Love and Everyday Life Theory Essay Example for Free

Love and Everyday Life Theory Essay Second, I focus on my first love experience and use the liquid love theory of Bauman to analyze, additional I will discuss why I have this relationship and how can I enjoy it from the theory of Beck, U. and Beck-Gernsheim, E. Third, I will demonstrate my recent real emotion situation and discuss the new forms of love with the theory of Batchelor, S. Fourth, I will integrally analyze the three external love and indicate the self-realisation what I get from the three love experiences also with the theory of Beck, U. and Beck-Gernsheim, E. Before I show the process of my first love relationship, I analyzed that the reason why I intended to start a relationship is that my everyday life was so repeating boring and I did not accept a belief like religion. In addition to it, which is most important, I had no feeling about connecting with other people from any communities. In senior high school, all of the thing I had to or I simply can do by studying in my everyday life. There are no clubs or activities in my senior high school in order to let students focus on studying so that students can get a high grade in the Gaokao. However, I had no interest in studying the boring and actually useless knowledge to deal with the Gaokao. Unfortunately, I was supervised to achieve the assignment like the exercises of universal gravitation commonplace life by teachers and my parents so that I had no chance and time to get a touch with new ideas and beliefs about life. Moreover, I got not so much touch with my classmates which are the most primary community I had because everyone is busy on their studying. Furthermore, I regarded the love as the hope and idealization due to copious propaganda from the media to a certain extent. According to Beck and Beck-Gernsheim (1995), the transition from pre-modern society to modern society accelerated the commodity and individualization process, change the relationship between people and cut people from their traditional ties, beliefs and social connection and religion which are lead by the enlightenment and the industrial revolution. However, with the vanish of our faith and free from the material which make people accept more education and think more about life, love is regarded as a succedaneum replacing the group, becoming the hope and idealization of people, and lead people to believe and devote themselves to it. Hence, it is proved that the reason why I chose to start a relationship with a girl is not naturally there emerged a girl I liked, but I had no value or beliefs or communities to guide my activities according to this theory. Coming from the opposite aspect, after a period time, I started to reduce the time on study, and found that there were other boys like me who are not interested in studying, so we built a group to do something together even cut a class. After that, I would not like starting a relationship imminently. Therefore, this change also supports the theory refers to why people choose to love from an opposite aspect. Nevertheless, it is stated by Beck and Beck-Gernsheim (1995), that divorce figures are extraordinary people who in love or marriage always complain that why living together is so difficult and why cant keep a long and meaningful love. As for this phenomenon, the liquid love theory of Bauman may give an appropriate explanation for it. Finally, I believe that for modern young people, the desire they start a love experience is not only the effect of no beliefs and no communities, but also the propaganda effect of love of contemporary mass media. Combining my earliest love experience and the theory of liquid love, it is a typical liquid love. In the summer after the Gaokao, I went to a tourist attraction when I met my first girlfriend. I met her at an outdoor bar. We began by chatting and drinking, which are similar to the whole people to do in the bar. To a certain extent, this behavior for me may be influenced by the media about what happens in the bar and the environment around us. Then we kept touching with each other after that night. I stayed in that place for a month and before the night I left, we are agreed to start a relationship. The relationship here is not a general relationship in the dictionary because we both knew we were not in the same city, same college and she was two years older than me. However, we did not make a commitment that there is a responsibility between us. After that time and until we broke up, we did not see each other anymore. So the most vital thing is all the approaches we kept contact with are the Internet and the mobile phone. We sent messages and chat on video every day. The conversation content is stereotyped about everyday life in college, and it is irrelevant with commitment. This situation lasts two months and ends up on a meet which may lead us to break up. I went to her site and saw her on a holiday and it is confused that we can talk to each other fluently but at that day there were a obstruct separating our conversation. I think that the obstruct is afraid of responsibility. After that meet, we broke up. It is indicated that this kind of love is defined as the liquid love in the liquid modern society (Lee, 2003). To define liquid love, liquid society is supposed to be introduced. Liquid modernity is proposed by Bauman (2003) that all forms of social construction are rootless and all of the traditional notions are destroyed not to be durable owing to the commodity in liquid modernity society. And in this society some purportedly fixed and indestructible ties of family, class, religion, marriage and perhaps even love arent as reliable or as desirable as they were. Bauman quotes, In a consumer culture like ours, which favours products ready for instant use, quick fixes, instantaneous satisfaction, results calling for no protracted effort, foolproof recipes, all-risk insurance and money-back guarantees. It is summarized that the value and idea people own is influenced by the commercial purpose because except it social hierarchies do not form instantly other society power or beliefs especially in capitalist society which called liquid life. So when targeting consumers accepted the value designed by marketing strategies, the value is only effective for a short period, never extended term because the marketing strategies are transitory and always change. Everyday Life today is filled with elements of liquid, most people cant reject its liquid characteristic. Take the place where I meet the girl, the marketing strategies in bar are encouraging people meet unexpectedly and developing the dubious connection. I was influenced by it and the environment so that I chose to chat with a girl not because I like her so much. Moreover, love is regarded as a consumer goods which are supposed to be yielding like any extra goods people consume. People give themselves the appropriate rights to consume love, something must be given consumers just like expectation from further purchases. Thats a factor why we break up. I expect my goods can be novel, various and disposable, If my love cant satisfy my need for the factors when we pick up and utilize the goods, I will abandon this goods. In a word, the most fundamental elements like families, love and sex are obeying economic rules, In addition to the commodity of love, the most significant character distinguished from traditional love in liquid love is that people are afraid of assuming the responsibilities but they also enjoy the advantages of a relationships. The embody of steering of the responsibilities is not daring to make a binding commitment and use the being connected to replace the relationship. Although it is uncertain whether the communication technologies like the Internet and mobile phone facilitate the less responsibilities relationship and offer a approach for people who do not want to commit themselves to achieve a internet relationships or that emerges is benefited by communication technologies, It is sure that people are willing to accept to be a part of the communication technologies network to avoid the responsibilities. The only tools I used to keep touch with that girl is communication technologies which may offer me more imagination so that we can reduce the quality and quantity in our communication, after all it is not possible that I meet her everyday but just talk about the details in life and not refer to the future and responsibilities of our love. After the break-up, I can jabbered into mobile phones, addictively texted and leaped between kinds of chat room, deleted a date which wrote for my ex-girlfriend without pain. It is summarized that we immediately feel a sense of belonging, like purchasing, I picked her so she is belong to me. From psychology, Bauman (2003) concludes the duality of liquid love, that is, less responsibilities as a balance problem of freedom and security according to Freud. It also confirms the theory of Beck, U. and Beck-Gernsheim, E, I start a love because I want to find a security to make up the lack of communities, however, I chose the liquid love because I want to be free from a relationship. And at the end of this experience, I found he sign of break-up, so I increased the time of video chat and went to her site to see her in order to fix the relationship. Nevertheless, the opposite consequence indicated what Bauman writes. attempts to tame the wayward and domesticate the riotous, to make the unknowable predictable and enchain the free-roaming all such things sound the death knell to love. Ultimately, it is related to a definition problem that is what is love, the cou rage to participate in the process or the process makes us beautiful. Take my experience as a example, My part motivation of being together with the girl is the girl is beautiful and smart so that after I can promote my image and level in love, I can show I have a experience of love and I know what love it is. Love makes me feel beautiful. This refers to a question that what is real love and that the highest form of love is. My decision is not to be the highest form of love, so I start a liquid love. And the question about the different types of love, I will use my second love experience and the four love theory of C. S. Lewis to analyze. According to Lewis (1960), my second love experience is a type of need-love. After the initial love experience, I was single for one year. I felt lonely sometimes especially when my roommates took their girlfriend outside of meal. So I decided to start my second love experience. When I firstly have a touch with this girl just because I thought she is pretty and I had no idea what characteristic this girl has. Afterward I made huge progress rapidly in just few days from chatting in the dinner time or the mobile phone. From we start a relationship to the break-up. It takes less than two months. At this period, the thing we did together every day can be concluded as three types of thing. First, we took the male together every day. Second, we sent good nights to each other every night from mobile phones. Third, she sent gifts or some daily stuff to me when I am busy. As for the break-up factor, I think there is no need-relationship existing for me. I felt bored about this mechanization love experience and we had no communication in sprit. It is typically need-love, what I need is a girl taking care of my life and pass time when I feel lonely, and what she needs may has two aspects. One aspect is someone is nice to her, the other aspect is to be a good girlfriend. She is a traditional girl and the highest standard of morality is being nice to her boyfriend so that it can satisfy her need of achieving value. Once the need is not there, the need-love vanished. According to Lewis (1960), the need love includes kinds of physically, emotionally, intellectually need like sex, avoid to loneliness. For me, it is hard to distinguish if these need is low or high or even all of them are desire. Except the need-love, Lewis (1960) similarly concludes the other two kinds love, that are, gifted-love and appreciate-love. Gift-love can take the love from parents to children for examples, and appreciate-love refer that people decide to continue to give their love to others even though they know they will never enjoy the result of their love. However, critically evaluate the theory of Lewis, there is a paradox. Take my experience for example, the need of this girl is to achieve her morality standard, but the practical way of achieving it is to give, Hence, how to make a differences between gift-love and need love or there is actually no differences between them? Additionally, the appreciate-love is described as higher than need-love and gift-love. Furthermore, the people who bestow appreciate-love may satisfy the need for achieving the value of the highest forms of love and get a self-atonement. Compared with my experience, what are the differences between these two kinds of need? In the final analysis, the need includes both physical and mental. So there is not pleasant to tell the boundary between different kinds of love. The concluding part of this project is to prove that all of these love is means to achieve self-realization and take all of my experience for examples. It is stated by Swartz (2001) that self-realization is an individualization process which free people from limitation by building the conditioned beliefs, opinions, fears, desires, and habits. Meanwhile, Beck, U. and Beck-Gernsheim, E. proposed that love is not equal with fulfilment or even require it, love is a process you can find your real identity. Before my first love experience, I dreamed of having a girlfriend like my elder sister because I have no sisters. Nevertheless I found a girl who is two years older than me. I labeled her as a smart, beautiful, sex independent elder sister, actually the imagination gave me more gratification than the fact. After that I realized that it is the question of myself. So I tried the succeeding love experience, the girl can represent the cute and virtuous types. After I find her some characteristics, I found she is not suitable for me. I realized that how a label can affect myself, I knew my habits generally, and I really knew accurately the need what can satisfy myself. Now, I am single, however, I always think what I need, reconsider my beliefs and conclude my habits. According to Batchelor (1983), being alone is a new form of love that can lead people find themselves into the world. So I can free me from labels and kinds of limitation to find my identity. However, critically evaluate this self-realization theory, it is absolute. If someone identity is to seek the hypocritical label as an approach to satisfy his need, how can he find his real self from love? That indicated that the real self has no standard to define. As a consequence of self-realization during this period, I had an affection for a girl. It is stated by Lewis (1960) that affection is a generalized love, which include the love between people and people, animal or objects, and the most primary feature of affection is familiar, like the child will love a crusty old gardener who is familiar with him rather than a visitor who is making every attempt to win its regard. For me, I know this girl for a long time, I am familiar with her, and I know she almost all advantages and disadvantages. However, I do not label her as which kinds of type any more, I can realize my authentic self from being with her, and I think that I can do a give-love to her. C. S. Lewis quotes, Love, having become a god, becomes a demon. It is can be concluded that this affection can let hate and love existing together, which I am willing to avoid. In conclusion, I show my three loves in this project and conclude them as the archetypal type with the theory of love. First is the liquid love, it has three characteristics: no commitment, commodity and duality. Second is a need-love, however, it is analytically evaluated that there is no strict boundary or differences between gift-love, need-love and appreciate-love.

Assess the artistic limitations of the dogme 95 vow of chastity

Assess the artistic limitations of the dogme 95 vow of chastity Assess the artistic limitations of the Dogme 95 â€Å"Vow of Chastity† In the mid 1990s, a creative and low cost filmmaking was created Dogme95. The founders were two Danish directors, Lars von Trier and Thomas Vinterberg. (Hudson, 2005). Unlike any other film, it follows different set of rules. Written in Vow of Chastity, a rulebook of Dogme95, it restricts the use of props, sets, lighting, sound, and music. The camera is handheld and simply captures what is taking place (Schlosser, 2000). Dogme 95 is certainly a departure from the conventions of the film-making process. The statement â€Å"Dogme 95 is a rescue action!† was stated in the manifesto if the Dogme 95 which perhaps is true for most filmmakers who wanted freedom of their ideas and faithful presentation of scenes. Mark Paul of Wayne State University agreed that Dogme 95 films have rescued the cinema from the conventional films of Hollywood which are ‘overly polished, ‘undemocratic in art, and ‘superficial.  Ã‚   Directors have enough freedom to showcase the ‘truth without addition, reduction, or any manipulation (Paul, 2002). In order to resist superficiality in Dogme films, von Trier and Vinterberg wrote â€Å"The Vow of Chastity† which consists of the specific rules that are mandatory in order to categorize a film as a Dogme. Von Trier asked Vinterberg if he â€Å"wanted to start a new wave with him?† In less than one hour, they already had the rules (Dogme 95: Frequently asked questions). As a guest in Thà ©atre de LEurope in Paris during the 100th anniversary of the birth of film, von Trier proudly announced Dogme. The rules are: (1) shooting must be on location without bringing any props, (2) sound and image are produced together, (3) the camera to be used is handheld, (4) use of natural light only, (5) no optical filters, (6) no superficial actions, (7) no geographic alienation, (8) no genre films, (9) the film format should be in Academy 35mm film format, and (10) the director must not be credited (Trischak, 1995). The last rule sounds unusual since the directors are always credited in the conventional films. At the end of the ten rules, the director should swear to refrain in creating based on personal taste. Only the real events should be presented based on the real settings. The reason behind the prohibition of the use of props is to challenge the filmmaker into creating authentic films and portray the ‘truth. More time is dedicated into developing a good acting because breaks for hair, make up, costume, and light change are eliminated. The use of handheld camera is intended to follow the actors instead of the actors following the camera. In this manner, the actors could really perform their characters while the camera captures the scene. Additionally, using handheld cameras provides more takes with longer time (Dogme 95: Frequently asked questions). The first Dogme creation by Vinterberg, The Celebration, was one of the best cinematic explorations which covered the issues on a dysfunctional family in the middle of a celebration. The film won many awards and was nominated in various prestigious awards associations. Among the awards it received were Jury Prize from the Cannes Film Festival, Best Director from Gijà ³n International Film Festival, and Independent Spirit Award (Hudson, 2005). The second film of Dogme was The Idiots, which was written and directed by von Trier. The film featured young characters who go around to spasse (Danish term which means to intentionally act like idiots). Watching the film might turn off its audience because of the hilarious acts and abhorrent ways of responding to the problems faced by young people (Schwartz, 1998). The third Dogme film was Mifune by Sà ¸ren Kragh-Jacobsen, which became one of the multi-awarded Dogme films. A.O. Scott of the New York Times reviewed it as â€Å"by any standard, a pretty good film† and was given the awards Silver Bear and Special Jury Prize for Kragh-Jacobsen from the Berlin Film Festival (Hudson, 2005). Mifune was able to present the real people in real situations and would surely attract the audiences attention. The scenes appear so realistic and painful at the same time (Ilic, 2005). The creation of Dogme 95 and the implementation of its rules have been the subject of questioning and curiosity from directors. The production cost of Dogme films is relatively cheaper because crews are eliminated; however it does not mean that this is a resort to producing low-budget films. There are no limits as long as it will compromise to the Vow of Chastity. In Denmark, a low-budget film could cover more than half a million. Nevertheless any Dogme film can be produced around a million or more than a hundred million dollars. Among the Dogme films, â€Å"The Idiot† was the most expensive. The introduction of Dogme 95 however did not receive much criticism especially from the Danish government wherein the state willingly increased the filming fund by 70% (Trischak, 1995). Another issue on the production of Dogme films is the use of the old fashioned Academy 35mm film format because is considerably expensive. The 35mm film is used so that Dogme films can be shown in all movie theatres. However, because of its cost some directors resort to shooting film with Digital Video first then transferring it to the 35mm. The recorded images through DV, on the other hand, are strictly prohibited from editing considering the Vow of Chastity (Dogme 95: Frequently asked questions). Classifying a film as a Dogme has become harder. The first four to six Dogme films were originally discussed by the first directors and founders of the Dogme 95 films including Vinterberg, von Trier, Kragh-Jacobson, and Levring. They reviewed each film according the rules in the Vow of Chastity; however, as the directors became busier in their own Dogme film productions, not enough time was allotted to discuss the other films. In Julian Donkey Boy, the story about a schizophrenic man, the rules created was pushed to its limitations. It all now depends on the judgment of the directors (Dogme 95: Frequently asked questions). However, Vinterberg argued that if the director feels that the film might not be in accordance with the rules then, he must do something about. Another question raised was about the synchronization of a foreign language, say English or German; can it be certified as a Dogme? If it will be based on the second rule: sound and image must be produced together; technically it cannot be classified as a Dogme. Watching a Dogme film in foreign language therefore is not very entertaining (Dogme 95: Frequently asked questions). The Vow of Chastity provided both freedom and restriction to the directors. With the limited resources such as props, music, sounds, and lights, the director is challenged to be resourceful and creative in filling these gaps. In the film The Celebration, Vinterberg was able to incorporate music by placing the story on a Danish gathering tradition wherein the people are accustomed to celebrate while singing. On the other hand, in â€Å"The Idiots†, a musician character played a toy-like instrument in the beginning of the story (Dogme 95: Frequently asked questions). In the conventional films we see these days, there are different genres such as science fiction, animated, action, adventure, comedy, romance, horror, war, musicals, historical, and many more. However, in Dogme films it becomes selective because you only present what is happening then and now and not what is in the past or what will be in the future (Dogme 95: Frequently asked questions). Therefore, war and historical films are impossible because flashbacks should not be used. Neither do sci-fi, animated, and musical films. These genres require musical equipments and props and the scenes are time manipulated. In the history of filmmaking, Dogme 95 is notably one of the best cinematic explorations of realism. The presentation of this realism is only possible through the elimination of the traditional cinematic process accompanied with various experimentations on the production and presentation (Vaughan, 2004). The Vow of Chastity made it possible to restrict and compress it down to what is real only. There is no addition, reduction, or, any manipulation to the story that a director wishes to tell. It is obviously anti-film tradition in nature however its simplicity and honesty offer a different kind of pleasure and emotion. Unlike the usual films, our minds are already set to decipher the ending. However, in Dogme films, the audience could only figure what is being shown at a time. The first three Dogme films have been very successful. After ten years since its beginnings, Dogme films are getting less and less popular. Von Trier and Vinterberg are now working on different kinds of films aside from Dogme. The brothers now are no longer managing and judging Dogme films. They have decided to allow the directors to judge their own creations but still following the rules. Producing one is a big challenge. Ironically, Vinterberg confessed that The Celebration was the easiest he made.9 Dogme is still alive and more and more films are released and reached the number to Dogme 254th film (Dogme 95: Frequently asked questions). Nowadays, the films that the brothers are releasing are combination of filmmaking from the conventional and from the Dogme. According to Jack Stevenson, film journalist in Denmark, Its All About Love and Dogville by Vinterberg and von Trier respectively can be classified as anti-Dogme films. Both directors have departed from Dogme and now making films beyond the Vow of Chastity. (Mitchell, 2005) In an interview with Kristian Levring, one of the founder of Dogme movement; Susanne Bier, the director of The One and Only and Open Heart; and Anders Thomas Jensen, a famous writer and director, the screenwriting processed was discussed. Thomas Jensen said that the scriptwriting is very different because there are limitations like superficial violence and action. Bier added that due to these limitations, â€Å"Dogme tends to lend itself to realistic storytelling.† Levring agreed that these liberated and improved Dogme including his film The King is Alive. (Kelly, 2008) Dogme offered an incredible twist in filmmaking, surprising the audience in ways that are not expected. In the presence of restrictions and limitations, it has entitled directors with freedom of creation with aesthetic value and provided a different kind of satisfaction.

Cultural Transition of the Hmong Refugees :: Immigration Culture Adaptation Essays

Cultural Transition of the Hmong Refugees Humans have always demonstrated a remarkable ability to find comfort amidst adversity. Sometimes it is found in the sacred. Many churches in the United States experienced a growth in their congregations after September 11th. Sometimes it is found in action. A person might feel the need to get out and "get away" from pressure for a while so that upon returning the situation can be viewed fresh. And sometimes comfort is found in the most unexpected places. This is the case with the Hmong refugees from Indochina who began arriving in Wausau Wisconsin shortly after the conflict in Vietnam ended. Most Americans had never heard of the Hmong before and wanted to know why they had arrived. Tensions, misunderstandings and many challenges arose as the Hmong began new lives in an established and very different culture. Here, though, they have found some surprising tools to help them cope with these issues: camcorders, and the home video. In order to ease their cultural transition, the refugee Hmong have adopted video technology to continue their communal bonds, document their stories, and improve their public image among their new neighbors. Hmong social units are large extended families, something like clans in their makeup. In the mountains of their home, Hmong village of a few hundred people each dotted the landscape and provided a structure for trade and social interaction. In her book New Pioneers in the Heartland, Jo Ann Koltyk tells us that when the refugees were moved to the United States, an attempt was made to spread them throughout various cities in order to ease their assimilation into the population. This dispersion separated many friends, and parted extended family units. In many cases, the Hmong people simply began a "secondary migration" within the United States, and trickled back together into larger communities. In many cases, though, this second move was impossible and many Hmong would have remained isolated had it not been for the "Hmong-made videos." The Hmong tediously document all of their ceremonies and events. They seem to be fascinated by the capability to capture and preserve an event and then to show it to people who were not there and have them experience it also. Though the sharing of videos, a sort of "virtual community" can be maintained throughout separated settlements. Cultural Transition of the Hmong Refugees :: Immigration Culture Adaptation Essays Cultural Transition of the Hmong Refugees Humans have always demonstrated a remarkable ability to find comfort amidst adversity. Sometimes it is found in the sacred. Many churches in the United States experienced a growth in their congregations after September 11th. Sometimes it is found in action. A person might feel the need to get out and "get away" from pressure for a while so that upon returning the situation can be viewed fresh. And sometimes comfort is found in the most unexpected places. This is the case with the Hmong refugees from Indochina who began arriving in Wausau Wisconsin shortly after the conflict in Vietnam ended. Most Americans had never heard of the Hmong before and wanted to know why they had arrived. Tensions, misunderstandings and many challenges arose as the Hmong began new lives in an established and very different culture. Here, though, they have found some surprising tools to help them cope with these issues: camcorders, and the home video. In order to ease their cultural transition, the refugee Hmong have adopted video technology to continue their communal bonds, document their stories, and improve their public image among their new neighbors. Hmong social units are large extended families, something like clans in their makeup. In the mountains of their home, Hmong village of a few hundred people each dotted the landscape and provided a structure for trade and social interaction. In her book New Pioneers in the Heartland, Jo Ann Koltyk tells us that when the refugees were moved to the United States, an attempt was made to spread them throughout various cities in order to ease their assimilation into the population. This dispersion separated many friends, and parted extended family units. In many cases, the Hmong people simply began a "secondary migration" within the United States, and trickled back together into larger communities. In many cases, though, this second move was impossible and many Hmong would have remained isolated had it not been for the "Hmong-made videos." The Hmong tediously document all of their ceremonies and events. They seem to be fascinated by the capability to capture and preserve an event and then to show it to people who were not there and have them experience it also. Though the sharing of videos, a sort of "virtual community" can be maintained throughout separated settlements.

The ECommerce Environment of Singapore Essay -- GCSE Business Marketin

The ECommerce Environment of Singapore Geography The Republic of Singapore is located in southeast Asia, south of Malaysia and northwest of Indonesia. The island measures a total of 637 square kilometers with a coastline 193 kilometers long. Singapore is generally comprised of lowland areas with a central plateau in the middle of the island. Its elevation ranges from the Bukit Timah, (166 m.), to the Singapore Strait which is at sea level. Its climate is tropical and wet. Precipitation occurs on 40% of all days, (70% of days in April). Singapore's two biggest natural recourses are its fishing industry, and its deep water ports. Singapore is also a focal point for most Southeast Asian sea routes. History Singapore was originally settled by Great Britain in 1819 as a port of call. The British used Singapore to extend their territories in Indonesia. It remained under British rule until 1941 when Japan bombed and captured Singapore. After three years of Japanese rule, British forces returned to the island. By this time Singapore was longing for self-government. Singapore realized its need for independence in 1959 holding its first general election. The new, independent Singapore was voted into the United Nations in 1965. On December 22, 1965, Singapore became a republic electing Yusof bin Ishak as its first president. Infrastructure In Singapore's short life as a republic, it has developed a sound infrastructure. In the way of transportation, Singapore has a total of 105 kilometers of railways used for commercial and personal transportation. It has also built over 3,000 kilometers of highways, 2,936 of which are paved. Singapore also boasts a 67 kilometer mass transit system with 42 stations. The mass transit system is the preferred means of travel in Singapore due to the fact that only one of every ten people own an automobile. Singapore produces 28 billion kilowatts of electricity annually. One hundred percent of Singapore's electricity is produced by means of fossil fuel. An estimated 97% of all residents live in households with electricity and running water. Singapore's leading industries include: electronics, petroleum refining, oil drilling equipment, rubber products and rubber processing, processed food and beverages, ship repair, entrepot trade, biotechnology, and financial services. Technological Infrast... ...panding Connections Singapore's current US connection of 45 Mbps is growing everyday. Local internet providers have begun expanding their connection speed and size through the use of satellite links. It is estimated that in the next ten years the number of internet connections in Singapore will almost be double what it is today. Summary Electronic Commerce is changing the way business is conducted today. Singapore has positioned itself to become a major part of the E-business trend. Developing technology, government support, and growing internet awareness make Singapore an ideal environment in which E-commerce can thrive. Lee Yock Suan sums up Singapore's E-commerce environment by saying ,"We want to be plugged into this global development, and position Singapore as an international E-commerce hub." References WWW.Singstat.gov 202.42.217.232/ WWW.Geography.com.sg WWW.TheStandard.com Rajakru, Dang Journal of Contemporary Asia, vol 26, 1996, p. 3-27 The state, family and industrial development: the Singapore case. Graham, Mark Industry Week, vol 249 no 7, 2000,p. 37-40 Singapore lures technology: it's clean, green -- and a powerful machine.

Professional Boundaries Essay example -- Health, Nursing, Medical Dire

Introduction Nurses frequently work in situations where the boundaries of the nurses are being tested. Their respond to these â€Å"tests† is a matter of nurses and professional integrity, by virtue of the power inherent in their professional role are expected to do the right thing even it is not always clear what â€Å"doing the right thing† might look like. Similar to the fence around one’s yard or the walls around one’s house, metaphorically boundaries mark the parameters of the professional role. (Baron, 2001; Wysoker, 2000). According to Holder & Schenthal (2007), a broad definition of professional boundaries is the â€Å"limit which protects the space between the professional’s power and the patient’s vulnerability†. Professional boundaries are the spaces between nurses and patients, nurses and doctors or even nurses with others multi inter professional health worker. The power of the nurses comes from the professional position, increase of knowledge, advance of role and accountability. Establishing boundaries allow the nurse to control this power differential and allows the safe connection in other to meet patient needs. The government policy makers shown that nursing service are provided and to affect the career pathways and education. The policies are impacting on professional roles and boundaries in health care service. Nurses are becoming more individually on their own practice and they have been at the vanguard of new role development. The nursing profession has also been challenges by advances technology in health care. By becoming more knowledgeable about policy, legal and ethical standard decision-making, nurses can conquer these challenges. The demand of policy, legal and ethical standard would promote greater knowledge, acco... ...ere taken to protect nurses. Common practice here is medical directive. Medical directive means a medical instruction given to paramedic regarding medical management or procedure to perform to patient. The document should include the procedures approved that can be performed by nurse and endorse by the head of department. These documents also have to audit frequently to ensure it is updated and relevant with the current situation and demands. As conclusion, crossing a professional boundaries bring a lots of benefits and weaknesses. However, nurses must remember they are nurses all the time thus it is vital to seek advice early when problem around professional boundaries arise and as for the medical profession, they have to value nurse’s knowledge and expertise in order to shares experience, knowledge and skills for future development of healthcare practitioner.

Importance of Matrifocal family in the caribbean Essay

The Matrifocal family Is very prominent in the Caribbean. This is noted more as among people of Africans in the regions. Reasons for this diversity, Cultural Retention, Plantation system of slavery, SOCIO economic and the culture of property. Cultural retention, Melville Herkevitts was one of the first researchers to trace the African Origin of the slaves who came to the Americans he believed that despite attempts to strip Africans slaves ot their cultural heritage the practice ot polygyny was retained from the practice. affected by bonding and closeness of mother and child because the husband/ father was somewhat marginal. This pattern remained in the Caribbean society especially about lower class people of African descent. Plantation system, there is the belief that the persistence of the Matrifocal family can be seen as a consequence of the plantation system of slavery, M. C. Smith wrote that under plantation slavery stables families were not given a chance to develop unions of whatever sort, were often broken up as slaves were sold. The unit of mother and child was less likely to be torn apart than a unit of man, woman and child, males were denied family rights which resulted in a system of female centeredness therefore became marginalise. Women now lead their families. It is a well-organized social group which represents a positive adaptauon to the circumstances of poverty. By not tying herself down to a husband. the mother is able to maintain causal relationships with a number of men who can provide her with financial support. The above Information shows that the Matrlfocal family can be regarded as a form of family structure in its own right. It is therefore Important because it shows that a woman doesnt need a man to take care of her and her family, she If fully cable of performing both tasks all by herself. so Matrltocal family Is very Important.

Australian Aboriginal Art Essay

Australian Aboriginal art, song and dance has been the corner stone of culture since the beginning of their existence. Having no form of written language Aboriginal art, songs, and dances passed down through the generations have been the heartbeat that has kept this ancient culture alive. Even though the art, medium, song, and dance of each Aboriginal tribe may be completely different, they all serve the same purposes; create ceremony, and to inform each member of the tribe of their history, spiritual beliefs, values, and expectations for cultural norm and behaviour. It is not until recently that Aboriginal art has stopped depicting Dreaming stories and has begun to be used for other purposes, such as self expression and emotion release (Pizzi, 13). However as the customary Aboriginal ways of life have been continually interrupted and battered, the personal identity of Aboriginal people and their culture has deteriorated and is in great danger of dying out completely. For tens of thousands of years Aboriginals have created art on rocks, tree bark, the ground and their bodies, with dyes, paints, seeds, plants, sand, and ochres. It is these art works which create a visual language expressing the legends, morals, and history specific to each Aboriginal tribe (Kreczmansk and Stanislawska-Birnberg, 3). Each painting or drawing contains symbols and colours which represent a part of a Dreaming story. Generally the symbols similar to what they are representing, but can come to mean different things at different times, such as a spiral could represent a waterhole, campsite, breast, or fire depending on the context. Aboriginal art is an integral physical manifestation of their culture and cultural continuity is reflected in all forms; such as painting, drawing, ceremonies, song, dance, jewellery, and head masks (Barrington, April 12). On page one of ‘The Tjulkurra’, Billy Stockman Tjapaltjarri, Janusz B. Kreczmanski and Margo Stanislawska-Birnberg write, â€Å"there is one kind of traditional painting which has not changed for thousands of years in its form and subject matter: the art of the Australian Aborigines. † The Aboriginal Dreaming stories are central to culture and each aspect of the Dreaming wheel is connected, and without one of the parts the wheel the rest does not make sense. These stories dictate every aspect of life and behaviour from where you can walk to how the Earth was created. These Dreaming stories are the blue prints to Aboriginal life, and it is through art, song, and dance that they survive. Each art drawing, painting, dance refers to a piece of information which the viewer gains upon looking at it, every song steers the listeners towards proper social behaviour or indicates where in society one falls (Morphy, 30). Some rituals, drawing and painting mediums and depictions, songs, and dances are gender or age discriminate, further structuring societal responsibilities and purposes (Mayrah, April 20). These Aboriginal art forms are the vehicles that pass meaning, purpose, history, and cultural from one generation to the next. Over the years Aboriginal way of life has been completely disrupted, abused, and deliberate attempts have been made to be erased. Since colonization Aboriginal people have been continually displaced from their lands, which they had lived on for over 40,000 years, and have had to watch as their sacred sites are cut down, mined, and destroyed. With this the materials used in Aboriginal art are destroyed, but more importantly there is a cultural disconnection as the elders are unable to teach the new generation the ways of their people and land. For example, when a tribe from the desert is suddenly moved to a coast their traditional sand art becomes impossible to create and the ceremonial act of passing that knowledge down to new generations cannot occur. So that art form is lost forever and the relationship between elders and the new generation breaks down. Or if a Dreaming story is based upon the lake which a tribe lives next to, and the tribe is moved away from this lake the new generations to come will not understand the story, or feel a connection with the land which was given to them by the Creation Beings. By taking away the tools the Aboriginals have always used to create their art and ceremonies their whole structure of culture is splintered. Tourism and the intrusions of western culture on Aboriginal land have weakened and belittled the art of the Aboriginals and traditional art forms have vanished in many places (Edwards and Guerin, Foreword). Furthermore, as â€Å"The Land My Mother, Walya NGamardiki† video the class watched on March 18th explains, the Aboriginals believe that they belong to the land, and if the land is destroyed then they too are being destroyed. In Aboriginal culture each person and family is born and connected to a Totem, or Spirit Being, and it is that person’s responsibility to protect their Totem; they are thought to be so connected that if one was to eat their Spirit Being it would be considered cannibalism. If a person’s Totem is killed then it is that person’s responsibility to carry out the mortuary rites for the being. When an Aboriginal dies they believe that their spirits go into the sites from which they came, but by destroying these sanctified sites the spirits have no where to return (Mayrah, April 20). â€Å"For Indigenous Australians†¦country is the subject of artistic representation, ritual enactment, totemism and the sympathetic magic that assists the group to ensure itself in the quest for survival† (Zimmer, 20). A disconnection between an Aboriginal person and his land is more than an unjust inconvenience; it is a cultural, emotional and spiritual murder worse than physical death. The Aboriginals currently make up only two percent of the Australian population, and their art, songs, and dances have been lost to the new generations. The ceremonies, art, dance, and song that had always guided, moralized, and given a voice to the Aboriginal youth has been made unnecessary, unfeasible, or irrelevant over time. These youths are now connecting with the anger, violence and messages of resentment of the contemporary black American culture. Instead of singing the songs and dancing the dances of their ancestors many young Aboriginals are rapping and grinding. (Dean, April 8). Many Aboriginals, old and young, feel no real tribal identity or language, no connection with Dreaming, and are left confused by who they are in the middle of two conflicting cultures (Bourke, 133). Without their art, song, and dance the Aboriginal culture has no history, meaning, future, or heartbeat. It is imperative to the future of Aboriginal tribes that they reconnect with the wisdom and ceremony of their ancestor’s art, song, and dance, while continuing to gain the tools to function in today’s westernized Australian culture. Bibliography Barrington, Robin. â€Å"Indigenous Australian Aboriginal Art. † Presentation, Introduction to Indigenous Australia tutorial, Curtin University of Technology, Bentley campus. April 12, 2010. Bourke, Eleanor. â€Å"On Being Aboriginal. † In Identifying Australia in Postmodern Times. Melbourne: Bibliotech, Australian National University, 1994. â€Å"Ways of Working: Aboriginal Cultural Awareness Modules. † Workshop, Centre for Aboriginal Studies at Curtin University of Technology, Bentley campus. April 8, 2010. Edwards, Robert and Bruce Guern. Aboriginal Bark Paintings. Canberra: Rigby, 1970. Kreczmanski, Janusz B. , and Margo Stanislawska-Birnberg. The Tjulkurra: Billy Stockman Tjapaltjarri. Marleston: Jb Books, 2002. 1-7. Mayrah, Yarraga. â€Å"Aboriginal Culture. â€Å" Indigenous Australia – Aboriginal Art, History and Culture. http://www.indigenousaustralia. info (accessed April 20, 2010). McGregor, Ken and Jenny Zimmer. Bill Whiskey Tajapaltjarri. Victoria: Macmillian Art Publishing, 2009. 15-23. Morphy, Howard. Ancestral Connections: Art and an Aboriginal System of Knowledge. Chicago: University Of Chicago Press, 1991. Pizzi, Gabrielee. Voices of The Earth: Paintings, Photography, and Sculpture from Aboriginal Australia. Melbourne: A private collection. 7-16. ‘The Land My Mother’ or ‘Walya NGamardiki. ’ Movie, Introduction to Indigenous Australia tutorial, Curtin University of Technology, Bentley campus. March 8th, 2010.