Islamic midterm Essay Example | Topics and Well Written Essays - 1250 words

Islamic midterm - Essay Example Today the structure is a Cathedral. The Malwiya tower, which is the most recognized element in the mosque, was built altogether by brickwork. The utilization of brickwork is ascribed to the Mesopotamian designers and craftsmans. It was developed in the ninth century CE when the Islamic engineering was in its underlying stages and was not set up as it was in later hundreds of years. The Mesopotamian engineering is obvious in this landmark in light of the fact that the early Muslims were from Arabia and the Arabs were not incredible designers or manufacturers, you can't discover numerous prominent bits of design in Arabian landmass before Islam or in the beginning of Islam, this is the explanation that the Arab Muslim winners depended exclusively on the Mesopotamian design while developing the capital city of Samarra (which was later surrendered because of water lack) and its landmarks. Another element of the pinnacle Malwiya is the winding incline that reviews the ziggurats of Mesopotamia. The ziggurats additionally had the presented flights of stairs prompting the highest point of the structure and same is the situation with the Malwiya tower of the Great Mosque of Samarra. The ziggurat were a piece of sanctuary buildings for example spots of love of the Mesopotamians and same is the situation with the mosque as it is the spot of love of the Muslims. So it is right to state that the Mesopotamian design which was the local engineering of the structure is apparent in the engineering of the Great Mosque of Samarra anyway Islamic design isn't missing by and large. The development included the styles of the nearby culture yet the design overall is unmistakably Islamic in light of the fact that essentially the structure and the arrangement of the structure is carefully founded on Islamic structure of a mosque. An Islamic mosque is basically expected to have a patio in the middle, it is absent in the focal point of the structure yet it is there in the mosque. Additionally the minaret is

The Effects Of The Society In The Black Community Case Study

The Effects Of The Society In The Black Community - Case Study Example The film leaves the crowd to consider whether the youthful characters were genuinely ethically liable for their definitive destiny. Glancing through the focal point of Galen Strawson’s â€Å"Hard Determinism† the film appears to demonstrate the way of thinking that no individual is genuinely mindful since it requires the perfect assurance of oneself. The movie depends on the dark network and the executive uses a few characters to depict the qualities and the issues looked by society. Prior to the start of the movie, the chief supplies insights, which expresses that their partners in the network execute the vast majority of the dark guys. The story is told through Tre Styles-the fundamental hero in the film. Because of certain issues in the school, he is moved to the dark neighborhood of Los Angeles. His dad Furious guides him there and he is familiar with two young men Doughboy and Ricky. Angry supposedly has a discussion with Tre about sex and apparently teaches the significance of having safety measure while engaging in sexual relations. The significant plot in the film is the nearness of the brutal neighborhood of the dark network and the viciousness inside it. A large portion of the film spins around the brutality. There are minor plots in the film like the predisposition of culture in the testing techniques and the improveme nt of the general public. The Whites didn't deal with the issues looked by Blacks in the public eye. Medication misuse is a minor subplot that underlines the account of the film. The film features how racial segregation, absence of public solidarity and absence of an impartial methodology in all divisions were liable for the evil destiny of the Afro Americans. There are sure situations where the film shows some significant episodes that underline the social structure in the nation.

Ontario’s Forest Accord Essay Example for Free

Ontario’s Forest Accord Essay The Ontario Forest Accord is a composed understanding of backwoods industry agents, ecological network and the Ministry of Natural Resources which plans to make an adequate way to deal with set up parks and some ensured regions however not endangering the necessities of the timberland business. The Accord is under enacted assurance additionally concerning the administration of secured zones with respect to its supportability. Presently, they are right now executing â€Å"Room to Grow† approach that progresses the wood creation that can be dispensed to parks, ensured territories and timberland enterprises. Since the Accord is focusing on ecological magnificence and manageability, they grabbed the eye of the voyagers which gave them the plan to truly place their work into great utilize and definitely improve the travel industry. The Accord has a gigantic duty on their hands having twelve percent of the woodland and secured regions for which they need to oversee. With their endeavors, the travel industry got increasingly included and productiveâ€they have composed with the Accord coordinators to draw up certain strategies in which they can make the execution of the Accord progressively acknowledged by the general population. The â€Å"Room to Grow† approach connected the two separate fields to inseparably help each other for maintainability and improvement too. For preservation and security, Ecological Land Acquisition Program was propelled to ensure private land. This program is worried about the exchanges between the private division and the administration who needs to guarantee biologically rich territory. Fundamentally, it was made to ensure the environment of species and furthermore control organizations of gaining biological terrains that may assist us with improving our characteristic assets. The Ontario Forest Accord resembles a determined police that continues checking the administration and private part in regards to their activities with common assets. Works Cited Ontario’s Forest. (2003). Maintainability for Today and Tomorrow. Accessible on January 16, 2008 http://ontariosforests. mnr. gov. on. ca/spectrasites/web/ontarioforests/conservingprotecting. cfm

The Allegory of the Cave Man - Literature Essay Samples

Great spirits have always encountered violent opposition from mediocre minds (Albert Einstein). When encountering the inexplicable, peoples visceral reactions often oscillate between fear and awe-nevertheless establishing the subject in terms of otherness. Steven Millhausers collection of short fiction, The Knife Thrower and Other Stories, explores this realm of otherness in terms of familiar human emotions. The title character of Kaspar Hauser Speaks illustrates the struggle of taming great spirits (and normalization of otherness) by mediocre minds in a plot that harkens to a distorted reflection of Socrates Allegory of the Cave. Various descriptions of Kaspars life stages echo scenes of the cave dweller, though they are often tainted by societal involvement. From existence within the cave, to painful exploration in transition, to the awe-inspired desire to learn in the world of light, Kaspar is a reflection of the allegorical cave man in many ways. While Socrates illustrates the challenge of first cave dwellers progress into the light and the opposition encountered on his return to the cave, Millhauser highlights the plight of the last cave dweller entering the light and, in turn, the conflict against the rest of enlightened society. Beyond mirroring the Allegory of the Cave, Millhausers goal in writing this fictional account is to ask: What is lost when one is removed from the cave and civilized? Is it worth the trouble?Is it possible for youby the deepest, the sincerest, and most sustained effort of imagination, to understand what it means to have the sensations of a worm? (Millhauser 204) Socrates creates a world in which all of humanity is chained to the ground, staring constantly at the wall and blankly at shadows that play before them. This is what they are created to be and serve, the reality established by their creator. Millhauser depicts a similar world in which Kaspar is also shackled to the ground and living in the dark, but unlike the cave dwellers, he lives seeing no light, no face, not a voice and without even being able to feel the loss of such things (203, 205). In sharp contrast to the cave dwellers, Kaspar is guarded by a man whom he has never met but who nightly comes to his prison to bring him meager sustenance. Essentially, he is kept in his condition of darkness, a creature jabbering unintelligibly, by human hands as a scientific experiment (201). Although this stark and animalistic treatment appears cruel to the observer, Kaspar is at the time content, or if not content, then not discontent (205). Although the solitary confinement seems brutal in hindsight, Kaspar is ignorant of his self-image and is therefore blind to the negatives tied with comparing oneself with ones peers. In the darkness, he knows only peace and neutrality, desiring nothing more because he, wormlike in existence, knows nothing else. I knew nothing except terror and pain (203). The transition from darkness into light is not without its pains and challenges. Once Kaspar is forced out of the cave, he is exposed to rigorous and sometimes painful socialization/education. Like the cave dwellers newly exposed to and subsequently blinded by the sun, Kaspar discovers that for many days, [he] couldnt endure lightsymbol of knowledge because his eyes burned to the point that when he looked away, everything was white (205, 207). Acclimation to and education in this new life prove challenging and perplexing. Whether encountering a candle (the stick that bit him), viewing a landscape (ugly! a word [he] had recently been taught), or a black hen (at which terror seized him and he tried to run away), Kaspar embodies the hardships of exposure to reality (203, 204). Both Kaspar and the cave dwellers are hesitant about seeing forms in the realm of enlightenment after having only known shadows. They long for the simplicity and familiarity of cave life, not immediately recognizing the benefits of knowledge and experie nce. Confusion, anger, fear and violence are the prevailing sentiments surrounding Kaspars first introduction to society. Still not recognizing enough of reality to draw many connections, Kaspar maintains a neutral self-image. Although at this point unable to recognize a sense of self, Kaspar is all too familiar with the torture and hardship of exiting the cave.I liked to look up at the brightness (203). After much effort (and pupil contraction), Kaspar and the cave dweller become acclimated to the light and therefore learning. Objects become real, rather than mere shadows or enigmas. Kaspar, like the cave man, uncovers a sense of awe and fascination with the world, desiring to know more and feeling bursts of curiosity (206). No longer a source of confusion, light and its reflection become entities to behold and appreciate. Finding that bright shiny objects pleased him stands as a testament to Kaspars admiration and pursuit of knowledge (204). Still freshly emerged from the black cave, he finds himself gazing with childish wonder when [he] look[s] up at the night sky full of stars (209). His desire to know and explore is insatiable. In sharp contrast to life inside the cave and transition into the light, actually being outside the cave presents a discernibly positive (though brief) circumstance. Learning is enjoyable, but at what point does the acquisition of knowledge breech boredom or, worse, cynicism? For the time being, life outside the cave is characterized by emotions and sentiments of liberation, awe, innocence and curiosity. While still lacking a defined self-image, Kaspar slowly recognizes his own limitations. Regardless, he embraces truth and light: Sometimes I stumble into a pit or well of sadness, a deep pit, a long fallthere is no bottom, I stare up and see faces peering down at me, faces unimaginably high up (202). While Socrates allegory addresses the passage from cave to light in grave detail, depicting the darkness, confusion a nd enlightenment, it neglects to explain the emotions surrounding the cave dwellers reflection on his past. Contentment and desire to learn can only last for a limited time until one realizes the futility behind this pursuit of knowledge. Slowly connections begin to form; awareness is no longer desirable because along with it comes jadedness. Kaspar gradually begins to realize that even his leap of progress toward civilization and away from himself is not enough to cover his delicate lurch, control his facial contortions, give him the fluency [he] long[s] for, or speed up his unnatural slowness (202). He discovers that this great advancement from the slobbering beast of his past is merely a leap that leaves the bruise of [his] heels in [his] own sides and even this leap is no more that a sign of [his] difference (208). Rather than focusing on all the advancements he has made in his lifetime, this great spirit is consumed with the awareness that he is and can never be wholly emb raced by society. He feels as though his efforts have fallen short of their ultimate goal. Even the progress he has attained cannot be his alone to savor. According to his understanding, his thoughts, wants, desires, and wishes are all instilled by society. He is always mindful how very much [he is societys] creation (201). Furthermore after all of the conditioning he feels that he is slowly erasing himself in order for someone else to appear, the one [he] long[s] for, who will not resemble him (210). In realizing that all he knows and longs to be is attributable to society, he feels like he possesses no sense of self. Upon emerging from the cave, Kaspar is blind to reality and experience, and blind in the sense that he is now aware of all of his inadequacies. He cannot return to the cave because of his knowledge, nor can he easily assimilate into society because of his inadequacies. Throughout this short story, Millhauser addresses what it means to be civilized. Kaspar, th e man extracted from his life of simplicity in the allegorical cave of darkness, seems no better suited for life outside the cave. Cave life, while ignorant in hindsight, is a sort of neutral existence; in knowing no better or worse lifestyle, there lies no desire for change. Life in transition, however, presents challenge and hardships. Effort, pain and sacrifice are required in order to better oneself. In comparison with the ignorance of cave life, transition life seems to be much undue stress and confusion for an uncertain end. Life outside the cave initially seems blissful. Here lies an insatiable desire to learn in order to compensate for years past in darkness. While Socrates holds that life outside the cave is where humanitys true potential and happiness lie, that only in knowing the truth can people ever attain perfection, Millhauser believes that life outside ignorant bliss is replete with unappeasable longing to fit the norm and integrate seamlessly into society. T hose that are different become the center of attention, an enigma that cannot be solved (202, 208). The collective nature of society breeds a desire to be unremarkable and uninteresting because with that comes a sense of fitting in with the crowd (209). With general knowledge comes self-awareness and with self-awareness comes a need to be accepted. Because Kaspar Hauser, poster child for the societal outcast, finds discontent in civilization, Millhauser is able to argue that knowledge and civilization are not necessarily where humanitys true potential, much less true happiness, lie. To be Kaspar Hauser, he concludes, is to long, at every moment of your dubious existence, with every fiber of your questionable being, not to be Kaspar Hauser (209).

Analysis Of The Poem Fear Of Narrative And The Skittery...

In his article â€Å"Fear of Narrative and the Skittery Poem of Our Moment,† Tony Hoagland argues that modern poetry is â€Å"oblique,† â€Å"fractured,† and â€Å"discontinuous†. He believes that poems no longer have systematic structure or development, making them appear random with skittish tendencies. Because of the poems that Hoagland feels are different, he categorizes most new poems to be like the kind he describes in his article. He further evaluates new poetry by claiming that â€Å"narrative poetry is tainted by overuse† and that the time we live in is â€Å"simply not a narrative age.† He uses several poems to support his argument such as, â€Å"Couples† by Mark Halliday and â€Å"First Person Fabulous† by Matthea Harvey. He utilizes these poems because they possess no true focal point and the structure restricts them from having a clear narrative. While the poems he uses in his article may depict skittishness and an elusive voice, many of the poems in The Best of the Best of American Poetry edited by Robert Pinksy represent modern poetry as having a focal point and self-consciousness of narrative. This anthology contains poems from the best of American poetry from recent years that have appeared in magazines and other published articles. Hoagland may think that narrative and continuity are things of the past but this compilation of today’s poetry illustrates a different take on the argument at hand. Many pieces throughout the anthology reflect poems of self-consciousness; something that Hoagland

Analysis Of The Body And Mind - 855 Words

Protocol Paper 3 – Body and Mind RECALL: In the Body and Mind chapter by Rachels it goes over many points. 1) Mind-Body dualism in a way to solve the mind-body problem, explains the relationship between mind and body facts. 2) It also points out the problems with mind-body dualism it is hard to see how a nonphysical mind could interact with a physical body. 3) Rachels points out that the mind-body dualism has largely disappeared from science and philosophy because it did not fit the emerging scientific picture of human beings. 4) The Materialist theories of the mind along with the first materialist theory which is Behaviorism and the failure of behaviorism, then along with the mind-brain identity with the development of the theory that we distinguish between the type-type identity and the token-token identity and following is the Functionalism and that it anything complex will have a mind and the physical composition doesn’t matter. Then Rachels goes over the doubts of the materialist theories with subjectiv ity and its intentions. 5) Finally Rachels goes over that the problem between the relationship of the bod and mind is that no one knows how to solve the problem. SUMMARY: Chapter 6: Body and Mind discusses the philosophy of the body and its connection to the mind. James and Stuart Rachels begin discussing Renà © Descartes, and his theory of Mind–Body Dualism. 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Truth in Contemporary Photography free essay sample

Truth in Contemporary Photography Assessment Item: Major Essay Susan Sontag defined the photograph as a ‘trace’ directly stencilled off reality, like a footprint or a death mask. Every photograph is in some sense a document of something else, therefore giving it truthful merit. Photography is seen as a record, a piece of evidence that something happened at some point somewhere, in that time or place in front of the camera, holding its moments in stillness. 1] The photograph seeks to achieve information, truth, acceptance, evidence and existence, which then provides society with a history and individuals with memories and a proof of existence. Putting aside the notion of a photograph never lies, photography has an amazing power to provoke realism from a subject and although in a photograph we may see and know that an image has been constructed, the use of stereotypes, generalisations and the idealisms of a society may be the most influential element of an image, therefore granting it gratification as a reality. There are many different types of photographers throughout the world. In their work most photographers have different goals or have a different purpose or seek achievement depending on their points of view and beliefs on the overall outlook on photography. In this essay I will answer the question is there any need for ‘truth’ in contemporary photography? By looking at three very different photographers. The first Zoriah, an American born documentary photographer. The second Australian photographic Artist, Bill Henson. And finally Persian born fashion and celebrity portrait photographer Mario Testino. When looking at documentary photography as a genre, it is clear that the documentary photograph does more than simply display information. It allows the viewer to be instructed to some aspects in which truth is revealed, thus allowing a document (the photograph) to be evidence or proof. Documentary photography tells us something about the world, allowing us to think about people and their environment and how they live. According to Arthur Rothstein, the word document is derived from the Latin docere meaning to teach. Rothstein also believed that: â€Å"Photography can provide the most precious documents existing†. [2] Rothstein makes a valid point that documentary photography allows us to observe other cultures and environments around the world. It informs us as well as gives us an insight. When looking at a documentary photograph we rarely question it’s truthfulness because of the subject matter and the traditions of the genre. I also agree with Rothstein in his comment photography can provide the most precious documents existing, as the photograph can be used as proof, showing a person’s innocence or conviction. Also a photograph can be seen as documenting history to show future generations, helping them understand events that play a significant role in previous generations, or simply as proof of human existence. Zoriah is an award winning documentary photographer. His work has been seen in some of the world Humanitarian Aid to Developing Countries, he has worked for international aid organisations such as the Red Cross before returning to photography after a long absence. With his background in disaster management and humanitarian aid, Zoriah specialises in documenting humanitarian crises in third world countries. He has covered disasters, critical social issues and conflict in over forty countries around the world. Although photos can act as explicate evidence I believe that at this time we should never trust the photograph as pure evidence. The photograph records or documents objectively; there are ideas that suggest that all documentation is regarded as the truth and evidence. J. Snyder and N. W. Allen explained that we expect to find a certain â€Å"documentary† value in photographs and we ask certain â€Å"documentary questions†: â€Å"Is it authentic? â€Å"Is it correct† and â€Å"Is it true†[3] When we observe this point by Snyder and Allen about questioning documents and their authenticity we see the argument that can be put forward. How do we know photos have not been manipulated in some way? Are they a true document and representation of the event? R. Martin and J. Spence state, â€Å"Whilst we know, intellectually, that photographs aren’t Ã¢â‚¬Ë œreal’, do not ‘tell the truth’, but are specific choices, constructions, frozen moments, edited out of time, we still invest meaning in them. [4] Similar to the point Snyder and Allen put forward, we often come across photographs that could be categorised as documentary images, and subsequently we question whether they are real, due to their unrealistic content. Being an unfamiliar subject that didn’t seem possible in the first place, we do put some faith in the image and its authenticity due to the proof of the image. Within Zoriah’s documentary work we only see the world through the lens of his camera. If another photographer were at the same location at the same time we would see a completely different set of images. In this sense the work of any photographer is similar. Photographers such as Bill Henson, although his location maybe a studio is very different to a war-zone, he still has to compose an image – selecting what he wants us the viewer to see and more so what he wants to leave out. Therefore in this respect all photography cannot give a truthful representation of what is real, it is simply a perspective of what is real. While photography depends on reality, it also loves to take a holiday from it. Viewed less as documents corresponding with reality, photographs can be seen as artificial forms of construction. For this reason the practice is less about picture-taking than picture-making. [5] Bill Henson is one of Australia’s leading contemporary Photographic artists. His work comprises of painterly and cinematic styled photographs. These photographs embody a pervasive sense of stillness, which it is suggested, is suspended somewhere between recognition and memory. For Henson’s photography to work successfully it must contain some element of truth so that it speaks to the viewer. These elements may merely be a road, or lights in the distance, but they give his images a location and setting and therefore grant it a form of reality. In his work he is often influenced by external day-to-day experiences. This in turn makes his photographs a representation of his own personal past and history. Henson states; The work might begin with a fleeting impression from first-hand experience or in a piece of music I am always drawn back to, or perhaps in a paragraph of writing I cannot forget – and then it takes its own course. I become like a participant in some larger process I happen to be fascinated by. 6] Within his photography Henson sets up tensions by colliding opposites: beauty and squalor, the ordinary reality that a camera captures and something uncanny or otherworldly. Fashion is an evolution, a reinvention, a constant cycle of ideas, influences, trends, social and cultural demands. Fashion â€Å"matures and dies with the era and is once again reborn in partnership with the new rhythm of the succeeding era†[7] Some photography is used for public exposure of personalities and for advertising, often found everywhere that we look, whether it be in magazines. The exact purpose of tabloids and exposure is evident when we look at the photographer Mario Testino. Testino stated that: â€Å"I belong to a time which many women and even men are obsessed with looking like models. In my work portraiture has a wider function beyond simply making someone look beautiful. It is a matter of identity. The identity of a fashion company has become like the identity of a living person in the modern world, or at least real as a person in a novel or film. These images can seem as familiar as some one you know. These people also need to be inverted. [8] This statement by Testino explains how he goes about photographing his subjects. He captures parts of the subject’s personality and through tabloids and exposure through such avenues as journalism, it allows him to become a major photographer/icon therefore creating a celebrity status for himself. Although many images displayed in magazines are behind the scenes, of famous celebrities and their everyda y lives, we discover that it is not only the photographs of these exclusive people that draws the readers attention into the magazine and image in the first place. It is also the words that are associated with the image and the interaction that they make. By photographers capturing images of celebrities behind the scenes, it established the photograph as privileged and worthy of something. [9] Roland Barthes suggests: â€Å"Since the photo is pure contingency and can be nothing else (it is always something that is represented) contrary to the text which, by the sudden action of a single word, can shift sentence from description to reflection. †[10] All three photographers need to provide some element of truth, as no image can work effectively without the viewer having prior knowledge or recollection of a similar content. Through mechanical advancements associated with contemporary photography, the question has risen whether we can rely on photographs as a key piece of evidence or proof. We can be confident in saying that photographs allow us to have proof of memories and existence. We can identify through different artists such as Zoriah, Bill Henson and Mario Testino that each photographer needs to depict a certain amount of truth depending on the genre and their point of view. Whether it be seeking realism, fictional realities or aesthetic exposure for publicity, and promotional purposes, within the work of these three photographers there needs to be elements of truth. At the same time that contemporary photography needs to contain some element of truth in order to speak to the viewer. I don’t believe that within all photography the content itself needs to be a truthful representation of an event. I believe that if contemporary photography is to ‘work’ successfully it needs to comprise of truths, but depending on the genre of photography there is a greater or lesser need for truth, within representing reality. For example; A documentary photographer should comprise his images with more truths than a fashion photographer, or a fictional reality photographer, as documentary photography is a genre which relies on truths and reality. It is seen as evidence or proof. Whereas fashion photography though used as a historical reference for the fashion trends and of a particular era, it is a creative, commercial genre, which can rely on less truths, as the general public does not see fashion photography as reality. It holds the main purpose of selling a garment of clothing. It then can also sell a brand, and in some cases sell a ‘lifestyle’. In fictional reality photography there is very little need for truth as long as the viewer has some connection to the content, through their personal experiences, then there is little need for reality or truth to be portrayed in these images. Photography needs some truth in order to work successfully, but it does not need to represent reality, and it cannot represent reality fully. I conclude with a quote from Sarah Kember, who sates; â€Å"How can we panic about the loss of the real when we know (tacitly or otherwise) that the real is always already lost in the act of representation? Any representation, even a photographic one only constructs an image-idea of the real; it dos not capture it, even though it might seem to do so. A photograph of the pyramids is an image-idea of the pyramids, it is not the pyramids. †[11] Bibliography Alexander, G. Tableaux-menento mori-screen culture. In Photography; Art Gallery of NSW Collection 2007 Barthes, R. Camera Lucinda: Reflections on Photography, trans. Richard Howard. London: Fontana, 1980 Bright, Susan. Art Photography Now. London: Thames Hudson Ltd, 2005 Cotton, Charlotte. The Photograph As Contemporary Art.