Versailles Effect On Germany Essays - Treaty Of Versailles

Versailles Effect On Germany The Treaty of Versailles: Prelude to WWII The Treaty of Versailles was not a justified treaty, which created German feelings of revenge and dislike towards the victorious countries. This feeling of revenge felt by Germany, in addition with the social atmosphere of Europe, led to a Second World War in the September of 1939, just 11 years after the first World War. People at the time published reports on the unfairness of the treaty. America never ratified the treaty but Britain and France still enforced it. Germany had no choice but to sign the unfair document and it was only a matter of time before things turned for the worse. We must examine the background, clauses, and effects of the Treaty of Versailles on Germany and Europe to understand how it helped cause WWII. Then, when you look at the situation the treaty created for Europe, we can see how WWII came about. The war had left Europe in shambles. WWI ended on November 11, 1918, leaving millions of European soldiers dead and injured. Large areas of Belgium and France had been devastated and two of Europes most powerful countries, Germany and Austria-Hungary, were defeated and exhausted. All the European countries were now bankrupt from the cost of waging a war for four years. Germany had not been defeated, but knew that if it continued to fight war against the strong American army, defeat in Berlin would result. Because Germany had surrendered, her only option was to either sign the treaty, or else go back to war again, which would inevitably result in defeat. The Treaty was unexpectedly harsh, though, despite the fact Germany hadnt been defeated, she had merely surrendered. Germany was forced to agree that it was guilty of starting the war. This clause was the most insulting and damaging clause for it blatantly and wrongly accused Germany of being the sole cause of war, and this enabled the other clauses to be severe as she was now to pay for the whole of WWI. The second clause was that Germany had to disarm. The effects of this clause were: the army was to be limited to 100,000 men; conscription and much prided submarines and aircraft (the allies thought that without an air force Germany couldnt ever go to war) were to be banned; the navy was limited to six battleships (no Dreadnoughts); and the Rhineland was to become a demilitarized- zone. This was emotional for the Germans since they had had such a strong army and were forced to sink their prided Dreadnoughts. This emotional loss created resentment towards the allies and was the first clause for Hitler to undo. The reparation clause was an unjust clause, for the amount was excessively much, as said by many people at the time. Germany had to pay severe reparations, imposed to help the damaged countries rebuild after the war, at the amount of $5 billion due May 1, 1921.9 The leading British economist, John Maynard Keynes, published a book, before the increase in reparations to $32.5 billion by 1963, warning that the treaties would prevent the European economy recovering from the war damage. Germany had hardly enough money to pay the original amount, and, inevitably, great inflation occurred, destroying the economy and causing unemployment and starvation. Furthermore, another clause of the treaty was that the territory of Germany had to be greatly reduced. Britain and France had been malicious and were shortsighted by demanding Germanys money while taking away the territory that could provide the money. In this clause Germany lost 13% of its territory, containing 7.3 million people, and all of her overseas colonies, ending her empire. Germany had lost her main coal producing territories of Upper Silesia and the Saarland. In 1913, 139 million tons of coal were used in Germany for railroads, utilities, fuel, and agriculture; the Saarland and Upper Silesia had accounted for 60.8 million tons of this. With more than half of Germanys coal taken away, they didnt have enough coal to power the populated industrial country. With industry destroyed there was no way they could pay the reparations. Germany had made proposals dealing with the territorial decisions and reparations; they were willing to give up Alsace-Lorraine

The History of Photography †Art History Research Paper (300 Level Course)

The History of Photography – Art History Research Paper (300 Level Course) Free Online Research Papers The History of Photography Art History Research Paper(300 Level Course) What is a portrait? This is a difficult question to answer in photography. John Gere defined a portrait as â€Å"’an image which the artist is engaged with the personality of his sitter and is preoccupied with his or her characterization as an individual’† (Campbell 1). The common perception of a portrait is the representation of the subject’s likeness, however, this statement is comprehensive with deception. In this essay I will explore the meaning of the portrait in order to understand what a portrait is in photography. What constitutes a portrait? In order to understand the meaning of a portrait, we must define what makes a portrait. The dictionary defines the portrait from a historical perspective: â€Å"por’trait, the likeness of a person painted or described from life† (Highroads Dictionary 382). Similarly, I always believed a portrait is a picture of a person. Simple as it may appear to be, it is not true, it is far too complex. There may be a person in the picture but it is not necessarily a portrait of that person. The portrait is not restricted to facial features and could embody the essence of an individual through bodily gestures. The image may appear to be a portrait but lacks the essence of the individual. A portrait is a deliberate attempt to capture something of that human being (Sliwinski). As long as there is an essence the person is emitting from the photograph, it may be referred to as a portrait. If there is an absence of characterization from the person, the portrait of that person does not exist. Typically the face coincides with the portrait because â€Å"the head, and especially the face, are of paramount importance in recognition, and the eyes, nose and mouth are particular interest† (Campbell 10). The face is what defines us from each other and allows us to easily show expression by externalizing the internal. A portrait is a â€Å"mirror-image – not as we see ourselves, but as others see us† (Clarke 103). This is a difficult concept to accept because humans want to be in control in how others view them. A portrait, therefore, is a portrayal of our essence through our physical beings. The aim of a portrait is to capture a true representation of a person without personal interference from the artist or the sitter. This is an idealistic goal. It is unlikely that the sitter will not portray his or her own desired perception of himself for the camera nor is it likely that the artist will not unconsciously portray an image of themselves unto the subject. Everyone has an image of how they view themselves that contradicts how they are seen by the world. The camera conflicts with this personal battle of revealing. In Campbell’s article questioning what a portrait is, she notes that a person adjusts their features prior to viewing their own reflection which denotes a poor indication of their appearance. She continues this analogy to â€Å"someone facing a camera will normally assume an artificial expression, a ‘camera face’, and the degree of success with which he does so will determine whether or not he may be called photogenic† (8). We have all encountered the ‘photogenic’ term and the connotations that are attached to this loose definition of the ability to fool the camera. Either you are photogenic or you envy those who are photogenic. People often personify the camera in comments such as ‘the camera doesn’t like me’ or ‘the camera lies’ if they fear that the camera will not satisfy how they want to see themselves. In doing this, they are manifesting their own frustration for not being able to fool the camera into showing them how they want to look and not as they look. Photogenic people are too being fooled because it is not necessarily how they are seen by others. In viewing their beautiful portrayal of themselves, they are encouraged to believe that is how they are at every moment. The camera lies indeed. It is difficult to say one has captured the true likeness of someone once they have taken their photograph. A portrait is the physical manifestation of vanity. People want to be seen at their very best even if it goes beyond who they truly are. If it is not in their physical appearance, it is in their possessions, in their occupation, in their social status, or in their wealth. This was apparent in portraitures of the past. Only those of great wealth, status, or close association to the artist had their portrait painted. Their idea of themselves consumed the painting and distorted the likeness of the individual. People were painted to show power, beauty, and status. Any aspect they despised of themselves, or they wished upon themselves, were altered for their satisfaction often to the point where they were unrecognizable. Graham Clarke wrote: â€Å"’at virtually every level, and within every context the portrait photograph is fraught with ambiguity’† (Clarke 101). The truthfulness of photography is further challenged in portraiture where even the subject is deceptive t o the truth. We pose whenever the camera appears assuming to be something we are not (Sliwinski). The desire to control how one is seen is continuously a part of human nature. We want to be seen at our best at all times, so we camouflage our flaws and hide our weaknesses. We, as humans, do not want to be perceived as anything less than we think of ourselves. It is in human nature to be sensitive to the judgements of others and vanity allows us to guard ourselves against ridicule from ourselves. Not only are we conscious of how we look physically, we are conscious of how we are represented: â€Å"just as sitters may be idealized to make them look more beautiful than they really are, so they may be falsely characterized as more successful, discriminating, heroic, intelligent or virtuous than they may in fact be† Everyone wants to be perceived by others as the ideological image they have of themselves. It is this desire that causes us to sit tall in front of the camera, pull back our shoulders, suck in our stomachs, open our eyes wider, or countless other techniques to wilfully control the outcome of the camera’s eye. We are all guilty of trying to fool the camera from capturing us as we are, whether it would be fixing our hair or tugging at our clothes to get that perfect image. We are vain creatures who are fully aware of the camera. Digital photography is an improvement to the portrait. People are now able to control how they are seen and remembered by others. They can delete and alter their images until they have collected the perfect depiction of how they want to see themselves. In other words, digital photography is a tool for vanity discretely disguised as a tool for photography available for everyone. I too am guilty of deleting the â€Å"bad† pictures of myself that did not meet the expectations I have for seeing myself. Digital photography has made it possible to eliminate or retouch photographs to elude perfection. It poses a greater risk of likeness distortion in the future because the ever-so-perfect captions of the self has been through a screening process and does not resemble the true likeness of the self. The way we will be remembered is not how we were but how we wanted to be remembered, a false likeness of ourselves. Photographs of people presented by the media are not portraits. They may fulfil the requirements of a portrait but the essence of the person is absent. In fashion photography, the personal self is empty because the public expectations of how this person is desired to look overrides and destroys the essence of the subject. Celebrity portraits are an offspring of fashion photography: the portrait becomes how we want to view this person from an idealized perspective, not how they are viewed. Campbell emphasizes that â€Å"images of beautiful people continually present problems of classification† (Campbell 2). The reason for this is that the beauty of the person is idealized to the point of surrealism and â€Å"these can become difficult to distinguish from true portraits† (Campbell 2). The problems that arise from this are that people become easily fooled as to what beauty is and try to conform themselves into that depiction of beauty. This causes them be conscientious of their appearance at all times and robs their essence from being imprinted into their own portraits. They are both deceiving themselves from their true likeness and deceiving others into believing that it is their own likeness. In portraits â€Å"it is difficult to know exactly what one looks like or to judge a likeness of oneself† (Campbell 8) because there is a false presentation of oneself. There is an awkward relationship between the viewer and the subject in the photograph when looking at portraits without a sense of the internal. There is an invisible barrier established when the subject is aware of the camera and distorts his or her physical appearance to resemble the likeness of themselves in their mind, not the likeness they actually are. One would â€Å"need to probe the images for any hint of an internal, and private self† (Clarke 114). If the viewer needs to hunt for the sense of self from the individual, the artist has not done their job. It is the job of the photographer to capture a piece of the person that defines a part of their true self. Inge Morath underlines the purpose of a photographic portrait and the role of the photographer: a good portrait â€Å"catches a moment of stillness within the daily flows of things, when the inside of a person has a chance to come through† (Clarke 101). It is one of the most difficult things to do because people do not trust the camera to reveal themselves in a flattering manner they wish to be portrayed. It takes great skill both artistically and socially to produce a portrait that satisfies all definitions of what a portrait is in photography. What is a portrait? A portrait is a moment of time where the true essence of a person can be revealed without distortion from the subject or artist. Campbell, Lorne: ‘Portraiture’, The Grove Dictionary of Art Online, (Oxford University Press). Clarke, Graham. The Photograph. New York: The Oxford University Press, 1997. Sliwinski, Sharon. â€Å"The Portrait in Photography† Portraits. Ontario College of Art and Design. October 14, 2004. Highroads Dictionary: Pronouncing and Etymologogical. Toronto: Thomas Nelson and Sons ltd, 1951. ed. 1960. Research Papers on The History of Photography - Art History Research Paper (300 Level Course)Analysis Of A Cosmetics AdvertisementTrailblazing by Eric AndersonEffects of Television Violence on ChildrenHip-Hop is ArtWhere Wild and West MeetUnreasonable Searches and SeizuresMoral and Ethical Issues in Hiring New EmployeesThree Concepts of PsychodynamicComparison: Letter from Birmingham and CritoAnalysis of Ebay Expanding into Asia

Political Philosophy, Values, and Ethics Essay Example | Topics and Well Written Essays - 750 words

Political Philosophy, Values, and Ethics - Essay Example Critics of the article, Bekemeier & Butterfield (2005), came up with their own publication for and against some of the views of ANA’s article.. I agree with the authors that the nursing practice should be politicized in order to prevent health care from fully developing into a market-based endeavor. The health of a community is the key to its progression, and as the authors find, nurses are more connected to community than people could ever imagine. Therefore, if we take this topic into consideration, we do not only stand to save the community for poor health statues, but also support their progression and also the development of health care and nursing practice. Kindly go through my paper to see the importance of this. Yours Truly, Name Political Philosophy, Values and Ethics According to Bekemeier & Butterfield (2005), the American Nurses Association (ANA) documents â€Å"Code of Ethics for Nurses with Interpretive Statements, Nursing's Social Policy Statement and Nursing: Scope and Standards of Practice† offer a vague, inconsistent and shallow conceptualization of social justice. The authors also argue that the documents do not present a sufficient framework for nurses to tackle underlying issues, which affect health outcomes. In spite of extensive references to the significant role of nursing in social reform, the American Nurses Association’s documents unreservedly reinforce nursing practice directed to the individual nurse-patient affiliation and offer short shrift to treatment models, which endorse wide systems change aimed at improving health (Allen, 1987). According to Bekemeier & Butterfield (2005), apolitical nursing commands are incongruent with the structure in which nurses practice these days. The author think that people should refer to it as caring when they provide emotional and technical support to patients who are afterwards discharged to face dispossession in the wider civilization. In accepting the political nature of n ursing practice and notion, nurses have a chance to challenge the belief of neutral caring (Allen, 1987). Nurses make each and every act a political act as they practice in communities, with their patients, as well as among normal citizens. Nursing actions derived from an institutionalized replica of powerful traditional, sales-driven paradigms and objectivities from multifaceted problems should be political (Bekemeier & Butterfield, 2005). Available, as well as consistent language, in the United States’ nursing documents and anywhere else can, nevertheless, validate socially just actions, which create new opportunities and meaning for nurses, supporting nursing leadership in acting on fundamental matters that affect people's health. Nursing guidance and standards in any country should center on illuminating roles for nurses to successfully challenge political structures that oppress. Accepting a critical paradigm allows nurses us to see how knowledge and their privileged pos itions as witnesses can be utilized for social change. This can expand also roles for nurses to legally take part in political activism in their professional lives and practice settings. Bekemeier & Butterfield (2005) acknowledge that racial fairness, worldwide peace, reproductive freedom, as well as

Select an article from a magazine or newspaper that has something in Essay

Select an article from a magazine or newspaper that has something in it that pertains to biology - Essay Example Participants were later showed the same pictures as well as more new ones on a new day. The subjects who had taken the dose managed to identify the pictures that were similar. Other than this test, others were conducted and it was concluded that a certain dose of caffeine, say 200mg, needed to be observed in order to enhance the effect that caffeine had on consolidating the memory. Biology is mainly composed of natural science that is concerned mostly with the study of living things and life as well as their structures, functioning and their growth. Basically, biology is what surrounds us as human beings and the various activities we take part into. In biology, one learns about how the human body works and functions in order to keep one alive. It also introduces one to the most important body organs such as the brain, heart and the liver and how they function. The article on caffeine and long term memory boost relates to this course in that it provides some explanations based on researched work on how one’s memory can be enhanced. The brain is a core topic studied under biology, how it functions and coordinates all the activities in the human body. Biology also introduces students to important concepts in life. One, for example, learns about various hazards that may come as a result of substance abuse such as the hazards that may be brought about by abu sing drugs. The article also to some extent covers on the effects of caffeine related to biological concepts. A book by Harrison, Principles of Internal Medicine, provides relevant information on how the memory is essential in allowing humans not only to store, but also to retrieve information. It also provides information on how the human brain works and the various processes involved (Isselbacher & Harrison 98). This information enables one to understand the article on caffeine especially on the part

Hound of the baskervilles Essay Example for Free

Hound of the baskervilles Essay Conan Doyle writes the text I am studying and the novel is The Hound of the Baskervilles it is a story where a phantom hound is supposedly killing off members of the Baskerville bloodline. So Sir Henry calls upon Sherlock Holmes to investigate along with Watson and hopefully lay the myth to rest forever. In this essay I will describe the characters and look at how Conan Doyle creates suspense + a feeling of mystery in the text and how he describes the environment by using different language. In particular I will be looking at the language used in the sentences, as this is an important part as to how Conan Doyle creates suspense. Watson tells the story in the first person we know this because the story is told by him and his diary also this has already happened making this in the past tense, the events happen in chronological order. Watson describes everything very slowly and in detail up until they chase after the hound, then everything happens very quickly after this. Conan Doyle uses clever wording in his sentences for example: a key turned in the lock and as he passed in there was a curious scuffling from within this creates tension because it makes you fearful of what is in the shadows of the room. This makes you want to read on to find out what happens and what creature lurks inside the abyss. Conan Doyle makes you panic when he introduces the sea of fog gliding across the Grimpen Mire. This causes tension because if sir Henry does not get to them the hound will get him then when the hound leaps out of the fog with burning blue teeth it makes you jump up in your seat. This dissipates the tension and everything turns into adrenaline to kill the hound. You know something scary is going to happen when they cock there pistols ready to shoot what ever comes at them earthly or demonic. Hist cried Holmes and I heard the sharp click of a cocking pistol this shows that they are ready for anything and this builds tension because your eagerly anticipating whatever is going to come out of the fog. Conan Doyle creates tension by making sure that Holmes does not tell lestrade and Watson anything this makes them very annoyed but because of this it creates a lot of suspense and tension in the reader because you do not know what is going on. The Grimpen Mire is described as a dangerous creature crawling across the mire and towards the house and this creates a threatening atmosphere because unless sir Henry gets to them in time then Holmes plans could be thrown into disarray and the hound could kill sir Henry so this creates a tense atmosphere. The Grimpen Mire is described as a huge morass of foul slime filled with bones. Protected by the foul smell of the swamp, which gives off a very sinister smell, which gives it a sinister feel and how cruel Stapleton was. Stapleton had obviously gone slightly mad in his desperate attempts to kill members of the Baskerville bloodline. In conclusion Conan Doyle creates tension by keeping his cards close to his chest up until the very last few moments and this is how he develops tension. Also by describing the scenes and introducing the sinister fog it makes the scene scarier. The tensest bit is when you are waiting for the hound after sir Henry has passed and there are a few heart pounding seconds waiting for the creature. I think that Conan Doyles choice of language and the way he sets out the environment is how he creates tension and that this is why it is so tense in chapter 14 of the Hound of the Baskervilles.

Evaluating Societies Culture by Norms, Values, and Laws Essay

Almost every society participates in a unique culture that cannot be accurately judged without acquiring viewpoints from the individual’s in it. While reading the article India’s Sacred Cow by Marvin Harris (1978) I was able to gain insight about the Hindu people and their reasons for â€Å"worshipping† the â€Å"sacred cows† (Harris, 1978). According to the textbook Sociology Thirteenth Edition by Richard T. Schaefer, â€Å"through cultural realism, or the sincere attempt to understand an individual’s culture from his or her perspective, we might obtain information on how to better ourselves and our society† (Schaefer, 2012). At first, many factors of Hindu culture seemed a little arbitrary compared to American cultures, but after I gained information regarding Hindu religious beliefs, I was able to understand, and somewhat relate with, the â€Å"values†, â€Å"norms†, and â€Å"laws†, that make up the culture of Hindu p eople. According to Schaeffer (2012), â€Å"values are conceptions of what we consider good, desirable, proper, or bad, undesirable and improper in a culture†; I believe that no value is correct or incorrect because not everyone has the same opinion on what’s â€Å"good† or bad† (Schaeffer, 2012). In a Hindu culture worshipping cows is considered proper and most likely desirable. This would most likely be labeled as abnormal and undesirable in most American cultures, because people in America usually do not depend on cows for their society’s well-being. According to Harris(1978), â€Å"the Hindi people depend on the cow with their lives, if they did not have the cow, then they would not have means to produce oxen to transport them from place to place and to plow the fields so they can have food (Harris,1978). This differs greatly from most American societ... ...even bizarre human cultures may appear, they can be understood at least in part.† He (1978) further supports this statement by claiming that â€Å"India’s sacred cow is in fact quite a rational cultural adaptation, because the cow is so extraordinarily useful† (Harris, 1978). Before judging a culture on a seemingly odd belief, think about it in context of the other individual, it may not be odd to them because it may be their norm, it may have value, or it may be the law. If every person can relate with the views of others there will be a more harmonious existence for all societies and their cultures. Works Cited Schaefer, R. T. (2012). Culture. Sociology: a brief introduction (13th ed., pp. 53-65). New York: McGraw-Hill. Harris Marvin.(1978). India’s sacred cow. Retrieved from http://www.sociology101.net/readings/Indias-sacred-cow.pdf

Consumer Behavior Case Study Do Our Avatars Learn Essay

1) According to the text, classical conditioning occurs when a stimulus that elicits a response is paired with another stimulus that initially does not elicit a response on its own. As time passes, the second stimulus is able to cause a similar response because of the fact that we associate it with the first stimulus. An example of classical conditioning would be one that was demonstrated by Russian physiologist Ivan Pavlov. He conducted research on digestion in dogs. Pavlov was able to induce classically conditioned learning when he paired a neutral stimulus (a bell) with a stimulus that was known to cause a salivation response in dogs (he squirted dried meat powder into their mouths). The powder represented an unconditioned stimulus due to the fact that it was naturally capable of causing the response. As time passed, the bell represented a conditioned stimulus. Initially, the bell didn’t cause salivation. However, the dogs learned to associate it with the meat powder and began to salivate at the sound of the bell only. The drooling of these canine consumers because of a sound, now linked to feeding time, represented a conditioned response. Pavlov demonstrated a basic form of classical conditioning that primarily applies to the responses that the autonomic (e.g., salivation) and nervous (e.g., eye blink) systems control. Meaning, it focuses on visual and olfactory cues that induce hunger, thirst, and other basic drives. When marketers are able to consistently pair these cues with conditioned stimuli, such as brand names, consumers may learn to feel hungry or thirsty when they encounter these brand cues at a later point. This is an example of how classical conditioning can operate for a consumer who visits a new tutoring Web site and is greeted by the Web site’s avatar who resembles Albert Einstein. The individual might not pick of the olfactory cues the first time he visits the Web site, but over a period of time he/she will. 2) According to an online source, instrumental conditioning (also known as operant conditioning) is a form of learning in which an individual modifies the occurrence and form of its own behavior due to the consequences of the behavior. The difference between instrumental conditioning and classical conditioning is that instrumental conditioning deals with the modification of â€Å"voluntary behavior† or operant behavior. Operant behavior â€Å"operates† on the environment and is maintained by its consequences. On the other hand, classical conditioning deals with the conditioning of reflexive behaviors which are elicited by antecedent conditions. Behaviors that are conditioned via a classical conditioning procedure are not maintained by consequences. This is a learning process that we most closely associate with the psychologist B.F. Skinner. Skinner demonstrated the effects of instrumental conditioning by teaching pigeons and other animals to dance, play Ping-Pong, and perform other activities when he systematically rewarded them for desired behaviors. Due to the fact that responses in classical conditioning are involuntary and fairly simple, we make those in instrumental conditioning deliberately to obtain a goal, and these may be more complex. The desired behavior might be learned over a period of time as a shaping process rewards our intermediate actions. From all of this research about instrumental conditioning, we conclude that a consumer who purchases a new outfit for his avatar on a virtual world would be modifying the occurrence and form of the avatar’s behavior due to the consequences of the behavior. 3)I believe that consumers do build associative networks through their avatar’s experience just as they would with any other product or service. The text states that we each have organized systems of concepts that relate to brands, manufacturers, and stores stored in our memories. The contents, however, depend on our own unique experiences. We should think of these knowledge structures, or storage units, as complex spider webs filled with pieces of data. Any information that is incoming gets put into nodes that connect to one another. When separate pieces of information are viewed as similar, we chunk them together under some more abstract category. Then, we are able to interpret new, incoming information to be consistent with the structure we just created. This helps to explain why we are better able to remember brands or stores that we believe â€Å"go together.† Recent research has indicated that people can recall brands that are not as obviously linked. However, in these cases, marketers have to work harder to justify why the two things go together. I do believe that this network is part of the consumer’s overall associative network for that brand. This is because in the associative network, links form between nodes. For instance, the text states that a consumer might have a network for â€Å"perfumes.† Each node correlates to a concept related to the category. This can be an attribute, a specific brand, or a related product. When the consumer is asked to list perfumes, she only recalls those brands that show up in the appropriate category.