Analysis Of The Movie Iceman - 1198 Words

There was a question leaved me confused at times. Where did I come from? Where did human come from? I heard many religious stories about the origin of human. However, those legends cannot solve my doubts. After I took this anthropology class, I got my answer. Modern humans evolved in Africa. Moreover, I learned that our bodies also contain small percent Neandertal DNA. What was the Neandertal? Neandertal, the scientific name of which is Homo Neandertalensis, existed roughly between 200,000 and 30,000 years ago. They lived in Europe eastward to Central Asia. In fact, in the past, scientists always thought that Neandertals were more likely brutal and stupid apes. However, Neandertals were smart like modern humans and owned their special†¦show more content†¦He also knows that the Neandertal’s name is Charlie. Gradually, Shepherd finds that Charlie wants to call back his family and tribe through the Beedha: a mythical bird. Shephard decides to help Charlie to escape beca use other group members want to re-freeze Charlie to do more research. In an ice-shelf, Charlie grabs one land ski of an aircraft because he thinks that the aircraft is Beedha. Eventually, he loosens his hand and falls from the sky to seek the redemption. First, in this movie, the Neandertal dresses in animal skins, has a stone necklace and carries a little bag with bones and a charm that is made by flax and rock. Also, Charlie makes a new charm and some wood spears by using obsidian knife when he sits beside the bonfire. All those information means that the Neandertal could make stone tools and use it to hunt or make other different material tools. In Clark Spencer Larsen’s book Our Origins: Discovering Physical Anthropology, he states, â€Å"Late Neandertals†¦produce stone tools that were modern in many respects and certainly as complex as those produced by early modern humans.† (Larsen 381). Expect the stone tools, Neandertals also create various tools. Joe Alper claims in his article â€Å"Rethinking Neandertals† that, â€Å"The typical Neandertal tool kit contained a variety of implements, including large spear points and knives that would have been hafted, or set in wooden handles. Other tools were sui table

Commercialization of the Navajo Sand Painting Practice Free Essays

For the West, art has traditionally been considered as the mark of civilization, in so far as humanity is able to capture and render the essence of beauty and preserve this through their â€Å"artwork.† ( Gilbert, 1982; Errington, 1994; Witherspoon, 1977)   Indeed, art may even be a purely Western construct â€Å"since textiles and jewellery, clothing and cosmetics (to mention only a few of the contexts where aesthetic choices operate) are not usually considered by us to be Art with a capital ‘A’.† (Gilbert, 1982: 168) The understanding and appreciation of non-Western â€Å"art† has therefore been problematic for many scholars, given that branding such cultural products and practices as such carries with it the enthnocentric connotations of the Western definition which usually defines â€Å"art† based on the value system of Western culture (Gilbert, 1982: 167-168; Errington, 1994: 203; Clifford, 1988:221) that, as Robbins (2005) points out, has become more and more concerned with the accumulation of material wealth and the derivation of fulfillment from the consumption of products (Robbins 2005:20) and where the perception of beauty is lamentably static. We will write a custom essay sample on Commercialization of the Navajo Sand Painting Practice or any similar topic only for you Order Now (Witherspoon, 1977:152) Critics have likewise noted that â€Å"art† in the West has often connoted being â€Å"art by intention,† which are produced and valued to be perceived for their beauty and for the monetary value that they carried.(Errington, 1994: 201) This is distinguished from what is considered as â€Å"art by appropriation† or the things that were produced for purposes other than art but are appraised to be of high value with antiquity or the possession of an indigenous or unique identity, thereby alienating them from the culture that produced them. Witherspoon (1977), for instance, emphasizes the importance of defining indigenous behavior, institutions, and practices within the context of their culture or at the very least, â€Å"against the backdrop of their view of the world or their ideological frame of reference.† (Witherspoon 1977:4) This includes confronting the fact that these cultures often evolve or even change with their exposure to other cultures and vice versa. The dilemma over the treatment and definition of non-Western art is illustrated, for instance, in efforts to preserve Navajo sand paintings so they could be sold and collected (Errington, 1994: 203). The sand paintings which were originally used in Navajo religious rites and healing ceremonies have been described as â€Å"true masterpieces of art† for their â€Å"instinctive awareness of the basic principles of design, colour harmonies, and contrasts.† (Foster, 1963:43) Ironically, the sand paintings were created by the Navajo not for art’s sake but as an integral part of religious healing ceremonies to locate and reestablish of an individual in his or her right place in the the universe and thus cure his or her illness. These paintings often utilized colored sand, cornmeal, and other bits of material to depict the Navajo’s vision of the cosmos and to symbolize their socio-economic life and other cultural elements.(Robbins, 2005: 14; Foster, 1963: 43) Foster (1963) notes that the Navajo was able to make over a thousand designs from symbols and patterns that were unique to them, and how, after the sand painting had been painstakingly drawn, the shamans would proceed to rub parts of the design on the individual who was to be cured while praying through chants. For the Navajo people, the sand paintings were indeed relevant not only as a religious tool but also as a source of magic. Horrified by the fact that these intricate sand paintings were often destroyed by being sat on or rubbed off during the healing process and thrown out afterwards, â€Å"concerned† individuals found ways to keep these intact using glue and other materials. (Errington, 1994: 203) This concern to preserve the end product of a cultural practice for its artistic or aesthetic value, however, contrasts sharply with the Navajo’s concept of beauty that lies more in the creative process that is inextricably linked with their way of life itself. Thus, beauty for the Navajo lies not in the sand painting that has served its purpose in curing a community member’s illness but in the entire religious ceremony where the sand painting is but a small component. The careless tendency to preserve or collect â€Å"art† from other cultures therefore engenders the superimposition of   another culture’s value systems and assumptions of meaning on the cultural practices or even the products of cultural practices (Errington, 1994: 205). This is especially true in the case of the sand paintings, where the preservation enabled them to become â€Å" durable and portable, able to be moved to new locations, and hung on the walls as â€Å"art†Ã¢â‚¬  (Errington, 1994:205). With this transformation from a religious and highly significant part of Navajo tradition to a home or museum artifact, the Navajo sand painting tend to lose its significance as it became divorced from the culture that produced it. Thus, the Navajo sand painting seem to have lost its meaning as it became more and more commercialized. Approriated as art, the practice became insignificant insofar as the culture and the community that practiced it disintegrated, devoiding sand painting of its ritual meaning and significance. Works Cited: Clifford, J. (1988). The Predicament of Culture. Cambridge: Harvard University Press. Errington, S. (1994). What became authentic primitive art? Cultural Anthropology, 9(2). Foster, K. (1963). Navajo sand paintings. Man, 63. Gilbert, M. (1982). Art: the primitive view. The British Journal of Aesthetics, 22(2). Robbins, R. H. (2005). Global Problems and the Culture of Capitalism. Boston, MA: Allyn Bacon. Witherspoon, G. (1977). Language and Art in the Navajo Universe. Michigan: University of Michigan Press.                                        How to cite Commercialization of the Navajo Sand Painting Practice, Essay examples

Martha McCaskey free essay sample

Her jobs were to analyst and report the competitive advantages of competitor companies to her clients. The employees of this company were separated into two groups, old and new guard. The members in old guard such as Rendall and Kaufmann often paid ex-employees of target companies to obtain highly sensitive information. IAD’s top manager, Tom Malone, knew the company situation and knew how to play the game. Issue In Silicon 6 project, she had to get the secret information about the new chip manufacturing process and the cost structure for her biggest and oldest client. The only way to get this information was to pay off Devon, an ex-employee of the competitor company who perceived McCaskey as a representative from an environmental concerning company. Moreover, Malone offered her the promotion to be a group manager after finishing this project. However, she felt that getting information by telling a lie was unethical and compromised her integrity. We will write a custom essay sample on Martha McCaskey or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Because the project was so important and the client really need these information, Malone increased the money offered for Devon and allowed McCaskey, if she need, to bring Kaufmann into the team. Recommendations I recommend that McCaskey should step down from the project and start looking for a new job. My recommendation bases on the value judgment. To lie individual is morally guilty. At this time, she should realize that the core business of this company is to spy the propriety information from the target company. To work and be successful in this company, she must be familiar with these sleazy ways. If she feels uncomfortable with the ways the company do the business, it is no benefit staying in the company. In addition, after promoting to be group manager, it is obvious that she has to do the dirty work again and again. This might hurt her reputation in long term. Even worst, she might get law suited from the target company because some consider getting propriety information breaking the law. In my opinion, this company is not good enough to work with for several reasons. First, top managers had no ethics. For example, they took company’s bonus for themselves. Second, there are many illegal actions that might lead to lawsuit. And finally, if top manager from head quarter in Chicago know about these illegal actions, they cannot let this situation continue and she, as a member of the conspiracy action, might be get fired. However, I recommend that she must finish this project. To get the new jobs, she needs excellent working experience and a good reference letter from Malone. So, she has to show responsibility as a project leader. She can talk to Malone that she has no experience on this situation and ask for help from her colleague, Kaufmann. She doesn’t have to blame herself at all on doing this because this action can be considered as a manager’s decision. With this way, she can finish the project and get promoted to be a group manager. And this promotion will show the progress in her career path which is very important for her new job application. On the other hand, I do not recommend her to voice her concern on the any upper level. Apparently, Richard and Malone are in the same boat. They do not consider getting information this way to be illegal or to be unethical. By doing so, she cannot stop the current behavior of Industry Analysis Division. If she asks for help from the people in head quarter, they might do something such as firing some people. She does not get any benefits but might hurt many people and put her at risk as a whistle blower. In conclusion, I recommend McCaskey finish the project by asking help from Kaufmann. After project finish, she should give two week notice and seek for a new company that suit to her.

Ayuda para inmigrantes vctimas de abuso laboral

Ayuda para inmigrantes vctimas de abuso laboral El Departamento de Justicia brinda ayuda a los inmigrantes que vienen a Estados Unidos con una visa no inmigrante de trabajo y son và ­ctimas de explotacià ³n laboral. Porque deben saber que la ley los protege. Lamentablemente son relativamente comunes los casos de todo tipo de abusos, que van desde no pagar el salario acordado a retener pasaportes pasando por instancias muy desagradables de asalto sexual. Si se producen alguna de esas conductas, se puede solicitar ayuda. Y a continuacià ³n se informa sobre quà © debe saberse. Ejemplos de trabajadores protegidos en sus derechos Los extranjeros que vienen temporalmente a trabajar en la agricultura con H-2A o en trabajos que no requieren titulacià ³n pero no son agrà ­colas como la H-2B. E incluso los que vienen por intercambio con una visa J, como la de maestros u au-pair, o profesionales con otro tipo de visas laborales como la TN para mexicanos o la H-1B. Porque desgraciadamente todos los trabajadores pueden ser và ­ctimas de abuso. A quà © tiene derecho los extranjeros con una visa de trabajo Entre los derechos de los que gozan se encuentran los siguientes: Conservar en todo momento consigo su pasaporte y otros documentos de identificacià ³n.A ser pagados de acuerdo a la ley. No pueden ser pagados menos que un estadounidense por el mismo tipo de trabajo. En este punto, consultar siempre cul es el salario mà ­nimo establecido por el gobierno federal y tambià ©n el que fija el estado en el que se desempeà ±a el trabajo, ya que puede ser superior y entonces habrà ­a que respetarlo.A no ser obligados a continuar trabajando, si uno no lo desea. Pero ojo con abandonar el trabajo sin consejo de un abogado, ya que podrà ­a dar lugar a que la visa se diese por terminada y a que no se pueda tener presencia legal en Estados Unidos.A reportar abuso laboral sin sufrir ningà ºn tipo de represalias.A pedir ayuda a sindicatos (unions) y a grupos relacionados con la defensa de los derechos e intereses de los trabajadores.A no ser và ­ctima de promesas falsas por parte del empleador relativas a la paga, nà ºmero de horas trabajadas, tipo de trab ajo, lugar a desempeà ±arlo o incluso sobre las caracterà ­sticas del alojamiento. Quà © hacer en los casos de explotacià ³n laboral Se recomienda llevar un diario en el que se anotan los problemas que surgen cada dà ­a asà ­ como las horas que se trabajan y la retribucià ³n de las mismas. Asimismo, debe mantenerse el trabajo salvo casos extremos. Ayuda a inmigrantes và ­ctimas de explotacià ³n laboral Llamar para reportar abuso a la Là ­nea para reportar explotacià ³n laboral en el nà ºmero 1-888-428-7581. Este nà ºmero de telà ©fono depende del Departamento de Justicia de Estados Unidos y es atendido de lunes a viernes en de 9 de la maà ±ana a 5 de la tarde, en horario de la costa Este.   En casos graves y urgentes siempre se puede llamar a la Policà ­a marcando al 911.  Los mexicanos pueden contactar con el Centro de Informacià ³n y Ayuda conocido como CIAM. Es un telà ©fono gratuito que brinda excelente informacià ³n sobre quà © hacer o refieren a abogados u organizaciones sin fin de lucro con buena reputacià ³n. Adems, si cree que usted es và ­ctima de explotacià ³n laboral no acepte el consejo del abogado que le provea su empleador, ya que sus intereses y los de à ©ste no coinciden y el consejo recibido puede que no sirva a sus intereses. A tener en cuenta con visas H-2A y H-2B Lamentablemente, los abusos son especialmente frecuentes  en casos de inmigrantes temporales legales que tienen visas H-2A (agricultura) y H-2B (no agricultura).   Incluso a veces el abuso comienza antes de viajar a Estados Unidos cuando los reclutadores exigen condiciones muy gravosas para dar el trabajo, por ejemplo, que se deje en fianza las propiedades de fincas. Es muy importante evitar esos abusos. Esta es una lista de reclutadores en Mà ©xico para esas visas incluyendo un listado de aquellos que causado en el pasado este tipo de problemas. A esos los hay que evitar. Especial para indocumentados Si se est en los Estados Unidos en una situacià ³n migratoria de indocumentado verificar cules son las reglas del estado en las que se vive en relacià ³n a los derechos para recibir salarios y sobre condiciones laborales. Algunos  estados protegen a los trabajadores en esos dos aspectos sin preguntar cul es el estatus migratorio. En todo caso tener presente las leyes migratorias de Estados Unidos y la nueva polà ­tica de deportaciones establecida por orden ejecutiva del presidente Donald Trump. Este artà ­culo no es asesorà ­a legal para ningà ºn caso concreto. Su funcià ³n es meramente informativa.

Introduce Kids to Weather with These Coloring Pages

Introduce Kids to Weather with These Coloring Pages One of the earliest ways kids begin learning about the weather is by drawing and coloring weather symbols like suns, clouds, snowflakes, and the seasons. Teaching children about the weather with art and pictures not only makes it easier for them to understand, it also makes learning about severe and more serious kinds of weather less scary. Weve rounded up a collection of  family-friendly  weather coloring books offered by  the National Weather Service that help keep families informed and safe during severe weather events. Kids are encouraged to read about each severe storm type and then color in the pictures.   Meet Billy Maria Created by NOAAs National Severe Storms Laboratory,  Billy and Maria are two young friends who learn about severe weather through their adventures in  thunderstorms, tornadoes, and winter storms. Young students can accompany them by reading each story page and then coloring in the pictures.   Best for ages: 3 to 5 years The smaller coloring spaces, large text, and  simple sentences make these books appropriate for younger children.  Ã‚   Severe Weather with Owlie Skywarn NOAA also aims to capture the attention of kids with Owlie Skywarn, their official weather mascot.  Owlie is known for being wise about the weather and can help your children and students to do the same.  Booklets are 5-10 pages long and include fact boxes with illustrations that can be colored in. A  quiz (true/false, fill in the blank) is included at the end of every book to test what kids have learned.  Ã‚   In addition to the Owlie Skywarn coloring books, kids can also follow Owlies weather adventures  on Twitter (NWSOwlieSkywarn) and Facebook (nwsowlie). Some of Owlies Activity books  talk about: TornadoesHurricanesFloodsLightningWinter Storms Best for ages:  8 and up The coloring books are expertly designed and very informative, but almost too informative. The font type is quite  small and the information is a little above the coloring book stage of student interest.   Teachers: Weave Coloring Into Your Weather Science Lesson Plans Teachers can  implement these weather coloring books into the classroom as part of a daily plan over the course of five days. Using a severe storms theme, we suggest teachers present all of the materials one day at a time. Print out all of the booklets in the list, but don’t pass out the quiz. Present the material to students and then give them the quiz to take home and complete with their families. Tell students their assignment is to â€Å"teach† their families about severe storm preparation. Parents: Make Weather Coloring An Anytime Activity Just because these coloring books are educational, doesnt mean they dont make a good anytime coloring activity! Parents and guardians should use them at home, too, to begin to teach kids about weather safety from  a very young age.  Each of the coloring books actually shows kids how to react in the event of severe weather so that whenever storms do hit home, your kids will feel more  relaxed and ready for them.   Follow this family plan to implement these booklets in your family nights. We suggest parents plan one night per week to review the written information in the booklets. Since there are five booklets, you can complete this small course of study in just five weeks. Since storm preparation is so vital, you have to remember to practice the safety information over and over. Here are the steps: Assign one night for reading and reviewing the information together.Give your kids supplies to color the pages. Make sure you tell your kids to think about the safety information as they color.Check with your kids periodically to see what they remember. Put the details into practice at  home with random questions about the material. Since storms can happen suddenly, knowing what to do quickly and â€Å"on the spot† is vital to learning and preparation.At the end of the week, go over the information together again. Present the Owlie Skywarn quiz and see how many of the answers your kids can guess.Design a weather drill poster or paper so that you and the rest of your family will know what to do during a storm. Post it to a central spot, like the refrigerator.  Periodically, practice the weather drills so that your family stays refreshed.

Thinking design from the outside in Essay Example | Topics and Well Written Essays - 4000 words

Thinking design from the outside in - Essay Example al attention or techniques that might have added value to the finished result; or perhaps points to the value in terms of discovering or inventing new techniques for further study. Knowledge of the degree of expertise involved in the making of the object also lends a degree of value to the finished product. However, the design must also be understood from within its museum context. This includes consideration of whether the museum is working to highlight a particular characteristic or illustrate a noteworthy period in history or design. To more fully understand what is meant by socio-cultural, economic, technological and museum contexts, this paper will closely examine a decanter created by William Burges in 1865-66 that is currently on display at the Victoria and Albert Museum. In terms of its socio-cultural context, this decanter captures the opulence and elaborate detail of the later Victorian period in which a great deal of the artwork designed represented a return to some of the more ornate Gothic styles of the past. Although speaking of architectural elements, Brett Ketter’s definition of the Victorian Gothic is equally applicable to this piece: â€Å"The characteristic feature of Victorian Gothic is its polychromy, in which materials of different colors and textures are used to create decorative bands †¦ different materials are used as well† (2001). In its use of several varieties of metals and glassware to present differing colors and textures as well as the use of gemstones and other materials to provide decorative elements, this decanter certainly typifies this definition sufficiently to reflect this culture. Further, the illustrative details of the piece, including the Greek and Roman coins and Roman font-style used in the engr aving throughout the piece denote the deep connection to England’s past. â€Å"Burges looked to the arts of China, Assyria, ancient Greece and Rome, and medieval Europe as inspiration for the design† (Eatwell, 1997, p.

Write a letter to a friend what it was like being a 19th century Essay

Write a letter to a friend what it was like being a 19th century worker. involving karl max and Robert Owen odeas - Essay Example As many factories began to emerge, people started to work at factories instead of at farms as it was before industrialization. Children started working for many of factories, Mines, and shops that needed help, and there were not enough men or women to meet the increasing labor demands. Children were seen as cheap, plentiful, and easy to control labor. Orphanages and even parents would give up their children to the cotton mills owners and other operators in exchange for sustenance. As young Children, we had to do the most dangerous and difficult jobs like coal mining, and fixing broken machinery. The coal mines were the worst because young children had to travel through the mines with poor lighting, and often carrying loads. Working from six in the morning to nine at night with no meals and a long distance from home the children suffered. If late for work, the children were often beaten, and if we worked slowly, or fell asleep at the machines, the supervisors could hit us using a strap. Women and children offered cheap labor and could work for less than a man would accept. Spending so many hours a day over factory machines often left us with bowed legs and poorly developed limbs and muscles. If one of us not "lucky" enough to be employed in these mines, he had the unpleasant option of living on the streets, which was accompanied with raw sewage, rotting animals, vegetable wastes, rats, disease, and putrid water. They also had to find food and a place to stay in when it is rainy and cold. Karl Marx was an idealist. He envisaged the cruelties and injustices that children, endured during the period of the industrial revolution. It was from the events that Marx developed the communist idea. Karl Marx was one of those reformers proposing and arguing for the reforms through the Communist Manifesto. His goals of the communist party were to end the exploitation of the working class and create a society with equality and no social classes. Marx has helped