A Nation of Drunkards Assignment Example | Topics and Well Written Essays - 250 words

A Nation of Drunkards - Assignment Example It is evidently clear from the discussion that the White Southerners feared that drinking would turn their Black neighbors into criminals. This drinking according to the temperance reformers created anger and sorrow, which eventually resulted in the destruction of many families and marriages. In other words, the drunkards out of anger and sorrow mistreated their wives and children. Burns and Novick imply that drinking was considered a symbol of masculinity and yet again it often ruined masculinity’s key obligation and expectations, which is an individual’s capability to provide support to their family. In addition, the National Prohibition depicted a coincidence resulting from a combination of certain aspects. These aspects included the Anti-Saloon League’s political skill, and the formulation and implementation of an amendment to the constitution of the federal government, which resulted to the formation of an income tax (ensuring that drink taxes were rendered inappropriate). It also included the entrance of the American nation into the world war one, a factor that led to the demonization of the German-American brewers. Generally, these explanations made by Burns and Novick are the factors that led to the assumptions that the National Prohibition had a high probability of being self-enforcing.

The Philippines During 1946 1986 History Essay

The Philippines During 1946 1986 History Essay This essay uses the Dependency theory on how the economy of the Philippines fared out during the 1946-1986 period. This will also discuss facts on how the Marcos regime made the country surge into large international debts and why even though our country has a lot of natural resources cannot join the league of developed nations. The reason maybe that the post-colonial culture that our colonizers left us. There are so many assumptions on why our country is still behind. This essay will view the economy during the post colonial to martial law era to post martial law era. That particular period of time may have given the people the power to say what they wanted to (but there are some articles that indicates the the so called people power was not really a people power but of the Imperial Manila. As what Amando Doronila said in his feature article in the Philippine Daily Inquirer People power movements have been an Imperial Manila phenomenon. Their playing field is EDSA. They have exclude d the provincianos from their movement with their insufferable arrogance and snobbery   ignoring the existence of the toiling masses and peasants in agrarian Philippines.) With that observation that has been taken to account, the essay will include some insights on why do we seen stuck to this. Why do the country that has so much potential has been left behind even though we are thought to be one of the countries that will boom after the decolonization? Officially classed as developing country, the Philippines was once the second largest economy in Asia. In 1970 however, a path of loans and heavy borrowing was taken. This swelled the debt from of the country to much larger sums. The decline of Philippines exports, the corruption and economic mismanagement of the Marcos regime followed by the assassination of Ninoy Aquino in 1983 all contributed to the breakdown of the economy. In September 1972, Marcos declared martial law, claiming that the country was faced with revolutions from both the left and the right. He gathered around him a group of businessmen, used presidential decrees and letters of instruction to provide them with monopoly positions within the economy, and began channeling resources to himself and his associates, instituting what came to be called crony capitalism. By the time Marcos fled the Philippines in February 1986, monopolization and corruption had severely crippled the economy. In the beginning, this tendency was not so obvious. Marcoss efforts to create a New Society were supported widely by the business community, both Filipino and foreign, by Washington, and, de facto, by the multilateral institutions. Foreign investment was encouraged: an export-processing zone was opened; a range of additional investment incentives was created, and the Philippines projected itself onto the world economy as a country of low wages and industrial peace. The inflow of international capital increased dramatically. The Philippines defaulted on its debt 1983 1984 with the economy undergoing significantly negative growth in 1984 and 1985. Since the downfall of Marcos in 1986, administrations have opened up the economy to foreign investment but the privatization of the economy has been too slow. A trade deficit is the result of heavily importing goods while exporting very little. To make matters worse, government expenditures exceed government revenues. The Philippines found itself in an economic crisis in early 1970, in large part the consequence of the profligate spending of government funds by President Marcos in his reelection bid. The government, unable to meet payments on its international debt, worked out a standby credit arrangement with the International Monetary Fund (IMF) that involved renegotiating the countrys external debt and devaluing the Philippine currency to the United States dollar. The government, unwilling and unable to take the necessary steps to deal with economic difficulties on its own, submitted to the external dictates of the IMF. It was a pattern that would be repeated with increasing frequency in the next years. Despite once being the second largest economy in Asia (after Japan), the country is now relatively poor. The economy is agricultural, lightly industrial and service orientated. Economic growth is much weaker due to enormous debt. Much government money goes towards payments of the debt leaving very little money remaining for improving infrastructure. Since 1986, efforts have been made to open up the economy to foreign investment but the privatization of the economy has been just too slow    After WWII, the Philippine economy was in bad shape. During the term of President Quirino, the economy began a phase of rapid growth. The economic growth slowed over time but by 1965, the Philippine economy was the second largest in Asia. This was largely due to the enormous spending of government funds by President Marcos. Arrangements were made with the International Monetary Fund (IMF) and so began the period in which the Philippine economy would be propped up with loans from the World Bank and IMF and heavy borrowing from banks and organizations. The economy of the Marcos regime can be described as debt driven. However, the economy continued to grow during the Marcos regime, even throughout martial law. In the 1980s, the economy started to falter due to a number of reasons. World demand for Philippine exports went into decline, corruption and economic mismanagement from the Marcos regime and the assassination of Ninoy Aquino in 1983 shattered investment confidence in the country. Economic growth was significantly negative in 1984 and 1985. As a result of a shrinking economy and enormous debt, the Philippines defaulted on its foreign debt payments 1983 1984. In the following Aquino years, the economic issues remained. It wasnt until the Ramos administration that the economy began to significantly grow. The Philippine economy was also hit by the 1998 Asian financial although not as much as some of the neighboring Asian states, partly due to remittances from overseas Filipino workers.    Large debt is a major factor in the hindrance of the Philippine economy. During the Marcos years, loans and heavy borrowing were used keep the economy propped up. The decline in demand for Philippine exports, the uncontrolled and unrestrained corruption of the Marcos administration and the assassination of Ninoy Aquino took its toll. The government defaulted on debt payments 1983 1984 and the economy underwent a period of significant contraction in 1984 and 1985. In 1986, after the downfall of Ferdinand Marcos, the debt was at US$28 billion with the country in a bankrupt state. In more recent times, the public debt is just over three-quarters of the Gross Domestic Produce (GDP) and a large trade deficit has grown from the heavy importing of goods combined with a weak export growth. Given this situation, much of government funds is being used to pay off the debt (or probably more accurately, the interest on the debt) this leaves little money for the government to develop infrastructu re. The lack of infrastructure in turn has resulted in much lower growth in various economic sectors. Since 1986, administrations have gradually opened up more of the economy to foreign investment. However, the privatization of the economy is currently just too slow. The corruption of the government and tax evasion tactics by big businessmen has also robbed the government of funds. The situation has been described as a fiscal crisis and on the current course, it is expected the Philippines will default on its debt in the next few years.    The Philippines is essentially an agricultural area but in more recent years other sectors have developed. Although greatly potential in the agricultural sector, the lack of infrastructure and finance combined with government policy have limited the success of this sector. The rural economy is largely based on agriculture, forestry and fishing. Years of uncontrolled logging are having an impact on forestry and fishing may have its days numbered due to the expense of equipments. The country has numerous natural resources including deposits of copper, chrome, nickel, gold, silver, coal, sulphur, gypsum, limestone, marble, phosphate, silica, clay and natural gas. Problems from the energy sector also contribute to economic woes. Electricity is relatively expensive and is subject to government red tape, preventing unprofitable public sector electricity companies from raising rates to raise money to develop and improve services.   A general rise in world raw material prices in the early 1970s helped boost the performance of the economy; real GNP grew at an average of almost 7 percent per year in the five years after the declaration of martial law, as compared with approximately 5 percent annually in the five preceding years. Agriculture performed better that it did in the 1960s. New rice technologies introduced in the late 1960s were widely adopted. Manufacturing was able to maintain the 6 percent growth rate it achieved in the late 1960s, a rate, however, that was below that of the economy as a whole. Manufactured exports, on the other hand, did quite well, growing at a rate twice that of the countrys traditional agricultural exports. The public sector played a much larger role in the 1970s, with the extent of government expenditures in GNP rising by 40 percent in the decade after 1972. To finance the boom, the government extensively resorted to international debt, hence the characterization of the economy of the Marcos era as debt driven. In the latter half of the 1970s, heavy borrowing from transnational commercial banks, multilateral organizations, and the United States and other countries masked problems that had begun to appear on the economic horizon with the slowdown of the world economy. By 1976 the Philippines was among the top 100 recipients of loans from the World Bank and was considered a country of concentration. Its balance of payments problem was solved and growth facilitated, at least temporarily, but at the cost of having to service an external debt that rose from US$2.3 billion in 1970 to more than US$17.2 billion in 1980. It was in this environment in August 1983 that President Marcoss foremost critic, former Senator Benigno Aquino, returned from exile and was assassinated. The country was thrown into an economic and political crisis that resulted eventually, in February 1986, in the ending of Marcoss twenty-one-year rule and his flight from the Philippines. In the meantime, debt repayment had ceased . Real GNP fell more than 11 percent before turning back up in 1986, and real GNP per capita fell 17 percent from its high point in 1981. In 1990 per capita real GNP was still 7 percent below the 1981 level. Industry has grown over the past few years but only in the urban areas. The industrial sector includes textiles, food and beverage processing, pharmaceuticals and chemical products, such as paints and fertilizers, and also electronics. In 2005, the Philippines began exporting cars in significant quantities. Electronic based companies such as Intel have been in the Philippines for many years too. The services sector is a big player in the economy and one of the more recent booms is the establishment or transferring of call centers in the Philippines for many large and in some cases multinational and international companies. Setting up call centers in the Philippines is ideal because of much lower costs than in the developed countries of origin and cheaper labor. A major advantage the Philippines have over other countries is the significance and usage of the English language within the country. The continuous growth of the outsourcing companies has led us to our current situation right now. Because of the limited availability of the jobs for the newly graduates, they resort to taking call center jobs wherein they could earn a decent income but doesnt level to their core competence. The decent income that they are receiving covers up to the companys main motive which is to exploit us. Our country may have benefited well to the boom of this sector but it exploits us in a sense that they are taking advantage of our resources but for the less cost. We are one of the countries that the other advance country exploits. Another example of the countries that were being exploit are India and China but to be fair with them, they are taking it as a challenge to grow more in terms of economic, and self improvement. Some may argue that they were racing to the bottom but they were not because they were racing to be on top. The Philippines does it the other way. We have the resources, the vast number of educated people but we are not improving. It may be blamed to the culture that we grew up in and the decision making of the leader. The loans that the country had during the time of Martial Law hit to its lowest and brought us to much more inescapable debt to which led us to borrow more to the predatory shark, the IMF. We have been dependent to them expecting that we would be out of this huge foreign debt but we only led to more debt that makes the Filipino people responsible for paying those huge sums of money. Only an irresponsible leader could only lead us to this state. The economy reached its lowest point and now the people are paying for this. The country may have achieved its democratic status but are we really free? Or are still heavily influenced by our former colonizers? The answer could be is that it depends on how we take it all in. We are still heavily influenced by our former colonizers from the music that we listen, to the clothes that we wear and to the culture that we are trying to fit in. But it seems that it boils down to how we respond to it. The state wherein our country is in right now may have been better than to what it has experienced before with the colonizers and the Martial law. The economy seems to be stable but its still not enough to sustain the growing economy of our country. A lot of people die out of hunger, the population has been multiplying every year and the education system in our country has not helped us to bail out from this system. The Philippines is a beautiful country with lots of things to offer. Sadly, the country today seem to be in lost on how to go on after to what had happened after the pos-colonial and martial law era. The country has been lost and still looking for the way out for this misery. Sure former President Fidel V. Ramos made the economy slightly back on track but we are now down again. Our country has been waiting for the promises of the politicians to come true to save us from this misery but again, it boils down to how we handle things and how we adapt from it. We could have been doing well if only we had retain the positive things that our colonizers left us. They may have invaded our country but it lead to some transition but we took it and applied it on the wrong way. We are still dependent to our past may it be the post colonial era or it may be the post Martial Law era. We cannot run from it. 2,540 words

The Capulet Family in William Shakespeares Romeo and Juliet :: Romeo and Juliet Essays

The Capulet Family in Romeo and Juliet The Capulet family is one of pride and high social standing. It consists of Lord and Lady Capulet, their young daughter Juliet, and their kinsman Tybalt. They have a nurse, as well, who has taken care if Juliet since she was born. They get along quite well, yet, like all families they have their differences. However, one thing that happens frequently when two members of the family disagree on something, is that usually someone gives in to their " superior," regardless if they agree or not. One example is when Romeo shows up at the Capulets' party uninvited and Tybalt wants to throw him out. Lord Capulet objects to this by saying, "He shall be endured...I say he shall...Am I the master here or you?" For a little bit, Tybalt argues, but he very soon backs down and lets Capulet have his way. Perhaps the reason why this happens is because the "inferior" person is somewhat intimidated by the "superior." This intimidation that some of the characters produce on each other shows that there is not a great deal of communication in the family. Throughout Act I, there were several more examples of characters yielding to others and not standing up for what they believe. For instance, when Lady Capulet brought up the idea of Juliet marrying Paris, Juliet just went along with the concept , even though that was possibly not what she wanted. An even more significant instance of such a thing occurring is the fact that Juliet feared to tell her parents that she had fallen in love with Romeo, a Montague. She knew that if she informed them of how she felt, they would get angry and maybe disown her, just because of their hate for all Montagues. That is another of the Capulet family's flaws. They are rather narrow-minded because of their continuing, senseless conflict with the Montagues. Both households are of equal fault in this case, but that only proves that the two families are alike in that way. Even still, if the Capulets believe that they truly are the more dignified, they should have ceased their dispute earlier and prevented their daughter's unhappiness (and eventually death).

What is The Effect of Sociological Factors to Artist Life

A French philosopher and writer, Pierre Bourdieu ( Bourdieu et al. 1990) claims that sociological factors such as education, family background, cultural development of an individual as well as one†s belonging to a specific social class, plays a vital part in interpretation and participation in the Arts. In order to evaluate this argument and make any logical conclusions, it must therefore be examined through evidence which in this case will be referring to an Australian artist, Robert Klippel. Every artist†s career has a ‘shape† or a development which tends to be greatly affected by sociological factors which influence the life of that artist†. (Hughes 1964: 2). Robert Klippel†s career ‘shape† was also a subject to formation which was promoted by factors such as education, family upbringing and background as well as the outer and inner environments which affected the life development of the artist. It is thus essential to consider these factors as they influenced and formatted Klippel†s artistic vocation and career. Robert Klippel was born in Sydney, 19 of June 1920, in a middle class family and became the econd in a family of three sons. His father had emigrated from Poland in 1904 and ran a successful business importing and distributing clothing and textiles. His mother, of English background, had been brought up in ‘English fashion†, educated well and expected to devote herself to marriage and the family. Klippel†s father attended university where he studied philosophy and took an Art theory course. During university years, he developed an interest in the Arts. From time to time he would visit an Art gallery or buy an expensive classical painting. Robert Klippel†s, mother had a passion for classical music and would often visit the opera. However, at that time Robert Klippel had little interest in education in the Arts and was not affected by the artistic family environment around him. Although, Klippel†s parents were educated well, Robert Klippel and his brothers were not encouraged to learn or participate in the arts as Klippel†s parents thought that their children should go ‘their own ways†, it could even be said that they were brought up by the ‘a light hand†- always given opportunities to make their own choices and decisions in life. When referring back to Bourdieu and his argument, it could be argued that even though Klippel†s parents were educated well and may have had a reasonable understanding of the arts, they would not be one â€Å"of refined classification† and certainly would â€Å"lack a mastered degree of artistic competence†(Bourdieu et al. 1990:42) as they could not fully value the importance of education and pass on to their children. However this idea may not apply in this case, as Robert Klippel himself was not affected by his family†s level of education and from the yearly years led an independent lifestyle. Particularly during his youth, Klippel had little interest in any sort of education and with little direction from his parents, he preferred to work on the mill, spent little time doing his school work and became used to fail many examinations. At one time, Klippel even thought that his life was doomed to be a ‘failure†. Klippel†s family was quite financially stable and all the three sons attended secondary school including Klippel himself, who had a careless approach towards education and found that it was not for him. In fact he did not receive any art education or learn much of what he later became interested in. He describes his school years being: ‘uneventful and a waste of time†(Gleeson 1983 :4). However it was during his early schoo years that Klipple developed a passion for sculpture. Robert Klippel†s early life was mostly spent around Sydney Harbour where lived and first became fascinated with ships and boat models. As a young boy, Klippel began making miniature model ships that he often saw on the harbour or in books. An obsessive commitment to model making lasted almost eighteen years which later led to becoming a sculptor. Klippel entered the navy during WWII, where he obtained a job as a model maker. Between 1943 and 1945 he produced many military vessels and aircraft models. The skills developed during this period were vital for Klippel as a sculptor; â€Å"he gained knowledge of volume, mass, proportion and structural detail†(Scarlett 1980: 9). Above all, he acquired a strong desire to find out how things worked which further helped him with his creative process. Klippel obtained some practical skills to be used in his artworks but when referring back to Bourdieu, he had no knowledge of ‘artistic principles† or understanding of theoretical Arts and thus had no ‘means of appropriating works of art†. This also reflected that Klippel had a lack of artistic ideas and inspirations to produce his works although he had a strong desire to make sculptures. â€Å"At twenty-four Klippel was still largely unconcerned with the difference between art and craft: he simply did not care about it and had never visited a gallery†(Hughes 1964:12) Klippel was not exposed to any higher education and he finished high-school with poor grades as he spent most of the time working with wool. He took a wool classing course in 1937 with the support of his father who thought that Klippel would be working with wool as he did not see any other pportunities for his son. However, Klippel himself decided to no longer work with wool and to devote more time to his sculptures as he discovered his passion for Art. The year of 1943 became a turning point for Klippel, as he met a friend Pam Broad, who was a poet and an intellectual, and encouraged Klippel to take up a wood-carving course which taught him how to develop his own designs and models. Pam Broad was appreciative of Klippel†s skill but criticised his lack of originality and knowledge of art. Klippel realised that in order to become a sculptor he would eed to have certain knowledge of the Arts and Pam Broad introduced him to literature, poetry and art as abstract, which Klippel became later involved in. Robert Klippel gradually began to gain artistic appreciation and knowledge of Art and he also found the critical difference between art and craft. Klippel realised that he could now interpret and produce artworks and meanings in ways that before were unknown to him and as Bourdieu states: â€Å"interpretation†¦ is always constituted by the learning ability †¦ in other words discovering meaning using our literary knowledge† (Bourdieu et al. 1990). Klippel put aside his models and began to read and study art books to gain knowledge about art. Pam Broad introduced him to the work of Brzeska, and he read books on Henry Moore and Roger Fly; â€Å"The intellectual discovery of art as a creative pursuit awakened a passion he hardly knew existed†(Watters Gallery 1970:3). By 1945 Klippel has decided that art would be his vocation and that he would become a sculptor. In 1946 he enrolled full time at the East Sydney Technical College to study antique drawing, life modelling and sculpture. During this time Klippel became inspired by nature which became a source of ideas for the sculptor and he noted n his diary that: â€Å"Thinking a lot about nature and its workings, I believe and artist should, when creating, undergo a similar process which occurs when nature creates†(Gleeson1983:4). Although not having received ‘complete† education, Robert Klippel was able to use his skills to produce his models and he found that the knowledge he received himself and with the help of others was extremely useful for his art creation. Referring back to Bourdiue, who stressed the importance of learning and defined the idea of education as â€Å"having a complex code†, which refers to sophistication and ability to distinguish a ork of art in a more refined way, it could be noted that Klippel has gradually achieved this ability through self-education and continuos learning throughout his career. However here the theory of sophistication, family education could not apply as Klippel did not achieve high level of education and obtained valuable qualifications but instead gained self-knowledge which was not perhaps one of ‘fine refinement† but which provided him with a stable base to develop his career. It could be considered that Bourdieu†s theory of education does apply to those with a enuine interest in the Arts and to those who wish to gain precise knowledge of the Arts. Klippel himself realised that his self-discovery of new visions and ideas as well as artistic knowledge helped him with his artistic development. Klippel further developed an interest in abstract art and decided to move to London where he commenced his studies at Slade School of Art. Here he developed his skills as a draftsman, â€Å"which he felt were sorely lacking† (Sturgeon 1978:15). For six months at the Slade School Klippel led a double life. On one hand, he did his formal studies, which he â€Å"hated and found rrelevant† (Scarlett 1980:6), on the other hand, he pursued an independent self-development course in which he concentrated on studying abstract art derived from nature. Learning in Klippel†s opinion was not always a constant necessity and brought use to his work, unlike Bourdieu claims that learning at school and university is essential to develop not only the knowledge but also have access to ‘appropriate culture†. Klippel disregarded culture and education as a means of achieving success but to him art was about self-expression combined with the required artistic knowledge. In 1945 Klippel has constructed the largest and most important of his sculptures and since then he decided to work alone and to no longer have a formal education. An Australian surrealist painter, James Gleeson became a vital individual who influenced Klippel†s career development, he encouraged Klippel to leave Slade School and to work on his own. Gleeson introduced Klippel to surrealism and organised Klippel†s first exhibition in London which they shared together. Klippel found that he had developed an obsession to make art that stemmed from his own life and reflected the world around him as he wrote: â€Å"The artist can show a new world, if he ees and feels enough†( Hughes1964:9). During this period Klippel became financially unstable as the support coming from his father was at an end, as Klippel†s father strongly believed that his children should be able to support themselves in their adult life. Klippel went through a particularly difficult psychological period feeling unstable both emotionally and financially when he could not sell any of his sculptures. Klippel†s works were often rejected as they often classified as ‘self-reflection works† which often reflected the emotional and problematic side of the artist. Klippel was also under pressure from his family, particularly his brothers who had a successful wool business and who financially aided Klippel as he could not provide for himself. Klippel travelled to Paris in hope of selling his works and spent a few months there creating more sculptures relating to nature. He found a studio where he worked and was able to diverse the scope of his ideas so that his works would have a wider meaning and perhaps more people could find appreciation in his works. While living in Paris, Robert Klippel married an American artist, Nina Mermey and decided to travel to New York with her, which he later realised was wasted time† as he could not find any workshops or studios to work in. Again here he was bound to make money on his work but not having achieved that Klippel returned to Sydney. Klippel†s path here was now open to any direction and James Gleeson introduced him to a more comprehensive surrealism which Klippel wished to explore. He re-married in Sydney and in 1966 he established his first workshop. For the first time, his works became appreciated by a large number of artists and art critics. The financial situation became better as some of Klippel†s sculptures were sold. With James Gleeson, another exhibition was held which presented painted landscape by Gleeson occupied by Klippel†s metal objects, it achieved a wide recognition by many fellow artists and the public for the first time. Robert Klippel had many more exhibitions and finally achieved the success he has been striving for since youth. However when looking back at Bourdieu and his theories, it is worth to consider the effect class and position in society had on the artists overall recognition. Bourdieu associates upper class as having â€Å"good taste† as those from higher classes usually relate themselves with an academic institution† and may relate to the Arts, rather then those from lower classes tend to have little or no understanding of Art and in conclusion have no taste, he also relates class to culture, the higher the class the more cultured an individual could be. This view can partially describe Robert Klippel†s life as he comes from a well educated and culturally developed family but not belonging to an ‘academic institution† as described by Bourdieu. Klippel was fairly distant from any art education during his youth and did not attend university while he did poorly at school. Perhaps the lack of direction from his parents and lack of his desire for education resulted in some instability experienced later in his life. Perhaps as a result of that, Klippel had trouble finding a place in the society as an artist as he often felt ‘out of place† with his artistic ideas which for a long period of time received no appreciation. According to Bourdieu, Klippel†s art and his life would be a result of his family social position and cultural atmosphere as well as his own academic achievements. It could be agreed that these factors have had an influence on the artist†s life to some extent. Klippel had few minor cademic achievements compared to his brothers and mostly spent time doing agricultural work. Klippel†s parents exposed their children to art and classical music as they thought that right cultural upbringing was essential to achieve social recognition and success, however, they saw that Robert Klippel had little interest in education and had no hope for him to achieve any academic success, so they allowed him to work on the mill and later with wool. This family upbringing affected Klippel†s life and resulted in his struggle to achieve success and later Klippel himself understood the importance of education and cultural upbringing to achieve Robert Klippel once said that: â€Å"true art arises from inner spiritual necessity and an ability to follow one†s own convictions†. Robert Klippel is known today as one of Australia†s leading assemblage sculptors, he has created an innovative and extensive body of three-dimensional works over a fifty year period. For a long of time, Klippel was not recognised as an artist and he underwent a difficult psychological period throughout the development of his career. However, gradually, Klippel began to understand the influence various sociological factors had on his life. He resumed his studies of Art, tried to market his own works to gain finance and finally became aware of what ‘it takes† to achieve success and recognition. One therefore, after examining the career of the artist, can never wonder as to why so many of Robert Klippel†s works are often a reflection of his own life and his long struggle to overcome the many barriers that he faced as Thus, in conclusion it would be faire to agree with Bourdieu†s views that sociological factors such family background, education, class and social position, have an influence on one†s interpretation and participation in the Arts.

Jean Piaget Essay

This case study is on a young girl named Debby. She was observed in a at her parent’s home over the last weekend. She is 3 years of age. She is the only child, and lives with both parents. She has her own bedroom. She loves anything Disney princesses, she also does not like dark colors, bright colors are her favorite and she likes the color pink. She like playing with dolls, playing kitchen, and she told me that her favorite thing was to ride in mummy’s car. Debby dislikes playing trucks and boy’s game, she did not have any problem playing with boys or girls  but while observed at a birthday party, she rather plays with girls, than to play with boys. She also does not like dark colors, bright colors are her favorite. She does go to speech therapy to work on her words as both parents are actively working professionals. Debby is a very fascinating young girl, and it was exciting to do a case study over her. For a child of age four, Debby is very active. Debby is average for her physical development. Debby is physically fit, and enjoys playing with others when. Because she was observed at their at home, some questions were directed to her mother. According to a growth  and weight chart, the average height for a 3 year old girl is 37 inches. Debby is 38 inches in height, and she weighs 36 pounds (CDC growth chart. ) Debby is a very active child. She enjoys running around every chance that she gets. When playing outside Debby can kick, throw, bounce, and catch a ball adequately. She is developing her eye-hand coordination. When asking her to do these tasks, Debby is able to run, she can hop on both feet, and she can jump up and down. She needs more time to get skipping down, but she tries her best. Debby is able to dress and undress herself without assistance. Debby likes the  independence of being able to pick out her clothes that she wants to wear. She is very comfortable using iPad and some other operating electronics in the house. One of her favorite activities to do is to paint and draw. While painting, she likes to make a mess, because she thinks that it is fun to paint with her hands. Debby is in the Pre- operational stage cognitively. Pre-operational stage is from ages 2 to 7, and Debby fits in this category, because she is 3 years old. Cognitively, Debby is in the normal category, because according to develop mentalists she is developing normal for her age. Examples are that Debby knows how to write letters in the alphabet. She knows how to write her name, she just does not know the correct order the letters go in. She is able to count, she is a good listener, and she is becoming interested in how to sound out certain words. These are just a few cognitive abilities, which are normal for 3 year olds. As each year passes, and as Debby continues to get older, cognitively she will continue to progress. Debby’s Language Development is improving. Debby does attend speech therapy. When she talks sometimes you really have to listen hard to what she is saying. When she gets excited  about something, she will start talking really fast, and we have to remind her to slow down. When she gets upset, she will normally start crying, so she is encouraged to use her words to explain what is wrong. Though sometimes, she say something which she means the opposite. Her basic speech problems are annunciation, and getting some sounds confused with one another. For example b’s and d’s. Speech has really helped her, she has only been going for a little over two months, and we can already see a drastic change in her words. On occasions, you will find Debby talking or discussing with herself. According to her  mother, she usually does this when she is trying to figure something out. I enjoyed watching this taking place. I also tried to test her about her memory and recollection. I asked her about what she does on her birthday because her birthday was the previous Sunday. She was able to tell me how mummy took her to the park. Her thinking ability is very superb Cognitively, Debby is s in the normal category for a 3 year old. In the Jean Piaget theory, she is in the pre-operational stage. She loves going to school and also like to try new thing. She is well behaved and according to mum, she always goes around to greet both the teachers and  students alike whenever she is entering or leaving the school. Debby is rapidly developing many social and emotional abilities and skills. Her growth and behavior reflects the abilities that are expected of her age. Debby is developing rapidly and cognitively, she is developing normally. On the issue of Moral development, there are some cases that she knows what is right. She has begun to know right from wrong. She has started to find other’s opinions of self to be important. Like on Sunday in church after service, their pastor came around to say hello and he greeted he by saying â€Å"what’s up men? † but she replied â€Å"I’m not a man, I’m a girl† everybody there just laugh at the way she responded. She possesses a lot self-controlling and is less aggressive but sometimes uses verbal threats like â€Å"you will be in trouble† or â€Å"I will slap you† but to my understanding, she did not even know the meaning of those words. I enjoyed my case study on Debby. Through it, I was able to learn many penetrating strategies to see and understand if children are progressing adequately, according to their age throughout the early stages of their life. It is crucial that children progress accordingly so they do  not fall behind in school and in life. After doing this case study I now know what tips and signs to look for when deciding if a child is progressing in all aspects of life. Debby compared to an average 3 year old is normal, her age and behavior are well correlated. I am amazed with her memory. I overheard her singing a Nigerian folklore and I asked he to sing it for us again and she did not miss too much from the lyrics. Debby is in Piaget Preoperational Stage as she was able to think about things symbolically and her language use becoming more mature but her still not completely logical. Also, Debby belongs to the Musculo-Anal in the Erikson’s Stages of Development because she is self-sufficient in many activities, including toileting, she can feed herself, walking, and her talking is becoming clearer. I really enjoyed observing Debby, it was a great experience and I hope to put it into practice in my field of study. Works Cited â€Å"Use Of World Health Organization And CDC Growth Charts For Children Aged 0-59 Months In The United States. † MMWR Recommendations & Reports 59. RR-9 (2010): 1-14. Consumer Health Complete – EBSCOhost. Web. 19 Apr. 2014.