Substance Dualism Term Paper Example | Topics and Well Written Essays - 2000 words

Substance Dualism - Term Paper Example Such versions are comprised of substance dualism; psycho-physical parallelism; occasionalism; idealism; double-aspect theory; and epiphenomenalism. I wish to stress on the fact that such examinations will be done to further establish the arguments that will be set on the logicality of duality. Dualism, in its basic sense, emphasizes on the radical difference between mind and matter (Calef). In this reasoning, the mind is not the same as the brain or any other body part. Thus, there exist two independent substances in a person—one material (comprised mainly of bodily parts) and one non-material (human mind) (Philosophy of Mind). The term ‘substance’ is the most essential concept in this statement as it strongly posits the need to treat the mind as an independent object. Formally defined, a substance is a thing or an entity that does not depend on other thing or entity in order to exist (Lacewing). Moreover, a substance may or may not be composed of other substances, may or may not enter into relationships with other substances, but will always have specific attributes (Blutner). Through this definition, the ‘dualist perspective’ argues that there are two fundamentally different objects in a person—the mind and the body—and they do not necessarily need the presence of each one to exist. Thus, while the mind and the body may or may not be in a ‘relationship’ (as to be explored in greater detail in the second part of this paper), they will always possess specific attributes that will make them be as they are (Everitt). Because of this, the human body and the human mind can be discriminated according to attributes of spatial extension (for body) and of thought (for mind). Such attributes are further ‘specified’ by certain states or modes—modes of extension such as form, location texture and weight for the body, while modes of thought such as images, emotions, beliefs,

Write a critique of an article of your choice.(optional topic) Essay

Write a critique of an article of your choice.(optional topic) - Essay Example The article gives them the knowledge of a child’s character and how they may see what they read in the stories they choose. The professionals will be able to see how ideas that they have fit into social contexts of the people around them.(Bosmajian,2005,p103) Children’s literature is a field that assumptions will have to be made to understand what the child thinks about their collective and personal values and issues they have. The article is about ‘the implied reader’ and how what they read tells us each a different idea of what is read. It is all in how we look at what is around us and the choices we make and interpret to bring meaning. (Bosmajian, 2005, p. 103) In summary this article is about how children’s literature can be used by professionals to help children find out about themselves through what they read. The readers will learn what makes them learn what they see and use that learning as they grow. According to Freud, â€Å"he saw that this is a therapeutic release for the author and a critical relationship between child and play and poet and language.† (Bosmajian, 2005, p.104) Freud also thought that desires and what society wants is a conflict and that we must make substitutions and make displacements and still be able to take our ideas and make one image to tell about ourselves. Jung thought â€Å"it is a therapeutic process that begins with recognition of the loss of original wholeness due to self-inflation or alienation of the ego.† (Bosmajian, 2005, p. 105) It is about the connections that we make between what we read and see that we make our choices known. Horney, Abraham, Klein, Winnicott and Lacan believe in Ego Psychology and object relations themes. They believe that we all need to self actualize ourselves to improve our identities through language and what we read. Lacan also

The Importance Of Online Reviews

The Importance Of Online Reviews In the wake of digital age, the internet offers a relatively complete and comprehensive environment for people all over the world to communicate and share information. The form of film review is reforming as well. From traditional critics of experts to review of ordinary audience (Awad, Dellarocas Zhang, 2004), cyber world offers a newly effective channel for audience sharing their comments about movies; cinema industry also encounters more challenges on box office from consumers (Boatwright, Kamakura Basuroy, 2005). For film industry, online review of critical audiences plays an important role. On one hand, the good comments of a movie can attract more audiences in general. On the other hand, the good comments do not necessary mean high box revenue and vice verse. The impact of film review has been proved by previous study on motion pictures (Litman, 1983; Eliashberg, Shugan, 1997; Basuroy, Chatterjee, Ravid, 2003; Desai, Basuroy, 2005; Gemser Gerda, 2007). However, most study tends to research film review from traditional critic review of journals or other form of articles while less study approach to the impact of online review on box office success. Within this paper, I approach to explore the correlation between the online review of new social media and the box office success of different types of movie. Although there are previous researches about the influence of online review on box office, those researches tend to study the whole catalog of film. In differ from previous research, the target of this paper is to find out to what extent online review could influence box office success and whether the impacts of different types of movies are the same. According to Gino and Ferrian research (2006), new social media can reflect the successful of the movie to a great extent. Audiences preferences and tastes can and stimulate final box office as much as the most positive comments from newspaper. Comparing with traditional media, such as articles written by critics or reporters on influential newspaper and magazine, obviously new social media is more powerful and covers a lager scope of audiences. By offering the opportunity to share preferences among ordinary audience, online movie database has established (www.IMDb.com). In the next couple of years, IMDb has expanded fast and became the best known platform for sharing information of the movie. The famous TOP 250 Movies list represents the best movies around. By cooperating with major film company and convenient operating platform, it has been recognized by both experts and audiences. The online ranking order of movies in IMDb, as the most direct and transparent approach to reflect th e positive or negative review of movie, is decided by normal audience worldwide. Due to the reliability and authoritative data of IMDb, this paper focus on online ranking order of IMDb. By dividing the first 100 movies of TOP 250 Movies into different catalogs which are artistic film and commercial film, the paper tests the correlation between the box office and the four independent box office drivers that are production budget, awards obtained, MAPP rating and online ranking order. In order to explore the correlation, this paper uses two equations for multiple regression analysis to test the possible difference between artistic film and commercial film by running SPSS. Comparing the results of outputs, there is statistical significance of both kinds of film. However, for artistic film, online ranking order has relatively less impact on box office while the most important determinant is awards. Meanwhile, the result of commercial film shows the strongest correlation between online ranking order and box office success comparing with other determinants. Thus, I con clude that higher online ranking order indicates higher box office of commercial film. As for artistic film, how many awards it obtained is the most important reason for box office. To be admitted, there are some limitations of the paper due to the small sample size of the research. Literature review 2.1 Artistic film and commercial film Film industry as an important part of creative industry has created huge fortune in both material and psychological of human contemporary history. Although there are plenty of types of movie and different catalog involved, considering the high marketing participation, film industry classifies two catalogs which can generalize all are types of movie. The two catalogs are labeled as major and independent films (Zuckerman Kim, 2003), or art house and mainstream films (Gemser, Oostrum Leenders, 2007). The reason of the different names attributes to the slightly difference about definition and criteria. However, those differences reflect the degree of artistic and commercial of a film (Bagella Becchetti, 1999). Thus, artistic and commercial film can be summarized as the most applicable assortment for film industry. Within this paper, I apply the concept of artistic film and commercial film on my research target since it is a relatively comprehensive classification. According to the author of Cinema of Outsiders: The Rise of American Independent Film, who had interviewed dozens of independent director and film researcher, whether a film could be defined as artistic or commercial film can be judged from two aspects. One is based on the way indies1 are financed, the other focuses on their spirit or vision (Emanuel Levy, 1999). The former concept refers to marketing issues including distribution and budget. While the latter one tends to be a abstract definition which is the fresh perspective, innovative spirit and personal vision that are determining factors. Since the concept is too ambiguous, the distinction between artistic film and commercial sometimes to be blurred to a great extent. Even a number of insiders of film industry tend to ignore the difference between artistic film and commercial film. Joseph Burstyn, a film distributor offered his point of view about artistic film. He said, I hate the expression art filmà ¢Ã¢â€š ¬Ã‚ ¦ there are o nly two kinds, good films and bad films. Based on his opinion, there is no fixed meaning of art film. And obviously the concept of art film and commercial is flexible because of the increasing complexity of producing a film due to the financial issue of the film. Nevertheless, there still are certain standards for distinguishing artistic film and commercial film according to previous study. The factors might determine whether a film belongs to artistic film or commercial film refers to several more practical elements that contain production budget and advertizing effect (Geer, 1998), the participation of super stars and award-winning situation (Bagella Becchetti, 1999), the number of released screen (Reinstein Snyder, 2005), or the story line and the narrative structure of the movie (Bordwell Thompson, 2001). Those elements construct the standards of judging whether a movie is an artistic or a commercial one. And the two types of film construct the success of movie industry. Since there are different criteria of artistic film and commercial film, the box office success, the potential influence, and the reputation are distinct. Traditional concept about artistic film tends to be closed to the definition of independent movie which indicates independent production without any financial support of the eight major film company, MGM (Metro-Goldwyn-Mayer), Paramount, 20th century Fox, Warner Brothers, RKO (Radio-Keith-Orpheum), Universal, United Artists, Columbia Pictures (Levy, 2001). However, throughout the development of the century, the eight companies have been through broken, emerged and rebuilt. The concept is not suitable anymore. In my research, I only focus on the distinction of box office success between the artistic film and commercial film by texting different determinants of box revenue. In order to research the correlation between online review and different types of film, which are artistic film and commercial, I consider three elements which ar e production budget, language (English/non-English) and the number of released screen as the criteria that can classify all the films preciously into artistic film and commercial film. Since I conduct quantitative research in this paper, the three factors could offer a clarity standard for classifying artistic film and commercial film. 2.2 The function of film review First of all, film as information good has an important characteristic, which is experience good. The feature of experience good is that consumers must experience it before they know what it is (Hal, 1998). This factor results in a permanent problem which is incomplete pre-purchase information. Thus, reviews of film help overcoming this problem to a great extent. By providing evaluations and comments to potential consumers are ubiquitous in digital age (Hal, 1998). Although it is still a limited access for consumers getting to know the product, reviews play a curial role in the whole film industry, especially before video image became popular. Due to the importance of review in film industry, there are plenty of studies and researches about the influence of film reviews. To be more specific, most researches discover the relationship between reviews and box office success. And the result proved to be positive in most cases (Wyatt, 1991). Nevertheless, there are a number of different study implies opposite result of the correlation between box office success and positive review. Negative or positive review does not indicate the significant relationship between box office success and the movie performance. For instance, Transformer as one of the best known profitable series of film history did not earn too much positive review from professional experts or public. However, the worldwide box office of Transformer reached 836,297,228 US dollars worldwide, four times more than production budget, according to official data collection of IMDb. Most study about how review impacts box office tends to have the similar conclusion that there is significant-but-weak association between judgments of reviewers and box office success (Holbrook, 2007). Based on previous research, there is a significantly positive correlation between the average of ratings in two critical guidebooks and distribution rentals (Prag Casavant, 1994). On the other hand, there are evidence indicating a negative relation between the earnings of selected films and their critical evaluation, which could be explained by the application of technical and analytical considerations and stringent artistic standards in critical evaluations, whereas audiences looked simply for enjoyable entertainment (Hirschman Pieros, 1985). To explain the different result, there is the assumption that ordinary consumers like more accessible, realistic forms of entertainment, while professional critics give higher ratings to more complex, abstract, and intellectually demanding artwork (Holbrook, 1999). Despite of previous research on correlation between box office success and review, the perspective of the research is prone to focus on favorability of journalistic reviews or judgments of film experts (Prag Casavant, 1994). There are relatively less researches concerning about publics review. Due to the popularity of internet, audiences are able to share their review and preference through the internet instantly. Holbrook concludes audiences opinion towards motion picture as popular appeal which contains online rating and review. The popularity of online review is the nature consequence of digital age. Neoclassic theory emphases the importance of demand induces. As for film industry, companies pay attention on the importance of marketing power even more than products themselves (Belaux Marteaux, 2007). Thus, there has been a growing increase in the emphasis of web-related promotion for nowadays film industry (Zufryden, 2000). Zufryden (2000) did the research on the development and empirical testing of a variable mathematical model approach for predicting a films box-office performance as a function of film website activity, as well as other relevant explanatory variables. The results of his study support the relative importance and statistical significance of website activity as a predictor of a new films box-office performance. In accordance with promotion of website, variables including screens, film grade, time from film release, production budget and seasonally were also found to be significant covariate s in the prediction of ticket sales during a films life cycle. Obviously, online review and ranking system account for an important part of variables that can influence box office success according to Zufrydens research. Moreover, Holbrook (1999) summarizes different types of film review according to multiple cultural markets of distinction (Hall, 1992): professional critics versus ordinary consumers, expert judgments versus popular appeal, extensive training versus naive appreciation, emphasis on aesthetics versus entertainment, genuine or pure versus commercial or commoditized art, highbrow versus lowbrow standards, elite versus mass tastes, legitimation versus market success, dominance via cultural capital versus economic capital, autonomous versus heteronomous principle, and restricted versus large-scale production. Own to those different concepts, film reviewers have their own opinions about certain film. The ordinary audience in question does not share in the relevant habits governing the dispositions that guide the professional critics standards of evaluation. Therefore, the different judgments from ordinary consumers are quite personal. However, the influence of those judgments can be differe d according to different tastes. Holbrook (1999) compared popular appeal representing ordinary consumers and expert judgment in order to analyze the most importance variable for box office success. The data Holbrook collected for conducting research focus on polls of film viewers. Since his paper has published in 1999, one year from the establishment of IMDB, the best popular internet movie database, which involves film grade and audiences review. Therefore, there is a gap of studying to what extent online review system can impact a films box office success. My research in this paper would try to fulfill this missing part. The development of IMDB The IMDB has become one of the most popular forums for on-line interaction. The popularity of a movie can be gauged by the number of votes. The establishing of IMDB can be trace back to the late 1980s and early 1990s. Col Needham, the founder of IMDB, created a database that sought to provide useful and up to date movie information online across as many platforms as possible (Dodds, 2006). Since the year of 1990, the technology of constructing web site has developed speedy. Col Needham as a big fan of movie believed that there should be a place in cyber world to offer a free land for sharing ordinary audiences comments2. Therefore, IMDB has been created and expanded quickly since then. Firstly, the IMBD includes new features such as votes awarded to individual films. Later in 1995, it was formally launched and the Amazon.com Company subsequently bought it in the 1998. The site has been further enhanced to allow for greater on-line interaction as well as additional features providing updates on movie releases and film gossip (Dodds, 2006). Till now, IMDB import Metacritic, a similar movie database but focus on judgment of professional movie review like authoritative movie magazines and journals. Although there is increasing number of competitive online movie database, IMDB is still the most reliable, recognizable, professional and comprehensive online movie community containing the largest users and offering the best platform for sharing information and interaction. The ranking system of IMDB represents audiences opinion. The famous Top 250 list indicates the best movie in the history throughout time, culture and races. And the option belongs to ordinary audience. The top 250 films are also based on a weighted rating formula referred to in actuarial science as a credibility formula (Norberg, 2007). In order to create a fair and reliable grading system, IMDB sets a formula to calculate the final result of the movie as the following equation: This formula is equivalent to a Bayesian posterior mean3. In this equation, represents weighted rating, which means final score of the movie. means rating, represents average for the movie as a number from 0 to 10 (mean). refers to number of votes for the movie, more votes represents more influence. indicates minimum votes required to be listed in the Top 250, the current entrance is 3000 votes. is the mean vote across the whole report (currently 6.9)4. Because of my research focus on box office success and online review while IMDB includes all the official data and information, I introduced the brief history of IMDB and rating equation in order to convince people the reliability of this database. Determinants of the successful box office success Investing film industry has been considered as higher risk business even more than stock. Pervious study indicates that only three to four out of ten movies could reach breaking even point, and about one out of ten becoming profitable at the box office success (Valenti, 2004). Although film producers make profit through various channels such as DVD sales and sound track CD or any other related business. Box office still accounts for the largest part of gross revenue for the film market. Furthermore, box office success has been related to the successful of the movie itself to a great extent. Talking about the standards of a good movie, there are diversity of criteria according to different scholar and the era they lived in. In the last century, three indicators of judging success of a movie which are the reviews of professional critics, the size of audience and industry recognition via awards (Hirschman Pieros, 1985). The relationship among the three indicators has certain order. Fir stly reviews of critics come out, followed by amount of audience and finally awards prove the success of the movie. Besides, the three indicators have inside impact on each other as well. As for the determinants of motion picture in the 21st century, there are a number of detailed factors from several disciplines have been used in the literature to understand and explain various aspects of motion picture success (Hennig-Thurau, Houston Walsh, 2007). In general, there are three groups of movie-success drivers have been recognized in this century. The three determinants are movie characteristics, post-filming marketing studio actions, and non-studio factors (Elberse Eliashberg, 2002; Hennig-Thurau, 2001). Movie characteristics refer to star power, director power, cultural familiarity, genre, and certification. However, the research of questioning whether star power related to a successful movie has been published (De Vany Walls, 1999). As for director power, so far there is no empi rical evidence about a successful movie on economy can be decided by director. The second determinant studio actions are the term including the production budget, marketing expenditures, timing, and the number of screens. Finally, non-studio factors contain reviews, awards, consumers perceived movie quality, and early box-office information. The Academy Awards tend to represent a compromise between art and commerce (Caves, 2000). Audiences review does ascend the movies opportunity on obtaining an award. In another word, audiences voice has equal importance as experts judgment. Sony picture indicates that the insiders of film industry believe that movie review is important for box office success (Terry, Butler Armond, 2005). Combining the indication of Sony, one of the largest film companies in the world, the output of commercial film tends to prove Sonys standpoint. Firstly, there is statistic significance according to the output. And R-square is 0.694 which indicates 69.4 percentages dependent variable, in this case, box office, can be explained by the four box office drivers. In another words, the four determinants are major drivers of box office for commercial film. Production budget still has less importance comparing with other independent variables. Meanwhile, awards have positive and strong impact on box office of commercial film as artistic film. However, table 6 shows that among the four elements, the strongest correlation exists between box office and online ranking order. For commercial film, online ranking is the strongest box office driver, f ar more than artistic film. Comparing the outputs of artistic film and commercial film, online ranking order has less influence on artistic film while the strongest determinants of commercial film. Meanwhile, the higher online ranking order do result in better box office success in both artistic film and commercial film. Especially, for commercial film, the recognition from audience attributes to box office to the largest extent. Although there are some distinguish cases, the tendency of impact of online ranking order is quite clear according to the research. Conclusion Summary Online ranking order as the direct and clarify symbol of online review provides important information for audience. This paper tests the correlation between online ranking order and box office success by comparing online ranking order with other determinants of box office. Throughout running multiple regression analysis in SPSS, the result indicates online ranking order has stronger impact on commercial film while less important for artistic film. However, high online ranking order contributes to higher box office in general for any kinds of movie. Limitations This paper only includes four major determinants of box office success. However, other determinants such as released screen, released date, star power and region are also contributing to the box office success. Due to the limited words and research time, there are more important indicators are excluded. Besides, the result could be less trusted and accurate because of relatively small sample size. Furthermore, due to the producing time of some movies are quite old, the lack of some data and currency rate might lead to different results slightly.

Linking Brain and Behavior: Reflections on Neurodegenerative Diseases and Fetal Neural Transplantat :: Biology Essays Research Papers

Linking Brain and Behavior: Reflections on Neurodegenerative Diseases and Fetal Neural Transplantation Neurodegenerative diseases are caused by malfunctions within the motor sector of the nervous system. These malfunctions, which are caused by the presence or absence of hormones, are a direct result of neural cell deterioration within the brain. Thus, biological problems of the brain, or rather predicaments arising between cellular connections within the brain, and the treatment of such conditions, illustrate how the brain organizes movement and behavior (11). The brain is the body's communication headquarters. It obtains a myriad of information from various parts of the sensory system and processes this information in an organized fashion. It then relays sensory input to different parts of the motor system. Such messages from the brain dictate specific muscular and behavioral patterns. Thus, this neural system is highly depended on a cause and effect system, where the slightest offset to the assembly-line fashion of cellular interaction results in major behavioral abnormalities(11). Moreover, there are two particular areas of the brain that are specifically related to motor malfunctions: the substania nigra and the striatum (the caudate nucleus and the putamen). The cells of the nigra synapse with cells of the striatum, which serves as the controller of motor functions such as walking, balance, and muscular movement. Information from the nigra cells passes through the synapses with the aid of a specific hormone, dopamine, which is a signi ficant chemical transmitter in the brain. Because the existence of dopamine is essential to the function of the substania nigra, it is also essential for the various muscular activities controlled by the striatum, such as walking, balance, etc (9). Neurodegenerative diseases, like Parkinson's Disease and Huntington's disease, thus, illustrate two very different behavioral patterns that are subsequently caused by two opposite and extreme biological abnormalities, where the nigra-striatum neural communication assemblage is hampered. Parkinson's disease (PD) results from a depletion in the amount of dopamine produced by the brain. At the onset of the disease, dopamine-secreting cells of the substania nigra, either because of genetic factors or environmental toxins, experience mass cell death. Thus, the nigra cells are unable to form synapses through which they secrete and relay dopamine to the striatum in a neural circuit within the basal ganglia (11). The striatum is also a coordination center for chemical messengers. When there is a decrease in dopamine levels, the striatum experiences a chemical imbalance (2). Linking Brain and Behavior: Reflections on Neurodegenerative Diseases and Fetal Neural Transplantat :: Biology Essays Research Papers Linking Brain and Behavior: Reflections on Neurodegenerative Diseases and Fetal Neural Transplantation Neurodegenerative diseases are caused by malfunctions within the motor sector of the nervous system. These malfunctions, which are caused by the presence or absence of hormones, are a direct result of neural cell deterioration within the brain. Thus, biological problems of the brain, or rather predicaments arising between cellular connections within the brain, and the treatment of such conditions, illustrate how the brain organizes movement and behavior (11). The brain is the body's communication headquarters. It obtains a myriad of information from various parts of the sensory system and processes this information in an organized fashion. It then relays sensory input to different parts of the motor system. Such messages from the brain dictate specific muscular and behavioral patterns. Thus, this neural system is highly depended on a cause and effect system, where the slightest offset to the assembly-line fashion of cellular interaction results in major behavioral abnormalities(11). Moreover, there are two particular areas of the brain that are specifically related to motor malfunctions: the substania nigra and the striatum (the caudate nucleus and the putamen). The cells of the nigra synapse with cells of the striatum, which serves as the controller of motor functions such as walking, balance, and muscular movement. Information from the nigra cells passes through the synapses with the aid of a specific hormone, dopamine, which is a signi ficant chemical transmitter in the brain. Because the existence of dopamine is essential to the function of the substania nigra, it is also essential for the various muscular activities controlled by the striatum, such as walking, balance, etc (9). Neurodegenerative diseases, like Parkinson's Disease and Huntington's disease, thus, illustrate two very different behavioral patterns that are subsequently caused by two opposite and extreme biological abnormalities, where the nigra-striatum neural communication assemblage is hampered. Parkinson's disease (PD) results from a depletion in the amount of dopamine produced by the brain. At the onset of the disease, dopamine-secreting cells of the substania nigra, either because of genetic factors or environmental toxins, experience mass cell death. Thus, the nigra cells are unable to form synapses through which they secrete and relay dopamine to the striatum in a neural circuit within the basal ganglia (11). The striatum is also a coordination center for chemical messengers. When there is a decrease in dopamine levels, the striatum experiences a chemical imbalance (2).

Mexican Drug Cartels Essay

Several drug cartels are involved, such as: Sinaloa Cartel, Gulf Cartel, Juarez Cartel, Knights Templar Cartel, Tijuana Cartel, La Familia Cartel (disbanded), Los Zetas, Beltran-Leyva Cartel (disbanded), Jalisco New Generation Cartel, Independent Cartel of Acapulco, La Barredora. You could see them all as the bad guys. On the other team are the Mexican forces, consisting of the Army, Navy, Air force, the Federal police and other Mexican forces What are the sources of the conflict? What is it about? The main source of the conflict is power. All of the cartels wanted more power and money and they started fighting each other because of this. Another major cause of the conflict are the drug trafficking routes used by different cartels, the cartels want more power over each other’s routes. Relationships between/among conflicting parties? They were once all together in one massive cartel. But because of the decision of the leader of the cartel the ‘mother-cartel’ split up in many smaller cartels (See Dimension #1). What is the history of the conflict? The birth of all Mexican drug cartels is traced to former Mexican Judicial Federal Police agent Miguel Angel Felix Gallardo (â€Å"The Godfather†), who founded the Guadalajara Cartel in 1980 and controlled all illegal drug trade in Mexico and the trafficking corridors across the Mexico-USA border throughout the 1980s. He started off by smuggling marijuana and opium into the U. S. A. , and was the first Mexican drug chief to link up with Colombia’s cocaine cartels in the 1980s. Through his connections, Felix Gallardo became the point man for the Medellin cartel, which was run by Pablo Escobar. This was easily accomplished because Felix Gallardo had already established an infrastructure that stood ready to serve the Colombia-based traffickers. There were no cartels at that time in Mexico. Felix Gallardo was the lord of Mexican drug smugglers. He oversaw all operations; there was just him, his cronies, and the politicians who sold him protection. [59] However, the Guadalajara Cartel suffered a major blow in 1985 when the group’s co-founder Rafael Caro Quintero was captured, and later convicted, for the murder of DEA agent Enrique Camarena. 60][61] Felix Gallardo afterwards kept a low profile and in 1987 he moved with his family to Guadalajara. According to Peter Dale Scott, the Guadalajara Cartel prospered largely because it enjoyed the protection of the Direccion Federal de Seguridad (DFS), under its chief Miguel Nazar Haro, a CIA asset. â€Å"The Godfather† then decided to divide up the trade he controlled as it would be more efficient and less likely to be brought down in one law enforcement swoop. 63] In a way, he was privatizing the Mexican drug business while sending it back underground, to be run by bosses who were less well known or not yet known by the DEA. Gallardo convened the nation’s top drug traffickers at a house in the resort of Acapulco where he designated the plazas or territories. The process: how do we choose to deal with the conflict? We do not personally deal with this conflict. However, the US army helps the Mexican government at some points, since most of the drugs comes in via Mexico.

Essay on Eiffel Tower Essay

In 1889, Paris hosted an Exposition Universelle to mark the 100-year anniversary of the French Revolution. More than 100 artists submitted competing plans for a monument to be built on the Champ-de-Mars, located in central Paris, and serve as the exposition’s entrance. The commission was granted to Eiffel et Compagnie. Eiffel, an architect and metal expert, receives full credit for the monument that bears his name but it was one of his employees—a structural engineer named Maurice Koechlin—who came up with the concept. Several years earlier, the pair had collaborated on the Statue of Liberty’s metal armature. Originally intended as a temporary exhibit, the Eiffel Tower was almost torn down in 1909. City officials opted to save it after recognizing its value as a radiotelegraph station. Several years later, during World War I, the Eiffel Tower intercepted enemy radio communications. It escaped destruction a second time during World War II. Over the years, the Eiffel Tower has been the site of numerous high-profile stunts, ceremonial events and even scientific experiments. The Eiffel Tower has also inspired more than 30 replicas and similar structures in various cities around the world. Now one of the most recognizable structures on the planet, the Eiffel Tower underwent a major renovation in 1986 and is repainted every seven years. It welcomes more visitors than any other paid monument in the world—an estimated 7 million people per year. Fulgence Bienvenà ¼e, an engineer at Ponts et Chaussà ©es, created the project, which was adopted by the Municipal Council on 9 July 1897. Work started on 4 October 1898. Line 1, which opened on 19 July 1900, connected the Porte de Maillot to the Porte de Vincennes and provided a service to the summer Olympic Games organised in the Bois de Vincennes. Parisians immediately loved this new means of transport. In 1901, Fulgence Bienvenà ¼e planned an additional network of lines which would not leave any point in Paris more than 500 metres from a metro station. Work quickly began on lines 2 and 3 and then 4 and 5, etc. The first six lines were opened to the public in 1910. Immediately prior to the First World War, the 91km-long network included 10 lines and carried 467 million travellers. The following decade saw the network continue to grow, in particular through the extension of the lines to the suburbs (lines 1, 12, 9, 11, etc.). During the Second World War, several lines were exten ded despite the shortage of electricity.

Material Culture - Artifacts and their Meaning(s)

Material Culture - Artifacts and their Meaning(s) Material culture is a term used in archaeology and other anthropology-related fields to refer to all the corporeal, tangible objects that are created, used, kept and left behind by past and present cultures. Material culture refers to objects that are used, lived in, displayed and experienced; and the terms includes all the things people make, including tools, pottery, houses, furniture, buttons, roads, even the cities themselves. An archaeologist thus can be defined as a person who studies the material culture of a past society: but theyre not the only ones who do that. Material Culture: Key Takeaways Material culture refers to the corporeal, tangible objects created, used, kept, and left behind by people.A term used by archaeologists and other anthropologists.One focus is the meaning of the objects: how we use them, how we treat them, what they say about us.Some objects reflect family history, status, gender, and/or ethnic identity.  People have been making and saving objects for 2.5 million years.  There is some evidence that our cousins the orangutans do the same.   Material Culture Studies Material culture studies, however, focus not just on the artifacts themselves, but rather the meaning of those objects to people. One of the features that characterize humans apart from other species is the extent to which we interact with objects, whether they are used or traded, whether they are curated or discarded. Objects in human life can become integrated into social relationships: for example, strong emotional attachments are found between people and material culture that is connected to ancestors. Grandmothers sideboard, a teapot handed down from family member to family member, a class ring from the 1920s, these are the things that turn up in the long-established television program Antiques Roadshow, often accompanied by family history and a vow to never let them be sold. Recalling the Past, Constructing an Identity Such objects transmit culture with them, creating and reinforcing cultural norms: this kind of object needs tending, this does not. Girl Scout badges, fraternity pins, even Fitbit watches are symbolic storage devices, symbols of social identity that may persist through multiple generations. In this manner, they can also be teaching tools: this is how we were in the past, this is how we need to behave in the present. Objects can also recall past events: antlers collected on a hunting trip, a necklace of beads obtained on holiday or at a fair, a picture book that reminds the owner of a trip, all of these objects contain a meaning to their owners, apart from and perhaps above their materiality. Gifts are set in patterned displays (comparable in some respects to shrines) in homes as markers of memory. Even if the objects themselves are considered ugly by their owners, theyre kept because they keep alive the memory of families and individuals that might otherwise be forgotten. Those objects leave traces, that have established narratives associated with them. Ancient Symbolism All of these ideas, all of these ways that humans interact with objects today have ancient roots. Weve been collecting and venerating objects since we started making tools 2.5 million years ago, and archaeologists and paleontologists are today agreed that the objects that were collected in the past contain intimate information about the cultures that collected them. Today, the debates center on how to access that information, and to what extent that is even possible. Interestingly, there is increasing evidence that material culture is a primate thing: tool use and collecting behavior have been identified in chimpanzee and orangutan groups. Changes in the Study of Material Culture The symbolic aspects of material culture have been studied by archaeologists since the late 1970s. Archaeologists have always identified cultural groups by the stuff they collected and used, such as house construction methods; pottery styles; bone, stone and metal tools; and recurring symbols painted on objects and sewn into textiles. But it wasnt until the late 1970s that archaeologists began to actively think about the human-cultural material relationship. They began to ask: does the simple description of material culture traits sufficiently define cultural groups, or should we leverage what we know and understand about the social relationships of artifacts to get to a better understanding of the ancient cultures? What kicked that off was a recognition that groups of people who share material culture may not ever have spoken the same language, or shared the same religious or secular customs, or interacted with one another in any other way other than to exchange material goods. Are collections of artifact traits just an archaeological construct with no reality? But the artifacts that make up material culture were meaningfully constituted and actively manipulated to attain certain ends, such as establishing status, contesting power, marking an ethnic identity, defining the individual self or demonstrating gender. Material culture both reflects society and is involved in its constitution and transformation. Creating, exchanging and consuming objects are necessary parts of displaying, negotiating and enhancing a particular public self. Objects can be seen as the blank slates upon which we project our needs, desires, ideas and values. As such, material culture contains a wealth of information about who we are, who we want to be. Sources Berger, Arthur Asa. Reading matter: Multidisciplinary perspectives on material culture. New York: Routledge, 2017.Coward, Fiona, and Clive Gamble. Big Brains, Small Worlds: Material Culture and the Evolution of the Mind. Philosophical Transactions of the Royal Society of London B: Biological Sciences 363.1499 (2008): 1969-79. Print.Gonzlez-Ruibal, Alfredo, Almudena Hernando, and Gustavo Politis. Ontology of the Self and Material Culture: Arrow-Making among the Aw Hunter-Gatherers (Brazil). Journal of Anthropological Archaeology 30.1 (2011): 1-16. 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