Conflicting Moral Arguments Louis Vaughn s Philosophy,...

Conflicting Moral Arguments Louis Vaughn states that the purpose of morality is not to describe how things are, but to â€Å"prescribe how things should be† (2). In Philosophy, moral relativism and moral objectivism are two conflicting but somewhat overlapping school of thought. These beliefs govern the way an individual acts; they also decide the ethical guidelines from which the law is written. In this essay we will delineate the differences between the two sects of belief. Pojman asserts that many people self-report as moral subjectivists; he writes that humans fall victim to rashly praising relativism for its tolerance of other cultures. He cautions that when individuals’ morals are subjectively graded, then â€Å"notions of good and bad, right or wrong, cease to have interpersonal evaluative meaning† (33). For example, deeds of injustice, such as indiscriminate killing and theft, are forgivable because each individuals are arguably entitled to their subjective morals. Moral relativism explains plenty of cultural differences. It allows different societies to have different standards of rightness and validates them. John Ladd details, â€Å"[as a result,] whether or not it is right for individuals to act a certain way depends on the society to which they belong† (31). He concludes that there is no absolute or universal moral standard by which all men abide by. By combining the diversity thesis (each culture is different) and the dependency thesis (people act differently dependent of

Marketing Strategy And Mix Of The T 150 Truck Line

Marketing Strategy and Mix Marketers of the F-150 truck line traditionally target the construction industry with heavy towing capabilities and large carrying capacities. In January of 2015, â€Å"Ford starts most comprehensive truck marketing campaign to introduce the toughest, smartest, most capable F-150 ever† (Ford Motor Company, 2014). Marketers again target the working class men who depend on reliability, durability, and capability. Ford bombards the television ads, radio talk shows, consumer websites, print ads, and Hispanic sports competitions with information promising toughness. On the first day of the campaign, Ford placed three television commercials during a nationally televised college playoff football game showcasing the 2016 F-150. The first commercial, forward march, introduced the F-150 as being tougher, smarter, and more capable than the competition. The second advertisement, what’s next, concentrated on innovations such as a remote releasing tailgate, LED lighting, and a three hundred sixty degree exterior camera. The third commercial, move it, let consumers know that the 2015 F-150 has the best-in-class, six ton capacity payload (Ford Motor Company, 2014). The official Ford website has various videos informing the consumer on various topics including: road handling, an aluminum body that reduces the truck weight by seven hundred pounds, six ton load capacity, back up turning knob control and camera, safety, fuel efficiency, strength, and innovation (2014).Show MoreRelatedCase Study : Ford Truck Marketing Strategy1650 Words   |  7 PagesF150 Ford Truck Marketing Strategy Rugged, stylish, comfortable, economic, and most of all, dependable. The Ford F-150 is the pickup truck that changed the nation. From its very beginning, the Ford truck has taken care of its owner’s necessities from hauling hay to visiting family and friends. Since its inception, the Ford Motor Company (FMC) has earned the loyalty of its customers. Most of all, the ford pickup truck has earned the respect of farmers, families, and businessmen alike. How did theRead MoreFord Motor Company Essay6355 Words   |  26 PagesMotor Company. Ford Motor Company has managed to stay ahead of their competitors, GM and Chrysler. In spite of the hike in the gas prices, the slump in the economy, and the housing fiasco, they have managed to survive in this tough economy. The strategies Ford Motor Company uses to conduct business consist of consumer focus, creativity, resourcefulness, and entrepreneurial spirit. Ford Motor Company is a leader in environmental responsibility and they strive t o make a positive contribution to societyRead MoreMarketing Analysis: Cabelas2700 Words   |  11 PagesMarketing Analysis U10a1 Heidi Ortiz Hortiz1@capellauniversity.edu BUS 3030 Fundamentals of Sales and Marketing September 13, 2011 Company Description Section Cabela’s, the world’s foremost outfitter, offers quality hunting, fishing, camping, and outdoor gear at competitive prices. Their main marketing objective is to be the market leader in this space. 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The Nano s development has been tempered by the company s success in producing the low cost 4 wheeled Ace truck in May 2005. According to Tata Group s Chairman Ratan Tata, the Nano is a 33  PS (33  hp/24  kW) car with a 623 cc rear engine and rear wheel drive, and has a fuel economy of 4.55 L/100 km (21.97 km/L, 51.7 mpg (US), 62 mpg (UK)) under city roadRead MoreWhey Hey Marketing Opportunity Analysis Essay example6733 Words   |  27 PagesCompany Analysis 9 3.1 WheyHey Analysis 9 3.2 SWOT Analysis 10 4.0 Key Issues Entering market 11 4.1 Segmentation 11 4.2 Major Target market 12 4.3 Potential customers 13 4.4 Positioning 13 4.5 Differentiation strategies 14 5.0 Marketing Objectives and Communication Objectives 14 6.0 Marketing Mix 15 6.1 Product 15 6.2 Pricing 16 6.3 Place 18 6.4 Promotion 19 7.0 Financial Plan 21 8.0 Entry Mode 22 9.0 Key Trends in the Next 5 Years 22 9.1 Continued Growth of Health and Wellness 22 9.2 Rise on ObesityRead MoreStrategy of Tissot Analysis3843 Words   |  16 PagesWRISTWATCH MARKET 2 II. TISSOT INDUSTRY 3 1. History 3 2. Sales analysis 4 3. Marketing and sales 5 III. 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Evaluate two Theories. Piaget and Kolhberg free essay sample

This assignment will describe and evaluate two theories in developmental psychology. Firstly looking at Piaget’s Theory then followed by Kohlberg, then an evaluation of the similarities and differences of the two. It will provide evidence of how Piaget’s and Kohlberg’s theory both suffer from the same criticism’s as they both use dilemmas with a particular criteria of a child and culture. The theory only considers a child’s beliefs not its actual behaviour. Jean Piaget was born in Switzerland. Piaget used children to assess moral development. He did this by giving the children specific games to play the most popular one being marbles. As he studied he observed the way the children applied the rules and their reasoning to change the rules. In addition to this he also clinically interviewed children and asked hypothetical questions about lying and cheating. This gave him an insight about how children make decisions and what their beliefs consist of. He also learned how they determined knowing right from wrong. To Piaget children are born with very basic mental structure. An example of a story Piaget would give to a child would be there are two children one child has been told not to go into the cupboard to get a biscuit, the child does this and knocks over one cup in the process. The other child accidently knocks five plates off the dinner table, as they have walked through the door. Piaget concluded to the three stages shown below based on the children’s answers from asking questions similar to the above. Piaget hypothesized three stages; Pre Moral; Heteronomous; Autonomous reality. He believed that the pre moral stage children have no concern or awareness of rules; this is age zero-five years. Piaget then moved on to Heteronomous stage, here he concentrated on children ages five-nine years. He believed that these children had adherence to rules and duties and obedience to authority. The third stage being Autonomous, Piaget concentrated on children who were ten plus years. He found that children were aware of rules and agreements and these can be considered critically, also rules can be selectively applied depending on intention or mutual agreement. The quote below backs up Piaget’s theory. â€Å"In accordance with Piaget’s view a strong relationship was found in Weston cultures between age and children’s level of moral reasoning. Younger children more often display aspects of heteronomous morality and are inclined to judge the consequences of a deed as more important than the motives of the transgressor when passing moral judgement. (Hoffman, 1970;Lickona,1976;Surber 1982) Piaget’s theory has also been criticized â€Å"According to Authors such as Berk (1994a) and Shaffer (1993) Piaget underestimates the Moral understanding of younger children. They contend that there are indications that children can make moral decisions at an earlier stage than Piaget’s research. † Piaget’s critics believe that moral development will continue through to adulthood and even then it can still be varied. Lawrence Kohlberg was a Jewish American psychologist. He specialised in moral education and reasoning. Kohlberg was inspired by Piaget and decided to modify and expand on Piaget’s work to form a theory that explained the development of moral reasoning. Kohlberg based his theories upon research and interviews with groups of young boys. He gave them a set of moral dilemmas and then interviewed them to determine the reasoning behind their answers. From doing this research Kohlberg created a model that consisted of 3 levels and 6 stages. Level one is Pre-Conventional. Stage one is Obedience and punishment; at this stage of moral development, children under 9 years old see rules as unquestionable and permanent. Conforming to the rules is important because it means to avoid punishment. Stage two is Instrumental-Relativist and it focuses on individual’s point of view and how they judge circumstances for their personal needs. Level two is the Conventional level; stage 3 is Interpersonal Relationships living up to people’s expectations and being a considerate human being, this will be most adolescents and adults. Stage 4 is Maintaining Social Order all laws should be obeyed and authority must be respected. Level 3 is Post- Conventional. Stage five is Social contracts and individual rights. At this stage people have different values; opinions and beliefs of their people around them. Rules are important in a society but people of the society should agree on these rules. Stage six Universal ethical principles; at this stage Laws should be obeyed, but changed if not ethical and even if they conflict with laws and rules. (Baron 1996) (Active Psychology) Stage six is only ever reached by 10% of adults as operation thinking is needed. The individual must be capable of abstract thought. â€Å"We are not convinced that many people ever progress beyond stage 4 â€Å" (Shaver and Strong1976) The best known criticism of Kohlberg’s came from Carol Gilligan 1982 who claimed that women scored lower on Kohlberg’s tests because those tests were male biased. (EPSA Philosophy of science Amsterdam 2009 Google book) In addition to being questioned about the influence of gender, others have suggested that Kohlberg’s theory of moral development is culturally-biased. Specifically, researchers have posited that the highest stages of his theory reflect a westernized ideal of justice based on individualistic thought and that it is biased against those that live in non- Western societies that do not value individualism as much ( Shaffer, Wood, Willoughby, 2002) There are many similarities between Piaget and Kohlberg’s theories; Children go through different stages of moral development. It is believed that clinical interviews were the best method for studying children’s moral development. Piaget and Kohlberg both gathered data by asking questions based on hypothetical questions. The differences; Piaget believed that moral development had completed by end of middle childhood. Kohlberg believed children continued to develop past autonomous reality. There is evidence that Kohlberg’s and Piaget’s theories are both gender and culture bias. They both use dilemmas with particular criteria of a child and culture. Piaget influenced Kohlberg to research Moral Development and found stages beyond Piaget’s model. This was also affirmed by Shaffer. Kohlberg and Piaget both in theory hypothesise the same but have different results. Both theories are both gender and culture bias. They both use dilemmas with particular criteria of a child and culture. Piaget influenced Kohlberg to research Moral Development and found stages beyond Piaget’s model. This was also affirmed by Shaffer.

Shakespeare and the Elizabethan Language Essay Example For Students

Shakespeare and the Elizabethan Language Essay second essay Choose any two plays from the texts we have discussed this term and show how they develop a critique of the court as an institution. Many of Shakespeares plays are saturated with the political world in the light of the presentation of its ideals, effects on character and their relationships and above all, typical human nature. It reveals unconsciously Shakespeare pessimistic attitude towards the court. He considers it to be a cultural structure, which signifies that it carries stereotypes and expectations. He implicitly challenges, in almost all his plays, the conventional ideologies that are built up around the institution of the court. These are of courtesy and good relations towards other members of the court and the public domain which are controlled by respectability, diplomacy and honesty. Queen Elizabeth is said to have stated we princes are set on stage in sight and view of all the world. 1 The above ideological institution is too good to be true. Shakespeare presents use with an accurate and present portrayal of the court. Today it is considered the norm but new historicists draw attention to the fact that he dramatises disruptions in the royal court at a time, the sixteenth century, when the absolute power of the monarchy was being tested by the irresistible rise of capitalism. For example, rather than his plays which involve the court being a powerful, imaginative expression of Shakespeares comprehension of the universal and timeless human condition, the play is perceived as a outcome of Elizabethan culture, as it passed through a period of extraordinary upheavals. They dramatise the struggles of its time, whilst also reflecting society of today in the light of the court, Looking at the above characteristics of the court, I believe that the depiction of the court is built up mainly on character and the opinions of others towards that figure. I am going to concentrate on the characters in the plays Hamlet and Macbeth and consider their relation and role to the institution of the court. Shakespeare looks at motifs such as power, ambition, persuasion and loyalty which corrupt these ideals of the court. As a body they may appear a model of authority but when looking into individual characters and how they perceive the court we realise it is far from ideological. Additionally I will contemplate how politics moves the narrative and provokes context within the play. Without the support of political ties, Hamlet would not carry the extensive depth as it does. For instance, when the ghost of Old Hamlet visits Horatio and the guards, in the opening scene, Horatio remarks that once the old King had slain the old Fortinbras and, in victory, taken some of his lands. He continues that the young Fortinbras could be is gathering up an army to, possibly reclaim this land. Without this apparently unstable political situation, the ghost may not have received the same attention. In addition, the reader/audience would not have been provided with this important information about the old Kings heroic character which so sparks Hamlets admiration, which has plenty to do with Hamlets actions later on. It is interesting at the end of the play that right before he dies, Hamlet bestows the rights to the land on Fortinbras. They are both sons who have lost their fathers for political reasons: the old King killed Fortinbras father for the land, and Claudius murdered the old King for power. Political power, that is. This ending is in many ways a convoluted reflection of the events of the past. It would be wrong to say that Hamlet is not a political playthe lust for power is a driving force in it, as is the need for political control of Denmark, as King, that sets it all in motion.

Sample Essay Questions For Romeo and Juliet

Sample Essay Questions For Romeo and JulietSample essay questions for Romeo and Juliet will help you write a perfect love letter. These sample questions can help you develop a theme and avoid common mistakes that may be encountered when writing a good love letter.Write a scene. The scene for Romeo and Juliet is the scene of their fight. The scene could be one that takes place in a crowded street, or in a deserted palace. Each scene will provide you with a specific look at the relationship between Romeo and Juliet.Describe your close friend or associate as the narrator. In this example, you can be yourself, or pretend to be someone else. Your close friend can be Henry, or he can be any other character. As long as your friend is included in the scene, then the scene will be an accurate representation of the love between two friends.If Henry was not your close friend, you can then turn the scene into a serious romantic interest. This is a great way to draw in your readers because you wi ll give them a deep insight into your character. You might choose to use your friend as the narrator. You should not use real names, but instead use a description of who your friend is.Have some kind of argument. The writer should learn how to use his or her word power effectively and craft a discussion from the written material. This conversation can be interesting or boring. In either case, the writer will end up with a great scene. The purpose of this scene is to create a dialogue so that the reader can hear the thoughts and emotions of the characters.Remember the basics of composition, and make sure to follow these basic rules. If the letter is to be sent to a parent, then have your parent as the author. When you are writing sample essay questions for Romeo and Juliet, use the same rules for a parent's essay that you would for a student's essay.Use body paragraphs to show the excitement of the romantic interest and to show the interest plays out. The writer can give the reader a glimpse into the lives of each character.Sample essay questions for Romeo and Juliet can be a great way to learn about your characters. After you have finished these sample questions, you will have a much better idea of how to write a great love letter for your own needs.

The Invention of Photography The Daguerreotype Essay Example For Students

The Invention of Photography The Daguerreotype Essay Photography has become the catalyst for social and cultural memory and a tool for scientific advancement. The world owes a great deal to the early inventors of the latent image for their patience and skill, for without photography one might consider the world an unmemorable place. The first step in photography’s dissemination into the world came by way of a Frenchman named Louis-Jacques-Mande Daguerre. His process known as the daguerreotypes quickly circulated throughout the Western world, and Daguerre, from the day of the daguerreotype announcement in August 1839, became known to the world as the father of photography. Understanding the importance of Daguerre’s process of the daguerreotype requires an analysis with three particular categories; the first being the historical context in which the process was created. Secondly, social and cultural significance of the daguerreotype era plays a vital role in how the process is understood as a photographic object, and how it functioned in the society in which it thrived in the latter half of the nineteenth century. Thirdly, one must examine the process of deterioration and preservation to be aware of the physical nature of the object, and methods of ensuring the longevity of the image. We will write a custom essay on The Invention of Photography The Daguerreotype specifically for you for only $16.38 $13.9/page Order now Amalgamating these components will allow for a full analysis of a daguerreotype image and provide a case for the importance of daguerreotype images within photographic collections. Historically, the antecedent to the invention of photography can be traced as far back as the fifth century BC when Mo Ti recorded that â€Å"the reflected light rays of an illuminated object passing through a pinhole into a darkened enclosure resulted in an inverted but otherwise exact image of the object. This concept of using a small aperture to project images resulted in inquisitive experiments through the following centuries until the Renaissance when a device was created that would manage and direct this optical phenomenon. The apparatus was called the camera obscura, literally translated to dark room and â€Å"is basically a dark chamber, or box, with an opening at one end through which light passes. The light entering the camera obscura falls onto the wall opposite to form an image. † The d evice became a popular tool for those interested in rendering an exact pictorial representation of physical nature. Algarotti, a writer on art and science in the latter half of the eighteenth century, advocated the use of the camera obscura stating that â€Å"Painters should make the same use of the Camera Obscura, which Naturalists and Astronomers make of the microscope and telescope; for all these instruments equally contribute to make known, and represent Nature. † The camera obscura and the science of light rays continued to develop throughout the eighteenth and nineteenth centuries as technology advanced. Further developments were made to the camera obscura by adding lenses of different lengths to sharpen and broaden the image. The experiments with light and perception were then coupled with the knowledge of chemical compounds that would later lead to photographic science. In 1725 Johann Heinrich Schulze discovered that â€Å"silver nitrate darkened when exposed to sunlight and that this change was the result of exposure to light and not heat. † This discovery is crucial to photography as it forms the basis for the science of the medium. As time progressed, experiments involving silver halides and their reaction with light slowly crept closer to the invention of photography. Particularly, the work of Thomas Wedgwood and Humphry Davy was an immense contribution to photographic science. Wedgwood and Humphry discovered that â€Å"it was possible to chemically transfer by means of light,† and had they been able to find a way to arrest the development of the silver salts photography may have been introduced forty years earlier. The stage was set for photography, and successful experiments were recorded during the same time as Daguerre worked on his theory. Joseph Nicephore Niepce, who would become Daguerre’s partner, played a crucial role in the daguerreotype’s development. Without Niepce’s experiments daguerreotypes may not have been on a metal support. Niepce worked with a process he called Heliography, meaning sun-writing. In this process he used bitumen, a material â€Å"that hardens and becomes insoluble when exposed to light. † He used glass and pewter coated with bitumen as supports for the transfer of engravings. The engraving would be made translucent with lavender oil or varnish and placed against the bitumen. Placing the sandwich into the sunlight for exposure â€Å"the bitumen hardened on the portions not covered by the lines of the print and remained soluble on the rest of the plate; after washing, an image appeared with the bare pewter forming the line. † In 1827 Niepce created his famous positive-negative image from his home in France using a camera obscura with a pewter plate coated with bitumen placed inside the camera. During the same time period, William Henry Fox Talbot was working in England on his calotype process. Talbot used writing paper coated with silver nitrate and soaked in a solution of potassium iodide to create what he termed iodized paper. Before the paper was exposed a solution of silver nitrate and gallic acid was used to coat the iodized paper. The treated paper was then exposed in the camera using an exposure time from one minute to an hour. A latent image was formed by the action of light on the treated paper. In a darkened room, the paper was then washed in another bath of silver nitrate and gallic acid to develop the latent image. The paper would then be washed in a fixing solution of potassium bromide or a solution of hypo. A positive image could be made from the calotype negative and was usually done so by using Talbot’s original process of salted paper, which yielded the best results from the negative. This process included soaking a sheet of paper in table salt, and when dried, brushing on a solution of silver nitrate as to embed light-sensitive silver chloride into the paper fibers. Sandwiched under glass against the calotype negative and exposed to bright sunlight a visible positive image appeared. The image would be fixed, as the negative was, washed and dried. Talbot’s process was introduced to the world in 1841, but under the restriction of a patent, which is one reason the daguerreotype generated a greater popularity in the latter half of the nineteenth century. Daguerre himself was also experimenting with trying to fix the image produced in the camera obscura. His interest was a result of his work with the Diorama in Paris. The Diorama was a popular form of entertainment in the 1830’s of which Daguerre was the creator and proprietor. Daguerre used his skill to render the effect of light to create the illusion of time and movement on mural sized paintings. In so doing, the Diorama provided the illusion of a moving picture show. Daguerre used the camera obscura to aid in his paintings for the Diorama, which triggered his interest in a method of freezing the reflected image of the camera. The collaboration between Daguerre and Niepce began in 1827 when the two men were introduced by their mutual optician in Paris, Charles Chevalier, who noticed both were working towards a common goal in their experiments. After two years of communication Daguerre and Niepce entered into a partnership to mutually work towards fixing an image. After Niepce’s death in 1833 Daguerre took the basis of his research and continued to improve on the theories of using a silver plate coated with iodine. It was in 1835 when Daguerre discovered that mercury fumes could bring the latent image to surface on the exposed silver plate. Further investigation lead Daguerre to discover that a solution of common table salt and hot water would stop further development of the image. .ua52d01da3a9c0ff9d24cd29ab7e37829 , .ua52d01da3a9c0ff9d24cd29ab7e37829 .postImageUrl , .ua52d01da3a9c0ff9d24cd29ab7e37829 .centered-text-area { min-height: 80px; position: relative; } .ua52d01da3a9c0ff9d24cd29ab7e37829 , .ua52d01da3a9c0ff9d24cd29ab7e37829:hover , .ua52d01da3a9c0ff9d24cd29ab7e37829:visited , .ua52d01da3a9c0ff9d24cd29ab7e37829:active { border:0!important; } .ua52d01da3a9c0ff9d24cd29ab7e37829 .clearfix:after { content: ""; display: table; clear: both; } .ua52d01da3a9c0ff9d24cd29ab7e37829 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ua52d01da3a9c0ff9d24cd29ab7e37829:active , .ua52d01da3a9c0ff9d24cd29ab7e37829:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ua52d01da3a9c0ff9d24cd29ab7e37829 .centered-text-area { width: 100%; position: relative ; } .ua52d01da3a9c0ff9d24cd29ab7e37829 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ua52d01da3a9c0ff9d24cd29ab7e37829 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ua52d01da3a9c0ff9d24cd29ab7e37829 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ua52d01da3a9c0ff9d24cd29ab7e37829:hover .ctaButton { background-color: #34495E!important; } .ua52d01da3a9c0ff9d24cd29ab7e37829 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ua52d01da3a9c0ff9d24cd29ab7e37829 .ua52d01da3a9c0ff9d24cd29ab7e37829-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ua52d01da3a9c0ff9d24cd29ab7e37829:after { content: ""; display: block; clear: both; } READ: Edward Weston: American Photographer EssayDaguerre realized the potential of his findings, and immediately began to seek a venue to sell his invention. It was through the collaboration with esteemed scientist Francois Arago that Daguerre achieved his financial reward. An agreement was met between Niepce’s son, Isidore, to name the process the daguerreotype as Daguerre felt he had furthered the process enough to call it his own. Arago introduced the daguerreotype to the Academie des Sciences in France on August 19, 1839 to rave reviews. A booklet was produced detailing the process and descriptive drawings of the equipment used. The daguerreotype process that was given free to the world was made on a sheet of silver-plated copper polished to mirror-like luminosity. The plate was exposed to the fumes of iodine to create a light sensitive silver halide. A latent image would then be formed on the silver plate after an in-camera exposure. The plate was then exposed to mercury fumes, which act as a catalyst to bring the silver particles to the surface of the plate. Finally, the image was fixed in a bath of sodium thiosulfate to remove the remaining photosensitive silver. The brilliance of the image in its tonal range and its unsurpassed ability to render detail are due to the microscopic scattering of silver particles. The result is a reversed, unique image suggested by Arago in his address to the Academie des Sciences, as having multiple uses in the sciences and the hopes of portraiture. The daguerreotype quickly disseminated around the Western world, and although it was a French invention, it thrived in America. Samuel F. B. Morse, who had witnessed Daguerre’s invention in Paris, first introduced America to the daguerreotype in 1839 in an article in the New York Observer. The photographic medium was embraced by Americans, and according to Allan Trachtenberg, this was because of the social and political climate of the late 1830’s. America was undergoing reform in many social institutions and scientific methodologies. Forums for the practice of daguerreotypy quickly emerged within the social context of America, and the daguerreotype aided in the projection of new ways of thinking and pushed the impetus of American nationalism. The proliferation of the use of the daguerreotype for portraiture was overwhelming in America. Further advancement with Daguerre’s process made it possible to achieve shorter exposure times, and therefore, made portraiture a possibility. The daguerreotype replaced the expensive painted miniature, making it achievable for the common person to afford a portrait. Portrait studios sprung up all over the country, particularly on the east coast where there were thousands making money off of the new, highly demanded medium. Most notable of these practitioners are Albert Sands Southworth and Josiah Johnson Hawes who had a studio in Boston. The two men were highly regarded for their extreme skill and exceptionally executed portraits. Daguerreotypes made by Southworth and Hawes are noted for their lighting, composition and posing. Compared to other portrait daguerreotypes, Southworth and Hawes exemplify the height of the medium as an art form. As seen in figure 1, the young ladies appear natural and graceful. The image projects a mood with carefully directed lighting and artful composition. The daguerreotype portrait was readily accepted into American culture as a tactile object. Replacing the painting miniature, the daguerreotype because of its fragile surface was placed into protective and decorative castings. The casings of daguerreotypes are important in their function in society, as they attribute to the precious and sentimental value of the object that would be handled and reviewed regularly. To create a daguerreotype case â€Å"a mat was placed in front of the image with a piece of glass in front of that, and all was permanently held in place by sealing paper around the edges. By 1847 a small frame of paper-thin brass called a mat preserver further wrapped the edges and became popular as an extra protection and enhanced decoration for the presentation. The whole unit was in a miniature case, and the item was complete. † This protective casing not only allowed for the handling of the portraits, but also added a decorative and lavish embellishment. The casing can also be used as a dating method. The image in figure 2 has no known information, however, the mat preserver has lead the author to estimate the image was made between 1850 and 1860, as this form of mat preserver was used during that decade. The daguerreotype also played a significant role in new methodologies surrounding scientific milieus. Arago predicted the daguerreotype’s value to supply â€Å"immediate and faithful detail for astronomers, naturalists, and physicians who had formerly relied on the skillful but subjective hand of the artist to copy objects of research. † The extreme depth and detail of the daguerreotype image provided a visual record inconceivable by the human hand. The benefit to scientific cataloging and visual records was unsurpassable. The daguerreotype was also used in the science of polygenesis, which during the latter half of the nineteenth century was based on the belief that each race was a distinct species. Louis Agassiz’s slave daguerreotypes (figure 3) exemplify the racial and political uses of photography during this time period. The images of the slaves â€Å"had two purposes, one nominally scientific, the other frankly political. They were designed to analyze the physical difference between European whites and African blacks, but at the same time they were meant to prove the superiority of the white race. † The Agassiz images are an example of the discursive uses that daguerreotypes were used to support. The nature of the subject matter within the daguerreotypes took on a meaning that projected the cultural theories and atheistic values of the politics of race in the nineteenth century. Whether a daguerreotype image was being used for portraiture or science the image was appropriated into the social context of the nineteenth century. The daguerreotype image changed the mechanics of self representation and created an industry in America that became monumental in cultural and political framework of a restructuring nation. Daguerreotypes brought to science a meticulous visual record, unsurpassed by anything the human hand could render, which pushed scientific fields in new methods of discovery. Furthermore, the daguerreotype was used to support the controlling forces of the period. The nature of the image in its clarity and brilliance, created a visual truth that could not be denied due to the daguerreotype’s reputation of a lucid and objective representation of reality. Understanding the daguerreotype requires an analysis of the make-up of the image structure, and the implications of deterioration so as to protect the irreplaceable, unique object. As can be seen in a microscopic image, â€Å"the image is encoded on the array of particles on the plate’s surface. Understanding the interaction of the particle-studded surface with reflected light allows us to account for image appearance, quality, and the loss of image when daguerreotypes become tarnished or corroded. † Susan Barger and William White suggest that the daguerreotype is defined by the microstructure rather than the chemical composition. .uac38b3376492a18fffd9b342703e4da4 , .uac38b3376492a18fffd9b342703e4da4 .postImageUrl , .uac38b3376492a18fffd9b342703e4da4 .centered-text-area { min-height: 80px; position: relative; } .uac38b3376492a18fffd9b342703e4da4 , .uac38b3376492a18fffd9b342703e4da4:hover , .uac38b3376492a18fffd9b342703e4da4:visited , .uac38b3376492a18fffd9b342703e4da4:active { border:0!important; } .uac38b3376492a18fffd9b342703e4da4 .clearfix:after { content: ""; display: table; clear: both; } .uac38b3376492a18fffd9b342703e4da4 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uac38b3376492a18fffd9b342703e4da4:active , .uac38b3376492a18fffd9b342703e4da4:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uac38b3376492a18fffd9b342703e4da4 .centered-text-area { width: 100%; position: relative ; } .uac38b3376492a18fffd9b342703e4da4 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uac38b3376492a18fffd9b342703e4da4 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uac38b3376492a18fffd9b342703e4da4 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uac38b3376492a18fffd9b342703e4da4:hover .ctaButton { background-color: #34495E!important; } .uac38b3376492a18fffd9b342703e4da4 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uac38b3376492a18fffd9b342703e4da4 .uac38b3376492a18fffd9b342703e4da4-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uac38b3376492a18fffd9b342703e4da4:after { content: ""; display: block; clear: both; } READ: The Invention and History of Indian Film EssayTherefore, the silver-mercury particles that form the image on the plate will inevitably change over time and cause deterioration of the plate surface and alter the appearance of the image. The image in figure 2 has noticeable tarnish deterioration around the mat edge. This coloured tarnish is a complicated chemical compound primarily based on silver oxide, as such, the silver particles darken with age and produced the tarnish damage that is visible in figure 4. The image in figure 2, and the microscopic enhancement of that image in figure 4, conveys a strongly constructed image structure. This is known because of the highly visible negative-positive image on the plate and clear definition of tone. The author is lead to believe that this plate would have been created with multiple halide coatings. Adding bromine and a second coating of iodine to the plate before exposure in the camera was an advancement made after Daguerre introduced the daguerreotype. Susan Barger explains that â€Å"the major contribution of multiple sensitizations is that it improves the possibility of forming the optimal microstructure which will produce the best visible image. The image stability in figure 2 would also suggest that the daguerreotype has not been a victim to harsh cleaning methods that were employed in the early part of the twentieth century. Daguerreotypes have been casualties of untimely corrosion due to improper and harmful cleaning methods. Due to the delicate microstructure of the image the use of solvent cleaners, such as potassium cyanide, to remove tarnish has also removed part of the image structure, namely, silver, mercury, gold and copper. The use of inappropriate cleaners has caused many daguerreotypes prior to the 1970’s to suffer from image fading. The growth of molds can also plague daguerreotypes caused by the decomposition of the glass cover. Cleaning methods have been highly tested and monitored over the past thirty years by Susan Barger and her colleagues. Barger suggests that the electrocleaning process is the safest and most efficient method of cleaning tarnish corrosion. Using this method, a silver wand is used to target the problem areas while the daguerreotype is placed in a bath of ammonium hydroxide. Using electrodes and electrolytes the daguerreotype is spot cleaned resulting in successful removal of tarnish while keeping the microstructure unaltered and free of further corrosion products. In the case of molds the daguerreotype should be re-packaged with modern glass and an unbuffered board to provide a low alkaline environment. The most important measure that can be taken to prevent mold growth is to maintain a constant relative humidity in the storage environment, as to avoid temperature change within the glass encasement. Ensuring there are proper cleaning and storage conditions for daguerreotypes is vital in their longevity. It is thanks to the delicate microstructure of the daguerreotype image that one can marvel in its extreme rendering of detail, but it is also the microstructure that requires stable conditions to maintain the particle composition that provides such detail. It is evident that the evolution of the daguerreotype is strongly based in the areas defined above. The historical context that surrounds the daguerreotype at the time if its inception is key to its dissemination throughout the Western world. The predecessors to Daguerre’s invention are vital in photography’s history, as they too play an important role in the development of the science of light and optics, as well as the progression towards the understanding of photochemistry. Daguerre’s partnership with Niepce is also essential in the daguerreotype’s invention. Without Niepce, Daguerre would not have the image support of metal or basic chemistry that builds the skeleton of his process. Historical context, therefore, is crucial in understanding Daguerre’s invention, and why he is considered the creator of photography. The social and cultural implications of the daguerreotype flourished in America. Understanding that the social and political structure of America in the latter half of the nineteenth century was based in reform provides a cultural context as to why the daguerreotype proliferated there. The portrait daguerreotype took-over from the painted miniature, and this can explain the way the daguerreotype was cased. The casings were tactile objects to be shared and treasured, and the detailed decoration provided a status for the sentimental memento, as well as a protective housing. The daguerreotype also thrived within scientific milieus. The objective truth of the daguerreotype and mechanical nature provided precise and immediate records for many fields of scientific investigation. However, daguerreotypes were also appropriated, because of the nature of the medium, to project an idealistic thought of power. Looking at the microstructure of daguerreotype particles can help one to understand preservation and conservation issues. Being able to preserve these unique one-of-a-kind images is clearly beneficial due to the vast amount of information they hold as historical objects. The daguerreotype also provides the first piece of the photographic puzzle. Although the daguerreotype only prospered from 1840–1860 before being replaced by the reproducible and relatively more portable wet-collodion process, the social and cultural implications of the daguerreotype era are great. The facets of the daguerreotype’s inextricable structure of historical, social and physical elements bind to provide a view starting point for photography’s history. The daguerreotype, inevitably, represents the beginning of a medium. However, the daguerreotype is also a form of photography that no other process can shine a light to in terms of brilliance, detail and mystic. Bibliography: A History of Photography, â€Å"Camera Obscura,† Robert Leggat, http://www.rleggat.com/photohistory/index.html (accessed November 26, 2006). Banta, Melissa. A Curious Ingenious Art: Reflections on Daguerreotypes at Harvard Iowa City: University of Iowa Press, 2000. Barger, Susan M., S.V. Krishnaswamy, and R. Messier. â€Å"The Cleaning of Daguerreotypes: Comparison of Cleaning Methods,† Journal of the American Institute for Conservation 22 no.1 (1982), http://www/jstor.org/ (accessed November 26, 2006). Barger, Susan M., William B. White. The Daguerreotype: Nineteenth-Century Technology and Modern Science Baltimore: John Hopkins University Press, 2000. Buerger, Janet E. French Daguerreotypes. London: University of Chicago Press, 1989. The Daguerreian Society. http://www.daguerre.org/ (accessed November 25, 2006). Foresta, Merry A., and John Wood. Secrets of the Dark Chamber: The Art of the American Daguerreotype. Washington, D.C.: National Museum of American Art, Smithsonian Institution Press, 1995. Mace, O. Henry. Collector’s Guide to Early Photographs. Iola: Krause Publications, 1999. Mattingly, Carol. Appropriate Dress: Women’s Rhetorical Style in Nineteenth- Century America. United States of America: Southern Illinois University, 2002. The Metropolitan Museum of Art. â€Å"Divine Perfection: The Daguerreotype in Europe and America.† The Metropolitan Museum of Art Bulletin 56, no. 4 (Spring, 1999), http://www.jstor.org/ (accessed November 26, 2006). Newhall, Beaumont. Daguerre. New York: Winter House Ltd., 1971. Newhall, Beaumont. The Daguerreotype in America. New York: Dover Publications, 1976. Romer, Grant, and Brian Wallis, eds. Young America: The Daguerreotypes of Southworth Hawes. New York: International Centre of Photography; George Eastman House, Gottingen, Germany: Steidl, 2005. Rosenblum, Naomi. A World History of Photography. New York: Abbeville Press, 1997. Severa, Joan L., ed. My Likeness Taken: Daguerreian Portraits in America. Ohio: Kent State University Press, 2005. Wallis, Brian. â€Å"Black Bodies, White Science: Louis Agassiz’s Slave Daguerreotypes,† American Art 9, no. 2 (1995), http://www.jstor.org/ (accessed November 26, 2006). Wood, John, ed. The Daguerreotype: A Sesquicentennial Celebration. Iowa City: University of Iowa Press, 1989.

The dangers of Following Traditions Blindly Essay Essays

The dangers of Following Traditions Blindly Essay Essays The dangers of Following Traditions Blindly Essay Paper The dangers of Following Traditions Blindly Essay Paper Essay Topic: The Lottery and Other Stories Symbolism is the application of symbols to mean things or convey them to mind. In her narrative â€Å"The Lottery† . Shirley Jackson expresses her emotions towards man’s sloppiness and violent patterns of traditions. This is shown when the lottery takes topographic point in the narrative and the â€Å"winner† is stoned to decease to assist harvest growing in the small town. Shirley Jackson uses symbolism to stand for a sequence of events that occur throughout the narrative. She uses symbolism in the characters’ names. the black box. and the lottery itself. Symbolism is exposed in â€Å"The Lottery† in some of the characters’ names. which include Mr. Summers. Mr. Graves. Old Man Warner. and Mrs. Delacroix. In the narrative. Mr. Summers is a adult male who is responsible for all the civic activities including the lottery. His name is symbolic because the tradition of the lottery takes topographic point in the summer clip. Besides. the word summer is used to depict felicity. beauty. and repose. So. despite the feelings of felicity and relaxation that may come from his name. Mr. Summers plays a function in assisting with the decease of a villager. Mr. Graves. the holder of the black box. assists Mr. Summers in carry oning the lottery. Mr. Grave’s name symbolises decease which is the result of the short narrative â€Å"The Lottery† . His name foreshadows that decease is to come. The writer chose to tie in his name with his character. uncovering that Mr. Graves plays a function in the decease of the villagers. Old Man Warner is the oldest adult male in the small town. and has participated in 77 lotteries. He is fearful of alteration and hence. he does non desire any alterations in the tradition of the lottery regardless of the awful result. He expresses that when he says. â€Å"†¦used to be a stating about ‘Lottery in June. maize be heavy soon’†¦Ã¢â‚¬  Reading that his name is Old Man Warner. the reader would presume that he will warn people of making the right thing and that he will be the wisest one amongst all the villagers – since he is the oldest therefore the more experient one. However. he does non. and he demonstrates that when he is at the forepart of the crowd promoting people to throw rocks at the victim of the lottery. Tessie Hutchinson. and stating. â€Å"come on. come on. everyone† ( Jackson 6 ) . Mrs. Delacroix’s name is besides important in this narrative because the word â€Å"Delacroix† in Gallic agencies â€Å"of the cross† . In the Christian faith. the cross symbolizes self-respect. regard. bravery. and compassion. which is the exact antonym of the actions she portrays. In the narrative Mrs. Delacroix was the 1 who picked up the largest rock to throw at Tessie Hutchinson and said to her friend Mrs. Dunbar. â€Å"come on. haste up† ( Jackson 5 ) . When people think of the color black they think of immorality. darkness. and/or something bad. In this short narrative. a black box is used to keep the faux pass of paper that are drawn out by the villagers. The black box is moth-eaten and the villagers can see that clearly. nevertheless. they do non desire to replace it. As Shirley Jackson says in her short narrative â€Å"Mr. Summers spoke often to the villagers about doing a new box. but no 1 liked to upset even every bit much tradition as was represented by the black box† ( 1 ) . This quotation mark shows that because they think it is a portion of the tradition of the lottery. the villagers want to go forth it as it is. Shirley Jackson uses the color black to typify immorality ; the evil that will come from this black box. Shirley Jackson could hold besides used the black box as a mention to Pandora’s Box. In Grecian mythology. it is said that Zeus gave Epimetheus’ married woman Pandora a box and told her neer to open it. Out of wonder. Pandora opened the box and it unleashed all the bad things that exist in the universe such as hatred. poorness. and illness. Therefore. Shirley Jackson could hold used the black box in the narrative to typify that when the black box in â€Å"The Lottery† is opened. something bad will go on every bit good. Shirley Jackson uses a great sum of symbolism in the existent lottery itself. She uses the brutal and merciless patterns of the lottery to pull attending to the inhuman treatment found in society today. The lottery is a tradition practiced by these villagers to convey fortune in their maize growing. by giving a villager. It isn’t logical that any good would come out of lapidating person to decease. yet the traditions and patterns make the villagers think otherwise. The short narrative â€Å"The Lottery† uses a great sum of symbols to present what the writer wants her readers to see. Symbols such as the characters’ names. the black box. and the lottery itself make up the narrative and foreshadow events and thoughts that subsequently present themselves. In decision. by utilizing these symbols. Shirley Jackson was able to successfully portray her emotions towards man’s sloppiness. Plants Cited â€Å"Classic Short Stories† _The Lottery_ . Web. 26 March. 2010. â€Å"Online Dictionary† _Symbolism_ . Web. 26 March. 2010