Gloablization Positive and Negative Impact

Advantages of Globalization Globalization means increasing the interdependence, connectivity and integration on a global level with respect to the social, cultural, political, technological, economic and ecological levels. Advantages * Goods and people are transported with ease and speed * the possibility of war between the developed countries decreases * free trade between countries increases * global mass media connects all the people in the world as the cultural barriers reduce, the global village dream becomes more realistic * there is a propagation of democratic ideals * the interdependence of the nation-states increases * as the liquidity of capital increases, developed countries can invest in developing ones * the flexibility of corporations to operate across borders increases * the communication between the individuals and corporations in the world increases * environmental protection in developed countries increases Effects of Globalization enhancement in the information flo w between geographically remote locations * the global common market has a freedom of exchange of goods and capital * there is a broad access to a range of goods for consumers and companies * worldwide production markets emerge * free circulation of people of different nations leads to social benefits * global environmental problems like cross-boundary pollution, over fishing on oceans, climate changes are solved by discussions * more trans-border data flow using communication satellites, the Internet, wireless telephones, etc. international criminal courts and international justice movements are launched * the standards applied globally like patents, copyright laws and world trade agreements increase * corporate, national and sub-national borrowers have a better access to external finance * worldwide financial markets emerge * multiculturalism spreads as there is individual access to cultural diversity. This diversity decreases due to hybridization or assimilation * international t ravel and tourism increases * worldwide sporting events like the Olympic Games and the FIFA World Cup are held * enhancement in worldwide fads and pop culture local consumer products are exported to other countries * immigration between countries increases * cross-cultural contacts grow and cultural diffusion takes place * there is an increase in the desire to use foreign ideas and products, adopt new practices and technologies and be a part of world culture * free trade zones are formed having less or no tariffs * due to development of containerization for ocean shipping, the transportation costs are reduced * subsidies for local businesses decrease * capital controls reduce or vanquish there is supranational recognition of intellectual property restrictions, i. e. patents authorized by one country are recognized in another Advantages in the Developing World It is claimed that globalization increases the economic prosperity and opportunity in the developing world. The civil liberti es are enhanced and there is a more efficient use of resources. All the countries involved in the free trade are at a profit. As a result, there are lower prices, more employment and a better standard of life in these developing nations.It is feared that some developing regions progress at the expense of other developed regions. However, such doubts are futile as globalization is a positive-sum chance in which the skills and technologies enable to increase the living standards throughout the world. Liberals look at globalization as an efficient tool to eliminate penury and allow the poor people a firm foothold in the global economy. In two decades from 1981 to 2001, the number of people surviving on $1 or less per day decreased from 1. 5 billion to 1. 1 billion.Simultaneously, the world population also increased. Thus, the percentage of such people decreased from 40% to 20% in such developing countries. Globalization means increasing the interdependence, connectivity and integration on a global level with respect to the social, cultural, political, technological, economic and ecological levels. Advantages * Goods and people are transported with ease and speed * the possibility of war between the developed countries decreases * free trade between countries increases * global mass media connects all the people in the world as the cultural barriers reduce, the global village dream becomes more realistic * there is a propagation of democratic ideals * the interdependence of the nation-states increases * as the liquidity of capital increases, developed countries can invest in developing ones * the flexibility of corporations to operate across borders increases * the communication between the individuals and corporations in the world increases * environmental protection in developed countries increases Effects of Globalization enhancement in the information flow between geographically remote locations * the global common market has a freedom of exchange of goods and capital * there is a broad access to a range of goods for consumers and companies * worldwide production markets emerge * free circulation of people of different nations leads to social benefits * global environmental problems like cross-boundary pollution, over fishing on oceans, climate changes are solved by discussions * more trans-border data flow using communication satellites, the Internet, wireless telephones, etc. international criminal courts and international justice movements are launched * the standards applied globally like patents, copyright laws and world trade agreements increase * corporate, national and sub-national borrowers have a better access to external finance * worldwide financial markets emerge * multiculturalism spreads as there is individual access to cultural diversity. This diversity decreases due to hybridization or assimilation * international travel and tourism increases * worldwide sporting events like the Olympic Games and the FIFA World Cup re he ld * enhancement in worldwide fads and pop culture * local consumer products are exported to other countries * immigration between countries increases * cross-cultural contacts grow and cultural diffusion takes place * there is an increase in the desire to use foreign ideas and products, adopt new practices and technologies and be a part of world culture * free trade zones are formed having less or no tariffs * due to development of containerization for ocean shipping, the transportation costs are reduced * subsidies for local businesses decrease capital controls reduce or vanquish * there is supranational recognition of intellectual property restrictions, i. e. patents authorized by one country are recognized in another Advantages in the Developing World It is claimed that globalization increases the economic prosperity and opportunity in the developing world. The civil liberties are enhanced and there is a more efficient use of resources. All the countries involved in the free tra de are at a profit. As a result, there are lower prices, more employment and a better standard of life in these developing nations.It is feared that some developing regions progress at the expense of other developed regions. However, such doubts are futile as globalization is a positive-sum chance in which the skills and technologies enable to increase the living standards throughout the world. Liberals look at globalization as an efficient tool to eliminate penury and allow the poor people a firm foothold in the global economy. In two decades from 1981 to 2001, the number of people surviving on $1 or less per day decreased from 1. 5 billion to 1. 1 billion. Simultaneously, the world population also increased.Thus, the percentage of such people decreased from 40% to 20% in such developing countries. The Negative Effects of Globalization globalization point out to its negative effects. Some of them are listed below. * Developed nations have outsourced manufacturing and white collar j obs. That means less jobs for their people. This has happened because manufacturing work is outsourced to developing nations like China where the cost of manufacturing goods and wages are lower. Programmers, editors, scientists and accountants have lost their jobs due to outsourcing to cheaper locations like India. Globalization has led to exploitation of labor. Prisoners and child workers are used to work in inhumane conditions. Safety standards are ignored to produce cheap goods. * Job insecurity. Earlier people had stable, permanent jobs. Now people live in constant dread of losing their jobs to competition. Increased job competition has led to reduction in wages and consequently lower standards of living. * Terrorists have access to sophisticated weapons enhancing their ability to inflict damage. Terrorists use the Internet for communicating among themselves. Companies have set up industries causing pollution in countries with poor regulation of pollution. * Fast food chains lik e McDonalds and KFC are spreading in the developing world. People are consuming more junk food from these joints which has an adverse impact on their health. * The benefits of globalization is not universal. The rich are getting richer and the poor are becoming poorer. * Bad apects of foreign cultures are affecting the local cultures through TV and the Internet. * Enemy nations can spread propaganda through the Internet. Deadly diseases like HIV/AIDS are being spread by travelers to the remotest corners of the globe. * Local industries are being taken over by foreign multinationals. * The increase in prices has reduced the government's ability to sustain social welfare schemes in developed countries. * There is increase in human trafficking. * Multinational Companies and corporations which were previously restricted to commercial activities are increasingly influencing political decisions. Disadvantages of Globalization So what's the harm if the entire world is coming together on a common platform?Why are we even discussing whether globalization is good or bad for the world? As we said earlier, everything has a good side and a bad side. The bad side of globalization predominantly revolves around the fact that the preferences differ from nation to nation, and coming to a consensus on any issue becomes more difficult when too many nods are required. When it comes to globalization, the difference between the rich and poor nation can be a major hindrance. Even though the richer nations will try to assimilate and help poor nations come up, they will not sacrifice on their national interests willingly.Economic Problems:Â  If the entire world becomes a global village, any sort of economic disruption in one nation will have a disastrous impact on various other nations which are closely related to it in terms of trade and commerce. It will be a domino-effect wherein disturbance in one economy would result in disturbance in another, and so on! Cultural Problems:Â  Cul ture and globalization also seem to be at the loggerheads. Critics of globalization are also of the opinion that it will hamper the age-old cultures which have been followed religiously all over the world.There are many countries in the world which would never agree to compromise when it comes to culture or religion. Migration will become even easier, and the influence of local cultures and traditions will slowly start to wear down. Incessant westernization of Southeast Asian nations has already put western cultural beliefs and traditions under the scanner in these countries. Unemployment:Â  One may feel that globalization is promoting employment, but the fact is exactly reverse of this is happening, especially in developed countries wherein people are losing jobs as a result of outsourcing.Several major companies from the United States and United Kingdom have outsourced their jobs to the developing nations in Asia, this has in turn resulted in unemployment in these countries. Spre ad of Diseases:Â  Increase in flow of people will also result in spread of diseases, and thus make people more vulnerable to health issues. We do have many examples in history wherein outbreak of a particular disease happened in some part of the world, and before we could realize it spread throughout the world.The critics of globalization and those involved in anti-globalization movement often argue that the implications of this phenomenon will be seen in economics, culture, health and employment, and most of the countries are not ready to take on these disadvantages head-on. Taking their seriousness into consideration, it is not at all possible to turn a blind eye towards these negative effects of globalization. The need of the hour, therefore, is to evaluate the pros and cons of this concept to find out which of the two have an edge over the other.

Importance of arts Essay

Now we must study the following questions: What significance does art acquire if we assume that our interpretation of it is correct? What is the relation between aesthetic response and all other forms of human behavior? How do we explain the role and importance of art in the general behavioral system of man? There are as many different answers to these questions as there are different ways of evaluating the importance of art. Some believe art is the supreme human activity while others consider it nothing but leisure and fun. The evaluation of art depends directly on the psychological viewpoint from which we approach it. If we want to find out what the relationship between art and life is, if we want to solve the problem of art in terms of applied psychology, we must adopt a valid general theory for solving these problems. The first and most widespread view holds that art infects us with emotions and is therefore based upon contamination. Tolstoy says, â€Å"The activity of art is ba sed on the capacity of people to infect others with their own emotions and to be infected by the emotions of others. †¦ Strong emotions, weak emotions, important emotions, or irrelevant emotions, good emotions or bad emotions – if they contaminate the reader, the spectator, or the listener – become the subject of art. This statement means that since art is but common emotion, there is no substantial difference between an ordinary feeling and a feeling stirred by art. Consequently, art functions simply as a resonator, an amplifier, or a transmitter for the infection of feeling. Art has n6 specific distinction; hence the evaluation of art must proceed from the same criterion which we use to evaluate any feeling. Art may be good or bad if it infects us with good or bad feelings. Art in itself is neither good nor bad; it is a language of feeling which we must evaluate in accordance with what it expresses. Thus, Tolstoy came to the natural conclusion that art must be evaluated from a moral viewpoint; he therefore approved of art that generated good feelings, and objected to art that, from his point of view, represented reprehensible events or actions. Many other critics reached the same conclusions as did Tolstoy and evaluated a work of art on the basis of its obvious content, while praising or condemning the artist accordingly. Like ethics, like aesthetics – this is the slogan of this theory. But Tolstoy soon discovered that his theory failed when he tried to be consistent with his own conclusions. He compared two artistic impressions:  one produced b y a large chorus of peasant women who were celebrating the marriage of his daughter; and the other, by an accomplished musician who played Beethoven’s Sonata. The singing of the peasant women expressed such a feeling of joy, cheerfulness, and liveliness that it infected Tolstoy and he went home in high spirits. According to him, such singing is true art, because it communicates a specific and powerful emotion. Since the second impression involved no such specific emotions, he concluded that Beethoven’s sonata is an unsuccessful artistic attempt which contains no definite emotions and is therefore neither remarkable nor outstanding. This example shows us the absurd conclusions that can be reached if the critical understanding of art is based upon the criterion of its infectiousness. Beethoven’s music incorporates no definite feeling, while the singing of the peasant women has an elementary and contagious gaiety. If this is true, then Yevlakhov is right when he states that â€Å"‘real, true’ art is military or dance music, since it is more catchy.† Tolstoy is consistent in his ideas; beside folk songs, he recognizes only â€Å"marches and dances written by various composers† as works â€Å"that approach the requirements of universal art.† A reviewer of Tolstoy’s article, V. G. Valter, points out that â€Å"if Tolstoy had said that the gaiety of the peasant women put him in a good mood, one could not object to that. It would mean that the language of emotions that expressed itself in their singing (it could well have expressed itself simply in yelling, and most like ly did) infected Tolstoy with their gaiety. But what has this to do with art? Tolstoy does not say whether the women sang well; had they not sung but simply yelled, beating their scythes, their fun and gaiety would have been no less catching, especially on his daughter’s wedding day.† We feel that if we compare an ordinary yell of fear to a powerful novel in terms of their respective infectiousness, the latter will fail the test. Obviously, to understand art we must add something else to simple infectiousness. Art also produces other impressions, and Longinus’ statement, â€Å"You must know that the orator pursues one purpose, and the poet another. The purpose of poetry is trepidation, that of prose is expressivity,† is correct. Tolstoy’s formula failed to account for the trepidation which is the purpose of poetry. But to prove that he is really wrong, we must look at the art of military and dance music and find out whether the true purpose of that art is to infect. Petrazhitskii assumes  that aestheticians are wrong when they claim that the purpose of art is to generate aesthetic emotions only. He feels that art produces general emotions, and that aesthetic emotions are merely decorative. â€Å"For instance, the art of a warlike period in the life of a people has as its main purpose the excitation of heroic-bellicose emotions. Even now, military music is not intended to give the soldiers in the field aesthetic enjoyment, but to excite and enhance their belligerent feelings. The purpose of medieval art (including sculpture and architecture) was to produce lofty religious emotions. Lyric appeals to one aspect of our emotional psyche, satire to another; the same applies to drama, tragedy, and so on †¦ Apart from the fact that military music does not generate bellicose emotions on the battlefield, the question is not properly formulated here. Ovsianiko-Kulikovskii, for example, comes closer to the truth when he says that â€Å"military lyrics and music ‘lift the spirit’ of the army and ‘inspire’ feats of valor and heroic deeds, but neither of them leads directly to bellicose emotions or belligerent affects. On the contrary, they seem to moderate bellicose ardor, calm an excited nervous system, and chase away fear. We can say that lifting morale, calming nerves, and chasing away fear are among the most important practical functions of ‘lyrics’ which result from their psychological nature. It is therefore wrong to think that music can directly cause warlike emotions; more precisely, it gives bellicose emotions an opportunity for expression, but music as such neither causes nor generates them. Something similar happens with erotic poetry, the sole purpose of which, according to Tolstoy, is to excite lust. Anyone who understands the true nature of lyrical emotions knows that Tolstoy is wrong. â€Å"There is no doubt that lyrical emotion has a soothing effect on all other emotions (and affects) to the point that at times it paralyzes them. This is also the effect it has on sexuality with its emotions and affects. Erotic poetry, if it is truly lyrical, is far less suggestive than works of the visual arts in which the problems of love and the notorious sex problem are treated with the purpose of producing a moral reaction. Ovsianiko-Kulikovskii is only partly correct in his assumption that sexual feeling, which is easily excited, is most strongly stirred by images and thoughts, that these images and thoughts are rendered harmless by lyrical emotion, and that mankind is indebted to lyrics, even more than to ethics,  for the taming and restraining of sexual instincts. He underestimates the importance of the other art forms, which he calls figurative, and does not remark that in their case also emotions provoked by images are counteracted by the nonlyrical emotion of art. Thus we see that Tolstoy’s theory does not hold in the domain of the applied arts, where he thought its validity to be absolute. As concerns great art (the art of Beethoven and Shakespeare), Tolstoy himself pointed out that his theory is inapplicable. Art would have a dull and ungrateful task if its only purpose were to infect one or many persons with feelings. If this were so, its significance would be very small, because there would be only a quantitative expansion and no qualitative expansion beyond an individual’s feeling. The miracle of art would then be like the bleak miracle of the Gospel, when five barley loaves and two small fishes fed thousands of people, all of whom ate and were satisfied, and a dozen baskets were filled with the remaining food. This miracle is only quantitative: thousands were fed and were satisfied, but each of them ate only fish and bread. But was this not their daily diet at home, without any miracles? If the only purpose of a tragic poem were to infect us with the author’s sorrow, this would be a very sad situation indeed for art. The miracle of art reminds us much more of another miracle in the Gospel, the transformation of water into wine. Indeed, art’s true nature is that of transubstantiation, something that transcends ordinary feelings; for the fear, pain, or excitement caused by art includes something above and beyond its normal, conventional content. This â€Å"something† overcomes feelings of fear and pain, changes water into wine, and thus fulfills the most important purpose of art. One of the great thinkers said once that art relates to life as wine relates to the grape. With this he meant to say that art takes its material from life, but gives in return something which its material did not contain. Initially, an emotion is individual, and only by means of a work of art does it become s ocial or generalized. But it appears that art by itself contributes nothing to this emotion. It is not clear, then, why art should be viewed as a creative act nor how it differs from an ordinary yell or an orator’s speech. Where is the trepidation of which Longinus spoke, if art is viewed only as an exercise in infectiousness? We realize that science does not simply infect one person or a whole society with thoughts and ideas, any more than technology helps man  to be handy. We can also recognize that art is an expanded â€Å"social feeling† or technique of feelings, as we shall show later. Plekhanov states that the relationship between art and life is extremely complex, and he is right. He quotes Tairfe who investigated the interesting question of why landscape painting evolved only in the city. If art were intended merely to infect us with the feelings that life communicates to us, then landscape painting could not survive in the city. History, however, proves exactly the opposite. Taine writes, â€Å"We have the right to admire landscapes, just as they had the right to be bored by it. For seventeenth-century man there was nothing uglier than a mountain. It aroused in him many unpleasant ideas, because he was as weary of barbarianism as we are weary of civilization. Mountains give us a chance to rest, away from our sidewalks, offices, and shops; we like landscape only for this reason.† 6 Plekhanov points out that art is sometimes not a direct expression of life, but an expression of its antithesis. The idea, of course, is not in the leisure of which Taine speak s, but in a certain antithesis: art releases an aspect of our psyche which finds no expression in our everyday life. We cannot speak of an infection with emotions. The effect of art is obviously much more varied and complex; no matter how we approach art, we always discover that it involves something different from a simple transmission of feelings. Whether or not we agree with Lunacharskii that art is a concentration of life, we must realize that it proceeds from certain live feelings and works upon those feelings, a fact not considered by Tolstoy’s theory. We have seen that this process is a catharsis – the transformation of these feelings into opposite ones and their subsequent resolution. This view of course agrees perfectly with Plekhanov’s principle of antithesis in art. To understand this we must look at the problem of the biological significance of art, and realize that art is not merely a means for infection but something immeasurably more important in itself. In his â€Å"Three Chapters of Historic Poetics,† Veselovskii says that ancient singing and playing were born from a complex need for catharsis; a cho rus sung during hard and exhausting work regulates muscular effort by its rhythm, and apparently aimless play responds to the subconscious requirement of training and regulation of physical or intellectual effort. This is also the requirement of psychophysical catharsis formulated by Aristotle for the drama; it manifests itself in the  unsurpassed mastery of Maori women to shed tears at will, and also in the overwhelming tearfulness of the eighteenth century. The phenomenon is the same; the difference lies only in expression and understanding. We perceive rhythm in poetry as something artistic and forget its primitive psychophysical origins. The best repudiation of the contamination theory is the study of those psychophysical principles on which art is based and the explanation of the biological significance of art. Apparently art releases and processes some extremely complex organismic urges. The best corroboration of our viewpoint can be found in the fact that it agrees with Bucher’s studies on the origins of art and permits us to understand the true role and purpose of art. Bucher established that music and poetry have a common origin in heavy physical labor. Their object was to relax cathartically the tremendous stress created by labor. This is how Bucher formulated the general content of work songs: â€Å"They follow the general trend of work, and signal the beginning of a simultaneous collective effort; they try to incite th e men to work by derision, invective, or reference to the opinion of spectators; they express the thoughts of the workers about labor itself, its course, its gear, and so forth, as well as their joys or sorrows, their complaints about the hardness of the work and the inadequate pay; they address a plea to the owner, the supervisor, or simply to the spectator.† The two elements of art and their resolution are found here. The only peculiarity of these songs is that the feeling of pain and hardship which must be solved by art is an essential part of labor itself. Subsequently, when art detaches itself from labor and begins to exist as an independent activity, it introduces into the work of art the element which was formerly generated by labor: the feelings of pain, torment, and hardship (which require relies are now aroused by art itself, but their nature remains the same. Biicher makes an extremely interesting statement: â€Å"The peoples of antiquity considered song an indispensable accompaniment of hard labor.† From this we realize that song at first organized collective labor, then gave relief and relaxation to painful and tormenting strain. We shall see that art, even in its highest manifestations, completely separate from labor and without any direct connection thereto, has maintained the same functions. It still must systematize, or organize, social feeling and give relief to painful and tormenting strain. Quintilian puts it this way: â€Å"And  it appears as if [music] were given to us by nature in order to make labor bearable. For instance, the rower is inspired by song; it is useful not only where the efforts of many are combined, but also when it is intended to provide rest for an exhausted worker.† Thus art arises originally as a powerful tool in the struggle for existence; the idea of reducing its role to a communication of feeling with no power or control over that feeling, is inadmissible. If the purpose of art, like Tolstoy’s chorus of peasant women, were only to make us gay or sad, it would neither have survived nor have ever acquired its present importance. Nietzsche expresses it well injoyful Wisdom, when he says that rhythm involves inducement and incentive: â€Å"It arouses an irresistible desire to imitate, and not only our legs but our very soul follow the beat. †¦ Was there anything more useful than rhythm for ancient, Superstitious mankind? With its help everything became feasible – work could be performed magically, God could be forced to appear and listen to grievances, the future could be changed and corrected at will, one’s soul could be delivered of any abnormality. Without verse man would be nothing; with it, he almost became God.â €  It is quite interesting to see how Nietzsche explains the way in which art succeeded in acquiring such power over man. â€Å"When the normal mood and harmony of the soul were lost, one had to dance to the song of a bard – this was the prescription of that medicine †¦ First of all, inebriation and uncontrolled affect were pushed to the limit, so that the insane became frenzied, and the avenger became saturated with hatred.† Apparently the possibility of releasing into art powerful passions which cannot find expression in normal, everyday life is the biological basis of art. The purpose of our behavior is to keep our organism in balance with its surroundings. The simpler and more elementary our relations with the environment, the simpler our behavior. The more subtle and complex the interaction between organism and environment, the more devious and intricate the balancing process. Obviously this process cannot continue smoothly toward an equilibrium. There will always be a certain imbalance in favor of the environment or the organism. No machine can work toward equilibrium using all its energy efficiently. There are always states of excitation which cannot result in an efficient use of energy. This is why a need arises from time to time to discharge the unused energy and give it free rein in order to reestablish our equilibrium with the rest of the  world. Orshanskii says that feelings â€Å"are the p luses and minuses of our equilibrium.† These pluses and minuses, these discharges and expenditures of unused energy, are the biological function of art. Looking at a child, it is evident that its possibilities are far greater than actually realized. If a child plays at soldiers, cops and robbers, and so on, this means, according to some, that inside himself he really becomes a soldier or a robber. Sherrington’s principle (the principle of struggle for a common field of action) clearly shows that in our organism the nervous receptor fields exceed many times the executing effector neurons, so that the organism perceives many more stimuli than it can possibly attend to. Our nervous system resembles a railway station into which five tracks lead, but only one track leads out. Of five trains arriving at this station, only one ever manages to leave (and this only after a fierce struggle), while the other four remain stalled. The nervous system reminds us of a battlefield where the struggle never ceases, not even for a single instant, and our behavior is an infinitesimal part of what is really included in the possibilities of our nerv ous system, but cannot find an outlet. In nature the realized and executed part of life is but a minute part of the entire conceivable life Oust as every life born is paid for by millions of unborn ones). Similarly, in our nervous system, the realized part of life is only the smallest part of the real life contained in us. Sherrington likens our nervous system to a funnel with its narrow part turned toward action, and the wider part toward the world. The world pours into man, through the wide opening of the funnel 154), thousands of calls, desires, stimuli, etc. enter, but only an infinitesimal part of them is realized and flows out through the narrowing opening. It is obvious that the unrealized part of life, which has not gone through the narrow opening of our behavior, must be somehow utilized and lived. The organism is in an equilibrium with its environment where balance must be maintained, just as it becomes necessary to open a valve in a kettle in which steam pressure exceeds the strength of the vessel. Apparently art is a psychological means for striking a balance with the environment at critical points of our behavior. Long ago the idea had been expressed that art complements life by expanding its possibilities. Von Lange says, â€Å"There is a sorry resemblance between contemporary civilized man and domestic animals: limitation and monotony. Issuing from the patterns of bourgeois  life and its social forms, these are the main features of the individual existence, which lead everybody, rich and poor, weak and strong, talented and deprived, through an incomplete and imperfect life. It is astonishing how limited is the number of ideas, feelings, and actions that modern man can perform or experience.† Lazurskii holds the same view when he explains the theory of empathy by referring to one of Tolstoy’s novels. â€Å"There is a point in Anna Karenina where Tolstoy tells us that Anna reads a novel and suddenly wants to do what the heroes of that novel do: fight, struggle, win with them, go with the protagonist to his estate, and so on.† Freud shares this opinion and speaks of art as a means of appeasing two inimical principles, the principle of pleasure and that of reality. Insofar as we are talking about the meaning of life, these writers come closer to the truth than those who, like Grant-Allen, assume that â€Å"aesthetics are those emotions which have freed themselves from association with practical interests.† This reminds us of Spencer’s formula: he assumed that â€Å"beautiful is what once was, but no longer is, useful.† Developed to its extreme limits, this viewpoint leads to the theory of games, which is accepted by many philosophers, and g iven its highest expression by Schiller. The one serious objection against it is that, in not recognizing art as a creative act, it tends to reduce it to the biological function of exercising certain organs, a fact of little importance for the adult. Much more convincing are the other theories which consider art an indispensable discharge of nervous energy and a complex method of finding an equilibrium between our organism and the environment in critical instances of our behavior. We resort to art only at critical moments in our life, and therefore can understand why the formula we propose views art as a creative act. If we consider art to be catharsis, it is perfectly clear that it cannot arise where there is nothing but live and vivid feeling. A sincere feeling taken per se cannot create art. It lacks more than technique or mastery, because a feeling expressed by a technique will never generate a lyric poem or a musical composition. To do this we require the creative act of overcoming the feeling, resolving it, conquering it. Only when this act has been performed – then and only then is art born. This is why the perception of art requires creativity: it is not enough to experience sincerely the feeling, or feelings, of the author; it is not enough to understand the structure of the work of art; one must also  creatively overcome one’s own feelings, and find one’s own catharsis; only then will the effect of art be complete. This is why we agree with Ovsianiko-Kulikovskii who says that the purpose of military music is not to arouse bellicose emotions but, by establishing an equilibrium between the organism and the environment at a critical moment for the organism, to discipline and organize its work, provide appropriate relief to its feelings, to chase away fear, and to open the way to courage and valor. Thus, art never directly generates a practical action; it merely prepares the organism for such action. Freud says that a, frightened person is terrified and runs when he sees danger; the useful part of this behavior is that he runs, not that he is frightened. In art, the reverse is true: fear per se is useful. Man’s release per se is useful, because it creates the possibility of appropriate flight or attack. This is where we must consider the economy of our feelings, which Ovsianiko-Kulikovskii describes thus: â€Å"The harmonic rhythm of lyrics creates emotions which differ from the majority of other emotions in that such ‘lyric emotions’ save our psychic energies by putting our ‘psychic household’ into harmonic order.† This is not the same economy of which we talked earlier, it is not an attempt to avoid the output of psychic energies. In this respect art is not subordinated to the principle of the economy of strength; on the contrary, art is an explosive and sudden expenditure of strength, of forces (psychic and otherwise), a discharge of ene rgy. A work of art perceived coldly and prosaically, or processed and treated to be perceived in this way, saves much more energy and force than if it were perceived with the full effect of its artistic form in mind. Although it is an explosive discharge, art does introduce order and harmony into the â€Å"psychic household,† of our feelings. And of course the waste of energy performed by Anna Karenina when she experienced the feelings and emotions of the heroes of the novel she was reading, is a saving of psychic forces if compared to the actual emotion. A more complex and deeper meaning of the principle of economizing emotions will become clearer if we try to understand the social significance of art. Art is the social within us [55], and even if its action is performed by a single individual, it does not mean that its essence is individual. It is quite naive and inappropriate to take the social to be collective, as with a large crowd of persons. The social also exists where there is only one  person with his individual experiences and tribulations. This is why the action of art, when it performs catharsis and pushes into this purifying flame the most intimate and important experiences, emotions, and feelings of the soul, is a social action. But this experience does not happen as described in the theory of contaminati on (where a feeling born in one person infects and contaminates everybody and becomes social), but exactly the other way around. The melting of feelings outside us is performed by the strength of social feeling, which is objectivized, materialized, and projected outside of us, then fixed in external objects of art which have become the tools of society. A fundamental characteristic of man, one that distinguishes him from animals, is that he endures and separates from his body both the apparatus of technology and that of scientific knowledge, which then become the tools of society. Art is the social technique of emotion, a tool of society which brings the most intimate and personal aspects of our being into the circle of social life. It would be more correct to say that emotion becomes personal when every one of us experiences a work of art; it becomes personal without ceasing to be social. â€Å"Art,† says Guyau, â€Å"is a condensation of reality; it shows us the human machine under high pressure. It tries to show us more life phenomena than we actually experience.† Of course this life, concentrated in art, exerts an effect not only on our emotions but also on our will â€Å"because emotion contains the seed of will.† Guyau correctly attributes a tremendous importance to the role played by art in society. It in troduces the effects of passion, violates inner equilibrium, changes will in a new sense, and stirs feelings, emotions, passions, and vices without which society would remain in an inert and motionless state. It â€Å"pronounces the word we were seeking and vibrates the string which was strained but soundless. A work of art is the center of attraction, as is the active will of a genius: if Napoleon attracts will, Corneille and Victor Hugo do so too, but in a different way. †¦ Who knows the number of crimes instigated by novels describing murders? Who knows the number of divorces resulting from representations of debauchery?† â€Å"Guyau formulates the question in much too primitive a way, because he imagines that art directly causes this or the other emotion. Yet, this never happens. A representation of murder does not cause murder. A scene of debauchery does not inspire divorce; the  relationship between art and life is very complex, and in a very approximate way it can be described as will be shown. Hennequin sees the difference between aesthetic and real emotion in the fact that aesthetic emotion does not immediately express itself in action. He says, however, that if repeated over and over again, these emotions can become the basis for an individual’s behavior; thu s, an individual can be affected by the kind of literature he reads. â€Å"An emotion imparted by a work of art is not capable of expressing itself in immediate actions. In this respect aesthetic feelings differ sharply from actual feelings. But, since they serve an end in themselves, they justify themselves and need not be immediately expressed in any practical activity; aesthetic emotions can, by accumulation and repetition, lead to substantial practical results. These results depend upon the general properties of aesthetic emotion and the particular properties of each of these emotions. Repeated exercises of a specific group of feelings under the effect of invention, imagination, or unreal rnoods or causes that generally cannot result in action do not require active manifestations, and doubtless weaken the property common to all real emotions, that of expression in action. †¦Ã¢â‚¬  â€Å"I Hennequin introduces two very important corrections, but his solution of the problem remains quite primitive. He is correct in saying that aesthetic emotion does not immediately generate action, that it manifests itself in the change of purpose. He is als o correct when he states that aesthetic emotion not only does not generate the actions of which it speaks, but is completely alien to them. On the basis of Guyau’s example, we could say that the reading of novels about murder not only does not incite us to murder, but actually teaches us not to kill; but this point of view of Hennequin’s, although it is more applicable than the former, is quite simple compared with the subtle function assigned to art. As a matter of fact, art performs an extremely complex action with our passions and goes far beyond the limits of these two simplistic alternatives. Andrei Bely says that when we listen to music we feel what giants must have felt. Tostoy masterfully describes this high tension of art in his Kreutzer Sonata: † Do you know the first place? Do you really know it?† he explains. Oh! †¦ A sonata is a frightening thing. Yes, this part, precisely. Music, generally, is a frightening thing. What is it? I don’t understand. What is music? What does it do? And why does it do whatever it does? They say that music elevates our  soul. Rubbish, nonsen se! It does work, it has a terrible effect (I am talking for myself, but it certainly does not lift the soul. It does not lift the soul, nor does it debase it, but it irritates it. How can I put it? Music makes me oblivious of myself; it makes me forget my true position; it transfers me into another position, not mine, not my own: it seems to me, under the effect of music, that I feel what I don’t feel, that I understand what I actually don’t understand, can’t understand. †¦ â€Å"Music immediately, suddenly, transports me into the mood which must have been that of the man who wrote it. I become one with him, and together with him I swing from one mood into another, from one state into another, but why I am doing it, I don’t know. That fellow, for instance, who wrote the Kreutzer Sonata, Beethoven, he knew why he was in that state. That state led him to certain actions, and therefore, for him, that state was sensible. For me, it means nothing, it is completely senseless. And this is why music only irritates and achieves nothing. Well, if I play a military march, the soldiers will march in step, and the music has achieved its purpose; if dance music is played, I dance, and the music achieves its purpose. Or, if Mass is sung and I take communion, well, here too the music has achieved its purpose; otherwise, it is only irritation, and no one knows what to do with this irritation. This is why music occasionally has such a horrible,terrifying effect. In China music is an affair of state, and this is how it should be †¦ â€Å"Otherwise it could be a terrifying tool in the hands of anybody. Take for instance the Kreutzer Sonata. How can one play its presto in a drawing room, amidst ladies in decollete? Play it, and then busy oneself, then eat some ice cream and listen to the latest gossip? No, these things can b e played only in the face of significant, important circumstances, and then it will be necessary to perform certain appropriate acts that fit the music. If it must be played, we must act according to its setting of our mood. Otherwise the incongruity between the place, the time, the waste of energy, and the feelings which do not manifest themselves will have a disastrous effect.† This excerpt from The Kreutzer Sonata tells us quite convincingly of the incomprehensibly frightening effect of music for the average listener. It reveals a new aspect of the aesthetic response and shows that it is not a blank shot, but a response to a work of art, and a new and powerful stimulus for further action. Art requires a reply, it incites  certain actions, and Tolstoy quite correctly compares the effect of Beethoven’s music with that of a dance tune or a march. In the latter case, the excitement created by the music resolves itself in a response, and a feeling of satisfied repose sets in. In the case of Beethoven’s music we are thrown into a state of confusion and anxiety, because the music reveals those urges and desires that can find a resolution only in exceptionally important and heroic actions. When this music is followed by ice cream and gossip amidst ladies in d’collet, we are left in a state of exceptional anxiety, tension, and disarray. But T olstoy’s character makes a mistake when he compares the irritating and stimulating effect of this music to the effect produced by a military march. He does not realize that the effect of music reveals itself much more subtly, by means of hidden shocks, stresses, and deformations of our constitution. It may reveal itself unexpectedly, and in an extraordinary way. But in this description, two points are made with exceptional clarity: First, music incites, excites, and irritates in an indeterminate fashion not connected with any concrete reaction, motion, or action. This is proof that its effect is cathartic, that is, it clears our psyche, reveals and calls to life tremendous energies which were previously inhibited and restrained. This, however is a consequence of art, not its action. Secondly, music has coercive power. Tolstoy suggests that music should be an affair of state. He believes that music is a public affair. One critic pointed out that when we perceive a work a work of art we think that our reaction is strictly personal and associated only with ourselves. We believe that it has nothing to do social psychology. But this is as wrong as the opinion of a person pays taxes and considers this action only from his own viewpoint own, personal budget, without bearing in mind that he participate the huge and complex economy of the state. He does not reflect that by paying taxes he takes part in involved state operations whose existence he does not even suspect. This is why Freud is wrong when he says that man stands face to face with the reality of nature, and that art be derived from the purely biological difference between the principle of enjoyment toward which all our inclinations gravitate, and that of reality which forces us to renounce satisfaction and pleasure. Between man and the outside world there stands the social environment, which in its own way refracts and directs the stimuli acting upon the individual and guides all  the reactions that emanate from the individual. applied psychology it is therefore of immense significance to know I as Tolstoy puts it, music is something awesome and frightening to average listener. If a military march incites soldiers to march proudly in a parade, what exceptional deeds must Beethoven’s music inspire! Let me repeat: music by itself is isolated from our everyday behavior; it does not drive us to do anything, it only creates a vague and enormous desire for some deeds or actions; it op ens the way for the emergence of powerful, hidden forces within us; it acts like an earthquake as it throws open unknown and hidden strata. The view that art returns us to atavism rather than projecting us into the future, is erroneous. Although music does not generate any direct actions, its fundamental effect, the direction it imparts to psychic catharsis, is essential for the kind of forces it will release, what it will release, and what it will push into the background. Art is the organization of our future behavior. It is a requirement that may never be fulfilled but that forces us to strive beyond our life toward all that lies beyond it. We may therefore call art a delayed reaction, because there is always a fairly long period of time between its effect and its execution. This does not mean, however, that the effect of art is mysterious or mystical or that its explanation requires some new concepts different from those which the psychologist sets up when he analyzes common behavior. Art performs with our bodies and through our bodies. It is remarkable that scholars like Rutz and Sievers, who studied perceptual proc esses and not the effects of art, speak of the dependence of aesthetic perception on a specific muscular constitution of the body. Rutz was the first to suggest that any aesthetic effect must be associated with a definite type of muscular constitution. Sievers applied his idea to the contemplation of sculpture. Other scholars mention a connection between the basic organic constitution of the artist and the structure of his works. From the most ancient times, art has always been regarded as a means of education, that is, as a long-range program for changing our behavior and our organism. The subject of this chapter, the significance of applied arts, involves the educational effect of art. Those who see a relationship between pedagogy and art find their view unexpectedly supported by psychological analysis. We can now address ourselves to the last problems on our agenda, those of the practical effect of art on life  and of its educational significance. The educational significance of art and its practical aspects may be divided into two parts. We have first criticism as a fundamental social force, which opens th e way to art, evaluates it, and serves as a transitional mechanism between art and society. From a psychological point of view, the role of criticism is to organize the effects of art. It gives a certain educational direction to these effects, and since by itself it has no power to influence the basic effect of art per se it puts itself between this effect and the actions into which this effect must finally resolve itself. We feet therefore that the real purpose and task of art criticism is different from its conventional one. Its purpose is not to interpret or explain a work of art, nor is its purpose to prepare the spectator or reader for the perception of a work of art. Only half of the task of criticism is aesthetic; the other half is pedagogical and public. The critic approaches the average â€Å"consumer† of art, for instance, Tolstoy’s hero in The Kreutzer Sonata, at the troublesome point when he is under the incomprehensible and frightening spell of the music and does not know what it will release in him. The critic wishes to be the organizing force, but enters the action when art has already had its victory over the human psyche which now seeks impetus and direction for its action. The dualistic nature of criticism obviously entails a dualistic task. The criticism which consciously and intentionally puts art into prose establishes its social root, and determines the social connec tion that exists between art and the general aspects of life. It gathers our conscious forces counteract or, conversely, to cooperate with those impulses which have been generated by a work of art. This criticism leaves the domain of art and enters the sphere of social life, with the sole purpose of guiding the aesthetically aroused forces into socially useful channels. Everyone knows that a work of art affects different people in different ways. Like a knife, or any other tool, art by itself is neither good nor bad. More precisely, it has tremendous potential for either good or evil. It all depends on what use we make of, or what task m sign to, this tool. To repeat a trite example: a knife in the hands surgeon has a value completely different from that of the same knife the hands of a child. But the foregoing is only half the task of criticism. The other half consists in conserving the effect of art as art, and preventing the read spectator from wasting the forces aroused by art by  substituting for its powerful impulses dull, commonplace, rational-moral precepts. Few understand why it is imperative not only to have the effect of art shape and excite the reader or spectator but also to explain art, and to explain it in such a way that the explanation does not fill the emotion. We can readily show that such explanation is indispensable, our behavior is organized according to the principle of unity, which is accomplished mainly by means of our consciousness in which any emotion seeking an outlet must be represented. Otherwise we risk creating a conflict, and the work of art, instead of producing a catharsis, would inflict a wound, and the person experiences what Tolstoy when his heart is filled with a vague, incomprehensible emotion of depression, impotence, and confusion. However, this does not mean that the explanation of art kills the trepidation of poetry mentioned by Longinus, for there are two different levels involved. This second element, the element of conservation of an artistic impression, has always been regarded by theoreticians as decisively important for art criticism but, oddly enough, our critics have always ignored it. Criticism has always approached art as if it were a parliamentary speech or a non-aesthetic fact. It considered its task to be the destruction of the effect of art in order to discover the significance of art. Plekhanov was aware that the search for the sociological equivalent of a work of art is only the first half of the task of criticism. â€Å"This means,† he said when discussing Belinskii, â€Å"that evaluation of the idea of a work of art must be followed by an analysis of its artistic merits. Philosophy did not eliminate aesthetics. On the contrary, it paved the way for it and tried to find a solid basis for it. This must also be said about materialistic criticism. In searching for the social equivalent of a given literary phenomenon, this type of criticism betrays its own nature if it does not understand that we cannot confine ourselves to finding this equivalent, and that sociology must not shut the door to aesthetics but, on the contrary, open it wide. The second action of materialistic criticism must be, as was the case with many critic-idealists, the evaluation of the aesthetic merits of the work under investigation †¦ The determination of the sociological equivalent of a given work of literature would be incomplete and therefore imprecise if the critic failed to appraise its artistic merits. In other words, the first action of materialistic criticism not only does not eliminate the need for  the second action, but requires it as a necessary and indispensable complement.† A similar situation arises with the problem of art in education: the two parts or acts cannot exist independently. Until recently, the public approach to art prevailed in our schools as well as in our criticism. The students learned or memorized incorrect sociological formulas concerning many works of art. â€Å"At the present time,† says Gershenzon, â€Å"pupils are beaten with sticks to learn Pushkin, as if they were cattle herded to the w atering place, and given a chemical dissociation of H20 instead of drinking water.† It would be unfair to conclude with Gershenzon that the system of teaching art in the schools is wrong from beginning to end. In the guise of the history of social thought reflected in literature, our students learned false literature and false sociology. Does this mean that it is possible to teach art outside the sociological context and only on the basis of individual tastes, to jump from concept to concept, from the Iliad to Maiakovskii? Eichenwaid seems to believe this, for he claims that it is impossible as well as unnecessary to teach literature in the schools. â€Å"Should one teach literature?† he asks. â€Å"Literature, like the other arts, is optional. It represents an entertainment of the mind. †¦ Is it necessary that students be taught that Tatiana fell in love with Onegin, or that Lermontov was bored, sad, and unable to love forever?† Eichenwald is of the opinion that it is impossible to teach literature and that it should be taken out of the school curriculum because it requires an act of creativity different from all the other subjects taught at school. But he proceeds from a rather squalid aesthetic, and all his weak spots become obvious when we analyze his basic position, â€Å"Read, enjoy, but can we force people to enjoy?† Of course, if â€Å"to read† means â€Å"to enjoy,† then literature cannot be taught and has no place in the schools (although someone once said that the art of enjoyment could also he taught). A school that eliminates lessons in literature is bound to be a bad school. â€Å"At the present time, explanatory reading has as its main purpose the explanation of the content of what is being read. Under such a system, poetry as such is eliminated from the curriculum. For instance, the difference between a fable by Krylov and its rendition in prose is Completely lost.† From the repudiation of such a position, Gershenzon comes to the conclusion: â€Å"Poetry cannot and must not be a compulsory subject of education; it is time that it again become a guest  from paradise on earth, loved by everyone, as was the case in ancient times. Then it will once again become the true teacher of the masses.† The basic idea here is that poetry is a heavenly guest and it must be made to resume the role it played â€Å"in ancient times.† But Gershenzon does not concern himself with the fact that these ancient times are gone forever, and that nothing in our time plays the same role it played then. He ignores this fact because he believes that art is fundamentally different from all the other activities of man. For him, art is a kind of a mystical or spiritual act that cannot be recreated by studying the forces of the. According to him, poetry cannot be studied scientifically.† One of the greatest mistakes of contemporary culture,† he says, â€Å"application of a scientific or, more precisely, a naturalistic method to the study of poetry.† Thus, what contemporary scholars consider to be the only possible way of solving the riddle of art is for Gershenzon the supreme mistake of contemporary culture. Future studies and investigations are likely to show that the i creating a work of art is not a mystical or divine act of our soul, I real an act as all the other movements of our body, only much complex. We have discovered in the course of our study that a creative act that cannot be recreated by means of purely conscious operations. But, by establishing that the most important elements in art are subconscious or creative, do we automatically eliminate any and all conscious moments and forces? The act of artistic creation cannot be taught. This does not mean, however, that the educator cannot cooper ate in forming it or bringing it about. We penetrate the subconscious through the conscious. We can organize the conscious processes in such a way that they generate subconscious processes, and everyone knows that an act of art includes, as a necessary condition, all preceding acts of rational cognizance, understanding, recognition, association, and so forth. It is wrong to assume that the later subconscious processes do not depend on the direction imparted by us to the conscious processes. By organizing our conscious, which leads us toward art, we insure a priori the success or failure of the work of art. Hence Molozhavy correctly states that the act of art is â€Å"the process of our response to the phenomenon, although it may never have reached the stage of action. This process †¦ widens the scope of our personality, endows it with new possibilities, prepares for the completed response to the phenomenon, that is, behavior, and also has educational  value †¦ Potebnia is wrong to treat the artistic image as a condensation of thought. Both thought and image are a condensation either of the conscious with respect to the phenomenon involved or of the psyche, which issued from a series of positions preparatory to the present position. But this gives us no right to confuse these biological elements, these psychological processes, on the basis of the vague argument that both thought and artistic image are creative acts. On the contrary, we must emphasize all the ir individual peculiarities in order to understand each as a part of the whole. The tremendous strength that arouses emotions, inspires the will, fortifies energy, and pushes us to action lies in the concreteness of the artistic image which is in turn based upon the originality of the psychological path leading to it.† These considerations need one substantial correction if we move from the field of general psychology into child psychology. When we determine the influence exerted by art, we must take into account the specific peculiarities facing one who deals with children. Of course this is a separate field, a separate and independent study, because the domain of child art and the response of children to art is completely different from that of adults. However, we shall say a few brief words on the subject and trace a basic line along which child psychology intersects this field. There are remarkable phenomena in the art of children. First, there is the early presence of a special structure required by art, which points to the fact that for the child there exists a psychological kinship between art and play. â€Å"First of all,† says Biihler, â€Å"is the fact that the child very early adopts the correct structure, which is alien to reality but required by the fairy tale, so that he can concentrate on the exploits of the heroes and follow the changing images. It seems to me that he loses this ability during so me period of his development, but it returns to him in later years. †¦Ã¢â‚¬  Apparently art does not perform the same function in a child as it does in an adult. The best example of this is a child’s drawing which in many cases is on the borderline of artistic creativity. The child does not understand that the structure of a line can directly express the moods and trepidations of the heart and soul. The ability to render the expressions of people and animals in different positions and gestures develops very slowly in a child, for various reasons. The principal one is the fundamental fact that a child draws patterns, not events or phenomena. Some claim the opposite, but they  seem to ignore the simple fact that a child’s drawing is not yet art for the child. His art is unique and different from the art of adults, although the two have one very interesting characteristic in common. It is the most important trait in art and we shall mention it in conclusion. Only recently was it noticed that certain absurdities or amusing nonsense which can be found in nursery rhymes by inverting the most commonplace events play a tremendously important role in child art. Most frequently the required or desired absurdity is achieved in a nursery rhyme by assigni ng certain functions of object A to object B, and vice versa. †¦ â€Å"The hermit asked me how many strawberries grow at the bottom of the ocean. I answered him: ‘As many as there are red herrings in the forest.’ To understand this nursery jingle the child must know the truth about life: herrings exist only in the ocean, and strawberries only in the forest. He begins to look for the absurd only when he is absolutely sure of the facts.† We, too, feel that the statement, that this aspect of child art comes very close to play, is true; as a matter of fact, it gives us a good explanation of the role and the significance of art in a child’s life. â€Å"We still do not quite understand the connection which exists between nursery rhymes and child’s play. †¦ When evaluating books for small children, critics frequently forget to apply the criterion of play. Most folk nursery rhymes do not issue from games but are play, a game in themselves: a play of words, a play of rhythms, sounds; †¦ these muddles always maintain some sort of ideal order. There is system in this folly. By dragging a child into a topsy-turvy world, we help his intellect work, because the child becomes interested in creating such a topsy-turvy world for himself in order to become more effectively the master of the laws governing the real world. These absurdities could be dangerous for a child if they screened out the real interrela tionships between ideas and objects. Instead, they push them to the fore, and emphasize them. They enhance (rather than weaken) the child’s perception of reality.† Here, too, we observe the same phenomenon of the dualism of art. In order to perceive art, we must contemplate simultaneously the true situation of things and their deviation from this situation. We can also observe how an effect of art arises from such a contradictory perception. Since absurdities are tools for the child to use in understanding reality, it becomes suddenly clear why the extreme leftists in art criticism come up with a slogan: art as a method  for building life. They say that art is building life because â€Å"reality is forged from the establishment and destruction of contradictions. When they criticize the idea of art as the cognition of life and advance the idea of a dialectic perception of the world through matter, they reach agreement with the psychological laws of art. â€Å"Art is an original, chiefly emotional †¦ dialectic approach to building life.† Now we can envision the role of art in the future. It is hard to guess what forms this unknown life of the future will take, and it is even harder to guess what place art will take in that future life. One thing is clear, however: arising from reality and reaching toward it, art will be determined by the basic order of the future flow of life. â€Å"In the future,† sa ys Friche, â€Å"the role of art is not likely to change substantially from its present role. Socialist society will not be the antithesis of capitalist society, but its organic continuation.† If we regard art as an embellishment or ornament of life, such a viewpoint is admissible. However, it basically contradicts the psychological laws of art. Psychological investigation reveals that art is the supreme center of biological and social individual processes in society, that it is a method for finding an equilibrium between man and his world, in the most critical and important stages of his life. This view of course completely refutes the approach according to which art is an ornament, and thereby leads us to doubt the correctness of the above statement. Since the future has in store not only a rearrangement of mankind according to new principles, not only the organization of new social and economic processes, but also the â€Å"remolding of man,† there seems hardly any doubt that the role of art will also change. It is hard to imagine the role that art will play in this remolding of man. We do not know which existing but dormant forces in our organisms it will draw upon to form the new man. There is no question, however, that art will have a decisive voice in this process. Without new art there can be no new man. The p ossibilities of the future, for art as well as for life, are inscrutable and unpredictable. As Spinoza said, â€Å"That of which the body is capable has not yet been determined.†

Opinion Paper: Gender Reassignment

Human Sexuality/Gender Re-Assignment This is an Opinion Paper Transgender is an umbrella term for persons whose gender identity, gender expression, or behavior does not conform to that typically associated with the sex to which they were assigned at birth. Gender identity refers to a person’s internal sense of being male, female, or something else; gender expression refers to the way a person communicates gender identity to others through behavior, clothing, hairstyles, voice, or body characteristics. â€Å"Trans† is sometimes used as shorthand for â€Å"transgender. While transgender is generally a good term to use, not everyone whose appearance or behavior is gender-nonconforming will identify as a transgender person. The ways that transgender people are talked about in popular culture, academia, and science are constantly changing, particularly as individuals’ awareness, knowledge, and openness about transgender people and their experiences grow. After you do your research and readings, in a one page opinion paper, state your position on Gender Re-Assignment. Chaz Bono brought this important and once hidden topic to the forefront. Write about your position.Be sure you add a reference page in APA format and use in-text citations when using the authors words. Writing an opinion paper for college can be a daunting task for college students. Opinion papers by nature require you to state an opinion or take a position on a specific issue and defend that position. An opinion paper is not, however, license to rant and rave about an issue without providing any evidence. This paper will involve research, organization, and planning to be effective. ? 1. Research your topic. Stating an opinion in a paper involves more than reporting what you think.You'll often hear these assignments referred to as position papers, as you must take a reasonable position based on evidence that is grounded in fact. Determine your opinion based on your research, and kn ow your topic thoroughly on both sides of the argument before you state it and attempt to provide any type of reasoned defense. ? 2. ?Create an outline for your paper consisting of the three main parts that you'll follow when crafting your document: an introduction, body, and conclusion. In your introduction, state your opinion on the topic at hand. This will set the stage for the rest of the paper.You can even hint at the reasons for your opinion, but don't give them away entirely. You'll want the reader to glean that information from the rest of your paper. The body of the outline should list the reasons for your position. The conclusion should clearly and concisely sum up your argument. ? 3. ?Construct your essay using your outline. State your opinion in your introductory paragraph and then use your list of reasons for stating your opinion in the body of your essay. The body should include three to five substantive reasons why you have taken your position.Provide the most compell ing reasons last and the least compelling reasons first. This will give your paper a crescendo effect and drive home the point of your essay. ? 4. ?Write a definitive conclusion. Your conclusion is your opportunity to restate what you've already state in your introduction and in the body of the paper. Your conclusion should reiterate the main conclusion of your essay based on the facts that you've provided. Go over each point briefly, but be careful not to simply chronicle them without tying them together. The grading criteria will be the same as in other modules.

Assignment built around the outputs of the 16PF5 questionnaire and Essay

Assignment built around the outputs of the 16PF5 questionnaire and Belbin Self Perception Inventory - Essay Example I opted for the latter as it suited my requirements. Along with my studies, I gained experience related to the course. The most valuable experience was my 3-month stint with a US hospital in the operations and maintenance of their essential building systems. I also received an exposure to diverse backgrounds and culture, thereby enriching my experience. My greatest challenge was to obtain a job that would help me work on environmental protection. I did find one as a design engineer after the completion of the diploma. My role was to improve the way the buildings operate and I derived immense satisfaction in this role. Then came another turning point when, along with the engineering background, I wanted to equip myself with managerial abilities and hence decided to pursue a Masters course in building services engineering management. However, due to financial constraints, I have not been able to complete this course yet. Challenges provide us strength and hence, when my job was termina ted in 2009 at a contracting firm, I seized the opportunity in a government initiative and enrolled myself at the Project Management Programme. This was precisely what I was keen to pursue – learn the techniques in the management of projects. Buildings are essentially projects and this complimented my background in engineering. At each stage – when I was learning and when I had to take vital decisions – I gained immensely. While the formal learning was in the technology, I also acquired the ability to effectively communicate and negotiate. I acquired time management skills, team dynamics and I also learned to work with minimum supervision. At each stage of transition, I gained more confidence not just in my abilities in the job, but also to make the right decisions for my career. I did not have any major transitions in job as all the jobs were related. This made adaptation to the next job easier as in each job I worked in planning, designing

Business BA top up in the UK Personal Statement Example | Topics and Well Written Essays - 500 words

Business BA top up in the UK - Personal Statement Example I have some business background, in both education and practice, that I feel is pertinent in reinforcing my reason for joining your institution. I graduated with a higher national diploma in business management, with a human resource option from the North Atlantic College in Qatar, in 2007. From college, I immediately ventured into business practice in various capacities as will be outlined. I first worked as a marketing officer in a local bank before joining Sidra Medical and Research Center, in the human resources department. In this institution, I worked in the capacity of relations administrator in the foresaid department. Currently, I work as a staff relations officer in the same department. In this capacity, I ensure that all the staffs are supported with the right chances of having a development plan. I also assist the staff in choosing the right courses to take and ensure that they get the recommended in-house training. I have played a crucial art in developing the human reso urces department in Sidra as the company improved from a projects’ base to an operations base. In the organization, I also facilitated the employment of the first person with special needs. I play other minor roles as well. In order to excel more in my career, I believe that the education knowledge I currently possess is not enough. I therefore believe that getting a bachelor’s degree in the same field will give me better chances. As I yearn to do even better that I have done, I will ensure that I maximize from my student relationship with your institution. An institution of the caliber that your university boasts of will act as a stepping stone to a brighter future for me. Acceptance into your institution will open a new chapter in my career life, as I seek to excel in business, not just in my country, but all over the world. I look forward to a time when I will make a resounding impact in the business world. On my side, I promise to uphold the utmost moral

A business plan Essay Example | Topics and Well Written Essays - 500 words

A business plan - Essay Example The Banking industry faces challenges concerning the financial systems in place. This is because the systems do not favor the small-scale entrepreneurs’ needs. This is manifest in the hard conditions set for the small-scale loan seekers. Finansol requires capital of US$25M to start operations (Austin, 2008, 34). The changes of regulations that govern the financial institutions will also enable the bank to obtain these funds through lease financing. The company has also access to funds through certificate of deposits and the issuing of bonds. Additionally, Finansol can seek funding through the exchange of loan portfolios for favourable percentage of stock. The start of the banking business will proof realistic because of the favorable business environment in the banking industry. The banks will offer favorable sources of lending facilities to the clients in a bid to boost business activities. The financial forecast of Finansol is realistic because the figure provided indicates the true position of the organization in the next five

Critical View of On the Equality of the Sexes by Judith Sargent Murray Essay

Critical View of On the Equality of the Sexes by Judith Sargent Murray - Essay Example Critical View of â€Å"On the Equality of the Sexes† by Judith Sargent Murray This essay opens with a poem which expresses Judith feelings towards oppression and education for women. It further stresses how the society silences women and how the male chauvinists disregard women. She expresses her frustrations when she say men thinks that women appreciate and love little thighs that do not matter when in real sense they appreciate and love similar things that men do. Judith exhibited high degree of intelligence which her parents noticed during her younger age and encouraged her to study with her brother. According to Smith, gender bias was creation of our founding fathers and mothers. Notably, the Declaration of Independence in the America gave an impression that men were born equal and free and could only be governed at their own will. In the nineteenth century, women increasingly participated in various efforts to improve their social status, rights and defend their place in the society. The very first women rights movement emerged from shared sense of discontents facing many women. They capitalized on women antislavery experience and in 1850’s they joined hands in promoting broad agenda for married women to acquire property rights. Judith Sargent Murray was born in Massachusetts, Gloucester in May 1751from a wealthy family that engaged in trade in both West Indies and England. Judith grew up with her brother, Winthrop who was educated b y her parents in order to go to Harvard. However, Judith only received rudimentary education and basic needlework in preparation for marriage. This discriminatory treatment irritated her and eventually she chose to dedicate herself to advocacy for women education and equal rights in male chauvinist society (Murray 134). Judith was married to John Stevens in 1769. She made proper use of her family extensive resources which enable her turn her quest of knowledge and love of reading into a prolific writing career. When Stevens was away, Judith published her first essay titled â€Å"Desultory Thoughts upon the Utility of Encouraging a Degree of Self-Complacency, especially in Female Bosoms†Ã‚  in 1784. Stevens died in 1786 and she was married by John Murray in 1988 with whom she had two children. In 1790’s she wrote for Massachusetts Magazine an essay titled, â€Å"On the Equality of the Sexes†. Others include â€Å"The Gleaner,† that focused on citizenship, federalism, abilities, virtue and female education, â€Å"The Repository,† that emphasized on reflection, philosophy and Universalists subjects. When Judith and her husband moved to Boston, she was offered a column in a biweekly newspaper called Federal Orrery. However, she only submitted five essays and eventually had to cut ties with the newspaper when she received a backlash after allegations that her husband John did most of the writing. This essay compares and contrasts the various critical views of, â€Å"On the Equality of the Sexes† essay. This essay opens with a poem which expresses Judith feelings towards oppression and education for women. It further stresses how the society silences women and how the male chauvinists disregard women. She expresses her frustrations when she say men thinks that women appreciate and love little thighs that do not matter when in real sense they appreciate and love similar things that men do. This is one of the bases of â€Å"O n the Equality of the Sexes†Ã‚  in which she tries to depict how men and women are equal both rationally and intellectually hence the need to be taught the same way as they grow up (Mays 78). The essay also challenges the notion that men possess greater intellect than women. In this respect, Judith argues that