Position analysis Essay Example | Topics and Well Written Essays - 1250 words

Position analysis - Essay Example Theologically, we learn Jane’s socialization since she was full of social life after living alone for long period. Before Timothy meeting Smith, she had undergone brain injury after sustaining an injury. Unfortunately, she developed a cancer at a very tender age. The fate of midwife through the dying process is one of its kinds and needs patience and perseverance. On the other hand, the articulation goes further to analyze on how the author goes further to create a social relationship with Jane. By then Timothy was practicing his own medical practice and he was happy to learn that Jane indeed decided to change her insurance plans and remain Timothy patient. Through professional level, Timothy gave all the support and provided necessary help to Jane and through this caring perception, timothy generated a strong bond with Jane. One of the reasons for Jane decided to leave insurance perception was because she was suffering asthma and with time while under Timothy medication, she sustained and developed emphysema too. It was a tough time to Jane, since in that process she developed complex rheumatoid arthritis since her serology tests on her blood was confirmed positively. Nevertheless, this does not cut the strong bond timothy had created with Jane. As a medical practitioner, Timothy continued to attend to Jane despite of her being out of her medical clinic and it is evident from the writings that this two met on several occasions (Quill, 17-21). As far as the issue of midwife through the dying process is concerned, Medical risk becomes a reality that any medical practitioner comes across. From the articulation, we find that Jane in her status experienced a tough breast cancer status that needed total care and support from both the doctors and midwife. It is administered from her behavior that she hates being in hospital and depends a lot on others for her care. The complications that get rid many patients’ acts as a challenge to midwife career pathw ays. When midwife interacts with their patients, as administered from the Jane case, commitment perception is acquired. In line to the history of Jane and what Timothy learned from her is perseverance and hope to live. This is articulate d further from the history given by Jane about her friend known as Bill. From her story towards Bill is that, the man was a physically and energetic in his mid-seventies. At this time he was still able to work even during part time even he never participated in any athlete’s activities. But with time, no one would anticipate that Bill would one day feel sick and be hospitalized. Bill out of nowhere was hit by macular degeneration disease, one of the causes that made Bill become legally blind hence was unable to read, drive as well as enjoy sports that required fine hand eye coordination. From the Story of Bill as articulated by Jane, patients are in need of midwife care, it is at this particular moment that perseverance, and commitment comes on top of the agenda. Many patients suffering from cancer totally undergoes tuff times and full concentration towards them is of high consideration. Timothy is his career has encountered various challenges that he terms as a possibility to one who have a heart to help while working as a doctor as well as a midwife. Timothy unveils that Jane was a retired nurse and former hospice

The Economic Theory of Second and Third Degree Price Discrimination Essay

The Economic Theory of Second and Third Degree Price Discrimination - Essay Example The price discrimination is successful when the seller or service provider meets the following conditions in the market, to have the control of the market or having market power; identification of different groups of individuals who have different demands for a good or a service and keeping the buyer in one of the market segment from offering the service or reselling the good to another group in the market in order to prevent or limit arbitrage. The sellers should be able to control the different prices of goods or services in order to succeed in this type of price discrimination. If the firms have no market power, then it means that they have no ability to affect the prices, which are charged on the goods they sell and therefore all the goods are going to be charged at one price. Monopolies are the best examples of firms which are skilled in price discrimination because they are price makers. Monopolies have the ability to charge different prices at different markets without any pro blems. Oligopolies and monopolistic competition firms also can practice price discrimination if they control the prices of goods and services. The other condition necessary for the operation of a monopoly is that the firms must identify the different groups of buyers with each group of buyers in the market assumed to have different elasticities of demand related to the price of the commodity. Different buyers found in the different markets are able to pay different prices for the same type of goods existing in the market.

Role of the Art Director in Film

Role of the Art Director in Film ABSTRACT Art director is having one of the most important job in an film. Art direction can be similar to snowboarding or sky diving. The essence of the activity is mainly on the way in which its done. Art direction is an action figure in film making. The art director is the one who renders the script in visual metaphors, location , color schemes costumes hair style and make up. An art director is the one who draws us in to sinful lust. They will invigorate us. They will sleepless nights with a horror film and keep us laughing for days with a comedy film. This dissertation attempts to study the influence of art direction in 3D movies. It attempts to claim that art direction is very important and necessary in a film. Art director is an important post in live action films. An art director should have good creative and management skills.But when it comes to Cg films art director is not having much importance and movies like UP is not having any art director. One of the most difficult problem the art director Rfaces is to put together everything and to make sure that it creates the mood contrast features and I appealing to the viewers. This study will attempt to make it simpler through a thorough understanding of art direction in animation INTRODUCTION The film we see today is a group work of many people. We cannot say any one is individually responsible for the success or failure of a film. We can say art direction plays a very important role in translating words in to screen. An art director is the one who is largely responsible for the look of the film. Art direction is helping in everything in the film including construction to ensure everything goes smoothly Art direction is a big part that helps the movie to get its identity. A normal movie will not be unforgettable to the viewer but great script and great production values and surely good art direction can make the movie unforgettable. There is a look and feel for every movie. But art direction only cannot make a bad movie great but great art direction can make a really good looking bad film. RESEARCH QUESTIONS The research questions that will be answered in this session Qualitative What is art direction? What are the different types of art direction? How art directions influence movies in overall appearance? What are the different style and steps to be applied in art direction? How does a good art direction can change an animated film? AIM To study the role of art direction in 3D movies OBJECTIVES Methods of creating sets of popular art direction. Various styles in making an effective art direction Difference in the styles of art direction in 3D and live action. Difference in the style of art in different geners STATEMENT OF A PROBLEM At present animated movies doesnt focus much on art direction. SIGNIFICANCE OF STUDY Art direction is one of the important part of every movie. At present the directors of animated movies even animated short film does in give much importance in short film. My study helps to understand about the importance of art direction in short film and thereby improving the quality of the short film LITERATURE REVIEW Art direction is an integral part in every movie. We have seen great looking movies that brought us the feel of the movie. Many artists do different works in a movie but art director unifies everything. In order to know more about art direction and art direction in animation a lot of books and articles has to be referred Books and articles The art direction handbook published on 2005. written by Michael rizzo: This book gives a detailed description of preproduction in a film. It also gives us information about responsibilities relations and setup and the techniques used in art direction. It involves all the duties of the direction from postproduction to pre-production The education an art director published on 2006 edited by Steven Heller: this book answers many questions like can art direction be taught? Can anyone be art director? Are all directors alike? Is an art director an editor? Is art direction design? And similar things. The art of the lion king written by Christopher finch: this book has the sketches used in the movie lion king and also some of the details of art direction in the movie which will help to analyse art direction with the help of a movie example The film makers guide to production design published on 2002 written by Vincent Lobrutto: this book mentions about production design and visualisation of a screenplay. It is having information about design metaphors, research and information about colours and texture. Its also having information about everything in the film like budget pre-production and post-production Websites About art direction in a film (http://www.ehow.com/about_4571288_art-direction-film.html) Accessed on 27 -09-2009: this website give the basic information of art directions and the significance functions and importance of art direction Art director- film makers guide( http://www.wildsound-filmmaking-feedback-events.com/art_director.html) ) Accessed on 27 -09-2009: this websites has information about the duties of an art director. It also have information about character design set design and props design. Art direction in movies(http://www.ehow.com/video_4990616_art-direction-movies.html) Accessed on 27 -09-2009: This is a video in which tells more about what is art direction and the role of art direction in movies. Art direction v/s cinematography v/s film editing(http://recomparison.com/comparisons/100963/art-direction-vs-cinematography-vs-film-editing-who-does-what/) Accessed on 27 -09-2009: this site gives the difference between art direction cinematography and film editing. It also tells about purpose of everything RESEARCH METHODOLOGY The dissertation is that of qualitative and quantitative in the study of the topic importance of art direction in 3D animation This research will include book, web pages and secondary information. This research will explore about the entire details of art direction Different methods of creating art direction will be explored which will helps to learn more about different styles so that the best for animation can be selected from those  ­Various stages in making effective art direction sequence is studied thoroughly to get a through knowledge of the process of art direction Difference between the styles of art direction in live and 3D animation is studied and also between the different genres. This will give an in depth knowledge of art direction A survey will also be conducted about the reasons of liking a 3D movie and the reasons and also about the influence of colours in the film Scope This study will help to apply art direction in animation movies in an effective way which can dramatically improve the look and feel of the movie and thereby dramatically improve the quality of the movie. Limitations This study is limited to 3D animation only and this topic is not studied much before so availability of books and articles is much less Sampling Judgement sampling is used for my survey because the topic is technical and people who knows about art direction can only give sufficient amount of information ART DIRECTION-A BRIEF HISTORY All production designers are art directors, and formerly, there were noproduction designers at all there were only art directors. In earliest filmmemory, the first creative moviemaker to be given the title of art directorwas Wilfred Buckland By 1916 when Photoplay (magazine) commented on the rise of the artistic executive or art director, WilfredBuckland had already been working for Cecile B. de Mille and Paramountsince 1914 and would continue to 1927.2Previously, he had designed Broadway theatrical productions, andlater for the fledgling movie business developed a form of minimalist, a Carravaggio-like lighting that engulfed the characters in darkness exceptfor a single source of side illumination. This dramatic theatrical effect quickly became a silent film trademark known as Lasky lighting, after theproduction company that made The Cheat (1915), his most successful film. It was also one of Cecil B. DeMilles masterpieces, shotin Standard 35mm spherical 1.37:1 format, combining all the ingredients typical of the infamous DeMille style a mixture of sex, sadism, and sacrifice,washed down with lurid melodrama. ( Michael rizzo 2005) Bucklands lighting contributions were groundbreaking. Two signature scenes in the filmà ¢Ã¢â€š ¬Ã¢â‚¬ the branding of the heroine by her wealthy Japanese paramour and the subsequent shooting scene are lit with such theatrical richness and integrity that our attention is just as adroitly manipulated today as it was during its initial release. This early mavericks scenic designs created an equally powerful toured force for film-going audiences in the early twenties. Towering 40 feet above Santa Monica Boulevard and La Brea Avenue, King Richards castle, the center piece for Douglas Fairbanks Robin Hood (1922), is arguably the largest set ever constructed in Hollywood history. It took 500 workmen three solid months to build. Considering Los Angeles was more of a wide spot in the road then, the silhouette of the completed castle set could be seen for miles. It exemplified W. Bucklands penchant for creating extravagant, naturalistic sets, and it attests to his flair and flexibility as an early art Michael rizzo, The art direction handbook first edition published on 2005. director. Allan Dwan, director and trained engineer, recalled, We worked out a couple of interesting engineering stunts for the big sets. On the interiors, the walls meshed together with a matrix, which we designed and built,so they could be put together rapidly in sections. The interior of the castle was very vast too big to light with ordinary arcs. We didnt have enough. It was an open set, and certain sections were blacked out to give the right atmosphere. So to light them we constructed huge tin reflectors, about twenty feet across, which picked up the sun and shot the light back onto the arches inside. Then we could make effects.4 This set was larger than life in all ways from the completion of the steel-frame, reinforced, working drawbridge, signifying the end of set construction, to the fact that the shooting of the film on its massive sets was a big tourist attractionthe magic of the Dream Factory continues to stir our imaginations ( Michael rizzo 2005) Under the steady but tumultuous employ of Cecil B. De Mille, Buckland was a prolific film designerWilliam Cameron Menzies.Incidentally, as supervising art director Buckland ran the art department for Robin Hood overseeing Anton Grot and William Cameron Menzies, not credited as assistant art directors. The practical vision of Buckland, the little-known Hollywood art director and initiator of the use of controlled lighting within studio environments, set a standard in the first decades of the twentieth century that has become as commonplace as shooting film sequences in Hollywood sound stages today. He stands as an art direct giant; his creative ingenuity ennobles the craft of film design even now. The stills shown here illustrate the enormous sense of theatricality belying his earlier, formative years in New York City. His exuberance for designing these impressive, interior castle shots matches that of the swashbucklingstar and sole producer of the film, Douglas Fairbank( Michael rizz o 2005) Michael rizzo, The art direction handbook first edition published on 2005. Past Changes The function and title of art direction continued into the next decades before the landscape of the art department was changed forever. Since Bucklands inauguration, Hollywoods creative visual managers were simply called art directors. Each of the existing studios including 20th Century Fox, Columbia Pictures, Paramount Pictures, Metro-Goldwyn Mayer, and Warner Brothers contained stables of art directors overseen by a supervising art department head. The paradigm shift began in 1939 during the Golden Age of the American Studio System. William Cameron Menzies, having grown up under Bucklands tutelage, set a new standard for visual excellence by mapping the film epic, Gone With the Wind, with detailed concept sketches and storyboards, and adamantly insisting on using them as guides for shooting the film. David O. Selznick, the films producer, rewarded Menzies efforts of managing every detailed aspect of GWTW from a visual standpoint by crediting him with the title of production designe r. By the way, GWTW was art directed by Lyle R. Wheeler and set decorated by Edward G. Boyle. ( Michael rizzo 2005) This distinction continues to the present. Regardless, the titles continue to be blurred. One logical reason is that the Academy of Motion Picture Arts and Sciences annually presents an Oscar for Best Art Direction for a Film, never having taken the leap to make the correction. Another explanation reminds us that the television industry has consistently maintained the original label for the designer as art director. Despite the confusion of terms between industries, one fact remains: two different titles refer to two separate job descriptionsà ¢Ã¢â€š ¬Ã¢â‚¬ plain and simple. When in Hollywood, speak specifically. ( Michael rizzo 2005) Michael rizzo, The art direction handbook first edition published on 2005. Present changes Several years ago, the Art Directors Guild in Los Angeles was in a minor uproar when the title of our union, Local 876, had come up for review and subsequent vote by the membership. As we have just seen, the battle of whos who had gone on intermittently in an informal way during the many years since Hollywoods Golden Age. A handful of committed members called for a formal discussion and vote to resolve the squabbling for a truly descriptive title for the Guild, once and for all. After a lengthy debate, the name of the art directors union was changed from Society of Motion Picture and Television Art Directors to LOCAL 800 ART DIRECTORS GUILD SCENIC, TITLE AND GRAPHIC ARTISTS or, The Art Directors Guild, informally. Holding title in a designing capacity or not, art directors continue to occupy a vital place within the context of cinemas creative operatives. Formally being called an art director now more than ever personally connects us to our glorious past and reminds us of our historic roots without pretension.( Michael rizzo 2005) Michael rizzo, The art direction handbook first edition published on 2005. Chapter 5 Responsibilities and relationships art director Responsibilities The main responsibility of the art director is to take care of the visual aspects of on screen as well as printed media. The process of visualisation is being over seen by the art director in a variety of communication problem. All art directors even though they are specialised in a particular field must be good not only in design and illustration but photography computers, research etc so that they can interact with all the workers under him He is the one who keeps track on scheduling and budgeting. An art director gives instructions to the art department co-ordinator and the lead man. The art director is also in touch with the departments such as construction, transportation, location and special effects. Art directors start their work two or three month before the production of the film. Art directors start their work on the sets of the shots that are going to be shot first as soon as the schedule is decided. The script is studied thoroughly to know what the essential are props needed in the shots and they are designed according to that. The sketches and plans for the set are drawn so that they can be given to the construction managers and their teams for reference. One important part of art directors work is trouble shooting. They find cost effective solutions for constructing and decoration problems. They work closely with the relevant department from the stage of preproduction itself if some special effects or visual effects r there in the movie. They are responsible for the use of any vehicles and animals in the movie. Sometimes the raw materials needed for construction may not be available so they need to adjust with whatever raw materials is available at the present situations. Safety is another important concern of an art director he must make sure that all the workers under him are safe when working in dangerous and hazardous situations Relationships Historically, the art department is seen as the imagery hub of film production More than this, it also exists as the central department providing a strategic guide for all crewmembers in their respective departments. As keeper of the visual concept, the art department has creatively inspired and monitored all related activities for decades. Head accountant and staff- an art director should be in good relation with the accountant so that money is easily available without any delays Locations Manager and Staff- Another early arrival in the pre-production phase is the locations manager. Logistics is what cements your relationship the locations finally chosen to satisfy the design concept, the schedule of in-and-out movement at a location, access and parking, and strict adherence to what can and cannot be physically done are some of the issues both will face together. Much like the art director, the locations manager is the first to arrive and the last to leave any and all given locations. UPM, Production Supervisor, and Production Office Staff- The bulk of your interdepartmental marketing efforts are exercised with the production office, the other nerve center of film production. All final decisions are made in this office. Your goal as an effective art department manager with the UPM, production supervisor, and production office coordinator is to provide good offensive support. First Assistant Director and Staff-The influence of a good art director should be felt everywhere at once. Unfortunately, the shooting crew and its activity on a hot set are not an art directors legitimate domain; the first assistant director, the second assistant director, and the second-second assistant director will continuously remind you of that fact. Regardless, you need to do your job despite any restrictions; acknowledging the domain status of the 1st AD is key to working within those restrictions. Pre-visualization Supervisor and Staff The advent of 3D animation and how it has affected the design landscape has forced film designers to rethink the process of matching human and animation film elements seamlessly into the visual fabric of filmmaking. A reluctant respect now governs this young relationship between the art department and visual effects folks. It cannot properly function as an adversarial one because our quickly advancing technology is forcing a paradigm shift. The marriage of minds to create a singular vision has arrived and with it, a rethinking of boundaries. Essential knowledge and skills A good art director should be an expert in interior design and architecture

American Caplitalist Governement Essay -- essays research papers fc

"We hold these Truths to be self-evident, that all Men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the Pursuit of Happiness -- That to secure these Rights, Governments are instituted among Men, deriving their just Powers from the Consent of the Governed, that whenever any Form of Government becomes destructive of these Ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its Foundation on such Principles, and organizing its Powers in such Form, as to them shall seem most likely to effect their Safety and Happiness." (Thomas Jefferson, Declaration of Independence) When Thomas Jefferson wrote these words, he wrote them with the intent of establishing a new government that would not give anyone favoritism over others. After 224 years, this idea is still believed in by the citizens of America, but not practiced by their government. As the year s passed, the values of America have slowly altered to materialism. The people trusted our government to make the best decisions for the entire country, but some decisions seem to favor the wealthiest citizens rather than all of the citizens. Not to say that the government is completely corrupt, but their priorities seem to have a monetary value, and they must pay for it some how. As a country with a capitalist government, one that has the main focus of making profit through free markets, money has an unfortunately big influence on policies that are made by the government. According to the public, which was based on middle-class adults in the US, business editors and college students, the general consensus came out to be that they believed that "capitalism must be altered before any significant improvements in human welfare can be realized." This can be seen throughout history in the positions taken by the government about free markets, unionization, and . The United State s of America's government is hyper-capitalistic, because the markets are freer than in any other country. We consume more and are more dependent on working. The markets in the US have not always been so free. In the beginning we had small markets that people did not depend so much on because of the fact that they were all farmers and sharecroppers. The existence of slavery was in very recent in history... ...d States put down its unions. In the United States, we have always believed that all men are created equal. Americans, however, know that even though we were created equal, we are not treated equally. The rich are the V.I.P to the government. They are taken care of well, and pampered with money and privileges that the other hard working Americans deserve more than them. We are in the age of profits, and if the government does not see any monetary value in something, they will not bother with it, even if it is its own people. Bibliography Peterson, Robert A.,Gerald Albaum, and George Kozmetsky.Modern American Capitalism. New York: Quorum Books, 1990. Perlo, Victor. Superprofits and Crises: Modern U.S. Capitalism. New York: International Publishers, 1988. Frances Fox Piven and Richard Cloward, Chapter 3 from Poor People's Movements: Why they Succeed, How they Fail,(Vintage, 1977), pp96-180. Lembcke, Jerry. Capitalist Development and Class Capacities: Marxist Theory and Union Organization. New York:Greenwood Press, 1988. Joel Roers and Joshua Cohen, On Democracy, (Penguin, 1983), Chapter Six, "Democracy", pp146-183. "Industrial Revolution" Encarta Encyclopedia

Observation of a Infant/Toddler

Dawnetta Tipton Infant and Toddler Development 10/18/2012 Fall Semester 6:00pm – 9:05pm Infant Toddler Observations Karen Eaton Dawnetta Tipton OBSERVATION ASSIGNMENT Name: Dawnetta Tipton Date: 10/2/2012 Time: 5:00pm Age of child: 9 months old This observation took place in the child’s grandmother home. Her name is Laila and she is a 9 months old and she is a bright little girl with pretty black hair and she had 3 ponytails with hair bows and barrettes.I was invited over by the child’s grandmother; we have been friends since high school. We were sitting in the Living room of the house, the grandmother and I were sitting on the sofa which was black and gray and Laila was playing on the floor where her grandmother had placed a big blanket which had the cartoon character of the Angry Birds. There were baby toys placed on floor such as a stuffed animal, red and yellow rattle, orange teething room. The blinds were open and the sun shining in bright on the clean white walls.There was a black computer desk and chair sitting in the corner of the living room with a screensaver showing a picture of my friend and her family. My impression of Laila was that she was a bright 9 month old child who was very alert and aware of her surroundings. She interacted with me and her grandmother, she kept a smile on her face and made noises and she gave us kisses. She is learning to walk so she went from one end of the sofa to the other end while holding on to the cushions on the sofa.She is very friendly and did not cry while I was there visiting with her grandmother. This child will not be ignored, if she sees that you are not paying her any attention she will crawl over to you and pull up on your pant leg so that she can get the attention desired. Dawnetta Tipton Child’s Actions: 3:02pm Laila started to cry while sitting on the floor, her grandmother picker her up from the floor and asked her â€Å"what’s wrong granny baby? †, are you hungr y and the cry became louder, she fixed her a bottle of milk and she stop crying when given the bottle. :07pm Laila is laying on her grandmother while drinking her bottle of milk, she is gazing up looking at her grandmother while we were having a conversation. 3:12pm Laila gestured for her grandmother to put her down on the floor by stretching her body out and she was placed onto the blanket that had been placed on the floor with the toys on it, she picked up the brown teddy bear and started to play with it. 3:17pm Laila crawls over to me and pulls on my pants until she’s standing up, she put her hands up gesturing for me to pick her up and I picked her up, she began to play with my earrings and laughs out loud. :22pm Laila sat on my lap and played with my silver necklace which had a blue sapphire pendant while I talked with her and she was all smiles. 3:27pm Laila reached out for her grandmother after playing with my necklace became boring to her and her grandmother reached o ut for her and she was smiling and she gave her a wet kiss right on grandmother’s lips. Dawnetta Tipton 3:32pm Laila laid her head onto her grandmother chest and closed her eyes, about 4 minutes later she was fast asleep. Name: Dawnetta Tipton Date: 10/2/2012 Time: 1pmAge of Child: 1 year 10months This observation took place in the child’s home. Kylan is a 1 year and 10 month old little boy who is brown skinned with a short cute little afro, he’s wearing a black & gray Nike jogging suit. In the living room his 3 older siblings were present and also his mother. The room was very well kept, there was a red and blue toy box in the corner of the room which contained several different toys kept in it for kylan. There was a brown and tan sofa, loveseat and chair, 40 inch television with a playstation system plugged into it.In which his siblings were sitting on the floor playing a basketball game. The living room walls were beige with a brown border going around the to p of the entire wall with seashells as the print. The carpet was dark brown and fuzzy. My impression of Kylan was that he was very active, he’s always on the move doing something. He went over to his toy box and pulled out a small blue toy police car, he plays with it for about 3 minutes and then goes over to the sibling brothers to try and take the controller away from the brother closest to the television.Big brother tells him â€Å"No† you too little to play the game and he gets mad and tries to scratch brother face with his left hand. He then Dawnetta Tipton proceeds over to his mother raising up both hands for mom to pick him up and she does, he starts trying to talk with mom and he’s smiling and gesturing her hands to his face to play the game Peek-a-Boo. This child receives all the attention he needs from his mother and brothers. Child’s Actions 2pm: Kylan is walking around the living room playing with a little orange basketball, tossing the ball f rom me to his mom. :04pm: Kylan now tosses the ball at his 6 year old brother who gets mad and tells mom his little brother is bothering him while he’s playing the game, mom tells him to stop, he laughs and runs in the back bedroom. 2:06pm: Kylan is now standing by mom’s bed and tries to hide when I enter the room, he comes out of hiding and runs pass me back into the living room and jumps up in mom lap and start hugging her neck. 2:11pm: Kylan jumped down from mom lap and starts playing with his blue toy police car, starts to make noise as saying â€Å"Vroom-Vroom†. :13pm: Kylan sits on his older brother lap so that he can help big brother play the game, he is now laughing and all excited his brother let him help him play the basketball game. Dawnetta Tipton 2:20pm: Kylan gets up from his brother lap and walks into the kitchen and tries to open the refrigerator, his mother comes into the kitchen and ask him â€Å"Are you thirsty† and he nods his head yes and she gets his sippy cup out and he proceeds to drink his juice. 2:24pm: Kylan climbs up on the sofa and sits down staring at the picture of Spongebob on his cup, he looks at me and smile.Mom put in a DVD of Sesame Street and he proceeds to watch the show. 2:30pm: Kylan has now laid down on the sofa still watching his Sesame Street DVD while playing with his feet. My comparison of the 2 children ages 9 months old and 1 year 10 months old was that both were active children. Both had a lot of energy, and kept busy. The 9 month old was just learning how to walk and the 1 year 10 month old had been walking since 11 months old. The 1 year 10 month old is more vocal than the 9 month old, he can say some words and the 9 month old could make noises and sound.The 1 year 10 month old could show mom that he was thirsty and the 9 month old could only cry to signal to grandmother that she was thirsty. The 1 year 10 month old could climb on the sofa where as the 9 month old could only gesture for someone to pick up and place onto the sofa. I feel these 2 children were pretty much similar to what they could do just that the 1 year 10 month old was little more advanced in completing the things he wanted to do where as the 9 month old needed assistance from someone.

Critical Race Theory and Class Essay

The Critical Race Theory (CRT) defines a broader and more contextual way of looking at race relations, specifically in the United States, than the classical conventional civil rights perceptions of race and racism. The development of the critical race theory was in response to the increasing concern in the mid 1970s about the lethargic pace of change in laws to tackle civil rights issues and promote racial issues. â€Å"The development of critical race theory points to a new direction taken by civil rights activists in the wake of civil rights setbacks in the 1970s and 1980s when official government policy no longer supported an expansive civil rights agenda. † (Jones, 2002, pp. 1) As implied by its name, the Critical Race Theory is a critical way of looking at race relations. The Critical Race Theory looks beyond the gross violations of civil rights or instances of racial discriminations, and tries to focus on the subtle racial nuances that combine together to make up the milieu of civil rights violations in everyday life. These subtle racial nuances are termed micro-aggressions, and critical race theorists believe that it is the micro-aggressions that actually reveal the true extent of racism in the United States. â€Å"†¦everyday racism, in the form of micro-aggressions, is incessant and cumulative as practiced in everyday actions by individuals, groups, and institutional policy rules and administrative procedures† (Solorzano, 1998). The logic behind the Critical Race Theory is that while classical racism has subsided to a considerable extent, everyday racism has grown in its intensity and scope (Bell, 1992). According to the Critical Race theory, the laws and rules that are in place to curb racism apply only to the gross and extreme types of injustice and are largely ineffective in the case of micro-aggressions. Racism in its more subtle but equally detrimental and damaging form persists in the United States. â€Å"Formal equality can do little about the business-as-usual forms of racism that people of color confront every day and that account for much misery, alienation, and despair† (Parker, 2008). There are five basic tenets that guide the Critical Race Theory. First, racism is held to be a very normal, everyday phenomenon almost mundane by its frequency of occurrence. Racism is not an aberration in society, it is the rule. Racism is inherent in society. That is what makes racism so difficult to curb racism or cure society of it. The classical ideal behind ‘color blindness’, or the approach that did not take cognizance of color differences as envisioned by the civil rights movement of the 1960s is considered flawed as it makes the conventional racism rules and laws ineffective against the racism that is ingrained in the thought processes of individuals and in social structures. They are blind to discriminations against color inherent in society, and only serve to restrain the minorities in subordinate positions. The proponents of the theory believe that aggressive color-conscious efforts are required to change the present environment of racial discrimination. The second tenet of the theory is referred to as the ‘Interest Convergence’ and postulates that racism works to the advantage of both the elites and the working classes amongst the Whites, there is very little incentive or motivation amongst a large majority of the whites to curb racism. A large number of laws against racism is said to be passed only if they are found not to go against the interest of the dominant White community, and in no way deprives them of the advantages that had been accruing to them. Conversely, only those laws or rules which serve the self interests of the Whites are passed. The third very important theme of the Critical Race Theory is that race by itself has no biological, genetic or physical basis, but is largely a social construct. Race is a product of social, and it is defined by how society moulds the human mind. â€Å"Not objective, inherent, or fixed, they (races) correspond to no biological or genetic reality; rather, races are categories that society invents, manipulates, or retires when convenient. † (Delgado & Stefancic, 2000). This is because though people share certain physical and genetic traits such as hair texture and color, eye shape, average height, skin color, etc, they are mostly overridden by differences in the higher-order traits such as intelligence, behavior and personality. Society however chooses to club people into distinct racial groups, ignoring scientific facts and attributing hypothetical racial characteristics on these groups. According to the Differential Racialization perspective of the Critical Race Theory, the dominant group in a society ‘racializes’ different minority groups differently depending on changing conditions and needs. The stereotyping of the same minority group tends to vary over periods based on the requirement or utility of the group. The closely related notion of Intersectionality and Anti-essentialism in the Critical Race Theory states that every individual has multiple identities, loyalties and allegiances which could be potentially in conflict with each other. Finally, proponents of the Critical Race Theory believe in the thesis of the ‘unique voice of color’ – which states that oppressed groups, by dint of their experience of oppression are able to communicate to the dominant group matters that the dominant group may not be aware of. The ‘Legal Storytelling’ movement therefore encourages members of the oppressed groups to recount their experiences in the form of storytelling. The Critical Race Theory is a useful tool for analyzing the racial impact of laws and policies, their effectiveness and their shortcomings. Social Class and its Structure A society divides its people into distinct hierarchical groups based on their social and economic status. This hierarchical distinction or stratification of groups or individuals in any community or society is referred to as the system of social class, and each group or hierarchy within the system is known as a Social Class. Although most societies usually have some form of class structure, there are examples of societies, especially of the hunter-gatherer type, in which class distinctions are not to be found. Class is largely determined factors that influence social, economic and political status of the individual such as employment or occupation, education and qualification, wealth, ownership of property, means of production, etc. Although social class is not deemed to be hereditary, the status of the preceding generation usually influences the next generation which finds it comparatively easy to hold on to the same class or rise up to a higher class. Individuals may move from one class to the other because of change in economic, political and social status. This is known as Social Mobility. An individual experiences upward social mobility when she or he moves from a lower class to an upper class by dint of success in economic, social or political spheres; conversely, an individual experiences downward social mobility from an upper class to a lower class because of failure in economic, social or political life. There is intense debate over the theoretical definition of social class. Classes are usually identified on the basis of the most important criteria that differentiate classes in the society; the number of class hierarchies that exist, the extent to which the class structure is accorded recognition within the society. Classes are broadly defined as per the Realist approach and the Nominalist approach. A realist approach defines class in terms of distinct groups bounded by clear boundaries with which people identify themselves and adhere to. Interactions are primarily intra class. The nominalist definition of class however focuses more on the characteristics that are common to people in a given class. These characteristics are education, profession, political or social standing, etc. The nominalist class is not determined by social interactions, but by the exhibited characteristics of individuals. In whatever way we may define class, there is no contesting the fact that almost every action of an individual is influenced by class and class structure because the individual tends to behave according to the norms of the class that she or he belongs to. Class consciousness often also translates into political action. Therefore, â€Å"†¦the process of transformation of societies from one social system to another depends on the nature and dynamics of class relations and class struggles that are historically specific in accordance with a society’s dominant mode of production and its attendant superstructure. †(Berberoglu, 1994) There are different class structures in different societies. In the United States and Britain class is distinguished along economic parameters, and generically comprises the upper class, middle class and the lower class. The traditional caste system in India is based on the type of work of an individual. The kings and fighting princes belonged to the nobility, the priests, businessmen and the laborers all had their own classes. China and Japan had feudal classes. As the world is fast being transformed into a global village, traditional classes based on feudal or religious systems are changing in structure to those of economic or political classes. However, social classes retain their importance as determinants of the actions of all members in a large majority of the societies of the world. References -01 Bell, D. , A. , 1992, Faces at the bottom of the well: The Permanence of Racism. New York: Basic Books. Berberoglu, B. , 1994, Class Structure and Social Structure, Praeger Publishers, Westport. Delgado, R. , Stefancic, J. , Critical Race Theory, An Introduction, New York University Press. Jones B. , D. , 2002, Critical Race Theory: New Strategies for Civil Rights in the New Millennium, Harvard BlackLetter Law Journal, Volume 18. Parker, L. , 2008, Critical Race Theory and African Studies: Making Connections to Education, University of Illinois-Chicago Solorzano, D. , 1998, Critical race theory, racial and gender microaggressions, and the experiences of Chicana and Chicano scholars. International journal of qualitative studies in education.