Human Factor Essays

Human Factor Essays Human Factor Essay Human Factor Essay 1: With reference to the dirty dozen, describe the different types of human limitations that can affect human performance (P3) Stress is one of the limitations which can reduce human performance because when an engineer do a long shift he will get very stress and at that time the engineer tent to make mistakes for example forgetting to put a nut back. And Memory limitations is one of the human limitation which can cause engineer to forget thing for example living a tool on the aircraft wing this mistake frequently happens because these information will be saved in short term memory which can only last for few seconds. Poor communication can reduce human performance as well because when a team of engineers work to gather and they dont communicate each other properly the outcome of the work would be very bad or even dangerous because they may think the other person did this job so I dont need to do it and ignoring it. And if they cant communicate properly they may not understand the work properly and they may do something differently to the set task. Lack of resources is one of the things which can limit human performance because human cant do some work without the right tool and most of the time humans truest there tool to do the job for example putting a right force on a screw and if they dont have the right resources they cant perform normally. Humans tend to become bored and be lulled into complacency this can reduce human performance because this can reduce the awareness of emergency situation and may even cause them to make more mistakes in an emergency. Pressure can also reduce the human performance because when a person is under pressure he tent do a very bad job and he will do the job faster and inaccurately to get rid of the pressure. Lack of teamwork can affect the human performance because when a team of engineer working together to fix a problem they need to discuss and perform some checklist at same time or by continuing from the point where the other person finished the job but if they dont communicate or get to know each other or they dont do as a team work they will not get the job done properly or on time. 2. Explain how human behaviour can affect human performance (P4) If a person is under stress or pressure or if he is tired or angry he tent to produce a poor quality work because he cant be focused on the work and he tent to forget things very easily when the person is under stress or tired, and if the person is tired or not felling normal his attention will not be focused on the work and it will be on something else which will slow the working performance as well as poor out come. 3. Using examples describe the differences between error and violation. (P5) Error is a mistake we make and we dont know we are doing that which goes through intensely but violation is a mistake we do and we know we are doing a mistake and its something we do it deliberately. 4. Describe some the methods that can be used to prevent errors, explain the importance of error prevention, capturing and reporting. To include duplicate inspections, calibration of tools and one reporting method. (P6) Some of the methods that can be used to prevent errors are by giving the employees a good training and by limiting the amount of time a person can work for example 48 hours which is already controlled by EU working directive but still a person can work overtime so by restricting this time limit error can be prevented. Also by doing the duplicate inspecting we prevent error occurring which I mean by asking another engineer to check your finished work he can spot any part which you missed out. And also by calibrating the tools on time or two three days before the expiring date you can reduce the risk of over tighten the nut or damaging the aircraft. Its very important to prevent error happening again and again because minor error can cause major distraction for example it can cause delays which can cost the company 1000 of pounds or it can cause disaster by I mean it can bring down the aircraft when its flying and can cause lots of deaths and casualties and it can also destroy the aircraft completely which can cost the company billions of pounds. If you spot a problem or damage to an aircraft you should fill up a MOR (Mandatory Occurrence Reporting) and you need to send it off to CAA and if its something dangerous you should tell the company and try to convince them not to fly the aircraft. By reporting this to CAA you will reduce the problem occurring again and also you can keep the record for statistics purpose and safety purpose so in future it can be used to improve the air safety.

3 Variations of Misplaced Modifiers

3 Variations of Misplaced Modifiers 3 Variations of Misplaced Modifiers 3 Variations of Misplaced Modifiers By Mark Nichol When information is added to the main clause of a sentence to provide more detail, whether it is inserted directly or parenthetically, careful placement enhances comprehension. In each of the following sentences, modifying phrases are clumsily included. Discussion after each example explains the problem, and a revision demonstrates a solution. 1. Smith played Bozo the Clown from 1959 to 1970, a clown character particularly popular in the U.S. in the 1960s because of widespread franchising in television. This sentence’s subordinate clause, which describes Bozo the Clown, follows not that epithet but rather a range of years, but the proper syntactical location for such a modifying phrase is immediately after its referent: â€Å"From 1959 to 1970, Smith played Bozo the Clown, a clown character particularly popular in the U.S. in the 1960s because of widespread franchising in television.† 2. Jones admitted he was nervous after his botched skating routine. Here, the suggestion is that only after Smith finished the skating routine did he become nervous, but the intent of the sentence is to express that Smith’s state of nervousness before the routine contributed to his poor performance. The admission, not the nervousness, is what followed the routine, and the word order should clearly represent this fact: â€Å"Smith admitted after his botched skating routine that he had been nervous.† 3. Researchers found that face-to-face interactions contributed to a sense of well-being rather than contacts via computer. Here, the syntax represents a sense of well-being and contacts via computer as possible outcomes of face-to-face interactions, but it is face-to-face interactions and contacts via computer that contribute to a sense of well-being. To clarify the relationships between the three phrases, the two forms of communication must be mentioned consecutively in counterpoint, with the outcome clearly distinguished at the end of the sentence: â€Å"Researchers found that face-to-face interactions, rather than contacts via computer, contributed to a sense of well-being.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Grammar category, check our popular posts, or choose a related post below:Fly, Flew, (has) FlownFlied?36 Poetry Terms50 Synonyms for â€Å"Villain†

Globalization and Regionalization As The Counteracting Forces Essay

Globalization and Regionalization As The Counteracting Forces - Essay Example Globalization is characterized by economies opening up their local markets for international firms, which then creates a global market ideally open to all countries and firms. On the other hand, through regionalization countries seek to form economic blocks primarily to create preferential treatment for their firms as regards access to each other’s market as well as resources. In essence, globalization and regionalization are forces that act in opposite directions. This paper will demonstrate that the origins and purposes of regionalization are too varied and distinct to be classified as parallel to the process of globalization. Globalization and regionalization: forces in conflict In the contemporary world, various world economies have been pursuing a number of market approaches in an effort to promote their economic growth (for less developed countries) or economic stability (for industrialized countries). Regionalization, or formation of regional trading blocks, has been am ong the major approaches aggressively pursued by countries across the world. The European Union, North Atlantic Free Trade Area (NAFTA) and Association of East Asia Nations (ASEAN) are classic examples of regional trade blocks. As noted earlier, regionalization process gives more focus on certain regions rather than the global economy in general. Regional blocs tend to minimize interactions between different parts of the world, particularly in terms of trade. They in effect tend to threaten the process of globalization. Countries within a regional trade block apply a number of mechanisms to effect preferential treatment of their fellow members, thus giving them a competitive edge over non-members. One of the most used mechanisms is discriminative tariffs. Others are government subsidies, and import quotas, technical assistance (Mucchielli, Buckley and Cordell, 1998). Regional trade blocs are among the most popular the regional integrations developments that have and continue to char acterize the modern world economy. Many countries have joined one or more regional blocks. In furthering their course, members of a regional trade block may go as far as taking such drastic measures as removing both tariff and non-trade barriers between the member states and thus offer complete and unrestricted access to each other’s market and productive resources (Kacowicz, 1998). Since regional blocks are more inclined towards implementation of policies that protects the state members from global competition, it tends to obstruct global trade liberalization. As a result, trade between members of a regional trade block and non-member states suffers significantly. This evidently discourages the process of globalization. Since globalization process is characterized by the move towards free trade and increased interdependence among different economies despite of regional differences, regionalization effectively becomes a powerful force that tend to move opposite to the directi on of globalization (Mucchielli, Buckley and Cordell, 1998). When punitive tariffs are imposed on imports from non-member states, the imported goods automatically become more expensive compared to similar goods from a trade partner within the regional trade block.

Juvenile Offenders and Re-offending Rates Literature review

Juvenile Offenders and Re-offending Rates - Literature review Example There have been global trends in treatment of juvenile offenders. Until the 1970’s, juvenile offenders were punished for their crimes, but it was recognized that their age was to be considered. The 1980’s then witnessed a rise in punishment approach to juvenile offenders.4 Since 2000, risk factors have been used to determine which communities have a higher probability of producing juvenile offenders.5 These communities are then encouraged through central policymaking to eliminate these factors.6 However, recent approach implies elimination of crime rates and strict punishment of the committed crimes.7 It does not apply rehabilitation or concern with re – offending rates. Such system, inspired by the American system of policing, punishing and shaming juvenile offenders has been applied in the UK ever since the 1990’s.8 Globalization has been blamed for such a development. According to the critics, globalization has promoted neo – liberalism and indiv idual responsibility, which results in blaming the juvenile offender.9 As a result, juvenile incarceration rates are high in the UK relative to other countries. ... Scotland in Europe.12 One reason is lower age of criminal responsibility, which leads to more juveniles being prosecuted and awarded custodial sentence.13 There is a disconnection between the central government and local agents. In the UK, non – custodial sentence is preferred and promoted by the policymakers.14 Social Enquiry Reports (SER), which are written by social workers and stand at disposal to judges and sheriffs, promote the prescribed policy. However, the judges mostly misinterpret the recommendations, or decide to disregard them.15 The government on one hand aims to punish the crimes, but on the other hand prevent them. As a result, such action might also be misinterpreted by some judges. Local communities also affect the implementation of central government’s decisions. In South – West of the UK, one in ten sentences is custodial sentence, whereas in West Midlands one in five community sentences are custodial sentences.16 Such an approach by judges an d communities changes the impact of governmental policies and decisions.17 As a result, England and Wales experienced decreasing rates of juvenile re – offending, even though these decreases are slight. According to the Ministry of Justice report from 2010, Between April 2009 and March 2010, there were approximately 110,000 juvenile offenders. 18 Less than 38,000 of them were re – offenders. Thus, the re – offending rate was 33.3 per cent, and the average number of re – offences for these individuals was 2.79. 19 There was a 0.4 percentage point decrease in re – offending rate of juveniles since 2000, though risk assessment of the juvenile offenders indicates high probability of re – offending.20 In Australia, a mild system, re – offending rates are visibly lower for non – custodial

Taming of the Shrew Character Motivations Essay Example for Free

Taming of the Shrew Character Motivations Essay Many lives are ruled by a need to fit in and conform to the ideals of society. William Shakespeare’s Taming of the Shrew centers around the two sisters, Bianca and Katherine and their marriages. Kate, an unpleasant and undesirable woman, unwillingly marries Petruchio who attempts to tame her. Bianca is the ideal woman who is pursued by many men. The play was written in 1590 and set in Italy, when submission and obedience were expected of women while men took powerful positions. Societal expectations motivate men and women. Women were motivated by societal expectations. A valued woman was obedient, passive and sweet. Bianca epitomizes these qualities and shapes her behavior around them. She exchanges vicious words with her sister in private, but while in the company of suitors she turns mild. Bianca’s father and her suitors determine who she marries, showing her surrender to men’s power and acceptance of obedience. In Kate’s concluding speech, she says, â€Å"A woman moved is like a fountain troubled, muddy, ill-seeming, thick, bereft of beauty, and while it is so, none†¦will deign to sip or touch one drop of it. (5. 2. 151) Kate admits that an unpleasant, angry wife is undesirable and useless. Certainly no man will consider an ugly, rude woman worthy of his company. She finally relents to Petruchio’s taming and takes a woman’s normal place in the social hierarchy. Women conform to society’s strict expectations. The expectation that men are powerful and all-knowing influences men’s behavior. A m an’s masculinity and power was dependent on his control over his wife. Petruchio, Hortensio and Lucentio make a bet, â€Å"And he whose wife is most obedient†¦shall win the wager. † (5. 2. 15) This shows how much men value an obedient wife, which demonstrates their power. Each man hopes that he wins because a powerful man is valued. Baptista, the father of Kate and Bianca, arranges his daughters’ marriages and marries Kate off even though she is unwilling. Society’s standards permit this destructive and inconsiderate behavior. In their patriarchal society, women can’t show much preference in their suitors. Men are expected to make the best decision, and Baptista goes along with this standard. Wife taming was a common idea in this time and many men attempted it. Petruchio tries to tame Kate by starving, embarrassing, overruling and insulting her. Kate comments on the sun, but Petruchio contradicts her and says â€Å"Now, by my mother’s son, and that’s myself, it shall be the moon or star or what I list. †(4. 5. 6) Petruchio says anything he says is correct, enforcing the idea that women should surrender to a man’s authority. Petruchio tames Kate because of the social belief that men should be more powerful than their wives, therefore social expectations motivate him. Society’s standards motivate men’s behavior. Men and women modify their behavior to meet the ideals of society. Katherine transforms herself into a submissive wife and Bianca maintains her behavior as an obedient, charming woman. Petruchio tames Kate to show his masculinity and Baptista controls his daughters lives without regard for their feelings. In conclusion, societal expectations motivate characters in The Taming of the Shrew.

Garden State Essay -- essays research papers

Garden State by 'Pipsorcle' Andrew Largeman's (Zack Braff) journey throughout "Garden State" seems to be a testament on the meaning of liberation. Going from his struggling acting life in Los Angeles to his hometown in New Jersey, where he witnesses his mother's funeral, Andrew is in the mist of confronting difficult issues. One of the biggest issues is coming to terms with his psychologist father (Ian Holm), whom he has distanced himself from for many years because he has put him on powerful antidepressants for most of his life. The reason for this I will not reveal but it has caused Andrew to feel as if his father has controlled his life in a way. In showing how Andrew Largeman finds himself again, "Garden State" makes a good choice in putting him in every one of its scenes. Since this film is really about Largeman, because he is in every scene, we see a progression in his character as time goes on. At the beginning, we sense that Andrew feels rather numb and alienated but then as the film progresses, he becomes more energetic and liberated. This gradual change in his character is highlighted clearly in the cinematography, a key method in showing Andrew's psychological state. For a directorial debut, I must say Zack Braff has given me a completely different impression than from his regular role in the "Scrubs" TV series. One might think that for a directorial debut coming from a TV actor would be uneven and at best, formulaic and uninspired. That's not the case here with "Garden State." Braff shows he knows how to handle directing and storytelling yet at the same time, showing a vision that clearly establishes himself as an auteur. Examples of this are the tense moments when Andrew is around his father. A lesser film would go for theatrics and end up being very talky in dialogue, but instead, Andrew and his father's moments together are more subtle. Whenever we see both of them together, they talk but when they talk, their relationship is forced. There's a sense of silence at times, which shows they feel uncomfortable seeing each other after the lack of good communication for about a decade. Of course, one might think that from the way I'm describing "Garden State" so far, the film is on the more serious side. It's actually more funny than serious but even describing the film as a comedy wouldn't do ju... ... selling his invention of soundless Velcro and now trundles down the corridors of his unfurnished McMansion in a golf cart. Another buddy, Mark (Peter Sarsgaard), sells jewelry he acquires in a highly unusual manner. Braff also writes simple yet refreshing dialogue, with plenty of offbeat humor, yet none of it is strained, nothing is played self-consciously for laughs. Braff himself has a warm, easy-to-watch screen presence. He can say nothing during the lull in a conversation, while the camera remains focused on his face, and it feels right. Portman and Sarsgaard are also genuine, each wonderfully relaxed in their roles. Production design is superb: details in every scene are arranged well, and the photography, by Lawrence Sher, is - like the story and the acting – unpretentious, never distracting, tricky or cute. This film never seems to manipulate us; instead it engages us, arouses our curiosity and amusement, bids us gently to care about Andrew and Sam and even Mark, leaving us entertained in the best sense. This movie is as confident, as secure in itself, as comforting, as a well worn pair of house slippers or your favorite reading chair. A splendid film. Grade: A- (09/04)

Demonstrate the persistence of Wordsworthian ideal of country folk Essay

Demonstrate the persistence of Wordsworthian ideal of country folk, childhood and natural education in the two texts that you have chosen. Critical Essay by Rachel Gowland. Wordsworth, as a poet of the romantic era, had several themes, which contribute to this title. This essay will be looking at these themes and discovering whether they have any relevance in the texts studied. These are, the Secret Garden and Goodnight Mr Tom. The preference for rural life and its people was at the height of fashion at the time of Wordsworth. Social reformers such as Rousseau talked about the â€Å"noble savage† and the rustic idyll was an accepted theme for artistes and poets alike. While the social revolutions may have changed by the time the texts were written, the ideals are still continued to some degree. Wordsworth had many sympathies with the victims and vagrants that wandered in the cities and the countryside. Many of his short poems were portraits of simple rural people, intended to illustrate the nature of these folk and their basic wisdom. Poems such as Michael (1880) have the characters almost fused with their natural surroundings. In Michael, patience and tenderness are the key features of the old man’s character. There is strength and a â€Å"natural affinity to the hills and fields in which he lived and worked.† 1 The Secret garden is almost a glorification of rustic folk and their simple way of life. Mary Lennox first encounters Martha, who gives her glimpses of a simple life quite alien to her. â€Å"There’s twelve of us an’ my father only gets sixteen shilling a week. I can tell you my mothers put to it to get porridge for ’em all. They tumble about on th’ moor an’ play there all day an’ mother says th’ air of th’ moor fattens ’em.† (Page 32) 2 Through Martha, she begins to emerge from her egotistical former self. She starts to think about others rather than herself. â€Å"Thank you. She said it stiffly because she was not used to thanking people or noticing that they did things for her† (Page 71) 2 Martha appears a particularly content and dignified individual, who takes pride in her work and her family. She treats Mary as an equal in many ways and is amazed by Mary’s colonial pride. Martha’s plain good sense is treated with respect throughout the book and her dialogues with Mary often bring about great changes in her young charge’s attitudes. â€Å"It was not the custom that Mistress Mary should do anything but stand and allow herself to be dressed like a doll, but before she was ready for breakfast, she began to suspect that her life at Missthlewaite Manor would end by teaching her a number of things quite new to her.† (Page 32) 2 Martha’s is described as an â€Å"untrained Yorkshire rustic† who was not trained to be subservient and had no notion that she should be. In this way she becomes an emboldened character, who helps Mary to grow through her plain sense. Martha was obviously trained well by her mother who also is a rustic woman. She is almost the guiding hand in the background, helping Mary, and later Colin, to transform. Her wisdom shines through Martha and Dickon and all the principles held in family life. Hers is the good mother, the mother earth in Wordsworth’s poems. The respect for her and her kind shines through in the text as it does in the poems, through the voice of the narrator. She is again a considered equal in the narrator’s eyes to all who she comes into contact with. This makes it possible for her to contact Colin’s father and speak to him about his charges. † I sent for you today because Mrs Sowerby said I ought to see you. † (Page 112) 2 The idea of simple sense and country wisdom is proved right in the text. It is the uneducated, untrained folk in the text who can see through the external ugliness of Mary and Colin’s characters to the beauty that lies beneath. And it is the country folk who unlock these children from their past to an almost redemption. This celebration of rural life and the people can also be seen in Good night Mr Tom. The events that occur in Will’s life in the city are overcome by the calm everyday life of the country and its folk. The main character in Wills life is Tom who exudes this country wisdom and good sense. Will takes to heart Tom’s thoughts when persevering with a new task like learning to ride a bicycle. He could hear his Dad’s words over and over again in his head. † Takes yer time, everythin’ ‘as its own time†. (Page 291) 3 Tom guides Will through his life events, helping him to come to terms with all that life throws at him. This is in marked contrast to the ideas of the psychologist, Mr Stelton, whom they both encounter in the hospital when Will is rescued. Tom’s ideas of healing through fresh air, hard work and simple country life are in conflict with the ideas of analysis and treatment. Even the appearance of Tom as a gruff, solid but warm-hearted individual is different to the description of Mr Stelton. â€Å"Tom was well into his sixties, a healthy robust, stockily built man with a head of thick white hair.† (Page 10) 3 In contrast to â€Å"The man was going bald and the hair that remained was of a thin texture. His skin was as white and shiny as a cloistered nun. He gave Tom a bland smile.† (Page 217) 3 The psychologist’s educated ideas appear foolish in response to Tom’s good sense. As in The Secret Garden the figures of authority and city education are made to look ignorant in response to the wisdom of characters such as Mrs Sowerby and Tom. The characters in the village of Little Weirworld are full of warmth and sincerity, with a genuine sense of community that includes everyone in their midst. Their simple pleasures and way of life helps them maintain a sense of calm dignity and practical sense, even in time of crisis. When Mrs Hartridge received a telegram, it was with care and concern that the villagers arranged for someone to be there when she received it. This contrasts sharply with the lack of interest shown by the people in the district where Will originally came from. â€Å"She keeps herself to herself. Bit of a madam. Thinks she’s a bleedin’ saint if you’ll excooth me languid. She does night shifts so I don’t never see her. I live next door yer see. Mind you, I don’t arf hear some funny noises. Very funny.† (Page 203) 3 Tom is ridiculed by the city folk for his accent and intention, but they appear very flippant and foolish when the full story is uncovered. â€Å"I’d like to git my hands on that women†, the warden growled furiously. His pride had been shaken badly. It was embarrassing to have them think he didn’t know his job.† (Page 207) 3 Again, it is the simple country folk in the text who can see through the external ugliness and weakness to the beauty that lies beneath. And it is the country folk who unlock Will from his past. Wordsworth and his contemporaries, viewed childhood as a time of great innocence and joy. A time when new experiences are welcomed and emotions and senses are at there most responsive There was a time when meadow, grove and stream The earth and every common sight, To me did seem Apparelled in celestial light, The glory and freshness of a dream. (Line 1-5) 4 They viewed the child as a redeemer of the adult with their innocence and freedom of mind and spirit. In the Secret Garden, the children can be seen to hold the key to all wisdom. Martha plays an important part in helping Mary to grow into a whole human being. â€Å"He wouldn’t like me.† Said Mary in her stiff, cold little way. No-one does.† Marta looked reflective again. â€Å"How does tha’ like thyself?† (Page 61) 2 In the same way Mary then passes on her newfound wisdom to Colin and they both look to Dickon to expand their experience. It is Dickon who becomes the real redeemer. He exudes healthy childhood wholesomeness. â€Å"A boy was sitting under a tree, with his back against it. He was a funny looking boy about twelve. He looked very clean and his nose turned up and his cheeks were as red as poppies and never had Mistress Mary seen such round and such blue eyes in any boys face.† (Page 92) 2 He makes Colin believe that he can get well and walk. His positive calm attitude clears the gloom from Colin’s mind and he begins to believe in himself. â€Å"When tha’ stops bein’ afraid tha’lt stand on ’em,† Dickon said with renewed cheer. â€Å"An’ tha’lt stop bein’ afraid in a bit.† (Page 206) 2 Once Mary and Colin finally learn to become children again they can then redeem Colin’s father. He begins to wonder whether he can have a relationship with his son but has many doubts. Colin changes this by becoming a positive character that is not afraid of the future or his health any more. In this way he heals himself and also his father. â€Å"It seemed actually like the laughter of young things, the uncontrollable laughter of children who were trying not to be heard.† (Page 272) 2 And â€Å"He said it all so like a healthy boy-his face flushed, his words tumbling over each other in his eagerness- that Mr Craven’s shook with unbelieving joy.† (Page 274) 2 The child as a redeemer can also be seen as a theme in Good Night Mr Tom. Will looks at Tom through the eyes of a child and as such does not see the gruff exterior that the villagers have seen for the forty years since his wife died. Will brings memories of his wife flooding back but with them comes healing. â€Å"Tom stood behind him and stared over his head into the shop. He remembered how Rachel used to spin with delight in there.† (Page 57) 3 Tom learns how to socialise again through necessity and becomes a member of the village community once more. Mrs Fletcher looked steadily into his eyes. His forehead had lost its old furrowed look. The deep pitted wrinkles had softened outwards. Behind his scowling manner was a kindly old man and if it hadn’t been for the arrival of a rather insipid little boy, she might never have known, nor might anyone else for that matter.† (Page134) 3 He responds emotionally to Will in ways that have been closed off for a long time. â€Å"He called me Dad,† he whispered croakily into the darkness. † He called me Dad.† And although he felt overwhelmed with happiness, the tears ran silently down his face. † (Page 288) 3 In the same way, Will has his own redeemer in the shape of Zach, who teaches him to like himself and believe in his own abilities. As Martha and Dickon, Zach is a positive thinker who believes anything is possible. Will had lived all his life with criticism and blame, and Zach and Tom gave him back his self-esteem. â€Å"Willie almost dropped the clod of earth he was holding. No one had ever said they liked him. He’d always accepted that no one did. Even his mum said she only liked him when he was quiet and still. For her to like him he had to make himself invisible.† (Page 77) 3 In this way both Mary Lennox and Will are similar, in that they have to learn to love themselves before they can be loved in return or learn to respond to others around them. It seems clear that the theme of natural education is persistent in both texts. In the Secret Garden there is a distinct lack of formal education in all the children encountered. Mary had a series of governesses but learnt by her own volition, because she chose too. Her education almost begins again when she reaches Misstlethwaite Manor. Through Martha and Dickon she learns how to explore, imagine and play. She begins to discover the simple pleasures of play. â€Å"The skipping rope was a wonderful thing. She counted and skipped, and skipped and counted, until her cheeks were quite red, and she was more interested than she had ever been since she was born.† (Page 71) 2 At first alone and then with Colin she explores the garden and her curiosity and thirst for knowledge begins. The awakening of the garden itself mirrors her awakening. They learn through this almost holistic approach, that through the garden and nature they become physically, socially and emotionally aware. Again it is Dickon who inspires them with his positiveness and his knowledge. Dickon, has little formal education but has a wealth of knowledge which appears to be much more useful than the facts leant in a classroom. He is a pure Wordsworthian invention. â€Å"Do you understand everything birds say?† said Mary. â€Å"I think I do and they think I do,† he said. â€Å"I’ve lived on th’ moor with ’em so long. I’ve watched ’em break shell an’ come out an’ fledge an’ learn to fly ‘an begin to sing, till I think I’m one of ’em.† (Page 95) 2 His mind is unfettered and unspoilt by a formal education, especially one that almost encourages passive learning i.e., the vessels to be filled approach, over active exploration and discovery. Mary and later Colin learn to become independent and active thinkers. â€Å"Colin saw it all, watching each change as it took place. Every morning he was brought out and every hour of each day when it didn’t rain he spent in the garden. He would lie on the grass â€Å"watching things growing,† he said. â€Å"If you watched long enough you could see the buds unsheathe themselves.† (Page221) 2 This positive attitude to learning and education can also be seen in Goodnight Mr Tom. Will has a formal education, but has to grow in spirit to progress in the mind. Again it’s the positiveness of the people and surroundings that help him to a new confidence. â€Å"We’ll begin this evening,† he said sharply. â€Å"That do?† â€Å"Wot?† â€Å"Learnin’ to read and write. I’ll teach you to write yer own name for a beginnin’.† (Page 102) 3 His times of growth and change correspond to when he is with nature. He makes friends and begins to learn how to interact whilst picking blackberries. He becomes more relaxed and confident whilst on holiday by the sea. Again there is this almost holistic approach as Will improves physically, mentally and emotionally. He is able to express himself through art and then acting as his confidence grows. Finally through nature and physical expenditure he is able to come to terms with the grief and loss in his life. In both texts the children are changed by the country folk around them and the ideals and life that they uphold. These rustic folk become educators and healers through their wisdom and plain good sense. The children bloom through a newfound confidence and most importantly an acceptance of oneself. Once this happens they can then consciously and unconsciously redeem the adults around them. In these ways the Wordsworthian ideals are prevalent throughout the texts. Bibliography ENGLISH ROMANTIC VERSE;PENGUIN BOOKS;1986. FROM BLAKE TO BYRON; BORIS FORD; PENGUIN BOOKS; 1982. THE SECRET GARDEN; FRANCES HODGESON BURNETT; PENGUIN CLASSICS; 1995. GOODNIGHT MR TOM; MICHELLE MAGORIAN; PUFFIN BOOKS; 1981. ROMANTIC CRITICAL ESSAYS; DAVID BROMWICH; CAMBRIDGE UNIVERSITY PRESS; 1987. BEYOND ROMANTICISM; ROUTLEDGE; 1992. LITERATURE, EDUCATION AND ROMANTICISM; ALLAN RICHARDSON; CAMBRIDGE UNIVERSITY PRESS; 1984.

Postmodern Frame Essay †Text in Art Essay

The use of text within to the visual arts can be traced back as far as the inscribed carvings found on cave walls created by the Indigenous population of Australia approximately 46000 years ago. However, over the past few years, the use of text in art, also known as the art of typography, has become a frequent means of communication for artists in the creation of their works. Text within art can be projected, scrawled, painted, computerised and carved to the point that a work may be created of nothing but language. The art of typography is the technique of arranging type in such a way that makes language visible. It treats fonts as individual entities to be enjoyed by the audience. Some artists deal with language as a character on its own as opposed to a surface to draw upon. These artists place texts in ways that are intended to stimulate the way an audience perceives a work, to evoke emotion or to create a statement. However, others, particularly graphic designers, tend to focus on the decorative powers of text. Regardless of the artist’s intentions, the appearance of text within art can shift our appreciation of their sound and meaning. Artists that explore text in art include: Barbara Kruger, Yukinori Yanagi, Katarzyna Kozyra, Jenny Holzer, Wenda Gu, Shirin Neshat, Miriam Stannage, Colin McCahon and Jenny Watson. Artists such as Jenny Holzer, Wenda Gu and Shirin Neshat explore the cultural implications of language in art and the importance of language to identity through the inclusion of text that reflect a postmodern concern with the way we receive information in our contemporary society. Jenny Holzer is an American conceptual artist who belongs to the feminist branch of artists that emerged during the 1980’s. Originally an abstract painter and printmaker, Holzer became heavily interested in conceptual art and began creating works using text. The introduction of text within Holzer’s work occurred gradually however, over time, they have entirely replaced images. These works are usually displayed in widely viewed, public areas. Holzer’s works typically deal with the idea of communication. She is highly aware of the power of words and the power of the media and therefore has a focus on the ability of language to distort or manipulate truths. â€Å"I was drawn to writing because it was possible to be very explicit about things. If you have crucial issues, burning issues, it’s good to say exactly what’s right and wrong about them, and then perhaps to show a way that things could be helped. So, it seemed to make sense to write because then you could just say it†¦ no painting seemed perfect. In particular, I didn’t want to be a narrative painter, which maybe would have been one solution for someone wanting to be explicit.† – Jenny Holzer. Through the use of text in art, Holzer is able to transmit powerful environmental, social and political messages that reveal beliefs and myths and show biases and inconsistencies that highlight her social and personal concerns of today’s contemporary society. Holzer’s works are confronting and provocative and inspire us to make changes. They make us remember that language is not always a factual statement; it can be true or false depending on the context. Holzer forces us to analyse our own behaviour and consider how we have been influenced and manipulated. Her works are designed to make us stop and think about how we are maturing socially. Holzer’s truisms â€Å"MONEY CREATES TASTE – 1982† and â€Å"PROTECT ME FROM WHAT I WANT – 1985† are part of her 1983-85 series – â€Å"Survival†. These are LED installation pieces consisting of large scale text that were projected onto a billboard in Times Square, New York. The inscriptions were bright, clear and menacing and connected themselves to the everyday glow of the city. The phrases were flicked over the busy intersection for two to three seconds creating an element of surprise and capturing the audience’s attention. The main focus of these works was to make a profound statement about the world of advertising and consumer society today. Holzer’s aim was to persuade the audience to pause and reflect on their lives. Her work emphasises the notion that within our society, we are driven by the world of media, thereby producing a mass materialistic, consumerist culture. â€Å"MONEY CREATES TASTE† is almost a plea from Holzer to stand back and assess our needs as a culture rather than what we are fed to believe we want by the media. The use of this concise statement â€Å"PROTECT ME FROM WHAT I WANT† has shown us that we are in the process of losing our identity and sense of culture and can be manipulated by the underlying motives of the media. Shirin Neshat is an Iranian born artist who, upon turning seventeen, moved to California to study art. In 1990 when Neshat flew back to Iran to visit her family, she was confronted by the changes in culture and the narrow restraints of everyday life in the Islamic Republic. She was faced by a very strict, pure form of Islam introduced by the Iranian government in order to erase Persian history. Since having lived in the two cultural contexts of Iraq and the USA, Neshat is able to examine the cultural concerns of individual beings in a metaphorical and poetic way. She attempts to address problems of identity, race and gender in a shocking manner and intends to undermine social stereotypes and assumptions. Her works explore the differences between Islam and the West, males and females, limitations in life and freedom, old and new and the public and the private domains. Neshat aimed to provoke questions amongst her audience as she explored Islam through her art making and comments on issues related to feminism and multiculturalism. However, her works were not only confrontational and symbolic; Neshat also paid particular attention to aesthetics. In her 1994 print and ink, â€Å"Rebellious Silence†, Neshat depicts an Islamic, Muslim woman, covered in a veil holding a gun. Her calm face is divided by the starkness of the cold, steel weapon and is laced with Islamic calligraphy symbolic of the Niqab, a more extreme veil that an Islamic woman must wear as it signifies her obedience to the male supremacy in Islamic culture. Her clothing and weapon make us question whether this woman has rejected her submissive female role to embrace violence. She is looking directly at the camera and looks determined to fight. Questions of motives arise amongst the audience. Neshat’s 1996 work â€Å"Speechless† is a black and white photograph in which Neshat has chosen to make herself the subject. This image is a close up of Neshat’s face. She looks determined and powerful however, like her creation â€Å"Rebellious Silence† – her face is covered with an overlay of Islamic text. The Arabic inscriptions that create the veil act as a barrier. It symbolises the support of the Islamic revolution. The visual struggle between Neshat and the veil is representational of the fight for freedom and the support of religion. By putting the text on her face, the body part where people can identify emotions the most, it serves as a reminder of the power that religion has over women and the oppression it has towards free expression. The gun in the picture is another juxtaposition. The woman seems to be embracing the gun as a part of her, giving off a threatening feeling, but at the same time, it does not feel dangerous because of her conflicted emotions: freedom versus oppression. The inscriptions tell of a man who died in the Iran/Iraq conflict of the 1980’s. This is also insulting to the women who also experienced this conflict. Her art does not disapprove nor approve of Islam, but instead encourages the audience to reflect upon their own ideas, assumptions and expectations. He works carry both personal and emotional connotations. Wenda Gu was born in China and studied traditional, classical landscape painting. He was employed to teach ink painting and although he no longer practices in China, text remains central to his work. This initial technical training has provided the incentive for his most confronting pieces in which the powerful use of language challenges social and political traditions. â€Å"These are questioning and symbolic works that violate the orthodox doctrine of artistic value. They represent a direct threat to authority.† Michael Sullivan. Gu ambitiously attempts to address, in artic terms, the issue of globalism that dominates discussions of contemporary economics, society and culture. He aims to appeal not only to the present population, but also to future generations in his quest to extend the boundaries of human perception, feeling and thought and express humanity’s deepest wishes and powerful dreams. Gu strives to unify mankind and create a utopian feel within his works. Gu worked to simplify the Chinese language and to encourage people to embrace new attitudes towards their old language. He combines a long standing fascination with classical Chinese calligraphy with a contemporary take on universal concerns that cross cultural and ethnic boundaries. Gu’s work today focusses extensively on ideas of culture and his identity and has developed an interest in bodily materials and understanding humanity across ethnic and national boundaries. Gu’s 1994-96 work â€Å"Pseudo Characters Contemplation of the world† is a series of ink paintings in which he uses traditional calligraphic styles and techniques but subverts them with reversed, upside down or incorrect letters. The pseudo character series consists of three ink on paper scrolls in which he has combined calligraphy and landscape, disrupting the conventions of both, powerfully distorting artistic tradition of China. Gu has attacked the written word by glorifying the spirit of the absurd. Gu’s most significant artworks have been a series entitled â€Å"United Nations Project†. This is a series of 15 works that were conceptually planned to relate to the locations social, political, historical and cultural situation. This series confronts two taboos. That of language and the human body. The main material for these installations are human hair collected from hairdressers from all over the world and the hair itself serves as a connection to all people. They typically consisted of screens tied together with twine, forming a canopy of internationally collected hair that was fashioned into nonsensical scripts combining the Chinese alphabet and others. His works are distinguished by the two themes which intersect. The first relates to language and the way in which cultural conventions are signified ad the second, is the use of human hair which is a symbol for significant human endeavours. The human hair is a blueprint containing DNA information, which is common to all humans yet seen fundamentally as individual. Jenny Holzer, Shirin Neshat and Wenda Gu all explore the cultural implications of language within art. They share a prime focus on the links between culture and identity. They have used language and text to convey their powerful messages and have drawn upon their own personal experiences. Concerned with the human condition, both they and their artworks have had a significant impact on society and the way in which we interpret information. Madison ******** Year 12 Visual Arts Art History and Art Criticism. Essay on Text The inclusion of text in artworks reflects a post-modern concern with the way we receive information in our contemporary society and the importance of language to identity. Explore the cultural implications of language in the work of Jenny Holzer, Wenda Gu and one other contemporary artist. Analyse specific artworks to support your argument.

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