designed to amuse rather than to probe the unconscious. Although they look surreal, paintings by early artists reflected deliberate thought and conventions of their time. In contrast, 20th-century surrealists rebelled against convention, moral codes, and the inhibitions of the conscious mind.The movement emerged from Dada, an avant-garde approach to art that mocked the establishment. Marxist ideas sparked a disdain for Capitalist society and a thirst for social rebellion. The writings of Sigmund Freud suggested that higher forms of truth might be found in the subconscious. Moreover, the chaos and tragedy of World War I spurred a desire to break from tradition and explore new forms of expression.   In 1917, French writer and critic Guillaume Apollinaire used the term â€Å"surrà ©alisme† to describe Parade, an avant-garde ballet with music by Erik Satie, costumes and sets by Pablo Picasso, and story and choreography by other leading artists. Rival factions of young Parisians embraced surrà ©alisme and hotly debated the meaning of the term. The movement officially launched in 1924 when poet Andrà © Breton published the First Manifesto of Surrealism. Tools and Techniques of Surrealist Artists Early followers of the Surrealism movement were revolutionaries who sought to unleash human creativity. Breton opened a Bureau for Surrealist Research where members conducted interviews and assembled an archive of sociological studies and dream images. Between 1924 and 1929 they published twelve issues of La Rà ©volutionsur rà ©aliste, a journal of militant treatises, suicide and crime reports, and explorations into the creative process. At first, Surrealism was mostly a literary movement. Louis Aragon (1897–1982), Paul Éluard (1895–1952), and other poets experimented with automatic writing, or automatism, to free their imaginations. Surrealist writers also found inspiration in cut-up, collage, and other types of found poetry. Visual artists in the Surrealism movement relied on drawing games and a variety of experimental techniques to randomize the creative process. For example, in a method known as decalcomania, artists splashed paint on to paper, then rubbed the surface to create patterns. Similarly, bulletism  involved shooting ink onto a surface, and à ©claboussure involved spattering liquid onto a painted surface that was then sponged. Odd and often humorous assemblages of found objects became a popular way to create juxtapositions that challenged preconceptions. A devout Marxist, Andrà © Breton believed that art springs from a collective spirit. Surrealist artists often worked on projects together.The October 1927 issue of La Rà ©volution surrà ©aliste featured works generated from a collaborative activity called Cadavre Exquis, or Exquisite Corpse. Participants took turns writing or drawing on a sheet of paper. Since no one knew what already existed on the page, the final outcome was a surprising and  absurd composite. Surrealist Art Styles Visual artists in the Surrealism movement were a diverse group. Early works by European surrealists often followed the Dada tradition of turning familiar objects into satirical and nonsensical artworks. As the Surrealism movement evolved, artists developed new systems and techniques for exploring the irrational world of the subconscious mind. Two trends emerged:  Biomorphic (or, abstract)  and Figurative. Giorgio de Chirico. From the Metaphysical Town Square Series, ca. 1912. Oil on canvas. Dea / M. Carrieri via Getty Images Figurative surrealists produced recognizable representational art. Many of the figurative surrealists were profoundly influenced by Giorgio de Chirico (1888-1978), an Italian painter who founded the  Metafisica, or Metaphysical, movement. They praised the dreamlike quality of de Chiricos deserted town squares with rows of arches, distant trains, and ghostly figures. Like de Chirico, figurative surrealists used techniques of realism to render startling, hallucinatory scenes. Biomorphic (abstract) surrealists wanted to break entirely free from convention. They explored new media and created abstract works composed of undefined, often unrecognizable, shapes and symbols. Surrealism exhibits held in Europe during the 1920s and early 1930s featured both figurative and biomorphic styles, as well as works that might be classified as Dadaist. Great Surrealist Artists in Europe Jean Arp:  Born in Strassburg, Jean Arp (1886-1966) was a Dada pioneer who wrote poetry and experimented with a variety of visual mediums such as torn paper and wooden relief constructions. His interest in organic forms and spontaneous expression aligned with surrealist philosophy. Arp exhibited with Surrealist artists in Paris and became best known for fluid, biomorphic sculptures such as Tà ªte et coquille (Head and Shell). During the 1930s, Arp transitioned to a non-prescriptive style he called Abstraction-Crà ©ation. Salvador Dalà ­:  Spanish Catalan artist Salvador Dalà ­ (1904-1989) was embraced by the Surrealism movement in the late 1920s only to be expelled in 1934. Nevertheless, Dalà ­ acquired international fame as an innovator who embodied the spirit of Surrealism, both in his art and in his flamboyant and irreverent behavior. Dalà ­ conducted widely-publicized dream experiments in which he reclined in bed or in a bathtub while sketching his visions. He claimed that the melting watches in his famous painting, The Persistence of Memory, came from self-induced hallucinations. Paul Delvaux:  Inspired by the works of Giorgio de Chirico, Belgian artist Paul Delvaux (1897-1994) became associated with Surrealism when he painted illusionary scenes of semi-nude women sleep-walking through classical ruins. In L’aurore (The Break of Day), for example, women with tree-like legs stand rooted as mysterious figures move beneath distant arches overgrown with vines. Max Ernst:  A German artist of many genres,  Max Ernst (1891-1976) rose from the Dada movement to become one of the earliest and most ardent surrealists. He experimented with automatic drawing, collages, cut-ups, frottage (pencil rubbings), and other techniques to achieve unexpected juxtapositions and visual puns. His 1921 painting Celebes places a headless woman with a beast that is part machine, part elephant. The title of the painting is from a German nursery rhyme. Alberto Giacometti: Sculptures by the Swiss-born surrealist Alberto Giacometti (1901-1966) look like toys or primitive artifacts, but they make disturbing references to trauma and sexual obsessions. Femme à ©gorgà ©e (Woman with Her Throat Cut) distorts anatomical parts to create a form that is both horrific and playful. Giacometti departed from Surrealism in the late 1930s and became known for figurative representations of elongated human forms. Paul Klee. Music at the fair, 1924-26. De Agostini / G. Dagli Orti via Getty Images Paul Klee: German-Swiss artist Paul Klee (1879-1940) came from a musical family, and he filled his paintings with a personal iconography of musical notes and playful symbols. His work is most closely associated with Expressionism and Bauhaus. However, members of the Surrealism movement admired Klee’s use of automatic drawings to generate uninhibited paintings like Music at the Fair, and Klee was included in surrealist exhibitions.  Ã‚   Renà © Magritte. The Menaced Assassin, 1927. Oil on canvas. 150.4 x 195.2 cm (59.2 Ãâ€" 76.9 in). Colin McPherson via Getty Images Renà ©Ã‚  Magritte: The Surrealism movement was already well-underway when Belgian artist Renà © Magritte (1898-1967) moved to Paris and joined the founders. He became known for realistic renderings of hallucinatory scenes, disturbing juxtapositions, and visual puns. The Menaced Assassin, for example, puts placid men wearing suits and bowler hats in the midst of a gruesome pulp novel crime scene. Andrà © Masson: Injured and traumatized during World War I, Andrà © Masson  (1896-1987) became an early follower of the Surrealism movement and an enthusiastic proponent of  automatic drawing. He experimented with drugs, skipped sleep, and refused food to weaken his conscious control over the motions of his pen. Seeking spontaneity, Masson also threw glue and sand at canvases and painted the shapes that formed. Although Masson eventually returned to more traditional styles, his experiments led to new, expressive approaches to art. Joan Mirà ³. Femme et oiseaux (Woman and Birds), 1940, #8 from Mirà ³Ã¢â‚¬â„¢s Constellations series. Oil wash and gouache on paper. 38 x 46 cm (14.9 x 18.1 in). Credit: Tristan Fewings via Getty Images Joan Mirà ³: Painter, print-maker, collage artist, and sculptor Joan Mirà ³ (1893-1983) created brightly colored, biomorphic shapes that seemed to bubble up from the imagination. Mirà ³ used doodling and automatic drawing to spark his creativity, but his works were carefully composed. He exhibited with the surrealist group and many of his works show the influence of the movement. Femme et oiseaux (Woman and Birds) from Mirà ³Ã¢â‚¬â„¢s Constellations series suggests a personal iconography that is both recognizable and strange. Meret Oppenheim: Among the many works by Mà ©ret Elisabeth Oppenheim (1913-1985), were assemblages so outrageous, the European surrealists welcomed her into their all-male community. Oppenheim grew up in a family of Swiss psychoanalysts and she followed the teachings of Carl Jung. Her notorious Object in Fur (also known as Luncheon in Fur) merged a beast (the fur) with a symbol of civilization (a tea cup). The unsettling hybrid became known as the epitome of Surrealism.   Pablo Picasso: When the Surrealism movement launched, Spanish artist Pablo Picasso (1881-1973), was already lauded as a forefather of Cubism. Picasso’s Cubist paintings and sculptures were not derived from dreams and he only skirted the edges of the Surrealism movement. Nevertheless, his work  expressed a spontaneity that aligned with surrealist ideology. Picasso exhibited with surrealist artists and had works reproduced in  La Rà ©volution surrà ©aliste. His interest in iconography and primitive forms led to a series of increasingly surrealistic paintings. For example, On the Beach (1937) places distorted human forms in a dream-like setting. Picasso also wrote surrealistic poetry composed of fragmented images separated by dashes. Here’s an excerpt from a poem that Picasso wrote in November 1935: when the bull–opens the gateway of the horse’s belly–with his horn–and sticks his snout out to the edge–listen in the deepest of all deepest holds–and with saint lucy’s eyes–to the sounds of moving vans–tight packed with picadors on ponies–cast off by a black horse Man Ray. Rayograph,1922. Gelatin silver print (photogram). 22.5 x 17.3 cm (8.8 x 6.8 in). Historical Picture Archive via Getty Images Man Ray: Born in the United States, Emmanuel Radnitzky (1890-1976) was the son of a tailor and a seamstress. The family adopted the name â€Å"Ray† to hide their Jewish identity during an era of intense anti-Semitism.  In 1921, â€Å"Man Ray† moved to Paris, where he became important in the Dada and surrealist movements.Working in a variety of media, he explored ambiguous identities and random outcomes. His rayographs were eerie images created by  placing objects directly onto photographic paper. Man Ray. Indestructible Object (or Object to Be Destroyed), Oversized reproduction of 1923 original. Exhibition at Prado Museum, Madrid. Atlantide Phototravel via Getty Images Man Ray was also noted for bizarre three-dimensional assemblages such as Object to Be Destroyed, which juxtaposed a metronome with a photograph of a woman’s eye. Ironically, the original Object to Be Destroyed was lost during an exhibition. Yves Tanguy: Still in his teens when the word surrà ©alisme  emerged, French-born artist Yves Tanguy (1900-1955) taught himself to paint the hallucinatory geological formations that made him an icon of the Surrealism movement. Dreamscapes like Le soleil dans son à ©crin (The Sun in Its Jewel Case) illustrate Tanguy’s fascination for primordial forms. Realistically rendered, many of Tanguy’s paintings were inspired by his travels in Africa and the American Southwest. Surrealists in the Americas Surrealism as an art style far outlived the cultural movement that Andrà © Breton founded. The passionate poet and rebel was quick to expel members from the group if they didn’t share his left-wing views. In 1930, Breton published a Second Manifesto of Surrealism, which riled against the forces of materialism and condemned artists who didn’t embrace collectivism. Surrealists formed new alliances. As World War II loomed, many headed to the United States. The prominent American collector Peggy Guggenheim (1898-1979) exhibited surrealists, including Salvador Dalà ­, Yves Tanguy, and her own husband, Max Ernst. Andrà © Breton continued to write and promote his ideals until his death in 1966, but by then Marxist and Freudian dogma had faded from Surrealistic art. An impulse for self-expression and freedom from the constraints of the rational world led painters like Willem de Kooning (1904-1997) and Arshile Gorky (1904-1948) to Abstract Expressionism. Louise Bourgeois. Maman (Mother), 1999. Stainless steel, bronze, and marble. 9271 x 8915 x 10236 mm (about 33 feet high). On exhibit at the Frank Gehry-designed Guggenheim Museum in Bilbao, Spain. Nick Ledger / Getty Images Meanwhile, several leading women artists reinvented Surrealism in the United States. Kay Sage (1898-1963) painted surreal scenes of large architectural structures. Dorothea Tanning (1910-2012) won acclaim for photorealistic paintings of surreal images. French-American sculptor Louise Bourgeois (1911-2010) incorporated archetypes and sexual themes into highly personal works and monumental sculptures of spiders. Frida Kahlo. Self-Portrait as a Tehuana (Diego on My Mind), 1943. (Cropped) Oil on Masonite. Gelman Collection, Mexico City. Roberto Serra - Iguana Press / Getty Images In Latin America, Surrealism mingled with cultural symbols, primitivism, and myth. Mexican artist Frida Kahlo (1907-1954) denied that she was a surrealist, telling Time magazine,  Ã¢â‚¬Å"I never painted dreams. I painted my own reality.† Nevertheless, Frida Kahlos psychological self-portraits possess the other-worldly characteristics of surrealistic art and Magic Realism. The Brazilian painter Tarsila do Amaral (1886-1973) was midwife to a unique national style composed of biomorphic forms, distorted human bodies, and cultural iconography. Steeped in symbolism, Tarsila do Amaral’s paintings might be loosely described as surrealistic. However the dreams they express are those of an entire nation. Like Kahlo, she developed a singular style apart from the European movement. Although Surrealism no longer exists as a formal movement, contemporary artists continue to explore dream imagery, free-association, and the possibilities of chance. Sources Breton, Andrà ©. First Manifesto of Surrealism, 1924.  A. S. Kline, translator. Poets of Modernity, 2010. http://poetsofmodernity.xyz/POMBR/French/Manifesto.htmCaws, Mary Ann, editor. Surrealist Painters and Poets: An Anthology. The MIT Press; Reprint edition, 9 Sept 2002Greet, Michele. â€Å"Devouring Surrealism: Tarsila do Amaral’s Abaporu.†Papers of Surrealism, Issue 11, Spring 2015. https://www.research.manchester.ac.uk/portal/files/63517395/surrealism_issue_11.pdfGolding, John. â€Å"Picasso and Surrealism† in Picasso in Retrospect. Harper Row; Icon ed edition (1980)  https://www.bu.edu/av/ah/spring2010/ah895r1/golding.pdfHopkins, David, ed. A Companion to Dada and Surrealism. John Wiley Sons,  19 Feb 2016Jones, Jonathan.  Ã¢â‚¬Å"Its time to give Joan Mirà ³ his due again.†Ã‚  The Guardian.  29 Dec 2010.  Ã‚  https://www.theguardian.com/artanddesign/jonathanjonesblog/2010/dec/29/joan-miro-surrealism-tate-modernâ€Å"Paris: The Heart of Surrealism.† Matteson Art.  25 March 2009 mattesonart.com/paris-the-heart-of-surrealism.aspx La Rà ©volution surrà ©aliste [The Surrealist Revolution], 1924-1929. Journal Archive.  Ã‚  Ã‚  https://monoskop.org/La_R%C3%A9volution_surr%C3%A9alisteMann, Jon. â€Å"How the Surrealistic Movement Shaped the Course of Art History.†Ã‚  Artsy.net. 23 Sept  2016  Ã‚  https://www.artsy.net/article/artsy-editorial-what-is-surrealism MoMA Learning. â€Å"Surrealism.†Ã‚  https://www.moma.org/learn/moma_learning/themes/surrealismâ€Å"Paris: The Heart of Surrealism.† Matteson Art.  25 March 2009 mattesonart.com/paris-the-heart-of-surrealism.aspxâ€Å"Paul Klee and the Surrealists.† Kunstmuseum Bern - Zentrum Paul Klee  https://www.zpk.org/en/exhibitions/review_0/2016/paul-klee-and-the-surrealists-1253.htmlRothenberg, Jerome Rothenberg and Pierre Joris, eds.  A Picasso Sampler: Excerpts from:  The Burial of the Count of Orgaz, Other Poems  (PDF) ubu.com/historical/picasso/picasso_sampler.pdfSooke, Alastair. â€Å"The Ultimate Vision of Hell.â €  The State of the Art, BBC. 19 February 2016  bbc.com/culture/story/20160219-the-ultimate-images-of-hell Surrealism Period. Pablo Picasso.net  pablopicasso.net/surrealism-period/Surrealist Art. Centre Pompidou Educational Dossiers. Aug  2007  http://mediation.centrepompidou.fr/education/ressources/ENS-surrealistart-EN/ENS-surrealistart-EN.htm#origins

A Complete Guide to Parentheses and Brackets

A Complete Guide to Parentheses and Brackets A Complete Guide to Parentheses and Brackets A Complete Guide to Parentheses and Brackets By Mark Nichol This post discusses the functions of parentheses and brackets, which are used to set off portions of text from the whole for various purposes. Parentheses, almost exclusively appearing in pairs, are usually employed in the same manner as a pair of commas or dashes, though they suggest de-emphasis of the content within (as opposed to commas, which convey a neutral insertion of information, and dashes, which highlight the text between them). Parentheses, in addition to being employed to interject examples or a brief digression, enclose an abbreviation, acronym, or initialism or a translation, or a numerical equivalent of a spelled-out number. They also set off a cross-reference, as in â€Å"For more details, read the associated case study (pages 113–119)† or â€Å"Gene therapy is discussed briefly here. (See chapter 12 for more information.)† Parentheses may frame a plural ending to indicate that a word can be read as either singular or plural, as in â€Å"Enter the title(s) of the document(s) on the asset list,† or to allow for a gender-neutral reading, as in â€Å"Next, (s)he should consult with an adviser.† Note that one of a pair of parentheses is called a parenthesis. This term also pertains in general to setting text off from other text regardless of which punctuation signals the separation. (Two or more instances of parenthesis might be referred to as parentheses.) Text that is set off by complementary punctuation marks is sometimes (including often in posts on this site) referred to as a parenthetical phrase, or simply a parenthetical. A single close parenthesis is sometimes used in place of a period when enumerating, as in â€Å"The three types of rock are 1) igneous, 2) metamorphic, and 3) sedimentary.† (An open parenthesis is not used in isolation.) A few more guidelines about parentheses follow: Parentheses should not be used in immediate proximity to each other or within another set of parentheses; in the latter case, use brackets instead (or commas or dashes). Avoid including more than one sentence, or including an extensive sentence, within parentheses. Avoid situating a complete sentence in parentheses within another sentence. Avoid using parentheses too frequently. Consider employing commas or dashes instead, or otherwise revising text so that parentheses do not appear repeatedly in one piece of content. Parentheses framing text in italics, boldface, or another style treatment differing from the default text should not share that formatting, but should rather be in the the same type as the surrounding text. A complete sentence within parentheses should end with a period or other terminal punctuation before the close parenthesis, and the preceding text should be followed by terminal punctuation: â€Å". . . then it is fair game. (There are always exceptions, of course.)† If text enclosed in parentheses does not comprise a complete sentence and ends a framing sentence, the terminal punctuation of the framing sentence should immediately follow the close parenthesis. â€Å". . . then it is fair game (with exceptions).† Text in parentheses in the midst of a sentence is not punctuated, regardless of whether it is a complete sentence (unless the terminal punctuation is a question mark or an exclamation point), and the first word of a complete sentence in parentheses is not capitalized: â€Å". . . then (there are always exceptions, of course) it is fair game.† â€Å". . . then (with exceptions) it is fair game.† Bracket, in American English, refers to square brackets. (In British English, the term pertains to round brackets, or what in American English are called parentheses.) Brackets have limited uses, including adding contextual information within quoted material â€Å"She spoke to [Smith],† where the bracketed text replaces one or more spoken words to provide clarity (in this example, replacing the vague him) or to add a word or phrase omitted in the spoken or written quotation. Sometimes, the replaced word or phrase is retained, as in â€Å"She spoke to him [Smith],† but this unnecessary. when framing the word sic (â€Å"thus†), borrowed from Latin, confirming that in quoted material, an error or confusing wording is faithfully reproduced from the original text and not a transcription error, as in â€Å"The comment read, ‘You are definately [sic] out of your mind.’† (Note that sic is italicized, but the brackets are not.) parenthesizing within parentheses, as in â€Å"Submit form 13F (Petition for Appeal [formerly titled Petition for Grievance]) within thirty days.† (When possible, revise sentences to avoid this type of construction.) clarifying, in formal writing, that the first letter of quoted material is, the source material, in a different case, as in â€Å"[A]s you would have others do unto you† is the gist of the admonition,† where the quoted material is the second half of the original statement and, thus, as is lowercase in the source text. framing ellipses to indicate that a word or phrase has been omitted, although generally, the ellipses on their own are sufficient. modifying a quotation, perhaps for grammatical agreement, when partially paraphrasing, as when â€Å"I agree with his account of the incident, as improbable as it sounds,† is reported, â€Å"He said that he ‘agrees[s] with his account of the incident, as improbable as it sounds.’† Parentheses and brackets both have distinct functions in computing, linguistics, math, and science contexts that are not described here. In addition, similar symbols include curly brackets {/} and angle brackets , which have specialized uses not discussed in this post. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Punctuation category, check our popular posts, or choose a related post below:When to Capitalize Animal and Plant Names50 Synonyms for â€Å"Idea†Preposition Mistakes #1: Accused and Excited

International Finance Assignment Example | Topics and Well Written Essays - 1500 words

International Finance - Assignment Example The dataset includes information about stock return, return on equity, and return on assets, total bank assets and amihud index. The data set used in this study is related to several banks that do operate in various parts of the world and this enabled the understanding of the interaction of these two variables that include funding liquidity and market liquidity risk. Firstly correlation analysis was undertaken between certificate of deposits for banks (funding liquidity risk) and Amihud index (market liquidity risk).Regression analysis was as well undertaken between these two variables. In addition, for further studies, a regression analysis could be performed between the dependent variable which was certificates of deposit and the independent variables that include, total asset, stock returns, Amihud index and return on assets. Literature on the interaction between the funding liquidity risk and market liquidity risk was searched on internet through Google. Important journals related to the topic were selected and summarized. The key words such as measurement of market liquidity risk and funding liquidity risk; the relationship between market liquidity risk and funding liquidity risk were used when searching the literature online. The below results from correlation analysis indicate that there is a positive correlation between the market liquidity risk and the funding liquidity risk during the given period. The positive correlation is indicated by 0.08 as the coefficient value between these two variables. It is also seen that the correlation between these two variables is significant since the p value is less than 0.05.The variable of market liquidity and funding liquidity have been represented by Amihud index and the volume of assets. Basing on the regression analysis results below where, Amihud index was taken as dependent variable and the certificates of deposit represented independent variable.