Kalkidane Yeshak Essays - 2nd Millennium BC,

Kalkidane Yeshak Life of Pharaoh Hatshepsut Despite a queen's relative high status, many people thought that it was wrong and improper for a woman to rule. Through old, antiquated beliefs, people deemed a woman unworthy of a leadership position no matter her qualifications. So as Pharaoh, Hatshepsut had to spend her reign making sure her position was secure and fought for her place as a legitimate ruler. At the age of 12, after the death of Tuthmose I, Hatshepsut became queen to Tuthmose II, her half-brother. After the death of Tuthmosis II, the power passed over to her young stepson, Tuthmosis III. She also had a daughter named Neferu-Ra. This stepson was fathered by Tuthmose II with his concubine named Isis because Hatshepsut couldn't bore a son. The stepson of Hatshepsut had to be given the throne. Since Thutmose lll was too young to assume the throne without any aid, Hatshepsut served as his regent. She surprised everyone by declaring herself the role Pharaoh during the 18th dynasty, known as the New Kingdom from 1473 BC to 1458 BC, and became one of only a handful of female rulers of Ancient Egypt. Hatshepsut reigned longer than any other known female pharaoh. Although many thought that she became pharaoh because of ambition, many scholars have said that it also could have been because of threats and or political crises that were threatening her royal lineage and throne. So, thi s way she could save the throne for both herself and her stepson Thutmose lll. Knowing how limited her power is as a female and how she had gotten that power under special circumstances, she had to defend her legitimacy by pointing out and claiming that her father had appointed her as his successor. She wanted to reinvent her image, so she ordered to be portrayed as a male pharaoh in the statues and paintings of that time; with a beard and large muscles. She also relied heavily on propaganda to strengthen her reign. She ordered carvings on her temple walls that depicted how the god Amen, kings of gods; had taken her father's appearance on the day he had conceived her. This made her daughter of the chief of all Egyptian gods. As pharaoh she did many things from organizing a trade expedition to overseeing many ambitious building projects. The trade expedition to the land of Punt, after which they became major trade partners. Their partnership helped supply Egypt with many gold, resin, wild animals, and other vast riches. All of which helped make her reign prosperous and her empire wealthy and peaceful. She didn't do all this work by herself, she surrounded herself with supporters that were in her government. This included Senenmut, who was her chief master. Some even say that he could have been more than just moral support, but there is little evidence to support the claim that they might have been lovers. She is noted for having sent five ships to punt to open trade, and those five ships returned with 30 myrrh trees among many other gifts. Legend has it that she turned the first charred myrrh into eyeliner. Queen Hatshepsut had a temple built in Deir el Bahri, called Djeser-Djeseru, where she was buried and many of her stories were carved into the walls. Though her temple was not the first to be built there it was notably the largest. The walls are illustrated with many images, telling an autobiography, one which was the story of the expedition to Punt. Archeologists have discovered intact roots of the frankincense roots, the roots of the trees she brought back from Punt (Modern Day Eritrea or Somalia). Sadly, her beautiful temple today is not as intact as it was before, due mostly to the fact that after she had dies her stepson Thutmose lll had tried to erase every sign of her existence. He had her name chiseled off, along with many images of her, and had built a large temple to the west of Djeser-Djeseru. It was further damaged by later dynasties as well as tomb plunderers. Although many Egyptologists have claimed that her foreign policy was mainly peaceful. It is possible that she led military campaigns against Nubia (region along

Scotland’s Most Dishonourable Female……she could defloration your time off Essays

Scotland’s Most Dishonourable Female†¦Ã¢â‚¬ ¦she could defloration your time off Essays Scotland’s Most Dishonourable Female†¦Ã¢â‚¬ ¦she could defloration your time off Essay Scotland’s Most Dishonourable Female†¦Ã¢â‚¬ ¦she could defloration your time off Essay The summer days in Scotland are long and tranquil with nights that stay bright until 10pm. The scenery is lovely, the sickly is at its upper crust and the tranquillity makes an paragon election for a relaxing vacation, or so you would think. Your vacation has right-minded started and at the intention of the key day the probable of an aperitif in the garden or by the lakeside is least appealing. It has fair passed 5pm. The first taste is enriched and satisfying as you hold sneakily to breath in the clear, healthy style and absorb the breath-taking scenery. Piecemeal you note uncomfortable and notice that you have the urge to injury your critical and face. Then you are aware of something like dust particles floating around the upper enter in of your body. Dismissing them with a swell, thoughtful they are far too small to contemplate, you support on with your aperitif and conversation history of social work essay. But then you locate yourself itching so much, eventually you can’t arrogate it any more and head inside wondering how these minute creatures could entertain ruined your evening, you can only last them! Next era you frighten yourself as you look in the bathroom mirror, quieten itching, and grasp an fetish of someone who appears to be agony from measles! But it’s not measles, it’s the result of the scrap of the ruthless Culicoides impunctatus, the iniquitous female Highland Midge ! She longing come out every evening like a vampire, to obey her requisite to accumulation her unborn eggs with blood. She breeds in moistness vegetative areas and is attracted to you on the carbon dioxide you suggestion out. The only method she purposefulness not gumshoe you and begin recompense your blood is if you rest breathing! Be that as it may, there is an substitute†¦that works!

At the end of June 2003, the Federal Reserve cut interest by a Essay

At the end of June 2003, the Federal Reserve cut interest by a quarter-point to 1.0 per cent, their lowest level in 45 years. Explain the three main channels by - Essay Example f the aggregate demand in the economy, - consumption, investment and government spending, these appear to be the three main channels, through which interest rate influences aggregate demand. The decrease of the interest rates accounting other factors being stable, leads to the increase of the new equipment among firms, which they plan to purchase, it also increases the number of new houses, and the goods of long-term use. Changes in the price levels through the impact on the amount of money in use also influence interest rates. Changes in the interest rates, caused by the changes in the price levels, changes the aggregate demand on goods and services; however, in graphic form this does not make the aggregate demand curve shift; it only reflects the movement along the already existing line. (Handa: 2000) However, interest rates also create another impact. No matter what may be the reason of the interest rates change, their level impacts aggregate demand as a whole. Separately from the price level change, the aggregate demand curve shifts with the changes in interest rates. For example, if the government comes down to the higher expenditures and loans to cover the deficit, with the other conditions stable it leads to the increase of interest rates and negatively influences the plans of expenditures for the firms and individuals. If the supply of the finances for loans increases abroad, the interest rates stay stable, keeping aggregate demand from decrease. (Handa: 2000) Consumption is the most considerable part of the aggregate demand, and it is wise to start the discussion of the interest rates decrease with the impact it creates on consumption. Individuals acquire their incomes in the form of salary, and the capital profits. A portion of the income is spent for paying taxes to governmental structures. On the other hand, government also provides individuals with subsidies (social insurance, unemployment payments, etc.). The decision about consumption lies in the

Contract law in the 20th century Case Study Example | Topics and Well Written Essays - 1500 words

Contract law in the 20th century - Case Study Example The case is connected with the situation when the parties were negotiating on the subject of Walford's buying the photography business belonging to Miles. They have come to a certain agreement as for the purchase, and Walford was going to provide Miles with the bank comfort letter with the purchase price; Miles in return was obliged and has agreed to terminate any other negotiations as for selling his business with any other third parties. Against previous agreement, Miles sold his business to the third party and thus Walford had to bring the case to the court for breaching the previous agreement. Traditionally, such kind of agreement would be called a 'lock-out' agreement, when one of the parties agrees not to perform negotiations for a certain period of time with any other third party; however, it was also concluded that the case lacked two essential components to be a 'lock-out' agreement: the period of time during which negotiations had to be stopped had not been defined, as well as any provision as for determining negotiations by Miles was absent. Despite the fact that Walford was insisting on the applicability of the good fait principle in the case, the Judge of the case, Lord Ackner, was sure that the principle of good faith was not applicable to negotiations, as it was contradicting the essence of negotiations as a notion. It was supposed that the principle of good faith is inconsistent with the notion of negotiations in the contract law, because it contradicts with the opposite opinions and positions the parties take in negotiations. However, the case should be viewed from another viewpoint: whether Lord Ackner was thorough in his research to state that the principles of good faith are

Managing Change in Contemporary Organization Essay

Managing Change in Contemporary Organization - Essay Example The environment, which engulfs an organisation, provides the resources and opportunities for the organizations existence. At the same time, the environment itself imposes sanctions determining what an organization can or cannot do. If an organization is to survive, grow and remain prosperous, if must adaft to the demands of the environment, since these demands are constantly changing, organizations must also change. The last decade has brought with it a time of totally unprecedented change. In every direction businesses are in turmoil, from computing to financial services, from telecommunications to health change is an accelerating and yet there is fundamental dilemma. People need time get used to change, but there is not anytime anymore. The pace of change is now so fast that business face constant market change and must respond very rapidly if they are to survive. Many don't make it. Evidence suggests that the average corporate life styles may be shrinking because of a mobility to change and adopt fast enough. For this reason managing change has now become a crucial part of competitive edge (Clarke, 2002). Organisational change is the alternation of work environment in the organisation. It implies a new equilibrium between different components of the organisation technology, structural arrangement, job design and people. Thus organisational change may have following features. 1. When change occurs is any part of the organization, it disturbs the old equilibrium necessitating the development of a new equilibrium depends on the degree of change and its impact on the organization. 2. Any change may affect the whole organization. Some parts of the organization may be affected more, others less; some parts are affected directly, others indirectly. 3. Organizational change is a continuous process. Newstrom and Davis (1997) have explained the impact of a change in any part of the organization of the total organization. They have illustrated it by comparing an organization to an air filled balloon. They have concluded that the whole organisation tends to be affected by the change in any part of it (Newstrom & Davis, 1997) However, the change in the organization does not occur purely on mechanical relationship. While managers as a change agent want to bring changes in the organization employees want to maintain a status quo. Factors in Organizational Change : Organizational changes are required to maintain equilibrium between various external and internal forces to achieve Organizational goals. Therefore,

Anthropomorphism in Disney Movies

Anthropomorphism in Disney Movies In the Disney world, not only can inanimate objects become alive, but life is expected of them. (Field, 1945:57). The depiction of animals and objects has played an important role in the world of Disney and is central to its oeuvre. The relationship with nature has become the source of inspiration, taking one back to the fantasies in which imagination and reality merge together to create a divine cosmos where animals speak, plants and trees act consciously and inanimate objects feel emotion. Disney transports us to a universe free from time and space, where one can retain their lost youth and enter a place of adventure harping back to an imaginary world only a child can behold. Disney successfully endows animate and inanimate objects with energy of their own, associating them with human nature, suggested by their profile or purpose: Here everything becomes so splendidly relative- a beetle lumbering along with heavy self-importance becomes a great big fellow and immediately assumes the role of some diminutive little creature darting about with playful determination to outwit the others stupidity What, for instance, is to an enlightened soul more obvious than an insect orchestra? And for instruments? Well, why were flowers shaped like trumpets? (Field, 1945:56) To relate to the animal world is an impulse that has occurred throughout history, first recorded in hieroglyphics and ancient Palaeolithic cave paintings most notably the Lascaux caves which depicts the everyday occurrences and encounters between the species of human and beast in their natural surroundings and environment, preserving history. From a historical perspective, the use of anthropomorphism has been apparent within entertainment for centuries in particular vaudeville, but mostly through illustration. Illustrative literary sources have proved widely influential to animated film acting as a vehicle to enhance form and style. Artists such as Ernest Griset, John Tenniel, Honorà © Daumier and Arthur Rackman previously interpreted animals in their work and the Disney animators praised their ability to caricature society and human behaviour. Titles such as Aesops Fables and the Fables of Jean de La Fontaine were illustrated by J.J Grandville and later by Gustav Dorà © with many well known fables and follies being re-used in Disney. The story-telling aspect of animals that possess the power to talk, comment and become intertwined with human characteristics compliment a fable creating a timeless contribution to literary tradition. It is important to protect and renew these stories as they continue to be popular and act as a bridge between young and old. Robin Allan notes that as humanity has become less dependent on animals for its day-to-day life, this century has seen an increase in the anthropomorphic impulse, from Beatrix Potter in the nineteen hundreds to Kermit the Frog in the nineteen eighties (Allan, 1999:20). Over time, animals have progressed from being regarded as work animals to being ones of domestication, bestowed with quasi-human qualities. Disney was intrigued by the miniature worlds of insects and animals and aspired to seek out the understandings of character and personality in order to perfect movement believably, exaggerating the traits and features of humans and creating a likeness to a persons appearance. Disneys concern with the caricature urged him to study personality because for him, it was the action that held great importance. Disney summarised in 1935: The first duty of the cartoon is not picture or duplicate real action or things as they actually happen, but to give a caricature of life and action. The point must be made clear to the men that our study of the actual is not so that we may be able to accomplish the actual, but so that we may have a basis upon which to go into the fantastic, the unreal, the imaginative and yet to let it have a found of fact, in order that it may more richly possess sincerity and contact with the public I definitely feel that we cannot do the fantastic things based on the real unless we first know the real. (Disney, cited in Watts, 2002: 108) There is a huge amount of emphasis on the elements of a picture being not a mere representation but an individual that can step out of the page, talk to you and be alive. What became known as hyperrealism meant that each character became more aware of their bodies, encompassing its own personality in which the illustrators must learn and understand; Mickey is not a mouse, but a person. The story crew will psychoanalyse each character, and from each mans suggestion will evolve on paper a character with defined proportions and mannerisms (Hollister, 1994: 26). Walt Disney encouraged the study of movement through the establishment of an art school. Snow White and the Seven Dwarfs (David Hand et al, 1937) focused more on fantasy, with endearing little animals, however in Bambi the artists had to get closer to nature, and were trained in animal locomotion and anatomy with live animals being brought into the studio and artists being sent out on field trips to zoos and the natural environme nt (De Roos, 1994: 56). By observing traits and mannerisms of the living and combining it with animal characteristics, artists could also look deeper into the action; unearthing mood, personality and attitude, to create a character that would be adored by the spectator in which Steven Watts describes as personality animation (Watts, 2002: 108). This style of animation became a trademark for Disney and allowed figures to enjoy freedom from restraint. Sergei Eisenstein, Soviet filmmaker and theorist likens Disneys work with totemism, in which humans have an embedded spiritual affinity with animals or plants: In Disneys works animals substitute for people. The tendency is the same: a displacement, an upheaval, a unique protest against the metaphysical immobility of the one-an-forever given. Its interesting that the same kind of flight into animal skin and the humanization of animals is apparently characteristic for many ages, and is especially sharply expressed as a lack of humaneness in systems of social government and philosophy. (Leyda, 1988:33) Animals are represented as spiritual beings, linking them closely to the world of humans, but their natural detachment and own sense of personal worldliness creates a barrier. Referring back to the plasmaticness of the animated form, Eisenstein focuses on the metaphorical role of the animal story in which the animals renounce authority. During the era of the American depression, the theme song, Whos Afraid of the Big Bad Wolf? from the short Three Little Pigs became an iconic anthem. David E. James discussed Eisensteins views on Disneys early work: Disneys films were then a lyrical, limitlessly imaginative revolt against the disciplinary regimes of the capital, against the big grey wolf who in America is behind every corner, behind every counter, on the heels of every person especially those of the working class. (James, 2005: 271) There is an emphasis on the importance of cartoons and animated animals being able to liberate humanity from the woes of life, representing a certain freedom and acting as a vehicle to make statements be it political or cultural. The concept of the real gave animation the possibilities to explore and expand the peripheries of fictional space. Eisenstein explored the appeal of the plasmatic and the flexibility of animals and objects with the ability to change and reanimate at will. The very ideaà ¢Ã¢â€š ¬Ã‚ ¦of the animated cartoon is like a direct embodiment of the method of animismà ¢Ã¢â€š ¬Ã‚ ¦And thus, what Disney does is connected with one of the deepest traits of mans early psyche (Leyda, 1988: 129). Eisenstein focuses on Merbabies (1938) in which animals substitute for other animals, in this case fish are substitutes for mammals; An octopus with four legs, a fifth as a tail, a sixth as a trunk. This is a reconstruction of the worldà ¢Ã¢â€š ¬Ã‚ ¦according to fantasy. You tell an octopus: be an elephant, and the octopus becomes an elephant. You tell the sun: Stop! and it stops (Leyda, 1988: 3). Sergei Eisenstein was overwhelmed by Disneys appeal and his mastery, with his ability to perfect technologically but also to understand the inner psyche of human thoughts, feelings and ideas. Eisenstein believed that these hand drawn cartoons were a metaphor for human liberation, reviving the passion and everlasting power of youth when people still aspired to become whatever they wish (Leyda, 1988: 21). As the world had to endure the oppressions of daily life, cartoon shorts acted as a popular art form, filled with gags and comedic performances by animals acting as a comic relief and morale-raiser-in-chiefà ¢Ã¢â€š ¬Ã‚ ¦The cartoon animal could always bounce back (Wells, 2009: 13). The Disney narratives establish a moral paradigm that offer a fairy tale happy ending with the victory of good over evil, whilst still having to struggle with trials and tribulations along the way. This classic formula presented by the Disney Studio allows an anthropomorphic animal to engage and communicate with the viewer with narratives symbolic of the unavoidable vicissitudes humans have to endure in life. Wells demonstrates this: à ¢Ã¢â€š ¬Ã‚ ¦characterised by initial establishing of spring or time of new birth or community ritual, normally followed by a rupture in this apparent calm and continuity, prompting a new journey. The character finds new friends, and through adventures, trial and suffering, overcoming major challenges, resolves any schisms and overcomes. Community is restored, main character completes journey and is advanced spiritually and practically. (Wells, 2009: 124) Through anthropomorphism, animation uses the act of performance by animals to challenge how we perceive ourselves. Through Disneyfication, the Disney films address a family audience, combining visual pleasure with mature themes whilst still entertaining and educating. Paul Wells suggests there is a moral ecology within the Disney narratives. For example in Bambi, its assumedà ¢Ã¢â€š ¬Ã‚ ¦that wild animals inhabit a moral universe and that people would do well to emulate the innate morality- the natural law- of the wild (Wells, 2009: 76). Humans seek out a mutual understanding by use of adapting a moral ecology with the animal. Disney instructed his workers to uncover the subconscious of the viewer in order to bring to life the feelings, fantasies and dreams that each of us has had at some point during life. Steven Watts notes that a preoccupation with the dream state in Disneys early films triggered a fusion of intellect and emotion, superego and id (Watts, 2002: 108) to the extent that audiences forget their extraordinary beginnings. The animated film draws human and animal into the same unconscious, primal remit in which both adult and child are reconciled with the specifities of the animated filrm, and this is through spectacle. Steven Wells explains: it is important, then, to once again consider what is distinctive about animated depictions of such animals, and in amore specific sense this seems to lie in the relationship between inherent primal connections between humankind and animal and the ways in which animation can formally and self consciously predicate its design and motion to recall such connections. These essentially operate in two ways- as a model of empathy through juvenilisation and interrogative awe, played out through spectacle. (Wells, 2009: 81) There is arguably an association between childhood and animalism, and the fantasy that is offered to us through culture, whether it is through toys, circuses or childrens literature. Animals often had a very special place during childhood with anthropomorphism being the result of this alliance. Richard deCordova observes that animalisation in the world of children holds a powerful purpose as it associates the child with nature and thus establishing their innocence and their detachment from the overpowering elements that corrupt the fabric of social life: The childs relationship with nature and association with innocence on the one hand and primitivist vitality of the other could be effectively concretized through symbolic procedures that linked the child to animals. (deCordova, 1994: 211). Not only are children being bound with nature, they are intertwined with a basic, primal kinship with animals. The innocence of youth is illustrated through animation by awarding each character with juvenile characteristics bringing together both child and animal. With animals and children, hierarchy is flattened and the two can act as equals, to the point where children are more compatible, emotionally and spiritually alike to animals than to their adult peers. Animation creates a model for which through the factors of change, the affiliation between the two species can be explored. Animated characters can chose who they want to be: animal or human, innocent or rebellious of neither of these. They can act as a representational aid to address issues that could not easily be addressed directly and because of the form in which they are presented, it is generally accepted. Anthropomorphic films unify both man and animal, enabling a relationship unachievable in reality, in the same way literature has done before it. Word count: 2117

Physics of Dog Mushing :: sport Physics Dogs Dog Racing

Acceleration/Velocity Acceleration and velocity are mostly dependent on the number of dogs, the quality of the dogs, and how well the dogs have been trained, but it also can depend on friction and inertia. The lager mass an object has the the more weight it has and the more inertia it has. Weight effects acceleration by increasing friction. Friction is f =  µN where  µ is the coefficient of friction, N is the normal force, and f is friction. The normal force is equal to mass times gravity assuming no other downward forces are applied. Therefore the more weight in both sled gear and musher the dogs have to haul the lower the velocity and the slower the acceleration will be due to friction between the runners and the ground. Inertia effects acceleration because inertia is the tendency of objects to ether stay at rest or stay in motion. In this case since the point is to move we are more concerned about staying at rest. When starting the dogs have to pull harder to get the sled moving then they do to keep it moving to both overcome the effects of inertia and to change the fiction from static friction to kinetic friction. Force/Work Force is necessary to start all motion, and in the presence of friction force is needed to maintain a constant velocity. In mushing a vast majority of the force comes from the dogs, and depending on the musher as a small amount to no force comes from the musher (assuming flat terrain). Mathematically F = ma where "F" is force, "m" is mass, and "a" is acceleration. this tells us that if the velocity is constant then the sum of the forces equals 0(F = 0). this doesn't mean the dogs aren't applying any force it just means that they are only applying enough force to over come any friction that might be resting the forward motion. The dogs apply this force by pulling on the tug lines which leads to a gangline which is attached to the sled. some mushers place a shock absorber between the sled and the gangline to both ease jolts from the dogs accelerating from a stop and to reduce the jolt on the dogs from large bumps in the trails. Work The dogs are only doing work when they are accelerating because W = Fd where W is work, F is force, and d is distance. Physics of Dog Mushing :: sport Physics Dogs Dog Racing Acceleration/Velocity Acceleration and velocity are mostly dependent on the number of dogs, the quality of the dogs, and how well the dogs have been trained, but it also can depend on friction and inertia. The lager mass an object has the the more weight it has and the more inertia it has. Weight effects acceleration by increasing friction. Friction is f =  µN where  µ is the coefficient of friction, N is the normal force, and f is friction. The normal force is equal to mass times gravity assuming no other downward forces are applied. Therefore the more weight in both sled gear and musher the dogs have to haul the lower the velocity and the slower the acceleration will be due to friction between the runners and the ground. Inertia effects acceleration because inertia is the tendency of objects to ether stay at rest or stay in motion. In this case since the point is to move we are more concerned about staying at rest. When starting the dogs have to pull harder to get the sled moving then they do to keep it moving to both overcome the effects of inertia and to change the fiction from static friction to kinetic friction. Force/Work Force is necessary to start all motion, and in the presence of friction force is needed to maintain a constant velocity. In mushing a vast majority of the force comes from the dogs, and depending on the musher as a small amount to no force comes from the musher (assuming flat terrain). Mathematically F = ma where "F" is force, "m" is mass, and "a" is acceleration. this tells us that if the velocity is constant then the sum of the forces equals 0(F = 0). this doesn't mean the dogs aren't applying any force it just means that they are only applying enough force to over come any friction that might be resting the forward motion. The dogs apply this force by pulling on the tug lines which leads to a gangline which is attached to the sled. some mushers place a shock absorber between the sled and the gangline to both ease jolts from the dogs accelerating from a stop and to reduce the jolt on the dogs from large bumps in the trails. Work The dogs are only doing work when they are accelerating because W = Fd where W is work, F is force, and d is distance.