The Country of Iraq Essay -- Research Iraq Essays Papers

The Country of IraqThe country of Iraq has weathered many hardships oer the past few decades. An eight-year war over territory with Iran began in 1980. Soon after, in 1990, Iraq invaded the country of Kuwait, which led to the Gulf War. Then, after twelve years of not complying with the UN Security Council over weapons of mass destruction, Iraq was invaded by the United States in March of 2003. A consequence of Iraqs rocky past is an unstable government. Several countries, including the U.S. ar currently providing aid to sponsor the rebuilding effort. Some efforts include strengthening school, healthcare, and law enforcement systems with education and reconstruction. Recent government changes for Iraq include a new ease off and new currency. The new flag has a blue crescent moon in the center and is white with one yellow and two blue strips at the bottom. The new currency is called the untested Iraqi Dinar, and it features many new safety features to prevent counterfeiting. There is also currently an interim (temporary) government in Iraq. Elections by the Iraqi people leave hopefully occur on the 30th of January this year. If the elections proceed as planned, Iraq will be one step closer to having an independent government.Though Iraq is in a time of crisis, it is truly an interesting and beautiful country. At twice the size of Idaho, it is the home to about 25,374,691 Iraqis. The primary religion in Iraq is Muslim. Almost 97% of Iraqis are practicing Musli...

Iagos Justice :: essays papers

Iagos Justice In William Shakespeares play Othello, there lurks an evil that far is surpasses the injustice of the devil, it lies in the antagonist Iago. Othello who passes Iago up for a promotion simply because Iago is not a arithmetician, swears to take his revenge and destroy the moor and every thing Othello holds dear. finished this Iago plays judge, jury, and executioner, but is Iagos justice justified or does his justice go far beyond the point of justice that he crosses the line. Once that line is get over there is a point of no return. All barriers that may have at one point existed are now broken.Iagos justice asshole never be justified, by taking or causing the bloodshed of the innocent for his let personal gain is no more justified and so murder in cold blood. What ever promotion Iago is entitled to or what ever rights he may have is gone when he decides to create his own law. Nor should he posses the power to influence and decide the fate of others. I hate the bind........Hell and night must bring this monstrous birth to the worlds light (I.ii.20). Iago intend to abuse Othellos ear and convince Othello his wife Desdemona is an adultress, framed to make women false (I.i.20). Iago plans to bring the devils evil to earth in ramble to get his revenge on Othello. Although Iagos justice can never be justified his anger pointed towards Othello can be. Despite solely the rage, fury, resentment, prejudice, and anger Iago feels towards Othello Iago feels all this and more to the appointed lieutenant Michael Cassio. For Cassio has never had experience on the battle field, A fellow almost damnd in a pretty wife That never set a squadron in the field, Nor the division of a battle knows (I.i.1). Iago also points out that preferment goes by letter and affection (I.i.2). Iago is well assured of the fact that he is more qualified for the position but choices are based upon brain and not achievements on the field. In Iagos pursuit of destroyi ng the Moor and achieving his rightful position he destroys so many lives. Michael Cassio is soon striped of his position due to Iagos deceit. Othellos fair wife Desdemona is murdered by her own husband after Othellos mind is poisoned by the honest Iago.

Race and Health Essay example -- Ethnicity Income Health Essays

Race and HealthWhen Hurricane Katrina struck New Orleans a couple months ago the citizens of this country were bombarded with questions on public life playing a responsibility of the survivors that were stranded for days to soon be plucked from their rooftops. These people who were life story paycheck to paycheck did non have the same resources of the wealthy. They most likely had no insurance, no stable extended family that could lend them a house to get or even a job to return to after the storm. The majority of New Orleans is African American and also in poverty and although it has been an uneasy subject to discuss it seems that if these people would have had the help to flee the city or been able to afford transportation to escape their health conditions might not have been so dire. Behind it all there lays health, race and income. The person who earns the most, wins right? Socioeconomic status determines our place in life and if the rules are not broken, the path is fairly predictable. The factor of money seems to not only promote a better education, but also better-quality health care, neighborhoods and sanitation. To better determine how health, race and income are correlated I analyzed these three concepts. The independent variable use was combined race/ethnicity records. The dependent was their overall health conditions. Finally, I used income as a control variable to judge how much of a factor income plays on physical conditions. II.Measurement...

Professionalism In The Health Field Essay -- essays research papers He

Professionalism is an adherence to a set of determine comprising both a formally agreed-upon code of conduct and the informal expectations of colleagues, clients and society. The key values include acting in a patients interest, responsiveness to the health needs of society, maintaining the highest standards of excellence in the practice of medicine and in the generation and dissemination of knowledge. In addition to medical knowledge and skills, medical professionals should present psychosocial and humanistic qualities such as caring, empathy, humility and compassion, as well as social responsibility and predisposition to peoples culture and beliefs. All these qualities ar expected of members of highly trained professions. There are many attributes that contribute to being professional. The many that stick out in my mind are responsibility and accountability, leadership, honor and integrity, respect, and caring compassion and communication. All of these attributes pertain to the professional work environment in the own important way. When you are a professional you need to have responsibility and accountability. This means you have to demonstrate awareness of your own limitations, and identify developmental needs and approaches for improvements. You care for yourself befittingly and you present yourself in an appropriate manner (demeanor, dress, and hygiene). You recognize and report errors and poor behavior in peers. You have to take responsibility for appropriate share o...

Importance of Setting in A Rose for Emily :: A Rose for Emily, William Faulkner

Importance of Setting in A Rose for Emily In William Faulkners A Rose for Emily, Faulkners details about setting and atmosphere give the reader primer coat as to the values and beliefs of the characters, helping the reader to understand the motivations, actions and reactions of break loose Emily and the rest of the townsfolk, and changing the mood or tone in the story. The setting in A Rose for Emily is Faulkners fictitious post- civil war Jefferson, a nice town in the deep south of the United States. Faulkners use of this particular time-period or genre, is successful in giving the reader an understanding or background to the values and beliefs of the characters in the story. The town of Jefferson is a fallen legacy. The hierarchical regime of the Griersons and the class system of the time where by ordinance of the mayor- Colonel Sartoris, a Negro women could non even walk the street without an apron, had changed into a place where even the street on wh ich Miss Emily lived, that had once been the most select, had now been encroached and obliterated, her house an eyesore among eyesores. Both the town and Miss Emily herself, now looked upon Miss Emily as the only remnant of that greater time. This fact gives the reader an understanding of the mindset of the town, who is narrating Miss Emilys story to us in a form resembling a gossip circle, where stories of various townspeople are pieced together and of Miss Emily, the protagonist who lived alone except for her lone servant. The actions of Miss Emily prototype from eccentric to absurd but it is the readers understanding of the setting that keep the story believable. Miss Emily becomes reclusive and introverted after the death of her father and the estrangement from the Yankee- bulls eye Barron. It is also revealed at the end of the story that she went as far as poisoning Homer, keeping his dead body in his house, and sleeping next to him as well. She is doing what she feels necessary in response to the pressure placed on her by the town.

Importance of Setting in A Rose for Emily :: A Rose for Emily, William Faulkner

Importance of Setting in A Rose for Emily In William Faulkners A Rose for Emily, Faulkners details about prospect and atmosphere give the reader background as to the values and beliefs of the characters, helping the reader to understand the motivations, actions and reactions of Miss Emily and the rest of the town, and changing the mood or liveliness in the story. The compass in A Rose for Emily is Faulkners fictitious post- civil war Jefferson, a small town in the deep south of the fall in States. Faulkners use of this particular time-period or genre, is successful in giving the reader an understanding or background to the values and beliefs of the characters in the story. The town of Jefferson is a locomote legacy. The hierarchical regime of the Griersons and the class system of the time where by ordinance of the mayor- Colonel Sartoris, a Negro women could not even walk the street without an apron, had changed into a level where even the street on whi ch Miss Emily lived, that had once been the most select, had now been encroached and obliterated, her house an eyesore among eyesores. Both the town and Miss Emily herself, now looked upon Miss Emily as the single remnant of that greater time. This fact gives the reader an understanding of the mindset of the town, who is narrating Miss Emilys story to us in a form resembling a gossip circle, where stories of variant townspeople are pieced together and of Miss Emily, the protagonist who lived alone except for her lone servant. The actions of Miss Emily range from eccentric to absurd but it is the readers understanding of the setting that keep the story believable. Miss Emily becomes reclusive and introverted after the death of her father and the estrangement from the Yankee- Homer Barron. It is also revealed at the end of the story that she went as far as poisoning Homer, keeping his dead body in his house, and sleeping next to him as well. She is doing what she fee ls necessary in response to the pressure determined on her by the town.

How Tesco and Oxfam businesses are organised Essay

TescoTescos Hierarchical social organizationTescos has a hierarchical organisation structure. Hierarchical structure has some(prenominal) levels arranged in a treelike construction with the somebody with about power at the top and the lowest at the can E.G. Managing director at the top all the way to the bottom which is the quality guard manager and financial accountants. Hierarchical structure is mainly used in big companies like Tesco. The disadvantages of the hierarchical structure are that if the financial accountants have a problem it would take its time to get the message to the right psyche which is the managing director. So making decisions will take long to make as it would take a long time to go up the hierarchical structure to put the idea in place. Mainly the first instructions in a hierarchical structure will have to be the managing director because the person has the most power and be able to control the company and it will make its way down to the bottom.OxfamOxfa m hierarchical structureOxfam organisation structure is court than Tesco as there arent much of people working and organising the company. Oxfam organisational structure is geographical as they work around the world in and with alot of countries helping the slight fortunate. The charity is controlled/run by a chairwoman who is in charge of a number of trustees who makes the main decisions in the company, So Oxfam structure is flat and it doesnt take long. Whereas Tesco has to makes its way up in the hierarchy structure. Oxfam tries to keep the number of managers down and have more volunteers up. This is because Oxfam tries to keep the costs down as most of the trustees and volunteers dont get paid.

The Diary of Consuelo Ortiga Y Perez

The Diary of Consuelo Ortiga y Perez * 16 September 1882 We own met two more than Filipinos unrivaled is called Rizal and the some other, Perio. 30 September 1882 Rizal brought me a rumpe this morning which is rise of sugar and one cannot tell how it was put inside. 01 9 October 1882 Rizal says that he goes out neertheless to go to the medical school and to come here at night. 18 January 1883 Rizal talked with me for a prospicient time, almost the whole night. He told me that I was very(prenominal) talented, that I was very diplomatic, and that he was going to notice if he could extract some truth from me within two weeks that I was mysterious and that I had a shroud over my ideas.He asked me who my favorite author was I go intot pick out what I answered him because I was no longer feeling well. Lete told him that neither had he understood me and I utter that it was easy and I was sure that Rizal would visualize me forthwith. Now Im sorry for having give tongue to th is. Have I not disposed(p) him hope with it? Rizal told me that he detested amiable women because when they smiled, men imagined that they did so for some intimacy else. As he had told me the night before that I was very amiable, I understood that he meant it and I left him so that he would not pay a mis con.A man should first psychoanalyze the ground and if he checks that the smile is fore everybody he ought not to pay attention to her smiles because in distri only ifing them so freely they lose all their meaning. 26 February 1883 . . . Rizal is also in love he has not declare this but almost, almost. He told me last night that he had a sickness that would not leave him except when traveling and that was only perchanc4. He also told me and I understood why, that two brothers had killed each other because both played the same card, that is, because both loved the same woman.He said that he had taken notice of one who was very tall for him but in spite of the fact that he had t urn ine it to amuse himself, it was useless. I listened to him with pleasure because he talks well and I fear that because of that he may think that Im big him hope, as it is in reality, but as it happens that I like his conversation, I ravage myself to it and thus when he goes away, Im sorry he comes and again I do the same thing. Lola 02 was telling me that we ought to go away this summer and I would be glad to see if by not seeing Filipinos I would avert a tempest that I see is near.I find myself in a position of not knowing which side to take Lete on one side, Rizal on the other, on another the two brothers 03 all attack and I have nothing with which to defend myself except my head, for I dont see, as I go nowhere, my former admirers, though it would be the same should I see them. Those who do not suit me for some reasons, and these neither for others in short, sometimes I fear I may lose my mind. 2 March 1883 Rizal asked me if I didnt miss another love. I said to him no, bu t that is false. For sometime now Im different.Before I didnt think of things Im idea of now. whence I had more suitors than now and I dont know if for that very reason I didnt give them raw even ten minutes. Now, on the other hand, I think of them and my opinion is divided between Rizal and Lete. The first one tempts me by his manner of speaking and because he seems to me a serious lad, though formal ones frighten me. 20 March 1883 Rizal was such(prenominal) preoccupied and I asked him what the trouble was. He said that he was mentation of certain changes. Youre sad and here sadness is forbidden to enter. Its true Ive been importunate. No Ive been the importunate one in construction that to you. I know, he said to me in result, that some are winning. At that moment another spoke to me preventing me fortunately from answering. Later he told me that I was giving it for his saints day. How? What do you mean? Nothing, nothing Ill explain it to you another day. I didnt wish to insist. In the afternoon he said to father that he might trouble him to see if he could finish his course this year.It seems that he motivations to go away. It is thus like a wound. Poor Rizal And unforesightful me who inspires love in those whom I cant love 2 April 1883 Rizal began to tell me I congratulate you, but I got only ambiguous phrases from him. At this point Lete was able to sit beside me and said to me Now we are going to adjust our accounts. Im very much irritated by the philosopher. (That is what he calls Rizal. ) Why? Because he is very attentive to you tonight. Havent you noticed a certain change in him? I? No. Well, he has suffered it greatly the other day he told me, Dont you know that Im fitting to like Consuelo? Yes? Then Im glad, I replied, and yesterday I went to his house and he was writing some verses. For whom are those verses? I asked him. For a newspaper in the Philippines. Are they, perchance, inspired by the ardent rays of Consuelos eyes? Chap, he replied, I dont need to be inspired. What do you think? That you exagge station I dont believe Ive such intentions. Hes very clever you dont know him. I laughed to myself, because I know all that by heart. (Here follows a long dialogue with Lete. ) At this point Esteban Villanueva 04 comes and says to Lete Come and close the door for Im leaving. He went but on leaving he took the chair with him. Rizal came full of jest and said to me Tell me, Consuelo, why does Lete take away the chair? Ask him. Later, Lete said to him. Ill explain. laterwards, Rizal said to me Tonight some(prenominal) will suffer from the lung and the heart. Then Lete said to me Understand from the lung for gambling from the heart, for you. And why give it that interpretation? Because it is his. I went later to get some copper coins that Antonio (Paterno) had in his vest pocket and when he surprised me, I said What a poor thief I am You can be sure of that, said Rizal to me, but of another thin g no. This vexed Lete and he and Rizal were peeved all night long. We Antonio, Rizal, and I arranged ourselves to play tute 05 and Rizal began to tell me things always circuitously until I told him that he had something that I didnt like and that is he was not frank enough. You speak in such a way that its necessary to think a great come up to to be able to understand you and I hope that in time Ill understand you. He became serious he put his hand to his eyebrow and said to me You know very well what I compliments to tell you, but theres no better system of avoiding answering then to ask questions but since you want me to tell you plainly, tell me if its true that one who comes afterwards arrives late. What Have they said that I said it? No cryptograph would say it. Then, you ask me if he who comes behind arrives late. Yes, thats it. If I were to tell you that, I would have to relate to you many things in my intimate life that Ive told nobody. Youre right, I ask you t o excuse me, but as youre so amiable, Ive dared 3 April 1883 My account having been interrupted yesterday, I continue it today. After awhile, Rizal said to me Im going to tell you a story. Lets see. She was a girl courted by two men. She was engaged to one and the other would tell her So and So wants to court you and when he would go away, she would laugh with the other at him. If I could get mad, I would. Why? Because youve called me a coquette. No because she wasnt to blame. It was to find out if she listened to both. I didnt want to say that, nor did the other tell her that he loved her but at any rate I ask you a thousand pardons and I withdraw whatever was offensive. I stood up for a moment and when I came back, Rizal, truly pressed, said to me Do you forgive me? Ive nothing to forgive because it was due to my excessive susceptibility. Why? Do you forgive me? I forgive and see how good I am for I impose no penance. Impose a penance on me, he said. April 1883 Last n ight some were absent, among them Rizal, a thing that surprised me. Lete said to me Ive come more than anything else to ask you a question. What? Rizal told me the other day that last Sunday, speaking with you, you told him that this summer many will be disappointed, and I want to know if Ill be one of them. Why do you want me to tell you a thing that I dont know? I spoke without knowing what I was saying. That indeed slipped from my tongue, as I was following my own thought more than the conversation in which I was engaged. I dont understand what you want to say. Well nothing I said that just to say something and now Im sorry for I see that my phrases are commented on. When Lete told me this I was displeased that Rizal had told him, but Lete told me later that Rizal told him in order that he would be warned. Ive already thought that since Rizal is so astute, hell make Lete averse to me to have one rival less. 16 April 1883 Rizal told me he has some plants that he has bought to day and that the first flower will be for me.He told Lete and me a story that he said belonged to my mythological times. He calls Papa Periandro and Lete Letidolis and himself Planchivis. He said that Periandro had a daughter to whom Diana had granted the gift of loving all men and afterwards he added women. In short, the story was long and I dont remember all of it, but in it he spoke of everything and explained our respective situations. 7 May 1883 Last night I was in the corridor when Rizal passed on his way out, but instead of leaving, we talked for more than an hour.He again repeated that he couldnt understand me, that I had a very black veil that hid my ideas from him, that many times he believed that a thing was done that in reality was not done, and it happened to him when poring over that instead of letters he always saw a figure. . . . He brought me a flower, the first that his plant bore. 14 may 1883 (Dialogue between Consuelo and Lete about their engagement) At this poi nt I opened my handbag and I saw the flower Rizal had given me last Sunday and without caring a whit, showed it to him.Everybody knew it and Rizal, however much he tried to dissimulate, was very happy. Afterwards I was sorry but there was no remedy. Lete then said to me Youve unplowed the flower. Yes I was removing things my handbag was open and I dropped the flower into it just as I would have done with any other thing. Youre a terrible woman, Rizal said. It seems unbelievable Its atrocious, with that sweet reflection you take delight in mortifying since this night you have make me suffer so much and you do nothing but laugh. I want to laugh now if by chance I may have to cry later. I would be glad. Thanks, I said to Rizal. He didnt know that I was at the point of crying. I dont remember what Rizal said that Lete said to me Youll not make me quarrel with my friend. I? Why? Because its so. It will not be serious. Who knows, perhaps you will be the first cause. For Gods sak e, dont frighten me for Im terrified Lete is so good, added Rizal, interrupting the conversation. One night I gave him such great fright when he was alone at one house that he left so angry that I saw him cry.Nevertheless, the other day, we made up. You have seen me cry? Where? Here in the house? Lete objected, grateful for that affectionate praise. The other didnt reply and I became very curious. Have they had some displeasure between them? 9 June 1883 For two Sundays all the Filipinos harbourt come. Rizal was here the other afternoon and he said he had not come on account of the examinations and that he came out well in every one of them. The poor one is very enthusiastic and Im sorry. Enthusiasm, they say, is contagious, but I cant be infected.Im quite mortified that they have so soon forget me for some nobodies 06 who, according to my information, are not even pretty, but Ill be very careful so that theyll not be vain thinking of another thing and in case its calculation a s I imagine. 11 June 1883 Rizal and Antonio (Paterno) who were at the Retiro yesterday brought me flowers and they told me to go there, but I havent gone because those girls go and I dont want to be obliged to speak with them. Rizal told me he was going to Paris to distract himself, to bring back himself of an illness contacted a year ago.Then he has seen others deceived by the amiability with which they have been treated and he was afraid the same thing might happen to him that he fell in love again and it seemed to him that he was going to be accepted and soon he was disappointed. Now its different because she belongs to a much higher class. I have, he said to me, too many aspirations. Man must always have them. Yes but when theyre too high theyre ridiculous. An aspiration is never ridiculous when its end is good and neither do I believe that you have aspired for the moon. No but its so vexed that I know it will accept only one with a great name or high position. I didnt ans wer him. What could I say to him? If I gave him hope, then later to tell him no would be a crime and I havent enough willpower to take all hope from him, because, despite everything, I like him. Tell me what you want from Paris. Nothing, may you enjoy much. You already know that Im going to study French, and what Ill try is to get curried if I dont succeed. Ill follow the currant. Lete and I have concluded a truce for the summer. Were in it, I said to him. When does it end? In September. Then on the day following, the end. In October? I asked, knowing what he wanted to say. Yes. And whats it, in what does it contain? Pardon me, for as its Letes also, I cant tell you. Dont say it then. 18 June 1883 Rizal has gone to Paris he says hell come back in September. Last night Antonio (Paterno) told me that as the train moved, he sent us many regards through him. Will he get cured? 23 August 1883 The other night Lete told me that on Monday he talked with Rizal for more than four ho urs. As a good friend, he said, I related to him everything, and now he saw that I had not been sincere towards him. Before, Rizal said to him, he didnt think of me, now the told him the opposite. Rizal asked him about the status of his race with me. He told him and he advised Lete not to go to Barcelona because If you go, he said, its possible she may not answer you on the 24th but on the 25th, or never, which is the same then, as soon as youre away shell get cold, in case shes becoming convinced, and as for me I cant be responsible to you.You know, Rizal continued, that I liked Ines and nevertheless I left her to Antonio (Paterno) with her I could have passed away the time, but with Consuelo no for this reason I have told you as a friend I advised you to marry her, but as Rizal, no. As hes noble, Lete continued, we have made a pact that hell say nothing until 24 October. He told me he had to answer a question you put to him. I asked him wit it was but he replied that he couldnt tell me because it was a secret. The following day Rizal came and brought two music sheets as a souvenir from Paris and some verses that I had asked him at the concert and others dedicated to me 07 which confirmed everything Lete had told me.They go with this diary to save me the trouble of writing them down and because I believe they reveal passion, not for an orthogonal one but for me who had inspired them, and for knowing their author. My question was if he already got cured, a kind of bold question which Im sorry I asked. 3 September 1883 I showed Rizals letter to Matilde. 08 She didnt like it and said there was a very bad intention in the polished piece. 0 October 1883 All the Filipinos came last night. Lete told me that he had asked Rizal what we were going to talk about, and replied that it was nothing. And he added Is it you who have to talk with him? Yes, I answered, what I regret is that you have told him Ill not say anything to him again. I, too, am sorry, but now n othing can be done. As Rizal was warned by Lete, several times he spoke to me and asked me as formerly if I would win in the game but I didnt want to have a conference with him to show Lete I was not kindle and, besides, it was already becoming difficult.I went with Papa yesterday to see the king returning from his excursion. The enthusiasm was great. . . . We were also carried away in that surge and when it cleared a subatomic I heard a voice telling me Over here, Consuelo. It was Maximino (Paterno) who was with his brother, Ventura (Valentin), and Rizal. The last asked me if I knew why all were so studios. Because they have realized the evil they were doing and they abjured their errors. No because they have learned that its a prerequisite to certain things to have a career and for that reason they study in order to aspire for them. We talked a great deal and I dont remember everything. If I believed in certain things, I continued, I would say that youre immortal. Immortal? For many things. For none I believe it seems to me that Ill die soon and if one thing that Ive thought of and I havent told anybody occurs, Ill force out you wherever you may be to show you Im right. Ill note down what you have told me as soon as I get home. What interpretation had he given to my words? Later he told me that he believed in nothing, that he had no faith. And how can you live? Without it. On the contrary I think we ought to believe in something that may encourage us in our undertakings and may comfort us in our misfortune. When a curate says it, I dont believe it if you should say it, I would believe it. God grant that I may have power to make you believe He kept silent and after awhile he said to me Neither do I believe in the love of parents mine love me, but they would not remember me if I would not return or Im delayed ten years in returning. Dont say that I believe little and if you speak to me thus, Ill believe in nothing.The love of parents doesnt die . Ive not been a father, undoubtedly for that reason. . . . I neither, but I judge filial love by the paternal. Ive separated from Papa for some twenty days and when the train left I was very happy. . . . It seemed to me I was going back home at night, but upon arrival at the town where I was going, despite my efforts and Im not given to tears, I couldnt control myself and I cried . . . and everyday I remembered him. You must have been alone. No my brother was with me. We dont speak of those loves. And the others? Oh, we are agreed on those. When I was small I heard it said that friendship couldnt exist between two boys, and I said What has distinct sex got to do with it? I wished to try the experiment and I see its true. I believed in a friend, nothing more than a friend, and we broke up quarreling. I would be yours if that wee not too much for me, I cant aspire. . . . And if its granted to you? They interrupted us in order to overcome the street, and then Sanmarti, 09 whom we met, stood beside me. Rizal also asked me what I would say if Lete would ask me how I spent the day. The truth, I replied. Then, Ill tell him that I spent it very well, and then I saw the Queen and the King. Youve been more fortunate than I, I said to him as if I didnt understand him. The Queen was beside a gentleman sic. . . . . It seems to me Lete would not be very much satisfied for God knows what Rizal would tell him. When all had left, Rizal told Papa for me to hear Spain ought to ally herself with another nation. Papa No sir Spain is all right as she is. Rizal Its time she ceases to be a second class power. Papa You know Spains history, therefore you know that whenever she allied herself with other powers she lost rather than gained. Rizal However, an alliance with a young, rich, and strong nation, I believe, in the present circumstances and even in the future must be beneficial to her, though it may be only a support that a weakened monarchy needs. . . . Weakened? How? Never has it rested on a more solid foundation never was it more loved by the people that see in it the symbol of regeneration, of peace, of new life. Rizal Right, Don Pablo, but only in form, not at the bottom, as it represents the symbol. The people, as part of it, loves the monarchy per accidens, Contingently, indirectly, by virtue of some chance, circumstance, or happening. Latin for, by happenstance. Opposite of per se. rly because it represents the peace of Spain which it loves per se, because it still believes in that longed-for regeneration of its medieval grandeur but the primates of the people adore above all someone who is determined to take possession of her with the same purpose of governing her.

Elementary Teachers Essay

Did you know that teachers take on the role of mothers, fathers, friend, adviser, psychologist, and nurse? Teachers are the keys to every door of success. Elementary teachers, however, builds the footing for the home of your dreams. Most people believe and view round-eyed teachers as babysitters and caregivers, plainly truth be told, they are truly God sent heroes dressed to the nines(p) in suits that walks around with an extra arm and leg making the world a better place. They are not people that you send your children to just so you can brace a break at home.It is a disgrace that parents have that mentality and modern parents continues to think so. Many do not visualise the sacrifices and hard work it takes to mentally raise not one, not two, not three, but hundreds of children. Three very important things you need to know about primary(a) education are as follows first and foremost, you must old(prenominal)ize yourself with the duties and responsibilities of an elementary te acher, secondly, you must know how to become one, and lastly, if you value hard-earned money and the sweat of your hard work, you would want to know how much an elementary teacher earns.I asked a question on the beginning of my introduction to give you a feel and picture of what an elementary teacher goes through everyday. Parents complain and leave all the problems to the teachers to figure out when really, that is not their job.Their job is to make sure that your child receives the trump education possible. non to babysit and try and break their bones teaching them wrong from right. The question on the beginning of the essay creates a conversational tone and will allow readers to wait for the answer or read along searching for whether the answer is true or false. U.S Department of Education Secretary, Arne Duncan stated, I really believe that teachers are the HEROES of our society. universe a teacher is not an easy job. Teachers make it look easy but in actuality, teachers ar e miracle workers. They are able to take care of a classroom full of active curious Georges, and not just anyone can do that. Teachers have many duties and responsibilities. They provide the main source of knowledge for children, tick off that values are macrocosm taught well, and create and prepare less(prenominal)on plans for whatever subject they are teaching whether it be math, English, science, or etc.A teacher knows her students best so they prise ones achievements, abilities, weaknesses, strengths, and challenges them to everywherecome obstacles that are hindering them. They prepare students for standardized tests and most especially, for future grade levels. Besides in-class teaching, they spend over 20 hours outside of class grading papers, organizing extracurricular activities, and worrying about their students. Remember that being an elementary teacher is not the same as being a regular teacher.Dealing with children is much harder than dealing with teens and young adu lts because children are not accustomed to the English language and their minds are not as focus as older students. Teachers, other than parents, are people you can turn to when all else fails and the world seems like a dreadful place. Now that you are familiar with the duties and responsibilities of an elementary teacher, you are now wondering how to become one. The steps and procedures needed to achieve this goal.Depending on what school you are applying to and whether it is a private or universe school, the process differs. Most if not all schools requires at least a bachelors compass point in elementary education, a state-issued certification or license, and other required trainings and tests. Some private schools do not require a bachelors degree or certifications but they do evaluate your experiences. Because you are working with young children, you must know how to adapt your teaching methods to the students levels.You are going to come across students who are not as rosy -cheeked as others, students that are slower or faster than others, students that are different colored than the others, and just whatever students that are much more active than the others, but it is your job to adapt and learn how to deal with whatever situation you are in. You must have great communication skills, patience, instructional skills, and creativity. Like I have mentioned earlier, requirements on how to become a teacher depends on what school you are applying for and whether it is a private or humans school. It is always best to do some research on the specific school you desire.Lastly, with all the steps and procedures to become an elementary teacher, how much they actually make is the sad part. According to the Bureau of mash Statistics, U. S. Department of Labor, Occupational Outlook Handbook, 2012-13 Edition, Kindergarten and Elementary School Teachers, statistics states that The median annual wage of elementary school teachers was $51,660. The lowest 10 percent earned less than $34,390, and the top 10 percent earned more than $80,140. Public school teachers make an average of $50,000-$70,000 annually. Private school teachers make an average of $50,000-$60,000 annually.Thus implying that public school teachers makes more than private school teachers because private school teachers salaries depends on how many students are enrolled and tuition fees whereas, public school teachers salaries depends on certifications and degrees. The higher your degree is the higher your pay is raised. Despite how much the average teacher makes, many people, especially teachers, feel they are underpaid. They work more than 50 hours a week, sometimes works on the weekends, and spends most of their time doing unpaid tasks at home. Many teachers quit their jobs in 5 years because of the low paid salaries.In conclusion, contempt the low paid salaries and take home work teachers deal with, it takes a true hero to care for someone else is child and guide and teach them the basic principle of education. They spend most if not all of their time at home grading papers, worrying about their students, and finding different ways and techniques to help a child in need. They are the eyes, the ears, and the brains of students. Without them, education would not be possible. They deal with different types of students that go crazy because someone just stole their pencil, or she broke a nail, or he is going on a vacation with grandma, or her birthday is coming up.They have these special powers that can tell when something questioning is happening, or something is wrong, or something just does not feel right. Most teachers do what they do not for how much they make or the credibility but for their students and because they care. I was raised by a teacher and living with her and seeing first hand how hard it takes to be a teacher and how all she wants is to see her students gain ground is one of the best rewards anyone can ever receive. I have used the technique summarize for my conclusion to recap and restate the main points of my essay.In doing so, it allows readers to go through what they read but in one whole summary. We do have heroes in the world, after all. Source list http//www. kimskorner4teachertalk. com/writing/sixtrait/organization/conclusions. hypertext markup language http//www. campusexplorer. com/careers/DE17C02B/elementary-school-teachers/ Bureau of Labor Statistics, U. S. Department of Labor, Occupational Outlook Handbook, 2012-13 Edition, Kindergarten and Elementary School Teachers, on the Internet at http//www. bls. gov/ooh/education-training-and-library/kindergarten-and-elementary-school-teachers. htm.

Hidden messages of objects of African art Essay

In our modern world works of artisanic creation play a role which is kind of disparate from the role they use to play in the past. Indeed, in ancient times the craftsmanship of masters who produced utensils necessary for daily needs was already the tooth root of art, because their products were among few vehicles of self-expression. As the result, many of the objects of the ancient art were simultaneously the objects of use, alike(p) vessels for liquids, different decorate tools, etc. However, with time and along with the social developments at least(prenominal) since Hellenistic culture art in the westbound world was be flood tide more a means of self-expression of man and of our compassionate air for beauty.This process, while preserving the hook to objects of practical utilization endowed with artistic qualities, as well as led to the separation of decorative art into a means to achieve aesthetic satisfaction. At a certain moment, art began to be integrated into the a pproaches towards creation of living spaces of human beings, and, importantly, the works of art began to be valued for their own sake.Since the industrial revolution, when technologies enabled mass action of products, the role of art in the Western world underwent further transformation art because capitalism initiated . . . the bringing of art . . . into subordinate relation . . .1 Since those times at that place appe atomic number 18d a tendency to perceive works of art as a kind of modern icons enclosed in museums for prevalent viewing. Thus, the religion of art . . . was natural2, and art as a consecrated phenomenon has been by now fair isolated from our e realday bes.In this regard, one of the nigh important tasks of museums is to find the most effective manners to immerse people into artistic environment and to teach them non yet to contemplate objects with their eyes, but as well to feel them with in all their senses, as if reliving experiences of those human being s who created artistic objects. This task constructs especially challenging when it comes to the presentation of artifacts of cultures that significantly differ from our own. To see such challenges we may turn our prudence to art of Africa, which contains a lot of exotic elements for modern watchmans. One of the most important qualities of art in African cultures is its focus on immediate human experiences.In addition to racial differences among the ethnic groups of Africa that are forgeed in their approach towards depiction of human beings, works of African art in most cases also look so strange for modern viewers because they represent world views and unique experiences (already fixed by addition of and unique experiences) of their creators which are really different from ours. Indeed, African art builds upon heritage of several millennia of various cultural traditions incorporated in such diverse artistic artifacts as sculptures created for ritual purposes, wooden and pros perous monuments, ornaments made of silver and g old(a), unique garments, masks, and another(prenominal) artifacts. On grounds of this diversity, it is very hard to elucidate generalizations about the African culture.However, there are some greens elements that can be viewed as main motives and themes of African art. For example, it is a well known fact that African natural environment is very harsh in comparison to other regions of the world. Consequently, for African denizens the answer to the need to maintain population has traditionally been the bearing of numerous children. Therefore, African women are primarily associated with the symbol of life, because the mankind and integrity of families and clans depends on one hand upon ability of woman to check birth to children, and on other hand upon her role as supporter of old parents and upon her mission in many African societies of contacting with strong drink of the ancestors through prayers and ritual offerings.On ground o f this, many themes in African art are in one way or another linked with symbols of fertility of women, of soil as another source of life, and of animals and plants. For example, many African shrines are dedicated to spirits that are believed to provide fertility, and they often contain some sculptures or other art forms that symbolize fertility. In a more direct fashion, in many African cultures there is an abundance of art objects that directly depict pregnant women. In this way we can see that African art has traditionally been influenced by specifics of its environment. However, one of the Western approaches to African art lies in our attempts to find out whether Africans make art for its own sake, and this approach may be somewhat misleading.At this re closure we may recall our considerations of the development of art in the Western world when until relatively recent times art was not meant to be pose in museums as it is often the case today, but rather was integrated in the life of society, for instance in religious and yet political practices. In this connection, African art seems to have retained the ability to keep itself close to everyday concerns of people as far as it aims to reflect upon the most imperative concerns of African people.The objects of African art bristle with expressive emotions of their masters who with the help of objects of art movement to investigate their relation with the world, and who through art communicate their striving to survive in a tough environment. Therefore, African art can hardly be separated from the lives of people who created it, and this unity seems to be stronger than in the Western artistic tradition.3One of the very exciting let onions where we can find beautiful exemplars of African art is the exhibition devoted to contrivances of Africa, Oceania, and the Americas in the metropolitan Museum of imposture in New York. Let us with the help of this exhibition explore how modern viewers perceive objects of quite a different culture, and whether this exhibition manages to make the displayed objects of art speak to spectators in their native language. For this task we may pick several objects representative of the African culture as far as they reflect upon the main traditional themes of past and present African art.It must be pointed out from the outset that very often there are no unanimous dates for many of objects of African art. This is because African artists neither signed nor dated their creations. However, as many turns of African art are made of wood, which is not a very long-lasting material, especially in African environment, it is purpose that most of the wooden pieces of African art can probably be dated as be to the end of the nineteenth or the line of descent of the twentieth century.Of course, aside from wood many objects are made of stone, clay, bronze, silver, gold, ivory, and terracotta. Such objects are long-lasting and those of them that have been anchor in known archeological conditions and in properly investigated archaeological situations have more or less fixed dates attributed to them.I propose to choose the hobby objects for the further lookA seated figure of a male from the thirteenth century, which offers an impressive image of anxiety that speaks directly to viewers emotions (figure 1 in Appendix). This object originates from Inland Niger Delta region, the site named Jenne-jeno, which is the most ancient known city of sub-Saharan Africa. The Metropolitan Museum of imposture acquired this object in 1981 as a benefaction from Joseph Pulitzer, Harris Brisbane Dick, and Rogers Funds. (already fixed)A memorial head of a ruler of the Akan ethnic group from Western Africa from the seventeenth century that reflects idealized notions of African people (figure 2 in Appendix). This objects origin was Hemang city in the Twifo region of Ghana, the land of the Akan ethnic group. It was initially a musical composition of Michael C. Rockefeller Memorial Collection and was given to museum by Nelson A. Rockefeller in 1967.A pendant mask dated of the sixteenth century, which has an interesting account statement and therefore can enhance our understanding of the role of art in African cultures (figure 3 in Appendix). This object originates from Benin, a culturally important region populated by Edo speaking people that is a part of southern and northern The mask has a rich history of ownership, as it belonged to Brenda Z. Seligman, Prof. C. G. Seligman, and Sir Ralph Moor. In the end, it also became a part of Michael C. Rockefeller Memorial Collection and was gifted to museum by Nelson A. Rockefeller in 1972. (Im afraid that if more detailed info is needed on provenance, the only way to get it is to visit the museum and find out, because officially Metropolitan Museum states only what we have mentioned above, i.e. that it belonged to Brenda Z. Seligman, Prof. C. G. Seligman, and Sir Ralph Moor. In the end, it also became a part of Michael C. Rockefeller Memorial Collection and was gifted to museum by Nelson A. Rockefeller in 1972)Of course, there exists a diverse and omnibus(prenominal) body of research dedicated to such a complex phenomenon as African art. Most of the books dedicated to this topic attempt to integrate African art with social and ethnographic peculiarities of African cultures. I believe that this is a rightful path to follow, because if we try to comprehend the heart and soul of African objects of art while ignoring their context we risk not grasping their align meaning that was assigned to them by their creators. Among books that provide such an integrated approach to the research of African art we may highlight several.One of them is the work report of Art in Africa by Monica Blackmun Visona and numerous co- springs. This book is not that much a strictly formal research but rather a detailed guide that increases our understanding of artistic forms created in different regions of Africa by different peoples and cultures, especially those of the Sub-Saharan areas. From the academic point of view, by means of a combination of modern research of various forms of African arts and their attempts to apply those findings to different geographic regions and different times of African history authors had made a significant contribution to the literature devoted to the history of art. Another relevant work that deals with African art is the book emended by Tom Phillips Africa The Art of a Continent.It is one of the most thorough general works on African art that provides detailed overview of art forms and styles, and at the same time gives extensive description of African tribes and their influence on regionalized art forms. In this way, this book is helpful as a reference for those who would like to systemize the knowledge of African art that one already has, and to localize cultural centers of African art. In addition to the mentioned books, the work of Sidney Littlefield Kasfir Contemporary African Art is the worthy piece of reasearch that treats the transformations in African art in the latter half of the 20th century.It is a very helpful direction of research because, among other things, it shows how the traditional forms of African art are reevaluated by contemporary African artists themselves. The high level of scholarship of the author and his masterful ability to tie modernity with history co-operate to paradoxically make this book relevant for those who aim to better understand not only modern African art, but its traditional forms as well, which is the important achievement for this author.Each of the mentioned books contains some outstanding points, but at the same time none of them can pretend to be a fully comprehensive guide to African art, if it is at all possible to make a such a guide. that as all those books cover somewhat different aspects of African art, I believe that our task is to try to combine their findi ngs with our immediate impressions from the contemplation of the objects of African art from the Metropolitan Museum of Art in fiat to achieve the highest possible level of comprehension of the uniqueness of African cultural heritage.This aim leads me to a more general task which I will try to accomplish, namely to see whether it is possible for a museum as a kind of modern cultural church of our society to present objects of an unfamiliar culture in such a way as to enable viewers to really penetrate beyond the objects material form and recreate in their minds experiences similar to those of artists who embodied their feelings in artistic creations. This task presupposes some psychological research, of which my own impressions from the exhibition will be the object, and also considerations about the general level of successfulness of the exhibit as measured by visible impressions of its other visitors.The first object of our analysis is a seated figure of a male. Due to the age of this piece of art and the fact that African artists did not inscribe their names on their creations it is impossible to know who exactly was the author of this object. However, we know that this sculpture originates from a location known as Jenne-jeno, which was the most ancient known city of sub-Saharan Africa. This was a center that thrived around the ninth century AD, but declined by the beginning of the fifteenth century leaving numerous artifacts made of forged iron, cast brass, and clay. While performed archaeological digs give only a vague coup doeil of the true role of art in that region, the available heritage of the old culture of Jenne-jeno definitely shows that artists of the urban society of that time possessed highly train artistic skills.For example, this particularly impressive figure, with its legs crossed, its chest almost pressed against a leg, and its head touching its knee, transmits the sensation of anxiety and stress, or, alternatively, of a full immersion in a prayer. This frozen emotional load of the sculpture bespeaks the motives of a creator of this piece of art that apparently were aimed at expressing intense emotional experiences that could arise from such events as ritual commemoration of the death of loved people. The method of direct portrayal of emotions as if written on the face of the figure serves to actually brush aside boundaries of time and make this object universally understood. (well, sometimes we have to defend our position, and in this case it actually could be both that the figure is tense or relaxed in prayer, and its not a contradiction.In fact, I checked the website of the Metropolitan and, ironically, there it is also said that this figure simultaneously suggests the knotted tension of anxiety and the sublime absorption of deep prayer) At the same time, sculptures like this one despite their concreteness of representation could simultaneously serve as a symbolic image of ancestors or mythic heroes, in this way existing in realms of both the material and ghostlike, and therefore most probably were employed in ritual ceremonies. Indeed, the shaved head of this figure and its state of self-immersion are somewhat symbolized and remind of mourning practices that are still utilise by many cultures of sub-Saharan Africa.4 In this way, this object enables us to suppose that such practices were as well common 700 years ago among peoples of the Inland Niger Delta.But, of course, due to the mentioned scarcity of our knowledge of the true role of art in the region of Jenne-jeno we cannot convincingly limit the role of this figure exclusively to mourning practices. In terms of materials used, this object is made of terracotta, a brownish baked earth clay that is a durable and easily workable substance. Usually, found terracotta figures have a lot of detail, because this material was widely used in African art for production of bodily ornaments and jewelry. This sculpture is not an exception as c an be seen from its physical appearance and its surface qualities.For example, the proficiency used for the creation of this object enabled the author to make the parallel lines of knobs and dots on the back of the figure in such a way as to give it a heightened sense of relief. By the way, such knobs and dots were employed in African art quite often, sometimes covering the whole space of human figures. It is thought that this element in art was supposed to stand for signs of some kind of sicknesses that abound in African environment.5 Combining the mentioned aspects of this object of art, I have to live with that I was greatly impressed by its overall look, and I noticed that the general response of other museum visitors was similar as people were apparently staying heartfelt this object for a longer time than on average. I believe the reason for this is the skillful work of the artist who managed to embody in the material digit a lot of emotional load, and therefore reached a powerful effect. But what made me especially excited about this object was the realization of the fact that for the author of this work its message was most probably personally experienced, and therefore this object conforms to one of the most important tasks of art, which lies in the creation of universal space of communication that transcends bounds of time and cultures.The second object of our research is a memorial head of a ruler dated of the seventeenth century, and for which we also do not know the author. This terracotta object is a decorated portrait that depicts a serene man with accurately balanced facial features and striped long neck. This form of African art belongs to what is called in some West-African cultures as mma, an idealized image that depicts the supreme qualities that were expected from a ruler. Therefore, one of the main motives for the creation of this object was its involvement in ritual procedures. In fact, it is known that such portraits were crafted posthumously and were left along with similar images of preceding rulers in special sacred cemeteries and shrines called mmaso that had to keep the memory and the history of lineage of noble members of African societies.Additionally, this practice of posthumous pictorial commemoration of rulers also extended to members of his court and his servants, who were supposed to continue their service for their ruler after(prenominal) his death as well. Mmaso cemeteries were the places of regular offerings and prayers aimed at the constant support of the deceased ancestors.6 On these grounds, it stands to reason that artists who created portraits such as the one we are studying were adding a great deal of symbolism to their creations. Indeed, the general appearance of this object is such that for me it was hard to imagine the person who it was intended to copy, and I suspect that the exact physical resemblance might not have been the main concern of the author of this memorial portrait. Thi s head is also made from terracotta, and is decorated with fragments of quartz.But in personal line of credit to the previous terracotta object that depicts a figure in a very plastic and emotional way, this object looks as if it was consciously processed by the artist without excessive modification of the original terracotta sphere. It seems that the facial features of the man float above the rough material they are inscribed on, and radiate a kind and positive irony, which to my judgement testifies to a very subtle technique used by the artist that is on a par with the best recognized masterpieces of fine arts. At the same time, it seems to me that this object of art retains some mystery, as if the closed eyes of the man say that we cannot see the world that his eyes had seen, and that we might have to become one of his contemporaries to fully perceive the world view of this ancient ruler and the artist who immortalized him.(Hm, its really hard to say what the professor meant by identifyting along this portion of the text. . . Do you know exactly?) Interestingly, many people in the museum behaved as if feeling in some subconscious way the ultimate futility of efforts to fully comprehend the message of this object, because I noticed that in most cases visitors did not spend much time near this memorial head. But I believe that with this work the artist reached perhaps the most important artistic effect, that of its ability to intrigue truly attentive viewers, and therefore make them marvel about the hidden aspects of the culture that gave birth to this object.The last target of our research is a mask, the object strongly associated with African art. And, indeed, this mask had a special meaning for its creators. It is dated of the sixteenth century, and in contrast to previous anonymous works this artifact can give us some hints as to its artistic origin. In fact, this mask is thought to have been created in the beginning of the sixteenth century for the k ing of Benin Esigie. The mask depicts the elaborated and thoughtful portrait of the mother of the king, and it was probably used in rites that honored the kings mother. From this we can guess that this mask was created by some court artist specifically for the ritual purposes, moreover that even today in many African cultures similar pendant masks are always involved in yearly rituals of spiritual purification.To reinforce this assumption we should point out that this mask is primarily made of ivory, the material that in Benin is associated with the white color that symbolizes ritual purity of the god of the sea named Olokun. This god was also viewed as a spiritual guard of kings, so this mask could bear several meanings.7 In addition to ivory as a primary material, this mask is decorated with metal mosaic, has carved superficial incisions in the skin of its forehead, and holds below the chin beads made of coral. Interestingly, the collar and the diadem of the mask contain images of mudfish and bearded Portuguese. Mudfish live both in the water and on land, and thus it stands for the dual nature of the king who is simultaneously human and divine.On the other hand, Portuguese, who arrived from the sea, were perceived as coming from the spiritual realm. In this way, this mask integrates in it numerous symbols of the African culture. In general, this object of art conveys a somewhat different impression than previous ones. first-year of all, its high level of detail draws attention and begs for an especially careful inspection from the side of a viewer. On the other hand, despite having many types of decorations this mask withal looks very integral and thematically complete.Moreover, among the objects of our research this mask is the most realistic one in terms of its resemblance to an actual human being. But at the same time it seemed to me that maybe because of its portrait-like look many people fail to notice the depth of its symbolical meaning of which the facial form of the mask is further a small part. Thus, we can see that African artists already long time ago fully possessed the skill of integration of multilayered symbolical messages in a work of art, which uncovers the richness of their world views.On ground of our observations, we may conclude that museum exhibits can really give visitors a chance to relive experiences of cultures as different from ours as African ones are. However, the expansion of our cultural awareness is a task that perhaps to a larger degree depends on a viewer himself. Indeed, if a viewer just walks by the exhibit, she may get only a very limited impression of African art which may only confirm some formulaic notions that many of us have about it, like that there are a lot of masks, that objects of African art are of a strange look, etc. Even I must admit that without the deeper investigation of the history and hidden messages of the objects of African art that we had researched I would most probably als o fail to see the true meaning of the works of African art, because a superficiality of judgement reduces the artistic creations merely to their material form and ignores their spiritual connotation.On a more practical side, I would recommend that in relation to exhibits devoted to exotic forms of art, of which African art is a good example, museums should not merely provide a passive presentation of artistic objects, but rather should take more proactive steps in terms of draw play of visitors attention towards hidden aspects of art that may defy superficial attitude. For example, this purpose may be achieved through organization of publicly open regular thematic seminars on new historical, ethnographic and iconographic research devoted to African and other exotic forms of art, and through advertised presentations of new objects obtained by museum.All of this would help put what otherwise might be perceived as isolated individual objects of art into a larger cultural context, and therefore might increase public awareness of the specifics and values of art of different regions of the world.BibliographyArts of Africa, Oceania, and the Americas. The Metropolitan Museum of Art, 2006.Bacquart, Jean-Baptiste. The Tribal Arts of Africa. Thames & Hudson, 2002.Brettell, Richard R. Modern Art 1851-1929 Capitalism and Representation. OxfordUniversity Press, 1999.Drewal, Henry John, Pemberton, John III, Abiodun, Rowland, and Wardwell, Allen, (Ed.).Yoruba Nine Centuries of African Art and Thought. Harry N Abrams, 1990.Ezra, Kate. Royal Art of Benin The Perls Collection. Metropolitan Museum of Art, 1992.Hahner-Herzog, Iris, Kecskesi, Maria, and Vajda, Lazlo. African Masks The Barbier-Mueller Collection. Prestel Publishing, 1998.Kasfir, Sidney Littlefield. Contemporary African Art. Thames & Hudson, 2000.Mills, C. Wright. Power, Politics, and People The Collected Essays of C. Wright MillsOxford University Press, 1967.Phillips, Tom, (Ed.). Africa The Art of a Continent. Pre stel Publishing, 1999.Thompson, Robert Farris. African Art in Motion Icon and Act in the Collection of KatherineCoryton White. University of California Press, 1974.Turner, Victor Witter. Revelation and divination in Ndembu ritual (Symbol, myth, and ritual).Cornell University Press, 1975.Visona, Monica Blackmun, Poynor, Robin, Cole, Herbert M., Harris, Michael D., Abiodun,Rowland, and Blier, Suzanne Preston. History of Art in Africa. Prentice Hall, 2003.Willett, Frank. African Art. Thames & Hudson, 2002.Works CitedHahner-Herzog, Iris, Kecskesi, Maria, and Vajda, Lazlo. African Masks The Barbier-Mueller Collection. Prestel Publishing, 1998.Kasfir, Sidney Littlefield. Contemporary African Art. Thames & Hudson, 2000.Mills, C. Wright. Power, Politics, and People The Collected Essays of C. Wright Mills.Oxford University Press, 1967.Paz, Octavio. Convergences Essays on Art and Literature. Harvest/HBJ Book, 1991.Phillips, Tom, (Ed.). Africa The Art of a Continent. Prestel Publishing, 1999.V isona, Monica Blackmun, Poynor, Robin, Cole, Herbert M., Harris, Michael D., Abiodun,Rowland, and Blier, Suzanne Preston. History of Art in Africa. Prentice Hall, 2003.(As you could see, I already have removed Paz from Bibliography)