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Telaio lancia thesis

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ASSALE ANT CULLA MOTORE TELAIO AUSILIARIO LANCIA THESIS

AP English Literature and Composition. Unit 4: Suffering and Triumph. Unit 3: A Troubled World- Colonization, industrialization, War and telaio thesis, Modernization. Unit 2: Women’s Role in History and Society. Unit 1: Classic Tragic Hero vs Modern Common Man. Recommendation. Advanced Placement English Literature Syllabus. AP English expands and telaio lancia, develops skills in critical reading and writing about literature. Authors are chosen from the AP English Course Description for the English Literature and Composition Exam or from those appearing on previous AP Literature and Composition Exams.

Works are at a reading and content level appropriate for recommendation college freshmen. The course stresses a critical awareness of telaio lancia genre, theme, and style, focusing on British, American and world literature. Writing assignments emphasize the refinement of personal expression and style and critical thinking at a level equivalent to composition assignments at recommendation, the freshman college level. Each unit involves thematic reading of thesis full length literary works, close reading of excerpts including close examination of authors’ style and crafts; writing exercises, including formal extended analyses, timed in-class responses, micro-essays which enable students to learn methods of word essay analysis they will use in extended essays, and reading logs. Topics for micro-essays and timed writings are assigned; given a range of possibilities, students select the topics for their own major essays. They have a week for the first draft, with a required peer edit two days before the draft is due to the instructor.

This draft is lancia thesis, returned with the instructor’s suggestions for revision, which is essay, due a week later to allow for telaio lancia thesis writing conferences. Students may revise multiple times within the statement for problem solution paper week. Telaio Lancia Thesis. Not all writing is analytical. Essay Elements. The college essay unit involves a free writing journal on a variety of prompts similar to lancia thesis college application essay prompts; this journal becomes a resource for students as they revise toward a college application essay. For each unit, students keep a reading journal which provides the notes for recommendation a graded discussion( in pairs or a small group of telaio lancia 3-4) and single essay, the basis for their essays. Students also reflect upon lancia, their own writing process in written self-assessment each semester. For poetry unit, a creative responses such as writing a villanelle, sestina, Terza rima, sonnet or ode; for the “Troubled World” unit, writing a satire satirizing a current social or political problem; creating vignettes based on characters in definitions plays and a script with homage to Samule Becketts’ Krapp’s Last Tape ; and writing a missing scene from As You Like It. Unit 1: Close Reading: Analyzing Poetry College Essay Writing.

Time Fame: Sept. Lancia. 9-Sept. Essay Paper. 30. Texts: Kennedy, X. Thesis. J., and Dana Gioia, An Introduction to Poetry. 8th ed. Harper, 1994.Perrine, Laurence and darden essay, Thomas R. Arp, eds. Sound and Sense: An Introduction to Poetry. 8th ed. Harcourt Brace, 1992.

Poems: William Shakespeare (“Sonnet 138, “Sonnet 130”), Petrarch (“Sonnet 219”), William Carlos Williams (“The Dance”), Edna St. Telaio. Vincent Millay (“I will put chaos into fourteen lines”), Edgar Allan Poe (“The Bells”), John Frederick Nims (“Love Poem”), Seamus Heaney (“Mid-Term Break” and “Digging”), Gerard Manley Hopkins (“Pied Beauty”), Allen Ginsberg (“A Supermarket in America,”) Derek Walcott (“The Virgins”), Andrew Marvell (“To His Coy Mistress”), Lord Byron (“The West Wind”), Elizabeth Bishop ( “One Art”), John Keats (“Ode to Autumn”, “Bright Star, Would I were steadfast as thou art-“), Margaret Atwood (“Siren Song”), Roethke’s “My Papa’s Waltz” Literary Criticism articles: Kennedy Gioia (“Writing Critically: Word Choice, Tone and Point of View”, “How Metaphors Enlarge a Poem’s Meaning”, “Is it possible to write about sound?”, “Analyzing Images”); Jago Shea (“Special Consideration for reading Poetry Closely”) Students will demonstrate the ability to: Read a poem critically, with attention to the poem’s theme and the elements of style such as poetic syntax Analyze the form, structure, diction, voice, connotations, sound devices, imagery figures of speech, symbol, purpose, persona, tone Distinguish various fixed forms of poetry such as sonnet, sestina, terza rima, villanelle, blank verse, free verse Identify figurative language and syntactical patterns, Use the language of the criticism of poetry, and Write well-supported analytical essays of essay neighbor poems. Write their own poem of telaio one of the closed forms. Students will write, peer edit and revise 3 out of 5 micro-essays (brief analytical essays): Ambiguous diction in Sonnet 138 Word Choice, Tone, and Point of View in Roethke’s “My Papa’s Waltz” Diction, paradox and structure in definitions or “Love Poem” Figures of Speech in Emily Dickinson’s “ My Life Had Stood-A Loaded Gun” “Rhyme, Meter, Form, Poetic Syntax and Sound” in “Bright Star, Would I were steadfast as thou art-“ by John Keats A timed writing on telaio a poem, using a prompt from 2009 a past AP English Literature exam ( Summative Assessment). Evaluation Criteria: College board AP Essay rubric.

Evaluation of these essays will include comments and writing conferences addressing grammar and usage, logical structure, levels of generalization, Text: Bloom, Lynn Z. The Essay Connection: Readings for Writers. 7 th Edition Houghton Mifflin Company, Boston New York. Students will demonstrate the ability to: Critically read and lancia thesis, discuss sample personal essays by professional authors, Write journal entries in response to a variety of different prompts on personal subjects, including description, exposition, narration, and paper, reflection, Write a personal essay for an academic audience, Write in a variety of modes, including description, exposition, narration and persuasion, and Revise repeatedly for various audiences and within various constraints. 3 journal responses to sample college application prompts, Peer editing of telaio thesis 1 entry, Revision of one prompt into a sample application essay, Peer editing of the essay, Teacher feedback on the essay, and Revision, including editing of essay for audience and length. Teacher-made rubric for Journals Six-Trait Rubric for personal essay. Unit 2: Classic Tragic Hero vs Modern Common Man.

Time Frame: Oct.1, 2013-Nov.26,2013. Texts: Poetics by Aristotle, Oedipus by Sophocles, Hamlet by Shakespeare (http://cla.calpoly.edu/ dschwart/engl339/hamlet.html) , Things Fall Apart by single, Chinua Achebe, Death of a Salesman by thesis, Arthur Miller, “On Common Man” by Arthur Miller; Literary Concepts and Theory: tragic hero*, tragedy, tragic flaw, on recommendation tragedies (http://cla.calpoly.edu/ Students will demonstrate the ability to: Identify the tragic flaw in telaio lancia a tragic character and understand the conflicted nature of fate and essay elements, character Examine the improbability of a tragic fate a tragic hero must face and the circumstances that cause such inevitability Compare a classical tragic hero and a tragic common man Identify and examine themes such as fate, American dream, disillusionment, revenge, justice, deception, illusion, love, failure, madness Identify patterns of development, including character foils and parallel plots, Discuss quotations from the text in relation to major themes, including kingship, inheritance, fate, justice, parents and children, love, legitimacy, eyes and sight, madness, religion, truth, jealousy, guilt, identity, cruelty, Write and rewrite formal, extended analyses and thesis, timed, in-class responses in darden essay 2009 all of the following modes: writing to understand, writing to explain, and writing to evaluate. Gain awareness that the English language that writers use has changed dramatically through history, and Engage in telaio lancia thesis thoughtful discussion. Reading quizzes on each text Micro-essays: Rhetorical analysis of one of Hamlet’s soliloquys “To be or not to be…”, “What a rogue I am…” and “” “Give your pardon sir I have done you wrong” How all occasions do inform against me “ Written or oral rhetorical analysis of an 2009 argument scene between Creon and Haemon in Oedipus Written analysis of a specific passage in Things Fall Apart and discuss how the passage reveals the lancia thesis overall theme of the book artfully In-depth reading and analysis of Willy Loman as a tragic character but nevertheless a “hero”. Quotation analysis quiz, Essay test emphasizing themes and word, characterization, Formal, revised analytical essay with peer editing. AP Essay based on one of the lancia thesis College Board-published open-ended essay questions ( summative assessment). Unit 3: Women’s Role in History and Society Application of Literary Theories.

Time Frame: Dec. 2, 2013 -Jan. 30, 2014. Texts: Euripides’ Medea or Electra , Antigone by Sophocles , Hamlet By Shakespeare ( Gertrude and Ophelia), As You Like It (Rosalind) by Shakespeare, Pride and Prejudice by Jane Austin, The Mill on the Floss by George Eliot, Jude the Obscure by Thomas Hardy, The Scarlet Letter by darden, Nathaniel Hawthorn, A Room with a View by Virginia Woolf, Three Sisters by Chekov, A Streetcar Named Desire ( Blanch) by telaio thesis, Tennessee Williams, Henrik Ibsen’s A Doll’s House, Three Tall Women by Edward Albee. Essay Neighbor. Resources: Meyer, Michael. The Bedford Introduction to Literature. 3rd. ed. Thesis. St.

Martin’s, 1993; Library and internet resources. Part I: Women’s Role in History and Society. Students will demonstrate the ability to: Identify unconventional traits in a female character against her social structure and ideology Recognize and explain how each heroin is a “woman warrior” in her own way Identify the common cause of their tragic ending Read critically and analyze an excerpt from essay elements a chosen text to discuss how the telaio lancia thesis excerpt is related to essay elements a specific theme that permeates the work. Use a specific literary theory to analyze one of the heroines. Reading quizzes on each required text Micro-essays: Rhetorical analysis of Antigone’s speech to lancia thesis Creon in essay 2009 Scene 4 of Antigone ; analyze excerpts of a 19 th century novel and discuss how the thesis section helps develop a theme; analyze an excerpt from a modern drama( Tennessee or Albee) and discuss how the darden essay 2009 section contributes to the larger picture of the heroine’s character development. Thesis. Written and oral rhetorical argument of a character who might revert her fate if she lived in today’s world. Essay test emphasizing themes and characterization, Formal, revised analytical essay with peer editing. Definitions Essays. AP Essay based on one of the College Board-published open-ended essay questions ( summative assessment). Part II: Application of Literary Theories.

Students will demonstrate the telaio thesis ability to: Identify the differences among literary theories, including formalism, archetypal criticism, feminist and gender criticism, Marxist criticism, psychological criticism, reader-response criticism, deconstructionism, school of the absurd, biographical criticism, multicultural criticism, literary history and new historicism, Appraise a critics’ view on recommendation a specific work listed and locate literary criticism that represents a specific critical approach to the text Interpret a text from at least one of these critical theories, with relevant details Deliver a comprehensive group oral presentation explaining the origins, major critics, and theory of lancia each approach, including an interpretation of the text Synthesize their own interpretation and relevant critical perspectives into an oral analysis of the text, and Write, peer edit and revise a documented essay applying one critical approach, with support relevant to essay elements the critical perspective selected. Group explanation of approach and analysis of text, and telaio lancia thesis, Individual essay drafts and neighbor paper, revisions analyzing one of the texts according to the student’s choice of literary theory. Teacher-made rubric for oral presentation Six-Trait Rubric for essay. Unit 4: A Troubled World- Colonization, industrialization, War and Modernization. Time Frame: Feb. 2014-March 2014 ( Spring 2014) Texts: Heart of Darkness by Joseph Conrad, ‘Shooting an Elephant’ Other essays by telaio lancia thesis, George Orwell, North and South by Elizabeth Gaskell, “Chimney Sweepers” by William Blake, Samuel Taylor Coleridge, war poetry by essay elements, Wilfred Owen, Things They Carried by Tim O’Brian, “The Wasteland” by T.S. Telaio. Eliot, End Game by Samuel Beckett. Students will demonstrate the ability to- Identify the effect of literary techniques such as point of view, structure, frame narration, imagery, figurative language, tone, diction, theme and syntax.

Question and discuss the authors’ purpose in relation to essay elements the social, historical and political context of the lancia novel’s setting and recommendation, the values of their time. Evaluate the relevance of different approaches to analyzing the novella Heart of telaio Darkness and debate the darden essay 2009 novel as a view of a racist o imperialist Analyze Marlow ‘s views of Congo as a character; Analyze the meaning of the title ; Analyze the symbolic meaning of Kurtz Compare Orwell’s work with Conrad’s in the sense of colonization- how effectively does each author describe the colonization? How different are their approaches to the social issue? Compare Blake and Gaskell’s attitude toward an ever-growing industrialized world Identify the connections between the war effect described in Owen’s poems and that of O’Brian’s novel. Identify the similar tone and theme conveyed in ‘The Wasteland” and end Game. Lancia Thesis. Identify major characteristics of single word essay the” theater of the absurd” and telaio lancia thesis, modern poetry. Write a well-supported essay( in class) based on an open-ended essay prompt (from a previous AP Lit Exam) relating to one of the themes of Heart of Darkness.

Eight Informal passage-based responses Character analysis ( individual and group) Theme comparison Timed writing ( Open-Ended essay prompt) Teacher-created rubric for informal responses and character analysis College Board AP Essay rubric for using definitions in-class time essay. Unit 5: Suffering and Triumph. Time Frame: March 2014-May 5, 2014. Texts: Piano Lesson by August Wilson, Atonement by Ian McEwan, “A Rose for Emily” Sound and Fury by William Falkner , Krapp’s Last Tape by Samuel Beckett. Students will demonstrate the ability to: Understand the works’ complexity- structure, diction, theme, voice, character development and historical contexts Identify the effect of literary artistry Recognize the telaio anachronism used in the narrative Identify traditional characterization and point of view and their modern variations Identify effective use of literary elements or techniques such as character development, plot, structure, and recommendation, symbolism etc. in untraditional ways Understand the complexity and absurdism of a modern literary work Recognize the relationship between modern art theories of 20 th century and their influence on literature Write an essay to analyze a passage ( an excerpt from one of the works listed)- AP Prose analysis essay. Dialectical journals ( informal) Reading quizzes Five Micro-essays ( analysis on telaio the effective use of literary techniques in a passage) Two in-class essays ( open-ended prompt and an excerpt from one of the works of this unit)

Teacher-created rubric for 2009 informal assessments College Board AP Lit Essay rubric ( prose analysis) Practice Multiple-Choice format and types of questions Discuss essay prompts. *Every student in the AP class will be programed to thesis take the statement solution AP Literature and Composition Exam.

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Telaio lancia thesis

Lyda Borelli’s Satanic Rhapsody : The Cinema and the Occult. Georgia Institute of Technology. Un article de la revue Cinemas. Tous droits reserves © Cinemas, 2006. Salons. Un eclairage sur la societe par les revues savantes.

Discussing Nino Oxilia’s film Satanic Rhapsody ( Rapsodia Satanica , 1915) starring Lyda Borelli, the author examines the influence of Bergsonism on the perception of cinema right before and during World War I. In particular, she points out the intersection between the film and, among other references, the tradition of the early Italian diva film, the plastic dynamism of thesis Futurist painter Umberto Boccioni, the dance/performance art of Loie Fuller, and the emerging figure of the New Woman. Analysant Rapsodie satanique ( Rapsodia Satanica , 1915), film de Nino Oxilia donnant la vedette a Lyda Borelli, l’auteure du present article met en lumiere l’effet du bergsonisme sur la perception qu’on avait du cinema juste avant et pendant la Premiere Guerre mondiale. Parmi les nombreuses sources d’inspiration d’Oxilia, elle souligne plus particulierement l’influence de la tradition des films de divas du cinema italien naissant, du dynamisme plastique du peintre futuriste Umberto Boccioni, des choregraphies et performances de Loie Fuller, ainsi que celle de la figure emergeante de la Femme Nouvelle. Nino Oxilia’s Rapsodia Satanica (1915), or Satanic Rhapsody , with Lyda Borelli, is an important silent film to examine because of the ways in which it weaves together so many cultural threads of its period. Single! The most important of these threads is Bergsonism, that is an understanding of the cinema as a new technology blending together a subjective, fantastic quality with an objective, documentary-like style. Lancia! Originally, in Creative Evolution , Henri Bergson (1998) associated the cinema of his day with science and the illusions of intelligence. This is the case because the thesis solution paper motion studies that he knew by Etienne-Jules Marey were so analytical and compartmentalizing that they did not, during the course of observation, take into account the subjective powers of memory, intuition and imagination. Lancia Thesis! Yet, through Giovanni Papini, an Italian disciple of Bergson, this opposition between cinema and subjectivity became much less rigid. [1] By referring to the print of Rapsodia Satanica restored by the Cineteca di Bologna, in this essay I will argue that Nino Oxilia probably knew Bergson’s work through his friend, the painter and film producer Pier Antonio Gariazzo. I will also contend that, just like Papini, Oxilia feels that the cinema is a combination of fantastic and documentary-like moments, so that his style alternates betweeen outdoor scenes with natural lighting and indoor episodes with a Caravaggesque chiaroscuro. This mix of styles is all about the essay elements transition from old to new, the passage from the telaio thesis stuffy interiors of a castle to freer gardens with butterflies, winds, clouds, and trees. In the definitions case of Rapsodia , the theme of an identity in search of change applies, of course, to the film-diva Lyda Borelli.

Rapsodia Satanica is a diva-film, that is a work built around a female star whose marketing prestige overshadowed even the reputation of the director, Nino Oxilia. Although widely used in contemporary English, the word diva in 1915 Italy meant something different from what it means today. Most people associate the lancia thesis term with a strong, beautiful and dangerous woman, derived from the nineteenth-century femme fatale of painting and neighbor, literature. Thesis! Such a definition is relevant to the film-diva of early Italian cinema, but only in using definitions, a limited way, since the lancia female stars of that period were characterized by a suffering and maternal aura ( mater dolorosa ) which the American femme fatales never adopted. Furthermore, in early Italian cinema a diva-film meant a melodrama with Orientalist decor dealing with women’s issues such as aging, abandonment, divorce, adultery, pregnancy, employment and so forth. In the case of Rapsodia Satanica , Borelli’s character becomes the statement solution conceptual centerpiece of the whole film. Telaio Thesis! To be sure, she was a famous star of the stage, until 1913 when she agreed to work in Everlasting Love with director Mario Caserini. Borelli’s success with her first film experience was enormous: a new film genre was born along with a new kind of female stardom, so that the young actress’ manners became a fashionable mode of recommendation behaviour for telaio millions of young Italian women.

In the wake of such an explosion of celebrity for recommendation Borelli, when the telaio thesis young Nino Oxilia was chosen by Cines, a Roman production house to direct Rapsodia Satanica , it was a great opportunity for his artistic career. As a film concerned with romance, aging, physical beauty, and personal happiness for a powerful woman who lives alone, Rapsodia Satanica fits within the genre of the diva-film, but Oxilia used every element at his disposal to raise the stakes of the genre itself from statement solution paper within and to telaio thesis move the whole project in a more philosophical and experimental direction. More specifically, there are at least two reasons why Oxilia’s Rapsodia Satanica stands out in comparision to similar films from the same period. Firstly, Rapsodia Satanica exhibits a fascination with the late nineteenth-century obsession with occult forces intertwined with an Orientalist agenda. Just a few years before the shooting of Oxilia’s film, the Italians’ taste for the exotic and the esoteric had been kindled by the arrival of Diaghilev’s Ballets Russes in Rome.

Secondly, Rapsodia Satanica is concerned with the theme of temporality, or the so-called “fourth dimension,” a key topic in Italian circles studying the borderline between scientific and paranormal phenomena. The film’s preoccupation with time demonstrates the wide-spread influence of Henri Bergson’s philosophy of duration. In contrast to a traditional, linear, and teleological understanding of using history, Bergson’s duration or the resilience of an imaginative impulse— elan vital —was a whole new way of thinking about subjectivity and creativity which shaped the ideas of many Italian intellectuals in Oxilia’s time. To better understand how so many different strands play themselves out in Rapsodia , I will devote a series of sections to lancia a close-up examination of the artistic and intellectual network of forces that have shaped this little-known but unusual, “experimental” melodrama. Born in Turin, Nino Oxilia (1889-1917) was involved in poetry, songwriting, and single word, theatre, before turning to film. As a young man, he was a bohemian; it might be going too far to call Oxilia a protofeminist, but he was a friend of poet Guido Gozzano and telaio, his companion, the writer Amalia Guglielminetti. This high-profile couple was engaged in debates about social reform and the emancipation of women (though Gozzano’s inclinations were more melancholic and conservative than Oxilia’s). Turin at the time was teeming with Socialists, suffragettes, and thesis statement paper, ladies active in philanthropy and salons; due to its proximity to France, Turin was also a center of telaio lancia thesis filmmaking for the rest of Italy. Vittorio Calcina, the essay elements first representative of the Lumiere Brothers in Italy, was based there. Between the eighteen-eighties and eighteen-nineties, Turin had become, through Edmondo De Amicis’ heartbreaking feuilletons about immigration, poverty, and education, the thesis city of patriotic piety, socialism, and the Italian Risorgimento.

Antonio Gramsci, another native of Turin, split from the Socialists in 1919 to found the using brand new Communist Party in the wake of the Bolshevik Revolution. Turin was the city of criminal anthropology. It was there that Cesare Lombroso managed to get his chair at the university. One component of the emerging industral triangle with Milan and Genoa, Turin was different from other Italian cities due to the scientific, secular tradition fostered by the French Enlightment across the Alps. [2] While the Scapigliatura was an artistic youth movement inspired by the French boheme, all sorts of mystical and religious cults, as well as esoteric and exotic fashions, were also flourishing there as a reaction against lancia thesis, the mathematical certitude at the service of industry and the Turinese liberal-conservative oligarchy. Neighbor Paper! Oxilia grew up in this Turinese climate of technological and artistic experimentation where irrational beliefs went hand in hand with scientific testing. More specifically, Oxilia started his artistic career in the theatre as a writer, but he was quickly recruited by Arturo Ambrosio’s production house. Lancia! By 1912, Oxilia became very close to essay elements Pier Antonio Gariazzo, a painter, filmmaker, and producer; he was also the founder of telaio lancia Savoia Film, a company that specialized in contemporary dramas. Always eager to be informed about the latest trend, Gariazzo dabbled in philosophy, loved adventure, and traveled extensively (his experiences in Indonesia inspired several paintings). Turin was also the home of Adriano Tilgher, a minor philosopher, who became a disciple of Henri Bergson and using, wrote the book Art, Knowledge and Reality (1911) ( Arte, conoscenza e realta ). In this stimulating environment, the young Oxilia met his future fiancee, Maria Jacobini, a young actress who looked like Mary Pickford and was also the niece of a Vatican-based cardinal.

Jacobini left her parents’ house in telaio lancia, Rome amid great scandal, to become a diva and devote herself entirely to the cinema. [3] Oxilia fell in love and became her Pygmalion. In 1913, after many projects in single, the Turinese film environment, Oxilia signed a contract with Cines, a prestigious production house based in lancia thesis, Rome, which asked him to work with Francesca Bertini for Sangue Blue through its subsidiary company, Celio. In 1915 Oxilia wrote Il Fior di Male , a film beautifully interpreted by Lyda Borelli for the director Carmine Gallone. In 1916, when the brief season of divas was nearly over, and blood and death were flooding the Italian screens, Oxilia shot a couple of war newsreels set in the Balkans. His images were so gruesome that the censorship board intervened. In 1917 Oxilia died on the front line, blown to pieces by a bomb during the battle of essay neighbor paper Monte Tomba. Thesis! He was one among many artists and intellectuals of that confused yet remarkable generation who died in recommendation, the Great War; the painter Umberto Boccioni and the architect Antonio Sant’Elia met the same fate. The diva-film, thus, found itself lacking intellectual mentors to improve the genre and open it up to experimentation with new ideas about women and visual technologies. Overall Oxilia’s style as a director was quite fluid, and telaio lancia thesis, it is, therefore, difficult to determine exactly what his specific contributions were. In addition, his role as leader was submerged by a sort of cooperative authorship that prevailed within the energetic but chaotic film industry.

So open to darden essay 2009 experimentation was Oxilia that, during the shooting of Ananke ( Fate , 1915) with Leda Gys, Maria Jacobini, and Maria’s sister, Diomira Jacobini, he let the three divas handle most of the creative decisions and limited himself to the role of set designer. What is sure, however, is that he directed not only Bertini in Sangue Blue and Borelli in Rapsodia Satanica , but also Pina Menichelli in Il Papa ( Daddy , 1915) and in telaio lancia thesis, Il Sottomarino 27 ( Submarine 27 , 1915), two films that unfortunately have been lost. Because he worked with the most important divas of essay elements his period, it is likely that Oxilia had a reputation inside the industry which was competitive with that of Mario Caserini, Carmine Gallone, and Giovanni Pastrone. Between 1912 and 1917, the year of his death, Oxilia was involved in at least twenty-four films—all of them made one after another and at breackneck speed. The point here is that enough positive energy surrounded the young filmmaker to sustain him in a constructive way during the production of Rapsodia Satanica . And this climate of openness to new ideas and cosmopolitan trends may indicate why Oxilia celebrates women’s sense of independence with an explicit citation of Loie Fuller’s dancing performed by Lyda Borelli in Rapsodia Satanica . By 1915 Loie Fuller, an lancia thesis, American dancer who triumphed in Paris, was a well-established icon of women’s emancipation and the artistic integration of technology, science and neighbor paper, imagination. Most significantly, her dances, performed in complete darkness with phosphorescent veils and colored electric lights mounted on lancia thesis wands, were comparable to a proto-cinematic show; even the Italian Futurists praised Fuller’s work unreservedly. By associating Borelli with Fuller at the end of Rapsodia , Oxilia was clearly spelling out the ideas of freedom and reinvention. Such a feminist use of a famous diva was no small statement, and, as such, it put him in a potentially compromising position. But referencing Fuller was not the only risk Oxilia was ready to recommendation take.

In Rapsodia , Borelli, before turning into a sort of butterfly of the future, impersonates a cruel Salome. This reference was mandatory because Borelli conquered Italian audiences by playing Salome on stage in 1902. Yet it was also a bit risky to associate film and femininity with an Orientalist myth. On the other hand, cinema’s bad reputation as the conduit of evil from the East to thesis the West, did nothing to slow down the Orientalist vogue in early Italian film culture. Through Borelli dressed as Salome, Oxilia’s Rapsodia explores the transformation of the cruel femme fatale into the New Woman of modernity, while it also interrogates the statement for problem solution cinema about its affinities with the outdoors or the natural world in contrast to the alliance between theatre and architecture, or the indoors and furniture. Oxilia’s Rapsodia was shot and lancia thesis, finished in 1914, but not distributed until 1917 due to unspecified difficulties. Recommendation! It seems that there was some rivalry with Mario Caserini (1874-1920), who was based in Rome and telaio thesis, linked to Cines just as Oxilia was. Perhaps Caserini himself was instrumental in holding the film up. One of the producers of the using essays film at Cines was the telaio thesis Baron Alberto Fassini, also known as Alfa, who had strong ties with the recommendation Bank of Rome and financed the project.

Fassini brought in the composer Pietro Mascagni and asked him to lancia thesis write the thesis solution paper music. After watching the film over telaio lancia thesis, and over again without intertitles, Mascagni felt strongly that the music should rule over essay elements, the image. He declared that he envisioned a score at least fifty-five minutes long. As a result, Oxilia agreed to redo the telaio lancia thesis ending so as to match the length of Mascagni’s score. Some argue that the reason why Rapsodia Satanica stood on the shelf until 1917 was Mascagni’s endless revising. He was unwilling to declare he had completed the final version of the score until 1917, even though most of the music was written by 1915. [4] Rapsodia ’s plot is essay 2009 easy to summarize.

An old woman, Alba D’Oltrevita, whose names means Dawn-Beyond-Life (Lyda Borelli), tired of wasting away and fearing death, makes a deal with the telaio lancia thesis devil: she will be young and beautiful forever if she gives up romance. The idea of giving up romance and achieving eternal youth involves breaking the statuette of a little Cupid standing near an hour glass. Definitions Essays! Yet Alba’s statuette does not break. Unaware, the devil flips the hourglass upside down, and Alba switches from old to young. The owner of the lancia Castle of Illusion (an obvious architectural allegory of the movie theatre), Alba embodies not only the essay elements life-preserving power of the filmic image, but the dream of reversing the death-bound flow of time. In keeping with a self-reflexive reading of Oxilia’s film, Alba’s character can be linked to two separate images of time—two complementary views of the cinema involving two other famous female stars of silent film culture. The first image involves Ida Rubinstein, the famous Russian dancer from the Ballets Russes.

Her first appearance on a Parisian stage in 1909 mesmerized the lancia thesis audience, especially when her body appeared to be slowly emerging out of an unraveling, cocoon-like strip of cloth. She looked like a butterfly leaving her chrysalis behind, or like a soul leaving a dead body. An ancient symbol for the immortal soul, the butterfly is a major icon of Art Nouveau. The second image is a photograph of definitions Theda Bara staring at an Egyptian mummy stored in a glass case. Telaio Lancia! The first example is about the time of projection, whereas the second is about the cinema holding forever still a moment that is as unique and as precious as the human body preserved through mummification.

When combined, these two images spell out how each moment in film is suspended between a metaphysical ideal and an unavoidable, physical decay: each frame wants to endure forever, yet each is flickering away at the same time. Rapsodia Satanica is an allegorical meditation on the inner and outer temporalities of the neighbor filmic image—that is, the filmic image is as transient as Alba’s youth but, thanks to lancia its photographic ontology, the image in film is darden essay 2009 also as long-lasting as an lancia, Egyptian mummy. Rapsodia ’s plot unfolds through episodes of jealousy and recommendation, self-destruction between Alba and two brothers who are both in love with her. Most importantly, Borelli falls in love with palpitating nature, with life itself outside the walls of her Castle. Alba’s home is surrounded by a series of thesis gardens, ranging from darden essay highly designed and cultivated plots to the forgotten corners where plants grow wild. Telaio! While she is walking alone in a secluded corner of darden 2009 her huge park, she surprises a yellow butterfly resting on lancia thesis a flower. The distance between her and the object of her gaze is hardly established, and it is for this reason that the cut from a close-up of her face to darden essay 2009 a close-up of the butterfly cannot complement each other within the system of the lancia point-of-view shot. In the passage from one shot to the next, today’s spectator can sense that the spatial proportions are off: the size of objects in the first shot looks awkward in thesis statement solution paper, relation to lancia the size of recommendation those contained in the second. In addition to lacking a verisimilar articulation of space, eye-line matches are missing throughout.

Alba’s gaze upon a group of musicians below her window is incomplete. The reaction-shot necessary to legitimize the lancia inference of neighbor a point-of-view shot is not there. Let there be no doubt that these are not mistakes, for there are no rules in place at this point. This is why these particular examples are also responsible for telaio lancia the flavor and texture of the film, for all its rough edges and moments of surprise. Despite the limitations typical of early cinema, the steady alternation between indoor and outdoor space suggests that Oxilia might have been wondering about film’s special kinship with nature.

The director’s energy seems to be torn between cramped art-historical allusions within the essay elements sets and the spontaneous flow of water and the reverberations of light in the garden. Telaio! Of course, most shots of the landscape include carefully arranged micro-narratives of youthful groups horseback riding or dancing into the most remote background layers of the shot. Yet the use of natural lighting in the outdoor sequences, the essay elements feeling of lancia fresh air, and the thin fabrics used for the costumes indicate that the cinema functions at its very best with intangible, quasi-invisible materials. On the other hand, inside the Castle of Illusion, mirrors and chiaroscuro lighting produce a dense but also alluring sense of mystery around Alba. Rapsodia Satanica mixes an older, “primitive” and indoor mode of filmmaking with attempts toward a more advanced, outdoor and modern method. Recommendation! Dressed as Salome during the opening costume party, Borelli slowly advances from the thesis background to the foreground of the shot. The outline of solution paper her figure is almost lost in crowded compositions: rococo furniture and statuettes, arabesque-like stuccoes, walls covered with pictures of all sizes, Oriental rugs, curtains, tapestries, animal skins, gilded frames, and bibelots surround the famous diva. Lancia Thesis! To be sure, it would be too easy, and also quite wrong, to recommendation dismiss Rapsodia Satanica on the basis of its Orientalist kitsch. Furniture, ornament, and drapery are much more than gratuitous decorative detail: they offer Oxilia an opportunity to emphasize plasticity, molding, and telaio lancia, relief—namely, staging in using essays, depth—within the thesis diva-film, which is still trying to mediate the impression of reality with a certain degree of horror vacuii , or fear of the thesis statement solution paper void. An art historical term that refers to the anxiety of filling an empty background too reminiscent of the lancia shadowy flatness of archaic projection, horror vacuii is confirmed by how Rapsodia ’s accumulation of furniture arises from a fear of the void that lurks behind the empty shadows of the projection. It is quite telling that the essay devil literally walks into the narrative, by leaving behind the dark space of an overly gilded pictorial frame which seems both to telaio contain and to thesis statement compensate for a ghastly area of unrepresentable emptiness.

On the other hand, in telaio lancia thesis, a film where the surfaces of mirrors reflect multiple images, such a dance of interacting projections does make up for a static camera. Single Essay! Halfway through the film, during the sequence about her newly found independence from the devil, the mediation of the mirror between Alba and her reflection on the glass is most effective. When she turns to face the camera, the image of her back suggests the mental, and therefore insubstantial, nature of the barrier of an invisible fourth wall. By using the mirror to turn the body into a reflection, Oxilia underlines its illusionistic and constructed nature, hence its potential for telaio lancia thesis collapse. Put another way, here the mirror is no instrument of narcissistic self-deception, but rather a means of visualizing a space that leads to a kind of magical realm beyond which it might be possible to be yourself—nothing else but yourself. Rapsodia was a film heavily backed by bankers, with extremely lavish locations, and released with an original musical score written by essays a major composer.

It is not surprising, then, that Rapsodia Satanica included a highly selective use of lancia color that was designed not so much to increase its documentary realism, but to underline its fantastic poetic moments. As we learn from Piero Antonio Gariazzo, a good friend of Nino Oxilia, at the time the film was made, the cold gray of photography appeared to be a major aesthetic limitation, so much so that mechanical reproduction was perceived as an ally of science and an enemy of for problem solution paper fantasy. Of course this narrow definition of photography was a major challenge for the diva-film to overcome, since her cinema was meant to be seductive and emotionally charged. Gariazzo (1919, p. 100) wrote: Quite brutally, the merciless, cold, destructive medium photography proposed to us, from thesis time to time, a series of ugly and barren sights, and it removed us from a vague dream filled with colors and essay neighbor paper, beautiful forms to take us into a monotony of grey mountains, waters, and cities, all of them resembling one another, inhabited by people just like us, small and petty little towns. Perhaps to compensate for a wide-spread, negative view of thesis photography, Oxilia learnt from fashion designer Mariano Fortuny—one of Borelli’s favorite fashion designers—how to develop chromatic effects for Rapsodia . In his laboratory, on the Venetian island of Giudecca, by using the essay pochoir (stenciling) technique, Fortuny added silver and golden threads in the form of arabesques, that were either printed on or woven into the surface of precious fabrics such as velvets, silks, linens, and organza.

In the case of Oxilia’s film, the pochoir technique imbues the lifeless, rigid cliches of the story with an unprecedented emotional force. The stenciling of the film in color makes the lancia images look softer. As a result, the diva’s wardrobe includes clothes of recommendation yellow, blue, pink, and green; a window absorbs the light and becomes as yellow as the large butterfly, an telaio thesis, epiphany promising Alba a future beyond the essay neighbor devil; during Alba’s reacquisition of youth and the coming of lancia all sorts of spring festivals, the trees are green, while Borelli’s veils are pink in neighbor, opposition to the devil’s red cape. In the end, color, just like life in motion, seems to belong to the outdoors and to costume, thus hinting at film’s special power to tune into lancia, subtle changes in the body, behavior, and the natural world. In his book about the making of Diva Dolorosa , Peter Delpeut (1999, p. 24) aptly comments on darden essay the difference between the diva-films in black and telaio lancia, white and the humanization that color brings to Tigre Reale with Pina Menichelli:

The copy from Turin had soft pink and clear blue tones. I only knew the black-and-white version. But with the color version of Tigre Reale , I understood once and for all that monochrome coloring is essential for darden 2009 the appreciation of silent film. The black-and-white-copies we know are usually copies of original colored nitrate films. Thesis! In the copying process it is impossible to produce a pristine black and white picture. The film material is insensitive to particular colors, it cannot read them and translate them into gray scales or tone.

The color areas are incompatible with a clear black and white. Films like Tigre Reale for years were screened with grey tones. Using Essays! . Thesis! . . Everything seemed to essay paper drown into a dull blur. Lancia! Copying the original color brings life back to the story and makes the film as a whole more accessible in single, a visual sense. Finally, it is significant that clothes, along with Oxilia’s choice of locations and sets, help the diva to direct herself. In fact, Lyda Borelli wears several of Fortuny’s most famous dresses for lancia the shooting of Rapsodia , as if she wanted to single word essay trademark the film beyond the telaio lancia screen into essay neighbor, the worlds of fashion and telaio thesis, stage art. During the planning of La Memoria dell’Altro , in her letter to darden the producer Alberto Fassini, she stressed over and over again the importance of clothes in her work and her admiration for Fortuny. The diva’s body, the celluloid of lancia thesis film, the application of color—these three levels seem to converge in the project of transforming motion into a much warmer sense of darden essay 2009 breathing life, caught like a butterfly into the net of time at a stand-still, once and for all, but also with all the flavor and taste of its own epoch preserved. As the title suggests, Oxilia’s film is a combination of old and new elements. From the Greek verb rhaptein —which means both to sew and to sing— Rapsodia ’s plot is derivative, transformative, and transgressive. Through the well-known characters of Salome and Faust, Oxilia rehashes the themes that feminine beauty is lethal and that eternal youth is a reward worthy of any sacrifice. Much more refreshing than these worn-out ideas are the meaningful transformations of lancia setting and mood Alba experiences when she leaves the Castle of Illusion for fresh air; when she contemplates the beautiful yellow butterfly in the garden; and, finally, when, after scattering dying flowers on the floor and playing the 2009 piano, she acknowledges the painful return of wrinkles to her face.

She knows she has broken her pact with the devil and that there is no turning back. It is precisely during this memorable scene of veils and mirrors bathed in lancia, Caravaggesque chiaroscuro lighting that the viewer senses the possibility of unexpected prodigies taking over statement for problem solution, the predictable plot Oxilia has diligently followed up to this point. Instead of ending the film with the same old grotesque Alba of the first sequence, a new, stronger, and ethereal creature emerges from the telaio glowing twilight hour, the see-through fabric, and the reflecting surfaces of the mise en scene . This alchemy of sunset, cloth, and recommendation, glass is lancia not only definitions essays a combination of flexible and mutable materials reminiscent of film’s sensitivity to telaio lancia thesis time-fleeting moments. It is also a protective envelope for the diva’s inner and definitive change, at the moment of greatest despair: the devil has just withdrawn his promise of eternal youth. Put another way, the play of veils, the recommendation glow of candles, and the dancelike motions caught by the looking glass function as a nurturing chrysalis: they enable the butterfly-woman of the future to be born. And she comes to life against all odds. Thus, an lancia, artificial icon of the Art Nouveau period—the real butterfly Alba saw in the garden—becomes her alter ego as well as the symbol of her search for a new identity outside the essay neighbor rules of the thesis Castle. With a surprising twist of the traditional story line, Oxilia does not make Alba return to her stuffy chambers; instead, he edits the close-up of a cold, indifferent mirror, a reference to aging, with the low angle of an ominous black door slowly opening to a terrace overlooking a forest. Moving from the indoors to the outdoors, the filmmaker concludes this transitional sequence by thesis for problem solution paper juxtaposing a frontal view of Borelli, in all her toylike smallness, against a monumental Egyptianate threshold.

Not only does the lancia diva’s hieroglyphic and rigid figure grow in size as she faces and recommendation, walks toward the camera, but, all of a sudden, this view is telaio lancia thesis replaced by one of her receding back, that is, becoming smaller. Without a doubt, Oxilia’s radical switch from a frontal to 2009 a rear view of lancia thesis Borelli underlines the crossing of a rigid boundary inside herself and in the society in which she lives. In the thesis for problem solution end, the veils, fluttering in dance-like fashion behind her figure, around her and toward her, announce the death of Salome. The old-fashioned femme fatale is gone once and for all, to be replaced by Alba’s transformation into the New Woman of lancia modernity. By modeling herself on Loie Fuller’s famous choreography of soft fabrics and neighbor paper, colorful electric lights, Alba becomes a sort of abstract, marvelous being with no face, no body, but radiating immense freedom and energy.

Beloved by the Italian Futurists due to her technological emphasis, Loie Fuller mobilized the telaio lancia thesis arabesque line of Art Nouveau, converting it into utopian apparitions of mystery and power. Recommendation! Through her long streamers of fabric and multi-colored lighting effects, the famous American dancer would represent either flames or a butterfly in flight, while the outline of abstract and thesis, endless designs would orchestrate sensations of fear, surprise, and enchantment among the audience. Borelli’s movements on the terrace are so reminiscent of Fuller’s approach that the using definitions whole sequence can be said to have been co-authored by the director and the diva alike. Telaio Lancia Thesis! To be sure, Oxilia had already shown great interest in Fortuny’s marvels of single word stage lighting during the production of Ananke . There is no reason to think, therefore, that he was not eager to include an homage to Loie Fuller in telaio lancia, Rapsodia . Like Fortuny, the talented American had built a reputation for herself as the creator of a completely new intersection of for problem solution choreography and theatre. In the lancia mode of Fortuny and Fuller, Oxilia spent all his time, during the production of Ananke , dressing the walls with different kinds of cloth in order to achieve various kinds of recommendation lighting results by relying on the modulation of fabric in space. As the co-author of the thesis sequence inspired by Fuller, Borelli’s sense of the cinema matches Oxilia’s in definitions essays, terms of sophistication. One example of Borelli’s lucid awareness of the deep ties between fashion and film comes from her preface to Mario Carli’s novel Retroscena ( Backstage , 1915). Tactfully aware of Carli’s empty rhetorical flourishes, the actress writes about telaio lancia thesis her own insights on questions of essay movement and fashion: Reading your novel has produced a strange impression in me: I have found in you a sensitivity—or better, a gamut of sensations—which I would call feminine. . . . I say this not because I find your imaginative path to thesis be either weak or frail, but simply to underline one of darden essay 2009 its most fundamental traits: the suppleness of your imagination. After all we need to get rid of the superstition which attributes to women everything which is weak and lancia, shallow. There are a lot of men who are weaker and shallower than any woman, hence it is an absolute commonplace to call us the using weak sex. . . . I am very interested in telaio lancia thesis, your fascination with clothes, with the question of women’s elegance, with that fantastic and, without a doubt, complicated world which is a woman’s wardrobe.

I, just like you, believe that a wardrobe is a sort of poetic medium or material. [5] So aware was Borelli of the power of clothing to generate autonomous forms of movement with a storytelling power of its own, that she invoked la poesia delle vesti . In other words, Borelli was describing the way in which pleats and darden, folds, like poetry, can yield a glimpse of hidden physical energies and half-formulated thoughts. The latter are, by telaio lancia definition, difficult to externalize, represent, or even express not only to others, but even to oneself. Hence Borelli seems to suggest that clothes send messages to oneself nobody or nothing else would know; and that clothes narrate the histories of single word essay many different worlds. Female narcissism is a constant theme in the visual arts of the nineteenth century, and this convention reappears in telaio thesis, the first half of Rapsodia , when Alba looks at her image reflected on essay elements the surface of a pond in telaio, her garden. By contrast, in the sequence set on the terrace, Borelli hides her body in swirling fabrics.

This turn toward disembodiment—and, therefore, abstraction—suggests that Oxilia’s melodrama aligns itself with modernist experimentation, despite all its old-fashioned cliches. In this respect, echoes of Boccioni’s “plastic” or “transcendental” dynamism can be found in essay paper, Borelli’s use of veils. Put another way, through Fuller’s dances about the disappearance of her own body in the dark, Oxilia and Borelli elevate the standard diva-film into a Futurist-oriented form of experimental visual poetry through fabric and telaio, movement in line, through the thesis statement solution unraveling of thesis grammar into free analogies. On March 30, 1907, the painter Umberto Boccioni (1971, p. 107) notes in his diary that he accidentally saw a young and elegant actress: Yesterday I saw a young actress who was so elegent that I thought that if I could study using that woman as a model, perhaps I could find what I am really looking for.

This one or another one, as long as she carries in herself a whole musical range of movements which I find very typical of twentieth-century, elegant women. [6] In 1907 Boccioni was not yet a Futurist painter. That would happen after he met Marinetti in 1909, the year of the first Futurist Manifesto. In fact, he was still working in a Divisionist mode and, even though he does not mention Borelli’s name, the link between an “actress,” clothes, and essay elements, motion spells out Borelli, since this was both the way she described herself and the way contemporary reviewers characterized her. To be sure, Boccioni will address again the fact that the observation of lancia clothes-in-motion can become a spiritual epiphany about a woman’s soul when he describes his neighbor and confidant, Ines, in his diary.

Boccioni’s remarks about the homely Ines contain words very similar to the ones used for Borelli, and this is because he is writing more about the way he sees moderm women than the way Ines actually is. In keeping with his search for a personal and contemporary abstract style, when he used Ines as a model for essay 2009 The Story of a Seamstress (1908), the clothed surface of her figure was not only flat and two-dimensional, but it dissolved into telaio lancia thesis, streaks and filaments of colored light on the way to Futurist abstraction. It was only in 1911 that Marinetti announced the Futurist Manifesto of darden essay 2009 Painting , but Boccioni was well along in his transition from telaio Divisionism to Futurism. In fact, inspired by Lyda Borelli in 1907, he had concluded in his diary: “I can feel that I want to paint whatever is the new, the fruit of our industrial age” (Boccioni 1971, p. 107). Influenced by Max Nordau’s and Otto Weininger’s writings on evolutionary theory and sexuality, Boccioni, just like the rest of the Futurists, saw women as inferior creatures.

Within his own family, Boccioni was very close to his mother, but he was the only male. Thus he enjoyed being always the center of attention. By invoking a new era, therefore, the artist was not necessarily thinking about thesis for problem paper women’s emancipation, but he was using the female image as a jumping board to find his own creative direction. For Boccioni “new” did not mean the “New” Woman with a whole set of thesis rights and opportunities. It meant, instead, a novel conception of space and time in relation to the mind and the body. It was not until 1913, with the paper sculpture Unique Forms of Continuity in Space , that Boccioni elaborated his groundbreaking theory of “plastic dynamism.” For the telaio lancia painter, the viewing subject and the art object should interpenetrate or intersect, simultaneously reshaping each other. Upon closer examination, Boccioni’s sculpture is “unique,” as the title itself suggests, because it seems to take off within a 360-degree space.

All of a sudden the stone frees itself of essays all gravity. Its energy level is telaio so rotational that it seems to aspire to become a propeller, another object reminiscent of Fuller’s masterful control of thesis paper veils, where one wave subsides while the next one is prepared. For Boccioni, continuity in space must synthesize all three dimensions in such a way as to produce a fourth, mental one. The latter is a leap beyond the visible into the unknown. Put another way, the fourth dimension is about the telaio projection of new configurations and forces unfolding in another space and in another time the mind can only imagine and wonder about. One might argue that Boccioni’s famous sculpture is essay elements a mixture of old and lancia thesis, new, because its engagement with motion does not rule out the Louvre’s Nike of Samothrace as a model. The famous ancient sculpture seems to leap beyond its stasis, but it projects itself only in one direction. By contrast, Boccioni’s Unique Forms of Continuity in Space achieves the paradox of a stubborn singularity within an thesis, unstable multiplicity, so that his sculpture does not simply appear to be exploring several possible trajectories of motion at telaio lancia the same time; instead, it looks completely different according to the angle of vision chosen by the observer. The latter, in turn, is led to think that there are many sculptures contained in one, and that each one is turning into the other within an open-ended, ever-changing simultaneity, rather than within a series based on some kind of thesis statement plan or term of telaio reference. It may seem impossible to link Oxilia’s statements about filmic specificity to Boccioni’s “plastic dynamism,” but the director did think of the cinema as a kind of anti-theatre operating between sculpture and dance. Recommendation! In this sense the title of Boccioni’s sculpture, Unique Forms of Continuity in Space , can be re-interpreted as a short-hand statement about cinema’s specificity: it is about the temporal ontology of telaio thesis photography at the heart of film, while continuity in space weaves time with movement.

In a survey taken by neighbor paper Alberto Cavallaro and published in La Vita Cinematografica of 1913, Oxilia (quoted in lancia thesis, Martinelli 1991, p. 83) declared: The cinema, a corollary of the theatre? No, the cinema is an autonomous art form, with a specificity of essay elements its own. It is absolutely different from theatre. Fot it does possess . . . its own deep and courageous grace. And as far as people saying that the cinema is a new art? Yes it is, in terms of its form, but not in regard to an issue of creativity. Perhaps it is a transformation of the art of posing which Euripides valued so much after all, precisely because it is the simplest, the dance of telaio human passions—transformed for our modern mentality . . . Essay Neighbor! I would call the cinema: the art of lancia silence in the sense that it is a an art of sculptures one following the other. Time and darden, motion, according to Boccioni, were the telaio lancia most effective indications of recommendation a higher, transcendental, dynamic reality. Telaio Thesis! The assumption that the temporal side is more precious than the 2009 spatial aspect distinguishes the Futurist from the Cubist agenda. The Futurist way of setting the object in motion was different from the Cubist approach.

According to the Cubists, motion was an effect of showing the same thing from several sides at once. The Cubist strategy is both spatial and metonymic. The Cubist Nude Descending a Staircase (1912) by Marcel Duchamp is about motion rearranging the elements of a single figure in line with a metonymic scattering of telaio parts to proclaim the disintegration of the body—namely, the cohesive figure of classical painting—which tumbles down into multiple facets as if their origin had decomposed into many different, yet similar elements. Instead of producing a radical transformation of the one into the many, movement brings about the thesis solution paper radical remapping of an telaio thesis, old hierarchy in such a way that single parts come into contact with previously inaccessible areas of the canvas. Still, regardless of this Cubist uprooting of corporeal features from the original body, the single figure under deconstruction retains its identity, and does not become someone or something else.

As such, Cubist analytical fragmentation is different from Futurist willful metamorphosis. [7] For the Futurists, motion was not the result of dismantling a figure into its elements, but rather the inner origin of darden a transformation which would allow multiple beings—flame, bird, flower, smoke, woman, ghost, snake, wing, feather, cloud, wave—to coexist simultaneously within the same leap of a metaphorical kind of imagination. Simultaneity, of course, has to do with time, but the thesis Futurist approach is more visionary than analytical. It is indeed this multiplicity of recommendation forms—one replacing another, which, in turn, becomes something else altogether—that explains the parallels between Lyda Borelli’s performance at the end of Rapsodia Satanica , Loie Fuller’s dancing, and Boccioni’s Unique Forms of Continuity in Space —the title of the which can be used as a shrewd paraphrasing of Oxilia’s definition of the telaio lancia cinema: an art form half way between sculpture and dance. To be sure, in Rapsodia , Alba’s spiritual changes manifest themsleves through the yellow butterfly, the glowingly-lit bridal veil in front of the mirror, the swirling fabrics attached to her hieratic silhouette. Each one of these visualizations, whether it stresses wings or cloth or both, is characterized by a metaphorical attempt to define femininity according to typical tropes of Art Nouveau: from the woman-butterfly to the woman-cloud.

Precisely because Loie Fuller’s method was closer to single word the Futurists—and later, to the Surrealists—than to the Cubist sensibility, it is fair to say that her dances appealed more to telaio lancia a wild imagination. In true Bergsonian fashion, Fuller’s spectacles demonstrated that creativity could stem from an emphasis on essay elements imagination over logic, intuition over intellect. And this is also why she did not conceive of her choreographies along the step-by-step approach of Cubism. The latter required a rearrangement of parts with the end result of dispersing the centrality of the self into several, disjointed, and spatially competing points of lancia view. The Cubist scattering of corporeal parts involves the possibility of single word assembly and telaio thesis, reassembly according to either a previous model or a new one. Yet, whether it points towards the past or the future, Cubist logic is mechanical, or closer to the engineering ethos of another avant-garde movement, Russian Constructivism. A certain degree of organicism remained at the heart of Fuller’s dances, in the sense that the sweeping motion trails of neighbor her colored lights and fluttering veils are comparable to Bergson’s implicit use of a kinetic metaphor for his concept of elan vital or vitalistic impulse, as that which turns human experience in a constant ever-shifting milieu of lancia thesis change. From Fuller to Boccioni, to Borelli and Oxilia, this associational and analogical approach resonated with many tendencies of the period: the obscure yet crucial links between feminism and occult practices; the esoteric taste found in the Ballets Russes; as well as the Romantic ancestry of the diva-film, the genre of love and death, growth and decay. To be sure, Bergson’s well-attended lectures were a highlight of the period. [8] In his essay “Enrico Bergson,” from a collection about the history of philosophy, Twenty-Four Brains ( Twenty-Four Cervelli ), Papini (1922, pp. Essay Elements! 317-318) underlines that the philosopher’s lectures were crowded with women:

Since 1910 Henri Bergson . Lancia Thesis! . . is the most famous philosopher on the surface of the earth admired by the women cerebrali who fill up the College de France. Some puritanical individual has decided that Bergson’s philosophy is worth nothing at thesis solution all, and that it will pass after a brief celebrity, just like the chairs from the Viennese Secession and the dancers of the Ballets Russes, and this rushed conclusion stems from having seen the usual “blue-stocking ladies” agitate themselves after the author of Matter and Memory along with the usual dandies who want to be in telaio lancia, touch with the latest fads, but they are really the last to know anything. Boccioni presumably would not have been mesmerized by Borelli as a film-diva, because he is single word known to have used the word “filmmaker” to insult Anton Giulio Bragaglia, a Futurist experimental photographer. Significantly, in 1907, Lyda Borelli was still a star of the theatre, and she continued her theatrical activity even after moving into lancia, film in 1913. Most likely she considered the new medium to be much less prestigious than the theatre, and as such she would work on both stages by keeping a dressing room between the shooting set and statement for problem, the theatrical area. Thus the link between Borelli and Boccioni is telaio lancia thesis complex, because the motionless art of painting comes up against movement on essay neighbor paper screen, while movement in lancia, real life is recommendation how the thesis actress seduces the painter into new ideas about his art. In tracing the connection between Boccioni and essay elements, Borelli, we find an intricate web of both negative and positive attitudes towards the old and the new, between cinema and theatre, and cinema and painting. In contrast to this, one might characterise the ties between the American dancer Loie Fuller and Henri Bergson’s philosophical sense of life as a form of constant change open to both the past and future, namely duration. This dynamic has been eloquently discussed by Tom Gunning (2003, pp. 86-87):

One would be hard put to telaio conceive of a better image of Bergson’s contrasting, new, dynamic understanding of duration than the dances of Loie Fuller. “In reality,” Bergson claimed, “the body is changing form at single word every moment; or rather there is lancia no form, since form is immobile and the reality is movement. What is real is the change of form: form is ony a snapshot view of using a transition.” If form is a snapshot of a transition, Fuller’s dance, as the telaio thesis art of motion, seemed to offer forms dissolved by the cinema. Gunning’s research on Fuller and Bergson expands our understanding of how Bergson’s thought can be applied to the early cinema before World War I in ways that go beyond the philosopher’s views on Marey’s motion studies at the end of the nineteenth century. The importance of Bergson for Oxilia was historical as well as philosophical. This is to say that if Bergson was on Oxilia’s intellectual horizon in Turin, his key ideas reached the filmmaker mixed with many other fads, patterns, and obsessions from essay that period. For instance, the contamination of lancia Bergson’s ideas with Wagnerian and Nietzschean strains will become more explicit a few years after Oxilia’s death, in Ricciotto Canudo’s Helen, Faust and Us . Written in 1920 but published only in 1927, the title of this essay is thesis statement for problem solution paper a plain and simple summary of Rapsodia ’s plot: Helen of Troy stands for beauty, Faust stands for aging, and, the pronoun “us” brings in telaio thesis, the dimension of temporality, since the essay elements audience of cinema changes each time. But besides the Paris-based and therefore geographically-distant Canudo, Oxilia’s friend, Gariazzo, was one of the many popularizers of Bergson through his book Teatro muto . He composed this paragraph in 1918 while serving as a soldier on telaio lancia thesis the front line: We want to definitions dream for our future a theatre made of shiverings instead of analysis; we do not want a theatre made of narratives, with long Byzantine convolutions, but we want life itself transformed by art through a prismatic refraction: disassembled into its most beautiful colors: one beam after another.

We shall remove from the Book of Time, grey, monotone pages, in lancia, such a way to lengthen and intensify time itself. We shall fill each single instant of our universe, by opening up to every possible vibration. Essay Elements! Let the prism [cinema] turn around and yield its luminous reverberations so that our evershifting life can move from a purple to a black dress, while every single emotion in our soul palpitates. This is my wish!! Gariazzo 1919, p. 331.

It is worth noting that the image of the prism was frequent but also mysterious in those days. Gariazzo relies on this optical analogy probably to refer to the cinema, while Lyda Borelli in Amleto Palermi’s Carnevalesca uses the prism to introduce the sections into which the narrative is divided. Lancia! My understanding is that the prism as a new kind of possible cinema signified distortion and transformation in word, contrast to a simple pair of glasses to see better or in antithesis to the reflecting surface of a passive mirror. There seems to be a confused yearning for an avant-garde aesthetic in film that never came about, but which Gariazzo was trying to telaio lancia articulate by bringing together Gozzano’s and D’Annunzio’s search for marvelous abstractions, Boccioni’s longing for an artistic and willful kind of transcendence through plastic dynamism, and Bergson’s spiritualism heightened with a Futurist cult of vibrations and chronomatism. To conclude, although Oxilia’s Rapsodia Satanica associated Borelli with Fuller and the New Woman of the future, the ending of the film, in which the devil prevails over thesis paper, Alba, produces a precarious compromise between the past and the present, between the interiors of the castle and the open spaces of tomorrow. In fact, Alba’s dance of veils on the terrace is not enough to protect her from telaio Satan’s punishment. The last few images of Rapsodia show Borelli lost in a thick forest until she ends up under the darden essay devil’s cape with an attitude of resigned subordination. This punitive ending is typical for telaio thesis the diva-film, but Oxilia, being young and ambitious, may have hidden another level of interpretation in his standardized conclusion. One may speculate that the devil does not only embody the Catholic Church’s idea of sin, but also stands for recommendation occult forces comparable to the cinema itself as a medium suspended between magic and technology.

Only Lucifer has the lancia thesis power to reverse time’s forward moving trajectory. This is why Oxilia’s Rapsodia can only be Satanica , because, even though he aligns women’s emancipation with cinema’s creativity, in the end he seems to side more with his medium (cinema) and the occult (Satan) rather than with the diva’s impossible search for recommendation romantic love and eternal beauty. Such a conclusion is lancia not surprising. Here Oxilia is the Turinese bohemian who chooses the devil, the essay neighbor first maker of anti-conformist choices. Such a stance does not only entail a rejection of telaio lancia thesis scientific Positivism in darden 2009, favor of Bergsonism, but a sliding toward the future, without necessarily becoming Futurist.

Hence, in Oxilia’s film, the cinema is telaio lancia defined as a form of youthful temporality. We see here the rise of a model hostile to the aestheticizing imperative of the Italian cultural tradition, which is one steeped in archeology and the past. Space, aging, history are the diva’s enemies—the components of essay elements a stale, theatrical kind of cinema she wishes to leave behind. By contrast, temporality and lancia thesis, cloth, rather than architecture and single word essay, the female body, pave the way for the mysterious “fourth dimension,” so difficult to represent outside the conventions of calendars and clocks, and so precious and profoundly subjective an telaio lancia, experience that, on essay elements the very eve of World War I, science and magic, positivism and spiritualism fought over its redefinition and appropriation. [1] See Papini 1951. Also on telaio lancia Papini and Bergson, see Mazzei 2002. [2] All my information on Nino Oxilia comes from Martinelli 1991. [3] See Martinelli 1994. [4] See Comuzio 1987. [5] Retroscena was reprinted as Marvana: Mistero d’Amore (Carli 1927). [6] In the Feltrinelli volume of Boccioni’s papers, an asterisk follows the word attrice (actress), and at the bottom of the page, the editor suggests Lyda Borelli. [7] For my juxtaposition between Futurism and Cubism, I was influenced by recommendation Marta Braun (1992). [8] Evidence exists that Boccioni read Bergson’s Matter and Memory in the public library of lancia Milan.

Elle est professeure agregee d’etudes cinematographiques (School of Literature, Communication, and Culture — Georgia Institute of Technology). Elle est l’auteure de The Body in the Mirror : Shapes of History in Italian Cinema (1992), Cinema and solution, Painting : How Art is telaio thesis Used in Film (1996) et Diva : Cinema, Time, and Women (a paraitre). Essay! Elle a egalement dirige l’ouvrage collectif The Visual Turn : Classical Film Theory and Art History (2002) et codirige Color : A Film Reader (avec Brian Price, 2006). Bergson 1998: Henri Bergson, Creative Evolution [1907], New York, Dover Publications Inc., 1998. Une excentrique au coeur de l’industrie: Ray Lewis et le Canadian Moving Picture Digest. Par Louis Pelletier et Paul Moore. Lyda Borelli’s Satanic Rhapsody : The Cinema and the Occult.

Par Angela Vacche. Laurent Jullier, Qu’est-ce qu’un bon film ? , Paris, La Dispute, 2002, 250 p.

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ASSALE ANT CULLA MOTORE TELAIO AUSILIARIO LANCIA THESIS

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Analysis of Eavan Boland’s That the Science of Cartography is thesis, Limited. Using Essays? Analysis of Eavan Boland’s That the Science of lancia Cartography is Limited. Need essay sample on Analysis of recommendation Eavan Boland’s That the Science of Cartography is Limited ? We will write a custom essay sample specifically for you for only $12.90/page. Eavan Boland’s poem That the Science of telaio lancia Cartography is Limited is a poem of criticism. It criticizes cartography itself, or map-making for maps are emotionless and do not reflect the traces of history with which countries and roads were built, particularly the famine roads of mid-19th century Ireland. In fact, Boland finds it ironical that the map of Ireland does not show these famine roads at all. Essay Elements? The poem actually alludes to the Irish Famine of 1847 when potato blight ravaged thousands of acres of potatoes, the staple food of Ireland, on telaio lancia, which 1/3 of the country’s population was dependent prior to the blight in 1840. However, in her poem Boland condemns not the essay 2009 potato blight but the decision of the British economic council during the time of the Irish famine to make the already weak and starving peasants work for their food by building roads.

However, as previously stated, these famine roads for which many have toiled, suffered and died are deliberately and unjustly not indicated on any map at lancia thesis, all, as reflected by Boland’s indignation in her poem. This essay seeks to essay elements, carefully analyze Boland’s poem, explain her argument, and describe her own sentiments about the 1847 Irish famine and of the telaio thesis limitations of maps, which are the very sentiments she wishes to address. Essay Paper? Boland’s That the Science of Cartography is telaio, Limited has a rather unique title which seems to sound like a legalistic phrase similar to the opening of a court case: That the Science of Cartography Is Limited. This may reflect the severity of Boland’s criticism against the otherwise heartlessness of cartography. Personally, I believe the title itself allows continuity in reading, thought and emotion. The title itself is an accusation whose scope is delimited by the next three lines: —and not simply by the fact that this shading of. forest cannot show the fragrance of balsam, the gloom of cypresses, These lines emphasize “the fragrance of balsam” (Boland), which is symbolic of healing (Fairchild) and alludes to the healing power of the forest, and “the gloom of cypresses” (Boland), which represents death and mourning (Boddy-Evans), or the death of the peasants who built the famine roads through the forest.

The last stanza is concluded by the supposed ending of the first sentence which is the title itself. So it reads that “That the Science of Cartography…” is what I wish to single word essay, prove. In the three lines that follow, one can clearly see the author who seems to be travelling by telaio lancia, car with her lover at the borders of where a forest lies: When you and I were first in love we drove. to the borders of Connacht. and entered a wood there. The forest here may symbolize a certain unknown realm which hides many secrets but whose discovery will certainly lead to greater wisdom and awareness. In the next line one can see that the essay author’s lover is pointing at a trail in the forest that was once considered a famine road: Look down you said: this was once a famine road. At this exact moment the author seems to be called upon to reflect on and reconnect with the telaio thesis Irish famine of 1847 and her mere act of looking down seems to be a sort of humbling experience of reflecting on his own roots.

Thus begins the using essays author’s psychological travel into the past. In the third and fourth stanzas and the line that follows it, the lancia thesis author speaks of purely historical information pertaining to the 1847 Irish famine. In the third stanza, the author seems to keep looking down or reflecting and imagines a “rough-cast stone [that] had disappeared” (Boland), which may be the same rough-cast stone used by the starving peasants of 1847 to build roads in order to eat. This rough-cast stone may symbolize the roughness of the hard life that the peasants had during that time. I looked down at ivy and the scutch grass. rough-cast stone had. disappeared into as you told me. in the second winter of word essay their ordeal, in.

The fourth stanza emphatically starts with the lancia year 1847, the second year of the Irish famine, perhaps in order to emphasize the year in which the suffering of the peasants doubled or the word time when the author believes the real suffering began. It is true that the famine started before 1847 but it was in this very year that ironically the government added to their suffering. The second line of the thesis fifth stanza, which states “Relief Committees gave” (Boland), seems to stand out as the greatest irony in the poem. By itself and essays without any reference to any other line, the second line speaks of lancia thesis mercy, concern and sympathy but when one keeps reading up to the third line, one can see the irony – that such “Relief Companies,” two words whose initial letters are capitalized to amplify the irony, never did anything good to the peasants except to neighbor paper, worsen their suffering. The use of the word “gave” may also contribute to the sarcasm of the poem in such a way as to lancia thesis, make the audience think that something is being generously and lovingly offered to the peasants by these “Relief Companies” when in fact what they offer is nothing but “roads to build” to somehow sarcastically “ease” their suffering through a quicker death.

1847, when the crop had failed twice, Relief Committees gave. the starving Irish such roads to build. Such quick death “given” by the “Relief Committees” is seen in the line that follows the fourth stanza and precedes the fifth: Where they died, there the road ended. Truly the “Relief Committees” were a true source of relief to darden essay 2009, the peasants at that time for through the death it gave them, they were instantly “relieved” of the burden of famine. This is perhaps the most sarcastic stanza in the poem and it speaks of nothing but pure criticism of the political system of Britain during the time of the Irish famine. Telaio Lancia? The fifth stanza is the longest in the poem and it speaks of the author’s indirect criticism of the map of Ireland by first praising it and, in the succeeding paragraph, emphasizing its lacks. and ends still and when I take down. the darden 2009 map of this island, it is never so. I can say here is. the thesis masterful, the apt rendering of. the spherical as flat, nor.

an ingenious design which persuades a curve. but to tell myself again that. According to the author herself, a map may indeed be “masterful” as it may convert “the spherical as flat” (Boland) or “a curve into essay neighbor a plane” (Boland). Maps, as what Boland believes, seem to be the best representations of the geography of the lancia spherical earth. However the 2009 last line of the lancia fifth stanza, “but to tell myself again that” (Boland), leads the reader to think that the author has to forcefully commit to memory the very much less obvious yet very important fact presented by using essays, the sixth and last stanza: the line which says woodland and cries hunger. and lancia gives out among sweet pine and essay cypress, and finds no horizon. And the thesis words of the sixth stanza are indeed the point of the author’s criticism.

The famine lines “…[say] woodland and [cry] hunger” (Boland) and “[give] out among sweet pine and single word cypress” (Boland), the first of which is symbolic of immortality and longevity (Karlsen) and the second of which is symbolic of death and mourning (Boddy-Evans). The sixth stanza is actually a paradoxical connotation of the telaio famine lines, as represented by the woodland and the hunger, and by the immortal pine and essay elements the deathly cypress. It is clear then that the telaio lancia thesis famine lines are both good and bad at the same time. However, the last line of the sixth stanza “and finds no horizon” (Boland) clearly adds a third negative character to the famine lines making the bad points in the paradox outweigh the good. Recommendation? Lastly, such a long sentence that starts with the subject “The line” ends in its predicate: will not be there. The last line of lancia Boland’s That the essay elements Science of Cartography is Limited, together with its subject “The line,” clearly answers the question on the limitation of maps in truly reflecting true history.

Boland’s That the Science of telaio lancia Cartography is Limited is an interesting poem because it tells not only of history but of the prejudice that maps afford it. Structurally one of its more interesting points is that it the final line of each stanza leads to the next and using definitions is actually a part of the stanza that follows. Plus, the individual lines between stanzas somehow feature the main points the author wants to instill in the reader, and certain words and phrases are used to further strengthen the point: the phrase “Relief Committees,” with the initial capital letters, and telaio thesis certain words such as “cypress,” “balsam,” “famine,” “died,” “hunger,” and “starving.” Moreover, the author, who is an recommendation Irish poet who wants to reconnect with her roots, believes that cartography is actually an unfeeling and unemotional field of science for it does not, or cannot, reflect true historical accounts. Also, it seems to intentionally exclude anything controversial, such as famine roads. In short, maps somehow teach us to ignore the plight and suffering of lancia others and that one still has to “tell [himself] again [and again] that” (Boland) maps are unemotional and heartless tools and most of all, incomplete and biased. Personally, I believe this and this somehow makes me think that not everything around me was brought to existence in easy ways and in fact there could have been a sacrifice involved in every single thing I can see around me. Recommendation? Boddy-Evans, Marion. “Art Symbols Dictionary: Death.” Painting.

2010. About.com. 4 Apr 2010. http://painting.about.com/cs/inspiration/a/symbolsdeath.htm Boland, Eavan. “That the thesis Science of Cartography is Limited.” Eavan Boland. 2010. PoemHunter.com. 3 Apr 2010. Recommendation? http://www.poemhunter.com/best-poems/eavan-boland/that-the-science-of-cartography-is-limited/ Fairchild, Charlene E. “Preparing the Oil of Anointing: A Recipe for Holy Oil.” Sermon and Lectionary Resources. 2006. Spirit Networks. 4 Apr 2010. http://www.rockies.net/ Karlsen, Kathleen, MA. Telaio Thesis? “Pine Tree Symbolism.” The Symbolism of Trees. 2 Apr 2010. Living Arts Enterprises LLC.

3 Apr 2010. http://www.livingartsoriginals.com/infoforests.htm ANSWERS TO THE QUESTIONS (IN CASE YOU NEED A SEPARATE SHEET FOR THE ANSWERS): 1. How does the title affect your reading of and response to the poem? Boland’s That the Science of Cartography is Limited has a rather unique title which seems to sound like a legalistic phrase similar to definitions, the opening of lancia thesis a court case. Personally, I believe the title itself allows continuity in reading, thought and emotion. Darden Essay 2009? The title itself is an lancia accusation.

2. What is the poem about? The poem criticizes cartography itself, or map-making for maps are emotionless and do not reflect the traces of history with which countries and roads were built, particularly the famine roads of mid-19th century Ireland. The poem actually alludes to the Irish Famine of 1847 when potato blight ravaged thousands of acres of potatoes, the staple food of Ireland, on which 1/3 of the definitions essays country’s population was dependent prior to the blight in 1840. 3. What makes the telaio thesis poem interesting? Boland’s That the Science of Cartography is Limited is an interesting poem because it tells not only of history but of the prejudice that maps afford it. Structurally one of its more interesting points is that it the neighbor final line of each stanza leads to lancia, the next and is actually a part of the stanza that follows. Plus, the individual lines between stanzas somehow feature the main points the author wants to essay elements, instill in the reader. 4. Thesis? Who is the speaker? What role does the speaker have? The author is an Irish poet who wants to reconnect with her roots. She seems like an ambassador of goodwill or a mere historian.

5. What effect does the poem have on you ? Do you think the poet intended such an affect? Personally, I believe the poem somehow makes me think that not everything around me was brought to existence in essay elements, easy ways and in fact there could have been a sacrifice involved in every single thing I can see around me. 6. What is distinctive about the poet’s use of language? Which words especially contribute to the poem’s affect? Structurally one of its more interesting points is telaio lancia, that it the essay neighbor final line of each stanza leads to the next and is actually a part of the stanza that follows. Plus, the individual lines between stanzas somehow feature the main points the author wants to instill in the reader, and certain words and phrases are used to further strengthen the point: the phrase “Relief Committees,” with the initial capital letters, and certain words such as “cypress,” “balsam,” “famine,” “died,” “hunger,” and “starving.”

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ASSALE ANT CULLA MOTORE TELAIO AUSILIARIO LANCIA THESIS

essay okinawa trough and Photo-Essay Books. by Blackie the lancia Photographer. Blackie the Photographer. Another Photograph of Blackie the Photographer. Blackie and recommendation, Papasan. (Papasan's Day is Done) Published in This Month on Okinawa, October 1960.

Blackie as Mr. Lancia Thesis. Big on Okinawa. Published in This Month on Okinawa, November 1960. Blackie Ad - Keystone Studio (1957) Blackie's View of Okinawa. Start with the essay elements sea for fish, Homes for the people, Foothills for telaio lancia thesis, vegetables, Valleys for neighbor, rice, Hills for thesis, wood and fuel,

Hillsides, tombs for the dead, That's the way of life, This is Okinawa. Blackie the Photographer, Keystone Portrait Studios. (The concluding text in Okinawa Children in Photos ) On this page I will consolidate all the books by Blackie the Photographer (Earnest Gordon Blackie Bradford) that I am aware of. Blackie did not copyright his books and they generally were undated. When a date is shown as ca that means I have guestimated the date by extrapolating from information or pictures in the book. The submission of corrections or additional information would be greatly appreciated. A form has been provided at the bottom of the darden 2009 page is you would like to contact me directly from this web page. Blackie first arrived in Okinawa in August of 1949 while serving in the US Air Force. In 1952 he was discharged from the Air Force and remained on the island.

After leaving the service, Blackie worked for the American Photo Service owned by Bert and telaio lancia thesis, Lillian Mosher. In 1957 Blackie left American Photo Service and became the manager of the Rycom Plaza office of Keystone Studio in Koza (PO Box 62) which was owned by essay, Joe Tsuha. Telaio. He was much more than a manager however. He was an active studio and field photographer. His business card advertised Portraits, Home Portraits, Organizations, Weddings, Parties, Reviews, Promotions, Any Time Anywhere. He was a well know figure on word, the military bases on Okinawa where he often took unit pictures. Telaio Lancia. Blackie is probably best know for this aspect of his work by those in the military community who were stationed on Okinawa. Blackie and Keystone Studio advertisements were published frequently in English language publications on Okinawa.

Donn Cuson has consolidated a number of these advertisements into one picture and it is here. The first advertisement in for problem solution, this group is for the American Photo Service which lists a Kadena BX address and apparently another address on Kadena (Bldg 891207). According to Donn, the American Photo Service ad was published in May of telaio 1957. The American Photo Service also advertised an address in the Machinato area. The next ad published was for Keystone Studio and published in November of 2009 1957. From his arrival on lancia, island, Blackie was a photographer and by using, 1960 he boasted of telaio thesis a portfolio of over 10,000 photographs. The nickname Blackie was apparently derived from the trademark black suit he wore. Until recently, I found very little biographical information on Blackie available in published works. Some information was available in thesis for problem paper, an article on Blackie that was published in telaio thesis, This Month on Okinawa, October 1960 . For Problem Paper. A recent find has changed this however. In 1994 Blackie self-published a book which he titled What a Wonderful Life.

More information on this book can be found here. This book is a series of telaio stories reflecting the various stages of neighbor paper Blackie's life and it provides a wonderful insight into his character, values and beliefs. Telaio. Among other information, the book establishes that Blackie was on Okinawa from August of 1949 through early 1968 (18 1/2 years). Correspondent/Contributing Photographer . Blackie apparently served as a newsreel photographer for NBC Television. At least one of his photographs was published in The National Geographic Magazine (Feb, 1955). His photographs have also been reported in essay neighbor, Time , Life , and the Saturday Evening Post . In addition, Blackie had a close association with at least two English language periodicals published in Okinawa. These pictorial magazines focused on lancia thesis, news and events of importance to the American military and civilian community living on Okinawa. I have seen photographs credited to BLACKIE the darden essay Photographer in both of lancia these publications. Essay 2009. Additionally Blackie's advertisements are found in many of the lancia thesis issues. This Month on Okinawa (1955 - Jan 1961). This publication was established in 1955 by L.J.

Krebs. The magazine was published by the Ryukyuan Advertising Co (RYAL), Naha CPO Box 82 with business and editorial offices located in essay elements, the south wing of Tuttle's Book Store in the Machimato Commercial area. A picture of the Tuttle Book Store, ca 1954, is thesis, here. A picture of Blackie and essay neighbor, his mother was published in the August, 1957 issue of TMOO. To see that picture, click here. The earliest issue of telaio TMOO I have seen was dated June 1955. The last issue of TMOO I have seen was dated January 1961 and was designated Vol 7, No 1. I believe that issue marked the end of the publication. For more information on this publication, click here. This Week on essay, Okinawa (Feb 17, 1961 forward). This publication was the successor to the monthly publication. While I seen it reported in business as early as 1958, the lancia thesis earliest edition I have seen is February 17, 1961 and essay, it was designated Vol 7, No 2. I believe that this is the first issue of TWOO.

For more information on lancia thesis, this publication, click here. Okinawa Entertainment Guide later renamed Okinawa Entertainment and Business Guide . The name was expanded to darden essay 2009 include Business ca January, 1961. I have not seen a connection between Blackie and this periodical. However, this publication was a pictorial guide to activities on Okinawa and very similar to the above two publications. It was published by the Morning Star Publishing Co. Telaio Lancia Thesis. as a monthly supplement to single word essay its newspaper, A Morning Star. Telaio Thesis. The first issue (Vol 1, No 1) was published February, 1960. During the first year of publication, there was a serial on the Perry Expedition to Japan and for problem solution, numerous lithographs and lancia, portions of text from the narrative of the expedition were presented. Essay Elements. To see the front covers of 8 issues between 1960 and telaio, 1961, click here. Picture Postcards . Several types of commercial picture post cards were produced by Blackie. Imprinted cards.

The Blackie the Photographer (Keystone Studios) imprint is found on the message side. Single Word Essay. To see examples of telaio lancia thesis these cards, click here. (images courtesy of paper Donn Cuson) Non-Imprinted cards. Donn Cuson reports a number of black and white picture postcards which were probably produced by Blackie. These cards do not carry the lancia Blackie or Keystone imprint.

The are all printed on Kodak Photo Post Card paper stock. They all have similar handstamped descriptive titles on the message side. Donn has traced some of the images directly to Blackie publications and finds others showing the same locations as scenes in his books but not identical images. Based on used examples, Donn dates these cards to essay neighbor the 1954-1955 period. To see an example of these picture post cards, click here.

Donn believes that Blackie subsequently switched from the handstamped titles on the reverse to telaio lancia descriptive titles in white on the image (front) of the picture postcard. An example of this type of picture postcard is here. Photograph Packets . A small packet (5 7/8 x 4 1/8 in) of 10 Blackie photographs has been reported. The illustrated front cover reads Okinawa. As with the picture postcards, the thesis solution description is written in telaio, white inside the image area of the photograph and many of the photographs can be traced to Blackie's books. Blackie also sold his photographs in sets/packs (pack of 15 confirmed) which were housed loose in an illustrated envelope (5 7/8 by 4 3/4 in). At least 12 numbered sets of using essays photograph packs were marketed. To see an envelope for this type item, click here.

Can Blackie's Photographs be Ordered Now ? I am often asked if Blackie's photographs are currently available. It is my understanding that his portfolio archives are not commercially available and probably no longer exist. Any information in this regard would be appreciated. A couple of USMC unit photographs by telaio lancia thesis, Blackie are offered below. Bill Bayles, Photo-Journalist on Okinawa . Using Essays. While on active duty with the Air Force on Okinawa in the mid-1960s William Bayles also worked as a photographer, journalist and publisher in a private capacity. Bill maintains an excellent web site regarding his work on telaio lancia thesis, Okinawa during this time. On his site you will find much information on This Week on essay elements, Okinawa , The Morning Star (Okinawa) and other publications he was associated with. Additionally, you will find photographs of life on Okinawa during this time. To visit this web site, click here. Blackie Bradford's Related Books . Listed below are photo-essay books where Blackie the Photographer's photographs provide the primary illustrations. Also included in the list are books that contain images that are formally attributed to him or which are recognized as part of his body of work.

Summary of Books (Details Below): 1959 - Okinawa Post 28, Second Annual Year Book for 1959. ca 1960 - Real Picture Color Post Cards by Blackie the Photographer. ca 1962 - Okinawa Children in Photos. ca 1962 - Okinawa, A Graphic Glimpse (variant of telaio above) 1963 - Okinawa Information Guide and essay elements, Telephone Directory. ca 1963 - 1st 8 Howitzer Battery (SP), FMF Pacific (unit yearbook) 1964 - Bread Upon the Waters ca 1966 - Battery C, Far East, 1965-6 (unit yearbook) ca 1967 - Okinawa Children in Photos. ca 1967 - The Dream of Hatsue ca 1969 - Patrol Squadron Twenty-Two, Naha Cruise, July 1968 - January 1969 1971 - Go and Bear Fruit 1994 - What a Wonderful Life (Blackie's Own Stories) 1960 - Blackie the Photographer Reminiscences published in. This Month on telaio lancia, Okinawa, October 1960.

The following books by single essay, Blackie the Photographer (or with his photographs) are available: ca 1953 - Pictures of Okinawa. 1954 - This is Okinawa (first printing) ca 1954 - Okinawa Okinawa (Kichi Okinawa) ca 1954 - Okinawa in lancia, Pictures. ca 1957 - Operation Goodwill. 1959 - This is Okinawa (fourth printing) ca 1960 - Blackie the Photographer Real Picture Color Post Cards. ca 1960 - US Army Ryukyu Island. ca 1960 - Okinawa (Calendar for 1961) ca 1961 - Okinawa (Calendar for single essay, 1962)

1962 - Okinawa in Color. ca 1962 - Okinawa Children in lancia thesis, Photos. 1963 - Okinawa Information Guide and Telephone Directory. 1964 - Bread Upon the Waters. ca 1967 - The Dream of Hatsue. ca 1953 - Blackie's Best Photos Blackie Bradford (photographs) Howland, W. J. 2009. (editor): Blackie's Best Photos of Okinawa , cover reads: Blackie's Best Photos of the Garden Spot of the telaio Pacific , ca 1953, oblong large 12mo (8 x 6 1/2 in), not dated, no copyright notice, publisher unstated, 25 black and white halftone reproductions of single word photographs, blue green paper wraps with front cover illustrated, staple bound, 51 pp. Lancia. Except for the title page photograph, each picture is preceded by a one page description of the significance of the essay elements image. Telaio Thesis. For more information on this book, click here.

ca 1953 - Pictures of Okinawa Blackie Bradford (photographs) Howland, Grace D. (compiler): Pictures of Okinawa , ca 1953, 8vo (8 1/2 x 11 1/4 in), not dated, no copyright notice, publisher unstated, 93 black and white halftone reproductions of photographs, red illustrated paper wraps, staple bound, 44 pp. Word. The price $2.50 is lancia thesis, included as a part of the front cover illustration. A photo essay on Okinawa and it's culture in the mid to late 1950s. For more information on this book, click here. 1954 - Okinawa (Kichi Okinawa) Okinawa Times: Okinawa , dust jacket, front cover and statement for problem solution, title page read Okinawa in lancia, English and Kichi Okinawa in Japanese, the title of Kichi Okinawa is stated in English in the preface, printed in Japan for the Okinawa Times, 1954 (November 25, 1954 published December 1, 1954 placed on sale), hard bound, large 8vo (8 1/2 x 12 in - 22.3 x 30.6 cm), text and captions in Japanese and English, dust jacket illustrated with a photograph, boards illustrated with bingata pattern design and using definitions essays, Okinawa printed in gilt in English, new issue price of 900 yen, 185 numbered pages. The numbered pages are followed by 20 unnumbered pages.

The unnumbered pages include advertising and 14 pages of lancia thesis Appendices (History of the using essays Ryukyu Islands I II.) The appendices are in Japanese and English. The preface translates the Japanese title Okinawa Kichi as Okinawa A Military Base. Telaio. The book has hundreds of black and white photographs reproduced in halftone. 2009. There is a least one photograph on each page and many pages have 2-5 different photographs. Each photograph has a Japanese and English caption. Tipped in on the inside front cover there is a correction sheet. Some books have a sheet tipped over the English preface. Lancia Thesis. Internally several of the captions have small pieces tipped over essay neighbor the caption with a new caption provided.

The emphasis of the book is on the development of post-WWII Okinawa. Okinawan cultural practices and telaio lancia, customs, dress, dance, government, postage stamps and art are also depicted in single, the photographs. There are many photographs of US base facilities and telaio thesis, activities. The photographs cover the period between the thesis solution paper end of the war and publication. While none of the telaio lancia photographs in this book are formally attributed to Blackie the Photographer, at essay, least two can be traced to his body of work. A Japanese language colophon is at the end of the book. To see the front of the dust jacket and front cover, click here. 1954 - This is Okinawa E. G. Blackie Bradford (photographs) Howland, Willard J. Telaio. (text):

This is Okinawa , Tokyo, 8vo (7 1/4 x 9 in), not dated but 1954, no copyright notice but All Right Reserved, published by Charles E. Essay Elements. Tuttle Co., printed by Obun Printing company, 192 black and white halftone reproductions of photographs, illustrated paper wraps, staple bound internally with cover lightly glued to spine, 71 pp. The photographs are each accompanied by a title and usually a paragraph or two of lancia descriptive text. On the back cover the price is $1.50 in the far east, 150 yen in Okinawa and statement paper, 450 yen in Japan. A photo essay on Okinawa and it's culture in the early to mid-1950s. Lancia Thesis. An edition with no printing number specified has been reported and this book carries the definitions year 1954, the lancia thesis Tuttle imprint with printing by Kyowa Printing company and using definitions essays, a copyright notice. A third printing (1958), a fourth printing (1959) and a seventh printing (1963) have been confirmed. Later printing state First Edition 1954. For more information on this book, click here.

ca 1954 - Okinawa in Pictures Blackie the Photographer: Okinawa in Pictures by Blackie the Photographer , Okinawa, Star News Publishing Co, ca 1954 paper wraps, 8vo (8 1/2 x 11 in), 144 pp. This is a photographic journal of Okinawa during the early 1950's. Telaio. The title page does not have a date but I have seen the book with a handwritten notation of 1953. No copyright notice. There is a picture with the caption Chief Executive Jugo Thoma and word essay, a plaque on telaio thesis, the Executive Building (looks newly constructed) dated April, 1953. Each page has one or more photographs of Okinawan people, places, or artifacts. A time capsule of Okinawa in this period after WWII. Thesis Statement Solution Paper. Photographs have captions and occasionally there is telaio lancia thesis, textual commentary. Darden Essay 2009. For more information on the book, click here.

ca 1956 - Okinawa Post Script, Vol 1 Blackie the Photographer: Okinawa Post Script, Vol 1 , Okinawa, ca 1956, Star News Publishing Co, Ltd, black cloth covers with gilt lettering on telaio lancia thesis, front cover, horizontal format, 8vo, unpaginated, 101 pp. The book does not have a title page or copyright notice. Recommendation. It has a preface by Blackie the Photographer. This is followed by 101 black and white photographs on 7 x 10 inch pages. The image area of the lancia photographs is essay 2009, generally 4 1/2 x 6 1/2 inches and the photograph is surrounded by an ornamental border. Only one photograph per page and each photograph has a descriptive title followed by 2-3 sentences of background information.

Blackie captures all aspects of Okinawan life from thesis birth to death. Several of the photographs have a Christian theme and depict church activities. A wonderful photo-essay of life on Okinawa from 1945 to the mid-1950s. Definitions Essays. The only way I could date the book was from a photograph with a 1956 car. Telaio. That photograph tends to establish the date of publication as approximately 1956.

The binding on this book is very weak. The pages are attached at the top (short edge of the book). They invariably come loose and are found in sections. This is the darden 2009 norm for telaio lancia, this book. For more information on this book, click here. 1957 - Airin-En Howland, W.J. (Compiled by) Krider, Walter W. Blackie the essay elements Photographer (Pictures By): Airin-En: House of Love , Okinawa, Okinawa Times, 1957, stiff wraps, small 8vo (7 1/4 x 10 in), 62 black and white halftone photographs, 32 pp. A book about the Airin-en Children's Home (orphanage) in Yonabaru.

Most photographs are two to a page. There are descriptive paragraphs for telaio lancia thesis, all photographs. The pages are not numbered. On the 23rd page there is a photograph which shows Blackie receiving a gift of vegetables in using essays, appreciate for his work for the orphanage. Lancia Thesis. The book is dated on essay elements, the front cover. For more information on this book, click here. ca 1957 - Operation Goodwill Ketchum, Rev. Cres. (Compiled by) Iha Yoshiharu (Translated by) Blackie the Photographer (Photos By): 'Operation Goodwill - Throughout the Ryukyu Islands Aboard the Mission Vessel 'Island Evangel' ,Okinawa?, Hoshi Printing Company, ca 1957, stiff wraps, front cover illustrated, 8vo (8 x 10 in) text in telaio thesis, English and Japanese, 58 numbered black and white halftone photographs (2 or more per page), 8vo (8 x 10 in), 36 pp. Word Essay. The book documents an evangelistic visit to Zamami Island (in the Kerama Islands) of the Ryukyu Islands by Reverend Ketchum.

Many of the photographs include Reverend Ketchum. Each photograph is telaio lancia thesis, numbered and notes provided regarding each photograph. Essay Elements. There are no year dates provided in the book. Telaio. For more information on this book, click here. 1959 - Okinawa American Legion Post 28, 1959 Year Book The American Legion, Department of the Hawaii, Okinawa Post 28, Okinawa, Ryukyus, Second Annual Year Book 1959 , 1959, Okinawa, stiff wraps, 4to, 92 pp. Photo illustrated year book of Legion activities, members and military life in general on Okinawa. Numerous advertisements from Okinawan business catering to the military, including an ad for Blackie the Photographer and the Keystone Portrait Studios that notes We the photographers of essay neighbor paper Keystone Photo Service enjoyed doing the photographic work for thesis, the yearbook. 1960 - Blackie's Reminiscences Blackie the Photographer Reminiscences , published in This Month on Okinawa, October 1960 , Okinawa, Ryukyuan Advertising Co., 1960, 12mo (5 1/4 x 7 in), paper wraps, staple bound, black and white photograph illustrations reproduced in halftone, 160 pp. This article (page 75-83) commemorates Blackie's 11th anniversary on Okinawa. It notes that Blackie arrived on Okinawa in October of 1949 as an Air Force Staff Sergeant.

The article presents 13 (cover photo and 12 photos in text of the essay elements article) of the 10,000 photographs Blackie had amassed over the 1l years. Most of the photographs are accompanied by Blackie's explanations. For more information on this book, click here. ca 1960 - Blackie's Real Picture Color Post Cards Blackie the Photographer: Blackie marketed real picture color post cards ca 1960. The cards carried the imprint Photo by Blackie the Photographer, Box 62, Koza, Okinawa, Ryukyu Islands. The came in standard size (3 1/2 x 5 1/2 in) and telaio lancia, jumbo size (6 1/2 x 9 in). The cards carried a descriptive paragraph on the message side of the card. To see three mint (unused) jumbo size cards, click here.

To see nine mint (unused) regular size cards, click here. $95.00 (9 standard 3 jumbo picture post cards) ca 1960 - US Army Ryukyu Islands Sawyer, Stephen (Text by) Blackie the Photographer (Photos By): US Army Ryukyu Island , Walsworth Publishing Co., Marceline, Mo,, c1960, stiff wraps, 8vo (8 x 10 1/2 in), numerous black and white halftone and offset color lithograph photographs, pages not numbered but 72 pp. Each page has several photographs and descriptive information. All aspects of military life on Okinawa are covered. There are seven pages of darden 2009 color photographs. For more information on this book, click here.

ca 1960 - Okinawa, Calendar for 1961 Blackie the thesis Photographer: Okinawa , Calendar for 1961, spiral bound, stiff wraps, 12 mo (6 x 8 in), 44 black and white photographs and essay elements, 8 color photographs, 52 pages of calendar. Telaio Lancia. The book is arranged with two photographs (front and definitions essays, back on a page) followed by two weekly calanders (one week on the front and telaio, the next on the back of the page). A descriptive caption for the facing photo is at the bottom of each calendar page. For more information on this book, click here. ca 1961 - Okinawa, Calendar for 1962 Blackie the Photographer: Okinawa , Calendar for 1962, spiral bound, stiff wraps, 12 mo (6 x 8 in), 44 black and white photographs and 8 color photographs, 52 pages of calendar. The book is arranged with two photographs (front and back on definitions, a page) followed by two weekly calanders (one week on telaio, the front and darden essay 2009, the next on the back of the thesis page).

A descriptive caption for the facing photo is at the bottom of each calendar page. Statement Solution. For more information on this book, click here. ca 1962 - Children of Okinawa Blackie the Photographer (Pictures) Sevland, Eva (Text): Okinawa Children in Photos , Dallas, Taylor Publishing Company, ca 1962, 8vo (8 1/2 x 11 1/2 in), 96 pp, 330 black and telaio, white photographs, hard covers (front pictorial spine and back ivory). No copyright notice and no date of publication stated. A photo essay on Okinawa and Okinawan children in the early 1960s. For more information on this book, click here.

1962 - Okinawa in Color Blackie the Photographer: Okinawa in Color , Blackie the Photographer, Box 62, Koza, Okinawa, Ryukyu Islands, printed in essay elements, Japan, 1962, oblong 8vo (6 x 8 1/2 in), 40 color photographs, stiff cardboard covers, white plastic spiral binding, 80 pp. A photo essay on Okinawa in the early 1960s. The color photographs are back to back on the pages. Opposite each photograph is a Memo page which contains a caption regarding the picture (no Memo page for telaio, the last picture however). Essay 2009. For more information on this book, click here. ca 1962 - Sounds of Okinawa Blackie the Photographer (not confirmed):

Sounds of Okinawa . Very little is telaio lancia, know about this book. It apparently documents, in photographs and sound (a small record included with the book), military activities. Essay 2009. It is know that the record contained intercom fire commands of a USMC tank unit (A Company, 1st Tank Bn) and photographs of members of that unit. All the military branches were represented in photographs and on the record. It has not been confirmed that Blackie had a role in telaio lancia thesis, the publication of this book.

A similar book (with a record) titled Sounds of darden 2009 Korea has been confirmed. Donn Cuson has reported a book (with accompanying record) which is thesis, titled An American in Okinawa in Sight and Sound . Essay. That book is undated but appears to be from the early 1960s. It has no reference to Blackie in the credits. 1963 - Okinawa Information Guide and Telephone Directory Sera, Minoru (Forward) Blackie the Photographer (Photos By): Okinawa Information Guide and Telephone Directory , Miebashi, Okinawa, published by Inteco (Ryukyus) Ltd, printed by Radiopress, Tokyo, February 1963, stiff wraps, 8vo (7 x 10 1/2 in), numerous black and lancia thesis, white halftone and offset color lithograph photographs, 136 pp. Using Definitions Essays. Numerous photographs and illustrated ads. Pages 55 through 122 are black and white advertisements. Maps are found at pages 123-127 followed by more advertisementss. Pages 133-138 contain a list of phone numbers. Several of the photographs in the book are credited to Blackie the Photographer.

For more information on this book, click here. ca 1963 - 1st 8 Howitzer Battery (SP), FMF Pacific Blackie the Photographer: 1st 8 Howitzer Battery (SP), Force Troops Fleet Marine Force Pacific , Dallas, Taylor Publishing Co., ca 1963, 8vo (8 1/2 x 11 1/4 in), hard boards with front cover illustrated, black and white half-tone photographs and thesis, illustrations, no copyright notice, unpaginated but 64 pages. Most images have descriptive captions. Part 1. Essay Neighbor. 1st 8 Howitzer Battery (SP), 1962-3 . This is telaio lancia, a yearbook for 1st 8 Howitzer Battery (SP). It covers the period from the unit's arrival in Okinawa on March, 1962 through the return to the United States in October, 1963.

The yearbook is well illustrated with a unit photograph and paper, individual photographs of the members. There is a one page alphabetical index of the unit members which lists home addresses. Part 1 contains 32 unnumbered pages. Part 2. Okinawa , general photographs of Okinawa, 103 photographs reproduced in black and white halftone, 32 unnumbered pages. For more information on the book, click here. 1964 - Bread Upon the telaio Waters Ketchum, Creston D: Bread Upon the Waters , Tokyo, Charles E. Tuttle, 1964, 8vo, black and white halftone frontispiece photograph and 35 photographs reproduced on 12 black and white halftone plates (printed front and back) in text, 196 pp. The frontispiece photograph is of the author. All photographs are captioned. Using. The story of a sea-going missionary of the International Church of the Foursquare Gospel as he ministered throughout the Ryukyu Islands (an beyond) from 1954 through early 1962. Telaio Lancia Thesis. In his Acknowledgements and Credits the author states: I am deeply grateful to Blackie the using definitions essays Photographer of the Keystone Studio, Okinawa, for taking days out of a busy schedule to telaio lancia travel with me to the islands in essay, order to provide me without cost, with the major portion of the photos appearing in this volume.

ca 1966 - Battery C, Far East Blackie the telaio lancia thesis Photographer: Battery C, Far East, 1965-6 , publisher not stated but Walsworth of Marceline, Missouri, 8vo (8 1/4 x 10 1/2), hard covers with titles, First Marine Division insignia USMC eagle, globe and essay neighbor, anchor device on lancia, the front board in black, not dated but ca 1966, a two part book, Part I, Battery C, 40 pages, Part II, Okinawa, 64 pages. Part 1. Battery C, Far East, 1965-6 . This is a yearbook for Battery C, FMF, 1/11. It covers the period from the unit's arrival in Okinawa on darden, September 13, 1965, through it's deployment to Vietnam up to September 1966. Telaio Lancia Thesis. The yearbook is using essays, well illustrated with a unit photograph and individual photographs of the members. There is a one page alphabetical index of the lancia unit members which lists home addresses. Part 2. Okinawa , general photographs of darden essay Okinawa, 78 photographs reproduced in black and white halftone, 64 numbered pages.

Blackie's signature image of Okinawa (Papasan's Day is lancia thesis, Done) appears in a full page photograph. Essay Neighbor Paper. The last 7 pages have 13 images of lancia Hong Kong, the Philippines and Japan. Dating the Book. Darden Essay 2009. The book was published ca 1966. Many of the Okinawan images can be traced to other Blackie books from the early 1960s. On the inside of the back cover, the photographs are attributed to Blackie the Photographer. Telaio Lancia Thesis. For more information on essay, the book, click here. ca 1967 - Okinawa in Photo's Blackie the telaio lancia Photographer: Okinawa in Photo's , Marceline, Missouri, Walsworth, 8vo (8 1/4 x 10 1/2), pictorial wraps, ca 1967, 106 photographs reproduced in black and white halftone, 64 pp.

The book does not have a title page or credit the photographer. However, many of the images can be traced to 2009 books where Blackie Bradford is credited as the photographer. Blackie's signature image of telaio thesis Okinawa (Papasan's Day is Done) appears in a full page photograph. The book has a total of 106 photographs. Of this total, 28 are full page and the balance are smaller.

The bulk of the recommendation book (87 images, 56 pages) deals with Okinawa. The last 8 pages have 19 images of Hong Kong, the Philippines and Japan. For more information on lancia thesis, this book, click here. This book (less the soft covers) was incorporated into The Dream of Hatsue (ca 1967, below). This book has been reported with same contents but a different title ( Okinawa, A Graphic Glimpse - Okinawa, Keystone of Pacific ). ca 1967 - The Dream of Hatsue Kawakami Blackie the Photographer. Kiyuna, Mildred M. (Compiler): The Dream of Hatsue , Okinawa, ca 1967, Walsworth, Marceline, Missouri, pictorial hard cover, no dust jacket, 4to (8 1/2 x 11 in), 112 pp. No copyright notice and no date of publication stated.

Numerous photographs by single essay, Blackie the Photographer. Hatsue Kawakami was completely paralyzed as the result of an automobile accident in August of telaio thesis 1960. Essay Elements. After here accident she became a Christian and the first part of the book is a photo-essay (with significant explanatory text) about the people (including US military related) who tended to her spiritual and lancia thesis, physical needs. The book was published to raise money to fulfill Hatsue's dream of building a church in her village of Iju. The first 48 pages of the definitions book are numbered and are about Hatsue. There are 64 unnumbered pages.

There are 64 unnumbered pages which are a reprint of telaio thesis Okinawa in essays, Photo's (ca 1962, above), less the soft covers. For more information on the book, click here. ca 1969 -Patrol Squadron Twenty-Two Blackie the Photographer: Patrol Squadron Twenty-Two, Naha Cruise, July 1968 - January 1969 , Walsworth, Marceline, Missouri, 8vo (8 1/2 x 11), hard covers, not dated but ca 1969, a two part book, Part I, Patrol Squadron Twenty-Two, 72 pages, Part II, Okinawa, 64 pages. Part 1. Patrol Squadron Twenty-Two, 1968-9 . This part is a yearbook / cruise book for thesis, this Naval aviation squadron. It has 72 numbered pages. Part 2. Okinawa , general photographs of Okinawa, 64 numbered pages.

Dating the Book. The book was published ca 1969. Many of the Okinawan images can be traced to other Blackie books from the single essay early 1960s. There is no attribution of the photographs to Blackie. 1971 - Go and Bear Fruit Okinawa Baptist Association. Blackie Bradford (photographs): Go and Bear Fruit , 1971, Okinawa, Tiger Printing Company, stiff wraps, 8vo (7 1/4 x 10 1/8 in. - 18.2 x 25.8 cm), ca 100 black and white halftone reproductions of photographs, 51 pp. This phamplet is an overview of the Baptist Church's activities on Okinawa and on other Ryukyu Islands as of 1971, just months before the Ryukyus Islands reverted to telaio lancia Japan. The book discusses the using political and telaio, economic situation on Okinawa and the history of Baptist work on the island.

According to the book, the first continuing Baptist evangelistic work on Okinawa began in 1891 and the Naha Baptist Church was organized in 1904. Thesis Solution. Baptist churches were later organized in telaio lancia thesis, Shuri (1908), Itoman (1911) and Kadena (1912). This early Baptist activity was under the auspices of Dr. Robert Thompson (Baptist Missionary Union located in Kobe) and financially supported by Mrs. Robert Allen of Glasgow, Scotland. Many Baptist missionaries, reverends and pastors are pictured to include Iha Sensei (Seijiro Iha), Reverend Edward Bollinger family, Pastor Alvin Bud Spencer Family, Missionary Gary Vaughn, Reverend and Mrs. William R. Medling, Reverend William Randall, Pastor Roy Edgermon, Pastor and Mrs John Schoolar, Reverend Eddie O'Dell, Pastor Mrs Moore, Pastor Willie Dunn, Pastor Shiroma, Reverend Hiromichi Tamaki, Pastor Seiei Yokoda Pastor Shisho Asato. The Baptist English Language Church are shown on a map and many are discussed and pictured. These include the for problem solution Central Baptist Church, the Koza Baptist Church, Mt. Lancia. Sinai Baptist Church, Friendship Baptist Church, Haven of Rest Baptist Church, Lakeshore Baptist Church.

The Japanese Language Churches are also discussed and pictured. These include the Shuri Baptist Church, Naha Baptist Church, Futenma Baptist Church, Yafuso Baptist Church, Kadena Baptist Church, Agena Baptist Church, Miyako Baptist Church, Ishimine Baptist Mission, Makabi Baptist Mission Maehara Baptist Church. The title page attributes the photographs to Blackie Bradford, Ed McGee, Allen Scandrette, Mike Shanahan and others. Unfortunately individual photographs (ca 100) are not attributed to a particular person. The last photograph in the book is a well know Blackie aerial photograph of Okinawa. Essay Neighbor. To see the front cover, click here. 1994 - Blackie's Life in Stories Bradford, Blackie (Earnest Gordon): What a Wonderful Life , self published, large 12mo (5 3/4 x 8 1/2 in), illustrated card covers, plastic spiral bound, August, 1994, 23 photographs/illustrations (including those on the covers) reproduced in black and white halftone, unpaginated but 112 pp. This is telaio, not an essay elements autobiography. Rather, it is a series of Blackie's own stories from thesis various times in his life. For more information on statement solution paper, the book, click here.

Blackie Unit Photographs. (Large - hand colored 7+ x 19+ inches) USMC Unit Photo, ca 1960. Lancia Thesis. Blackie the Photographer label on paper, glass with the telaio photograph. Unit is identified by the flag as F.M.F, 12th MAR, 4th Bn, M. Btry. USMC Unit Photo, ca 1960. For Problem Paper. Blackie the Photographer label loose with the. photograph.

Unit is identified by the flag as F.M.F, D - 12. You will find most of the books offered for telaio lancia thesis, sale on our book pricelist. We are very interested in biographical information on Blackie the Photographer and neighbor, would appreciate any information you would care to telaio lancia thesis share through this web page. Your comments, additions or suggestions regarding this web page are appreciated. Enter (upper case) in recommendation, the box below. A spam prevention measure to minimize automated spam submissions . Special Interest Books/Art: K. Ogawa - Color Collotypes and Books/Prints. Meiji Era - Japan Views Images (Price Lists Information): Glass Slides , Magic Lantern - Hand Colored.

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essay mart This paper primarily undertakes a SWOT analysis on Wal-Mart. A SWOT analysis looks at the strength, the telaio thesis, weaknesses, opportunities and threats facing a company. This is done by examining internal as well as external factors that affect the operations of a company. The paper begins with a company background of the Wal-Mart stores from its early days to current times where it is regarded as the largest retail store in the world. Essay? The paper then looks at the strong points of the Wal-Mart Stores. Telaio? These include: diversity, convenience, international presence as well as modern technology. The paper looks at statement solution paper how the company is able to use these strengths to gain competitive advantage in an increasingly competitive environment.

It also looks at the weaknesses faced by the company and telaio, this is mainly in darden essay terms of lancia, span of control. Essay Paper? Due to its large enormous scale of operations, the company is not able to thesis, effectively monitor all its activities. The paper then looks at the opportunities available for essay elements Wal-Mart. There are tremendous opportunities available for Wal-Mart in the global market through joint ventures and opening new stores in countries where they have not ventured. In spite of its enormous size, Wal-Mart also faces competition in new markets that it ventures in and this poses a threat to its operations. The paper then looks at the environmental challenges that the telaio, company faces which threatens to spoil its international image.

The paper ends with recommendations as to how the company can improve its efficiencies and thereby gain a competitive edge against other companies. Wal-Mart Stores, Inc. Essay Elements? was founded by Sam Walton at Rogers, Arkansas in 1962. The business has experienced tremendous growth ever since achieving an annual turnover of one billion dollars seventeen years later. In January in 2002, Wal-Mart was recognized as the largest retailer in telaio the world with a sales record of US $218 billion. Essay Neighbor? This huge growth has enabled the store to penetrate the global market. The global operation of Wal-Mart was marked by the establishment of its first international store in 1991 at Mexico City. Currently, Wal-Mart has also opened stores in other countries including, Brazil, Canada and Britain. Through its global penetration, an telaio, estimated of one hundred million customers are said to visit a Wal-Mart store found somewhere in the world. The stores employs a total of 1.3 million associates worldwide are employed by the company and are located within its 3,200 stores in the United States as well at over a thousand other stores in its operations outside the U.S. Due to its huge scale of operations, the using definitions, business is divided into three main segments: Wal-Mart Stores, Sam’s Club and International Stores.

The Wal-Mart stores are further subdivided into Discount Stores, Super centers and Neighborhood Markets. The Sam’s Club business segment is lancia made up of membership warehouse clubs. In 2005, Wal-Mart Stores operated about 1,478 Discount Stores, 1,471 Super centers, 538 Sam’s Club and 64 Neighborhood Markets within the United States. In addition to recommendation, this huge local operation, Wal-Mart and its international segment conducts retail operation within eight countries and Puerto Rico. Wal-Mart’s international segment is made into several formats, which include retail stores, restaurants, discount stores, Sam’s Club and Super centers. Wal-Mart’s style of management has proved effective, resulting in unprecedented business success. This paper analyzes the company’s strengths and weaknesses factors as well as the opportunities and telaio thesis, threats the company is faced with. Wal-Mart is a powerful retail brand that represents value and quality. It is offers value for essay money and convenience by offering a wide range of products.

Through its associates the lancia thesis, company has developed the one stop shopping policy emulated by other retail stores world wide. This strength enhances Wal- Mart’s ability- to attract new customers and maintain customer loyalty. Wal-Mart substantial growth has resulted in essay neighbor paper global expansion. Wal-Mart purchased United Kingdom based retailer ASDA and lancia thesis, owns a 37.8% unconsolidated minority interest in Japanese retailer, The Seiyu, Ltd. This enhances its brand name by giving it international recognition. The company employs an elaborate system of information technology that supports its local as well as global operations. Through this system it is possible to monitor the essay paper, performance of its stores country-wide, on a real time basis. IT also supports Wal-Mart’s efficient procurement. Wal-Mart also uses the most modern technologies available to lancia, handle and manage it local and international logistic operations. By integrating technology into its core operations, Wal-Mart is recommendation able to overcome strong competition as well as serve its large market effectively. Wal-Mart is considered one of the largest retailers in lancia thesis the world as it not only manages a huge number of word, product lines but also serves a considerable consumer population both locally and thesis, internationally.

These results in darden essay 2009 a huge span of control and despite its IT advantages and tools that can handle and address its internal needs, it is not possible to monitor all of its operations. To this end the company is forced to lancia, rely on the goodwill of its store’s managers and staff in ensuring smooth operation. Wal-Mart has diversified its products across many sectors (such as clothing, food, or furniture). This does not give it the flexibility enjoyed by some of its more focused competitors. The company deals with a huge number of the suppliers making its supply chain more complicated.

This has an effect on its logistics resulting in hitches from time to time. Though the company is already operating globally, it has not exploited this opportunity fully as the number of its international branches are only limited to a few selected countries. With its vast resources, Wal-Mart has the opportunity to take over, merge with, or form strategic alliances with other global retailers. The Wal-Mart stores are currently in a relatively small number of countries. There are therefore huge opportunities for future business in recommendation expanding consumer markets in emerging economic power houses including developing countries. E-Commerce is rapidly evolving as a viable option of enlarging a company’s customer base. The company has opportunity to exploit this option to serve more customers and promote shopping convenience. Lancia Thesis? E-Commerce helps to enhance convenience for customers whose residence is too far from local Wal-Mart branches. Despite its huge scale of operations and customer loyalty, Wal-Mart is also target of competition, locally and essay elements, globally. This puts intense pressure on the company particularly in terms of maintaining its consumers as well as developing new and better business strategies.

Wal-Mart’s entrance into the global market exposes it to political problems in telaio thesis the countries that you operate in. Wal-Mart is a global retailer that needs to 2009, adapt to foreign regulations and standards so as to penetrate in the global market. The company is telaio lancia thesis vulnerable to the issues that would affect the essay, country it operates in, particularly political and economic issues. Competitors in these countries may use their influence in the government to counter Wal-Mart’s penetration. They may also result to malpractices under government protection to telaio, fight of darden essay 2009, competition. The cost of producing many consumer products has fallen because of thesis, lower manufacturing costs as result of outsourcing to low-cost regions of the World. Statement For Problem Solution? This has lead to price competition, resulting in price deflation.

Intense price competition is a threat as Wal-Mart may be forced to purchase cheaper substandard goods in order to beat competition. This may lower the stores’ standards leading to a loss of key customers. As a global retail company, Wal-Mart is an open target by several competitors both in the local and international setting. The diversity in telaio lancia conducting manufacturing operations has changed drastically over time. Essay Elements? With the availability of outsourcing options in low-cost areas all over the world, manufacturing expenses have depleted significantly. Telaio Lancia Thesis? This in turn results to intense price competition among retailers. Apart from this, Wal-Mart is neighbor faced with increased agitation from environmental lobby groups as well as labor unions. The environmentalists led by groups such as Wal-Mart Watch and David Suzuki Foundation. Telaio Thesis? It has been argued that with its vast resources and influence, Wal-Mart is not doing enough in conserving the essay, environment. Telaio? This is eroding part of its client base as the lobby groups call on consumers to statement paper, boycott its products. Of particular concern are waste management policies employed by lancia, the company as well as other conservation policies employed by essay elements, the company.

In response to this huge challenge that is facing Wal-Mart, Lee Scott, the C.E.O, delivered a speech titled Twenty First Century Leadership in which he addressed the issue of environmental management through radical measures which included; entire use of renewable energy, zero waste and lancia, the sale of products that sustain resources and the environment. Wal-Mart plans to spend $500 million annually to meet targets such as reducing Wal-Mart’s greenhouse gas production by 20% over the next seven years, doubling the efficiency of its massive trucking fleet within 10 years and assisting in the development of a green supplier program in China, the source of Wal-Mart merchandise This is to be achieved in the next four decades. The implementation of this program starts from the small and single essay, most often ignored aspects of the business. For example, two years ago, Wal-Mart Canada began replacing the 32-watt fluorescent lights with 25-watt lights. This involves changing more than 130 million bulbs and is expected to save Wal-Mart about $5 million in reduced energy costs over lancia thesis the next five years. The company’s stores lights are also dimmed by one third by the company’s central computers, leading to solution, further savings.

Additional roof insulation has been added in new stores saving energy costs by 25%. Other measures employed include using plastic boxes that can be used 60 times before wearing out replacing short-lived cardboard boxes. Lancia? These boxes are now in use throughout Wal-Mart Canada’s internal logistics network, saving 1,400 tones of cardboard and driving out $4.5 million in costs. In 2007, the company opened up a small revenue stream with the recycling of 88,000 tones of cardboard saving the equivalent of 1.5 million trees. The company has also introduced the thesis solution paper, personal sustainability project where each employee is encouraged to make voluntary changes in their lives that will have a positive environmental impact such as cycling to work.

The C.E.O. of Wal-Mart Canada, David Cheesewright, cycles a distance of 45 kilometers to work. This program also calls upon employees to make environmental choices outside the workplace and to embrace the concept of telaio, environmentalism. This message is also passed on to consumers at recommendation the time they’re paying most attention, that is, when they’re actually shopping in lancia the chain’s stores. The company also has environmental teams comprising of departmental heads with supporting staff to help in word essay the implementation of this ambitious program. The company has also used its influence to compel some of the telaio lancia, world’s largest manufacturers to definitions, comply with its environmental policies. Procter Gamble, the maker of Tide laundry detergent, phased out telaio regular-concentrate detergent across North America in 2008 in favor of double-concentrate detergent after it was pressured to essay elements, do so by telaio, Wal-Mart. Fearful of losing access to Wal-Mart customers, Procter Gamble complied with Wal-Mart’s policy. With other detergent makers following suit – Wal-Mart is cutting the darden, volume of its detergent packaging in half.

This will reduce the usage of plastic resin across North America by telaio lancia, 100 million pounds over the next three years. This will also save 425 million gallons of water and ultimately take 15,000 trucks off the essays, road. This will significantly reduce carbon emissions. One of the lancia, strengths of Wal-Mart store is its ability to use IT to gain competitive advantage. However technology is changing rapidly with new developments emerging almost on a daily basis.

Wal-Mart needs to keep itself updated on the latest technology so that it can improve the efficiency of its business processes. This will improve its procurement system as well as help in monitoring the activities of its various interests in the global market. In spite of its global presence, Wal-Mart has not been able to take to expand its operations beyond the few countries it operates in. With its financial clout, Wal-Mart has the ability to darden essay, expand its operations beyond the few countries it has opened stores. Telaio Lancia Thesis? There are many countries whose economies are growing rapidly and although they do not yet have a large consumer base, if this growth is sustained over a period of time, this could be reversed. Wal-Mart should not shy away from neighbor, these countries because of the political and economic instabilities experienced from time to time. They should not let short term obstacles blind them from seeing the lancia thesis, long term gains. These environmental policies are vital in the fight against global warming. A company like Wal-Mart with vast resources and using essays, global presence should be in the forefront in this campaign. With a million of customers visiting its stores, Wal-Mart has a great opportunity to help create awareness in the environmental campaign.

The measures currently in place are commendable but not sufficient. Wal-Mart claims that it aims to achieve its environmental goals in the next four decades. Given its vast resources, I believe, the company can achieve this within a shorter period of lancia thesis, time. If more resources were to essay elements, be dedicated to this course, considering the company’s annual turnover in lancia thesis 2008, these goals can be achieved faster. You can place an order similar to this with us.

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