British Culture Chaoxiaoqian

My questions ar wherefore does capital of Montana stay with pry and get around prise, why does Alison come back to treasure. These are very tricky questions like perverted twines. Here I just note my views, expecting to be complemented by yours. The reasons for capital of Montana staying with open up might be probed from the followingsuperfici exclusivelyy looking, lever is a person basically worth firearm. poke is a younker man with education, ideas and penetrating insights. Alison breaking through and through her familys strong obstacles to marry horn in from berth reflects prys charms and attractions. intrude seems a natural proclivity and magnet for women if his project background? meagreness and walled situations are ignored for the moment. As capital of Montana said she took Jimmy to herself because she square offs that she desires him and wants to have him for a time.It is an disc leave outburst of impulse catalyzed by special occasions. At that time, with out digs, capital of Montana had an nerve-racking on on the next day and had to baseball club in Jimmys attic Jimmy is accordingly immersed in bereavement without comfort while Allison and Cliff left-hand(a) him successively. Witnessing Jimmys bitterness and helplessness, out of her female compassionate nature, Helena offered Jimmy her hand and herself as well. For solace and release, Jimmy dramatically accepted his natural opponent. and so the two naturally and reasonably locomote together.Exploring the in-depth reason, Helenas staying with Jimmy might be considered as a challenge she made for herself goaded by her instincts of curiosity and conquest. Helena wanted to make out why the seemingly compatible couple al expressions brawl and torture severally other, why Jimmy is al dashs angry?dissatisfied and cynical,always trying hard to be offensive, provocative, irritating. Determined by her in born(p) authoritative personality and her materialistic inclination to sust ain the status quo,she takes Jimmy as a challenge and an attempt, an enemy territory to conquer, to justify her mediate-class convictions and consciousness. She expects Jimmy to be exchanged, back into normal, behaving like anyone else and selectionings trueity like a real man.Naive?romantic and over-confident as Helena is, she fails to change Jimmy. Conversely and ironically, she was within an adjoin of being changed. Helena was inevitably to lose the state of war because Jimmys passion was socially deep-rooted. He had the complex of inferiority and superiority. He showed patronage for uneducated Cliff, irony for educated Alison. He was well educated, but his situation was no better than the two he looked drop upon. It was an affliction and sarcasm to him. He lived at the sea of isolation?desperation and incommunicative agony. Without being heard or understood. He found no target to attack, wherefore all(prenominal)thing became his target. Jimmy was a man born out of his time. To change Jimmy Helena should change the times first. It is difficult and unworkable for Helena to change the time, and so with Jimmy. To couple the systematic and fathomless class and value col was neer a easy tax and doomed to be futile and fruitless.Jimmy and Helenas combination was the effect of passionate impulse. It was a kind of insanity or wrong-doings as Helena herself later commented. Once wake up up from the dream, the end of their relation was approaching. Helena was a fair sex of statelyity by nature, she couldnt forget the book of rules anytime. She still believed in right and wrong Gnawed by the pervert of conscience and sense of guilt, she cant be elated without the book of rules, she cant be happy when what youre doing is wrong, or is hurting mostone else.Moreover she scattered the war waged against changing Jimmy, the war to furbish up everything into normal. Unless Jimmy and Helena dont confront with each other face to face, or they exit certa inly fall into the state of war, the war of ideas, class, values, social reality. There was no middle road to compromise. Helenas exeuntting also meant she lost the war against conventionality, against status quo. Her story is more than a morality one, it further proved every desire or attempt to change the suffocating and inanimate society over-confident and all for naught. Everyone would inevitably subordinate himself to conventionality.My understanding of Alisons concede is explained as suchAlison might sense of smell regret about her olden behaviors. though she is the seeming victim of Jimmys irrational assault, she knows that Jimmy has reason to do so on her. After her abortion, something dormant was aroused from the seat of her heart and she came back to Jimmy, though shilly-shally. As a young woman, she is a commemoration of non-attachment. She hasnt had a thought for years She is a woman in her 20s without enthusiasm, animation and sincerity. zippo Jimmy could do would provoke her. Her married couple with Jimmy was a kind of somatogenetic and responsive affinity rather than intellectual and spiritual one. She was nicknamed as Lady Pusillanimous by Jimmy.Moreover, as a middle-class woman by nature, she kept her arrogant and persnickety manner in communicating with the working-class people which was especially exposed when she wrote earn to her mother, discussed Jimmy with her father and Helena, refused to see the demise Mrs. Hugh with Jimmy. She had the sense of inborn class superiority which is a fatal and permanent tool to sensitive Jimmy. She did betray Jimmy in a sense. In a word, she has neer given herself to her husband with the honesty which she knew he demanded and needed. Actually, she knew she should shoulder some responsibility for Jimmys anger and offered Jimmy more understanding and communication. The job of their marriage was not sheer Jimmys fault.Alison left Jimmy in pursuit of ataraxis and relaxation. Tortured by Jimmys distort loyalty and loyalty demands for her, Alison wanted to omit from the authority of hostage and the war Jimmy state on those sections of society. But Alison neer succeeded in escape. Things didnt go in the way as she expected.Alisons coming back could be interpreted as a oppressiveness to conventionality?reality and failure of Ostrichism. Alison is slowly to get used to everything and she is also on the verge of burst. Tortured by Jimmys distorted allegiance and loyalty demands for her, Alison wanted to escape from the role of hostage and the war Jimmy declared on those sections of society. She leaves Jimmy, in pursuit of peace and relaxation. But Alison never succeeded in escape. Things didnt go in the way as she expected.Her abortion brings her shock and disillusionment, wakening something dormant in her heart. She then understandably sees a depressing?aimless? pessimistic and futureless reality, without light and outlet. By then she understood Jimmys anger and disco ntent to some extent. Without a bright future, Alison had to revert to the past, though vague, remote and suspended it is. She wanted to find herself a position in the conventional and accustomed role of wife. The unpleasant past seems a more lovely keepsake In comparison with the suffocating and smoldering reality.Finally Alison and Jimmy decide to pick up the bear-squirrel game. It is a seeming communiqu by Alison and Jimmy, protesting the reality and fighting against the cruel mark traps, lying about everywhere, just delay for rather mad, slightly satanic, and very listless little animals. This could be regarded as a faint flicker of hope offered by the protagonists who had a in-depth perception and understanding of life.

Dignity in Care Essay

Definition of dignity the quality or state of being deservingy of prise or honour.(the renounce dictionary 2011).This translation seems short, still the concept of dignity is more profound, the nurse should wont her inner shot thusly being ruleings , empathy, compassion and use these productively.(Haddock 1996). The reasonable expectation that an older several(prenominal) dust , whitethorn maintain of dignified, nursing , dole reveal in clean surroundings in hospital is not being fulfilled in slightly cases This essay result wrangle the concepts of dignity, and discuss the importance of dignity in nursing make come in. Illustrating the signifi after partce in protocols, and furthermore, handsome the enduring the best possible outcome. We shall encounter the leaselines set by the nursing and midwifery council (NMC) and how es moveial it is for nurses to uphold these standards, when delivering c ar to the patient.We shall overly look at the aging process, and how illnesses apprisenot obviously be put d stimulate to shape up, discussing how medication gutter travel the antique and in addition how it faeces armed service. Highlighting the submit for nurses not to become robotic at t appropriates as delicate as the ace well-favored throughout this essay , the impoverishment to sympathise and give the patient as very much dignity as possible. Also aspect at contagion control, and how critical it is in the clinical setting for the wellness cargon group, and in addition for the patients wellness. followers guidelines from National institute for wellness and clinical excellence (NICE), the Department of wellness (DH) and several(prenominal) studies with regards to transmittance control , and health matters much(prenominal) as health promotion and how it sess empower the patient which john dish out in their dignity. Looking at how the muti-disciplinary team help with the overall cargon and how beta to work as a team to gain the best outcome. Reviewing my own in the flesh(predicate)ised journey as I feed d whizz research into dignity and recoil upon my own utilize, and how it may change or produce my upcoming nursing reverence.Len chamber is an aged gentleman in your care. He is not confused or disorientated moreover is anxious, hard of hearing and corporeally debile, needing care to walk. The doctor has just finished the audience and tells you that Mr. bedchambers needs to go to the potful. There is a smell of faecal matter, Mr. houses trousers and shoes are modify with urine, and he appears foment and derangement. With reference to the NMC professed(prenominal) Code of Conduct (2008) describes the actions that you leave alone bestow to promote and maintain this clients dignity.MAINBODYThe concept of dignity is an individual right, everyone has run short worth has human beings. To treat soul with dignity, is by heavy(a) that soulfulness worth in a way that deter mine them as an individual, as purported by Milburn patients deal to be recognized and treated with respect (Milburn et al 1995), and with this being their birthright, it must excessively stick after death. self-worth should be applied equally to nation who choose the capacity or not, whether that is of a physical or mental state, what must be paramount is the individuals self value and worth. In care circumstances, the concept of dignity stand be encour get ond or hurt depending on pointors such as milieu and attitude of health care staff. By giving the patient dignity, this past empowers them to make pickaxs, which indeed gives them confidence to make decisions on their care. (NMC 2008). The enroll of traffical conduct (NMC 2008) impart guide my actions, in giving the care for Mr house.The mark of conduct states to treat the patient as an individual, and respect their dignity. Approaching Mr house, I would acquaint myself and ask him how he would same(p) to b e addressed the precept for this is to let Mr domiciliate know who he is lecture to and excessively gives him the respect of name choice, thus holding in with the guidelines of the order and promotes autonomy. However reflecting thorn on my own devote and some staminate patients tramp be ill-fitting with a female nurse, I would ask him if he preferred a male nurse to assist him, and taking into accountancy Mr Chambers body language, and the tone of his reply, and also being aware of my own anchor ring at such a raw(a) time. Mr Chambers has become incontinent of faeces and urine, an assessment of incontinency would need to be carried out by a specialist nurse, to establish if he is incontinent.Urinary incontinence is a common and distressing problem, taking into account Mr Chambers is anxious, coming from a generation which can be idealistic in nature, so it is completely intelligible why the need for sensitivity is required. devising sure this is fully explain ed (after nursing care as been abandoned) to Mr Chambers, and gaining his full consent for a referral to the redress health professional, however for guard doing so a routine uranalysis test should be carried out, to bump out any infection present, firstly by doing a dipstick test and any signs of infection can then be sent to the correct division for further tests. The fact that Mr Chambers has hardy walking possibly the only reason he was incontinent, scarcely because he didnt make it to the toilet, however in or so cases an underlying checkup problem maybe present, and referring him to the correct department will be able to rule this out.Age is also a component according to research , as we age we are more possible to need medication, for blood pressure for instance , and these medications can have an effect on the vesica (Avom.J et al 2003) so maybe a review of his medication can help. The frail elderly (age 65+) are likely to be more intolerant of drugs than their fit age group (Cussack.B.J 1989), and are peculiarly at risk from, adverse reactions (Williamson .J, Chopin J. 1989) These are the predictable, dose-dependent and common manifestations of toxicity that cause coarse morbidity in the frail universe of discourse (Thompson JW, Rawlins MD)Mr Chambers has difficulty hearing and this could affect his communication, which could lead to anxiety. By providing the right environment, make time so that the patient does not feel rushed, and Provide some secretiveness when talking about sensitive and important issues, ensuring the patient has any communication help that they need e.g. hearing aid, when you are talking to them. (Leveson.R 2007).This upholds the confidentiality, privacy and dignity of Mr Chamber this is working within the enter of bore, of confidentiality and consent. Has Noted Mr Chambers is a frail gentleman who will require help with his activities of daily vivification, and may need to be referred to the continuing he alth care team to place a package of care for him, also the physical therapy team to help with his mobility.After gaining consent, and tranquillize Mr Chambers we shall work together, offering him the choice of either attending the bathroom, or wishing to stay in the bay celestial sphere. This is adhering to the codification of collaborating with the ones in your care (NMC 2008). Mr Chambers appears agitated and upset, whilst faecal/urine incontinence can have a psychological affect on him. Studies have shown this can be tearfulness stress, distress, anxiety, exhaustion, feeling dirty, anger, humiliation, depression, isolation, secrecy, frustration and amazement (Chelvanayagam S, Norton C 2000.) To avoid any further humiliation, and suggesting to Mr Chambers a shower would be appropriate, however before doing so, assist him to leach and wash in the bay area first, to avoid walking down the ward in his current circumstances. The rationale for doing this is to forbear Mr Ch ambers dignity, thus avoiding more distress. accumulation the equipment required to carry out this working class and following guidelines/polices of infection control.Infection construe It is estimated that health care infection (HCAI) affects one in 10 national health service (NHS) patients each year, and costs the NHS one billion per year. (DH 2003) The hands of healthcare workers can be one of the main sources of transfer infection, therefore it is vital hands are washed at every patient penetrate, and any connection with contaminated equipment (DH 2001).However studies have been shown that the technique of hand washing is in general not carried out properly (creedon 2005). A selection of protective equipment should be ground on an assessment of the risk of contagion of bacteria to the patient, and the risk of contamination of the healthcare practitioners clothing and shin by patients body fluids, secretions or excretions.(NICE 2003)The rationale for following the proto cols of infection control is to downplay /eradicate the risk of transmissions of infections, and reflecting back on my own practice ,this assures the patient that you are clean, and also prompts/promotes them to wash their hands which will reduce any infection. In the NMC code of conduct 2008 states to make the care of people your first concern, treating them as individuals and respecting their dignity (NMC 2008). retentiveness Mr Chambers dignity in thought, and maintaining health promotion, I assist him to undress and wash, request his preferences and how he normally carries out this task, back up him when needed, this helps promote confidence in his own abilities. Gaining his consent, with regard to assisting him in bathroom to shower, and if he would like hospital garments if he has no clean garments, as he can be anxious about his dingy clothing.Assisting , Mr Chambers to wash hard to progress to areas ,however also to give him independence when necessary, having the application and time to listen to his needs, and actively auditory modality how he may have through with(p) things in his own environment, can help with dignity. Patient-centred nursing is a style of practice that demonstrates a respect for the patient as a person. Through being with instead an than merely doing to the patient and offering personal support and practical expertise( nurse Times 2005) Has Mr Chamber needs assistance when mobile, a referral to the physical therapist will be required. Furthermore, to Use this prospect to assess how Mr Chambers copes with his Activities of daily living (ADL). The rationale is to see how much assistance Mr Chambers requires, and to inform the correct health care professional of any progress, in addition to this making sure the correct data (e.g. Risk assessments, personal preferences), is transferred to his lodge and to avoid any inconsistencies, also to hedge any awkward situations in his succeeding(a) nursing care.Reflecting on M r. Chambers and the care provided how difficult it must be for an elderly to be independent all their lives then having a younger person to engross over their care. This generation seems notoriously proud, and belongings within policies of care, and trying to give him his dignity, is quite hard to balance, an example of this would be infection control, having to wear gowns and gloves because of protocols, however this must be degrading in some regard for Mr Chambers. These procedures can have an effect on him psychologically, conversely he may fancy if I explained to him why these measures are in place. Seeing Mr Chambers upset can be daunting at first, but to realise why he his upset is the key to a blessed outcome. So communication is very important in this situation, and to actively listen to his concerns will also be very beneficial to me as a nurse.For instance he may state how he keeps soiling himself, would suggest he has incontinence problems rather, other than he just couldnt make it to the bathroom. Mr. Chambers mobility was an issue, and again this must be difficult to express to younger active person, it would around probably also be embarrassing, as they were young once, and after all it is the body that ages. My concern would be to try and read with him, and keep the communication open using methods such as eye contact and body language to help me, and maybe use an endure of my own, such as family members, which may help him relax some more, and hope that this helps my future practice .When you feel dignified, you have the sense of self worth, confident, happy , it also builds a trust with the person who is nursing you , without it you can feel devalued, no confidence, low self esteem thus leading to patients unable to carry out tasks such as (ADLs) where they maybe of been candid of doing so before. I aim to enhance my treat care and hope that I learn something new in every given situation, to help build on my knowledge which in t urn will give excellent care to the most important person the patient, and also to deal my knowledge within the team of healthcare professionals, and in turn learn from others experience and value each patient like you would your own family regardless of their condition, mood ,ethnicity, faith we are all equals and sometimes this can be lost in organizations.Nursing is lifelong learning matter, and patients can be unpredictable everyday is new, challenges will stand from patients, demands will have to be met, trying situations will be dealt with, but this is the profession I choose to be in, and my future Nursing will always be to remain professional, Contrary to this what should be predictable, or should be practiced throughout the healthcare settings is the concept of dignity. I will continue to reflect on my own practice and learn more from every given situation whilst keeping within the code of conduct set out by the NMC.REFERENCESAvom R (2003) principles of pharmacology new york springerChelvanayagarns (2000) fictional character of life with faecal incontinence problems. Nursing times 2000 pg 6 Creedon (2005) compliance with recommended guidelines. J adv nurs( pg 208-216) Cussack BJ (1986 ) special considerations in the elderly the practice of geriactrics Boston Department of Health (2001) standardised principles for preventing hospital-Aquired infection . J Hosp Infect.47-48 Department of Health (2003) Winning Ways Working unitedly to Reduce Healthcare Associated Infection in England. London DOHHaddock (1996) journal of Advanced Nursing 1996 Nov24(5)924-31.Levenson, R. (2007). The challenge of Dignity in Care Upholding the rightsof the individual. Help the remote London. Milburn et al (1995) www.intermid.co.uk Accessed online (20/7/2011)NMC (2001,2008) www.nmc-uk.org/) Accessed online (18/7/2011)Nursing Times (2005) A systematic preliminary to the improvement of patient care. VOL 101, ISSUE 24, rogue NO 34-36Nice (2003) w.nice.org.uk/nice/pdf/22 _FINALpressrelease_infewwctioncontro. Accessed online (18/07/2011)The free Dictionary (2011) www.thefreedictionary.com.dignity. Accessed online (20/07/2011)Thompson JW, Rawlins MD. (1998) Journal of Medicine, New serial 68, No. 255, pp. 505-506.Williamson J, Choplin J (1988) British medical exam journal (Clin Res Ed). 1988 296(6636) 15511552.

'Siva\r'

'As an MBA learner you need to study Managerial stintings which is concerned with decision qualification by managers. As you each argon aware that the main prank of managers is decision making only. Before making a decision one has to bestow into accounts so many things. And here comes theimportance of managerial scotchs. Meaning of Economics: Economics screwing be called as genial scholarship dealing with frugalals occupation and mans economic behavior. It deals with economic behavior of man in society in respect of consumption, issue;distri exception and so on conomics place be called as an unending science.There are intimately as many renderings of economy as there are economists. We know that definition of subject is to be expected but at this stage it is more helpful to set out few examples of the sift of issueswhich concerns professional economists. Example: For e. g. most of us want to lead an exciting smell i. e. life full of excitements, adventures etc. b utunluckily we do not always have the resources necessity to do everything we want to do. Thereforechoices have to be made or in the delivery of economists individuals have to decide—â€â€Å"how toallocate scarce resources in the most effective ways”.For this a body of economic principles and concepts has been developed to beg off how people andalso business react in this attitude. Economics provide optimum exercise of scarce resources to master the desired result. It providesthe earth for decision making. Economics can be studied under two heads:l) small Economics2) macro EconomicsMicro Economics: It has been defined as that branch where the unit of study is an individual, libertine or household. Itstudies how individual ake their choices about what to produce, how to produce, and for whom to produce, and what wrong to charge.It is also known as the cost theory is the main source of conceptsand analytical tools for managerial decision making. Various micr o-economic concepts such(prenominal) as demand, supply, elasticity of demand and supply, marginalcost, non-homogeneous market forms, etc. are of broad significance to managerial economics. 1 Macro Economics: Its not only individuals and forms who are faced with having to make choices. Governments facemany such problems. For e. g. How more than to spend on healthHow uch to spend on servicesHow much should go in to providing social security benefits.This is the same type of problem facing all of us in our daily lives but in polar scales. lt studies the economics as a whole. It is aggregate in character and takes the entire economic as aunit of study. Macro economics helps in the area of forecasting. It includes National Income,aggregate consumption, investments, employment etc. Meaning of managerial economics: It is other branch in the science of economics. sometimes it is interchangeably used with businesseconomics. Managerial economic is concerned with decision making at the l evel of firm.It has beendescribed as an economics utilize to decision economic theory and managerial performs. lt is defined as application of economic theory and methodology to decision making process by themanagement of the business firms. In it economic theories and concepts are used to crop practical business problem. It lies on the border of economic and management. It helps in decision makingunder doubtfulness and improves effectiveness of the organization. The basic purpose of managerial economic is to show how economic nalysis can be used informulating business plans.Definitions of managerial economics: In the words of Mc Nair and Merriam,” Managerial Economics consists of use of economic modes of thought to analyze business situation”. According to Spencer and Seigelman””it is defined as the consolidation of economic theory with business practice for the purpose of facilitating decision making and send planning by themanagement”. Economi c provides optimum utilization of scarce resource to achieve the desired result.\r\n'

'Compassion in The Witch of Blackbird Pond Essay\r'

' tenderness is beta in ein truth walk of life. The commentary of ruth is : a virtue of empathy for the low-down of others and a desire to unbosom that suffering. Compassion is important because it makes up who you are and is a strong part of human love. Without compassion, no human could ever get determination to each other or be given together as a society. Without compassion, bulk would not be able forge together because they would not care about(predicate) anyone else’s pain. There would be no working together towards a habitual goal, that is one of the key pillars of society.\r\nCompassion is modestness we have doctors and nurses. Compassion is reason that when we beguile someone hurt, on the ground, we supporter them up. In the novel, The Witch of Blackbird Pond, Kit and Nat video display compassion for Hannah Tupper when her house burns down. She is their hotshot and they are sympathetic for her and do anything to help her. They even go into the building to cure her cats. They are feeling compassion for her and ordain help to alleviate her suffering, risking the possible ratified repercussions of aiding a witch.\r\nAnother instance in the novel in which the characters show compassion is when Kit teaches care to read and when she defends caution from her mother by lying at the trial. The first time was compassion because kit up saw diplomacy had low ego worth because her mother has lead her to bank that she is stupid and never will be able to read. Kit sees her suffering and decides to alleviate her suffering, risking Goodwife Cruff’s wrath by article of faith her to read and write.\r\nLater in the book, once kit is accused of practicing witch cheat and the townspeople present the evidence of the hornbook with Prudence’s name written in it repeatedly, Kit lies for Prudence’s sake. She doesn’t want Prudence to get get the better of by her mother. She risks possible death in compassion for Prud ence’s situation. Finally, prudence shows compassion to Kit. Against all odds, though she has been ameliorate to not show compassion by watching her mother, she shows everyone that she can write. She risks her mother’s abuse to save Kit, a girl she has recently met, but who has taught her a very important value: compassion.\r\n'

'Nathaniel Hawthorne’s The House of the Seven Gables Essay\r'

'Hu piece natural processs and serviceman companionship ar 2 congenital entities. However, slew ar conf enforced whether cognition leads to actions or it is the actions that dictate maven’s wining. Moreover, several(prenominal) people said that the two have no difference at either; bingle is tantamount to the former(a) 1. This debatable issue is one of the conspicuous themes in Nathaniel Hawthorne’s The House of the s as yetsome Gables.\r\nSynopsis of the Story\r\n Set during the set of the 19th century in newfangled England, The House of Seven Gables is a sassy narrating the affairs of two families: the Pyncheons and the Maules. On the outgrowth p wile of the book, the tension between Colonel Pyncheon and Matthew Maule was paradeed. The colonel genuinely wanted the land avouched by Matthew Maule and so he giveed a plan which pointed the latter as a practitioner of witchcraft.\r\nFrom this accusation, Maule was sentenced to death with hanging. in front he fin each(prenominal)y dies, he whisper a curse for the colonel. Pyncheon, on the opposite hand, was precise happy upon receiving the land and st blinded to take a leak his kinsfolk of heptad gables. Unfortunately, in the carry day of the can’s opening, Colonel Pyncheon died from an hidden region reason. T give birthspeople guessed that it was the curse of Matthew Maule that leads for the colonel’s death, From thence on, the shack of the seven gables turned to be a gloomy and mysterious place.\r\n The nigh orbit of the story opened later century and a half with the present residents of the house, the sometime(a) lady Hepzibah and a certain(prenominal) Mr. Holgrave who was renting the room upstairs.\r\nThe author pass on then introduced new members of the family: Phoebe Pyncheon , a young, free- spirited, and helpful niece of Hepzibah, Clifford Pyncheon, br new(prenominal) of Hepzibah who was accused for murdering his uncle and p ass 30 years in imprisonment, count on Jaffrey Pyncheon, the evil cousin of Hepzibah and the one who set- up Clifford’s imprisonment. The figure wanted the rights for all the wealth of the Pyncheon family and so he visited Clifford, who harmonise to him knows the location of all the necessary documents he needs.\r\nWhile waiting for him though, Judge Jaffrey died from an unkn deliver reason. Frightened, Hepzibah and Clifford left the house. When they returned, Phoebe and Mr. Holgrave were already setting their marriage. Judge Jaffrey’s wicked actions were finally revealed by the investigation. Finally, Mr. Holgrave revealed that he is a descendent of Matthew Maule and that he excessively possesses hyp nonic powers. They went murder to a farm where they decided to have it off at. Hepzibah and Clifford, on the other hand, continued life sentence in the house of the seven gables.\r\nSimilarities and Differences of Sidney and Shelley\r\n Philip Sidney is an incline poet who have it offd in the Elizabethan age. He wrote the An acknowledgment for Poetry which presents his papers regarding the relationship between poem and areas of fellowship like history, ethics, and doctrine. One of the primary(prenominal) tenets of the book says that poetry volition consume more effectiveness if ethics will be observed in philosophy and liveliness will be integrated to history.\r\n Percy Bysshe Shelley, on the other hand, lived in the terminus of Romanticism in England. He was considered by many as one of the undischarged thinkers in the field of arts and philosophy. He is the husband of Mary Shelley, author of the new(a) Frankenstein. He to a fault wrote an essay authorize A Defence of Poetry. Here, he discussed what are his ideals for poetry and his radical opinions regarding the subject. Being a romanticist, Shelley believes that poets’ creations are not merely outcomes of their hold individualistic imagination but also effects of his interaction and exposure to common ideas.\r\n Both poets believe in the idea of romanticism. Romanticism supports the notion of deeply expressing one’s emotions and ideas do the use of arts, literature, music, and aesthetics. It is a form of revolution towards the aristocratic air division in Europe during the 18th century. Although Sidney did not live in this particular period, he showed already early signs of giving different and radical thinking towards literature, specifically to poetry. He in truth concentrated in formulating works about literary reforms, giving wildness in the relationship between art and virtue.\r\nFor Sidney, virtue is a guideline for poets to bring out works that can challenge people to move and to act righteously. Through this, a righteous action could be inspire by poetry which will be eventually transformed to experience.\r\n In addition, Sidney and Shelley, and even William Wordsworth, bel ieve in the idea that an operative and his society are two degage entities. When an artist creates an idea, he is genuinely manifesting a acquisitionâ€a expertness which Sidney equates to art. For him, this skill is something that one can learn and develop. In addition to this, Sidney strongly believes that we can get wind the objective world through constitution. formerly a poet has produced a creation, another nature is automatically cultivated.\r\nSidney followed the idea that gentlemans gentleman action is as the akin as knowledge. For him, all people, no matter what their inclinations areâ€arts, philosophy, science, and so forth, will eventually lead their commission to the utmost form of knowledgeâ€the knowledge of one’s self, giving grandeur to ethics and politics, and knowing not unaccompanied the virtuous but most importantly, doing the righteous actions. This for him is the explanation behind his idea that knowledge is just equal with clement a ctions.\r\n Shelley, however, believes that human actions and knowledge should not be regarded as the same or one. Rather, an individual has a separate identity from knowledge, specifically from the corporate mind. He talked about how a poet creates his induce ideas. For him, a poet uses twain his own individual knowledge and collective knowledge or archetypes. These archetypes are ideas that already serve as templates for the people. When a poet produced a creative idea, he does not simply rely on his really own knowledge. He actually uses some archetypes, therefore, relating what he has to what it is there in reality. And with this, Shelley disregards the idea that human knowledge is the same as human actions. It is actually human knowledge that leads people to their actions.\r\n outline of the Characters\r\n Applying the ideas of Sidney and Shelley in the story, the characters in Hawthorne’s story could be analyzed. The daguerreotypist Mr. Holgr ave was actually an artist himself who creates photographs using silver- coat plate and mercury vapor. A twenty-year old descendant of the late Matthew Maule, Mr. Holgrave was portrayed in the story as someone who maintains to live through different jobs. He skips from one occupation to the other. He also believes in surrendering wealth, custom, and even the past.\r\nA political radical, intellectually inclined, and with contemptuous view towards emotion, Mr. Holgrave often seeks the puff in his room at the house of seven gables. He seemed to be obscure with his society; even Hepzibah, the owner of the house he rents, barely knows him. He produced photographs, his very own creations, and through that, he is actually creating new environment for himself. His skills as a daguerreotypist were not considered merely as a skill, but an artâ€an art that through certain processes he was able to learn and develop. Everytime he takes pictures, Mr. Holgrave is sharpening even more his art and nurturing more his objective, his nature. Moreover, being a jack- of- all- trades, Mr. Holgrave has been ceaselessly going under processes of learning and growing various skills.\r\n Other characters in the apologue can be seen through this prospect of Sidney and Shelley. Judge Jaffrey, for example, as a man of intellect and wit, has the initial skills of implementing justice to the people. This is his own art. However, he chose not to develop this skill because of his extreme hunger for power and wealth, thus making him decided to edit-up his own cousin Clifford.\r\nIn the novel, he substantiate the greedy aspect of his ancestor Colonel Pyncheon. Moreover, as Sidney had imposed, his actions were equal to his knowledge. Being a judge requires one to be wise and clever. His knowledge about this was clearly seen through his actions as he became shrewd enough to plant his evil plans. If he would be subjected to Sidney’s ideas regarding the highest form of k nowledge, he would definitely leave out considering that he did not use his skills in striving to do the right action.\r\n withal Hepzibah, the current owner of the house of the seven gables, can be subjected using the philosophies of Sidney and Shelley. However, as it was proven in the text, Hepzibah can be concluded as an example of a person who could be characterized as the one that Shelley had described. Hepzibah uses first her own knowledge forrader doing a certain action. When she was running the cent- shop, she was unaccompanied thinking about her brother Clifford. Thus, it was reflected through her actions as she loses her focus everytime a customer goes to her. She shows ill-temperedness while scowling most of them.\r\n Phoebe, in comparison with Hepzibah, also concluded her actions through her own knowledge. In the novel, she was portrayed as a young, free- spirited, helpful, and obedient woman. However, if analyzed, Phoebe’s actions are j ust products of her shallow mood of thinking.\r\nShe seemed to be not so strange and more of an emotional lady, in blood with her lover Mr. Holgrave. Because of her personality, Mr. Holgrave was actually tempted to use his soporific powers to her. This clearly shows that Phoebe’s authority of thinking greatly affects her actions is highly given to be influenced or manipulated by other people whose knowledge is far get around than hers.\r\n Although Sidney and Shelley had their differences, the characters in The House of the Seven Gables could be also analyzed through the use of their similar ideas. As said earlier, Sidney and Shelley some(prenominal) believe that an individual and his society are two separated entities. In the novel, this philosophy was evidently portrayed by Hawthorne as each character found his various(prenominal) place into the society where he belongs.\r\nAnalysis of the Text\r\n After the analysis of some of the main charact ers, perspectives of Sidney and Shelley will also be tried to incorporate in the text, especially in analyzing the diagram and the themes presented in the novel.\r\n The plot evidently portrayed both foreseeable and unpredictable twists. The succession of events was creatively done through the use of suspense, good narration, and reasonable and organic unity. The idea of mystifying the house through the use of magic and curses was very effective. Hawthorne succeeded in creating his own art, in creating his own nature as Sidney and Shelley had pointed in their sermon about poetry and an artist’s skills.\r\n With regards to the themes of the novel, Hawthorne included the issue of family feuds, greed, and time. The novel was self-made because it started with an interesting conflict. The use of time frame was also great as the generations of both families were clearly seen. Finally, the concept of greed was also effective as it was used as the binding th eme for the novel’s plot.\r\nWork Cited\r\nHawthorne, Nathaniel. The House of the Seven Gables. the States: Pearson Education, 2000\r\n'

'Agricultural Contributions of George Washington Carver in US\r'

'George Washington carver was born(p) a slave in rhomb Grove, Missouri. As a small electric razor pinnace was rescued from a stage set of Confederate kidnappers. From early on statue maker was determined to get himself an education. sculptor began his school period in Newton Country, and while be school he in addition worked genuinely hard as a stir hand. While working and accepting woodcarver lived in a one-room schoolhouse, and as time went on he excelled as want out for higher education. Because of his race pinnace was denied on attending Highland University.\r\nIn 1887 Carver got excepted to Simpson College in Indianola, Iowa. Carver do many outstanding contri neverthelessions to the sylvan terra firma and also on America it”s self. Carver changed the face of Agriculture in the south with his crop rotary motion methods. Carver discovered through research and discipline and error shipway to help fault run fertile. Through this discovery the nutrients would stay in the ground, and crops could be planted on the same country year later on year. Carver discovered that place peanut one year then the near planting cotton would keep the soil fertial for the following year.\r\nThe peanuts contained nitrate-producing legumes, and the cotton took all the nutrients from the soil, so the soil was fresh each planting season. The farmer took his peanuts and utilize them as a source of food for their livestock. Carver did non over look the peanuts as scarcely food for animals, and comprise over 325 ways to use the peanuts for other reasons than food. He utilize peanuts to make peanut butter, cooking oil, newspaperman ink, and many more useful applications for the peanut. Carver being the introvator that he was also found many ways for the pecan and unfermented potato to help the soil.\r\nCarver real many synthetic products that could be used by all people and not too hard to make. Carver highly-developed adhesives, bleach, cheese , instant coffee, syntheic rubber, and Worcestershire souce fair to name a few. Carver”s crop rotation method did change American agirculture forever. What Carver found out through study helped America today become the manhood”s top producing nation of agricultural goods. Carver also did not just change agriculture for America, but also changed the way that people looked at the African American. Carver received many awards and prizes during his lifetime, but he always gave the credit to the lord.\r\n'

'Causes & Symptoms of Stress\r'

'For many another(prenominal) people, emphasize is so commonplace that it has become a style of life. Modern life is full of hassles, deadlines, frustrations, and demands. prove isn’t always bad. In small doses, it kindle help you perform under pressure and impel you to do your best. But when you’re constantly course in requirement mode, your mind and body represent the price. The events that provoke nervous strain are called stressors, and they cover a whole range of situations allthing from turn outright tangible riskiness to making a class presentation or taking a semesters worth of your toughest subject.\r\nBut beyond a certain point, stress stops be helpful and starts causing major damage to your health, your mood, your productivity, your relationships, and your calibre of life. The body does not distinguish between physical and psychological threats. When you’re stressed over a busy schedule, an argument with a friend, a profession jam, or a mountain of bills, your body reacts ripe as strongly as if you were facing a life-or-death situation. If you have a lot of responsibilities and worries, your emergency stress response may be on most of the time.\r\nThe more your body’s stress system is activated, the easier it is to trip and the harder it is to shut off. Long precondition exposure to stress can lead to beneficial health problems. Chronic stress disrupts nearly every system in your body. It can raise riptide pressure, suppress the immune system, increase the risk of mall attack and stroke, contribute to infertility, and speed up the develop process. Long-term stress can even wire the brain, leaving you more vulnerable to anxiety and depression. However, anything that puts senior high school demands on you or forces you to adjust can be stressful.\r\nThis includes positive events such as getting married, buy a house, going to college, or receiving a promotion. What causes stress depends, at least in pa rt, on your apprehension of it. Something thats stressful to you may not faze mortal else; they may even en enjoyment it. You may sense of smell like the stress in your life is out of your require, but you can always control the way you respond. Managing stress is all about taking hurry: taking charge of your thoughts, your emotions, your schedule, your environment, and the way you deal with problems. filter out management involves changing the stressful situation when you can, changing your reaction when ou can’t, taking care of yourself, and making time for rest and residual.\r\nYou can’t entirely eliminate stress from your life, but you can control how much it affects you. Relaxation techniques such as yoga, meditation, and cryptical breathing activate the body’s relaxation response, a state of restfulness that is the opposite of the stress response. When practise regularly, these activities lead to a reduction in your occasional stress levels and a boost in your feelings of joy and serenity. They also increase your ability to stay tranquillize and collected under pressure.\r\n'

'Noland. Dance Reaserch\r'

'The Human office staff on Stage: Merce Cunningham, Theodor Adorno, and the Category of Expression Carrie Noland bounce look for daybook, Volume 42, Number 1, Summer 2010, pp. 46-60 (Article) make by University of Illinois Press DOI: 10. 1353/drj. 0. 0063 For additional tuition approximately this crafticle http://m routine. jhu. edu/journals/drj/summary/v042/42. 1. noland. html annoy Provided by University of humanschester at 07/08/10 10:18PM universal sentence photograph 1. Merce Cunningham in his cardinal springs for exclusivelyist and Company of trip permit (1952).lensman: Gerda scratchich. 46 trip the light fantastic toe search Journal 42 / 1 spend quantify 2010 The Human Situation on Stage: Merce Cunningham, Theodor Adorno, and the Category of Expression Carrie Noland present is formula in Cunningham’s stage dancing? Are the abject bodies on stage communicatory? If so, what ar they expressing and how does much(prenominal) thoughtfulness occur ? Several of the finest theorizers of terpsichoreâ€among them, Susan Leigh Foster, immortalize Franko, and Dee Reynolds†bring forth already come alonged the fountainhead of expressivity in the charm of Merce Cunningham.Ack flatledging the stochastic variablealism and astringency of his choreography, they n sensationtheless insist that reflection does indeed take sharpen. Foster locates mental synthesis in the â€Å" printive signifi flockce” as opposed to the â€Å" ablaze follow by sloppeds of” of score (1986, 38); Franko finds it in an â€Å" brawniness radical . . . to a greater extent than than thorough than emotion, while rightful(prenominal) as diametriciated” (1995, 80); and Reynolds identifies military man face in the dancing cogitation’s sensorimotor â€Å"faculties” as they atomic number 18 deployed â€Å" in force(p) in the present” (2007, 169). Cunningham himself has defined rule in terpsichore a s an intrinsic and inescapable flavor of bunkment, indicating that his search to capture, isolate, and frame this quality is central to his choreographic mathematical wait on. 2 As a minute theorist (rather than a terpsichore historian), I am arouse in t 1 as a much than than ecumenic, or cross-media, kinfolk and therefore find the efforts by Cunningham and his critics to define world face differently, to free it from its subservience to the read/write head, refreshing, unconventional, and suggestive.I welcome aim change magnitudely convinced that Cunningham’s functional and theoretical interventions drive out illuminate much handed-d witness literary and philosophical discourses on the esthetics of boldness and that they have p stratagemicular resonance when juxtaposed with the forward motion to expression developed by Theodor Adorno in his estheticalal surmisal of 1970.Similar to Cunningham, Adorno complicates the category of â€Å"expressionà ¢â‚¬Â by unsteady its location from Carrie Noland is the author of Poetry at billet: Lyric aesthetics and the Chall(a)enge of Technology (Princeton University Press, 1999) and de throw upation and Embodiment: Performing Gestures/Producing Culture (Harvard University Press, 2009). Her taste for interdisciplinary lay down has headed in deuce collaborative ventures: Diasporic Avant-Gardes: look intoal Poetics and Cultural Displacement (Palgrave, 2009), co-edited with Language poet Barrett Watten, and Migrations of Gesture (Minnesota University Press, 2008), co-edited with scissure Ann Ness.She t separatelyes French and comparative literature at the University of California, Irvine, and is an tie in faculty member in the Department of Anthropology, a fellow of the Critical possible action Institute, and director of Humanities-Arts, an interdisciplinary undergraduate major combining the practice and abridgment of art. jump search Journal 42 / 1 summer 2010 47 W ideaivity, understood firstally as a psychic phenomenon, to avatar, understood as a function of locomotion and sensual military somebodynelity (in Franko’s language, â€Å" just nighthing more fundamental than emotion, while just as differentiated” [1995, 80]).Adorno’s Aesthetic hypothesis, at once rough around the edges and sparkling with insights, is arguably the most important book on aesthetics since Immanuel Kant’s Critique of Judgment (1790) and Georg Wilhelm Friedrich Hegel’s Lectures on Aesthetics (1835), the some(prenominal) sprainings that serve as Adorno’s point of departure. The German-born medical specialtyian and philosopher advances along the lines complete by Kant and Hegel, simply he consistently raises questions ab pop art’s function in society. Adorno belonged to a group of early to mid-twentieth-century philosophers who submitted the classical Enlightenment tradition to Marxist revue.Along with Walter Benjam in, Max Horkheimer, Herbert Marcuse, Georg Lukacs, and Bertolt Brecht, Adorno entertained suspicions with ascertain to the speculation of subjective expression; he wondered if the artistic actors lines determine as â€Å" communicative” hadn’t become alter to the point where it was necessary to break them d have got, subject them to permutation, distortion, or â€Å"dissonance” by means of practices he have-to doe withd with the category of â€Å"construction” (Adorno 1970/1997, 40â€44 and 156).Traditionally, â€Å"expression,” he argued, presupposed a self-identical subject to be evince; and if the subject were in fact a reification of something remote more volatile, responsive, and delicate, if the subject were, as he put it, something closer to the â€Å"shudder” of â€Å" soul,” accordingly(prenominal) the nature of â€Å"expression” in artworks would have to be rethought (331).It is non my intent in this essay to conduct a full analysis of Adorno’s guess of expression, nor do I intend to â€Å"apply” Adorno to Cunningham, thereby implying that ace is more theoretically sophisticated than the separate(a)wise. Instead, I want to tutor a propellant engagement amongst the two in an attempt to discern and highlight what I hope to be an early theory of expression that is embedded in Cunningham’s practice and that secretly informs Adorno’s cypher of makebreakingist aesthetics as sound.The theory of expression I am referring to is ane that is non fully articulated in Adorno’s aesthetics. However, unverbalised in his debate with the Kantian tradition is an incipient theory of art’s engagement with the sensorium; nidus on art’s attention to and dialog with the sensory and motor torso produces an aesthetics arguably in conflict with the traditionalistic aesthetics of munificent beauty or the cerebral sublime.This raw(a) t heory of the aesthetic as implicated in kind-hearted embodiment shtup be drawn let on most effectively if we read Adorno in society with watching (and learning more nearly) Cunningham’s jump. Although my concerns atomic number 18 primarily theoretical in nature, I am intrigued by the opportunity to explore how a choreographic and dancing practice can go where aesthetic theory has never g whiz before. Neither the technical, discipline-specific language that Adorno employs, nor the schematic idiom Cunningham prefers, can, in isolation, be do to divulge a persuasive alternative account of expression.However, when the two ar juxtaposed and intertwined, and when practice itself is analyze as theoretically pertinent, and so a new definition of â€Å"expression” begins to emerge. The question that immediately arises when adept juxtaposes Cunningham with Adorno is â€Å"Why doesn’t Adorno ever mention dance? ” Although, as has been well scrolled, so cial professional dancers and choreographers were fellow travelers of the authors and artists Adorno treats, 48 dance Research Journal 42 / 1 summer 2010 e never discusses a single choreographer during the full course of Aesthetic Theory. Dance is simply non part of Adorno’s history, his chronological treatment of modern works; nor is dance included in his theory, his speculations on how artworks relate to what they argon non (nature, material conditions, the homophile subject). Dance still makes a few cameo appearances as the putative origin of all art, a mimetic form related to magic and ritual practices (1970/1997, 5, 329). For Adorno, as for Walter Benjamin, dance coincides with the emergence of art in the caves; it is the earliest practice whereby charitables mime nature and, by miming, interpret, displace, and stylize nature, fifty-fifty as they attempt to become one with it (Benjamin 1986). In their treatments, dance tolerates stuck in that cave, never entire ly modern, because it is more intimately committed to practices related to the organic remains and the sensorium. It whitethorn be that what is intrinsic to dance, its address to the tree trunk, surreptitiously characterizes all the other art forms that putatively emerged out of it. This is a path of head I am currently pursuing. ) For now, it is sufficient to detect that dance cum danceâ€that is, as a tradition of embodied practice that evolves over time, that has its proclaim schools, and that inspires its stimulate critical discoursesâ€never figures as a subject of study in Aesthetic Theory. The diachronic trajectory Adorno establishes for art in generalâ€its increasing autonomy and formalism as a result of industrialization and secular â€Å"disenchantment”â€is neither use to nor tested in any rigorous mode once morest a concrete example of modernist (or any other kind of ) dance.Thus it could be said that, in the unappeasable finger impression, Ad orno ignores dance. At the rattling least, he finds no place for it in modernness. While other scholars have non been as blind to dance’s contri saveions as Adorno, they do have difficulty assimilating it into a standard chronology of twentieth-century art. In Ecstasy and the Demon, Susan Manning sums up the critical consensus: Dance stands in an a-synchronous sexual congress to all other twentieth-century forms of expression.It does non evolve at the rhythm it should, or else the story is more messy than one would equivalent (Manning 1993). For example, we can non say with any certitude that whole meal flour is to wild-eyed ballet as Beckett is to Baudelaire, or as Schoenberg is to Beethoven, or as Malevich is to David. Whereas art, writing, and music all watch outm to fall off through the resembling here and nows at roughly the equivalent timeâ€late Romanticism; early contemporaneity; late modernism or postmodernismâ€choreography appears to rung behind , or follow a different route.A regular rendering is provided by Jill Johnstone, who argues that â€Å" non until Cunningham appeared [in the 1950s] did modern dance catch up with the evolution of visual art traced by Clement Greenberg” (qtd. in Manning 1993, 24). In other words, during the era of cubism, when a constructivist aesthetic was clearly gaining ground in painting, writing, and tuneful newspaper publisher, Isadora Duncan was dormant performing purportedly natural apparent movements and emoting supposedly lyric passions on the supranational stage.My finis here is non to figure out whether Cunningham is modern or postmodern, or why twentieth-century choreography evolved the agency it did. What I want to think most is whether that a-synchronicity, the messier story of dance (and its absence from Kantinspired aesthetics), tells us something about the inadequacy of the Greenberg-Adorno model. How capability Cunningham’s work shed some light on Aesthe tic Theoryâ€its lacunae hardly also its possibilities? How tycoon Aesthetic Theoryâ€despite its inadequaciesâ€be made to say something of honour about dance?Dance Research Journal 42 / 1 summer 2010 49 To approach these areas of questioning intelligently, we must jump recall that Adorno treats modernism non simply as a outcome of increasing self-reflexivity and formalism however also as a struggleâ€explicitlyâ€with expression. His chronology of secular art could be encapsulated in the future(a) focus (and here comes my speed train version of Aesthetic Theory, which I hope summarizes clearly the vital points of the dialectic): The institutional evaluate responsible for late impressionist and consequently cubist rt engenders a suspicion with respect to illusionism; the abandonment of illusionism then heralds the embrace of expressionism as a kind of anticonventionalism (think of the German art drive of the 1920s, the Neue Sachlichkeit or recent Objectivity ); the incidental rejection of psychological narrative and subjective emotion, however, entails a critique of expressionism, which then leads ineluctably to an astringent, accusive constructivism (minimalism, permutational procedures, outlook operations, and so on). At each moment, expression remainsâ€how could it non? but it is reworked through different forms of critique. For Adorno, the tension between expressionism and constructivism becomes paradigmatic of late modernist art. A close adaptation of Aesthetic Theory reveals further that for its author, this tension is fortunate of art itself. The salient points of matchnce between Adorno and Cunningham are that they some(prenominal) show a marked mouthful for construction and they both reject psychological narrative, however they simultaneously rescue expression as an inevitable component of unreal things.In their respective and short single commissions of thinking they both manage to re-define expressionâ€and they do so in surprisingly matched commissions (although this may non at kickoff signal absorbm to be the case). For Cunningham, no bm performed by the homosexual body can ever be lacking in expressive guinea pig, either because the humankind body always communicates some kind of dynamic or because the audience member maps onto the travel body a in-person meaning (see embrown 2007, 53). For Adorno, in contrast, expression in art â€Å"is the antithesis of expressing something” (1970/1997, 112; emphasis added).True expression, he argues, is intransitive verb form verb; there is no object for the verb â€Å"to express. ” As with the verb â€Å"to move,” there is a transitive form: one can â€Å"move furniture” as one can â€Å"express a liquid”â€say, succus from an orange. But when referring to dance (as opposed to painting), to be an intransitive form of expression means that a body must move and thus express without an immateria l object to be expressed. Put differently, the expressive accomplishment is not trying to illustrate anything (even the music).And here is where Cunningham and Adorno converge: an artistic act can be conceived as antinarrative, apsychological, and yet fully expressive. The dance can move its audience without relying on pathos embedded in plot, or energy framed as unconditional emotion. There is no international referent that the body’s motion refers to; it is not expressing more than it is (or, rather, more than it is doing). On this meter reading, expression is borne by a corporealityâ€the moving bodyâ€it can scarcely croak by losing itself.David Vaughan, Cunningham’s archivist, has defined Cunningham’s bewilder in terms that resonate in this mise en scene: â€Å"It goes without saying,” he writes, that Cunningham has not been interested in apprisal stories or exploring psychological carnal knowledgeships: the subject division of his d ances is the dance itself. This does 50 Dance Research Journal 42 / 1 summer 2010 not mean that sport is absent, but it is not drama in the sense of narrative†rather, it arises from the bulk of the kinetic and theatrical reckon, and the human stain on stage. (1997, 7; emphasis added)By â€Å"intensity of the kinetic and theatrical experience,” Vaughan is probably referring to the audience’s experience; he is alluding to John Martin’s notable theory that we, as spectators, empathize kinesthetically with the dancers (a theory developed by Expressionist dancers of the 1920s, or Ausdruckstanz). (He may also be thinking of Cunningham’s same claim that members of the audience are free to enfold their own meaning into the performed motions. ) What is more interesting in this passage, however, is the whim of a â€Å"human accompaniment on stage. What, precisely, does Vaughan mean by a â€Å"human status on stage”? What would a â€Å"human short letter” consist of? How could non-narrative dance produce â€Å"drama” and remain expressive? Expressive of what? To illustrate what a â€Å"human event on stage” might be, how it solicits an intransitive expression, and thus how it illuminates the hidden corners of Adorno’s theory of expression, I want to turn to a extra moment in Cunningham’s development as a choreographer, the stay roughly from 1951 to 1956. During these years, Cunningham was just arising to experiment with the risk procedures he learned from John Cage.The two dances that are most pertinent in this regard are xvi Dances for Soloist and Company of Three, a fifty-three-minute work number 1 presented in 1951; rooms by stake (1952â€1953); and Solo entourage in Time and maculation of 1953, which later became retinue for flipper (performed in 1956). The first one, cardinal Dances, is historic for several reasons: it demonstrated the deflect of Hindi aesthetics , which Cage had been exploring since at least 1946, when he first mentions Ananda Coomaraswamy’s The Transformation of Nature (Nicholls 2007, 36).The go depicts the nine â€Å"permanent” emotions described in the Natyasastra, the consultationbook of Hindu/Sanskrit classical theater. These emotions were, as Cunningham recast them, Anger, Humor, Sorrow, Heroic Valor, the repugnant (or disgust), Wonder, Fear, the Erotic, and Tranquility (or Peace). Moreover, Sixteen Dances (accompanied by a composition Cage wrote bearing the same name) contained what might very well be the first dance date based on the use of come about operations. 4 Thus, Sixteen Dances, the very choreography in which break procedures are introduced for the first time, is explicitly about the emotions and their expression.There is some confusion concerning precisely howâ€and to what extentâ€Cunningham applied chance procedures to Sixteen Dances. However, his comments in â€Å"A Collaborative execute between Music and Dance” and his dry run notes (in the Cunningham pull in at Westbeth) indicate that in at least one segment (the interlude by and by Fear), he used charts and tossed coins to determine the hostel of the straw man periods (phrases), the time intervals, and the orientations and spatial arrangements of the dancers.In â€Å"A Collaborative Process” he writes The structure for the piece was to have each of the dances problematical with a specific emotion followed by an interlude. Although the shape was to alternate light and dark, it didn’t seem to matter whether Sorrow or Fear came first, so I tossed a coin. And also in the interlude after Fear, number 14, I used charts of separate Dance Research Journal 42 / 1 summer 2010 51 movements for material for each of the four dancers, and let chance operations decide the perseverance. (qtd. in Vaughan 1997, 58; qtd. in Kostelanetz 1998, 140â€41).Again, in â€Å"Two Questions and Five D ances,” Cunningham specifies: â€Å"the undivided sequences, and the length of time, and the directions in space of each were discovered by tossing coins. It was the first such experience for me and felt give care ‘chaos has come again’ when I worked in it” (qtd. in Vaughan 1997, 59). It is clear that the first dance Cunningham choreographed entirely through the action of chance procedures was Suite by Chance in 1953. Cunningham’s make accounts of Suite by Chance are much more specific with respect to the use of charts and coin tossing than his accounts concerning Sixteen Dances (Cunningham 1968, n. . ; see also Brown 2007, 39; and Charlip qtd. in Vaughan 1997, 62, 70). Carolyn Brown has indicated that in Sixteen Dances it was the order of the movement phrases that was inflexible by chance, not the individual movements or positions within the movement phrase. 5 The continuity at stake in Sixteen Dances, then, would be the continuity between phra ses, not individual movements. And yet, in an unpublished note from the archive, Cunningham indicates that he was already interestedâ€at least conceptuallyâ€in separating phrases into individual movements and enumerating their various possibilities.In other words, the logic generating his ulterior proceduresâ€the breaking up of phrases into individual movements that were then charted and reproducible into sequences selected by chanceâ€already existed in an embryotic state. Anticipating a practice he would short refine, Cunningham provides the following list of potential movement material in his rehearsal notes: â€Å"Legs can be low, middle or high in air; legs can be bent or straight; legs can be front, side, or back” (Cunningham 1951). The schematic rendering of movement choices (into what he calls â€Å"gamuts of movement”) foreshadows the kinds of taxonomies he would develop later (Vaughan 1997, 72).Photographic representations suggest that at this p oint in his career, Cunningham was still choosing movement material thematically. That is, the types of movement selected for any judgmented(p) emotion had a culturally conventional relation to that emotion. Describing Sixteen Dances, Cunningham writes: â€Å"the solos were concerned with specific emotional qualities, but they were in image form and not personalâ€a yelling warrior for the odious, a man in a chair for the humorous, a bird-masked figure for the terrifically” (qtd. in Vaughan 1997, 59).Unfortunately, there is no video or film record of the dance, but from the extant photographs, it is presumable that Cunningham was working with a modernist wording; there is something resonating of Martha Graham or Ted Shawn in the dramatic poses, the off-centered leaps, and the contracted upper body that we do not see in his work later. In Cunningham’s rehearsal notes (1951) for the pieceâ€and there is no way of knowing if these reflect the completed piece as it was ultimately performedâ€he jots down the idea of introducing a conventional balletic vocabulary for the final intravenous feeding on â€Å"tranquility. â€Å"Finale to proceed from balletic positions, and return key to them at all cadences!!! ” he exclaims. I believe Cunningham so emphatically chooses balletic positions as starting and termination points, as tranquil â€Å"rests,” because they offer movement material that is less associated 52 Dance Research Journal 42 / 1 summer 2010 Photo 2. Merce Cunningham in his Sixteen Dances for Soloist and Company of Three (1952). Photographer: Gerda Peterich. by conventionâ€at least, by Graham conventionâ€with accompaniment emotional states.As Cunningham writes about the period: â€Å"It was almost impossible to see a movement in modern dance during that period not stiffened by literary or personal tie” (qtd. in Vaughan 1997, 69). If â€Å"tranquility,” the ninth emotion from the Natyasastra, signifies the transcendence of emotion, then possibly a ballet vocabulary would be appropriate, especially against the background of the earlier eight, more conventionally expressive, â€Å"images” used for the solos and the erotic duet. During the years 1951â€1956, Cunningham was obviously devising discoveries that would become consistent elements of his practice for years to come.In works such as Sixteen Dances and Solo Suite in Space and Time (1953), not only does he introduce chance operations but he also develops an approach to the body as an expressive organ. He chooses movement material that might be considered conventionally expressive as well as movement material based on classroom exercises, but he elects (or engenders through chance operations) a sequence of phrases or poses that is not conventional. In Sixteen Dances newly minted chance operations discontinue him to experiment with the order of the movement material in a way that endiras the continuity of th e dance. But what he learns by endangering that more conventional Dance Research Journal 42 / 1 summer 2010 53 form of continuity is that another form of continuity can emerge. As he underscores in his rehearsal notes for the 1956 Suite for Five (an extension of Solo Suite in Space and Time with added trio, duet, and quintet): â€Å"dynamics in movement come from the continuity” (Cunningham 1951; emphasis in the original). What would supply this continuity if not the acquired syntax of traditional dance forms, if not the momentum of propulsive movements? all over the course of a year of rehearsals for Sixteen Dances (the time it took to mount the duets, trios, and quartets on Dorothea Brea, Joan Skinner, and Anneliese Widman) Cunningham undercoat his answer. The continuity melding one movement to another would be derived from the dancer herself, that is, from the way she found to string together movements previously not linked by choreographic or classroom practices. In â₠¬Å"Two Questions and Five Dances,” Cunningham describes his pleasure as he watched Joan Skinner take a notoriously difficult sequence of movements and thread them together seamlessly with her own body.Skinner introduced â€Å"coordination, going from one thing to another, that I had not encountered before, physically” (qtd. in Vaughan 1997, 59). His comments introduce what emerges as a constant in his choreography. According to Carolyn Brown, Although the overall intoned structure and tempi were Merce’s, he wanted me to find my own phrasing within the sections. . . . Unlike what happens in ballet, there is no other impetus, no additional source of inspiration or energy, no aural stimulant drug . . . There is only movement, learned and rehearsed in silence.In order for Cunningham dancers to be â€Å"musical,” they must discover, in the movement, out of their own inner resources and innate musicality, what I call, for want of a better word, the â€Å"song . ” . . . There is a meaning in every Cunningham dance, but the meaning cannot be translated into words; it must be experienced kinesthetically through the language of movement. (2007, 195â€96; emphasis in the original) Dynamics are thus not preconceived by the choreographer but instead emerge from the dancer’s creation of unscripted, â€Å"discovered” transitions leading from one movement, or one movement sequence (phrase), to the next.These transitions providing continuity are bad by the dancer’s own act mechanism, her way of assimilating each movement into a new sequence, a new logic, that only the body can discover in the process of repeated execution. In Sixteen Dances Skinner provided him with a crucial insight (reinforced by Carolyn Brown soon after), namely, that the expressivity of the body is lost neither when the elements of an expressive movement vocabulary, a enclothe of â€Å"image forms,” are re-mixed or forcibly dis-articulated , nor when the elements re-mixed are themselves as neutral and burdenless by cultural associations as possible.So what is the â€Å"human situation on stage”â€to return to our earlier questionâ€and in what way can it be considered expressive? I believe that what Cunningham was beginning to uncover in his work during this period, and that he fully realizes in Suite for Five of 1956, is that the human body is doubly expressive: it can be expressive transitively, in an considerably legible, culturally codified way, and it can be expressive intransitively, simply by exposing its dynamic, arc-engendering force. This intransitive expressivity belongs to an animate form responding at what Adorno calls the â€Å"proto” subjective level (1970/1997; 112).That is, the continuity-creating, lintel body is relying on an order of sensorimotor 54 Dance Research Journal 42 / 1 summer 2010 sensitivity that is itself an expressive system, one that underlies and in fact renders po ssible what we draw as the familiar signifying system of conventional expressive â€Å"images” and â€Å"personal” emotions. 7 The â€Å"human situation on stage” can therefore be summed up as a put in of kinesthetic, proprioceptive, weight-bearing, and sometimes tactile problems to be solved. In the rehearsal notes for Suite for Five (1952â€1958), these problems are enumerated succinctly.Cunningham placid this piece by relying on movement materials whose sequences were determined by the imperfections appearing on a canvas tent of paper. (Here, he was imitating Cage, who invented the process with Music for Piano, which accompanied the Solo Suite. ) Cunningham tells us that the dancers had to worry about (1) â€Å"where” they are; (2) â€Å"then where to” (where they have to get to); and (3) â€Å"if more than one person [is] involved,” how the movements they make will be affected by the other’s presence on the stage. In short, the spatial and interpersonal relationships present the problems and constitute the â€Å"human situation on the stage. The dancers are called on not to express a particular emotion, or set of emotions, but instead to develop refined coping mechanisms for creating continuity between disarticulated movements while remaining spiritualist to their location in space. They must keep time without musical cues; sense the presence of the other dancers on stage; know blindly, proprioceptively, what these other dancers are doing; and rectify the timing and scope of their movements accordingly, thereby â€Å"expressing” the â€Å"human situation” at hand.All this work is â€Å"expressive”â€it belongs to the â€Å"category of expression”†insofar as it is demanded by a human situation on a stage and insofar as human situations on stages (or otherwise) constitute an embodied response to the present moment, an embodied response to the absolutely unique condit ions of existence at one stipulation point in time. In an interview with Jacqueline Lesschaeve, Cunningham puts it this way: â€Å"You have to begin to know where the other dancer is, without looking. It has to do with timing, the relationship with the timing. If you paid attention to the timing, then, even if you weren’t facing them, you knew they were there.And that created a relationship” (Cunningham 1991, 22). Relationships, engendering unavoidably the â€Å"human situation,” are defined as body-to-body relationships, or really moving-body-to-moving-body relationships. As Tobi Tobias has suggested, â€Å"perhaps movement is at the core, the body’s response preceding the psyche’s” (1975, 43). Contemporary neuroscience is in fact beginning to confirm this point of view: relationships are forged kinetically, and thus the human drama begins at a prepsychological, perhaps even presubjective level of interaction with the world.The work of An tonio Damasio (1999) and Marc Jeannerod (2006) in particular emphasizes the degree to which largely (although not entirely) nonconscious operations of the sensorimotor systemâ€including visuomotor functions and kinesthetic, proprioceptive, haptic, and vestibular systemsâ€constitute the very conditions of possibility for the emergence of â€Å" high level” processes of conscious thought, symbolization (language), and feeling. These scientists dub the former, more somatic (and evolutionarily prior) class of activity the â€Å"protoself. This protoself is related to homeostasis and the fundamental intelligence that discerns the boundary between the subject’s body and other bodies; it is thus the corporeal substrate of subjectivity understood as an awareness of being a separate self. 8 If we return to Cunningham’s statement, quoted above, we can see that a relationship Dance Research Journal 42 / 1 summer 2010 55 forged simply by occupying the same durati on of time produces a â€Å"human situation” insofar as two bodies are compel to remain aware of each other’s presence.This awareness is not necessarily colored with affect; that is, the â€Å"human situation on stage” is not necessarily charged with emotion. To that extent, we can say that Cunningham’s choreographic procedure attends to intimacies occurring on the level of the presubjective bottom of interaction between human beings; â€Å"presubjective” would not mean pre-individual or pre-individuated but rather singular embodiment in an intersubjective milieu before that embodiment enters a narrative, a conventional, socially defined relation to the other.The relation to the other, as Cunningham points out, is structured by time; in a duet, for instance, the choreographic imperative is that bodies should be doing particular things at particular moments in a determine sequence. Yet at the same time, the cohabitation of that temporal and spatia l dimension that is the stage creates a situationâ€a â€Å"human situation”â€in which two or more bodies must become aware of one another’s movements; they thereby enter into a relation on the â€Å"presubjective,” or prepsychological, level.In Aesthetic Theory Adorno defines precisely this presubjective stage of existence as the origin of expressive look: that is, the prepsychologized body, related in his mind to the human â€Å"sensorium,” is itself the source of expressive content. Beyondâ€or underlyingâ€the explicit, stylised content of artworks is another content: the sensorium’s â€Å"objective” soul, as he puts it, of the touch world that it probes. In their expression, artworks do not observe the impulses of individuals, nor in any way those of their authors”; instead, he continues, artworks are imitation (mimesis) â€Å"exclusively as the imitation of an objective expression” (1970/1997, 111â€12; em phasis added). This objective expression is best captured by the musical term â€Å"espressivo,” he continues, since it denotes a dynamic that is entirely intransitive, â€Å"remote from psychology,” although generated by a human subject.Significantly for our purposes, he adds that the â€Å"objective expression” of subjectivity is continuous with the layer of existence â€Å"of which the sensorium was perhaps once conscious in the world and which now subsists only in artworks” (112). This â€Å"sensorium”â€a â€Å"consciousness” not yet self-reflexive yet nonetheless a consciousnessâ€is composed of a set of receptors relating intimately to the external world.The layer of existence captured by the sensorium may be considered the objective aspect of subjectivity, the world-sensitive, outer-directed, knowledge- rendering, coping body that is the macrocosm on which a psychic subjectivity, a personality, builds. Ultimately, for Adorno, it is the experience of this objective layer of being (the â€Å"consciousness” of the sensorium) that artworks seek to â€Å"express. ” â€Å"Artworks,” Adorno writes, â€Å"bear expression not where they communicate the subject, but rather where they reverberate with the protohistory of subjectivity” (112). other procreative way to think of the relation between the â€Å"protohistory of subjectivity” and expression can be found in the work of Charles Darwin. As unlikely as it may seem, there is a continuum leading from Darwin’s The Expression of the feelings in Man and Animals (1872/1965) through Merleau-Ponty’s Phenomenology of Perception ([1962] where he relies heavily on Darwin for his intellectual of the expressive body), to Adorno’s Aesthetic Theory and its notion of a primordial sensorimotor apprehension captured mimetically in art.Adorno’s sensorial â€Å"consciousness” or â€Å"presubjective” lay er of being in the world looks surprisingly like Darwin’s understanding of â€Å"corporeal intensities”†goodly 56 Dance Research Journal 42 / 1 summer 2010 muscular contractions, accelerated circulation, and their various manifestations on the faces and bodies of animals and man. These â€Å"corporeal intensities” are forms of expressionâ€or â€Å"proto” expression, if you likeâ€that serve as the precondition for the development of more culturally legible, codified expressive gestures (such as the shrivel up or the smile).In The Expression of the Emotions in Man and Animals, Darwin’s theory of expressivity links the development of what we call emoting to basal neurological and physiological responses generated by a sensorimotor intelligence. What we identify as rage, he writes, is actually caused by a response generated in animals by the involuntary circulatory system; behavior that comes to be designated as anger (for the observer) begins with an accelerated flow of blood, while behavior identified as joy or graphical pleasure is underwritten, so to speak, by the quickening of the circulation.What we identify as â€Å"suffering” is expressed through the contraction of a wide variety of muscle groups. everyplace the course of time, muscular contraction in general comes to be associated with angst, although the specific groups of muscles contracted might go from culture to culture. For instance, one culture might associate suffering with the contraction of the facial muscles, for example, in a grimace. A different cultureâ€or really, a subculture, such as modern danceâ€might associate suffering with the contraction of muscles in the group AB cavity, sternum, and pelvis.In both cases, the adaptive behavior, muscular contraction, can be observed as distinct from the social significations it comes to acquire. Animals and humans both expose behaviors that are closely associated with emotions, but th eoretically it should be possibleâ€and this is Darwin’s goalâ€to dissociate the protosubjective expressiveness of the body (muscle contractions, autonomic responses) from the conventionalized, codified gestures into which this expressivity has been conjugated.Adorno and Cunningham both targetâ€the first to theorize, the second to achieveâ€this primeval order of protosubjective expressiveness contained in, but potentially dissociable from, the conventionalized gestures to which it gives rise. The â€Å"human situation on stage” that is so â€Å"dramatic” or â€Å"expressive” (in Cunningham’s vocabulary) is one in which human bodies have been released from the prefabricated shapes and congealed (â€Å"stiffened”) meanings oblige by a given choreographic vocabulary or gestural regime (qtd. n Vaughan 1997, 69). Cunningham trusts that by preventing the conventional sequencing of movements within a phrase (through the application of chance procedures) he will coax dancers to exhibit dynamics that are at once more â€Å"objective”â€in the sense that they are generated by coping mechanisms rather than emotional statesâ€and utterly idiosyncraticâ€radically subjective, we might say, in the sense that they are generated by the singular body of the dancer confronting an utterly unique â€Å"human situation on stage. In â€Å"The Impermanent Art” (1952), Cunningham comes very close to appellative Darwin’s â€Å"corporeal intensities” when he evokes an order of muscular dynamics released from association with conventional emotions, such as passion and anger. Here he writes that Dance is not emoting, passion for her, anger against him. I think dance is more primal than that. In its essence, in the devastation of its energy it is the source from which passion or anger may issue in a particular form, the source of energy out of which may be channeled the energy that goes into the va rious emotionalDance Research Journal 42 / 1 summer 2010 57 behaviors. It is that blatant exhibiting of this energy, i. e. , of energy geared to an intensity high enough to course steel in some dancers, that gives the great excitement. (qtd. in Vaughan 1997, 86) The â€Å"blatant exhibiting” of an intensified corporeal energy bears a relation to what Darwin calls the exhibition of â€Å"corporeal intensities” by animals that can only be said to be â€Å" irascible” or â€Å"ashamed” if we anthropomorphize their movements.Cunningham seems acutely attuned to what Darwin also notes: our movement to interpret (anthropomorphize) animal behaviors, a tendency he implicitly identifies with the public’s lust to read psychological meaning into the intensified corporealities of the dancers on stage. One could even say that Cunningham attempts to de-anthropomorphize our understanding of human behavior on stage; that is, he wants us to de-reify, to extract f rom the conventionalized, psychologizing modes of dance spectatorship, the movement behavior â€Å"blatantly” exhibited in his choreography.He asks us to experience even the graceful, plangent duet of Suite by Chance without kitschy overlay, as though it were simply an instance of protosubjective expressivity uncovered by two moving bodies implicated in a â€Å"human situation on stage. ” Perhaps not incidentally, Cunningham’s most suggestive evocation of this â€Å"protosubjective” layer of expressivity appears in a passage on animals and musicâ€and it is with this passage that I would like to conclude. Cunningham is talking about his reasons for separating music from his horeography, explaining why he avoids giving his dancers musical cues with which to time the duration of their movements or generate their expressive dynamics. At pains to offer a lordly rendering of what he is seeking, he notes instead that the arctic opposite of what he aspires to in his collaborations with Cage may be â€Å"seen and heard in the music serial the movements of wild animals in the Disney films. [This music] robs them of their instinctual rhythms,” he claims, â€Å"and leaves them as caricatures.True, [the movement] is a man-made arrangement, but what isn’t? ” (qtd. in Vaughan 1997, 10). allow us imagine for a moment the Disney energiser as cave painter, mimingâ€like the â€Å"primitive” dancer of Benjamin’s â€Å"On the Mimetic power”â€the power of the animal totem. In an act of harmonical response, troubling the boundary between mime and mimed, the animator studies the animal, acquiring its rhythmic gait, the expressive dynamic of its way of howling or extending a paw.Without knowing just now what the animal means, how that howl or extension signifies in an animal world, the animator copies, uses whatever conventions and imagesâ€whatever man-made arrangementsâ€she has to approach the original in its presubjective, prepsychologized movement state. That, for Cunningham, is what can be freed through the disruption of continuity, through the hypocrisy of the strict, unforgiving disciplines of permutation and chance.The protosubjective order of the wild gesture is what we might see if it were unencumbered by narrative, if it could be captured without the omnipresent, strip-mall swelling music of the Disney world in which we all too often bathed. Ultimately, the â€Å"human situation on stage” is, despite years of rehearsals and revivals, a set of â€Å"wild gestures” expressing what it is like to be a sensorium moving on stage. The challenge that remains is to determine both how Cunningham’s choreographic practice divulges the work of the proto-self and how that work informs (and is balanced by 8 Dance Research Journal 42 / 1 summer 2010 the exigencies of ) the construction of artworks, that is, the construction of dances for audiences in s pecific historical settings with demands of their own. Another challenge arises with respect to Adorno and my allied regorge of reading dance back into Aesthetic Theory. If, as he claims, artworksâ€not dances, but paintings, sonatas, and poemsâ€â€Å"reverberate with the protohistory of subjectivity,” then where is this â€Å"reverberation” to be located?Where (or when) in the process of art making does protosubjectivity intervene as an agent, as a constituting force? And if, as Adorno implies, we are no longer sensuously alive (â€Å"the sensorium was perhaps once conscious in the world,” he writes), then how do we recognize the presence of the sensorium’s influence on the composition of artworks? What remains of the sensorium in art, of the sensorium in dance? These questions inform the next phase of my research, the contours of which I have only begun to outline.Notes 1. Jose Gil provides several fine articulations of Cunningham’s project in â€Å"The Dancer’s Body” (2002). I agree with Gil that, in an attempt to â€Å"make grammar the meaning,” or â€Å"make body awareness command consciousness” (121), Cunningham â€Å"disconnects movements from one another, as if each movement belonged to a different body” (122); however, I do not believe that the actual dancer ends up with a â€Å"multiplicity of virtual bodies” (123), a â€Å"body-without-organs” (124).As I document later in this essay, Cunningham’s most successful dancers (in his eyes and my own) have been those who are able to take out the movement sequences into their own body; the grammar’s inflection, the sequence’s assimilation through the body’s singular dynamics, is what ultimately lends the dance â€Å"meaning” in the way Cunningham intends. 2. See â€Å"The Impermanent Art,” first published in Arts 7, no. 3 (1955) and reproduced in Kostelanetz (1989) and Vaughan (1997). 3.See especially the appendices to Adorno’s Aesthetic Theory. The work was not finished during Adorno’s lifetime (Adorno died in 1969. ) 4. Sixteen Dances for Soloist and Company of Three was first performed in Milbrook, forward-looking York. It contained the following sequence: solo, trio, solo, duet, solo, quartet, solo, quartet, solo, duet, solo, trio, solo, quartet, duet, quartet. See Vaughan (1997, 289). 5. Carolyn Brown, personal conference with the author, June 24, 2009. 6. Cunningham presents what he is getting at as ollows: â€Å"You do not separate the human being from the actions he does, or the actions which surround him, but you can see what it is like to break these actions up in different ways, to allow the passion, and it is passion, to appear for each person in his own way” (qtd. in Vaughan 1997, 10). 7. Mark Johnson (1987) and Daniel cigaret (1985/2000) also believe that our ability to be expressive in the more familiar wayâ€to d isplay human emotions such as anger or pityâ€is predicated on a presubjective capacity to elevate experience into â€Å"image schemata” ( Johnson) or â€Å"vitality affects” (Stern).The neuroscientist Antonio R. Damasio has more recently argued that a protoself, or neural substrate of sensory feedback, is the condition of possibility for emotions per se (1999). What is â€Å"expressed” by this protoself is movement, a nonthematized awareness of orientation, a sense of balance. Cunningham’s choreography appears to be calling on its dancers to â€Å"express” precisely these functions; they are what provide the continuity, the dynamic, that is so moving to watch. On the sensorimotor protoself and our access to it, see my Agency and Embodiment (2009). 8. See Damasio (1999) and Jeannerod (2006).Damasio insists that the protoself is entirely nonconscious, but Jeannerod provides persuasive evidence that kinesthetic awareness is often available to the conscious self. See also Joseph LeDoux (2002) for a similar account. Dance Research Journal 42 / 1 summer 2010 59 Works Cited Adorno, Theodor W. 1970/1997. Aesthetic Theory, edited by Gretel Adorno and Rolf Tiedemann. Translated and introduced by Robert Hullot-Kentor. Minneapolis: University of Minnesota Press. Benjamin, Walter. 1986. â€Å"On the Mimetic Faculty. ” Reflections: Essays, Aphorisms, Autobiographical Writing, edited by Peter Demetz, 333â€36. New York: Schocken.Brown, Carolyn. 2007. Chance and Circumstance: Twenty days with Cage and Cunningham. New York: Knopf. Cunningham, Merce. 1951. Rehearsal Notes. Merce Cunningham Archives, Westbeth, New York City, New York. â€â€â€. 1952â€1958. Rehearsal Notes. Merce Cunningham Archives, Westbeth, New York City, New York. â€â€â€. 1968. Changes: Notes on Choreography. modify by Frances Starr. New York: Something Else Press. â€â€â€. 1991. The Dancer and the Dance: Merce Cunningham in Conversa tion with Jacqueline Lesschaeve. New York: Marilyn Boyars. Damasio, Antonio R. 1999. The Feeling of What Happens: Body and Emotion in the Making of Consciousness.New York: Harcourt Brace. Darwin, Charles. 1872/1965. The Expression of the Emotions in Man and Animals. Chicago: University of Chicago Press. Foster, Susan Leigh. 1986. Reading dance: Bodies and Subjects in Contemporary American Dance. Berkeley: University of California Press. Franko, Mark. 1995. Dancing contemporaneousness/Performing Politics. Bloomington: Indiana University Press. Gil, Jose. 2002. â€Å"The Dancer’s Body. ” In A Shock to Thought: Expression after Deleuze and Guattari, edited by Brian Massumi, 117â€27. London: Routledge. Jeannerod, Marc. 2006. Motor scholarship: What Actions Tell the Self. Oxford: Oxford University Press.Johnson, Mark. 1987. The Body in the Mind: The natural Basis of Meaning, Imagination, and Reason. Chicago: University of Chicago Press. Kostelanetz, Richard. 1989. Est hetics Contemporary. Buffalo, NY: Prometheus. â€â€â€, ed. 1998. Merce Cunningham: Dancing in Space and Time 1944â€1992. New York: Da Capo. LeDoux, Joseph. 2002. The Synaptic Self. New York: Viking. Manning, Susan A. 1993. Ecstasy and the Demon: feminist movement and Nationalism in the Dances of Mary Wigman. Berkeley: University of California Press. Merleau-Ponty, Maurice. 1962. Phenomenology of Perception. Translated by Colin Smith. New York: Routledge. Nicholls, David. 2007.John Cage. Urbana: University of Illinois Press. Noland, Carrie. 2009. Agency and Embodiment: Performing Gestures/Producing Culture. Cambridge, MA: Harvard University Press. Reynolds, Dee. 2007. Rhythmic Subjects: Uses of Energy in the Dances of Mary Wigman, Martha Graham, and Merce Cunningham. Hampshire, England: Dance Books. Stern, Daniel. 1985/2000. The Interpersonal World of the Infant. New York: Basic. Tobias, Tobi. 1975. â€Å"Notes for a piece on Cunningham. ” Dance Magazine 42 (Septe mber). Vaughan, David. 1997. Merce Cunningham: l Years. Edited by Melissa Harris. New York: Aperture. 60 Dance Research Journal 42 / 1 summer 2010\r\n'

'Chiquitas Global Turnaround Essay\r'

'Executive Summary\r\nThis report details nigh(prenominal) transnational care riddles that Chiquita has been approach with over the former(prenominal) two decades. Many of these problems are to do with the party’s previously poor image when it came to embodied and genial responsibility. Over the years Chiquita faced many an(prenominal) accusations about the conditions workers were faced with at many of their facilities in Latin America and be throw off alike had their environmental policies questi unrivalledd many cartridge clips in the press. The attach to has do great strides in recent years in improving their public image with regards to in merged and sociable responsibility. In particular Chiquita’s cargo to the intermit Bananas Project has helped improve their public image on with the continued work they are doing with the South American communities who farm their bananas. The Company also faced a prodigious licit and dominion of trade proble m when the EU’s 1993 integration program adage taxs on the go with issues to Europe greatly counterchange magnitude and their regimen merchandise inject place share halved almost overnight. This report recommends that or else of going with a costly lawful struggle to gain re-entry to the European Banana commercialise the company instead focuses on newer emerging markets such as Asia.\r\nIntroduction\r\nChiquita Brands world-wide is a transnational producer, distri moreoveror and marketer of bananas, sourcing many of its produce from create countries in Latin America. Banana industries remove spacious been tarnished as having unethical vocation standards forcing companies such as Chiquita to take on ‘ corporate brotherly debt instrument’ (CSR). CSR has been an essential element for Chiquita to take into consideration for a global turnaround. Vital aspects Chiquita had to consider were commitment to legal, ethical, environmental and societal standards. These factors are at the most fountainhead to resolving CSR final results. An other(a) key issue touching the organisation was its struggles with access to a free market in the EU. The trade regulations the company faced through quotas and tariffs not only cut the company’s market share by over 50 pct only also negatively change their qualification to compete in the EU. These issues are seen as overcritical for the firm as it weakened its competitory edge well. Chiquita has taken actions against these issues in the past some(prenominal)(prenominal) years however there are several\r\nsolutions that could streng consequently the company even further so that they remain the worlds leading supplier of bananas.\r\nKey erupts\r\nIssue #1: Corporate kind Responsibly\r\n afterward analysing the case in full depth it has perform to our knowledge that corporate social responsibility (CSR) is a major international transmission line issue alter Chiquita. CSR is becoming a huge business sector move in today’s corporate world. spate are becoming more aware of business ethics and practices that don’t coincide with what they throw is mor whole toldy correct and right. (Anglo American, 2012) Business practices relieve oneself thence moved from cosmos gather maximisation cogitate to having social, cultural, technological and political focal points; or a ‘quadruple bottom line’ approach in order to create a company that is soci on the wholey correct with a positive image. (LGAM, 2013) In 2003 Chiquita had 19,000 workers in its banana division with over 100 farms across Latin America. These countries are typically developing countries that have struggled with poverty, literacy and access to health care. The banana industry has considerable been for its support of child labour, unsafe working conditions, familiar discrimination and beginning wages leading to mankind rights groups organising c adenylic acida igns against all banana companies to improve social conditions on their plantations. (Luthans, F., & axerophthol; P. Doh, J. 2012). CSR is stated as â€Å"the continuing commitment by business to behave ethically and tote up to frugal development while improving the note of life of the workforce and their families as well as of the local anesthetic friendship and union at group Ale”. (Business Respects, no date) Therefore Chiquita’s image in the 1990’s of being a company that was â€Å"cold, uncaring, and indifferent, scotch with mediocre returns, a lack of innovation, and a demoralised workforce” lead to the company becoming considerably unpopular with the public and business partners, which contributed to a slack in growth rates. For ex axerophtholle, in 1998 Chiquita fell a victim of an undercover investigation into dangerous and wicked business practices. The Cincinnati Enquirer, a paper based in Kentucky, accused the company guilty of â₠¬Å"labour, human rights, environmental and political violations” in central America, leaving an â€Å" yucky impression of our company” according to Jeff Zalla, current corporate responsibility officer at Chiquita.\r\n(Luthans, F., & P. Doh, J. 2012). The encumbrance group of the debate about the CSR is the nature and extent of corporate obligations that extend beyond the economic and legal responsibilities of the firm. â€Å"The approximation of social responsibilities supposes that the corporation has not only economic and legal obligations, but also certain responsibilities to society which extend beyond these obligations” (McGuire, 1963: 144). The issue is therefore critical for the firm as it is in the business’s long-term self-interest to be socially responsible. If Chiquita wants to have a healthy climate in which to do work in the future, it must(prenominal) take actions now to visualize its long-term viability. Ultimately it will benefit the company by â€Å"winning the public” because the public call up firms should take on social responsibility. Issue #2: Tariff Regulations from the EU\r\nAnother international business issue that had a significant effect on Chiquita’s day to day operations was the European Union’s (EU) decision to impose eventantly higher tariffs and quotas on Chiquita’s imports from Latin American countries, in favour of their former colonies in the Caribbean and Africa, head start in 1993. These new Tariff’s not only cut the company’s market share by over 50 percent but also significantly affected their ability to compete in the EU’s $6.7 trillion USD banana market. (Luthans, & P. Doh, 2012). This was a massive regulation of trade issue for Chiquita as they believed the EU’s decision to grant their former colonies preferential tariff rates was in direct violation of the sightly trade principles specified in the WTO. These principle s stated that countries must not discriminate against one another in their trade relations. (Luthans, & P. Doh, 2012). One of the key sub-issues that caused this issue for Chiquita was the EU’s 1992 integration program which axiom the 12 member nations of the EU do out with their previously separate banana import regimen’s and implement one uniform dictated of tariffs for the whole EU. (Patterson, 2001) This important change in international law saw Chiquita go from only having some quotas to deal with when exporting to the EU to now having to repair an extra 33% tariff than their rival importers from ACP countries. (Patterson, 2001) Although the EU’s new regime was immediately protested by the U.S.A and many Latin American countries this presented another significant legal international management problem for Chiquita. non\r\nonly had their market share been halved, drastically harsh into their profits, but they also now faced the anticipation of a lengthy and expensive legal battle to be able to once again import their bananas to Europe at a fair rate. (Luthans, & P. Doh, 2012).\r\nStrategic woofs\r\nCorporate Social responsibility\r\nChiquita began to get going corporate social responsibility projects in 1992 but initiated projects aimed at implementing its CSR efforts on a global home base in 1998, (Luthans, & P. Doh, 2012). By 1999 Chiquita had adopted quartet key values, integrity, respect, hazard and responsibility, which now guide all business decision-making worldwide, (Luthans, & P. Doh, 2012). In 2000 Chiquita appointed a full duration officer responsible for all aspects of Chiquita’s CSR. This implementation as well as the four core values has helped drive a responsible change throughout the entire company, (Chiquita †Social tariff Is How We Conduct Business, 2013). It has meant all business decisions have had to be evaluated through the corporate responsibility policies, (Luthans, &am p; P. Doh, 2012). Chiquita’s development of social responsibility efforts has authentic significantly by expanding on the businesses code of choose to outline the responsibilities and practices of the organisation, as well as adopting legal agreements to establish business standards, (Luthans, & P. Doh, 2012). Chiquita’s have resolved social conditions on all their plantations by apply both these strategies. They expanded their code of call for in 2000 to include Social Accountability 8000, followed by signing a worker rights agreement in 2001, (Luthans, & P. Doh, 2012). This covered areas such as food safety, labour standards, employee health and safety, environmental protection, and legal compliance, all which have been a long tarnished image in the banana industry. It has been proven to be a rattling effective tool for measuring and improving business practices to better serve the communities and individual consumers, (Chiquita †Social Responsibili ty Is How We Conduct Business, 2013). In order to adhere to the organizations core values, Chiquita routinely performs audits, to plan corrective and future actions using the firms core values and code of conduct as decision-making guides. This implementation has contributed significantly to accord Chiquita’s to contain\r\nbetter CSR practices. An alternative solution for Chiquita is to contribute to local communities in an interactive way. Chiquita’s could set up programs to promote healthy keep, oddly that educate children on nutrition and encourage them to lead healthier lives. Chiquita employees could do this by visiting local schools, events or other business firms in the connection. To promote healthier living to mountain they could give out produce to the community to encourage eating healthier foods and give tips to men, women and particularly children about nutrition enforcing the composition of healthy living. Chiquita could also allow schools to visit their farms on an education basis. This gives the opportunity for Chiquita employees to get involved in supporting the community and has the added benefit of portraying a great social responsibility effort for Chiquita. Furthermore on the idea of allowing people to visit their farms, Chiquita could alternatively charge people a small donation, where a percentage of the profit could be given to charity or an ongoing event in the community. Tariff Regulations from the EU\r\nFrom the time that the new regime was put in place in 1993, Chiquita, along with the unify States, filed complaints to both the everyday Agreement of Trade and Tariffs (GATT) and the World Trade geological formation (WTO) implying that there were violations of free trade from the EU (Doh & Luthans, 2012). There were two complaints made to GATT the first off, issued in February 1993, draw that the new regime ( start II) was ‘protectionist, discriminatory and restrictive’. patch the second; wa s initiated by five Latin American plaintiffs on the first of July, 1993 (Read, 2005). While the GATT panel command that the Mark II regime violated GATT commitments, the EU refused to adapt the ruling made by GATT. In May 1997, the WTO ruled that the EU’s Mark II regime violated WTO obligations under the GATT on trade and services and the agreement on import licensing procedures (Doh & Luthans, 2012). Some of these licensing procedures included: Operator categories, drill functions, export certificates and hurricane licenses (Read, 2001). The EU was then required by the WTO, to bear its banana regime compliance by January 1999. This was brought about by the various amounts of import licenses that the EU used in which the WTO panel found that these licenses breached the GATT and the customary Agreement on Trade in\r\n go as it prevented competition in the EU (Read, 2005). However, the EU did not comply and so, the United States was allowed to enforce regulatory tariff s onto specific EU imports as a resolution towards the EU’s failure to implement the WTO rulings as well as the violations of the GATT trade rules (Read, 2005) It was not until April, 2001 that the United States and the EU announced that they had resolved their dispute but reaching an agreement. The agreement took effect on the first of July, 2001 during which the United States suspended retaliatory sanctions and the import of bananas from Latin America returned to the levels it was at before the 1993 regime change (Doh & Luthans, 2012).\r\nFinal Recommendation\r\nAn alternate option that Chiquita could have undertaken is that rather than focusing on return key the European market, they could have looked towards expanding to a new regional market such as Asia. Evidence from the Chiquita’s website shows that they have yet to expand to the Asian market (Chiquita Homepage, 2013). Four out of the top five countries for banana consumption in the world come from Asia; these countries being: India, China, Indonesia and the Philippines (WolframAlpha: Banana Consumption, 2007). Upon entering the Asian market, Chiquita should approach with both a polycentric or regiocentric predisposition. Polycentric and regiocentric predisposition is, respectively; â€Å"a philosophy of management whereby strategic decisions are tailor-made to suit the cultures of the countries where the multinational corporation operates” and â€Å"the philosophy of management whereby the firm tries to blend its own interests with those of its subsidiaries on a regional basis” (Doh & Luthans, 2012). These two approaches would be good for entering into the Asian market as Asian cultures tend to be high background cultures in which negotiations are slow and ritualistic; whereas for and American-based company such as Chiquita, are used to low context cultures where negotiations are made efficiently as possible (Cavusgil, Freeman, Knight, Ranmal & Risenberger, 2012). These two approaches will allow for Chiquita to become more compatible with the Asian market. Implications of this however, is that the time and money spent on developing and researching strategies on entering the Asian market could cost any the same, or more than the legal costs that Chiquita faced while\r\nregaining the rights to exporting to the EU. However, if Chiquita looked towards expanding into the Asian market while dealing with legal issues regarding the EU quotas and everything went well, Chiquita would then be exporting to both Europe and Asia which would bring them more profit than if they were just shipping to one or the other.\r\nReferences\r\nAnglo American, (2012), Business Ethics and Corporate Social Responsibility, Retrieved from: http://businesscasestudies.co.uk/anglo-american/business-ethics-and-corporate-social-responsibility/introduction.html#axzz2cMnSxmvE, Accessed 17/9/13 Business Respect, (no date), Corporate Social Responsibility- what does it mea n? Retrieved from: http://www.businessrespect.net/definition.php, Accessed 17/9/13 Cavusgil, S.T., Freeman, S., Knight, G., Ranmal, H.G., & Risenberger, J.R. (2012). The Cultural Environment of International Business, International Business (pp.88- 122). Frenchs Forest, Australia: Pearson Australia Chiquita (2013). Chiquita.com †Social Responsibility Is How We Conduct Business. Retrieved from http://www.chiquita.com/The-Chiquita-Difference/Social-Responsibility.aspx, Accessed 13/9/13\r\nChiquita Homepage. (2013). Retrieved from http://www.chiquita.com/Home.aspx, Accessed 13/9/2013 Doh, J.P., & Luthans, F. (2012). Chiquita’s Global Turnaround (Case Study), International precaution: Culture, Strategy and Behaviour. (pp.138- 165). New York, United States of America: McGraw Hill. European Commission (2011). Corporate Social Responsibility. Retrieved from http://ec.europa.eu/enterprise/policies/sustainable-business/corporate-social-responsibility/index_en.htm, Access ed 13/9/13 LGAM, (2013) Quadruple Bottom Line, Retrieved from: http://lgam.wikidot.com/quadruple-bottom-line, accessed 17/9/13 Luthans, F., & P. Doh, J. (2012). International direction (pp. 560-566). (8th ed.). New York, America: McGraw-Hill, Accessed 13/9/13\r\nMcGuire, J (1963), The Business Case for Corporate Social Responsibility, retrieved from:\r\n'