Spray Paint Art: History and Origins

Spray Paint Art: History and Origins Would you consider yourself artistic? You may think that you cannot draw anything, but being artistic does not mean that you have to be able to pick up a pencil and draw a masterpiece. According to Dictionary.com, the term artist means a person whose work exhibits exceptional skill. Being said, professional athletes have exceptional skill, highly paid actors and actresses have exceptional skill, surgeon doctors are exceptionally skilled at what they do, because they have gone to school and are skilled to do so. Being skilled at anything is a kind of art, because you are passionate about the project or process of learning how to do it. Anyone can be an artist, and I will help you figure out how you can become one easily. In this introduction, you will explore the world of spray paint and how to correctly take advantage of this art. Have you ever wondered how certain things are made, or who invented certain objects? Ed Seymour of Sycamore, Illinois, founded his company The Seymour of Sycamore in 1949, and also discovered a novelty spray gun to demonstrate an aluminum paint that would be able to be used to paint on steam radiators. In a nutshell, he was the inventor of spray paint. The origin of spray paint continued with Seymours idea. Seymours humble creation skyrocketed after people understood how to use it, and he started making more and personalizing his equipment, and enlarged his trade. In 2010, the U.S. spray paint manufacturers produced 412 million cans, stated Hilary Greenbaum. Now, Seymour Paint makes spray paint, automotive paint, and industrial paints. With each type of object that you can paint, there is a category of different types of paints for a certain object, like in the automotive, there is paint for farm equipment, eighteen wheelers, and of course primers for the objects (Seymour Does Spray Paint, Automotive Paint Industrial Paint). The origin of aerosol paints goes back to the early eighteenth century. In France, pressurized carbonated beverages were introduced and in 1837, a man by the name of Perpigna invented the valve that provided for an easier way of filling your cup (Weide). That is where the concept of aerosol came from. As early as 1862, aerosol technology was being incorporated into metal cans for the first time, but they were far too large and bulky to be of any practical use (Weide). In 1927 a Norwegian engineer by the name of Erik Rotheim patented the first aerosol can and valve that could hold products and dispense them with the use of propellants (Weide). In 1947, a 27 year old name Robert H. Abplanalp invented the last part of the valve which is called the crimp. The crimp lets you remove, and replace the nozzles on the cans, so now you can control where you are spraying (Weide). While industrial spray painting relies on special air compressions that break the paint particles into a fine mist, commercial spray paints are self contained aerosol cans that use liquefied gasses to atomize the paint (How Products Are Made). The Krylon Company is gearing future marketing efforts innew areas. One product line is aimed toward women and children with paints that offer bright new colors, enhanced washability, and a new fresh fragrance (How Products Are Made). The majority of people who do not know about art, think that graffiti and spray paint art are the same, but they are not. Kelly Bryant writes, Graffiti and Street Art are not the same thing. While graffiti artists only work with spray paint and pride themselves on knowing their way around a can of the stuff, street artists use other media to create their pieces. Graffiti artists aim for visibility to impress others within their community, not for the likes of you. While graffiti artists place their work in public, generally speaking they are not interested in the public understanding their work; they want to speak to other graffiti artists. Street artists want everyone to view and be engaged by their work. They are trying to make a statement, says Jill C. Weisberg. Before you start your masterpiece, there needs to be some ground rules. What materials do you need? Which spray paint brand should I use? Can I paint on any surfaces? How do I correctly hold the can? Easily, these things will come in handy and you will know everything about this art and you yourself can teach other people. Brainstorm! Ask yourself, what should I paint? Having a picture in mind is very beneficial, because you know what you want to do. Make sure you have these materials with you or you can get them easily at your local hardware store. Spray paint is essential, obviously. Some of these materials are optional like a hair cap or a apron, but a lot of people use posterboard, knives or scrapers, newspaper or magazines, lids or bowls, and rubber gloves (you dont want paint all over your hands). If you are questioning what kind of brand to use, here is a list of the top fifteen spray paint brands. It starts with Montana, then MTN follows at second, Belton/Molotow, Ironlak, Rustoleum, Fresh Paint, Kilz, Sabotaz, Class/Beat, Flame, Evolve, All City, Kobra, Plutonium, and lastly, Krylon (Complex). When you are about ready to paint, first you need to know what surfaces you can actually paint on. Most people paint on paper or posterboard, but you can also paint on wood furniture, upholstery, ceramics, fabric-as in curtains, and metal (Burger). Techniques are important. The best way to start out is to warm up your paint. Also make sure that you do not use primer if you are painting on a posterboard. Clear the tips of your valve, and do not mix your paints together. Always start out with white and do not change direction of the way you are spraying. Use stencil tricks, use truck bed liner. Do not use clear coat on dry paint. Lastly, Do NOT blow yourself up (YouTube)! Spray paint is flammable and it can be dangerous. So make sure you keep it away from a flame or high pressure. Irritation of the eyes may occur as well as the nose, throat and respretory tract. You may also get some visual disturbances, headaches, nausea, lightheadedness, dizziness, fatigue, loss of coordination, and memory impairment (Falcon). Now, the moment that you all have been waiting for: How to paint an amazing space scene. Get out the object that you want to paint on. For this example, I will be using normal posterboard. Choose the colors that you want, then spray them on the posterboard. Making the pattern is essential, and can determine your finished product. Make the sky, usually you would use darker colors like black or blue. Make the stars with your fingers, by spraying white paint onto your pointer finger, then flicking the paint onto the painting, in spots where you think that the stars should go. Finally, you can reveal your planets (Suzll). The masterpiece is complete and stunning. From start to finish, being an artist does not require a lot of work or skill. When you are ready, you can certainly become one easily, and efficiently, you just have to know how to be guided correctly and use your skill to the fullest ability that you can. Show off your skills, so that one day, you may get paid exceptionally and be more talented than you thought that you were. Works Cited Artist. Dictionary.com. Dictionary.com, N.d. Web. 15 Feb. 2017. The Inventor of Aerosol Spray Paint. Seymour of Sycamore. 2017. Web. 9 Feb. 2017. Greenbaum, Hilary, Rubinstein, Dana. The Origin of Spray Paint. The New York Times Magazine.  4 Nov. 2011. Web. 9 Feb. 2017. Seymour Does Spray Paint, Automotive Paint Industrial Paint. Seymour of Sycamore. N.p.,  2017. Web. 16 Feb. 2017. Weide, Robert. How and Object Became an Object and a Subculture. Objects, Consumption  and Desire. N.d. Web. 9 Feb. 2017. (2-3,5) How Products Are Made. Advameg, (Inc.), 2017. Web. 12 Feb. 2017. Bryant, Kelly. 12 Things You Probably Didnt Know About Street Art. Mental Floss (Inc.), 2016.  3 Feb. 2015. Web. 9 Feb. 2017. Weisberg, Jill C. The Difference Between Street Art and Graffiti. Schrift Fabre Design Group.  16 May. Web. 12 Feb. 2017. What Is The Best Spray Paint Art Supplies. Spray Paint Art. 7 July 2013. Web. 10 Feb. 2017. Copmlex. The 15 Best Spray Paint Brands Available In America. Complex Media (Inc.), 4 Jun.  2012. Web. 12 Feb. 2017. Burger, Jenna. 5 Surfaces To Spray Paint. Jenna Burger Design. 5 March 2015. Web. 10 Feb.  2017. http://www.youtube.com/watch?v=UKzyZVHvP1c. Designs, Commando. Top 10 Spray Paint  Tricks HD. YouTube. 25 April 2015. Web. 10 Feb. 2017. Falcon, Delialah. The Dangers of Paint Fumes. IAC Publishing, LLC. 7 May 2016. Web. 10 Feb.  2017. Suzll. How To Paint An Amazing Space Scene. Autodesk (Inc.), 2016. Web. 12 Feb. 2017.

Hephaistos: The Obscure Greek God :: Greek Mythology

Hephaistos: The Obscure Greek God Greeks are known for many things. We know them for their poetry, for their philosophy, their politics--and also we have come to know them for their childish, petty, lustful, little gods. These gods, vengeful in the extreme, have been a source of much literature. However, not all the gods have the same publicity agent, and have suffered in obscurity for much too long. One of these gods, one of the Twelve Olympians, has been obscure in the least. He is different in most ways from the other gods, and I am here to illuminate him further to you. His name? Hephaistos. This god will surprise you. He actually seems to have a crude sense of humor. He doesn’t seem to be vindictive, or very interested in the lives of mortals. He was simple, and he was ugly. It was as basic as that. Well, he has some interesting heritage, lets find out. Firstly, there is an interesting set of facts about the first moments of life for Hephaistos. One day, Zeus made Hera a bit jealous (as brothers and sisters in Kentucky can be) when Zeus was sleeping around with this and that female as various wild animals. Well, Hera was enraged so much, that she spontaneously conceived a child. I would LOVE to see something like that. She conceived and when Zeus noticed that Hera was pregnant, he was very angry himself. Moments later, she gave birth to Hephaistos. However, he was so very ugly and had a bad leg, that Hera tossed him to earth and disavowed his birth. It must be noted that there does seem to be a discrepancy. Some texts imply that Zeus tossed him to earth instead of Hera. He landed on the island of Lemnos (Seltman 99). That is why the people of Lemnos were his favorites and that was why he always headed there to relax and recuperate. Well, after being tossed into the ocean, Thetis picked him up and took care of him. Thetis is the same goddess who was mother of Achilles. Anyway, she took care of him, and he started making nice jewelry for her to wear. One day, she headed to court with the other gods, and all the women noticed the pretty baubles that were adorning Thetis. After they found out that it was long-lost Hephaistos, Hera went and asked him to come to Olympus.

History of Cinema Essay

From the very beginning its existence the cinema has created works of art worthy to stand comparison with the masterpieces of painting, music, literature, and theatre. Even more than that, the cinema is irremovably embedded in the whole history of the twentieth century. It has not only shaped but also reflected the reality of the times. The cinema gave also form to the aspirations and dreams of people all over the world. This work will focus on the main historical factors and the conditions surrounding the history of film-making. However, it is also the case that it is simply impossible, in a work of this size, to do justice to all the many individuals, technologies and processes that have played noteworthy roles in the history of cinema. The history is not only interesting in its own right; it can also illuminate with particular clarity how the cinema works as a whole. This work consists of four main parts: the Early times, the Silent Cinema, the Sound Cinema, and the Modern Cinema from 1960 to the modern times. In each part the paper looks at history of the cinema in general. As far as possible this paper will cover each development from a broad international perspective. The Early Cinema From the beginning the cinema developed quickly. What in 1890 had been just a dream had by 1913 grown into a whole industry. First films were just moving snapshots. They were only one minute in length and nearly all consisted of just one shot. By 1905, the films were usually five to ten minutes in length and included changes of site and camera position to create a story or show a theme. Later, in the early 1910s, when the first ‘feature-length’ films appeared, there little by little emerged new techniques for handling complex stories. At this time the process of creating of films had itself grown into a large-scale business. Specialist offices had emerged, exceptionally intended to the making of films. During the 1910s the heart of supply became Los Angeles – Hollywood. The early cinema of from the mid- 1890s to the mid-1910s is often called ‘pre-Hollywood’ cinema. The cinema of this period has also been called pre-classical. Actually the styles of filmmaking common in the early years have never been completely shifted by Hollywood or classical modes, even in America. Many films continued to be pre- or at any rate non-Hollywood in their style for a long time. But it is right to say that much of the cinema development in the years from 1906 or 1907 can be considered as laying the ground for what later became the Hollywood industry. Silent Cinema On the contrary to popular belief, the history of animation did not begin with Walt Disney’s sound film Steamboat Willie in 1928. Before that film there was a popular tradition, a film industry, and a vast number of films – considering nearly 100 of Disney’s (Hayward 234). The general history of the animated film begins with the use of transient trick effects in films around the turn of the century. As several genres emerged (Westerns, chase films, etc. ). During 1906-10, there appeared at the same time films made all or mostly by the animation technique. Since most films were a single reel. There was little programmatic difference between the animated films and others. But the multi-reel film trend developed after around 1912. Animated films retained their one-reel-or-less length. Until the First World War, animation was a completely international phenomenon. However, after about 1915 the producers in the United States began to control the world market. In a quarter of a century, the silent cinema created a tradition of film comedy. The cinema arrived at the end of a century that had witnessed a rich development of popular comedy. Later, the new proletarian audiences of the great cities of Europe and America found their own theatre in music hall, variety, and musical comedy. With these popular audiences, comedy became constant demand. When life was bad, laughter was a comfort; when it was good, they wanted to enjoy themselves just the same. Famous comedy mime troupes of the music halls, like the Martinettis, the Ravels, the Hanlon- Lees, and Fred Karno’s Speechless Comedians, can be seen as direct predecessors of one-reel slapstick films. Karno, in fact, was to train two of the greatest film comedians, Charlie Chaplin and Stan Laurel (Hayward 56- 58). The term ‘documentary’ did not become popular use until the late 1920s and 1930s. In the beginning it was applied to various kinds of ‘creative’ non-fiction screen practice in the post-First World War, classical cinema era. Originating films in the category have typically comprised Robert Flah erty ‘s Nanook of the North ( 1922), various Soviet films of the 1920s such as Dziga Vertov’s The Man with the Movie Camera (Chelovek s kinoapparatom, 1929), Walter Ruttmann’s 11Berlin: Symphony of a City (Berlin: die Sinfonie der GroBstadt, 1927), and John Grierson’s Drifters ( 1929) (Cook 89). Early documentarians used the magic lantern to create complex and often sophisticated programs out of a succession of projected photographic images. The images were accompanied by a live narration, with an occasional use of music and sound effects. By the turn of the century, films were gradually replacing slides. This in turn gave rise to the new terminology. The documentary tradition preceded film and has continued into the era of television and video. In this way it was redefined in the light of technological innovations, as well as in the context of shifting social and cultural forces. British films of the period were often quite sophisticated, particularly in the comic and actuality fields. Narrative editing, too, was often innovative. Sound Cinema The development from silent to sound cinema marks a period of revolution in the history of cinema. The revolution 4can be easily dated from 6 October 1927, with the New York premiere of Warner Bros. ‘ The Jazz Singer in which Al Jolson pronounces the immortal line ‘You ain’t heard nothin’ yet’ with more or less perfect synchronization between his lips in the film and his voice recorded in parallel on a disc (Hjort 90). Filmmakers began to use innovative sound technology that produced panic in cinema industry. In the same time it encouraged experiments and hopes too. While it decreased popularity of Hollywood’s films for several years, it stimulated a rebirth of national film production all over the world. This period in the history of cinema has specific features that make it unique in comparison with the years before and after. The coming of sound itself, and its world-wide implications is the first look. Then the focus is on the world of the studios, how the system operated – particularly in Hollywood – and how different aspects of the cinema were combined together during the studio period. The studios were not entirely free to make films simply for the market. The system also encountered problems of how to regulate itself to take account of political, social, and moral concern. While other countries experienced political censorship of varying degrees of severity, the Hollywood cinema suffered relatively little interference from central government. The Hollywood was instead faced with carefully orchestrated demands for a moral clean-up and the risk of intervention by local censor boards (Neale 78-79). Along with spoken dialogue, the major innovation of the sound cinema was synchronized music. The art of musical illustration that was used during the silent period was changed by the synchronized music. A considerable difference was, certainly, that filmmakers began to use music as a part of the fictional world. For instance, music could now be introduced when the film showed an orchestra or an actor performing a song. Then, sound film would use music not only to the picture, but to dialogue as well. Music became pure background. Composition, performance, and recording were all subject to studio control, and the production of musical tracks of high quality can be counted one of the greatest achievements of the system. Outside Hollywood music tracks were often less polished. But directors were more often free to work with composers of their own choice, and Sergei Prokofiev’s music for Eisen stein ‘s Alexander Nevsky (1938) provides an interesting contrast to two classic Warner Bros. scores of the same period – Erich Korngold’s The Adventures of Robin Hood (1938) and Max Steiner’s Casablanca (1943). Modern Cinema  The most significant change in world cinema since 1945 was that produced by the breakdown of the Hollywood studio system and of its competitors and imitators elsewhere. By the early 1960s the Hollywood system was in severe disarray. Declining audiences and a series of costly flops left the major studios on the verge of bankruptcy or open to hostile take-over. While the studios experienced difficulties, new enterprises such as American International Pictures emerged. These companied made low-budget movies that were intended for the new youth and drive-in markets. Many new genres came into being. One of such innovations was the road movie. It proved to be influential not only on more mainstream American films but throughout the world. The mainstream itself was forced to innovate, drawing inspiration both from the down-market competition and from the new cinemas emerging in Europe. In Europe the most important single event was the sudden explosion on to the scene of the French New Wave – the Nouvelle Vague – with first features by Claude Chabrol, Francois Truffaut, Jean-Luc Godard, and Alain Resnais following each other in quick succession in 1958 and 1959 (Hjort 123). The New Wave had been briefly preceded in Britain by the ‘Free Cinema’ movement, and was followed by the ‘Young German Cinema’ which announced its existence in the Oberhausen Manifesto of 1962 and went on to renovate the lackluster West German cinema later in the decade. In Italy the change was less sudden but none the less significant, with the creation of Federico Fellini’s La dolce vita and Michelangelo Antonioni’s L’avventura in 1960. It was beginning of a new art cinema. Changes in the 1960s were not confined to Europe. The Cuban Revolution in 1959 gave an impetus to the growth of new cinemas throughout Latin America, notably in Brazil (Cook 45). In Japan the studio system which had nurtured the work of the great masters such as Mizoguchi and Ozu was also in crisis, and in the changed situation allowed for the entry on to the world stage of directors like Nagisa Oshima, who was to play a role in Japanese cinema similar to that of Godard in France. The new cinemas greatly extended the boundaries of film art. They brought new audiences into the cinema, for whom films assumed an unprecedented cultural importance. Throughout the 1960s and into the 1970s the cinema spoke more directly to these mainly young audiences than did any of the more traditional art forms. But outside Italy, France and England the innovate cinema with the new realities was not popular. Because of the limits on the size of the audience, the new cinema had to be low-budget or propped up by subsidy (sometimes both) in order to survive (Guneratne 67). The ‘new’ period in Hollywood cinema begins from the 1975 release of Steven Spielberg’s Jaws. The film signaled the birth of a new, younger generation of Hollywood directors. Born mainly in the 1940s, they both studied the films of classical Hollywood and were influenced by the filmmakers of world cinema. George Lucas and Steven Spielberg made blockbusters with classic principles. One of the most famous filmmaker in the 1980s has been Woody Allen. Allen has made famous films, such as Interiors (1978) and Stardust Memories (1980). Conclusion There exists recognition of the fact that from the beginning the cinema has developed in remarkably similar ways all over the world. But it is also recognized that from the end of the First World War onwards, one film industry – the American – has played a main role in the creation of world’s cinema. However, many nations have created their own, culturally identifiable, genre films that proved extremely popular during the 1970s and 1980s. In India, for instance, a remarkable 250 film-making companies, using more than 60 studios, continued to produce 700 feature films a year throughout the 1980s (Kindem 23). The central government encouraged the making of Indian films by requiring all commercial cinemas to screen at least one Indian film per show. A star system, much like Hollywood’s of the 1930s and 1940s, is strong in all parts of the world. Indeed Indian stars working on several productions at the same time can become enormously wealthy. The nations survived mainly by learning from Hollywood cinema. At the same time Europe produced a product that corresponded to needs that Hollywood cinema could not supply. Asian countries have been strong producers of film. Hong Kong, a country of only 5 million people, produces more films than Hollywood. In the 1990s Hong Kong’s citizens watched Hollywood and native productions in about equal numbers. In the 1980s Hong Kong martial arts films were distributed world-wide in large numbers. With broadcasting systems combined with the rise of satellite-distributed services Hollywood penetrates even these markets. Hollywood produced the most famous icons in the world such as Steven Spielberg and Arnold Schwarzenegger. With its international control, the Hollywood corporations could and will define standards of film style, form, and content.

Impression management

Impression management Introduction Impression management can be described as a process employed by most people to present themselves and control various perceptions concerning themselves. Many people apply this tool to present themselves as good people (personal branding).Advertising We will write a custom essay sample on Impression management specifically for you for only $16.05 $11/page Learn More Many individuals believe that their outward appearance and personality form part of the main factors that determine how they are judged or perceived by other people. By applying impression management, individuals tend to control the way other people understand them by applying various impression management techniques. Some individuals try to be authentic and ideal in order to control outward perception (Pennington 11). In this paper, I will be tackling embarrassment situations as a topic under impression management. I will conduct several interviews with friends, relatives and colleag ues to determine their embarrassing moments and other details concerning the embarrassment. This will be done in order to address how various individuals manage their impression in embarrassing situations for social order maintenance. Theory Embarrassment is a social situation that almost everybody experiences in his or her lifetime. The difference lies on how various individuals manage the embarrassment situations that befall them (Newman 134-142). Considering the role theory of impression management, Goffman describes how various individuals act and react following various situations that call for impression management (79). Impression management applies to situations of embarrassment, self recognition, stage performance, public address and various forms of expression. In impression management, the actors strive to build, defend and sometimes maintain their social perceptions and identities through application of various settings, props and assumptions. In embarrassment situations , the assumptions and props applied are intended to work towards enhancing positive perception. The other theory concerns symbolic interactionism. In the theory, Cooley describes impression management as a tool applied in social situations to enhance social interaction and order (126). Impression management in situations like embarrassment in social occasions requires individuals involved to respond in a manner that will alleviate rather than intensify the embarrassment. Hypothesis From the theories discussed, I hypothesize that most individuals will apply tactics, props and assumptions that will build, defend and maintain their impression. Their reactions during the embarrassment moments will alleviate the situation in a manner that will enhance social order and interaction. I also hypothesize that most embarrassing situations are those that occur in a social place rather than a private place.Advertising Looking for essay on social sciences? Let's see if we can help you! Ge t your first paper with 15% OFF Learn More Methods In this sociological analysis, I used ‘interviewing’ as a qualitative method of data collection. I held several separate interviews with various respondents. Among those interviewed were friends, relatives as well as some colleagues. The interviews entailed discussion of the most embarrassing situations of respondents. However, I only considered five interviews from five different respondents for this analysis. I organized my data in a qualitative rather than quantitative manner as follows. Data First respondent: He was caught cheating on his wife. His wife appeared while in a restaurant having dinner with his girlfriend. Other individuals were also enjoying their meals in the same restaurant. The wife wanted to create a scene in the restaurant but due to the reactions of the husband, she was not able to accomplish her intentions. He reacted in a manner to defend and distance himself from the allegations by talking politely to his wife. Although other people were in the restaurant, he finally managed to convince his wife to calm down. Both of them went home to discuss and find solutions for the problem. Second respondent: She was caught by her friend talking ill and telling lies about her. The most worrying thing is that the two were very good friends only to realize that one of them was pretending. She felt so embarrassed following the sudden appearance of her friend. She was very apologetic to calm down the furious reaction of her friend and convinced her to organize for a discussion to resolve the matter in a more private place. Third respondent: She had a problem of stammering. One day, she was selected by her teacher to answer a question in a new class. Although she tried as much as possible to relax and give an answer, she could not control the stammering completely. Her colleagues laughed at her making her so embarrassed. The only option was to alleviate this embarrassment s ituation. Therefore, she decided to keep quiet and regain her confidence. She finally requested the teacher to let her write the answer on the board. This alleviated the embarrassment that she was to create if she could have continued talking. Fourth respondent: He was busted on a street staring at a certain lady. He did not realize until his friends informed him of the reactions of other people. Many people were looking at him in disgrace and others were laughing. Due to this embarrassment, he decided to move away from that street to alleviate the embarrassment.Advertising We will write a custom essay sample on Impression management specifically for you for only $16.05 $11/page Learn More Fifth respondent: She was talking to her father and wanted to give back his money. In the process of returning money, she pulled out a condom from her pocket and was so embarrassed. She had to explain to her father about the incidence to retain her reputation. She told he r father that condom is very necessary especially in cases of rape and unwanted sex. She was quick to mention that they were given the condoms in school. Discussion The above data seems to justify my hypothesis. In embarrassment situations, many individuals will react in a way to either defend themselves or maintain positive impression to the surrounding. The data shows that the most common themes in embarrassment situations are self image, defense and social order. Considering the sociological importance of embarrassment, most individuals will strive to maintain order in a social place by defending themselves to maintain their image. They always strive to find a solution in a more private and orderly place to attract less attention from the public. Patterns evident in the embarrassing stories include denial patterns, defense patterns and acceptance with apology patterns. â€Å"’There are some other issues that concern embarrassment’. ‘They include gender and ag e’. ‘Female gender appears to be the most affected’† (Pennington 152). Given a similar embarrassing situation, female characters will feel more embarrassed than male characters. Considering age, children feel less embarrassed than middle aged individuals. However, old people appear to be less affected with embarrassment. â€Å"In the wreckage left by embarrassment lie the broken foundations of social transactions† (Gross Stone 2). This means that embarrassment is very infectious and is capable of incapacitating someone who was not previously incapacitated. Embarrassment can spread to other people who were not involved in the embarrassment scene. For instance, embarrassment situations created by an individual might as well affect his or her family members. Therefore, such ruins can only be used as foundations to restructure the social impression. Cooley, Larry. Applied Impression Management. Sage: Newbury Park, 2001. Print.Advertising Looking for essay on social sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More Goffman, Erving. The Presentation of Self in Everyday Life. Doubleday: New York, 2009. Print. Gross, Edward and Gregory Stone. Embarrassment and the analysis of role requirements. Washington, D.C.: American Psychological Association, 1964. Print. Newman, David. Sociology: Exploring the Architecture of Everyday Life. 6th ed. Madison: Benchmark Publishers, 2008. Print. Pennington, Britt. Impression Regulation and Management: A Theory of Self- Identification. New York: Guilford, 2006. Print.

Women in Combat Arms essays

Women in Combat Arms essays Position Essay "Who Should Serve?" There are growing feelings in the United States that, as women are having more rights given to them that were previously restricted, women should be given everything that is offered to men. This is becoming very true in the military, where much sentiment is that women should be given the opportunity to serve in combat arms positions. Women are currently allowed to serve in combat support positions, such as military intelligence and air support positions, but they are not allowed to serve in positions such as infantry, armor, or field artillery. Many believe that it is time to open these positions to women soldiers and allow them to serve in the front lines of combat. Although women are currently allowed to serve in combat support positions in the military, women should not be able to serve in combat arms positions, because women do not have physical capacity to serve in these positions, would have trouble dealing with the emotional restraint involve d in war, and could cause a decline in the morale of their unit. Those that oppose my idea of continuing to bar women from combat positions feel that it is sexist and politically incorrect. Some feel that limiting women to support positions is insulting to women, and that it is damaging to the relationships between men and women in the military. Furthermore, many believe that women should be given an equal chance to prove themselves alongside men. These people point out that some women may be able to stand up to the rigors that are required in combat arms positions; therefore, these women should be given the opportunity to serve in the military in these positions. The opposition also points out that the military has become more driven toward teamwork, and that a woman who is capable of being committed to such a design would be able to serve in any position in the military if she willing. Some counterparts also point out that many men may also be emotionally...

Why do teens use self-injury as a coping mechanism Research Paper

Why do teens use self-injury as a coping mechanism - Research Paper Example It is a fact that as the materialism and modernism are increasing at a fast face all over the globe, the probability of self-injury is also mounting at an astounding pace in the teens. Myriad critical reasons form the bedrock of the self-abusing tendency in teens and a complex and intricate meshwork of crude realities needs to be scrutinized for identifying the major factors. These factors should explain the reason why more and more teenagers are readily seeking refuge in self-injury mechanism. People are oblivious to many distressing realities concerning this issue and this paper is basically an effort to highlight the relation between problems faced by teenagers and increased tendency of self-abusing. Facts and discussion presented in this paper are basically meant to illuminate the reality of the claim that â€Å"more and more teenagers are using self-injury as a coping mechanism because they are unable to relate their aggravated problems to their parents, peers, or teachers beca use of poor self-esteems, low morals, and continuous feelings of guilt and shame.†... It is an unequivocal fact that depression is highly capable of paralyzing one’s thinking, self-assessing, and comprehending abilities. Therefore, one finds oneself eventually trapped in a tight spot where one can neither hear any voice from the outside world that is normal nor translate the inner rushed and psychic emotions that are abnormal into something that could be understood by the people surrounding that person. An increased number of teenagers are selecting self-harm as a way of emotional projection in the hope of coping with horribly bizarre feelings of numbness, shame, regret and for punishing themselves for certain past failures. 3. Inability of parents and teachers to help teenagers increases self-harm incidence: Self-harm is a horrendous and powerful reality that affects all teenagers irrespective of social, racial, ethnic, or economic differences. It is an issue of concern around the globe that what majorly makes most of the distressed and disappointed teenagers seek refuge in self-harm in spite of the presence of parents at homes and teachers at schools. Research suggests that teenagers engage in self-destructive behavior because they find it increasingly difficult to relate their gross problems with their parents as the depression intensifies. With ever-heightening materialistic approach, most of the parents are unable to share more time with their families due to which, teenagers find it impossible to verbally communicate the nature of their problems in the short time their parents spare them. Nearly same is the scenario experienced by such depressed and anguished teenagers at the schools, where owing to increased cultural diversity and number of students, teachers are unable to relate to all the students

Annotated bibliography Example | Topics and Well Written Essays - 1750 words - 2

Annotated Bibliography Example B. & HÃ ¶glund, A. T. (2008). Physicians’ and nurses’ perceptions of patient involvement in myocardial infarction care. European Journal of Cardiovascular Nursing, 7 (2), 113 – 120. doi: 10.1016/j.ejcnurse.2007.05.005 From the background of the role of patients’ involvement in improving outcomes in healthcare, these researchers determine the behavior and perception of physicians and nurses with regards to acute MI patients’ involvement. Having conducted a questionnaire study among cardiology staff from 12 Swedish hospitals, the research showed no significant variation in the responses of both physicians and nurses. They considered time constraints and being unsure of how to communicate with patients as their hindrance to promoting patient involvement. Therefore, the article advocates for proper staffing and education on communication skills as key components of ensuring effective care and management of MI patients. In this article, Bakan and Akyol (2008) document their research that sought to examine Roy Adaptation Model, RAM on adaptation of heart failure patients. RAM is an approach that appreciates nursing’s biobehavioral knowledge as balancing between the understanding of a person as both a thinking and a physiologic in a physical environment and feeling the human experience in cosmic world. The findings indicate that RAM improved the quality of life of heart failure or MI patients, their functional capacities and social support. Thus, the article concludes by advocating for RAM as an effective approach that nurses need to adopt when caring for MI patients. Fortin, C., Dupuis, G., Marchand, A. & D’Antono, B. (2013). Chronic post-traumatic stress following a myocardial infarction: Prevalence and detection in hospital setting. Journal of Depression and Anxiety, 2 (1), 133 – 139. doi: 10.4172/2167-1044.1000132 This article is important in showing the role of nurses during the period of patients’ recovery from