Volcanoes Essays - Volcanology, Plate Tectonics, Igneous Rocks

Volcanoes By Tricia Severson 2nd hour Science 4/30/98 A volcano is a vent, or opening, in the surface of the Earth through which magma and associated gases and ash erupt. The word also refers to the form or structure, usually conical, produced by accumulations of erupted material. Volcanoes occur mainly near plate tectonic boundaries and are especially common around the Pacific basin, called the Pacific Ring of Fire (see Plate Tectonics). Humanity has long been awed by this powerful force of nature. The Romans attributed volcanic events to Vulcan, the god of fire and metalworking. In AD 79 the eruption of Mount Vesuvius destroyed the Roman cities of Pompeii and Herculaneum. Polynesians believe volcanoes to be ruled by the fire goddess Pele. One of the most spectacular volcanic eruptions in recorded history occurred in 1883 with the explosion of Krakatoa, an island in the Sunda Strait near Java (see Krakatoa). A more recent example is the dramatic 1980 eruption of Mount St. Helens in the Cascade Range in Washington State. Volcano Formation and Eruptions Volcanic eruptions may be violent, even catastrophic, or relatively mild. The most explosive eruptions are essentially blasts of steam that create spectacular displays. Quieter fissure eruptions occur when molten rock pushes through long cracks in the Earth's crust and floods the surrounding landscape. Such repeated outpourings of lava can fill surrounding valleys and bury low hills, creating thick lava sequences that eventually become plateaus (see Plateau). The origin of molten rock, referred to by geologists as magma, is not clearly understood. About 80 percent of all magma is composed of basalt rock. Geophysical research suggests that volcanic magma forms near the base of the Earth's crust and moves upward to a shallow magma chamber before erupting at the surface. Magmas rise because they are less dense than the rocks at lower depths, and their heat probably weakens surrounding rocks. The upward movement of magma may also be due to expanding gases within the molten rock or to chemical reactions that dissolve rocks above the magma. Volcanic material moves toward the surface through channelways, or volcanic conduits, and is extruded through vents at the Earth's surface. (See also Lava and Magma.) Eruptions take different forms depending on the composition of the magma when it reaches the surface. Sudden eruptions are often associated with low-viscosity (more fluid) magma where the expanding gases form a froth that becomes a light, glassy rock called pumice. In eruptions of high-viscosity (thicker) magmas, the gas pressure shatters the rock into fragments. Pyroclastic rocks, formed by volcanic explosion, are named according to size: volcanic ash if sand-sized or smaller, volcanic bombs if larger. Consolidated ash is called tuff. Quieter, more passive eruptions release fluid basalt lava from dikes or dike swarms (magma intrusions that cut across layers of rock). These eruptions cover large areas and often produce ropy, or pahoehoe, lava flows. Thicker basalt lava breaks into chunks or blocks, forming blocky lava flows, called aa. The products of volcanism may be classified into two groups: lava and pyroclastics. Lava is the fluid phase of volcanic activity. Pyroclastics (also called tephra) are various-sized particles of hot debris thrown out of a volcano. Whether lava or pyroclastics are being ejected, the eruption is normally accompanied by the expulsion of water and gases, many of which are poisonous. Lava usually forms long, narrow rivers of molten rock that flow down the slopes of a volcano. Explosive eruptions tend to be spectacular events best observed from a safe distance. Earthquakes, high columns of vapors, lightning, and strong whirlwinds often accompany the explosions. The eruption of Krakatoa unleashed a tsunami, a large seismic sea wave, that swept the coasts of Java and Sumatra and drowned more than 36,000 people. A volcano can grow with frightening speed and often affects territory far beyond the area on which the cone forms. When volcanoes are born in the sea, the eruptions may be more violent than those on land because the contact between molten rock and seawater produces steam. Volcanoes also create craters and calderas. Craters are formed either by the massive collapse of material during volcanic activity, by unusually violent explosions, or later by erosion during dormancy. Calderas are large, basin-shaped depressions. Most of them are formed after a magma chamber drains and no longer supports the overlying cone, which then collapses inward to create the basin. One of the most famous examples is the still-active Kilauea caldera in Hawaii. Types of Volcanoes Volcanoes are usually classified by shape and size. These are determined by such

Free Essays on Deviance In Organazations

Social Deviance Deviance and Organizations Corporate deviance is a wide variety of mostly â€Å"white collar crimes† such as embezzlement, fraud, computer fraud, bankruptcy fraud, and stock market fraud. This is just a short list of ways organizations may try to bend the laws. White color crimes tend to be treated with a less severe punishment by our government. They do not usually physically hurt people but may con them out of their money and could ruin their lives. Most of the time it is the upper class more educated people who commit these types of crimes and therefore can afford the expensive lawyers to defend them. Judges do not look at these well-maintained people as a threat to society and therefore lets them off with a smack on the wrist. The organizational deviance I found to be very interesting was the Martha Stewart case. Stewart is an established millionaire. She has more money then you or I could ever dream of. However, she is accused of insider trading. A fellow friend in the market tipped her off when a stock, which she had a large amount of money in, was going to plummet. She quickly sold her stock and saved herself a large amount of money the day before the stock dropped. Stewart is now undergoing trial and could be sentenced to time in jail. This type of corporate deviance may often go undetected. I feel â€Å"white collar crimes† need to be looked at more seriously even though nobody becomes physically hurt they still affect the hard working class people and our economy. I believe the laws should be stiffened to threaten the well educated and possibly make them think twice before they commit the act.... Free Essays on Deviance In Organazations Free Essays on Deviance In Organazations Social Deviance Deviance and Organizations Corporate deviance is a wide variety of mostly â€Å"white collar crimes† such as embezzlement, fraud, computer fraud, bankruptcy fraud, and stock market fraud. This is just a short list of ways organizations may try to bend the laws. White color crimes tend to be treated with a less severe punishment by our government. They do not usually physically hurt people but may con them out of their money and could ruin their lives. Most of the time it is the upper class more educated people who commit these types of crimes and therefore can afford the expensive lawyers to defend them. Judges do not look at these well-maintained people as a threat to society and therefore lets them off with a smack on the wrist. The organizational deviance I found to be very interesting was the Martha Stewart case. Stewart is an established millionaire. She has more money then you or I could ever dream of. However, she is accused of insider trading. A fellow friend in the market tipped her off when a stock, which she had a large amount of money in, was going to plummet. She quickly sold her stock and saved herself a large amount of money the day before the stock dropped. Stewart is now undergoing trial and could be sentenced to time in jail. This type of corporate deviance may often go undetected. I feel â€Å"white collar crimes† need to be looked at more seriously even though nobody becomes physically hurt they still affect the hard working class people and our economy. I believe the laws should be stiffened to threaten the well educated and possibly make them think twice before they commit the act....

An investigation on consumer perception and trust in e-banking Literature review

An investigation on consumer perception and trust in e-banking transactions through mobile phone.The case of Lloyds TSB - Literature review Example E-banking is also known as internet banking which is an extension of personal computer banking (Stair & et. al., 2009). E-banking utilises internet as a medium for conducting several banking activities such as money transfer, bill payment, balance observation and purchase of financial products among others. E-banking is the outcome of explored opportunity to utilise internet applications in several fields of banking (Bak & Stair, 2011). According to Fonchamnyo (2012), e-banking has experienced rapid growth and changed the traditional banking practices of customers. This growth can lead to massive shift in banking practices leading to advanced business performance. In fact, e-banking has become a major trend for banks to sell their products and services and is perceived to be an inevitable component or ally for banks to remain profitable and successful. However, the acceptance of e-banking is not even particularly between developed and developing nations. It is believed that the diffe rent perceptions of customers about the use of e-banking result in trust and adoption of e-banking facilities (Scribd, 2013). Mobile banking is a subsection of e-banking which has gained growing popularity amongst numerous segments of society. Mobile banking denotes the provision of banking services with the aid of telecommunication devices (Sarlak & Hastiani, 2010). With the use of mobile technology, banks can provide several services to the customers such as money transfer whilst travelling, obtaining online updates or even conducting stock trading and financial transaction activities while being caught in traffic. Therefore, mobile banking provides convenient, simple and timeless banking experience (Canadian Imperial Bank of Commerce, 2013). The mobile e-banking phenomenon which can expressively influence banks’ operational efficiency and services, is gaining status in developed nations. However, irrespective of its several advantages, the use of mobile phone in banking ac tivities is still in the beginning phase, particularly in developing nations (Burri & Cottier, 2012). Following the technological developments, mobile phones are permeating in every aspect of life. The quick propagation of mobile phone not only has transformed the manner in which people live, but also has created a new channel for service delivery. The elevated penetration rate of mobile phone has resulted in increased use of mobile devices for the purpose of banking as it adds more value to the customers (Kumar, 2009; IBM Corporation, 2011). The prospect of mobile e-banking relies on customers’ perception. Customers are only willing to conduct mobile e-banking transaction, if they acquire value from it. From the perspective of customers, this value can be defined with respect to customer perception of using a new technology (Yang & Ma, 2012). 2.2 Consumer Perception Theory 2.2.1 Technology Acceptance Model (TAM) On the basis of Technology Acceptance Model (TAM) model, the ov erall feeling or attitude towards the utilisation of technology oriented system is a key determinant of adoption of any

Business Law, Aunty Ems Catering School Ltd Case Study

Business Law, Aunty Ems Catering School Ltd - Case Study Example With reference to the first letter received by Emilia, a former student of the college has claimed compensation arising from the theft of her purse and bag from her assigned locker, while attending a one-day course at the college. However, the company’s managing director has straightforwardly denied that the Aunty Em’s Catering School Ltd is liable for this loss and thus defend her statement by pinpointing the exclusion clause â€Å"Aunty Em’s Catering School Ltd is not liable for any loss, theft or damage to valuables left in storage lockers.† Correspondingly, the subsequent discussion aims at investigating the rules relative to formulation of exclusion clauses to determine whether this clause excludes the company in respect of this loss. Besides, the discussion will assess whether it can be constructed to exclude liability in this situation assuming that exclusion clause is incorporated into the student’s contract. â€Å"Unfair Contract Terms Act 1977† can be apparently observed to have radical influence on the application of exclusion clause. According to this Act, exclusion clause is defined as a clause, which governs to exclude or limit liability for breach of contract and violation of implied terms or misrepresentation (Crown, 2014). On further note, it is determined that a contracting party who desires to include exclusion clause in a contract and resort upon it is ought to understand the following three requirements: Notably, the case law of Olley v Marlborough Court Hotel (1949) can be taken into concern for discussion in order to examine and acquire substantial understanding regarding the liability of the company. In this case, a hotel room was booked by the claimant Mrs Olley. A contract was made at the reception desk where an exclusion clause was not mentioned. At the back of the door, a notice displaying exclusion clause excluding hotel owners for any lost, theft or damaged property was illustrated. It was observed that a fur coat of

Electronic and mobile commerce solutions Essay Example | Topics and Well Written Essays - 1000 words

Electronic and mobile commerce solutions - Essay Example The service is operational twenty four hour a day everyday across the year. Nevertheless, consumers face challenges of no instant gratification so, delivery may take a while. There is limited consumer service because they have no one to attend to their questions hence can only see the goods without touching them. Bespoke is service offered to a consumer after the consumer has given order for it to be made. The bespoke products include; clothes, vehicles or furniture. This service is good because a consumer is assured of an original and new product of their choice unlike ready to use items on sale. On the other hand, there is lack of supervision by the consumer when their products are made therefore omission errors are inevitable (Andrew et.al, 1997). Consequently, since it is business on the internet, the choice of materials used may not be satisfactory to the ones requested by the consumers. An example is bespokemoda.com An online software solution is an ecommerce website solution that allows selling online by providing software that creates an online store. An example of online software is Shopify solutions. It is easy to set up and synchronizes the store’s products, inventory, orders and consumers between ecommerce site and retail stores. Open sources like magneto and e-commerce solutions is a platform that uses latest web technologies offering professional features, flexibility and controls the activities like shopping online for example Word Press. An Open Source establishes an e-business with convenient product and catalogue browser options, extended consumer management and has an intuitive interface of administration well rated with an extensive network support. Magneto can be used on PHP and MySQL installed in any web server because they are available as free software therefore is prone to hacking and virus attacks (Awad, 2006). In line with electronic commerce is the mobile commerce technology. Mobile commerce is an online commercial transactions

Iconoclasm And Iconophilia In Islam Religion Essay

Iconoclasm And Iconophilia In Islam Religion Essay Introduction: The purpose of this short essay is to examine Iconoclasm and Iconophilia within the Islamic context. First, the two terms will be defined, elucidating their meaning by also drawing upon other linking terminologies. Second, references from traditional sources, Quran and Sunnah (Hadith) will be discussed to highlight the debates on figural representation from a theological perspective. In relation to this, the next part will briefly discuss the umbrella terms Muslim Iconoclasm or Islamic Iconoclasm and focus on the problematic aspects of such labelling. Subsequently, the last part will contextualise all the preceding arguments to understand and debate the Taliban destruction of the Buddhas of Bamyan in 21st Century. In the end pertinent conclusions will be drawn. Definitions: The point of departure for this essay will be to define the two terms Iconoclasm and Iconophilia and elucidate the duality of these concepts. Moreover, some of the terms associated and derived from these two concepts will also be highlighted. According to wordiq  [1]  , an icon derived from Greek word, ÃŽÂ µÃƒÅ½Ã‚ ¹ÃƒÅ½Ã‚ ºÃƒ Ã¢â‚¬ °ÃƒÅ½Ã‚ ½, eikon which means an image. It is defined as an artistic visual representation or symbol of anything considered holy and divine, such as God, saints or deities. A painting, sculpture as well as a mosaic classifies as an icon. The same source  [2]  defines the word iconoclasm, as literally destructing religious icons sacred monuments and images, for religious or political motives. This is primarily an action done by a person who attacks, breaks and destroys sacred monuments and religious images. Such people are called iconoclasts. This term also refers to a person who has a hatred for established religious institutions and dogmas and images for religious veneration. gods-bull-breaking.gif An Image of an Iconoclastic man with a hammer, breaking a bull icon into pieces. Courtesy of: Word Info image  © Copyright, 2006. As per contra, those individuals who venerate or revere any religious images are called iconodules. In addition, this is linked to the second term in discussion, Iconophilia. An iconophile, is understood as a connotation of images, pictures, engravings, illustrations on books or manuscripts. A person who has a fondness of such images and objects and one who loves these icons, illustrations and pictures is defined as an iconophilist or an iconophil. Moreover, someone who produces such images and pictorial icons is referred to as an Iconoplast  [3]  . With an understanding of the key terms in question, the next part of this essay will discuss the act of destroying cultural and religious icons for obtaining abstraction and conversely by contra the act of making figural representation in light of Islamic tradition. The following part of the essay will first shed light on references from traditional sources that have been used for supporting prohibition of figural representation in Islam. Instruction for Image prohibition in light of Quran and Sunnah (Hadith) In Quran: In the Quran, although there is no specific mention of figural representation/ painting, there are verses which indicate prohibition of idolatry, such as in the following verse, chapter 5, verse 90: O ye who believe! Intoxicants and gambling, (dedication of) stones, and (divination by) arrows, are an abomination, of Satans handwork: eschew such abomination), that ye may prosper.  [4]   Another Surah from the Quran, chapter 21, verses 53-55 states: When he said to his father and to his people, What are these images to which ye pay devotion? Said they,We found our fathers serving them. Said he, Both you and your fathers have been in obvious error. This verse can be interpreted in various ways. One possible interpretation is that it forbids false idols, or another interpretation could be that it indicates that any form of imagery of God or his divine nature is condemned and prohibited. Therefore, this verse has had many interpretations done by theologians, who have used it to ban the act of drawing, painting as well as sculpting figures  [5]  . One may argue that this verse prohibits idolatry as supposed to figural representation. It is commonly argued that the Quran, as compared to the Hadith traditions, is not specific on the subject of figural depiction, however it nonetheless condemns idolatry and uses the Arabic term musawwir (maker of forms, or artist) as an epithet for God (Figural Representatiom of Islamic Art, 2000), due to this sentiment, paintings with figures are made abstract and stylized, moreover, partially as a result of this religious sentiment, many incidents of destruction of figurative art took place (Ibid., 2000). Therefore, in the hadith (the recorded sayings) of the Prophet Muhammad, there are much clearer references to the prohibition of figural representation and painting. It is these hadith which are utilized by the theologians to support and elaborate on the meaning and intent of the above Quranic verse, and, it is from them that many Muslims derive legitimacy for their arguments against figural representation. According to one of the related hadiths to this matter, Aisha, the wife of the Prophet reported that on seeing a curtain embellished with pictures of animals, the Prophet was enraged and tore the cloth to pieces, declaring, The makers of these pictures will be punished on the Day of Resurrection, and it will be said to them, Give life to what you have created. The Prophet added, The Angels of (Mercy) do not enter a house in which there are pictures (of animals). Bukhari, Volume 7, Book 62:110.  [6]  Another source presents additional response by Prophet on the same incident saying Such people as paint these pictures will receive the severest punishment on the Day of Resurrection.  [7]  On another occasion Muhammad is supposed to have said, Verily the most grievously tormented people on the Day of Resurrection would be the painters of pictures.  [8]   As for Iconoclastic activities in early Islamic tradition, there are early accounts of the prophet Muhammads iconoclastic activities, for instance in the ninth-century Book of Idols which narrates that When on the day he conquered Mecca, the Apostle of God appeared before the Kabah, he found the idols arrayed around it. There upon he started to pierce their eyes with the point of his arrow, saying, Truth is come and false-hood is vanished. Verily, falsehood is a thing that vanish-eth (Quran 17:81 as narrated in Faris, 1952, p. 27). It was after having said this, that he ordered for the idols to be knocked down and burnt (Ibid.). According to another source, the same incident is narrated: As told by Ibn Abbas: When the Prophet saw pictures in the Kaba, he did not enter it till he ordered them to be erased. When he saw (the pictures of) Ibrahim and Ismail carrying the arrows of divination, he said, May God curse them (i.e. the Quraysh)! By God, neither Ibrahim nor Ismail practiced divination by arrows. (Bukhari, Volume 4, Book 55:571, as quoted in Kheilen on Iconoclasm).  [9]  These hadith are however subject to various interpretations. It can be argued that this tradition prohibits figural representations in scared spaces, not just Kaaba but also in mosques as well, or it may be suggested that Prophet prohibited the specific cult or set of beliefs that these idols presented, that is divination; a pre Islamic custom on Mecca.(Ibid.  [10]  ) http://lexicorient.com/e.o/x/t.gif According to one Hadith, the Prophet is also reported to declare that Angels do not enter the house in which there are portrayals or pictures.  [11]  . Per contra, one of the oldest chronicles, that of Al-Azraqi, narrates that when the Prophet returned to Mecca victoriously, he found the Kaaba covered with fresco paintings and he ordered that they be effaced but made an exception for one the them, executed on a pillar, which represented Mary and Jesus. (Besancon, 2000, P. 78-79). The ambivalence to figuration in textual tradition is argued by many scholars. This is also reiterated in Rubin (1986, p. 97) and Van Reenen, (1990, p. 40) who reiterate the above tradition by arguing that after the conquest of Mecca the prophet ordered the destruction of the paintings of prophets, angels, as well as trees that had decorated the interior of the Kaaba, whilst sparing an image of Jesus and Mary. Rubin (1986) further argues that although there is a general consensus in Hadith of forbidding representations, some interpretations by traditional schools of thought also go so far as to liken artists to polytheists but these proscriptions may have been a used to promote aniconism (the eschewal of figural imagery) along with iconoclasm (the destruction or mutilation of existing figural imagery). However, he states that despite their efforts Islamic art varies to a great extent across different time and places (Ibid., p. 129-131). Albeit contested and varying in form and interpretation, generally the removal of Meccan Idols in Kaaba upon conquest is deemed very symbolic by Muslims and this event holds great historical importance. It is due to this that generally Muslim societies refrain from figural representations in sacred spaces such as Mosques and Prayer halls. However, this opposition to depiction of living things and figural representation is not based on Quranic references but rather on various traditions present within the Hadith (Flood, 2002, p. 643-44). Muslim Iconoclasm In light of these traditional sources and their interpretation, the next part of the essay will briefly elucidate the concept of Islamic Iconoclasm or Muslim Iconoclasm in light of Muslim history. Among Muslims, it is clear and lucid to refrain from producing figures and life-like images of God, his Prophet, figures who are eminent in Islam as well as all living things. Several Classical traditions and religious sources are interpreted in light of prohibition of figural representation and from time immemorial; these sources are interpreted and used for various religious, as well as political Islamic doctrines. The disdain for figural representation, religious icons and images is often linked to idolatry. In popular literature this is referred to as Islamic Iconoclam and or Muslim Iconoclasm. Note that these terms will be used interchangeably throughout the essay. As noted above, one of the earliest Muslim Iconoclasm was in 630 upon the conquest of Mecca when the deities in Kaaba were destroyed; this holds true despite the presence of what may be an apologetic tradition, that Mohammad spared the statues of Mary and Jesus. This incident is also widely linked to the end of the Jahalliyah period in Mecca, and consequent end to idolatry in Arabia. As for the concept of Islamic Iconoclasm, it is contested and argued by many scholars. According to Besancon (2000), Muslim iconoclasm is a result of the absence of a Covenant that is why the Koran does not take the trouble to positively prohibit the image. He argues that for Muslims the notion of God is transcendent and beyond human comprehension, it is thus discouraging to any figural and imagery associations (P. 81). Grabar (1975) describes the distinction between Byzantine and Islamic iconoclasm by suggesting that in case of Byzantine, Iconoclasm is usually spelled with a capital I and In Islamic iconoclasm it is spelled with a small i. He argues that such secondary typographical distinction demonstrate differences between a historical moments which are then capitalised later or they refer to an attitude or mode of behaviour, to the affect that he claims that for Islamic iconoclasm it is apparently too common to deserve capitalization'(Ibid., p. 45). Such a statement about Islamic iconoclastic acts are devoid of any historical context as it disregards the ample evidence of a tradition of figural representation throughout Muslim art history, and it is this lack of recognition that western authors tend to perceive and associate a long, culturally determined, and unchanging tradition of violent iconoclastic acts within Islamic tradition and Muslim history. (Flood, 2002, p. 641) However, this is not to overlook that in various Muslim denominations there is a continuation of iconoclastic agendas, along with much recent on-going controversy regarding the destruction of Meccan historic buildings(not images) by the Wahhabist authorities who claim that they fear that these buildings were or would become the subject of polytheism and idolatry. (Howden, 2005) According to Kjeilen, this opposition to figural representation and its influence on Muslim iconoclasm have been used many times in Islamic history in order to destroy the representation of gods, divine figures or semi-divine figures of other religions, and the destruction of statues of Buddhas by the Taliban in Afghanistan in 2001 is the modern day example of this. The destruction of the Buddha-statues in Afghanistan in 2001 The following part of the essay will incorporate the proceeding arguments and analyze the Taliban destruction of Buddha at Bamiyan in 2001, so as to examine iconoclastic events in modern day Islamic state and develop a context to debate the preceding arguments. Dupree (2002) describes the saga of the Bamiyan Buddha destruction at Bamiyan as an aftermath of the debate at Supreme court and amongst its Council of Ministers who ordered Mullah Omar, to carry out investigation with the department of religious police (The Ministry for the Prevention of Vice and the Promotion of Virtue) regarding the appropriateness of the National Museums holdings in Afghanistan. It was following these orders that incorporation of Shariah Law was done in order to carry out, what may be suggested here, a political exploitation. The following events then unfolded leading to the total destruction; as narrated by Dupree (2002) specific orders were given to destroy any offending objects in the museum. A couple of weeks later, on the 26th of February, Mullah Omar gave an edict that mandated the destruction of all non-Islamic objects and subsequently on March 8 and 9th, the Bamiyan Buddhas were dynamited (Dupree, 2002, p. 986) taliban-2.jpg Bamiyan Buddha Statue before and after destruction by the Taliban. Image Courtesy of Fortunecity  [12]   Biggs (2003) claims that this destruction of the Bamiyan Buddhas in 2001 is a reminder that monotheism has its roots in the persecution of idolaters, and that the cultural expression of this violence was and remains acts of iconoclasm, however, his argument clearly falls into the frame of what Flood (2002) suggests as an ahistorical paradigm. Floods response to such interpretations is that they overlook the coexistence between the Muslim population and the Buddhas for over a millennium prior to the destruction by Taliban (King, 1985, as quoted in Flood, 2002, p. 654) Bamian1.jpg A general view of the alcoves where the Buddha statues stood before the destruction, Image Courtesy of Embassy of Afghanistan  [13]   According to Floods thesis, many of Talibans own declarations in regards to Buddhas indicate that their destruction was a result of a political motive as supposed to theological, because since the statues were already faceless above chin level, then they would be meaningless in context of Islamic medieval iconoclasm (Flood, 2002, p. 651-655). In addition to this Meskell (2002, p. 562) argue that the causal factors of this cultural heritage destruction is varying. He suggests that it could be due to the Taliban clerics opposition to the pre-Islamic figures that were displayed in the Kabul museum or it may have been due to a visit by Italian Buddhists, the interest of UNESCO in preserving the statues paired with foreign delegation wanting to offer money to preserve these ancient work when millions of Afghan died of starvation (p. 563). Others sources cite various factors such as military operations, internal politics and international relationships (Gamboni 2001). buddha_image.jpg Faceless Buddha statues, prior to Taliban destruction. Image courtesy of: www.deeshaa.org Conclusion : While a full discussion of this topic, incorporating a comprehensive argument on the theological sources, the contested debate on what qualifies as Islamic or Muslim Iconoclasm and the sectarian disputes between factions of different groups of Muslims lies beyond the scope of this short essay. It has nonetheless highlighted that opposition to figural representation is not based on the Quran, but rather on various traditions that are found within Hadith and that these interpretations are subject to interpretation and being utilised for reasons other than theological. The arguments in this essay resonate with Floods (2002) understanding that the destruction of Budhaa was more political and a result of a power autonomy monopoly rather than theologian factor, and that it may have amounted to provoked affirmation of sovereignty by the Talibans, not just upon their territory and the people there but also upon the values that they upheld. This essay intended to use the destruction of Buddha s as an example, to highlight the political aspects of Iconoclastic moments and elucidate that what is largely conceived as a theological impulse is not a timeless response to prohibition of figuration but that it may have been a cultural, social and political discourse of image representation at a particular moment in history.

Strengths of Black Families Essay -- essays research papers

Strengths of Black Families   Ã‚  Ã‚  Ã‚  Ã‚  The African-American family is defined as networks of households related by blood, marriage, or function that provide basic instrumental and expressive functions of the family to the members of those networks (Hill, 1999). It is one of the strongest institutions throughout history, and still today. Family strengths are considered to be cultural assets that are transmitted through socialization from generation to generation and not merely adaptations or coping responses to contemporary racial or economic oppression (McDaniel 1994; Hill 1999). This definition is contrary to the belief that the Black family is an adaptation to harsh conditions, instead of an ongoing establishment. Hill (1999) discusses some of the qualities as effective for the survival of black families: strong achievement and work orientation, flexible family roles and strong kinship bonds, and strong religious orientation. These strengths, along with others can be emphasized in schools and used to motivate African-American students to succeed.   Ã‚  Ã‚  Ã‚  Ã‚  Contrary to what many people may believe, African-Americans have a strong motivation towards achieving. From the parents to the children, there is a strong orientation for wanting to learn and get ahead. Research has shown that black children have educational and occupational aspirations that are often equal to, and sometimes higher, than white children (Stevenson et al. 1990; Winfield 1991b; Hill 1999). African-American paren...

Monster Mash Essay

Everyone loves a good scare. The rush we feel when our worst nightmares are realized, and yet that small inkling in our minds reminds us, this isn’t real. It’s fun. First we clench and scream and our hearts pop out of our chests. Then, we smile, laugh, and say â€Å"wow, that scared me† escape our lips, and we again move on with the rest of our average everyday lives. It’s exciting, and to some, arousing. But the concept of horror raises an all too common inquiry. What if you could become one of those famous monsters of the silver screen? Would you choose to be the seductive vampire, the gnarly werewolf, the ghastly ghost, or the ravenous Frankenstien? Now I know what you’re thinking. What about Jason Vorhees, or Freddy Kruger? What about Leatherface, or the Pinhead? Those are all excellent horror film identities. They are however, latter day principals that have all been crafted from the inspiration of the age old favorites. We couldn’t possibly begin to appreciate Jason Vorhees or Leatherface without first acknowledging the colossal juggernaut that was Frankenstien. So for this paper, I’ll only be focusing on the primary figures of horror. Let’s kick this off with an all-time classic. This horror figure amassed not only one of the largest fan bases in film, but directly influenced its own underground culture. Bela Lugosi donned the crimson cape in 1927 as Count Dracula in a Broadway adaptation of Bram Stoker’s novel, where he was talent-spotted as a character actor for the new Hollywood talkies, appearing in the first Dracula film with sound. It would be four years later, with the movie adaptation of that play that vampires would become a public icon. Here we are almost ninety years later, vampire lore has erupted into many renditions, many new ideals. There has been games, and music inspired by their sultry image. These being thrive on the lust and temptation of man, the sexiness of evil. They indulge in blood, and ritual. Only ever able to enjoy their immortality at night, as sunlight invariably reduces them to dust and ash. They are dexterous, equally cunning, using sleight of hand and a quick tongue t o gain your every allegiance. They are connected into every faà §ade of regular, and have either allies, or brethren in powerful social circles. The older the vampire, the more attuned to the gift. On the darker side of this coin lies the cold hard fact that you are completely vulnerable to fire, sunlight, and according to EVERY SINGLE vampire movie, the inevitable betrayal of those closest to you. Which for me begs the ultimate question, â€Å"what good is immortality, if you have no one to share it with†. One a cold dark night, when the moon is full, can you hear the howling of their kind. They are excellent hunters, and even better combatants. They are supernaturally strong, fast, and almost impossible to fend off. All it takes is a simple scratch and your fate is sealed. The werewolf is a tragic Monster. There is nothing sexy or fun about this curse. Every four weeks, when the moon is full, your body reconstructs itself. Breaking bones, and rearranging them. Stretching muscle mass, and skin. I don’t recommend watching someone turn if you are squeamish or faint of heart. The mind goes into an instinctive mode, where you can only process hunger, and anger. You’re compelled not by your humanity, but by the beast within. No matter how you shake it, or which rendition of this monster you look at, werewolves are awesome and sad. Immense power, and raw animal agility, but without a single ounce of control. The concept of man becoming beast has been around for a long time. Ancient Celtics used to believe the spirit of the earth created them to protect her forests from all dangers. It wasn’t until 1941 that the â€Å"wolf man† would see the silver screen, and forever change the way we looked at secluded romantic ventures in the wood. Speaking of silver, nothing but, can truly bring this monster to peace. Ghosts are a funny ideal. They scare the daylights out of us, yet never even threaten us with imminent danger. Most of the time, they are the remnants of someone looking to warn us or tell us something they didn’t get a chance to while they were alive. Yet, like the others, they manage to drive us crazy, and inspire multimedia frenzies. Personally, I hate all these darned ghost hunting shows on TV nowadays. They never seem to really grasp the concept. Its like I’m watching the ghost of Seinfeld, trying one last time to do a horrible stand up monologue. Still the imagery of being there, but not there, and subsequently affecting your surroundings with how you feel, sounds like horror gold. For as much literature is out there on these monsters, very little is actually known. There are a lot of myths about spirits, so it’s hard to decipher what is truth from what is fiction. Some sources say they cannot cross running water, others say that salt naturally repels them. Most say that wrought iron, or cold iron will disperse them quickly. Last but not least, the awesome Frankenstein monster. The twisted dream of an eccentric medical school dropout. A being brought to life with the grotesque remain of the dead. The feeble attempts of a mad man to play god. This monster is as powerful as he is awe-inspiring. Unnaturally super strong, and equally impatient, he towers over the other monsters. He is remarkably resilient, and can repair himself but using new parts. A horrific machine of flesh and bone. Having to accept the weight of being the only of his kind, is the only solace he will ever hope to achieve. At least not until bride of Frankenstein, and we all know how that ends. Mary Shelly gave birth to this horrific story in 1818, originally adapted to be a drama that focused on Dr. Frankenstein as tortured soul, looking for repentance from his monolithic creation. This would fade in 1931, when Boris Karloff donned the neck bolts and platform boots. Becoming an instant classic on the silver screen, Frankenstein would later be seen taking care of Dracula’s coffin in the daytime and feeding the wolf man on the full moon. Never saying much, as to forego the myth that reanimated brain tissue results in a zombie state of mind, Frankenstein does most of his communication in gestures. I would like to believe that the incredible HULK is somehow inspired by him. Choosing an archetype of horror can be taxing. But knowing not only what you stand to gain, but what you stand to lose is paramount. Everyone focuses so on the merit of being a monster. As much as they are powerful, they are weak. To truly choose means to condemn yourself to a live of horror. Would you sacrifice the sun for immortality? Or are you more privy toward the animalistic freedom in exchange for your sanity. Or maybe you’d remain human, and use this hypothetical as tactical advantage. Knowing is half the battle, right? References: IMDB.com Copyright  © 1990-2013 IMDb.com, Inc. Bela Lugosi – http://www.imdb.com/name/nm0000509/bio The Wolf Man – http://www.imdb.com/title/tt0034398/?ref_=sr_3 Frankenstein- http://www.imdb.com/title/tt0021884/?ref_=sr_6 Monsters An Investigator’s Guide to Magical Beings Creators: John Michael Greer Publisher: Llewellyn Worldwide, LTD. Sept. 2001

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