The Kiss (Lovers) by Gustav Klimt Essays - Visual Arts,

The Kiss (Lovers) by Gustav Klimt The Kiss (Lovers) was painted by the Australian painter Gustav Klimt between 1907 and 1908, in his golden period, when he painted numbers of works in a similar gilded style. The shades show a couple embracing, and the man holding her face while kissing her cheek. The work is composed of conventional oil paint with applied layers of gold leaf, an aspect that gives it its strikingly modern, yet evocative appearance. The Kiss reflects his fascination with eroticism, and while its overall architecture is obviously phallic, it is renowned because of its tender representation of the female model who is tightly embraced within the overall geometry of the picture and whose body is formed from the most detailed, colorful and best expressed abstract passages of Klimt's career. In its tenderness, the painting deviates from his typical portrayal of woman as distant femme fatales; here the female is the protagonist, rather than merely the object of desire. The reason I chose this masterpiece is because I feel it shows not eroticism, but love and warmness. It doesn't make me feel uncomfortable; it feels like the hand placed on her face and her expression is full of love and kindness. To be honest, this is my favorite painting of all time, not because it is of Klimt's, because of the message it transmits. In addition, it is very creative of his part because instead of a painting it looks like an "arts and crafts" work, so it makes it more decorative and full of stuff. The golden period is my Klimt's favorite period because of his creativity and his way of expressing. Klimt usually shows the female body in his works to show eroticism, but in this case, the female body is fully covered and the male appears to be fully covered too, but their faces are not. I think he did this to show the art of love, and to transmit the emotions of their faces.

How to Use Dialogues in Class

How to Use Dialogues in Class Its easy to get stuck in a rut when using dialogues in class, but these teaching tools are full of potential. Here are some activities that use dialogue beyond just rote reading and parroting.   Use Dialogues to Practice Stress and Intonation Dialogues can come in handy when working on stress and intonation. Students move beyond focusing on single phonemic pronunciation issues and concentrate instead on bringing the right intonation and stress to larger structures. Students can play with meaning through stress by creating dialogues that focus on stressing individual words to clarify meaning. Use dialogues that students are familiar with so that they can focus on pronunciation rather than vocabulary, new forms, etc.Introduce students to the concept of using stress and intonation to highlight content words while brushing over function words.Ask students to highlight their dialogues by marking the content words in each of their lines.Students practice the dialogues together focusing on improving their pronunciation through stress and intonation. Base Impromptu Skits on Dialogues One of my favorite uses of shorter language function dialogues (i.e. shopping, ordering in a restaurant, etc.) for lower levels is to extend the activity by first practicing dialogues, and then asking students to act out dialogues without any help. If you are practicing a number of dialogues, you can add an element of chance by having students pick their target situation out of a hat. Provide numerous short situational dialogues for a target linguistic function. For example, for shopping students can practice exchanges of trying on clothing, asking for help, asking for a different size, paying for items, asking for a friends advice, etc.Have students practice each situation multiple times.Write each situation on a small piece of paper.Students choose a situation randomly and act it out on the spot without any dialogue cues. Extend Dialogues to full Blown Productions Some situational dialogues just call out for full blown productional values. For example, when practicing modal verbs of deduction using a dialogue to make suppositions about what might have happened makes a perfect scenario for practice. Students can begin with a dialogue to get the gist of a scenario, and then let their imaginations take over. Introduce target structure in class. Good structures for longer skits include: conditional forms, reported speech, modal verbs of deduction, speculating about the future, imagining a different past (past modal verbs of deduction).Provide a dialogue with targeted structure as inspiration.Divide the class up into smaller groups, each in the group should have a role.Using the dialogue as a model, students should create their own longer multiple person skit.Students practice and then perform for the rest of the class. Paraphrase Dialogues Paraphrasing dialogues can help students focus on related structures. Begin slowly by asking students to substitute or paraphrase shorter forms. End with more extended dialogues. Provide short dialogues to students and ask them paraphrase shorter phrases. For example, if the dialogue asks for suggestions with a phrase such as Lets go out tonight, students should be able to come up with Why dont we go out tonight, How about going out for a night on the town, etc.Hand out a few different dialogues, ask students to read the dialogue and then create another dialogue on the fly without using the same exact words. Students can take a look at the original lines, but must use other words and phrases.Ask students to read a dialogue to another pair. This pair in turn attempts to repeat the dialogue through paraphrase. As a variation to this exercises for lower level classes, students can expand their use of a wider variety of vocabulary and expressions by using gap fill dialogues. Students still have the structure of the dialogues to hold on to, but must fill in the gaps for the dialogues to make sense.

How to Write a STRONG Follow Up Email After Your Job Interview

How to Write a STRONG Follow Up Email After Your Job Interview After spending hours preparing for your job interview, the big day finally arrives. You go to your interview and all of your preparation has paid off. You ace it! You leave your interview feeling satisfied and confident. But you’re not quite finished yet. Even though you nailed your interview, someone else may have performed just as well. So how do you go above and beyond to differentiate yourself? You can’t just go home and watch reruns of Seinfeld. I mean, you can, but not before you perform one last crucial step. Send a follow up email after your job interview. According to  Whitney Purcell, associate director of Career Development at Susquehanna University, it’s vital to send a thank you email within 24 hours after your job interview. You should also make sure to send it during company business hours (obviously).But more importantly, Purcell goes on to say that sending a simple thank you note is not enough. Your follow up email needs to make you stand out f rom the crowd. You should highlight the best parts of the conversation you had, followed by a reminder as to why you are the best fit for the job.So the question becomes how do you write a strong follow up email after your job interview? According to  Dr. Deborah Good, an assistant professor at the University of Pittsburgh Katz School of Business, the email below is  ideal because it contains 6 very important characteristics:  Ã‚  Source: [BusinessInsider]

Phase4 IP Market Structure and Firm Strategy Essay

Phase4 IP Market Structure and Firm Strategy - Essay Example In this market, the price elasticity of demand is inelastic. This means, demand remains relatively unchanged with changes in price. This characterizes a monopolistic competition market structure. According to Boyes and Melvin (2013), this market structure is characterized by a downward slopping demand curve. Product differentiation largely influences demand elasticity such that the greater the differentiation, the more inelastic the demand elasticity. Therefore, Justcookbooks.com ventured into this highly differentiated market that makes it a mini-monopoly, hence the inelasticity of demand would see the demand for its cookbooks minimally affected by changes in pricing as it establishes itself in the market. Success in this market would therefore be guaranteed by seeking greater differentiation of the online cookbooks. With the argument by Schotter (2009) that greater differentiation causes greater inelasticity, greater differentiation at Justcookbooks.com would cause demand to remain unaffected by changes in pricing, hence consistent quantity demanded. For Justcookbooks.com, pricing with different types of customers and asymmetric information would be most appropriate. According to Arnold (2013), this strategy involves charging less cost per unit for those who buy more and a higher cost per unit for those buying less. Using this strategy, Justcookbooks.com would encourage purchases of high volumes which increase revenue and thus

Queer film +video Essay Example | Topics and Well Written Essays - 750 words

Queer film +video - Essay Example One the recent film that easily and best represent Doty’s queer theory is the animation film Hotel Transylvania Directed by Genndy Tartakovsky. The film became queer because a movie along with its characters are supposed to be queer and scary but the movie presented it as non-threatening, mainstream and to some extent, even romantic. The rendition of the film is the reverse of Doty’s assertion that sometimes what is considered as normal rendition of a film can be the most queer of all. The film literally dislodged the viewers traditonal concept of supernatural entities. For example, Dracula has a daughter who wants to be friends with humans and runs a hotel for monsters. Transylvania in this film is in fact a hotel and not the regular impression of an old scary castle. Werewolves and vampires are also relatives (Daughter Mavic called Wayne and Wanda as aunt and uncle) instead of being mortal enemy. Frankenstein has a wife and above all, it is the humans who are in fact â€Å"monstrous† that they should be scared of. And lastly, monsters in fact loves to party. It also talks about sexuality only not in the queerness of homosexuality but rather the emerging sexual drive of a teenage vampire that put normalcy in an otherwise abnormal character of a vampire. Perhaps the biggest queerness of the film was the reversal of roles between humans and monsters (vampires, werewolves, big foot, mummy). The supposed culturally marginal, in Doty’s words (4) became the dominant culture and the dominant culture became marginalized. In the point of view of the monsters, they are the mainstream entities and humans are considered as sub entity and are the ones that are monstrous that should be feared. Tartakovsky made an interesting confrontation of his characters who assumed reversal of role where the monsters view the human (young traveler Jonathan who became the fiancee of Mavic) as monstrous and the human not threatened by the actual

The U.S. Constitution: Checks & Balances Essay examples -- US Governm

The U.S. Constitution is the foundation of American governance. Since its creation in 1878, the Constitution remains as the foundation of governance for the Republic and stands as the oldest living Constitution in the world. To prevent a tyranny of the majority will – or of one part of governance – it became necessary to ensure the several branches of government remained separate. To ensure that one of these branches did not trump the other branches, the Founders crafted – within the Constitution – a set of checks and balances. Separating powers, with checks and balances, made the U.S. government unique when it emerged in 1787. The Constitution describes a system of checks and balances and sets up a separation of powers. The Constitution separates the three branches of governance through the first three articles. Article I applies to the Legislative Branch of government, Article II refers to the Executive Branch of government, and Article III concerns the Judicial Branch of government (Unit 1A, 14). The Constitution enumerates the duties and responsibilities of the respective branches of government in the relevant Constitutional articles. Article I states, â€Å"All legislative Powers herein granted shall be vested in a Congress of the United States† (Constitution, Article I Section 1). This separates the legislative power from the other two branches as Congress – alone – holds all legislative powers. Article II states, â€Å"The executive Power shall be vested in a President of the United States of America† (Constitution, Article II Section 1). Thus, the Executive branch – previously denied legislative powers – finds itself vested with the executive po wer exclusively. As â€Å"the† is a definite article, only the Executive bran... ...he Supreme Court proved these points. After passing through the preceding paragraphs, it is clear the Constitution describes a system of checks and balances and sets up a separation of powers. References American Military University Faculty. Course Materials Unit 1A: The Foundations of American Government. https://online.apus.edu/educator/student/ [the rest of the URL is deleted as it contains information tied to my student ID number, etc. in the URL and this piece of html code presents a security risk] (accessed November 22, 2010). Mount, Steve. Constitutional Topic: Checks and Balances. USConstitution.net http://www.usconstitution.net/consttop_cnb.html (accessed November 22, 2010). U.S. Constitution. http://www.archives.gov/exhibits/charters/constitution_transcript.html (accessed November 22, 2010).

Realism and/ or modernism Essay

Marlow seems to alienate himself from urban society in favour of a wasteland. However, it can be said that this was a positive sacrifice. The Africans may have seen the modern bureaucratic Europe as a sterile and materialistic wasteland. Here we see Conrad prompting the reader to reassess his or her own opinions and interpretations of Africa. Conrad has been accredited with writing a ‘Harrowing Critique of Western Colonialism’. This is not only due to his explicit exposure of the atrocities of European colonialism but also his cunning use of vocabulary. He refers to the ‘merry dance of death and trade’ (p. 31) as well as an ‘inhabited devastation’ (p. 32) when illustrating the horrors of the colonisation of Africa by Europe. ‘Heart of Darkness’ was written at a time when Africa was entirely carved up and shared out between a number of European countries. Conrad seems to be exposing the predatory nature of these countries and their attitudes towards colonisation, and particularly focuses on the Belgian Congo. He does not however, entirely condemn colonisation. He does not suggest any alternative, nor does he suggest that African natives are capable of running their own country. Marlow does not make any attempt to understand the African culture, nor does he consider them as equals. Africa is seen very much as an antithesis to Europe, and therefore to civilisation. Even the title of the novella â€Å"Heart of Darkness† presents Africa as an uncivilized and primitive land, and could be accused of dehumanizing and dispersonalising Africa. Marlow views what is happening to the African natives from a distance and although he does respond to their treatment by the colonisers he does not react in any way. He claims he is on a â€Å"heavenly mission to civilize†(21). It therefore seems as though Conrad views the colonisation as a civilising robbery, but includes very little discussion of the social or economic effects of the expansion of Europe. It is not only Conrad’s presentation of the African natives that is modernistic. Women are also viewed in very different ways throughout the novel. Kurtz’s intended is depicted as a typical Victorian woman. Marlow feels that he must look after her, and therefore protects her from the truth about Kurtz. Conrad’s description of African women creates a great contrast. Here Conrad creates an image of a much stronger character. However, although African women seem to be presented as much more powerful and capable, the entire novella is written through the eyes of a male, and the entire focus is on male experience. There is much evidence of Conrad’s exploration of the Eastern world in ‘Heart of Darkness’. It is however, his examination of the inner life that is most evident. The image of the ‘black fellows’ rowing the boats is described by Conrad as ‘a momentary contact with reality’ (p. 30) implying that all humans share a common spiritual heritage. This presents ‘Heart of Darkness’ as a cross-cultural almost mythical journey, suggesting that racial archetypes emerge only in dreams and myths. Modernists were also concerned with reassessing the ordinary and the everyday, and often invited the reader to reconsider their text. In ‘Heart of Darkness’ there are a number of adjectives used to describe the coast; ‘smiling, frowning, inviting, grand, mean, inspired or savage’ (p. 29). This is not a traditional presentation of a coastline, and the almost contradictory list prompts the reader to reassess his or her own interpretation of the coast. The presentation of the edge of the ‘colossal jungle’ as a ‘ruled line’ (p. 29) is another modernistic feature of Conrad’s work, as it was not previously common to view natural creations in such scientific or geometric ways. This once again causes the reader to re-evaluate the text as well as their own perception of the ordinary and everyday. A sense of vision and perspective was of great significance to modernist writers. Marlow’s vision of the various ‘trading places’ passed on his journey is a thoroughly modernistic one. The place names are listed before being described as belonging to ‘some sordid farce’ (p. 30). This is not only a slightly unusual presentation, once again prompting the reader to reassess the ordinary; it also gives a great insight into Marlow’s, and indeed Conrad’s own vision and perception of the outside world. Modernist writers often presented the world as desolate, and Conrad’s ‘Heart of Darkness’ is no exception. Marlow describes his ‘isolation’ within a ‘mournful and senseless delusion’ (p. 30), and the coast is illustrated as ‘formless’ bordered by ‘dangerous surf’ (p. 31). Marlow’s journey is at one point described as a ‘weary pilgrimage amongst hints for nightmares’ (p. 31). This all seems to help create the common modernist image of a desolate world. Although Conrad does not celebrate the state of the modern world, he, like so many modernist writers, was concerned with honoring the creativity of language. His presentation of ‘insanity’ is followed by a glorious use of vocabulary; ‘lugubrious drollery’. His description of the ‘black fellows’ is also somewhat creative. He describes their faces as ‘grotesque masks’ and illustrates the ‘glistening’ (p. 30) whites of their eyeballs seen from afar. The inhabited devastation is described as ‘drowned’ in a ‘blinding sunlight’ (p. 32). Both the words, ‘blinding’ and ‘drowning’ have negative connotations and are used here to create the desolate negative image of the modern world Conrad was keen to present. This ‘recrudescence of glare’ (p. 32) created by Conrad is an incredibly creative use of language and vocabulary. Not only through the content of his text, but also through the use of his vocabulary and narrative, Conrad has created in â€Å"Heart of Darkness† an exemplary Modern Text. Its exposure of the precarious bases of civilisation and its sceptical inquiry into what sustains value and meaning to human life are typical modernist traits. The political and social subject matters of â€Å"Heart of Darkness†; imperialism and colonialism, race and gender have proved increasingly controversial in the course of the twentieth century, and this is why the novella has received so much criticism and analysis. Bibliography. Ackroyd, Peter, 2000. The Times. Barry, Peter, 1995 (2002). Beginning Theory, Manchester: Manchester University Press. Brooks, Peter. Reading for the Plot: Design and Intention in Narrative. Cambridge: Harvard UP, 1984 Conrad, Joseph, 1902 (1995). Heart of Darkness, London: Penguin Classics Hampson, Robert, 2000. Heart of Darkness, The Congo Diary, London: Penguin Classics. Student number: 200404375 Year: One Tutor: Richard Capes Module: Introduction to Modern Literature 14107 Essay 1 Show preview only The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Joseph Conrad section.