Key Functions Of Human Resource Management Essay - 2433 Words

INTRODUCTION Human Resource Management is an essential function of any organization which is designed to meet a firm s objectives and strategies towards achieving it s goals. Human Resource Management is concerned with people management and lays down a framework of policies and guidelines within which the management of people is administered. To understand this business function more closely, we have been assigned with a group task to research and understand the functions and application of human resource management by choosing a New Zealand organization. By completing this task we should be able to report the main functions of human resource management which in turn would enhance our understanding on HRM. I chose SPARK NEW ZEALAND to carry out my research and understanding about it s Human resource functions and practices. Spark New Zealand , formerly known as Telecom is a New Zealand communications service provider which provides fixed line telephone services, mobile network , internet services and information and communications technology for businesses. Telecom New Zealand was originally formed in 1987 and was separated into three business divisions in 2008- Telecom Retail; Telecom Wholesale and Chorus, the network division. In 2011, Telecom and Chorus demerged and became separate listed companies with separate opera tional divisions and on 8th Aug 2014, Telecom changed its name to Spark New Zealand. DISCUSSION Since HRM has so manyShow MoreRelatedThe Key Functions Of The Human Resource Management895 Words   |  4 Pages The three key functions of the human resource management (HR) department that support the health care field the most are: motivating healthcare employees, demographic and diversity trends, and information systems in the field. (ncbi.nlm.nih) If an organization is unable to provide a work environment that motivates its staff to perform to their maximum potential, staff will gravitate to another organization. Healthcare organizations must value their staff by providing professional training opportunitiesRead MoreHuman Resource Management Overview Essay examples746 Words   |  3 PagesHUMAN RESOURCE MANAGEMENT OVERVIEW This paper has been written to describe in detail a little bit about Human Resource Management. There are several key topics that are covered throughout this paper. The first section consist of material that describes what human resource management is in detail. The next section that is covered is concerning what the primary function of human resource management is. The last section that is covered is the role that human resource management plays in an organizationsRead MoreSummary of Human Resource Management1577 Words   |  7 Pagesvery important that human research management to transform from being primarily administrative and operational to strategic partner. The reason is it important is because the human resource department plays a crucial role in determining the culture of an organization. Human resources promote and implement policies and procedures. The key areas are hiring practices, compensation, management relations and employee conduct and behavior. The decisions made by the human resources department will effectRead MoreThe Key Functional Areas Of Human Resource Management1096 Words   |  5 PagesHRM 500 – Human Resource Management Foundations Kazmira Davis November 2, 2017 Introduction Human resource management (HRM) is concerned with the personnel and managerial practices and systems that influence the workforce. All decisions that affect the workforce of the organization concern the HRM function. The activities involved in human resource management functions are universal throughout any organization. This paper will discuss the key functional areas of human resource management and howRead MoreHistorical Development Of Personnel And Human Resource Management1107 Words   |  5 Pagesorganisation the human resource management department is very important. It is essential to keep employees happy for companies to achieve the maximum profits. This reports main aim is to cover the historical development of personnel and human resource management and how it has changed from the days of Robert Owen in the Victorian era to the 21st century. This report will also include definitions of personnel and human resource management along with their main functions. 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Key Issues There are several key issues: ïÆ'Ëœ Attacking of insects on circuit boards. ïÆ'Ëœ Unavailability of spare parts. ïÆ'Ëœ Intolerable and prolonged replacement of defective parts. ïÆ'Ëœ Technician inaccessibility delay dueRead MoreStrategic Planning : Mission And Strategic Objectives1543 Words   |  7 PagesStrategic planning is one of the most critical human resource management challenges facing both the private and public health sectors in today’s market. Strategic planning can equip University Hospital with the methodology to go from a decentralized platform to a centralized platform. Effective strategic planning requires a strong Human Resources department and also strong executive leadership as well. This will help show a clearly articulated vision, mission and strategic objectives. StrategicRead More1. Abstract . We Have Little Knowledge About The Report,1693 Words   |  7 Pages1. ABSTRACT We have little knowledge about the report, we are discussing about the global talent management (GTM) and the role of the corporate human resource function in multinational corporations. International mobility its new forms, increased global talents hunting are the two perspectives of GTM. GTM discusses and considered primarily about the mechanisms and following the willingness to enter the emerging markets using organisational ability to maintain or managing the talents. These issuesRead MoreResearch Proposal: Strategic Hrm1623 Words   |  7 Pagesâ€Å"Perspectives on Human resource strategy: A key role contributing to organization performance in Cambodian Context† By Chit Uys Stevexo July 21, 2011 The strategic management of an organization s human resource has been recognized as one of the keys to business success. This particular strategy generally involved the optimization of the employees potentials mainly through training and performance assessment. This organizational strategy has been integrated in several businesses mainly to

How a City Slowly Drowned - 1950 Words

New Orleans was originally founded on high ground overlooking the Mississippi River, above sea level. Also surrounded by Lake Pontchartrain and Lake Borgne, New Orleans was susceptible to hurricanes that would come up the coast into the Gulf. Originally New Orleans was naturally protected by â€Å"coastal swamps that helped absorb the energy of storm surges before they reached dry land.† (Stillman 228) At this point Americans were more concerned with the floods that happened annually from the Mississippi River. In the early days, settlers built a mile long levee to block overflows from the mighty Mississippi while landowners constructed their own levees. â€Å"In 1879, Congress created the Mississippi River Commission† (Stillman 228) in†¦show more content†¦This was holding up legislation that could have been approved to proceed with levee upgrades and the coastal restoration plan. On August 29, 2005, Hurricane Katrina struck the Gulf Coast at daybreak, â€Å"pummeling a region that included the fabled city of New Orleans and heaping damage on neighboring Mississippi. In all, more than 1,700 people were killed and hundreds of thousands of others displaced.† (Laforet, New York Times) Packing 145-mile-an-hour winds as it made landfall, the category 3 storm left more than a million people in three states without power and submerged highways even hundreds of miles from its center. The hurricane’s storm surge — a 29-foot wall of water pushed ashore when the hurricane struck the Gulf Coast — was the highest ever measured in the United States. Levees failed in New Orleans, resulting in political and social upheavals that continued a half decade later. (Laforet, New York Times) In the aftermath of Hurricane Katrina, fires broke out, corpses were in streets, looting was taking place around the city, floor waters became toxic with sewage and gas. US Army Corps of Engineers came in to pump New Orleans dry; this was a continuous operation. (video: The Lost City of New Orleans: A Case Study) Organizations such as the American Red Cross, Salvation Army, National Guard and others helped the relief effort with housing,Show MoreRelatedHow a City Slowly Drowned1697 Words   |  7 Pageshit the city. No wonder that evaluation of the threats was again commissioned to the Corps instead of another research institute or agency. It becomes obvious that the Corps had failed their mission, but still had the authority for the implementation. Other key actors of the case are politicians, particularly the local officials and the Congress. Local officials didn’t want to spend money on expensive but effective projects, which could have saved the lives and infrastructure of the city if implementedRead MoreNaturalism in Stephan Crane and Jack Londons Works1265 Words   |  5 Pageslife: We can either acknowledge or accept the law determining social structure or be consumed by it. Maggie is an illustration of how destructive consequences are capable of befalling any person who violates this unsaid law, defies the economic and social limits set upon them since birth. The author’s illustrations of the underprivileged persons within the inner-city show the inevitable susceptibility to the ills of their environment. By centering on the Johnsons, the author personalizes a greatRead MoreFate in Miles City, Montana by Alice Munro Essay583 Words   |  3 PagesFate in Miles City, Montana by Alice Munro In life no one knows their actual fate and the story Miles City, Montana gives a true picture of just that. In this story, we see two different times and events that take place. The first event is the death of a childhood friend and the second is an almost unexpected tragedy that makes a woman think back to the childhood catastrophe. Munro uses mostly dialog to help give the reader a description of the theme in her story. In Miles City, Montana,Read MoreThe Tragedy Of The Great Gatsby By F. Scott Fitzgerald895 Words   |  4 PagesZoe felt the Jetranger slow and then come into a hover position. It slowly rotated until the nose was aligned with the major axis of the island. From the right-hand side of the helicopter, in the aftermath of the driving wave, Zoe watched a ferry and several assorted boats capsize. Passengers floundered in the water none in life jackets. The lucky ones found debris to cling to, while a few hardy souls swam strongly, divesting themselves of excess clothi ng in an attempt to survive. The wave overwhelmedRead MoreAre The Most On Values For Making Decisions?811 Words   |  4 Pagesfaced with the challenge of reducing poverty by a certain degree. Information and facts are relevant in developing the best program. Research on facts and history should be done to select the best way to achieve the goal of reducing poverty for that city or town. All possible policy alternatives are outlined and rated. The best alternative is chosen from options like work-relief programs, higher welfare payments and government subsidies. Our texts refers to this as rational decision making (StillmanRead MoreAn Summary Of The Story Of Anything Is Possible1173 Words   |  5 Pagesdismissal. Someone to Jack’s left began to jostle, distracting him from his dismal thoughts and reminding him of his location and purpose. He found himself halfway down the breadline, patiently waiting for a meagre portion of food. 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(Pollution Myths) AlsoRead MoreMagazine Review of Baz Luhrmanns Romeo and Juliet Essay780 Words   |  4 Pages Imagine that you are writing a review of Baz Luhrmanns Romeo and Juliet for a magazine aimed at English teachers. Concentrating only on the first ten minutes of the film, explain its possible appeal to 14 year olds and how the director has adapted Shakespeares play. Finally explain whether you would recommend it to be used in the classroom. Baz Luhrmann has produced a vibrant, innovative and modern version of Romeo and Juliet. He brings attractive actorsRead MoreEssay about The Women of the Aeneid1745 Words   |  7 Pagesand powerful leader. In her stride she seems the tallest, taller by a head than any At the door... Of the goddess shrine, under the temple dome, All hedged about with guards on her high throne, She took her seat.. This statement illustrates just how supreme and crucial she is. Virgil portrays Dido with a goddess type of image. Not only did she rule Carthage with a strong hold, but she also provided fairness and equality. â€Å"Then she began to give them Judgments and rulings, to apportion work WithRead MoreBlood Falls Essay example1574 Words   |  7 Pagesthree very prosperous citys. Thessia led by Mira, was mainly consisted of women and was the main source of most of the fruits, vegetables fish and philosophers for Rannoch, SurKesh led by Mordin provided doctors, architects and scientist. The last city which was the smallest but also the most important to the Ra nnarcks was Tuchanka led by Victus, warriors and hunters in charge of protecting and defending Rannoch. Rannoch had the lushes green land and was home to some of thee most exotic animals known

Latin American Wars Free Essays

Like in most other histories of wars, colonialism and control of the natural resources are the main reasons why Latin- American wars happened. Aside from colonialism, the struggle for physical power over the strategic River Plate (a large utuary between Argentina and Uruguay, Rio de Plata in Spanish) regions is also one of the main reasons. The ambitious leadership of Franciso Solano of Paraguay also lead to the Latin American wars. We will write a custom essay sample on Latin American Wars or any similar topic only for you Order Now For this, Paraguay is always part of the history when we are talking about Latin American wars. Two historical events are best quoted when we are talking about Latin American War. These are the events that lead to the conflict in Latin American countries in mis- late 1800’s. War of the Triple Alliance or Paraguayan Wars ( 1864- 1870) According to most history books and to Wikipedia, this started when Argentina proclaimed its independence of Spain in 1810. Paraguay refused to be under Spain and declared its own independence. El Supremo, Gaspar Rodriguez Francia started a political dynasty in the country of Paraguay. After his death, his kins (nephew and son to be specific)Carlos Antonio Lopez and Francisco Solano Lopez succeeded his regime, and followed his implementation of dictatorship over Paraguay. Carlos Antonio’s son, Francisco Solano, built an empire and the led the country into a war against an alliance of Argentina, Brazil, and Uruguay. This war ended with the devastation of Paraguay. Diseases and deaths occurred and manipulated almost the entire population of the said country. The following statistics presents the number of casualty in these Latin American countries: (http://en.wikipedia.org/wiki/War_of_the_Triple_Alliance ). Brazil had 28, 000-30,000 people killed in action, 30, 000 died due to other causes, others are even missing. In Argentina, 18, 000 killed in action and 12, 000 died of other causes, mainly of diseases and others are missing. In Paraguay, 120,000-160,000 got killed and died. But the conflict is stopped through his death. The revival was started through the initiative of some Brazilian armies who stayed in the country after the war. It took Paraguay long years to recover from chaos and demographic imbalance War of the Pacific The Salpeter war, which is another term for War of the Pacific, as referred to its original cause started when Chile had a fight against the joint force of Bolivia and Peru. Accroding to the Wikipedia, the war between and among these countries arose when they had an argument over the control of the part of Atacama Desert that lies between the 23rd and 26th parallels on the Pacific coast. The territory has valuable mineral resources which were exploited by some companies in Chile and British interests. The Bolivian government took advantage of this situation and decided to add and increase taxes to these companies and interests and this led to misunderstanding and commercial dispute. This is the reason why is it called Salpeter War. Salpeter is potassium nitrate, a chemical compound, a naturally occurring mineral source of nitrogen and a good source of black gun powder. It may sound funny but we always perceive that in a war, winners are determined by who are right, but who are left. However, as we analyze it as a whole, in any war histories, both parties always seem defeated with the lost they had after the war. How to cite Latin American Wars, Essay examples

Selective Laser Melting for 3D Computer Aided-myassignmenthelp

Question: Discuss about theSelective Laser Melting for 3D Computer Aided Design. Answer: Selective laser melting The selective laser melting is where the component is fabricated with the layer by layer technique through the top surface of a powder bed. It has a higher intensity of the laser which is sliced with 3D Computer Aided Design (CAD Data). The major influence of the SLM parameters like the laser power, scanning speeding and the hatching distance is on the density of AlSi10Mg samples which are for the investigation through one factor at a time (Robbins et al., 2016). Laser Power The laser power is for emitting the light through the process set for the optical amplification. This is based on the stimulation process of the electromagnetic process. The terms are related to the light amplification with the stimulation of the emission of radiation. Laser scan speed For the 3D objects, it is important that the scanning speed is controlled by the steering of the beams with the laser range finder. This is set for the measurement of distance at different distance where the scanner also captures the object shape. Hatch distance The hack distance is the band which has been defined by the scanning of vector width with the hatching space that is found to be adjacent to the tracks and then scanning the directions with overlapping mainly with the other stripes which are in neighbour. Scan pattern The scan pattern is integrated with the laser scan designs for the treatment through the beam or the particular pattern array upto the range of 25 points. Additive manufacturing The additive manufacturing is important for the technologies that are mainly to build the 3Dtechnologies objects by adding the layer upon the other layer of material. This is to analyse about the use of the computer, 3D modelling software with the machine equipment that are set for the CAD sketch (Panesar et al., 2017). The AM works over the technologies that include the rapid prototyping and the layered manufacturing techniques where the focus is on pre-production visualisation models. This is set to define the end-use products in aircraft, with dental restorations and the medical implantation. The addition of the layer upon layer approach is simple with the visualisation tool in designing and creating a high customised product for the consumers and professionals. The industrial tooling with the multi-structure concrete to machines could build and work over the contour crafting which support the structures for the people to live and work in (Bhushan et al., 2017). Here, AM is also f or the subtractive manufacturing where there is a complete removal of the material like the drilling out of the materials and setting the access to create and customise the different repairing products. The process is to redefine the current production technology with proper description of adding the layer upon the other layer. Some of the examples of the AM are the SLA which is a high-end technology using the laser technology where the polymer changes the properties when they are exposed to light. The building occurs in the pool of resin where the laser beam is traced with the cross-sectional platforms. References Bhushan, B. and Caspers, M., 2017. An overview of additive manufacturing (3D printing) for microfabrication.Microsystem Technologies,23(4), pp.1117-1124. Panesar, A., Ashcroft, I., Brackett, D., Wildman, R. and Hague, R., 2017. Design framework for multifunctional additive manufacturing: coupled optimization strategy for structures with embedded functional systems.Additive Manufacturing. Robbins, J., Owen, S.J., Clark, B.W. and Voth, T.E., 2016. An efficient and scalable approach for generating topologically optimized cellular structures for additive manufacturing.Additive Manufacturing,12, pp.296-304.

Byzantine Art by Robin Cormack

Rome with a Christian Face? Early Byzantine Art 330–527 The discussion of Byzantine art represents a challenge for the researcher. The main issue about Byzantine art is that it demonstrates incompliance with the traditional chronologically-based methodologies of art. Standardly perceived as the art of â€Å"religious icons†, Byzantine art can be defined as the religious art spanning a period of thousand years from 330 to 1453 and centering in the Christian society of Constantinople (Cormack 2).Advertising We will write a custom critical writing sample on Byzantine Art by Robin Cormack specifically for you for only $16.05 $11/page Learn More In a way, Byzantine art is timelessness: Christian themes are constant and unchanging throughout its periods. The change and development occurred via new forms of expression and new subjects. The key feature of Byzantine art is that it is mostly religious. The Bible was the main source of inspiration, an d most objects of art created at that time were considered sacred. Constantinople was the place that played a dominated role in the history of Byzantine art. It was brought to glory as a large metropolis according to the ambitious plan of emperor Constantine. Kilometers of protective walls and aqueducts built by 330 made Constantinople an impregnable stronghold that attracted new citizens by its broad spacious streets. Due to many disastrous fires and gales, the city changed its face repeatedly throughout history, and gradually gained the reputation of a â€Å"collage city† (Cormack 9). Masterpieces were brought to Constantinople from all over Greece and Asia Minor. But the unique feature of Byzantine art proper was that it never used the classical Greek works of art as a sample for imitation. Although Constantinople is mostly associated with the life of Christian society, the city was not established as Christian initially. Started as a typically Roman base with a hippodrome for chariot races, it gradually evolved into a Christian shrine, when a vast collection of holy relics was brought from Jerusalem and St Sophia Cathedral was designed as the center of the Christian empire. Therefore, Christian art as such did not originate in Constantinople. It flourished already in the third century all around the Roman empire, which can be illustrated by the wall paintings in the mud-brick houses of Syria (Cormack 13). The schematic manner of presentation in those paintings is rather traditional. But the innovatory issues are traced in the subject matter which is Christian: the paintings feature motifs of death and salvation from the Old and the New Testament. The Christians of the time used art as a way of communicating their main ideas on life after death. Consequently, scenes including Jonah image were especially popular because Jonah’s rescue from the wale’s inside reminded of Christ’s resurrection from sepulcher (Cormack 14).Advertising Looking for critical writing on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More The early art in Byzantium preserved the images of imperial Rome, as well as continued developing the Christian traditions. Marble sarcophagi, reliefs, and statues were still parts of the city landscape. However, in the sixths century the art of sculpture experienced an overall decline, and marble was thus often recycled for building new Christian churches. Apart from marble, such materials were used as stone, brick, and wood. This diversity of materials was made possible by the breadth of Byzantine geographical borders: the empire spanned the territories of Asia Minor, Syria, Palestina, Egypt, North Africa, Italy, and much of the Balkans and Greece (Cormack 17). But this geographical variety was centralized and governed by the city of Constantinople which was the symbol of Byzantine power and control. The location of the Byzantine empire both in t he east and in the west provided for the specific marriage of different traditions in Byzantine art. Such blend represents a stumbling block for art historians, since the issue of whether Byzantine art is separate from the western style or it developed according to standards common for both. The multifacetedness of Byzantine art makes it difficult to classify the art into self-contained periods. And yet, an attempt to classify early Byzantine art can be made basing on the key historical events: the rise of Constantinople under emperor Constantine (324–337), the expansion of the Byzantine empire under Justinian (527–565), and the iconoclastic policy of emperor Leo III (717–741) (Cormack 18). In the difficult task of surveying the diversity of Byzantine art, the researchers face two extremes. On the one hand, there has been an immense loss of historical material due to natural disasters and hostility acts. On the other hand, the variety of the remaining material m ay puzzle an unprepared observer by the kaleidoscope of time and places it covers. From this discrepancy emerges a problematic issue: â€Å"whether to treat all the different media and materials that Byzantine art employs together or separately?† (Cormack 21–22). Tracing each branch of Byzantine art in chronological order appears a complex problem, since many artists worked with several types of material simultaneously. In addition, old and new art was equally displayed in Byzantine reality, and therefore Byzantine art demonstrates a unique quality of continuity combining tradition and innovation. Demonstrative of the balance of continuity and change in Byzantine art are two samples of different time periods. The earlier sample is a â€Å"vast monumental mosaic†, the later one is a â€Å"small portable icon† (Cormack 23). At first sight, both of them appear to depict the same subject — Christian saints in heaven after their death. Saints are a univ ersal topic for Christian art, but the choice of specific saints for depiction may point out significant differences in the topic of the artwork.Advertising We will write a custom critical writing sample on Byzantine Art by Robin Cormack specifically for you for only $16.05 $11/page Learn More Certain visual clues allow for distinguishing the two samples from each other. The enormous mosaic in the dome of the church is largely damaged, and the preserved part features seventeen figures. Despite the fact that the saints are named, there is no visible clue as to the logics of their arrangement. The central position in the mosaic was probably occupied by the figure of Christ surrounded by flying angels. An analysis of the possible thematic scope prompts the idea that the subject matter of the mosaic could be the Second Coming. This powerful image produced an unquestionable visual effect on the early Christians and signified the glory and triumph of the Chri stian church over the ideas of the antiquity in the late fifth – early sixth century (Cormack 29–30). Representing a later period in Byzantine art, the small icon is â€Å"a work of art of a different form [†¦] and function† (Cormack 30). Similar to the mosaic in its subject matter, the icon represents a group of saints surrounding Christ. In contrast to the mosaic, Christ is depicted not at the moment of the Second Coming but as a baby sitting in his mother’s lap. The scene represented in the icon can be identified as the Sunday of Orthodoxy. Along with other figures, it features â€Å"iconophile champions† who struggled in 726–843 for recognition of icons as a symbol of the Orthodox church (Cormack 32). In this sense, the icon presents the topic of true and firm belief in the core values of the Orthodox church. In the Shadow of St. Sophia Byzantine Art in the Sixth Century and Its Aftermath 527–680 Despite the fact that the dev elopment of Byzantine art may seem quite gradual, there existed several turning points that marked significant change. In the sixth century such crucial event occurred on the Christmas Day 537, when emperor Justinian dedicated the renovated church of St Sophia. Destroyed by fire in 532, the church was restored in record short period and demonstrated a qualitatively new interpretation of church symbolism. The new St Sophia was proclaimed â€Å"a holy place, a house of prayer, the assembly of the people, the body of Christ, [†¦] an earthly heaven [that] represents the Crucifixion, Burial, and Resurrection of Christ† (Cormack 37). Symbolic of so many Christian values, St Sophia was the heart of Constantinople and a place for public and state contemplation of God. In its interiors, scenes and events from the New Testament were reenacted and thus provided a powerful historical link and revival of the Biblical narratives. The peculiarity of St Sophia interior of the time was t hat, unlike the latter trends in decoration, it did not contain any figurative mosaics. Rather, the presence of God was visualized by more objective and universal symbols: the sign of cross was repeated over and again in golden colors. There could be several reasons for such simple yet efficient solution. On the one hand, the restoration of St Sophia had to be completed in shortest terms, and avoiding complicated mosaics saved time and effort.Advertising Looking for critical writing on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More On the other hand, if there had been any figurative images, the viewer’s gaze would stop on each individual scene and not perceive the overall grandeur of the church. St Sophia indeed impresses by its sizes: about 56 meters high, 30 meters wide, and 60 meters long, the building’s nave was much broader than that of a typical Gothic cathedral (Cormack 40). As for the interior decoration of St Sophia, in the sixth century it was characterized by especial lightness and freshness that resulted from absence of heavy figurative mosaics. Only eight porphyry columns were left, and the walls were covered with veined marble. Carved monograms of emperor Justinian and empress Theodora spread all over the colonnades. Although attention was definitely given to details, the moderateness of the embellishment signifies shortness of time for the church restoration. The main decorative function was therefore placed on the sculptural carvings. The attention, effort, and finance invested in the renovation of St Sophia by emperor Justinian emphasize the significant role church played in the political life of the time. After a series of successful military campaigns, the Byzantine empire stretched out immensely and was in need of powerful controlling mechanisms, of which morale was the key factor. Following the experience of the Romans, Justinian realized that not only administrative and legal system should be universal for all, but also the common religious creed mattered. Thus the stronghold of Christianity as a guiding religion for the empire was emphasized in the newly revived St Sophia in Constantinople. With the emergence of St Sophia as the central church which outshone the others by its splendor and grandeur, there still remained the tradition of pilgrimage to holy places. One of the most significant locations personally for emperor Justinian was the church of the Archangel Michael at Germia in Asia Minor (Cormack 45). It contained a grand ivory carving of Archa ngel Michael, presumably Justinian’s patron throughout his life. The prayer on the carving symbolized the emperor’s humility in face of the divine power. To commemorate his deceased wife Theodora, emperor Justinian built another masterpiece of Byzantine art, a fortified monastery of St Catherine on the Egyptian mount of Sinai. A popular destination for pilgrims already in the fourth century, mount Sinai was an ideal place for monks to retire from the vanities of the world and spend time in prayer and worship of God. The Sinai church, a wooden-roofed basilica, was surrounded by high walls and guarded by armed garrison. As a symbol of divine protections, multiple crosses were carved in the walls. The interior of the Sinai church itself was changed with the time, but in the sixth century it was mostly dominated by carvings and mosaics. The latter depicted, inter alia, the biblical events mostly related to mount Sinai: Moses at the Burning Bush and Moses receiving the Tabl ets of the Law (Cormack 50). Bright colors and gold in which the images were performed nearly blinded the visitor and thus produced the maximum impact and inspired the feelings of profound veneration. The significance of Justinian’s rule for development of Byzantine art cannot be overestimated. Together with restoring St Sophia and reinforcing the Sinai monastery, emperor Justinian promoted Byzantine art on the western borders of the Byzantine empire. The location most demonstrative of the emperor’s involvement is the north Italian city of Ravenna. Initially supporting the Arian branch of the Christian religion, the city could boast a spectacular mosaics in the church of S. Apollinare Nuovo. The enormous scale of Biblical events depicted in the mosaics can be imagined by realizing that only a small part of it contained already twenty-six scenes from Christ’s life (Cormack 55). After the 540 conquest of Ravenna by Justinian’s army, the Arian politics of th e city experienced a radical turn. This was also reflected in the religious artworks: the depictions of the previous ruler were removed from S.  Apollinare Nuovo mosaics, and a large group of Orthodox saints was added instead. Another building embodying Byzantine imperial power and reflecting the ambitious aspirations of its rulers was the church of S. Vitale in Ravenna. Housing the relicts of the local martyr Vitalis, the building reflected many of Byzantine art characteristic. On the one hand, the marble columns of the church resembled many of the kind made of the same material in Constantinople. On the other hand, the church of S. Vitale contains powerful images of most influential Byzantine emperor and empress, which adds an additional link between Constantinople and the western borders of the empire. The two mosaics depict emperor Justinian and empress Theodore who had actually never been to Ravenna. But their presence and participation in the liturgy is emphasized by the obj ects they are carrying: Justinian is holding bread and Theodora bears a goblet of wine, which played a crucial role in Orthodox ceremony. Despite of the effort emperor Justinian took to build and maintain the grandeur of his vast empire, his creation did not survive for long. But the consequences of his rule for Byzantine art were significant. The culture of monks flourished; churches and monasteries were generously sponsored and thus survived the crisis of the Dark Ages (Cormack 65). This emergence of monasteries as keepers of the Byzantine culture allowed for efficient replacement of whatever artworks were lost with new ones. A popular medium of expression was found in painted icons, and multiple prescriptions and canons of depiction appeared depending on the view of Christ by the clergy. The large number of icons signifies the transition to a more personal kind of emotional involvement with prayer and worship. The Definition of an Orthodox Christian Empire Byzantine Art 680â€⠀œ843 The peculiarity of studying Byzantine art is connected with the fact that the transformations occurring in art are deeply rooted in the reconsideration of the social functions of art. The situation is further complicated by the issue of especial timelessness of Byzantine artworks and their stylistic ambiguity. Therefore, Byzantine art cannot be considered from position of style change alone. The flowering of religious art in the time of emperor Justinian’s rule can thus be explained by the significant social function performed by Byzantine art of the time. The especial realism of icons in Justinian’s time was called to bring the Biblical meanings and messages closer to the average people. A system of visual and written clues would provide clear hints for even the illiterate to recognize certain saints. The latter would usually possess significant distinctive features or attributes. An especial significance was placed on the way the saints looked at the viewer: th e gaze was by large one of the main composites of the icon and reflected the popular belief about protection from the evil eye (Cormack 77). After emperor Justinian had died, there is observed a decrease in the quantity of artwork. However, the significance of art in everyday life for prayer and instruction. The debatable issue that emerged was that the abundance of icons challenged the authority of the saints and lead to the increasing importance of the icons proper. Gradually, a view was adopted that â€Å"icons were not made by hand† (achieropoietos) but rather appeared miraculously and thus represented the healing powers and protection of Christ (Cormack 77). Among the most outstanding examples of such achieropoietos were the Mandylion of Edessa at Sinai, the mosaic of Christ in the church of Hosios David at Thessaloniki, and the Kamouliana icon of Christ in Cappadocia (Cormack 77–78). One of the situations that had a crucial impact on the development of Byzantine art was the rise and expansion of Islam. Initially taken as just another occurrence of heresy by the Byzantines, Islam actually had much more lasting and deep consequences for Byzantine art. Along with the military confrontation, a surprising blending and cooperation between the two cultures could be observed. One of the demonstrative examples of such cooperation is the mosaic of the Great Mosque at Damascus that uses ornaments similar to those in the Christian Rotunda in Thessaloniki (Cormack 79–80). In addition, the Islamic leaders coined money which closely resembled Byzantine monetary standards. This cultural cooperation was significantly damaged when around 692 emperor Justinian II reformed the design of Byzantine gold nomisma: the obverse featured the face of Christ, while the emperor’s image occupied a secondary position on the reverse (Cormack 80). In reply, all imagery on Islamic coins was substituted by koranic verses. These events first brought the image of Christ in the secular sphere of money. A second version of Byzantine coin was made after Justinian II had recaptured the throne in 705, and Christ was depicted very unconventionally there: without a nimbus and with a very short beard. The two Byzantine coins bore not only a religious message but that of social and political significance. The first one represented a â€Å"distinctive Byzantine Orthodox identity in face of Islam and other rivals†; the second one emphasized Justinian II’s message that â€Å"Byzantium stood for good order in every aspect of life† (Cormack 81). The coins served as signs of national and cultural identification of the Byzantine people. The other situation that entailed grave consequences on the course of Byzantine art of the time was the way the church responded to the changing social and political environment. A determining event occurred in 692 when the Quinisext Council adopted over a hundred canons, most of which defined the furthe r development and social functioning of Byzantine art. Thus, for example, the image of cross was prohibited to be placed on the floor; Christ should be represented not in symbols but in His own form (Cormack 82). Thus, together with a generally positive attitude to icons as significant part of Orthodox Christianity, the Council also demonstrated the need for control over the iconic form and content. It is not difficult to see a political motive underlying such attitude: the orderly life in the Christian Byzantine empire was inseparable from the compliance of Christ’s image to the demands of clear representation. In the situation of increasing state control over the form and content of religious images, a point was reached when counter reaction was quite inevitable. During most of the eighth century and the first half of the ninth century, the art of icon painting was trapped between two contradictive extremes. On the one pole, there were the ideas of iconoclasm that called to destruction of icons. The ideas of iconoclasm were formulated in 754 during the Council of Hieria. Basing on the quote from the Bible, a second commandment given to Moses that disapproved of any graven image, the Council ruled that icons should be announced illegitimate (Cormack 87). Thus they solved the issue of paganism and its residuals in the Christian Byzantium. On the other pole, there were the ideas of iconophiles, who assembled in 787 at the Council of Nicaea and ruled that veneration of icons did not possess an idolatrous nature and therefore could be allowed (Cormack 87). Against this background, a fierce dispute unfolded between the two opposing groups. Unfolding not only in theory, but also in practice, the iconoclastic activities involved destruction of iconic images from such significant object of Byzantine art as St  Sophia in Constantinople and many others. The gold mosaics of St Sophia representing images of Christ and saints were ruthlessly scraped off and icons were taken down (Cormack 94). It should be noted, however, that the attacks of iconoclasts concerned not the art as such but the nature and social purpose. The art continued to be produced but simply in smaller quantities and a different quality. A bright example of iconoclastic art can be found in the church of St  Eirene in Constantinople. After an earthquake in 740, it was restored with mosaics featuring religious texts and the shape of the cross. Thus the main feature of iconoclastic art was avoiding any representation of the image of Christ and saints and substituting those images with the symbol of life-giving cross. Another illustration of iconoclasm in art can be seen in the Khludov Psalter of mid-ninth century. The earliest collection of illustrated psalms, this book contains images symbolic of the prolonged struggle between iconoclasts and iconophiles. This struggle for icons has been the key feature of Christian Orthodox church identity ever since. Developments and Div ersions in the Consolidated Empire Middle Byzantine Art 843–1071 As iconoclasm was defeated in 843, the Byzantine art witnessed a period of revival and restoration of the holy icon. The mutual support between the church and the state was unprecedented: the Byzantine empire was once again restored as a state ruled by order and certainty drawn from firm Christian belief. Such attitude is laid out in emperor Constantine VII’s written piece The Book of Ceremonies (Cormack 105). Monasteries flourished once again as places of active struggle against iconoclasm, and the role of monks in this struggle was radically reconsidered. Although the model for psalm books was still the Khludov Psalter of the ninth century, the pictures of Patriarch Nikephoros as a vigorous iconophile are replaced with those of the monk St Theodore (Cormack 106). Such substitution evidences the shift of significance from patriarch to monk in struggle against iconoclasm. The two hundred years starting fr om mid-ninth centuries are described by art historians as a second â€Å"Golden Age† of Byzantine art, or â€Å"Macedonian Renaissance† (Cormack 108). Those definitions apply mostly to the especially wide range of artworks and techniques created and developed throughout the period. After the dark times of iconoclasm, the innovations of Macedonian Renaissance appeared more as return to the past traditions of Byzantine art. The latter were significantly expanded by new themes and approaches. An example can be seen in the Paris Psalter of mid-tenth century, where — unlike the Khludov Psalter — emphasis is made on the textual contents. Apart from psalms and illustrations to them, the Paris Psalter includes a vast theological and scholarly commentary on the sacred texts (Cormack 109). As the renaissance period was market by return to pre-iconoclastic tradition, it becomes easy to trace connections between the pre- and post-iconoclastic artworks and note the in novations in the latter. Thus, for example, the post-iconoclastic mosaics of Koimisis monastery at Nicaea is performed in a traditional technique. But differently colored materials and differently sized cubes in faces and clothes prompt that it was created already after the struggle against iconoclasm. Another instance of merging tradition and innovation is seen in the art of coinage. The iconoclast emperor Leo III rejected the Christian imagery of money coined by Justinian II and ordered that both the obverse and the reverse of the coin represent a portrait of an emperor. In mid-ninth century, emperor Michael III started coining money with the image of Christ on the obverse. The idea was not a mere allusion to the coin design of Justinian II. Every line copied the old version and the inscription â€Å"Jesus Christ† dispelled any doubt as to the image presented on the coin (Cormack 114). Thus, the coin design became a powerful declaration of return to the past. In this period of revival and consolidation, not only the old themes and styles were restored but also the connection with the eastern parts of the Byzantine empire was emphasized. Emperors brought items from the legendary east to their palaces and openly placed them for general admiration. Such was the throne of Solomon, surrounded by golden lions, birds, and trees; according to legends, the lions would roar and the birds would sing when the emperor was sitting on the throne. The solution of this mystery could be that there was an organ built in the throne to produce the amazing sounds. The idea for the throne presumably originated from the court of Persia (Cormack 115). In addition to the technology of organ-building, the emperor court and the church often used such oriental inventions as Persian silk draperies, as well as elements of Arabic writing. The Byzantine empire was once again open and welcoming other cultures. After the radical stripping the St Sophia church off its mosaics by the ico noclasts, a new look corresponding to the new vision of religious art had to be given to the building which was the center of Christian empire. Provided the amount of expertise, time, and work required by the large-scale projects, the efforts of patriarch Photios cannot be overestimated. His speech on the dedication of the first mosaic in St Sophia after iconoclasm, Virgin and the Child, is demonstrative by its deep intellectual analysis. Photios emphasized the double significance of Mary’s image both as â€Å"lifelike imitation† and â€Å"real archetype† and interpreted it as a reminder of salvation and necessity of reverence to God (Cormack 119–120). Other mosaics of the church featured essentially timeless scenes from the Bible and at the same time reflected the events of the period, immortalizing the prominent patriarchs and emperors of the time. Important accents were placed on the kind of relations between emperors and God. Humility, repentance in f ace of God, and generosity were the key qualities to be demonstrated by ideal Byzantine emperors and depicted in various mosaics of St Sophia. Thus, the main social norms of the time were established through art which once again proved an excellent means of communication. To any of the visitors, the artistic decorations of St Sophia clearly represented a picture of the contemporary cultural and political state of Byzantine society. In the case of historical analysis of art, the term ‘renaissance’ is mostly applied to the period of Italian art between fourteenth and sixteenth centuries. Justification of Macedonian Renaissance faces the issue of whether artworks created at that time were recreations of the classical samples or whether they were innovations based on the knowledge of classical and Christian art. Compared to Italian art radical revolution towards the standards of the Ancient Greece and Rome that was based on close study of authentic ancient texts, the Byzant ine knowledge of its past art was scarce. The aggressive period of iconoclasm by large destroyed a big share of classical Byzantine art and left scarce traces of it for the coming generations. Instead of merely copying the classical samples, Byzantine artists of the tenth century rather handled the new techniques they developed against the background of classical values and ideas. The New Spirituality of the Eleventh Century and the World of the Twelfth Century After the triumphant revival Byzantine art experienced with the defeat of iconoclasm, Orthodox faith found its expression through a vast range of artistic means. The church of St Sophia was redecorated by mosaics of unprecedented scope, and Constantinople was as always dictating its will to the rest of the empire. In such situation there emerges an issue of whether Constantinople was an artistic center ever since the fall of iconoclasm and whether the provinces had any artistic traditions of their own. On the one hand, monast eries and churches were built and decorated all over the Byzantine empire, which evidences that cultural interest was not concentrated in the capital city only. On the other hand, it often occurred that artists from Constantinople were invited to remote areas for design and decoration of buildings, which emphasizes the exclusive nature of contemporary artistic knowledge and skills. Such materials as ivory, silk, mosaics, and enamels have traditionally been ascribed to Constantinople artisans. In certain rare cases, such as with the city of Thessaloniki, the province had the means to support and develop its own workshops. But still if attention is turned to details, dominance and prevalence of Constantinople artwork is traced in many locations. Such is the case with the church of St Sophia in Sinai: the style of figures and mosaics is similar to that represented in Constantinople. On the other hand, the interior of other churches in the region suggests a cooperation between the capit al and local artists. If Byzantine art is to be considered as that exceeding the borders of Constantinople only, this attitude is supported by examples of churches found in rural areas of Asia Minor and Cappadocia (Cormack 149). Whatever the case may be, the triumphant position of the Orthodox church at period discussed facilitated quantitative and qualitative intensification in art production. One of the most significant changes of the was the transformation of the church sanctuary. In early Byzantine churches, the division between spaces for the clergy and for the laypeople was purely symbolical, not more than a humble barrier (Cormack 150). However, after the defeat of iconoclasm, the meaning and importance of the sanctuary increased dramatically, and so did the artwork decorating the place. A screen called templon was set up to divide the areas for laypeople and the places where bread and wine were kept (Cormack 151). In the centre of the screen the Royal Doors were situated, th rough which the priest would bring out the bread and wine symbolizing the body and blood of Christ. This screen developed through centuries and was gradually covered with an increasing amount of icons that would forever cover the sanctuary from the eyes of the laypeople. Such development of the sanctuary screen naturally required an unprecedented amount of icons to be made and venerated. Apart from the templon, icons were used on the adjacent walls and shrines dedicated to individual saints. Icons of the latter were created according to the following scheme: in the center of the icon, the key scene from the saint’s life was depicted and surrounded by smaller images of biographical moments. The daily calendar of the church also had to be illustrated with icons, and this was done either by separate icon for each occasion or by calendar icons including sets of several monthly icons (Cormack 152). During the period from ninth to fourteenth century, the quantity of icons on the sa nctuary increased dramatically and had a double effect on the perception of the religious sacrament. On the one hand, the shield of icons increased the mystery over the sanctuary and the altar of the church. On the other hand, the images of the icons brought the divine holiness closer to laypeople and made it more understandable for them. Step by step, icons transformed their initial meaning from illustrations of religious history into visual aids directly incorporated in the liturgy. Icons of the eleventh and twelfth centuries reflect a gradual change to their nature and meaning: for the first time, the heavenly ladder is depicted and thus the ideas of divine light and salvation are promoted. One of the peculiarities of the period was the separation of monasteries from the church headed by the ‘secular’ patriarch. Emotional and social life of contemporary Byzantium was dominated by monasteries that gave refuge to those who wanted to follow Christ’s life on earth . The society delegated the task of worshiping God to monasteries and generously endowed them for it. Since in Christian Orthodox practice, art was the way â€Å"to assist and enhance spiritual experience†, monasteries played a central role in developments of art at that time (Cormack 158). Emperors patronized monasteries, and one of the brightest examples of it was the 1136 monastery of Christ Pantokrator. Comprising three churches, a hospital, an old people’s home, and a leprosarium, the monastery could boast interiors decorated with marble, stained glass, and mosaics. Hosting such relics as a stone on which Christ’s body supposedly rested after Crucifixion, and the prestigious icon of Virgin Hodigitra, the monastery attracted pilgrims and their generous donations (Cormack 161). For the purpose of understanding the ways Christian Byzantine art developed outside Constantinople and its suburbs, it is instructive to consider Christian monasteries that functioned in Greece during the eleventh and twelfth centuries. The Greek Hosios Lukas monastery comprised three churches (Theotokos church, katholikon, and the crypt church). The peculiar features of the first church are the lion-headed gargoyles on the dome and the pseudo-Arabian decorations of the exterior. The katholikon is filled with marble sarcophagi and decorated with multiple wall paintings that provided a less time-consuming substitute for mosaics. The crypt church is thematically connected with the images of katholikon: the katholikon mosaic of Doubting Thomas is copied in the crypt wall painting (Cormack 165–167). In another Greek monastery, Daphni, a certain semblance in decoration types may be traced with Hosios Lukas. However, the depiction style is different: the figures are more natural and less generalized. Such minor variations suggest that the ways of depiction varied depending on the immediate needs of a given religious community. The political situation around the Byzantine empire had changed dramatically during the two centuries. The Christian world faced the opposition between the Orthodox and the Latin church. Byzantines were driven from Italy by the Normans. Princes of Kiev established their own powerful state of Kiev Rus’. Serbian, Bulgarian, and Hungarian people demonstrated autonomous tendencies as well. However, despite the gradual loss of territorial influence, the Byzantine empire managed to extend its existence by introducing its art forms and techniques to the rest of the world. Samples of Byzantine art were created in Spain, Kiev Rus’, and Italy, which helped to preserve Byzantine culture by marrying it to that of western Europe. Art in the Service of a Failing Society Late Byzantine Art 1204–1453 The event that defined the fate of Byzantine art in its late period was the conquest of Constantinople by the Crusaders in April 1204. A mass transportation of Byzantine artworks started to western Europe. Relics of Christian religion were moved from churches where they originally reposed to churches and monasteries of Italy and France. Sculptures, vessels, enamels, books, chalices, reliefs, and many other works of art were exported from the Byzantine republic to royal residences. By the time Louis XIV came to the throne, the Louvre could boast a vastest collection of precious Byzantine vessels (Cormack 187). At the same time, the ransacked court in Constantinople struggled to preserve at lease something of its former glory. The notable issue about the western invasion into the Byzantine empire was that on the one hand, the western people were charmed and mesmerized by masterpieces of Byzantine art which they had previously known only by copies. On the other hand, quite paradoxically, most of the innovations the westerners brought to Byzantium were totally disconnected with the historical culture of the land. The church of St Sophia in Constantinople was converted for Catholicism and left dete riorating. The new monasteries were built prevalently in western style. The cooperation of the east and the west can be traced only in the creations of Crusaders. Their mosaics, paintings, and manuscripts were therefore crucial for the development of Byzantine art in its late period. An example of mixture between western and eastern artistic styles and content can be seen in the iconic triptych from Sinai, including the scene of Coronation of the Virgin. Initially, coronation was a western procedure, and placing the Virgin on the throne next to Christ contradicted the principles of Orthodox Christianity (Cormack  190). The process of assimilation of the other culture was experienced by both the eastern and the western artists which makes it sometimes difficult to distinguish who was the real author of an artwork. After the historical events of the early thirteenth century, the Byzantine society faced a choice: whether to stick to the established traditions of Byzantine art or assi milate new ideas and techniques that came from the west. Since contacts with the west became part of daily routine in the life of Byzantine empire, the latter option appeared more likely to follow. Against this background of continuous cultural contact, the church was trying to assume a reasonable position. A profound discussion unfolded on such controversial issues of Christian religion as papal primacy, purgatory, and others (Cormack 194). Western theological works were closely studied in Byzantium and provoked some of the Byzantine people’s disappointment in Orthodoxy and adoption of Catholicism. Byzantine society was torn between two extremes: anti-papists on the one hand and disillusioned intellectuals on the other hand. In any case, the art of the time reflected the unstable situation where consistent positions were rarely followed. Being closely acquainted with the western achievements in Gothic and Renaissance art, Byzantine art consciously made its choice, either acc epting or rejecting the foreign standards. There cannot be traced any distinct and consistent line of either following the western tradition or its denial in Byzantine art of the time. Means of expression and techniques varied greatly in this period of cultural crossroads. A significant feature of contemporary Byzantine art was its utmost religious emotionality and appeal. The loss of glory and prestige of Constantinople was a hard blow for the Byzantine empire, and the attempts to restore the former influence proved in vain (Cormack 198–199). With the return of grand court and patriarch to Constantinople in 1261, there emerged a new hope for restoring the empire. Much effort was put into collecting and displaying the artifacts of the glorious past which remained after the Crusaders invasion. The prior task for raising the prestige of the Byzantine capital was refurbishment of its major shrine, the church of St Sophia. An enormous mosaic, the Deisis, was made on the southern wall of the church (Cormack 201). Over five meters in height and six meters in width, this magnificent panel depicted Christ at the Second Coming and symbolized the restoration of the Byzantine empire to its former greatness. Together with the large scale of the mosaic, it impressed by an especial intimacy and naturalism with which the figures are performed. The delicate modeling of faces in the mosaic was a bright example of early western Renaissance style adapted by Byzantine artists. The Deisis mosaic represented an icon of extraordinary scale and was not the only representative of this large-scale genre. On the other hand, late Byzantine art also produced micro-mosaic panels that were not only used in Byzantine religious practices but also became collectors’ items among the western connoisseurs (Cormack 202–203). The late thirteenth century witnessed a peculiar innovation that resulted from artistic patronage of artworks. Thus, in Constantinople, the already existi ng monasteries obtained new architectural structures and forms. The two brightest examples are the addition of a side-church to St Mary Pammakaristos and the rebuilding of the Chora Monastery (Cormack 204). The latter involved joint efforts of artists, architects, and church planners, who carried out their project by rearranging the vaults of the former katholikon, building an inner and outer narthex, and other modifications decisive for the new design. The main subject of the church were the cycles of the Life of the Virgin and the Infancy and Ministry of the Christ (Cormack  207). Focusing on salvation of the soul and significance of the Virgin, the cycles as such represent quite a traditional subject. However, this conventionality is touched up by certain innovatory findings. For one thing, the cycle contains a number of rare scenes from the life of the Virgin that had not been depicted in other locations. For another thing, different principles of perspective are used in this depiction than in traditional western Renaissance art. Thus together with adherence to Byzantine tradition, the artwork in the Chora Monastery demonstrates latent innovation that was not to draw too much attention. The fourteenth century witnessed sufficient change in the art of iconography. The templon screen that covered the sanctuary gradually evolved into a whole iconostasis holding several layers of icons (Cormack 210). The range and complexity of the church interior cycles increased, as did the range of spiritual experience depicted in the icons. Another innovation was including the personal signature of the artist in the icon or wall painting. This tradition rooted in the western art which emphasized the growing social status of artists and presented their work as goods contesting for popularity among consumers. Although the Orthodox church discouraged such approach, artistic individuality and style became quite prominent during the period. An example of an outstanding icon p ainter can be found in the figure of Theophanes the Greek who worked in Moscow and Novgorod. Works Cited Cormack, Robert. Byzantine Art. New York, NY: Oxford University Press, 2000. Print. This critical writing on Byzantine Art by Robin Cormack was written and submitted by user Tyree Y. to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

contrast essay Popular Music Essays - Essay, Paragraph

Comparison/contrast essay Popular Music Essays - Essay, Paragraph The Poetics of Popular Music Proposal (5%) & Final Essay (25%) For your final comparison/contrast essay you have two choices: Rarely, if ever, does a songwriter only write one song about something; rather, over the course of their career, they return to the same themes or ideas over and over again. So, pick one lyricist(s) and analyze how they explore one theme/idea in multiple (at least 3) songs. Certain themes/ideas in lyrics are popular for many reasons; not the least of which is because they attract many songwriters to it. So, pick one theme/idea and explore how multiple (at least 3) lyricists address it. You can consider themes and lyricists either in or outside of the coursepack. How to approach this? The Proposal should not only clearly state which lyricist(s) and songs youre addressing but also contain some sort of sense how youre planning on doing so. There is no word count required but the more specific detail provided regarding what youll be considering and how youll be considering it (working thesis, some sense of how the body paragraphs will be constructed, etc.) the better. The Proposal is to be sent to me by MIO as a Word attachment by Thursday, November 27th at noon. No late proposals will be accepted. There will be no class on Friday, November 28th! Instead, on that day, every student will have to meet with me in my office (P150) for a brief (around 5-10 minutes) discussion to go over your proposal, what needs to be done, improved, clarified, etc. in order to enable you to go forward. I will be in my office from 8:30 to around 12:30 and people will be seen on a first come, first seen basis. Only when both of these steps have been done (MIO received and meeting held) will you be given your mark (on 5%). Failure to do both will result in a 0%. No final essay will be accepted without both of these steps being taken. The final essay itself should be at least 1000 words (remember though: theres nothing magical about hitting a word count saying something is everything), double-spaced in a clear 12 point font. It must include the lyrics of the songs youll be considering (not part of your word count) and be handed in on the possible due dates (information below) no MIOd versions will be accepted. Again, only the lyrics, in terms of form and content, should be considered. Biography, musical style, how the song is sung, etc., as always, are meaningless and should not be considered as adding anything whatsoever to analysis. You may use secondary sources if you wish but any words or ideas not your own must be properly cited in standard MLA format. Failure to do so is plagiarism and will result in a mark of 0 for this assignment and likely failure of the course. Your essay will be marked by the following criteria: Content (13%): fully develops argument/thesis; detailed and analytical; free of summary/obviousness; well-chosen quotes clearly and fully support analysis Organization/Formatting (6%): clearly organized paragraphs; clear topic and concluding sentences in each body paragraph; transitional words utilized; quotes fully and completely incorporated; MLA style (line #s cited after quotes, etc.); proper standard essay formatting used throughout (double-spaced, indented at beginnings of paragraphs, spacing, etc.) Expression (6%): Consistently clear word use; verb tense consistently in the present (the lyricist shows, the speaker feels); spelling; punctuation, sentence structure; mechanics (no use of I outside of conclusion or needlessly informal language); grammar Final Essay Due Dates: Tuesday, Dec 9th In Class (no marks lost for lateness) Wednesday, Dec 10th P150 (- 5%, or 1.25 out of 25) Thursday, Dec 11th P150 (-10%, or 2.5 out of 25) Friday, Dec 12th P150 (-15%, or 3.75 out of 25) No essays will be accepted after Friday, Dec 12th at noon. Questions? MIO me anytime or come by P150 during office hours.

Humanity in King Lear Essay Example | Topics and Well Written Essays - 1000 words

Humanity in King Lear - Essay Example However, on a different perspective, it is also possible to see the play as a declaration that humanity is an make-believe ideal. In this play, only those who recognize and value the fundamental human condition possess humanity. For example, as King Lear ages and advances into madness, he is stripped of his title, thrown out of his home, and reduced to nothing. It is a sharp depiction that man is really just a â€Å"bare, forked, pitiable animal† and even he, who supposedly owns a noble title, is no more than this. Metaphors are used to acknowledge his inconsequentiality and establish his epiphany as a mere mortal. Lear is able to recognize the values of humanity in his journey to humility. It is shown when he tells his daughter Cordelia to give in to her fate in jail, signifying Lear’s discovery that genuine filial love has more bearing than cultural materialism focusing on power, property, and rank. Still, it is not possible to merely interpret the play as an suggesti on of the basic void that the world is made of --- where Lear is shown as accommodating to the idea that there is nothing but the dreary, cruel, and cold world represented in the story. Edmund, Regan, and Goneril’s portrayed logical sanity contradicts their base natures, as symbolized by animal metaphors such as â€Å"toad spotted traitor† and â€Å"pelican daughters.† While it is natural for human beings to transcend their own limits, this creative tendency to exceed oneself is also the source of destructiveness, a paradox that King Lear explores. This difficult dialectic poses the problem of respecting the norm while at the same time going beyond it. Excess may become too excessive, yet such superfluity is also precisely that which marks off men and women from the inhuman precision of beasts, or indeed of Goneril and Reagan. Lear’s daughters may have a point in failing to appreciate their father’s entourage of a hundred knights. However, what the y miss is the more vital point that Lear expresses at the onset of the play â€Å"O reason not the need.† It is nevertheless inherent to human --- being not beasts --- that desires go beyond the minimal need if there is no rationale why humans should want more than is required for survival. However, excessive material possessions may hinder a man’s ability to identify with the misery of others and feel care. This thought becomes clear to Lear when he is thrown out of his home into the storm, moments before he meets Edgar disguised as Poor Tom. This same insight becomes clear to Gloucester as well, after he is blinded. On the other hand, Cordelia’s forgiveness and mercy of her father offsets this harsh want for excess or surplus. Cordelia’s attitude towards Lear even extends beyond the set standards of justice. It is Cordelia’s attitude depicting both restriction and generosity that resolves several of the text’s formal antinomies. This is sh own when she tells Lear that her love should be suitably divided between himself and her future spouse no matter how unreservedly her love is given. However, when Cordelia dies, another problem is presented. After all, it is a matter of controlling what seems to be a permanent inconsistency in the material composition of humans, and not merely a matter of resolving preset contradictions. It is a tragedy because the play asserts the fact that no poetic imagery is sufficient to resolve this contradiction. Another excess depicted in the play is the excessive ability of humans to inflict pain on each

Sufficiency Economy Philosophy Research Proposal

Sufficiency Economy Philosophy - Research Proposal Example Post Graduate Degree Holder Direction: Please encircle any of the number provided for at the right-end of each item/statement to best express your honest judgment by using the following code. Category Weight Always 5 Often 4 Sometimes 3 Rarely 2 Never 1 I. Buddhism's Middle Way 5 4 3 2 1 1. Does your company exhibit the happiness, wisdom, peace, and nirvana 5 4 3 2 1 2. Is your company manager bossy 5 4 3 2 1 3. Have you felt satisfaction in your company 5 4 3 2 1 4. Is there a prayer time for every employee 5 4 3 2 1 5. Are you competitive with other companies in terms of output, input, price, and profit 5 4 3 2 1 6. Do your company sponsors sport activities for your employees 5 4 3 2 1 7. Does your company project harmonious relationship with other companies 5 4 3 2 1 8. Does your company do charity work 5 4 3 2 1 9. Do you promote environmental awareness 5 4 3 2 1 10. Do you do regular promotion on environmental concern 5 4 3 2 1 II. Moderate spending 5 4 3 2 1 1. Does your company offer board and lodging 5 4 3 2 1 2. Is there brand new company car 5 4 3 2 1 3. Do you often attend socializations/party 5 4 3 2 1 4. Does your company possess high tech machineries 5 4 3 2 1 5. Does your company spend moderately 5 4 3 2 1 III. Reasonable life conduct 5 4 3 2 1 1. Does your company give insurance or retirement benefit 5 4 3 2 1 2. Do you have vacation leave with pay 5 4 3 2 1 3. Have you received regular incentives 5 4 3 2 1 4. Does your company offer commensurate salaries 5 4 3 2 1 5. Does your company offer health benefits 5 4 3 2 1 IV. Self-protection 5 4 3 2 1 1. Do you...A convenient sampling method will also be used in this study. The research will be conducted for (12) months considering the number of days for the preparation of the survey questions, fielding and retrieval of survey questions, plus the tabulation, statistical treatment and analysis. The study will be delimited to the Thailand respondents who are Thailand citizens. The name of the respondents will not be presented on this study to protect the respondents' privacy for confidentiality reasons. However, their data will be presented to reveal the level of understanding among different organizations in Thailand as to the sufficiency economy philosophy. Average Mean. This is used to determine the respondents' level of understanding. This was computed by adding the sum of value of responses of respondents (range 1 to 5), divided by the total number of respondents.

Critical thinking paper Case Study Example | Topics and Well Written Essays - 500 words

Critical thinking paper - Case Study Example This is also aggravated by some situations in which consumers and managed care organizations have less understanding on the role played by APNs. This only implies that aside from its full obligation to patients for remarkable health care, there is also a need for APNs to understand prevailing policies coming from the government and other health care providers such as insurance company. This is to ensure that everything will be properly understood by APNs so as they can explain and elaborate well everything to their patients regarding financial considerations. At the bottom line, this would ensure continuation of a good relationship with the patients. This only implies that APNs must not only focus on providing actual and quality health care, but other substantial information that will substantially influence the standard of their service. Ethical issues are those that conform to standards which are accepted and thus it is consistent with agreed principles of correct moral conduct. Part of the moral considerations among advanced practice nurses (APNs) is to consider care as central to maintaining nurse-patient relationship (Cox and Hill, 119). The established relation between the nurse and patients is a primary way in which the later can participate fully in the care program. APNs are always facing dilemmas when it comes to issues concerning about health care financing. At some point, this has affected the nurse-patient relationship. Considering that APNs have moral obligation and that is to provide quality care, it is undeniably true that they faced ethical dilemmas. However, this can only be understood by giving proper information to patient and his family. Patients and family deserve significant information other than the actual health care service itself. This can be successfully implemented if APNs must also focus on other social concerns especially when it comes to financial considerations. The whole thing must be essentially

The Civil War Was Slavery History Essay

The Civil War Was Slavery History Essay Civil War, a historic moment in history that would change the development of the United States. A war between the Union of the North and the Confederates of the South which was caused by economic differences, states rights, some say the election of Abraham Lincoln, and a big cause of the Civil War was slavery. But the war would never stop and there needed to be a plan to shorten the war and begin to heal what damage has been done and attempt to make peace in the United States. That plan was called Reconstruction, the period during which the states that had seceded to the Confederacy were controlled by the federal government before being readmitted to the Union. There were many policies of Reconstruction that affected the political, social, and economic problems during and after the war. The story starts with the creation of the Emancipation Proclamation created by President Abraham Lincoln in September of 1862 which freed all slaves in states that rebel against the federal government. On his mission to stop slavery President Lincoln issues his Proclamation of Amnesty in December of 1863 which allowed for a full pardon for and restoration of property to all engaged in the rebellion with the exception of the highest Confederate officials and military leaders, it allowed for a new state government to be formed when 10 percent of the eligible voters had taken an oath of allegiance to the United States, and the southern states admitted in this fashion were encouraged to enact plans to deal with the freed slaves so long as their freedom was not compromised. Lincoln was trying to seize the initiative for reconstruction from Congress. On July of 1864, Congress passes the Wade-Davis Bill, which would have allowed a Southern state to be readmitted to the Union only after 50 p ercent of those who voted in 1860 signed a loyalty oath, but President Abraham Lincoln pocket vetoes the Wade-Davis Bill because he thought it was too harsh and preferred his 10 percent plan. After Lincoln gets reelected President in November of 1864 and the passing of the 13th Amendment (abolishing slavery in the United States) in January of 1865, in March, the US Department of War issues the Freedmans Bureau, which a federal agency authorized to assist the former slaves in their transition to freedom by distributing clothing, food, fuel, and medical care and to help coordinate the establishment of black schools. In April, five days after the Confederates surrendered and ended the war, Abraham Lincoln was assassinated by Southern actor, John Wilkes Booth, and thus former Vice-President Andrew Johnson was made President. In May of 1865, President Johnson issued his 0 percent Proclamation of Amnesty, which granted amnesty and pardon to all persons who directly or indirectly participated in the rebellion except people with taxable property worth more than $20,000, civil and diplomatic officials, officers above the rank of colonel, anyone who left the U.S. military to fight for the Confederacy, anyone educated in the U.S. military academies, anyone who left homes in the North to go South, and many others. Southerners held conventions under Johnsons plans and put in a law called the Black Codes, which granted certain basic civil rights to blacks the right to marry, to own personal property, and to sue in court. They also provided for the segregation of public facilities and placed severe restrictions on the freedmans status as a free laborer, his right to own real estate, and his right to testify in court. The Freedmens Bureau prevented enforcement of the codes, which were later repealed by the radical R epublican state governments. By December of 1865, President Johnson believed the Reconstruction plan was finished, but Congress disagreed and thus refused to seat the new Southern representatives and senators. In January of 1866, in attempts to elect former Confederates into the US Senate, Johnson gets rejected to do so by Congress. But later Congress gets dominated by Radical Republicans and issued the Civil Rights Act of 1866, which guarantees that all persons born in the United States, except for Native Americans, are to be considered U.S. citizens with full protection of person and property under the law. This caused a race riot in Memphis, TN, and in the end 46 blacks died. After the passing of the 14th Amendment in June, which makes it illegal for any state to deny equality before the law to any male citizen, in July, Johnson tries to veto the Amendment, but Congress passes a bill extending the life and expanding the powers of the Freedmens Bureau. Soon after that there was another race riot in New Orleans that ended up 34 blacks and 3 whites being killed. In August President Johnson chooses to have a speaking tour about how republicans should not be in Congress but in November the Republicans win by a landslide in the midterm elections and were now in control of the Northern state legislature and government. Later on in March of 1867, Congress passes a 51 percent plan known as their Congressional Reconstruction plan, which divides the South into five military districts, to be run by military commanders until the states meet the federal requirements for forming new governments. Johnson tries to veto the plan but fails, and also Congress passes the Tenu re of Office Act, which limits the president from dismissing government officials who have been approved by Congress, and makes sure Johnson does not override the Republicans Reconstruction efforts. Congress also passed the Command of the Military Act, which required Johnson to issue all military orders through the General of the Army instead of dealing directly with military governors in the South. In May, the Klu Klux Klan, a white terrorist group, formed a year earlier, was discovered and was run by a Confederate general, Nathan Bedford. In the fall, the former states of the Confederacy held constitutional conventions and nearly 1.5 million voters registered and seven hundred thousand were African American. In February of 1868, President Johnson dismisses Secretary of War Edwin Stanton, and then Congress impeaches Johnson for violating the Tenure of Office Act and other reasons. In May, Johnson was acquitted and escaped being removed from office by one vote. In June, 7 states, Alabama, Arkansas, Florida, Georgia, Louisiana, North Carolina, and South Carolina are readmitted to the Union under the Reconstruction plan developed by the Republicans in Congress. In August, US Representative Thaddeus Stevens, who was a strong advocate for black equality, dies and thus spreads concern for African American civil rights. Then in November, Ulysses S. Grant was elected president with a big help by African Americans. In early 1869, newly formed Reconstruction governments are established. Then in March of 1870, the 15th Amendment is passed, which bars state governments from denying or abridging voting rights on account of race, color, or previous condition of servitude. Then in May, in response to th e widespread violence that had terrorized Southern blacks, Congress passes the first of three Enforcement Acts, which designed to protect the civil and political rights of African Americans. In early 1871, Congress declares that the Indian nations are no longer sovereign, an act that will lead to the gradual relocation of all Native Americans onto reservations. In April, the second and third Enforcement Acts was issued, called the Klu Klux Klan Act, which gave the President the right to use federal forces to enforce the law. In November of 1972, Grant gets reelected President. In September of 1873, a powerful banker, Jay Cooke, was bankrupted and causes a panic in the country and more than a million people lose their jobs, thousands of businesses close, and agricultural prices and land values fall, and also Republicans lose interest in pressing Reconstruction on white South. In November of 1874, the Democrats capture control of the House. In March of 1875, Congress passes the Civil Rights Act, which is meant to reinforce the governments commitment to protecting black rights, and key provisions of the act will be found unconstitutional in the Slaughterhouse Cases, which will come before the Supreme Court in the 1880s. In December, President Grants private secretary, Orville E. Babcock, gets charged with participating in fraud involving tax revenues, and this was known as the Whiskey Ring corruption scandal. In November of 1876, the results of the presidential election in which Republican Rutherford B. Hayes narrowly beats Democrat Samuel J. Tilden are disputed. Four months later, in a compromise that will allow the Redemption movement to overthrow the southern Reconstruction governments, then Democrats agree to accept Hayess election if the government will leave the South to manage its own affairs. In April of 1877, federal troops are withdrawn from the state capitols of South Carolina and Louisiana, allowing white sup remacists known as Redeemers to take control of these states governments and soon the Redemption movement will have overthrown all of the Reconstruction governments. The Compromise of 1877 would end Reconstruction and President Hayes withdrew all troops in the South and returns their control. Reconstruction proved to be a huge part of the Civil War and the way it effected the development of the United States. The way its policies effected how the South would be controlled, how it helped freed slaves and kept it that way, and how it effected the economy. It was Americas first experiment of democracy for men. Reconstruction brought government battles, riots, war, and just a big drama of events that are written in the history books. When Reconstruction ended it started a new chapter for America and left behind great moments in United States history.

Frankenstein :: essays research papers

Mary Shelly’s Romantic novel Frankenstein was a momentous accomplishment in the area of writing. Not only was the author only twenty-one when Frankenstein, or The Modern Prometheus was published in 1818, but the author was a woman. She became a very profitable author even though she only wrote one book, Frankenstein, which is said to be the first science-fiction novel. Victor Frankenstein, the protagonist of the novel, can be seen as a man who is mostly good, or a man who is mostly evil. Victor Frankenstein was a man who was passionately and sincerely in love with science and the quest for knowledge, a man who had one deep aspiration, and a man who got in over his head.   Ã‚  Ã‚  Ã‚  Ã‚  Because Victor Frankenstein was so zealous about science and what it could do, and because he was so entranced by the thought of creating human life, he eventually does finds the secret of life and artificially ‘births’ the Creature. His plunge into the maniac-like state that consumed him was slow, and gradual, each day he became more and more distant from society.   Ã‚  Ã‚  Ã‚  Ã‚  Because Frankenstein spent years of planning and hoping to find the secret of life, he never thought that he actually might be frightened when he saw the creature for the first time. But, this is exactly what happened. Even though he knew what he was trying to do, when it happened, and he actually saw the creature standing there in front of him--he was terrified. So, acting on impulse, and fearing he might get hurt from this monstrous creature, he ran away from it.   Ã‚  Ã‚  Ã‚  Ã‚  When Frankenstein was sure that the Creature killed William, he still didn’t tell anyone because he knew it would be no use; no one would ever believe him. He knew that his admitting to creating the monster would be to no avail and thought that no good could come out of it.   Ã‚  Ã‚  Ã‚  Ã‚  The biggest support for Frankenstein being mostly good is illustrated in the novel when he decides to not finish making the female companion to the Creature. He was being extremely selfish throughout the book until this point, but this time, he actually thought about someone else besides himself.

Beginners Guide for Zend Framework 2.0

Beginners Guide for Zend Framework 2. 0 When it comes to open source software and applications, Zend Framework is one of the most preferred platforms for web applications. Zend Framework 2. 0 has been released to overcome the common issues of the previous version and provide an advanced framework for the development of web applications. You can expect a lot of new features including cloud computing, superior event management, and advanced features for event tracking. The Beginners Guide for Zend Framework 2. is a series which will help you in getting started with Zend Framework 2. 0. We are going to discuss each and every aspect of ZF2. 0 with practical example. What’s new in Zend Framework 2. 0 Before starting with ZF2. 0, let us find out what’s new in this version †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ New and refactored Autoloaders Improved Exception System Advance and refactored View Component New Cloud Infrastructure component New and advan ced Event Manager component New Plugin Broker Strategy Rewritten Session Component New Dependency Injection ComponentPost 1 of series ——————————————————————————————————– How to setup Zend Framework 2. 0 Zend Framework 2. 0 is a whole new outfit for Zend Framework and you will find new components, renamed and changed components, and addition of advanced services for better web applications. You would be amazed with the bug fixes and error controlling components available with ZF2. 0. So you need a lot of modifications for this latest version and let us find out how to start working with ZF2. 0. Installing Zend framework 2. First of all you need to download the setup of ZF2. 0 and the best option is to download Zend Framework Minimal Package fo r Windows including PHP 5. 3 in it. Save the file in the library folder as library/zend. There are different methods for installing ZF2. 0 on your machine: †¢ †¢ †¢ Installation Using Pear Installation Using Subversion (svn) Using Git Installation with Pear For the users having Pear enabled on their system, the best method of installing ZF 2. 0 is by using Pear and following two simple command as: pear channel-discover pear. zfcampus. org pear install zfcampus/zfInstallation with Subversion (svn) Users having Subversion running on their system can download the software from public repository and you are not required to download the whole version, you can simply upgrade the frame work with new releases. Installing with Git Many programmers prefer Git for downloading the latest software upgrades and you can use Git for the latest version of ZF 2. 0. Getting ready for your first ZF Project Zend Framework has some specific system requirements like adding frame work in inc lude_path and access to scripts located outside the document.You need to have a proper directory structure before starting with the project and let us find out the best directory structure for your first ZF project 1. docroot/ 2. index. php 3. application/ 4. 5. 6. 7. 8. 9. default/ controllers/ IndexController. php FooController. php models/ views/ 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. scripts/ index/ foo/ helpers/ filters/ blog/ controllers/ IndexController. php models/ views/ scripts/ index/ helpers/ filters/ news/ controllers/ IndexController. php ListController. hp models/ views/ scripts/ index/ list/ helpers/ Filters/ Each of the directories has a specific role and use, let us find out the importance of each of these directories Application: Application directory is meant for all the codes used for the application. Configs: This directory is responsible for the overall application. Modules: Modules are required for at different stages of development so make sure to create a directory for modules for any future requirements of the project. Data: Data directory is responsible for holding volatile and temporary data including sessions, logs, cache, and even the upload data.This directory will act as an easy to find data block for your application. Library: This directory is used for storing different libraries that are throughout the application. Add this directory in include_path for any reference and requirement. Scripts: Script directory is used for maintaining all the scripts including patches, command line, and cron scripts used in the application. Docs: This directory is created for storing data generated in the application and data directly used in the application. Setting Up bootstrapBootstrap is the entry and exit point for all the command in any given applications including requests, response, route, and even dispatch commands. For setting up your Bootstrap, create index. php file and a dd the following code in your application. Background Process: First of all, you need to define all the main directories as contants for easy access and then initiate Zend/Application/Application for starting the application. The command bootstrap() is used for booting the application and then transfer the control to the original bootstrap of the application.For higher security, make sure to mention minimum details in index. php and try to keep all the logic in the bootstrap class created in your application directory. The next step in setting up ZF 2. 0 is to create the . htaccess file for handling and redirecting all the requests to bootstrap. Create . htaccess file for your project The main function of . htaccess file is redirect all the requests made in the project to the public bootstrap file. Before creating the file, you need to mention its global configuration like rewriting writes and similar permissions.You can do it by following method. Create a directive in your vhost fi le and provide permission for . htaccess to be parsed. allow override all none Now create public/. htaccess file with following code: Once you have created the . htaccess file for your application, you are ready to start with the project. Although there are some simple steps left in the process including setting up the application. ini file and then you can start with creating your first controller, how to input data from user, filter the data, validating data, and a lot of different things.Conclusion: ZF 2. 0 has a lot of quality upgrades as compared to the earlier version and the best way to use all of these features is to follow this guide step by step. There are many new features added in ZF 2. 0 which makes it a really powerful tool for developing impressive web applications. One of the most important additions is the advanced Event Manager and Cloud Infrastructure tool provided in ZF 2. 0. There is a lot to learn in this new feature packed Framework. Next Post Contents: †¢ †¢ Displaying information to user How to link pages together

History of Washing Machines

History of Washing Machines Early washing machines were invented back in the 1850s, but people have been doing laundry since they graduated from wearing fig leaves. Over the course of centuries, the technology for washing clothes has evolved from crude manual labor to high tech. Laundry Before Machines In many ancient cultures, peoples cleaned their clothes by pounding them on rocks or rubbing them with abrasive sands and washing the dirt away in streams or rivers. The Romans invented a crude soap, similar to lye, that contained ash and fat from sacrificed animals. In colonial times, the most common way of washing clothes was to boil them in a large pot or cauldron, then lay them on a flat board, and beat them with a paddle called a dolly. The metal washboard, which many people associate with pioneer life, wasnt invented until about 1833. Before that, washboards were made entirely of wood, including the carved, ridged washing surface. As late as the Civil War, laundry was often a communal ritual, especially in places near rivers, springs, and other bodies of water, where the washing was done. The First Washing Machines By the mid-1800s, the United States was in the midst of an industrial revolution. As the nation expanded westward and industry grew, urban populations mushroomed and the middle class emerged with money to spare and boundless enthusiasm for labor-saving devices. A number of people can lay claim to inventing some kind of manual washing machine that combined a wooden drum with a metal agitator. Two Americans, James King in 1851 and Hamilton Smith in 1858, filed and received patents for similar devices that historians sometimes cite as the first true modern washers. However, others would improve on the basic technology, including  members of the Shaker communities in Pennsylvania. Expanding on ideas begun in the 1850s, the Shakers built and marketed large wooden washing machines designed to work on a small commercial scale. One of their most popular models was displayed at the Centennial Exposition in Philadelphia in 1876. Fast Facts: Washing Machine Trivia A washing machine invented in France in the early 1800s was called the ventilator. The device consisted of a barrel-shaped metal drum with holes that was turned by hand over a fire.One of the first African-American inventors of note in the 19th century, George T. Sampson, received a patent for a clothes dryer in 1892. His invention  used the heat from a stove to dry clothes.The first electrical clothes dryers appeared in the United States in the years prior to World War I.In 1994, Staber Industries released the System 2000 washing machine, which is the only top-loading, horizontal-axis washer to be manufactured in the United States.The first computer-controlled consumer washer appeared in 1998. Fisher Paykels SmartDrive washing machines used a computer-controlled system to determine load size and to adjust the wash cycle to match.   Electric Machines Thomas Edisons pioneering work in electricity accelerated Americas industrial progress. Until the late 1800s, home washing machines were hand-powered, while commercial machines were driven by steam and belts. That all changed in 1908 with the introduction of the Thor, the first commercial electric washer. The Thor, the invention of Alva J. Fisher, was marketed by the Hurley Machine Company of Chicago. It was a drum-type washing machine with a galvanized tub. Throughout the 20th century, Thor continued to make innovations in washing machine technology. In 2008, the trademark was bought out by Los Angeles-based Appliances International and soon introduced a new line under the Thor name. Even as Thor was changing the commercial laundry business, other companies had their eye on the consumer market, perhaps most notably the Maytag Corporation that got its start in 1893 when F.L. Maytag began manufacturing farm implements in Newton, Iowa. Business was slow in winter, so to add to his line of products, Maytag introduced a wooden-tub washing machine in 1907. Not long after, Maytag decided to devote himself full-time to the washing machine business. The Whirlpool Corporation, another well-known brand, debuted in 1911 as the Upton Machine Co., in St. Joseph, Mich., producing electric motor-driven wringer washers. Sources Marton, Barry. Washing Machine. Encyclopedia.com. Accessed 16 Mar. 2018 Museum staff. The Shaker Improved Washing  Machine. Shaker Museum. 20 July 2016.Staff editors. Clothes Washing Machines. Edison Tech Center. 2014.Telegraph staff. A Timeline of Inventions. Telegraph.co.uk. 6 July 2000.