The Languages Of Artistic Paintings - Free Essay Example

Sample details Pages: 18 Words: 5489 Downloads: 1 Date added: 2017/06/26 Category Statistics Essay Did you like this example? In order to establish an informed understanding of how contemporary abstract painting is situated in the art world today, this dissertation will investigate how painting has been questioned by artists since the 1960s. It will discuss how contemporary artists have been influenced by the expanse of the technological world and how they are influenced by or reflect upon this in their paintings. Another important area of discussion will be the work of contemporary artists whose abstract paintings dont appear to have adapted to technological change and dont seem to reflect transformations in contemporary culture. Don’t waste time! Our writers will create an original "The Languages Of Artistic Paintings" essay for you Create order These are painters who are still continuing to create paintings about paint itself and are exploring what can be done with the material alone. It is important for this dissertation to begin by defining the modernist art movement and the arrival of creative thinking that brought abstract painting into history. The theories thoughts and ideas of critic Clement Greenberg will be discussed in order to set into context the work of abstract painting. Greenberg was an influential art critique during the twentieth century, who introduced an abundance of ideas into discussion around painting from the 1930s. In particular this dissertation will address Greenbergs statements about the importance of purity and flatness in modernist painting. The dissertation will then examine how the supposed end of painting provoked discussion in the1960s, addressing how the artist Ad Reinhardt explored paintings definitions. It will also be important to assess how the advances in technology and the popularisation of image have affected painting. This will then lead into a discussion about the work of a selection of contemporary artists who have conti nued to make paintings after the medium was pushed aside by critics. What has always developed the medium of painting is not only the artists individual passion and enthusiasm to explore the vast possibilities of using paint, but also the artists interest in displaying their conceptions, thoughts and feelings visually. Artists have repeatedly attempted to push their practice to new levels, break boundaries, and depict their philosophy through the use of paint. The communication between an artist engaging with a painting and the paintings audience interpreting the artists intentions or making an interpretation of their own creates a unique language of painting. It is this language that poses questions about painting and its context within contemporary culture and history. These questions will be evaluated in this dissertation in order to establish if and how abstract painting has developed since modernism. Gerhard Richter (b. 1932) is a significant artist of both the twentieth and twenty-first centauries whose artworks have questioned the role of painting through almost five decades. His personal writings and responses in interviews are a valuable resource and a record of his artistic intentions, subject methods and his overall questioning of the medium of painting. His work is particularly interesting as it moves between abstraction and figuration and it addresses the merging of painting and technology. Richter also works with paint in an abstract nature where he uses no representational imagery to depict his thoughts. This dissertation will study the artists developing body of painting and pull out the key questions he asks about painting through painting itself and discuss them in relation to modernism and to the artwork of younger contemporary artists. The first younger Contemporary painters work that will be discussed is that of Nicholas May (b.1962. His artwork uses an experimental painterly approach with the paint material. When talking about his work the dissertation will refer to art critic James Elkin and his ideas about the language of painting, exploring what paint can do on a canvas as a material. Whilst analysing Mays work it will also relate back to Greenbergs views on modernism and the concepts that have been lost and brought forward into contemporary painting. Another contemporary artist with a similar working method to Nicholas May is the John Moores painting prize 2010 exhibitor GL Brierley. Through Comparing his work to Mays and referring to modernist concepts this dissertation hopes to achieve an understanding of how these painters works fit into the art world today. SORT OUT!! Contemporary artist Carrie Moyers work is similar to Nicholas May as it contains alchemic experimental elements, flatness of the picture plane but graphic elements suggest her influence from the digital, she studied graphic design as an M.A. influences from that but later took a painting course MFA. Her use of glitter. Feminist writings interested in female artist today. Fiona Raes painting will also be of interest. Paintings are influence from the digital, Use of Photoshop to create paintings. Discussing the questions formed by these artists creative intentions, subject methods and sources of painting will form a discussion on the status of abstract painting and the artist in society today. Looking at how abstract painting was defined during the modernist era and how it has progressed over the years to present day. The following chapter will discuss where abstract painting came from and the ideas and theories of Clement Greenberg. Chapter One: Greenbergs Theories on Modernism. Clement Greenberg sets out to define the importance of abstract art in his first manifesto written in 1936 for the magazine The Partisan Review entitled Avant-garde and the Kitsch. Here he discusses for the first time concepts behind the modernist art movement. Greenberg viewed western painting up until the early 19th century as limited. The works had become stagnated and werent moving forward, they were stuck using the same techniques and form. They used skills in perspective and chiaroscuro to form deceptive illusionistic realities on the canvas. As impressive as this was as a technical skill there then became an urge for something new, to go beyond this way of working and to challenge the material and process of painting. Greenberg described this repetition as Alexandrianism that he defined as a motionless academism in which the really important issues are left untouched because they involved debate, and in which creative activity dwindles to skill in the small details of form wit h all larger questions being decided by the standard of the old masters, therefore with this nothing new is produced.[1]From this Greenberg defines the cultural importance of Avant-garde culture as stated: . It has become amongst the signs in the midst of the decay of our present society that we some of us have become unwilling to accept this last phase of our own culture. In seeking to go beyond Alexandrianism, a part of western bourgeois society has produced something unheard of heretofore: Avant-garde culture.[2] Western societies were still recovering from World War one amid the Great Depression, with Nazism rising in Germany and the beginning of World War two approaching. Western societies at this time were stuck between two wars in a depression that followed a large increase in unemployment and bankruptcy. This decay of society heavily influenced artists and their paintings during the avant-garde movement. Modernist painting opened up art to all social classes and was a revolutionary art form that created the avant-garde culture. Painting before the modernist movement had been typically aimed at the upper class and only available for the bourgeoisie to view. The bourgeoisie is the class of people who owned and still own the means of production in the country capitalist, who exploit labourers for their own capital gain. The avant-garde artists abstract paintings scandalised the bourgeoisie by not displaying things as they are. Instead paintings were progressive, moving on from traditional realist painting and chose to use innovative forms of expression.[3]Artists began questioning the medium of painting and started producing works that formed a language of its own. Using painting they could visualise the subconscious and depict the world around them on canvas in a way that had never been done before. Although artists were opposed to the bourgeoisie capitalist values, they relied on these people for art funding. The avant-gardes stable source of income was provided from privileged among the ruling class, from which it thought of itself to be cut off. Greenberg described this as an umbilical cord of gold that has always remained attached. (Cite art in theory pg 542) Today artists find themselves in a similar position where they are often reliant on funding from galleries and the art establishment in order to produce and promote their artwork. This can lead to the artists work being restricted by gallery guidelines or what critics, collectors and the power figures of western art deem fashionable in contemporary art. Later in Greenbergs writing Modernist Painting written in 1960 he refines his definitions and explores themes further. Greenberg promotes in this essay the purity in painting in which he explores the restrictions of the medium of painting. The idea of purity in art and painting is that the art should continually move forward to improve itself by moving away from the use of imagery like that of the Renaissance. Instead Painting should move towards the two dimensional qualities of abstract painting.[4] Greenberg described this change in perspective in the following statement: Realistic naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art. The limitations of the surface, the shape of the support, the properties of the pigment were treated by the old masters as negative factors that could be acknowledged only implicitly or indirectly. Under modernism these same limitations came to be regarded as positive factors, and were acknowledged openly.[5] By deliberately drawing attention to the natural flatness of the canvas in a work of art, the artists have created a new perspective for the viewer to look towards the painting. In modernist painting the viewer is not meant to appreciate the deception of anything but instead admire the act of painting itself. The artist is freely acknowledging the processes limitations of trying to apply visual depth to a two-dimensional surface. Barnett Newman and Mark Rothko began a serious pursuit for flatness in their painting, aiming to create an infinite space on the canvas using a flat layer of colour and shape. Focusing on the images and content of a painting according to Greenberg was a negative factor, he believed for art to be pure and have clarity the subject matter must be thrown out and the emphasis should be put on the painting instead. Where as one tends to see what is in an old master before one sees the picture itself, one sees a modernist picture as a picture first.(cite modernist painting) This he believed was the best way to see any kind of picture and that modernism imposed it as the only and necessary way. Greenberg acknowledges in his essay Modernist Painting that the art of sculpture is by its very nature a three-dimensional form. Painting However is applied to a two-dimensional surface, modernist artists were inspired by that attribute, so rather than attempting to disregard it they embraced it. (cite MP) The artist Ad Reinhart (b.1913-1967) sought to achieve the ultimate modernist painting that contained definitive purity and flatness on the canvas. He took this tendency towards abstraction and simplification in modern art to the extreme when he created his controversial black paintings during the last ten years of his life. The next chapter will discuss Reinhardts definitions of painting and his belief that he had created the last painting. The chapter will also discuss the shift of painting from the limelight to background in art culture, as advances in technology and social interest change during the 1960s. Chapter Two: The End of Painting? Abstract painting No.5 (1962) is an example of the à ¢Ã¢â€š ¬Ã‹Å"black painting style which Reinhardt is best known for. The canvas appears to have a uniformly plain blue-black surface, an art piece devoid of colour and light. Seen up close however, the carefully painted layers reveal small amounts of blue, yellow and red. These colours form an underlying grid of different coloured squares, divided by a green central horizontal and a central vertical band that resemble the simple shape of a cross. Each of these colours were mixed with black oil paint to give a matt surface quality. (ref Tate modern) In an interview with Bruce Glaser, published in 1966 Reinhart discusses his black square paintings. He believed that there can be only one painting during one time and his were the only valid ones. In this interview he explains that he was trying to make the last ever painting. He also pronounces that his paintings were not about the materials or ideas and that each work he was working on always related to what he previously created. He believed art should be expressionless, clear, quiet, dignified and timeless (cite art as art pg13) in the following statement Reinhardt explains his ideas further: The one direction in fine or abstract art today is the painting of the same one form over and over again. The only intensity and the one perfection come only from long and lonely routine preparation and attention and repetition. The one originality exists only where all artists work in the same tradition and master the same convention.[6](cite Ad Reinhart Art as Art art in theory. or Reinhardt art is art page 823.) By repeating his black paintings he believed he was creating works that considered truly the ultimate modernist pure form and paintings that had been developed as far as they could possibly go. Reinhardts paintings were formalist which meant the context of the work including the reason for its creation was not necessary; the only important factor was the paintings literal form. It can be argued that Reinhardts paintings contributed to the end of modernist painting. Greenberg wrote in his essay modernist painting his acceptance that The flatness towards which Modernist painting orients itself can never be an absolute flatness.(Ref) He claimed that the instance paint touches the canvas, some depth or form has been created, therefore the canvas ceases to remain flat. He uses the artist Mondrian as an example of how a simple mark on the canvas can create a kind of optical illusion that suggests a third dimension. CG, MP (1960) pg90). S. This optically according to Rosalind Krauss: was thus an entirely abstract schematized version of a link that traditional perspective had formally established between viewer and object, but one that now transcends the real parameters of measurable, physical space to express the purely projective powers of projective level of sight. (cite Page 29) She then continues to say that the most serious issue for painting in the 1960s was not to understand its objective features, such as flatness and material surface, but its specific mode of address and to make this a source of new conventions. (Page 29.) Therefore the 1960s brought art into a situation where the concepts and ideas in a piece of art had taken precedence over the aesthetics of the object calling the end to modernism and brining art into the post-modern age. Professor Anne Ring Peter states in her essay painting spaces that The experiments of the 1960s and the 1970s had moved art into a post-medium condition (Rosalind Krauss 1999 cite pg 32 ). In which traditional arts past categories have been diminished by new interdisciplinary overlaps, and the modernist discourse on the specificity of disciplines has been over taken by the new media and their seemingly tireless potential for re adjustment, technology updating and the generation of new hybrids. Therefore painting is seen as restricted because of its simple and old fashioned materials with its thoughts being changed to the past because of its traditional origins it derives from. Pgs 123/124 CPC Paintings were now seen as dull and boring whereas the new media appeared more exciting, futuristic and popular. Peterson then states that: It is widely agreed that the cul-de-sac of painting was caused by the modernist attempt to preserve the discipline from contamination by other kinds of art and culture and restricts its activities to what the formalists regarded as its primary task: to explore the formal aspects of painting, on the theory that all painting is basically about painting. Pgs 124 CPC Through the arrival of new technology and bombardment of visual imagery this Cul-de-sac or dead end of painting placed it in the background of the art world, with more artists using new media and technology to express their ideas and perspectives through art.. Reinharts black paintings are therefore a great example of the modern paintings purism having reached an end. The following chapter will discuss Gerhards questioning of painting through his personal art practice from the beginnings of the 1960s. Chapter Three: Gerhard Richters Questioning of Painting. Gerhard Richter is a master technician and maker of painting having created both figurative and abstract artworks since the 1960s. During this time there was an upheaval in art criticism where painting was considered to have developed as far as it could go; therefore it was no longer the dominant art practice in society. Many artists were using new materials and methods to explore their ideas and perspectives of the world like performance art, body art, installation, video and conceptual but Richter chose to continue using paint. In his notes 1962 Richter sums up brilliantly where his passion for painting and creating art derives: The first impulse towards painting, or towards art in general, stems from the need to communicate, the effort to fix ones own vision, to deal with appearances (Which are alien and must be given names and meanings) without this, all work would be pointless and unjustified, like Art for Art Sake.[7] In this statement Richter is rejecting the modernist notion of Art for Art sake he believes that work with no meaning or purpose is pointless. Richters practice communicates his perspective of the world around him through his expression and questioning of painting. Richters work can be described as not fitting with any one genre moving between abstract and figurative or combing the two, one paintings form is a response to another. Richter believed that as soon as something turned into an ism, it ceased to be artist activity. He believed fixed categorisations of paintings do not serve matters of creativity. Restricting creative flow confines artistic practice and stops work developing. (cite384/5) His artwork therefore questions the art establishment and his painting in context with that.. It can be said that the artists personal development and exploration through painting is more important than how the figure heads of the art world decide to define it. Richter criticises the artists that are so consistent in their development, he never worked at paintings like a job. When artists were encouraged to make a consistent body of work or make a conscious progression from one area to the next Richter acted oppositional. His work progressed through his desire to try something new and fun. (cite384/5) If an artist needs money they may work towards a show, they may then produce works that fit into the guidelines of the gallery or collector. This work does not contain genuine artistic creativity and is a forced part of the artists art practice. Richters work moves away from convention and shows his personal development.. Modernist artist Ad Reinhardt believed that art work should be consistent and repetitive with one work of art leading into the next (cite art as art interview). Richter disregards Reinhardts modernist idea showing a progressive move from modernism. Before 1962 Richters artwork consisted of Representational paintings. In 1962 his art practiced moved to his first set of paintings based on photographs. This was due to the radical change in belief at the time about what art is; à ¢Ã¢â€š ¬Ã‹Å"that it has à ¢Ã¢â€š ¬Ã‹Å"nothing to do with painting, nothing to do with composition, nor with colour Photographs are and were in the 1960s seen in abundance everyday, Richter was inspired when he saw the photograph in an new light which offered him a new view, which he believed was free from all the convention he had associated with art. It had no style, no composition and no judgement. pg4 Therefore It was only natural for Richter in the aftermath of the avant-garde to abandon the world of painting objects and turn to the investigation of refined forms of perception in photography. Written in Richters statement in 1967 he talks about how à ¢Ã¢â€š ¬Ã…“we have arrived at a point where we trust reproduced reality in the form of photograph more than we do reality itself. pg 47 This perception of the world is brought to the public by the media through the camera lends. Richters work forms a critique of how the mass media influence our thinking through the photographs in news papers, posters and advertisements. Richters collection of work atlasà ¢Ã¢â€š ¬Ã‚ ¦. In an interview with Robert Storr in 2002 Richter discuses his painting Blurred table an oil painting of a table where the paint has been speared over the images disguising it. The photo for table came from an Italian design magazine called Domus. His initial approach to the photograph was to copy it realistically, but when he had finished painting it, he was dissatisfied with the result so pasted parts of it with newspaper. He was dissatisfied because there was too much paint on the canvas therefore he became less happy with it, so he over painted it. Then suddenly it acquired a quality that appealed to him and he felt it should be left that way. cite p259 This artistic development happened by chance and he learned from it then developed the medium and process to develop work further. He destroyed or over painted many pictures during this time, he wanted to draw the line from his older paintings, indicating that these earlier paintings were in the past and so he set table at the top of his work list. cite p259 Richters paintings 1965 Boy baker and girl baker were initially blurred by him to fix cracking in the painting but he got angry with it and smudged the oil paint about. Table was the first blurred painting, what provoked him to smear the image was as he describes it I painted it very realistically, and it looked so stupid. You cant paint like that, thats the problem Therefore the blurring technique started out as he describes it as either a technical emergency-cracking-or, a conceptual emergency pg382/383 His wiping away of a painting brings into question what makes a good or bad painting? Richter answers this by saying and that development in an artists practice by accident not by the convention of what is the right way to d it It is interesting that Richter felt the need to destroy his own work, what was so imperfect about the perfect picture? As a technique to give paintings an effect deliberately and also to wipe out paintings he found ugly therefore creating the painting with a status of its own. It is also interesting how obscuring the viewers vision of the piece lets them become more intrigued in the image. Through these works Richter questions the importance of colour and its effect on a painting. Richter believes that if you hang his grey paintings next to red or green the grey turns into a different colour each time, this made the paintings aesthetic when he didnt want them to be. His grey paintings intended to take the object in the photograph away from its natural colour which creates an artificial operation intending to distance the object. He believed the first artificial is taking the photograph. pg 54 Through these Photo Paintings he sets up a Post Modern dialect between Modernism and the 1970s. His expertise in the language of painting displays the fate of art in technology through his creation of photo paintings; these works combine painterly abstraction along with mechanic photography. Showing influences from modernism but also developing from it. Abstract paintings From grey to colourà ¢Ã¢â€š ¬Ã‚ ¦ sep 1977 pg 94 For two years he had been working on a different idea from the grey pictures . He decided to start in a totally different direction as he felt this couldnt go on any further. on small canvases at random he put illogical colours and forms assorted. He called them ugly sketches the total antithesis to the grey paintings they are not legible, because they devoid of meaning or logic if such a thing is possible, which is an interesting question itself. This question opened up a new door into a world of his abstract paintings. From the 1970s Richter started to create his larger abstract paintings, In 1973 during an interview with Irmeline Lebeer, (pg 72 ) Richter is asked why he thinks people wont be interested in his abstract paintings. His responds to this was that this type of artwork puts him in a trap, because the public are used to seeing his realist better-known paintings. He is worried that his abstract works will look like mere scribbles to the public. 72 It is interesting that Richter challenges Greenbergs enthusiasm towards pure painting. page 93 through his abstract cage paintings These could be viewed as purist modernist style paintings purely about the flat colour and form however in a letter to Benjamin H.D. Buchloh in may 1977 Richter says that what makes me sick above all is when the describers build that up as pure painting, completely denying the value of the object. Firstly I have said pure painting -if it could ever exist- would be a crime and secondly, these pictures are valued solely and uniquely for their stupid bumptious object content. This naturally includes the effective recording of the painters blind, ferocious motor impulse, as well as the maintaining of a semblance of intelligence and historical awareness through the choice and invention of motif. page 93 t This twists the paintings that are so important to him which he says I have nothing to say and I am saying it twisting it round into we have nothing to say and we are not saying it these purist ideas are like that of Greenbergs modernism and this shows Richters progressive development in thinking since then. Richter is still practicing the painting today. Since the 1960s technology has advanced even further, we are in a time in the western world where the internet is in almost everybodys home the digital has taken over and the influence on painting has developed it further. The next chapter discussed the work of younger contemporary artists who are creating paintings in contemporary practice. Chapter Three: The Work of Younger Contemporary Artists. The artist Fiona Rae became in the public eye during the 1990s with her use of colour shape , flatness of the picture plain hybrid use of technology with paint Fiona Rae. Does her work loose something because it makes it easier to understand because of the figurative elements or is it just more pleasing to the eye and less confusing? Or maybe they add to the confusion. Or the confusion gives it more meaning? Its all in personal perspective when looking at the canvas. Greenberg purity in painting mentioned earlier. Absence of form gives s a painting more meaning. What Paint does in contemporary art above all mediums are engaged with the material and has a language of it own. The purity of painting describes of an earthly medium playing with the material ruined by technology? Artists who use Photoshop what does this do to painting? Fiona Rae. Compare to Nicholas Mayà ¢Ã¢â€š ¬Ã‚ ¦ Digital looses the genuine experimental element tried and tested on the computer. Visually biased not a true record of thought with paint. First see it on the comp then try and replicate it. Not learn from it adjust it and edited on canvas till it is how the artist feels it should be. Maybe then the computer is the record of thought a technological one less about the material itself but about the colour and shape and that aspect of form composition. Maybe my view is biased because I personally enjoy works where you can see the application of the paint and the surface. Flat plain colour painting has been done before but so has the other, maybe more to learn from the other than the flat. The computer is the record of the thought and brings a whole new element into the paint. Does this push the medium or destroy it? Forms a new Hybrid? New is goodright? Nicholas Mays work involves stuff In the article à ¢Ã¢â€š ¬Ã‹Å"Intention, Meaning and Substance in the Phenomenology of Abstract Painting Professor of Philosophy Dale Jaquette discusses the writing of Gertrude Stein, a critique and commentator on culture in particular modern abstract painting. Stine is fascinated by the visual possibilities of oil paint applied to a surface. It is something she finds intriguingly to admire. According to Stein à ¢Ã¢â€š ¬Ã…“The existence of the oil painting itself is the thing that draws us powerfully, whether as representation or abstract image.à ¢Ã¢â€š ¬Ã…“ Jaquette believes that paintings do have this effect to draw us in. Stine continues to say That: when we experience painting especially but not uniquely it fascinates us because it not only reveals the world as seen by the artist but, perhaps more obviously, and, in the case of abstract art more purely and essentially, because it reveals the artists mind, the artists outlook on the world and conceptual framework, history background, obsessions, preoccupations and in a personality. pg 41 para 2 People believe that there is more talent in representational painting, however representational painting is a depiction of something other than the artists themselves. Every splodge splash brush mark and controlled abstraction is the interpretation of the artist a view of their perspective trying to capture an emotive, So it does more than just representing something that exists. Does repeated exposure to abstract art wear thin? What has been interesting is no longer what was free expression has it grown old? Has the medium been pushed so far it can no longer express anything new? pg 48 What was exciting and new pushing boundaries cant anymore because we have become desensitised by the work. Fischer pg 49 What was shocking during the avant-garde cant be done now to create similar reaction. Its not revolutionary and has lost its voomftà ¢Ã¢â€š ¬Ã‚ ¦ Has painting run its course? Jaquette suggests the value of abstract painting its not to illustrateà ¢Ã¢â€š ¬Ã‚ ¦ pg 51 Why abstract arts are important. link to Richterà ¢Ã¢â€š ¬Ã‚ ¦ What does GR say about the feeling of paint and what that does? Jacs view on Elkin/ My view on Elkin. pg 53 Its is the Art Historians and the critiques that decide what happens with painting. Elkins emphasises the role of the painter. They are entranced by the qualities of the paint and by the challenge of trying to make paint do what they want it to down when applying to the surface, in both figurative and abstract painting pg 54 para 3 This is why in contemporary day with all the other ways to express ideas they choose paint. Nicholas May link with the writing s of Elkin and Richters approach to abstracts. The fascination cant die in the individual thats why painting will live on! Nicholas May his experiment and question with painting Carrie Moyer? Fiona Rae talks about her paintings language of marks. Forming a true language amongst painters. What is Elkins theory about painting? Jacques informed by the writings of Elkins states that Abstract Painting, by virtue of leaving the complications of representational content behind, constitutes a relatively pure practical enquiry by a painter into the physical properties of paint. Elkins theories can be pushed further than just oils. Talk about the reaction of how materials on a canvas create unusual textures and patterns. Or simply salt on watercolour creates a pattern. Endless ways the individual can lean from the paint material alone, but to what propose? In a gallery is the process more important than the actually piece, do we loose something when a painting is put in a gallery. Putting figurative forms into the paint is another way of experimenting and questioning the practice of painting. The act of spraying on a stencil or brush strokes that form recognisable shapes amongst the abstract marks. Does this take away its abstract nature? Has it now lost its integrity and purity? Does that even matter visually? Including figurative is another way of questioning and experimenting with painting? In a sense it is still abstract and doesnt loose anything. Spray paint is experimentation with the materialà ¢Ã¢â€š ¬Ã‚ ¦ More of a dirty, grubby response to the paint, a fleshy natural way that Moves away from technological elements. Fantasy makes up shapes within unlike the others. Conclusion. The conclusion is the most important part of your project. It should address the issues raised in the introduction and may also be a summary. It should not contain any new material but may bring out new ideas. Is it fair to say that up to the interpretation of the viewers how they connect with the piece? We all connect differently.

The Hidden Potential Of Euthanasia - 1006 Words

The Hidden Potential of Euthanasia When people think of the term â€Å"dying with dignity† they will usually picture themselves living a very fulfilling life where everyone saw them as some sort of hero. Maybe they want to be seen as someone who was strong and kept up with a battle to fight disease. This same image could come to mind with a person who chose to take their own life rather than let a disease or terminal illness be the reason for them dying. There are very few people that imagine dying with dignity to be described as having control over whether or not a terminal illness will be the cause of their death. With the legalization of Euthanasia across the United States, more and more people will be aware of the benefits that it could†¦show more content†¦Some churches also emphasise the importance of not interfering with the natural process of death† (BBC). There are many ways that people can oppose this argument, they could target how many Christians d ye their hair or get tattoos, which would be considered interfering with God’s creation of that person but, it is important however, for opposers of the argument to realize that euthanasia is not a religious issue. Even if that were the case, there is separation of church and state in the America. When considering euthanasia, it needs to be understood that the argument about euthanasia surrounds laws and public policies that may continue to forbid it or make it a difficult subject to discuss in courts across America. When faced with Hippocratic Oath, many argue that the oath clearly forbids doctors from prescribing any lethal medication or to perform any tasks with the intention of harming the patient. The Hippocratic Oath may be something that graduate students planning to become doctors pledge at their graduation but, it is clear that it is no longer relevant in modern day society. 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Alexander31987 Words   |  128 Pagesbroadcasts; educating adult illiterates; specialised subjects: e.g. language teaching. Education in broadest sense: ideals of democracy; political argument, etc. Provides outlet for creative talents. Many playwrights, actors, etc., emerged from TV. Vast potential still waiting to be exploited: colour TV; world network: communication via satellite. TV is a unifying force in the world. 2 3 4 5 6 7 8 9 10 I I 12 13 14 15 II 4 Any form of education other than co-education is simply

Internal Control and Shady Accounting Practices Free Essays

Group 3 1. Why did accounting fraud occur at WorldCom? Fraud occurred at WorldCom for a variety of reasons. The senior executives had unchecked power because the board of directors were only figure heads, the ethics hot-line was nonfunctional, and in internal audit department did report to the appropriate link in the corporate chain to minimize fraud. We will write a custom essay sample on Internal Control and Shady Accounting Practices or any similar topic only for you Order Now These reasons, combined with a poor company culture, created the environment where fraud was able to become an acceptable business process. The senior executives at WorldCom had a â€Å"do it or else† attitude that was unchecked by any external force. That external force should have been the board of directors. Unfortunately the board of directors were being directed by the senior executives, given information about WorldCom that was disorganized to hide highly controversial and aggressive accounting techniques. These directors should have recognized they were being used and realized their agency to the stock holders to administer the oversight they were compensated to provide. The ethics hot-line, according to the case, while existed, was not known or trusted by the general population of employees at WorldCom. While many employees were aware of unethical activity, no of them felt that using this channel was a viable solution to addressing problems at WorldCom. Finally, the Internal audit department reported to the senior executive who ultimately steered their activity. If the executive was informed that internal audit was close to uncovering the unethical acts of managers, he directed their internal activity to other areas of the firm and blocked access to their department to the files that could expose the problem. If the internal audit department reported to the board of directors, better policing of executive activity would have been possible. All of these reasons had an element of poor culture in their makeup. Allowing senior executives to bullying their subordinates, inattentive directors, allowing for the ethics channel to be nonfunctional, and accepting the unethical actions of seniors as the way things get done, ultimately doomed WorldCom to a spiral of actions that had the momentum of everyone’s livelihood at stake, with no system in place to automatically apply the brakes to protect the shareholders. . What is the difference between earnings management (or earnings smoothing) and accounting fraud? What are the relevant criteria to use in distinguishing ethical from unethical accounting practices? I don’t think there is a difference between earning smoothing and accounting fraud. Both practices intentionally mislead investors to alter their opinion of their holdings. Even if altering earning to smooth it out is mean only to put investors at ease, the underlying goal of smoothing is to change the perception of risk and volatility, which demand premiums in the market. Relevant criteria for distinguishing ethical from unethical accounting practices are if the accounting practice materially changes what the average investor values the company at and items addressed in GAAP and other accounting standards that are against conventional accounting guidelines actively used and unchallenged in the business landscape. 3. What internal processes or systems do you recommend to prevent fraudulent practices such as those present at WorldCom? Why were these practices not detected sooner? It appears WorldCom’s fraudulent activities was uncovered by the companies own internal accounting department, indicating that at least one of five internal controls – â€Å"monitoring of controls† was functional. However, I believe if there were to have been periodic external auditing from impartial entities outside of WorldCom, the fraudulent activities would have been uncovered sooner than it occurred in 2005. Other internal control processes that could have prevented WorldCom’s fraudulent activities and demise are; hiring competent, reliable and ethical personnel, particularly in leadership positions that the company’s board of trustees failed to accomplish, or perhaps were oblivious and complacent with the â€Å"red flag warnings† – falsely professed financial growth and profitability to increase the price of WorldCom’s stock, and underreporting line costs (interconnection expenses with other telecommunication companies) by capitalizing these costs on the balance sheet rather than properly expensing them. In addition to inflating revenues with bogus accounting entries from corporate unallocated revenue accounts. I also believe there was failure with â€Å"assignment of duties†, or separation of duties if you will. Because, Mr. Ebber’s seems to have been in control of his CFO – Sullivan, Controller – Myers, and Director of General Accounting – Yates. All of whom were unethical leaders at WorldCom that helped concoct â€Å"shady† accounting practices that led to the demise of WorldCom. It is my opinion that the above mentioned practices were not detected early enough due to micro management of lower taff employees by unethical leadership through autocratic style leadership, and environment that instilled fear in employees for fear of losing their jobs if any concerns were raised. An unfortunate reality that sadly exist in many big corporations, and even in governments. 4. What external processes or systems do you recommend to prevent and detect fraudulent practices such as those present at WorldCom? Were the directors on the board or the external auditors to be blamed? External auditing is an effective process that can in many ways prevent fraudulent activities within organizations, as the respective auditing teams have no â€Å"loyalty† to management or leadership within the company undergoing review by the external auditors. Retrospectively, I believe that the board of trustees of WorldCom at the time of the scandal would have wished that they had carefully looked into the background and leadership style of Mr. Ebber’s and his co-conspirators to have checked for any signs of unethical behavior that many companies continue to blindly ignore. Barely about a year ago, Yahoo’s former CEO was publicly humiliated, and subsequently fired by the company for â€Å"embellishing his academic credentials†. A very minor issue that could have been easily prevented, had the board of trustees of Yahoo looked thoroughly into Thompson’s background by doing their due diligence. Unfortunately, the board of trustees of Yahoo failed at this task, much like what happened back in the late nineties with WorldCom and Ebber’s. 5. You are a representative from the SEC. Briefly describe any sections of Sarbanes-Oxley Act of 2002 that you would cite to either Mr. Sullivan or Mr. Ebber’s when they refuse to comply with your request for information. Under the federal regulations and securities Section 3(a)(47) of the Securities Exchange Act of 1934 (15 U. S. C. 78c(a)(47)), refusal of any individual(s), or company(s) to conform to set accounting practices including external auditing by appropriate personnel (entities) will be liable to punitive actions set forth by federal legislations – up to or more than 25-years imprisonment and fines. Additionally, accounting and auditing practices by firms and individuals associated with a particular entity, or provide other services to any or such entities are prohibited to prevent conflict of interest, and accurate reporting of accounting practices. All of which were corporate infractions engaged in by Mr. Ebber’s and his co-conspirators at WorldCom. 6. The E/R ratios of other telecommunications companies during the late 1990’s hovered around 50% or at best high 40%. If you were an investor, would you have invested in WorldCom? I probably would have. Despite the fact that WorldCom’s E/R ratio seems to have been lower than its competitors , which should have raised a red flag in any potential investors mind. However, like my decision to still invest in WorldCom despite its â€Å"too good to be E/R ratios†, many investors back then may have ignored what was obvious because WorldCom’s â€Å"cooked books† from previous years all â€Å"seemed financially sound†, thanks to Ebber’s and his co-conspirators great efforts at evading external auditors, fooling the public and its shareholders, and â€Å"muscling† junior employees to cover up its â€Å"shady accounting practices†. So naturally, any potential investor would probably back then have made the same mistake of investing in WorldCom. Obviously, not expensing largest operating expense â€Å"line costs† – incurred to gain access to other carriers networks to allow WorldCom to complete customers calls, as reported in its SEC filings will make its E/R ratio lower compared to WorldCom’s competitors, resulting in an â€Å"inflated performance† – overstatement of earnings and understatement of operating expenses. 7. Contrast the roles of Vinson and Cooper in the case. Should Vinson have been charged with committing crime? According to the section â€Å"Resolution of Ethical Conflict† in the Institute of Management Accountants’ Code of Ethics, how should employees proceed when under pressure by senior managers to engage in unethical behavior? As stated by James Comey, the U. S. attorney that prosecuted Ms. Vinson’s case, â€Å"just following orders† is not an excuse to break the law. Why? Because, like many accounting professionals, Ms. Vinson knew right from wrong as it pertains to the prescriptive law of accounting ethical practices. In her own statement and admissions to prosecutors during the initial stages of her prosecution, and attempt to become a witness for the prosecution to gain leniency. (Pulliam, 2003). She (Ms. Vinson) stated that â€Å"each time she was ordered to â€Å"cook† or cover unethical accounting practices, she thought and hoped it will be the last time she caved in for such unscrupulous activities. Unfortunately, she kept on caving for years till the scandal was uncovered†. In light of the facts, and Ms. Vinson and Cooper’s knowledge of right and wrong concerning the ethical practices of their chosen professions, it is appropriate for both of them to have been held liable for conspiring and engaging in such fraudulent activities as purported by WorldCom. As outlined by the IMA, accounting professionals in any company that are micro-managed, â€Å"muscled†, or coerced to engage in any fraudulent activities or witness any such improprieties, should first report the issue to an immediate supervisor that is not involve in such activities. In the event such option does not exist, one should then report the issue to a higher management staff that is not involved in such impropriety. it’s also advisable for one to seek legal counseling with a private attorney about how to proceed in such matters n the event that reporting to an external body is imminent. Reference:PULLIAM, S. , Staff Reporter of THE WALL STREET JOURNAL Online, June 23, 2003| | How to cite Internal Control and Shady Accounting Practices, Essay examples

Big Push Theory free essay sample

The modern sector requires F workers for administrative tasks, but the remaining workers produce more than one unit of goods per worker. This is depicted in the figures, where T is the production in the traditional sector an M the production in the modern sector. The way it is drawn, production is higher with modern than with traditional technology if we have L/N workers. In the traditional sector, workers get paid one unit of goods for their work which they spend equally in all sectors. Hence if all workers are working in the traditional sector, demand towards all sectors is Q1=L/N. In the modern sector they get paid more. Each worker costs w, which we will look at more closely. Consider first w1, which is a low wage. A firm facing demand Q1 will require L’ workers of it choose the modern technology. This will cost w1L’, and earnings will be Q1. We will write a custom essay sample on Big Push Theory or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The way w1 was chosen, we see that w1L’Q1. Hence the firm will not choose to modernize if nobody else does. If all the others have modernized, though, the firm faces demand Q2. In that case, it will choose to modernize as well. This is because it would now make a profit as w2 is chosen so that w2L/NQ2. This case is shown in Fig. 5. 2 in the book. The most interesting case is w2 though. Then we have a coordination problem as firms want to modernize if everybody else does, but they do not want to be the first to modernize. Hence we can get both a modern and a traditional equilibrium.

10 Fun Facts About UCLA

​Every year, thousands of students arrive on campus to become the newest class of Bruins. UCLA is known for plenty, but did you know these fun facts? We put together the best facts about the University of California, Los Angeles.UCLA was founded in 1919 as the Southern branch of the University of California (Berkeley). It’s the only leading research institution in the world founded in the 20th century. UCLA regularly receives the largest number of undergraduate applications per year. Last year, for the first time in UCLA history, freshman applications surpassed six figures with more than 102,000 students applying for Fall 2017 enrollment. Admitted incoming freshmen have an average GPA of 4.39 with SAT scores between 1940 and 2240. The school’s baby blue color was actually chosen by football coach Red Sanders in 1949 because he figured the uniforms would show up better on the field and in film. UCLA holds the record for the most NCAA titles with 111 NCAA titles (and 130 team titles). Legendary basketball coach John Wooden led UCLA to 7 straight NCAA titles which is remarkable, since no other coach has ever won more than 2 NCAA titles in a row. Royce Hall is asymmetric with many architectural inconsistencies such as the number of windows on each side and the type of brick patterns used. The UCLA campus is often used in movies and tv shows to replicate other colleges like Princeton, Harvard, and Yale. Some examples of movies and tv shows include Jobs, Old School, Legally Blonde, Californication, House M.D., and Buffy the Vampire Slayer. The Midnight Yell is a finals week tradition that takes place every night of the week at midnight for students to take a break from studying. These scream sessions are known to last for a few minutes. One of the very first Undie Runs on college campuses took place in 2001 at UCLA. During orientation, freshmen are commonly initiated by being told to touch the water in the Inverted Fountain but it’s said that if they do it again before graduating, they’ll have an extra quarter tacked on to their academic careers. This is why many students step back into the fountain immediately after graduating.

Drugs and their consequence.

Drugs and their consequence. Nowadays drugs are one of the leading causes of death among humanism, especially teenagers. Drug is any substance otherthan food, intended for use in diagnosis in human or other animals. According to this definition, drugs can be used aslong as purposes mentioned in the above definition are fulfilled. Unfortunately, today drugs are abused. Some people often take these drugs as well as to 'relief' pain, anxiety, frustration, boredom, anger, giddiness, and so forth. Other people take drugs to experience the 'rush' or 'high' that will result as the drug hits their brain and nervous system. Although drugs were used as early as 4000 B.C, opium addiction first became a major social problem in the 19th century in China.Chinese emigrants to the United States, who were employed to build the transcontinental railroad, brought the pium-smokinghabit to the West Coast. Along with cocaine, morphine and other opiates were used freely in patent medicines and doctors' prescriptions, and many people b ecame addicted without realizing it.Illegal Drug Addiction and Substance AbuseThe indiscriminate use of morphine in treating wounded soldiers also produced many addicts. Addiction, which began among urban ghetto minorities, spread in the 1960s and 70s to white middle class youth and to American veterans of the Vietnam War. Drugs are most often grown among other plants, fields, and in basements so that others cannot see them.Drug is what a man needs, to get going when he becomes drug dependent. Even though people know that drug is harmful to the body, they cannot give up, however much they are advised against their use. Drugs such as Heroine, Marijuana, Morphine, Opium, and Cocaine are famous killers. Once people become used to it, they are unable to control themselves. To them they are as necessary as food and sleep. People who take this, as...

INTRODUCTION TO MARKETING AND ADVERTISING COURSEWORK ASSESSMENT Assignment

INTRODUCTION TO MARKETING AND ADVERTISING COURSEWORK ASSESSMENT - Assignment Example Television advertisements have a wide scope of coverage. A new brand of coffee should be able to create a strong original appeal to potential buyers and have competitive features to other beverages. The target market does not have conspicuous boundaries. As a result, it is difficult to predict such as market. Television advertising can reach many people at a time. With the use of the media, marketers can incorporate the advertisements at usual times when consumers use the class of beverages (Blick, 2011). Otherwise, television advertisements are very expensive and should only be used when there are high projections of revenue. A new recipe for cereals is mostly applicable to chefs and households. Television media is the best place for marketing the product. It would appeal to the youth and young individuals. Advertisements should be mostly placed during programs that appeal to the audience that marketers intend for the product. Television has the advantage that they appeal to many people (Hutt, & Speh, 2013). Otherwise, they are budget intensive. Marketers can also use hospitals to market the recipes because slimming could relate to health issues. The target market can be patients with obesity. Target market can also be clients at gyms. A recipe is a service product. It poses challenges on how to present it to the audience. Intangible products are difficult to deal with because they do not have physical properties that individuals can use to please clients. The most appropriate media for the recipe is one that facilitates demonstrations. In television media, there is an opportunity to offer demonstrations on how to undertake the recipe. The advertisements can be incorporated at strategic times. Lastly, marketers can offer demonstration sessions for chefs and the public to inform them of the new recipe. The market segment for this product is mainly the youth. Minor budget is not intensive and would require specific timing of events. Marketers

Financial Securtiy for College Students Essay Example | Topics and Well Written Essays - 1250 words

Financial Securtiy for College Students - Essay Example Hi-fi lifestyle becomes harder to be abandoned once donned. A survey result is that 40 percent of the students would get a pair of jeans that they really want to have even if they cannot afford it. This is where the credit cards take the stage. This sort of lifestyle does not end with a simple pair of jeans. As for everything that goes, fashion too has many accessories. The need to adopt this lifestyle may be due to various reasons like the sense of belonging to a group, friends etc. What was enough for high school is not so when it comes to college. Financial problems cause distress to mind and the students are not exceptions. This definitely affects their performance. This happens not only for college students, as we all know. This becomes a problem because they are the future employees and it is essential that they are financially competent. For another class of students, the parents would have saved money for college education but there are situations where that is not enough. Henceforth comes the search for student financial aid. This in itself will cause distress if it has been kept as the last resort. Thus, if financial aid is required, the process of searching for one should be started as early as while in high school. Due to all the above stated issues, financial competence for a student becomes important. He/She should be able to strike the balance between being frivolous and being sober, both being the two extremes possible, in the monetary matters. One should be wise enough about choosing and using credit cards, if at all one is needed. The capability of foreseeing the pitfalls is required in a little amount, if not vast. In short, a college student, in matters of finance, should be 'a small adult', wherein comes the problem of striking the balance between being an adolescent and an adult. How can such balances be achieved becomes a question. The answers are many. Student Employment Opportunities are available online as well as through other sources. One can try doing part-time jobs like data-entry and the like. These are no big deal for anyone who has the minimal knowledge of handling computers. If the schedule does not leave the student with enough time and resources to commune to a work place, therein comes the genie of all human beings - Internet jobs. Ample opportunities are available online and as in everything good, there are also some potholes here. In spite of them, there are still genuine opportunities available if only we have the time and patience to look at the right place. There are also some educational institutions that outsource credible student jobs. Students can find them out with the help of faculty. Positions even exist without any financial aid eligibility criteria. The centers are made available both on-campus and off-campus. There are numerous advantages of student employment got through one's educational institution. The money earned may be used to manage the college costs like tuition fees. The paycheck also attributes to a sense of financial security and independence that shows itself in the academic performance. That feeling of guiltiness that one is burdening his/her family goes away and that helps a lot. Students are able to

Fauvism Essay Example | Topics and Well Written Essays - 250 words

Fauvism - Essay Example In Gauguin’s painting, pure and flat red was used to present the message in full intensity so as to point out the seriousness of the subject matter. Red can also be related to anger or passion (Art Factory, n.d.; Elements of Art). Famous fauvism painters include Henri Matisse, Andre Derain and Raoul Dufy. Henri Matisse (1869-1954) painted The Roofs of Collioure (1905, oil on canvas) and The Open Window, Collioure (1905 oil on canvas). Andre Derain painted the Portrait of Henri Matisse (1906 oil on canvas) and The Turning Road at LEstaque (1906 oil on canvas). On a personal notion, I agree with the view of the artists of fauvism. Colours can depict feeling. It can also affect the feeling of the beholder of the artwork. For example, in a painting about war, red and black is commonly the most prominent. The present era though also commonly practice the notion that colours can bring the emotional element of the painting, thus, depicting the effect of fauvism. It can also be considered impressionist in nature since prioritizing colour can mean that the painting does not follow the realistic colours of the subject e.g. Andre Derain’s Portrait of Henri Matisse (1905). In conclusion, fauvism has great effects in the present view of visual arts regarding colours. It also contributed to the freedom of using colours outside the confines of realism or how subjects may have appeared in

Comparative Analysis on Kikuyu

Comparative Analysis on Kikuyu Comparative Analysis on Kikuyu within the SPE and Post-SPE Framework Term Paper for Foundations of Phonology Course Introduction This paper aims at observing the data set of Kikuyu language. Two frameworks are compared, i.e. the Sound Pattern of English (henceforth; SPE), and Post SPE (Autosegmental Phonology). Within the discussion, approaches form other theories will also be highlighted; however, the main point addressed in this paper is to evaluate the data set of Kikuyu on the basis of phonological theories within the two frameworks involved. Based on SPE theory, the lexical entries should consist of sufficient information for the phonological rules in order to identify its phonetic forms for each context. In other words, each lexical entry is entered as a set of phonological distinctive features. Furthermore, the underlying representation (UR) is considered as an abstract representation in comparison to a surface representation (SR). Along the paper, we will discuss both frameworks together with feature notations and then we will analyze the data set segmentally to obtain the rules governing the language of Kikuyu. In the next section, we will attempt to analyze the variability of the coordinated articulary apparatus with the spirit of the Post-SPE framework driven by a number of questions in the optimization of the data set analysis of with respect to the framework inquestion. During the analysis, we will not consider some basic requirements such as No Crossing Constraint and Linking Constraint in order to be consistent with the well-formedness condition of Post-SPE framework. Furthermore, we will also approach the so-called geometry of phonetic representations accompanied by sufficient examples to figure out any possible solution. One of the central issues addressed within this paper is the analysis on the shifting of nasal + consonant with respect to the given data set. We will try to compare two theories in question and observe how those theories could account for the changes in the data set. At a later stage, we will see which theory casts better analysis of the given data than the other does. Some literatures will be considered especially those from the textbook of Phonological Theory: The Essential Readings by Goldsmith, J. such as The Sound Pattern of English by Chomsky, N. and Halle, M., among others, as well as relevant sources which might give us more information about the language of Kikuyu. Now, let us go through the analysis from the first framework, i.e. the SPE framework. The SPE Framework The SPE framework is believed to be the basis of Generative Phonology since theories within this framework were influenced by the views from generative linguistics. Chomsky and Halle (in Goldsmith, 1999 : 17-19) states that a speakers knowledge of his language consists of knowing the lexical items of the language and each lexical entry must contain specified features, which determine the phonetic form of the item in all contexts, i.e. the items phonological features. Furthermore, such phonological features are classificatory devices, they are binary, as are all other classificatory features in the lexicon, for the natural way of indicating whether or not an item belongs to a particular category is by means of binary features. There will be two levels of representations that will be discussed in the SPE framework; underlying representation (i.e. lexical or morphophonemic sequence) and the surface form (i.e. phonetic output form). Given the authors aim at maximizing the simplicity of the grammar, it follows that underlying representations should be as abstract as possible and avoid redundant, or non-distinctive, features. Minimized underlying representations are indeed a requirement to ensure the generality of the overall linguistic system. Within this framework, we will analyze the data set on the language of Kikuyu in the spirit of morphological analysis, overview on any possible alternation within the dataset, as well as identifying the underlying representation (UR) from the given data set. Following this analysis, we will try to observe possible rules with feature notation of the given data in order to get a generalized rule ordering within the data set. For this analysis, we also refer to the International Phonetic Alphabet (IPA) chart, especially for the consonants chart and their features. Let us try to analyze the data set from the morphological analysis with the given data set below. The data set of Kikuyu is given below in table 1: Imperative---1 sg.Imperfect--English Meaning ßura------mbureet?--------'lop off' ßaara-----mbaareet?-------'look at' t?ma------nd?meet?--------'cut' toma------ndomeet?--------'send' reha------ndeheet?--------'pay' ru?a------ndu?eet?--------'cook' cina------ineet?--------'burn' koma------?gomeet?--------'sleep' kera------?gereet?--------'cross' ?ora------?goreet?--------'buy' ?aja------?gajeet?--------'divide' From table 1, we can see that there are two forms to observe, the one being Imperative and the other being the 1-sg-Imperfect from data set of Kikuyu language, which is followed by its meaning in English. The table shows that for each given word, several letters remain unchanged, which is typed in Bold inside the word. Most of them seem to have a Vowel and Consonant order (VC) and a long vowel one (i.e. VVC) such as in ßaara. Furthermore, we can also see in the Imperative column in which all words are always ended with a, marked after a slash sign (-). Subsequently, the words in the first singular Imperfect column are always ended with an eet?, which is also separated by a slash (-). A complete data set analysis is given in table 2 below. Table 2 Imperative-------------1 sg. Imperfect------------English Translation ßur - a--------------------mbur - eet?----------------------'lop off' ßaar- a--------------------mbaar- eet?----------------------'look at' t?m - a--------------------nd?m - eet?----------------------'cut' tom - a--------------------ndom - eet?----------------------'send' reh - a--------------------ndeh - eet?----------------------'pay' ru? - a--------------------ndu? - eet?----------------------'cook' cin - a--------------------in - eet?----------------------'burn' kom - a--------------------?gom - eet?----------------------'sleep' ker - a--------------------?ger - eet?----------------------'cross' ?or - a--------------------?gor - eet?----------------------'buy' ?aj - a--------------------?gaj - eet?----------------------'divide' From table 2, we can see that the unchanged letters, which are Bold typed above, are the stems or could be part of the stems of the word in underlying representation. Furthermore, we can also see suffixes, which indicate the Imperativeness or the given words that are signaled as the final letter a at the final position of the word. From the regularity of the final letters eet?, we can say that the given words must be classified as suffixes indicating the 1 sg. Imperfect form of Kikuyu language. We will discuss the underlying forms of the morphemes regularity in a separate discussion in a later part. Now let us see the structure of the nasal sound which occurs before the stems. It is conceivable that an alternation is defined as a morpheme, which has two different sound shapes, which can be analyzed by a phonological process. From the data set of Kikuyu, the some alternations can be observed as indicated in the following table (see table 3). The alternations can be identified easily in that ß becomes b; t /r becomes d; c becomes ?; k / ? becomes g. Those alternations can be viewed as the alternations in the language of Kikuyu whose phonological process will be explored in rules. Table 3 Imperative------------1 sg. Imperfect In a.b.ß-------------------------mb In c.d.t-------------------------nd In e.f.r-------------------------nd In g.c--------------------------- In h. i. k-----------------------?g In j. k. ?-----------------------?g Furthermore, we can also see that a nasal consonant is inserted before the changed consonant, e.g. m; n; ? and ?, which suggests that the morphological process goes along with the phonological process. Such insertion shows us important points for the data set in the language of Kikuyu. We will discuss such phenomenon in greater concern in later part. However, there is one thing to say about this phenomenon in the insertion of nasal consonant in the 1 sg. Imperfect groups could be analyzed as certain prefixes embedded which might express the tense of a verb. Whenever the alternation is constructed in an opposite way, i.e. b becomes ß in data set, this lead to an ill formed construction. Such a case is also falsifiable from data h. and j. in which ?g would become k and ? respectively following the case. Therefore, we will consider the sequence of alternation as from Imperative to 1 sg. Imperfect. The reanalysis of the stems of both forms is illustrated in table 4 below. Both prefixe s (nasals) and suffixes ( a and eet?) are discarded in table 4 so that we can get the stem of each verb. Table 4. Imperative--------------1 sg. Imperfect--------------English Meaning ßur---------------------bur-------------------------------'lop off' ßaar--------------------baar------------------------------'look at' t?m---------------------d?m-------------------------------'cut' tom---------------------dom-------------------------------'send' reh---------------------deh-------------------------------'pay' ruc---------------------du?-------------------------------'cook' cin---------------------?in-------------------------------'burn' kom---------------------gom-------------------------------'sleep' ker---------------------ger-------------------------------'cross' ?or---------------------gor-------------------------------'buy' ?aj---------------------gaj-------------------------------'divide' What we have observed so far indicates that phonological components are obtained by mapping from the underlying representation (UR) to the surface (phonetic) representation (SR). This mapping phenomenon can be observed by rewrite rules which will be discussed in a separate part. In other words, the data set of Kikuyu we have so far could be considered as the Surface Representation. In the following paragraphs, we attempt to identify the underlying representation of the Kikuyu language. As noted above, we have seen that the unchanged letters in table 2 could be analyzed as the stems or part of the stems of the words in the underlying representation. On the basis of minimization of the underlying representation we will attempt to rule in the consonant before the unchanged letters because it seems to be implausible to predict the consonants such as ß, t, r, c, k, ? by rule. Furthermore, we have also observed that the consonant ß can shift to b not the vice versa. Referring to the SPE theory, minimizing the underlying representation means that anything, which can be predicted by a rule, should be eliminated from the underlying representation. For instance, the shifting from ß to b can be viewed in table 4 which is exemplified by the shifting is from ßur to bur. Such process also applies to all other words in the data set. By definition, we could get something like /ßur/ to be the actual stem for underlying representation of the word, which means lop off in Kikuyu. The stems in underlying representation in the data set are presented in table 5 below and the Underlying Representations for the Imperative and 1 sg. Imperfect are represented in table 6. Table 5 UR Stem English Meaning /ßur/ 'lop off' /ßaar/ 'look at' /t?m/ 'cut' /tom/ 'send' /reh/ 'pay' /ru?/ 'cook' /cin/ 'burn' /kom/ 'sleep' /ker/ 'cross' /?or/ 'buy' /?aj/ 'divide' Table 6 Imperative UR 1 sg. Imperfect UR English Meaning /ßur - a/ /Nas - bur -eet 'lop off' /ßaar - a/ /Nas - baar-eet 'look at' /t?m - a/ /Nas - d?m -eet 'cut' /tom - a/ /Nas - dom -eet 'send' /reh - a/ /Nas - deh -eet 'pay' /ru? - a/ /Nas - du? -eet 'cook' /cin - a/ /Nas - ?in -eet 'burn' /kom - a/ /Nas - gom -eet 'sleep' /ker - a/ /Nas - ger -eet 'cross' /?or - a/ /Nas - gor -eet 'buy' /?aj - a/ /Nas - gaj -eet 'divide' In the framework of SPE, we have been familiar with the terms such as abbreviatory conventions, conciseness, Minimize UR, Rule format and Evaluation measures, etc. They will be considered here under IPA consonant chart and feature table where relevant information is given in table 7 below: Table 7 (Imp = Imperative) (1sg = 1 sg. Imperfect) Group A (data a. b.) ß - bilabial fricative (Imp) b - bilabial plosive (1sg) m - bilabial nasal (1sg) Group B (data c. d. e. f.) t - alveolar plosive (Imp) r - alveolar fricative (Imp) d - alveolar plosive (1sg) n - alveolar nasal (1sg) Group C (data g.) c - palatal plosive (Imp) ? - palatal plosive (1sg) ? - palatal nasal (1sg) Group D (data h. i. j. k.) k - velar plosive (Imp) ? - velar fricative (Imp) g - velar plosive (1sg) ? - velar nasal (1sg) From the distribution in table 7, we can draw some important information in the surface level. In Imperative classification (Imp), we can observe that the fricatives are plosives whereas in (1sg) group, we only observe the plosives ones. This observation is helpful for arriving at the deduction that under certain environment, fricatives/plosives are interpreted as (à  ) plosives. Furthermore, within each group, we can identify that the same place of articulation is shared, i.e., bilabial / alveolar / palatal / velar. This observation will contribute to identify the relation between the changed consonants and the added nasal sound types. In the mean time, within each 1sg group, we can also observe that the nasal sound always precedes the plosive sound. This observation is useful for understanding whether the prefix [Nasal] functions are in a linear order. By applying the minimized major feature for these consonants, we can generate some crucial feature notations as noted below. 1. Fricatives [-son, +cont] 2. Plosives [-son, -cont] 3. Nasals [+son, -cont] Therefore, now we can observe the assimilation of the feature [cont] in the course of transferring from fricatives to plosives and probably the dissimilation of the feature [son] between nasals and plosives. In order to satisfy the conditions of Minimize UR and the Evaluation measure, we could observe each sound in detail and add the feature [voice] where we can see that all plosives and nasals are [+voiced] as illustrated in table 8 below. Table 8 Features - consonant Features-place of articulation Group A (data a. b.) ß - [-son] [+cont] [+voiced] (Imp) [+ant] [-cor] b - [-son] [-cont] [+voiced] (1sg) [+ant] [-cor] m - [+son] [-cont] [+voiced] (1sg) [+ant] [-cor] Group B (data c. d. e. f.) t - [-son] [-cont] [-voiced] (Imp) [+ant] [+cor] r - [+son] [+cont] [+voiced] (Imp) [+ant] [+cor] d - [-son] [-cont] [+voiced] (1sg) [+ant] [+cor] n - [+son] [-cont] [+voiced] (1sg) [+ant] [+cor] Group C (data g.) c - [-son] [-cont] [-voiced] (Imp) [-ant] [+cor] ? - [-son] [-cont] [+voiced] (1sg) [-ant] [+cor] ? - [+son] [-cont] [+voiced] (1sg) [-ant] [+cor] Group D (data h. i. j. k.) k - [-son] [-cont] [-voiced] (Imp) [-ant] [-cor] ? - [-son] [+cont] [+voiced] (Imp) [-ant] [-cor] g - [-son] [-cont] [+voiced] (1sg) [-ant] [-cor] ? - [+son] [-cont] [+voiced] (1sg) [-ant] [-cor] From the features distribution above, we can observe several important generalizations. First, as we can see in the left column, consonants could adjust themselves to the nasal during the shifting to plosive by preserving [-cont] and [+voiced]. Then, the consonant r in Group B is the only consonant in Imp which has feature [+son], therefore, we have to shift it to become [-son] as well in the course of shifting to plosive. However, this is definitely not a kind of adjustment to the nasal since it is conceivable that all nasals are found to be [+son]. Second, in the right column, we can observe that the insertions of prefixing nasals adjust themselves to the consonants and become bilabial / alveolar / palatal / velar nasal respectively in place of articulation. Furthermore, we attempt to figure out the adjustments above as assimilation, as well as the dis-adjustment of r as dissimilation. In sum, we can obtain two important rules in the language in question. Rule A: [-cont] [+cons] à   [+voice]/[+nas] ______ [-son] Such rule entails the adjustment of the consonants to the nasals. Under this rule, ß becomes b; t and r becomes d; c becomes ?; k and ? becomes g due to the prefixing nasal. Then, all fricatives become plosives as given the following rule. Rule B: [+nas] à   [aPlace]/______[aPlace] In rule B, the same place of articulation is construed by the notation [aPlace] represents here. This rule signals the adjustment of the nasals to the consonants. By using this rule, nasal will become m whenever aPlace is bilabial; n whenever aPlace is alveolar; ? whenever aPlace is palatal and ? whenever aPlace is velar. The origin nasal in prefixing cannot be observed from the given data set. For instance, if it is [+nas, +cor] then it should be a consonant n. Along the previous part, we have observed some ordering rules in the language of Kikuyu. Further in this part, we will try to figure out the ordering of the two rules we have mentioned in advance. Based on the SPE framework, we have seen that all morphological rules apply before all phonological rules. Although Kiparsky and many others believe the other way against this framework, we try to see whether this rule is indeed workable within the spirit of SPE framework. Here, the morphological rules are viewed as infix insertion, i.e. prefix /Nas/; suffix /-a/ and /eet?/ in the given data set which will apply in the first place and the phonological rules given in Rule A and Rule B above will apply in the second place. Now the question turns to which phonological rule applies in first order, being Rule A or Rule B. Suppose we take examples in data d and e from the given data set. First, let us look at data d. it seems that we will not find any difference in data d with respect to the ordering of two rules and hence the result looks like the same. Then, try to compare with data e. Let see what happens. Table 9 Data d = from [toma] to [ndomeet?] If Rule A precedes Rule B Morphological Rule /Nas/ + /tom/ + /eet?/ =UR Rule A /Nas/ + /dom/ + /eet?/ Rule B /n/ + /dom/ + /eet?/ =SR If Rule B precedes Rule A Morphological Rule /Nas/ + /tom/ + /eet?/ =UR Rule B /n/ + /tom/ + /eet?/ Rule A /n/ + /dom/ + /eet?/ =SR Data e. from [reha] to [ndeheet?] If Rule A precedes Rule B Morphological Rule /Nas/ + /reh/ + /eet?/ =UR Rule A /Nas/ + /deh/ + /eet?/ Rule B /n/ + /deh/ + /eet?/ =SR If Rule B precedes Rule A Morphological Rule /Nas/ + /reh/ + /eet?/ =UR Rule B /n/ + /reh/ + /eet?/ Rule A /n/ + /deh/ + /eet?/ =SR As we can see above, the comparison between data d and e indicates the same thing for ordering of two rules as well. This suggests that the ordering of rules do not have something to do with the result. It further suggests that the nasals and the derived consonants could have a relatively strong connection with each other, i.e. one co-exists with the other. Within the SPE framework, the data set has been analyzed in the form of features of lexical individual segments. We tried to apply the rules we have and they seems to work well. This gives further indication that the SPE framework can be considered as effective tool in explaining the phenomenon in data set of Kikuyu language. However, it seems that the relationship between the two rules is not transparent. The reason for this might be the difficulty in generating the only one rule instead of two explaining such phenomenon in the SPE framework. The Post-SPE Framework Autosegmental phonology was introduced by John Goldsmith (1976) and re presented a great step forward in linguistic research. In the classical generative theory developed by Chomsky and Halle, phonological components were linear sequences of segments which themselves consisted of feature bundles. One of the downfalls of the SPE framework resided in the assumption that every segment had to correspond to exactly one feature specification and vice-versa (every feature specification had to correspond to exactly one segment). Consequently, many phonological phenomena (related to stress, lengthening, rhythm and intonation for instance) were left unexplained. SPE simply had no way of providing a proper account of prosodic phenomena. As stated by Goldsmith himself ((1999: p.137), Autosegmental phonology constitutes a particular claim about the geometry of phonetic and phonological representations. it suggests that the phonetic representation is composed of a set of several simultaneous sequences of these segments, with certain elementary constraints on how the various levels of sequences can be interrelated or associated. The main innovation brought about by Post-SPE framework is the fact that supra segmental features, such as stress or tone, are no longer confined to exactly one segment but can be shared by two or more segments and vice-versa. Some features, while remaining associated with a segment, are now handled separately. Many phonological phenomena can then be analyzed in terms of a restructuring or reorganization of the autosegments in a representation. Different from the first section, here we will analyze the data set of Kikuyu within the Post-SPE framework, or also known as the Autosegmental Phonology but within this paper we rather use the term Post SPE just for the sake of easiness in comparison. In this section, we will also consider the use of the IPA chart and feature notations for the discussion in the Post-SPE framework. Also in this part we might still view some rules from SPE framework and will be reviewed in the spirit of Post-SPE framework. Phenomenon such as assimilation and dissimilation will be approached to address the problems we found in the data set of Kikuyu Language. Of course, other theories within the Post-SPE will also be introduced. Let us start our discussion with the identification of features and spreading in this framework. In this framework, features will be viewed as independent features of their segments in order for them to be represented as auto-segments. We can observe in the data set of Kikuyu language that a phonological process can influence more than one consonant at a time. This might lead us to review the data we had in table 3 where ß mb; t nd; r nd; c ; k ?g; ? ?g, with the given two rules. We have mentioned earlier about assimilation in SPE, i.e. an alternation which copies a feature specification from the closest segment. Take Group A and Rule B as an example: [+nas]à   [bila Place] / ______ [bila Place] Nà   m / ______ ß / b In the Post-SPE framework, assimilation is identified as the spreading of features to the neighbouring X-slots. This means that an X-slot is associated with the two X-slots, resulting assimilation as illustrated below: NX NX mX |à  Ã‚ ¥|à  Ã‚ ¥| [+ant][+ant] [+ant] [-cor] [-cor] [-cor] For the sake of easiness, some tiers are excluded. Here, X represents the changed consonant in Kikuyu. The nasal is considered another X slot, which is marked as N. After spreading, we see that the two X-slots share the feature of [+ant] and [-cor]. The feature from the neighboring X-slot could be deleted after the course of spreading. The replacement of Rule A in the Post SPE framework is a bit more complicated than Rule B since deletion is involved. As for instance, consider Group A we have noted above, within the SPE framework, we will get the shifting below. [+cons]à   [-cont] [+voice] [-son] / [+nas]______ ßà   b / N______ Then, let us apply this within the Post SPE framework to analyze this phenomenon where we have two X-slots represent Nasal and Consonant respectively during the course of alternation. An example of shifting from Nß to Nb is given below. X X X X | | à   | / [+son] [-son] [+son] [-son] [-cont] [+cont] [-cont] [-cont] [+voiced]   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  [+voiced]  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚        Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  [+voiced]  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   [+voiced] For the sake of easiness, some tiers are reduced. We can see in the shifting process that [-son, +voiced] features are preserved during the shifting and [+cont] feature becomes [-cont]. In the SPE framework, it is conceivable that morphological rules apply before phonological rules, so we have a Nasal slot before Consonant slot in 1 sg. Imperfect i

Filial Ingratitude in Shakespeares King Lear Essay -- King Lear essay

Filial Ingratitude in Shakespeare's King Lear      Ã‚  Ã‚  Ã‚   In Shakespeare's King Lear, the main plot, which is focused around the error of King Lear, is mirrored by the subplot, which is based on the Earl of Gloucester's mistake. The main plot parallels the subplot in order to reiterate one of the main themes of the play, filial ingratitude.   At first, both Gloucester & Lear are unaware that their disloyal offspring are taking advantage of them, and they have wrongfully accused their virtuous heirs.   When they discover their mistakes however, it is too late to correct them.  Ã‚      In Act I, Scene I, Goneril claims, "Sir, I love you more than words can wield the matter...a love that makes breath poor, and speech unable; beyond all manner of so much I love you" lines 54-60.   Regan, her evil counterpart also declares, " [I] alone felicitate in your dear highness' love" lines 73-74.   Cordelia, his honest daughter cannot grant him such unfounded flattery and relies, "I love your majesty according to my bond; nor more nor less" lines 89-90.   Lear enraged at her answer, b...