Music Composition Sheet Essay

When the new century rolled over, music was naturally late Romantic in style. Arrangers, for example, Gustav Mahler, Richard Strauss and Jean Sibelius were pushing the limits of Post-Romantic Symphonic composition. Simultaneously, the Impressionist development, drove by Claude Debussy, was being created in France. The term was really detested by Debussy: â€Å"I am attempting to do ‘something differentâ€in a way realitiesâ€what the numbskulls call ‘impressionism’ is a term which is as ineffectively utilized as could be expected under the circumstances, especially by craftsmanship critics† â€and Maurice Ravel’s music, additionally frequently named with this term. Numerous arrangers responded to the Post-Romantic and Impressionist styles and moved in very various ways. The absolute most significant second in characterizing the course of music during the time was the broad break with customary tonality, affected in various ways by various writers in the main decade of the century. From this sprang a remarkable â€Å"linguistic plurality† of styles, procedures, and articulation. In Vienna, Arnold Schoenberg created atonality, out of the expressionism that emerged in the early piece of the twentieth century. He later built up the twelve-tone method which was grown further by his followers Alban Berg and Anton Webern; later authors (counting Pierre Boulez) created it even further. Stravinsky (in his last works) investigated twelve-tone method, as well, as did numerous different arrangers; in reality, even Scott Bradley utilized the strategy in his scores for the Tom and Jerry kid's shows. After the First World War, numerous authors began coming back to the past for motivation and composed works that draw components (structure, congruity, tune, structure) from it. This sort of music hence became named neoclassicism. Igor Stravinsky (Pulcinella and Symphony of Psalms), Sergei Prokofiev (Classical Symphony), Ravel (Le tombeau de Couperin) and Paul Hindemith (Symphony: Mathis der Maler) all created neoclassical works. After World War 2, writers tried to accomplish more noteworthy degrees of control in music in their pieces (e. g. 12 tone strategy and later serialism). The twelve tone strategy is a procedure guaranteeing the utilization of each of the 12 notes in the chromatic scale, this forestalled the lopsided accentuation on singular notes. During the 1940s and 50s arrangers, strikingly Pierre Schaeffer, began to investigate the use of innovation to music in musique concrete (Dack 2002). The term Electroacoustic music was later instituted to incorporate all types of music including attractive tape, PCs, synthesizers, sight and sound, and other electronic gadgets and procedures. From the mid 1950s onwards, Cage brought components of chance into his music. This has brought about different melodic methods, for example, indeterminacy, aleatoric music, music, natural, and free impromptu creation. During the 1970s and onwards, new innovation was accessible and utilized in old style music. This new innovation was tried different things with and ad libbed that equivalent key characteristics of essential traditional music, however had more up to date and more extensive styles and procedures (e. g. 12 tone procedure). This segment in area An of the piece passes on a short rundown of assortment in the melodic ideas (bars 6-7). The striking influence movement all through this area is because of its part generally Romanticism (mid 1900s). Sentimentalism was a passionate and expressive timeframe where a wide range of societies, workmanship, engineering and music was affected by the economic wellbeing of this time. Music by and large was driven by this feeling and hardship that experienced at the time I. e the French insurgency. This feeling gave the writers substantially more articulation and decent variety, with less convention and structure (a quality of music of the traditional period). With this new contemporary traditional style of music, the thoughts and executions of past styles and periods affected the manner in which this music was played, I. e. the influence movement and scope of blended elements. In this segment is stating slurs are utilized to combine the notes to incorporate its tune with being more ‘sway like’ giving it a legato movement. In the congruity a short piece of an arpeggio is played and graduated into an entire harmony completing the scale. This dreary movement of the amicability in the left hand has made a slight inquiry and answer between the tune and concordance in this area. This segment from area B of the piece is a variety of the initial segment, with included methods, elements, notes, and assortment to incorporate more articulation with the piece (bars 14-15). The statement of the writers of this timeframe in post-1945 was appeared through the distress and give up on World War II. Through the destruction and war experienced by the writers as of now, the adjustment in assortment and decent variety of pitch was insignificant, however the inclination experienced were gigantic. These monstrous sentiments depicted in the huge yield of elements and expressive procedures utilized in these contemporary traditional styles, and further built up this classification of music. This area utilizes broken harmonies in the congruity to manufacture the beat and surface from the segment A. while the song is still comparatively organized however additionally created in the utilization of notes esteems. This part shows the change of segment B into the new area C. In this progress the dynamic change step by step to fit the articulation and utilization of entire (set of three) harmonies in segment C. The utilization of the Crescendo into strength, depicts a wide assortment in elements all through the piece (the past areas were piano and mezzo-piano, from above). Strong point in the following area passes on the composers’ tension and outrage in this season of war, and passes on to the responder through this wide scope of elements the feelings and misery individuals experienced during this time. This part passes on the progress between area C and segment D. Through this progress the elements change from a specialty (noisy) to a pianissimo (delicate), these elements give the piece a more extensive territory as far as elements and pass on much more articulation to the responder. The tune anyway is comparable yet in a higher octave, this give the piece an arrangement and passes on the possibility of reiteration all through the piece. The thickness of segment D get more slender, as the concordance is decreased to one note played with longer note esteems, I. e. semibreves. Arrangers during this time of post-1945 utilized a wide range and assortment of elements to expressive themselves with the difficulties and hardships they experienced after the war. This assortment is striking in this piece as this segment contains that branch from strength to pianissimo. All through this arrangement the thoughts, executions and attributes of contemporary old style music have been clear all through this structure. I accept the utilization of the six ideas have been various through this piece and have really outlined the sound and tone of contemporary traditional music. All through the piece, the elements have changed quickly and indicated an enormous assortment of articulation and feeling in the creation. The utilization of one instrument in the organization has demonstrated the crowd that the arrangers for Contemporary Classical music have freedom on loads of instruments and thick thickness, as this doesn't pass on feeling as simple of dainty thickness pieces. The structure of subject and variety, a typical structure utilized in contemporary old style, frequently used to fabricate and bit by bit reinforce the theme or harmony movement of the piece, this makes anticipation and different feelings to the audience members. The methods utilized were very insignificant be that as it may, solid I. e. the legato, slurs, broken harmonies. The length of the notes and piece were very wide in extend, and various in made a numerous of various varieties of the song. The tone shade of the piece was extremely passionate in the method of being miserable, creepy, and dim however upbeat as in the sound was advancing into something more brilliant with a trace of haziness. In general this arrangement made for the ‘annual Young Composers Symposium’ has passed on the viewpoints and normal for Contemporary Classical music to the crowd, and has effectively delineated the musicological setting of the style in building up the utilization of the 6 ideas in the piece.

In instruction box Essay Example | Topics and Well Written Essays - 1000 words

In guidance box - Essay Example It is in reality not an exceptional wonder to experience organizations promoting and selling their items online either through their own gateways or by depending on locales possessed and oversaw by outsiders. In the primary case, the organization creates and showcases the item online without fundamentally depending on players in the customary appropriation channel, for example, merchants, wholesalers, and retailers. This paper will talk about how innovative progressions and the Internet have affected item conveyance on the planet today. The Case of Fujian Wanhua Electron and Technology Company Limited One organization that depends on the Internet to disseminate its items is the Fujian Wanhua Electron and Technology Company Limited. The organization is situated in China and was set up in 1996 (Fujian Wanhua Electron and Technology Co. Ltd., 2013). The organization delivers an assortment of electrical and electronic apparatuses for home, business, office, and corporate use. A portion o f the items that the organization fabricates and showcases incorporate vehicle alert frameworks, cordless phone correspondence frameworks, arrange the board frameworks, and home/office remote thief frameworks (Fujian Wanhua Electron and Technology Co. Ltd., 2013). ... Focal points of Direct Online Distribution of Products There are a few favorable circumstances related with direct dissemination of items utilizing the Internet. One fundamental bit of leeway with this strategy for conveyance is its relationship with low overhead expenses as per Time (2013). This means the organization can make a greater benefit that it would with the consideration of go-betweens. This is the situation thinking about that the organization doesn't share the benefits it gets with the delegates. Besides, a business that does coordinate online circulation is ensured to contact a worldwide crowd (Time, 2013). For instance, in spite of the fact that Fujian Wanhua Electron and Technology Company Limited is situated in China, numerous individuals think about it or if nothing else about its items over the globe. This may not be the situation with organizations that depend on the customary technique for circulation. As a rule, they wind up having a market that is constrained i n reach and along these lines a littler capital base. One more favorable position of direct circulation through the Internet is that it offers clients/customers a great deal of accommodation (Time, 2013). Customers can get the opportunity to search for the items they want whenever of the day or night and whenever it might suit them any place they are the length of they approach the Internet. This means the purchasers are not constrained to shopping by time. Since delegates are not engaged with the exchanges, the clients profit by the immediate course of action in that they get items at costs a lot less expensive than they would somehow or another get with the contribution of go-betweens (Gillai and Lee, 2009). Numerous clients will in general like managing item makers (Time, 2013). Moreover, the clients are bound to get predominant client care

Genophobia or the Fear of Sexual Intercourse

Genophobia or the Fear of Sexual Intercourse Phobias Types Print Genophobia or the Fear of Sexual Intercourse How fear can develop after severe trauma By Lisa Fritscher Lisa Fritscher is a freelance writer and editor with a deep interest in phobias and other mental health topics. Learn about our editorial policy Lisa Fritscher Medically reviewed by Medically reviewed by Steven Gans, MD on August 05, 2016 Steven Gans, MD is board-certified in psychiatry and is an active supervisor, teacher, and mentor at Massachusetts General Hospital. Learn about our Medical Review Board Steven Gans, MD Updated on November 26, 2019 GlobalStock/Getty Images More in Phobias Types Causes Symptoms and Diagnosis Treatment In This Article Table of Contents Expand Causes Treatment Coping View All Back To Top Genophobia, also known as coitophobia, is the fear of sexual intercourse. People with this fear may be afraid of all sex acts, or only of intercourse itself. The term genophobia is sometimes used interchangeably with erotophobia  or the fear of sex, but the two conditions are actually different. Genophobia specifically describes the fear of the sex act, while erotophobia more generally defines any fear that is related to sexuality.? Causes Like all phobias, genophobia is most likely to develop after severe trauma. Rape and molestation are the most common triggers for genophobia, but cultural upbringing and religious teachings may also increase the risk for this fear. Genophobia is sometimes linked to insecurities or body image issues, as well as medical concerns. Additionally, genophobia sometimes occurs independently of any identifiable causes. Rape Trauma Syndrome Rape is a fundamental violation of the victims body and mind. In the aftermath of rape, virtually all survivors undergo an intense psychological reaction. Although not everyone reacts in the same way, most people follow a loosely organized three-stage path. One way of conceptualizing the journey, from acute trauma through reorganization and finally resolution, is known as rape trauma syndrome. Similar to post-traumatic stress disorder, rape trauma syndrome dramatically elevates the risks of developing related mental health conditions. Phobias most often occur during the reorganization phase, as survivors try to rebuild their lives, although they could develop at any time. The path through rape trauma syndrome is intensely personal and may take anywhere from months to years to fully resolve. Cultural and Religious Fears If you are a member of a religious or cultural group that frowns on sexual intercourse, the fact that you follow those teachings does not indicate a phobia. However, phobias can develop when people transition from one set of beliefs and practices to another. Lingering guilt, self-doubt, or fear of breaking the old ways may heighten the risk for phobias. Performance Anxiety Many people, particularly those who are less sexually experienced, fear that they will be unable to please a partner. Although these fears are generally mild and self-limiting, they can also be more severe. In some cases, performance anxiety can develop into genophobia. Fear of Disease Sexual intercourse carries the risk of numerous diseases, including HIV. Most people are able to successfully balance this risk, using such precautions as condoms, monogamy, and STD testing to bring the risk down to a personally acceptable level. If you suffer from nosophobia, hypochondriasis, cyberchondria, mysophobia, or another related disorder, you may be unable to logically weigh the risks and rewards. You may feel that sex is dangerous and never worth taking even a small chance of infection. Additionally, some people are afraid that sex will be painful. Medical Concerns Fears that arise from legitimate medical concerns are never considered phobias, as long as the level of fear is proportionate to the situation. Numerous medical conditions, from erectile dysfunction to some heart disorders, make sexual activity difficult, impossible, or even potentially dangerous. Caution and even fear may be prudent in these situations. Nonetheless, some people develop fears that are far out of proportion to the level of risk. For example, if your doctor has cleared you to return to normal activities following a heart attack, it is normal to feel some trepidation before your first post-attack sexual experience. Deciding to forego sexual activity altogether would be a disproportionate reaction in that situation. Always follow your doctors advice when coping with any medical condition, and seek assistance for any fear that seems unusually severe or long-lasting. Treatment Genophobia is often treated by sex therapists, who are mental health professionals with advanced training and certification in sexual matters. However, most cases of genophobia can also be treated by traditional therapists without additional certification. Furthermore, those who experience pain or other medical difficulties during intercourse should seek advice from a medical doctor. Battling genophobia is never easy. Many people feel shame or embarrassment  and are reluctant to share such a deeply personal phobia. Yet treatment is generally successful, and the rewards are well worth the difficult and often emotionally painful process. Coping Sex is an important aspect of the human condition, and genophobia can have devastating impacts on those who experience it. Some people choose to live asexual lives, finding meaning and fulfillment outside of sexual experience. However, those who choose asexuality out of fear, rather than clear-headed choice, often find themselves feeling unfulfilled and lonely. Genophobia can also wreak havoc on romantic relationships, particularly if your partners level of interest in sex differs from your own. If you feel youre suffering from genophobia, it can be helpful to speak with a trusted therapist.

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Investigating the Impact of Climate Change on Dust Storms over Kuwait Free Essays

string(102) " the temperature in the summer by decreasing the maximum temperature by 5 Â °C on average due to dust\." Introduction Dust storms are more frequent in summertime in the Arabian Peninsula, and can be highly influential on the climate and the environment in the region. In this study, the influence of climate change in the Middle East and especially in Kuwait will be investigated by high-resolution (48, 12, and 4 km grid spacing) dynamic downscaling using the WRF (Weather Research Forecasting) model. The WRF dynamic downscaling will be forced by reanalysis using the National Centers for Environment Prediction (NCEP) model for the years 1997, 2000, and 2008. We will write a custom essay sample on Investigating the Impact of Climate Change on Dust Storms over Kuwait or any similar topic only for you Order Now The downscaling results will be first validated by comparing NCEP model outputs with the observational data. The global climate change dynamic downscaling model will be run using current WRF regional climate model (RCM) simulations (2006–2010) and WRF-RCM climate simulations of the future (2056–2060). They will be used to compare results between the present and the middle of the century. In general, the dominant features from (NCEP) runs are predicted to be consistent with each other, as well as with WRF-RCM results. The influence of climate change in the Middle East and Kuwait can be projected from the differences between the current and model future run. The average temperature showed a positive trend in the future, as in other studies. The temperature was predicted to increase by around 0.5-2.5 Â °C over the next 50 years. No significant change in mean sea level pressure patterns was projected. However, amongst other things, a change in the trend of the surface win d speeds was indicated during summertime..Climate change is perceived as a significant global and regional issue and hasbecome a significant concern in the Middle East, making it all the more important to investigate (Almazroui, et.al. 2012). The short rainy seasons and the long dry hot summer seasons put more stress on water resources. The matter of increasing or decreasing the summer dust season canmodify the radiation budget between earth and the atmosphere system; the aerosol can affect the incoming radiation by absorbing or scattering, and can change the outgoing terrestrial radiation(Almazroui, et.al. 2012).Therefore, this process may lead into changing the radiative balance, the increase of atmospheric albedo candecrease the percentage of radiation reaching the surface, which leads to cooling the surface (Almazroui,et.al. 2012). Background Since 1985, seawater temperature in Kuwait Bay, northern Persian Gulf, has increased on average 0.6 degrees Celsius per decade(Kulkarni, et.al. 2012).This is about three times faster than the global average rate reported by the intergovernmental panel on climate change. Differences are due to regional and local effects. Increased temperatures are having profound effects on key habitats and on power generation in the Persian Gulf (Kulkarni, et.al. 2012). Dust storms have large impacts across the Arabian Peninsula region. Because of the highest recorded frequency of dust, Kuwait is of great interest in the Arabian Peninsula. Dust has a huge impact on maximum temperatures in Kuwait, where it can decrease the 2 m temperature by as much as 5 Â °C. Dust storms in Kuwait also hasve a huge impacton daily temperatures in summertime. The atmospheric aerosol which mostly consists of dust particles can scatter and absorb radiation, which will affect the radiative impact (Kulkarni,et.al. 2012). The scattering and absorption process can alter the incoming and outgoing radiation. Scattering increases the atmospheric albedo, leading to decreasing in surface radiation, resulting in surface cooling (Kulkarni, et.al. 2012). Usually, during dust storm days, the maximum temperature is reduced by 3 to 5 Â °C in summertime. Global models can illustrate climate change globally, but it is difficult to perform or illustrate regional circulations (Rajendran,et.al. 2013). Therefore, this study will not only attempt to find out the impact of climate change on both the frequency and intensity of dust storms in Kuwait, but it will also analyzethe number and magnitude of dust storms in the future. Problem Statement A common synoptic system in the Arabian Peninsula during the summer is the intense pressure gradient, resulting from the Indian monsoon arising east of the Middle East and the East Mediterranean high pressure west of the region. This causes a strong northwesterly wind across the Arabian Peninsula which is known as the Shaman wind(Rajendran,et.al. 2013). Purpose of the Research The main purpose of this research is to find the impact of climate change on the dust storms in Kuwait. The research aim is to find whether the number and magnitude of dust storms will increase or decrease in the future. Moreover, this research also aims to investigate the changes in the number of dust storm days in future summer seasons. Research Questions Considering the aim of this study, the follwing research questions are designed. These research questions are designed to spefically adress the current issues associated with the climate change in Kuwait. What is the impact of climate change on both the frequency and intensity of dust storms in Kuwait? Whether the number and magnitude of dust storms will increase or decrease in the future? Significance of the Research The increasing importance of understanding dust and its role in the Earth’s climate is driving new research and analysis of past data. Dust storms are becoming more frequent in some parts of the world, transporting prodigious quantities of material over very long distances, affecting human health, coral reefs and climate change (Kulkarni, et.al. 2012). Being able to predict the production of dust in the future is critical to the climate, environment, and human health. It is very important to investigate whether the number and magnitude of dust storms will increase or decrease in the future, as it will provide an idea of how the Earth’s ecosystem will change. Literature review Middle East and the Arabian Peninsula Climate Much of the summer season in the Arabian Peninsula consists of a period of high diurnal temperature variation and hazy weather. The strong pressure gradient which is usually developed in June and July in the Arabian Peninsula creates a strong wind that results in dust storms (Marcella,et.al.2012). The strong Shamal wind tends to ease the temperature in the summer by decreasing the maximum temperature by 5 Â °C on average due to dust. You read "Investigating the Impact of Climate Change on Dust Storms over Kuwait" in category "Essay examples" In other cases, the Shamal wind can be caused by a dry cold front in the Arabian Peninsula, which further reduces the maximum temperature in the area. By mid-July the strong pressure gradient in the area weakens considerably, leading to periods of light northwesterly winds. When there is a lack of a pressure gradient, the Shamal winds become weak, and its direction shifts to easterly to southeasterly in the afternoon due to the sea breeze effect near the coastal area in Kuwait. The thermal low that usually develops over Iraq causes the weak pressure gradient near Kuwait and the eastern region of Saudi Arabia (Rajendran,et.al.2013). Global Climate Modeling Global climate models (GCMs) have the ability to simulate large scale global circulation for the atmosphere and the ocean. The GCMsare used worldwide by scientist to study different climate variables in different regions to investigate climate change. Global climate models can simulate possible future climates model, and can compute several simulations with various greenhouse gas emissions (Graff LaCasce, 2012). Wind Speed Scientists investigated the changes in mean wind speed globally and in different regions in the past, present, and future. Declining wind speeds in middle and lower latitudes are critical to the prediction of future global wind speed changes (Karnauskas,et.al.2009). However, it is significant to understand how climate change can influence wind speed and direction, because they are controlled by atmospheric circulation patterns, which have been indicated by many studies to change globally. In most studies that are based on climate change, results showed that wind speed has changed over the past and will continue to change in future, but it varies between regions and seasons. In the future, some regions may experience an increase in wind speed while some other regions may experience a decrease. Investigating increase or decrease of wind speed regionally will provide a future look in terms of dust storms expansion or shrinking in the Arabian Peninsula (Gillett,et.al. 2003). Temperature Changes in extreme temperatures over a long time period were analysed by Yan,et.al (2002). They determined that not only low temperatures have been decreasing and high temperatures have been increasing during the last decades, but also that there have been earlier changes in these extremes. A high increase in temperature took place between 1910 and 1945 and from 1970 to the present, when the temperature increased by 0.16 Â °C and 0.17 Â °C per decade, respectively, which is about three times more than the increase during the past century(Yan,et.al.2002). This has been a major cause for concerns for public heatlh as fluctuation in the environment temperautre increase global warming. This may increase air pollution, and thus thr risk of air borne diseases. Regional Climate Modeling Climate scientists around the world are investigating climate change by using the downscaling model to ensure higher resolution for more enhanced results (Bichet,et.al.2012). The higher resolution model or the regional climate model that have been downscaled from the global climate model provide a better picture over complex terrain, land-water contrast, regional variations in land use, and regional circulation (Catalano Moeng, 2010). The regional climate model is becoming the tool of preference in their research. Regional climate model simulations for regions similar to the Arabian Peninsula are few.Focusing on the eastern region where Kuwait is located, the model simulation shows a decrease in surface wind speed in both scenarios. Wind speeds are the main cause for dust storms in the region, so a decrease of wind speed in the future should lead to a decrease in dust storms in Kuwait and the Arabian Peninsula (Chu,et.al.2013). Methodology Research Design The research design in this research shall be based on the secondary data and this is the reason that the following research study is based on qualitative eesearch design and therefore, the proposed study will be exploratory in nature. Data are to be collected and information wwill be gathered by using a number of secondary sources, such as the media, publications and literature. By considering goals of the present study, Weather Research and Forecasting (WRF) will be analyzed as a modelin order to find the impact of climate change on both the frequency and intensity of dust storms in Kuwait and whether the number and magnitude of dust storms will increase or decrease in the future.As a sample size, GCM will be used to provide lateral forcing for WRF runs for two five-year time periods in which first five years run will be in 2006-2010 and second five years run will be in 2056-2060.The purpose is to investigate the frequency of dust storms comparing the present simulations with futur e simulations. Since the WRF does not simulate dust storms directly, the research will focus on identifying regional conditions conducive to dust storms and analyze the change in frequency of these synoptic conditions under a selected climate scenario. Ethical Considerations Ethical considerations will be prioritised to first place during this research and all the primary and secondary sources of data will be collected in accordance with the privacy policies. The research analysis and findings will be incorporated at the end and they will be entirely based on the observation of the researcher, and the analyis of data will be made. Conclusion The main of this project is to investigate the effect of climate changes in dust storms in Kuwait. These aims were targeded with the view to creating an awarness in regards to possible detrimental effects that can be induced by such changes. It is predicted that knowing the effectsof such changes will also help to predict whether the number and magnitude of dust storms will increase or decrease in the future. Since dust storms frequently hit Kuwait, it may affect human health and coral reefs, as well as have direct association with climate change in Kuwait. Wind speeds are the main cause for dust storms in the region, so a decrease of wind speed in the future should lead to a decrease in dust storms in Kuwait and the Arabian Peninsula (Chu,et.al.2013). REFERENCES Almazroui, M., M.N. Islam, and H. Athar, 2012: Recent climate change in the Arabian Peninsula: annual rainfall and temperature analysis of Saudi Arabia for 1978-2009, International Journal of Climatology, vol. 32, pp. 953-966. Bichet, A., M. Wild, D. Folini, and C. Schar, 2012: Causes for decadal variations of wind speed over land: Sensitivity. Geophysical Research Letters, vol.39, no. 11, pp.1107-1111. Catalano, F. and C.H. Moeng, 2010: Large-eddy simulation of the daytime boundary layer in an idealized valley using the Weather Research and Forecasting numerical model. Bound.-Layer Meteor, vol. 137, pp. 49–75. Chu, C., X. Yang, X. Ren, and T. Zhou, 2013: Response of Northern Hemispheric storm tracks to Indian-western Pacific Ocean warming in atmospheric general circulation models, ClimDyn, vol. 40, pp.1057-1070. Gillett, N. P., F.W. Zwiers, A.J. Weaver, and P. A. Stott, 2003: Detection of human influence on sea-level pressure. Nature, vol. 422, no. 292-294. Graff, L. S, J. H. LaCasce, 2012: Changes in the extratropical storm tracks in response to changes in SST in an AGCM. J. Climate, vol. 25, pp. 1854–1870. Karnauskas, K.B., R. Seager, A. Kaplan, Y. Kushnir, and M.A. Cane, 2009: Observed strengthening of the zonal sea surface temperature gradient across the equatorial Pacific Ocean. J. Climate, vol. 22, no.16, pp. 4316–4321. Kulkarni, A., 2012: Weakening of Indian summer monsoon rainfall in warming environment, TheorApplClimatol, vol109, pp.447–459. Marcella, Marc P., Elfatih A. B. Eltahir, 2012: Modeling the summertime climate of Southwest Asia: The role of land surface processes in shaping the climate of semiarid regions. J. Climate, vol. 25, pp. 704–719. Rajendran,K., S. Sajani, C. B. Jayasankar and A. Kitoh, 2013: How depended is climate change projection of Indian summer monsoon rainfall and extreme events on model resolution?. Current Science,Vol. 104, no.10, pp. 1409-1418. Zhang, Y., V. Duliere, P. W. Mote, and E. P. Salathe, 2009: Evaluation of WRF and HadRMmesoscale climate simulations over the U.S. Pacific Northwest. J. Climate, vol. 22, no. 5511–5526. How to cite Investigating the Impact of Climate Change on Dust Storms over Kuwait, Essay examples

The 1000 Years of Revelation free essay sample

To develop the understanding of the topics under discussion in this paper, the main passage under consideration reads as follows in the New King James Version (NKJV): Then I saw an angel coming down from heaven, having the key to the bottomless pit and a great chain in his hand. 2 He laid hold of the dragon, that serpent of old, who is the Devil and Satan, and bound him for a thousand years; 3 and he cast him into the bottomless pit, and shut him up, and set a seal on him, so that he should deceive the nations no more till the thousand years were finished. But after these things he must be released for a little while. 4 And I saw thrones, and they sat on them, and judgment was committed to them. Then I saw the souls of those who had been beheaded for their witness to Jesus and for the word of God, who had not worshiped the beast or his image, and had not received his mark on their foreheads or on their hands. We will write a custom essay sample on The 1000 Years of Revelation or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page And they lived and reigned with Christ for a thousand years. 5 But the rest of the dead did not live again until the thousand years were finished. This is the first resurrection. 6 Blessed and holy is he who has part in the first resurrection. Over such the second death has no power, but they shall be priests of God and of Christ, and shall reign with Him a thousand years. Through history, scholars have not been able to agree on one interpretation of the millennium, the outcome intended of this paper is to provide the reader with adequate understanding of the interpretive issues of this passage. Through a review of the main elements of this difficult passage and the three main interpretive views that are supported today, the reader will be guided to reach his or her own conclusion on many of the issues that are in question. What is the Millennium? The word millennium comes from two Latin words, Mille, meaning â€Å"thousand,† and annum, meaning â€Å"year. † Simply put, â€Å"one thousand years,† but unfortunately that is where the simplicity ends. Now that we have a basis of a thousand years the question then becomes when does this thousand years fall into our past history, or is it to be some future event? This paper will consider the three major views which are post-millennialism, amillennialism, and premillennialism. All three of these views in this paper are not only based upon the timing of the return of Jesus Christ to the earth but they also incorporate much more than just the arrangement of the events that surround His coming back. Post-Millennialism One interpretive view is that of the post-millennialism. With the prefix of â€Å"Post,† this view is supportive of Jesus Christ returning to earth after the 1000 years. One major problem with the postmillennialist view is that the thousand years is not taken literally. In that the â€Å"thousand years† is used figuratively as a nondescript amount of time. Postmillennialists interpret the key text in Revelation 20 as that the Kingdom of Christ originally began in the first century with the preaching of the Gospel. Through the subsequent preaching and power of the Gospel the postmillennialist believes that the world has become and is becoming a better place. This view is often seen as the â€Å"optimistic† view of the millennium. In retrospect when looking at Christian history, this view must have gained credence with the advent of Christianity becoming the predominant religion of the Roman Empire under the Emperor Constantine. Many attribute the postmillennialist view with that of Augustine in the fourth century. The problem with this view is that Augustine supported the amillennialism view, which will be discussed later in this paper. In the postmillennialist view, over time the power of the Gospel will cause a great revival in the world that would extend to all facets of society, i. e. politics, education, etc. and that they would all come under the influence of Christian principles. The post-millennialists base these beliefs on certain key Scriptures like Mark 1:15 to support their theology. In the review of this passage, we see that Jesus says, â€Å"The time is fulfilled, and the kingdom of God is at hand. Repent, and believe in the gospel. †(NKJV) The word â€Å"time† that Jesus used holds the very meaning of this message. The Greek word that Jesus used is kairos meaning right time or opportune time. With that meaning Jesus was simply telling the audience that with the advent of His coming there was now an opportunity before them to become part of the kingdom of God and that they should not pass this opportunity up. If Jesus was trying to inform the audience that the time of the kingdom of God was beginning at that very moment, as the postmillennialists believe, then he would have used the Greek word, chronos, meaning chronological time. One major problem with the postmillennialist view is that since the coming of Jesus Christ, as a whole, the world has not become a better place, and except for rare occasions, such as the Reformations, society has not fallen under the influence of Christian theology. In consideration of the postmillennialist view some verses that should be review are 2 Timothy 3:13, â€Å"But evil men and impostors will grow worse and worse, deceiving and being deceived. † (NKJV) In this passage, Paul is explicitly explaining that there will be more and more false teachers, not more true preachers of the Gospel. Another verse that sheds light on the inconsistency of the postmillennialist view is that of Revelation 19:15b, â€Å"And He Himself will rule them with a rod of iron. †(NKJV) This is speaking of when Jesus comes back the second time to rule and that He has to do it with a rod of iron. If He has to rule with an â€Å"iron rod† how can it be considered that we could do it under our own power? Amillennialism The next interpretive view that we should examine is that of the amillennialist. As stated previously, this view began to influence the church under the teachings of Augustine, the bishop of Hippo, in the late fourth century. Augustine interpreted the statements in the book of Revelation allegorically or figuratively, much like the postmillennialists. Using the prefix a meaning â€Å"no† gives the idea that there is no millennium or 1000 years. Augustine believed that by looking at our spiritual blessings and riches that we have now, we now have as much millennium that we will ever know. In his views, Augustine did not stray too far from that of Origen in that the manifestation of the kingdom of God happens within the souls of man not the actual world. This symbolic interpretation of the Bible can become a â€Å"slippery slope. † Anthony Hoekema a proponent of amillennialism stated, â€Å"Literalism is the most stupid and dangerous scheme ever advocated. By not interpreting the Bible literally, some amillennialist believe that there is no future for Israel in that the church is now the believers and that there will be no literal tribulation and that the first of the two resurrections described in Revelation 20 is merely symbolic of the triumph of the Christian martyrs. In looking at our key verses, Revelation 20:1-6, as an amillennialist, in verse 1through 3 we see not a literal angel with the keys and chain but Jesus binding the Devil with His sacrificial work at Calvary. The problem with interpreting this passage symbolically is all the proof texts that we read in the New Testament where the Apostles warn the believers that the Devil is very active such as 1 Peter 5:8. In verse 5 where we are told the martyrs would live and reign with Jesus was the â€Å"first resurrection,† looking at it in an amillennialist viewpoint, this was just â€Å"new birth† that is experience by all Christians upon salvation. The question to ask is, â€Å"Who are the rest of the dead that did not live until after the 1000 years were finished? † Premillennialism The last major interpretive view of the 1000 years that we will consider is that of premillennialism. Premillennialist believe in the literal interpretation of Revelation 20:1-6 that there will be a 1000 year reign of Jesus Christ upon the earth after His second coming. Where the Amillennialists try to use different scriptures to disprove this passage, such as the cattle on a thousand hills (Psalms 50:10) where they ask couldn’t God own the cattle on a thousand and one hills? The Premillennialists see this passage as proof text of God fulfilling His promises to both Israel and the church. In consideration of the nation of Israel one passage, Psalms 22:27, 28: All the ends of the world Shall remember and turn to the Lord, And all the families of the nations Shall worship before You. 28 For the kingdom is the Lord’s, And He rules over the nations. Added to this and many other promises are the covenants made with Abraham that the nation of Israel would inhabit the land and the covenant with David that there would be a special ruler from David’s lineage, we can see that only the millennium will fulfill this promise. In concern of the church we see the promise of the reward to faithful believers being fulfilled in the millennium such as 2 Timothy 2:11, â€Å"This is a faithful saying: For if we died with Him, we shall also live with Him. If we endure, we shall also reign with Him. (NKJV) In a literal translation of the key scripture, the Premillennialist interprets it as a literal angel coming down and binding the Devil in the bottomless pit for a thousand years. This is to assure that Satan does not interfere with Jesus Christ’s kingdom for a thousand years. A corresponding Scripture to this interpretation is Isaiah 24:21, 22. Those who have survived the tribulation and not taken the mark of the Beast will then be ruled by Jesus Christ and those who are spoken of in verse 5 and 6, â€Å"Blessed and holy is he who has part in the first resurrection Over such the second death has no power, but they shall be priests of God and of Christ, and shall reign with Him a thousand years. (NKJV) Those that are part of the first resurrection are the Old Testament saints, the believers who died before the tribulation, those who are taken at the rapture of the church and those Saints who are martyred during the tribulation. They will be different than those who survived in that they will have a glorified body just as Christ did when He was resurrected. (Philippians 3:20, 21) Conclusion In looking at the three views considered in this paper, two of these, post-millennialism and amillennialism, have tried to say that since the 1,000 years is only specifically referenced in Revelation than it should not be taken literally. If this is true then should the seals, the two witnesses, the mark of the Beast, the twenty four Elders and other items that are described only in the book Revelation also be taken symbolically? When we consider some of the early Christians like Origen and Augustine and their beliefs, it would have been easy for any to speculate what the millennium actually was being that a thousand years had not transpired yet. However, now that we are in the second millennium their views require the discount of many key Scriptures that we have covered in this paper and many others not covered due to space. My prayer is that through revelation of the Holy Spirit those who consider a view that Jesus will not literally reign on earth for a thousand years will consult His Word and see that John revealed a literal kingdom on the literal earth with Jesus Christ literally sitting on the throne and the Saints literally ruling with Him for a literal thousand years.

Omnivore Definition and Examples

Omnivore Definition and Examples An omnivore is an organism that eats both animals and plants. An animal with such a diet is said to be omnivorous. An omnivore that youre probably pretty familiar with are humans- most humans (other than those who dont get any nutrition from animal products because of medical or ethical reasons) are omnivores. The Term Omnivore The word omnivore comes from the Latin words omni- meaning all- and vorare- meaning devour, or swallow. Therefore, omnivore means devours all in Latin. This is pretty accurate, as omnivores can get their food from a variety of sources. Food sources can include algae, plants, fungi, and animals.  Animals may be omnivorous their entire lives or just at specific stages of life. Advantages and Disadvantages of Being an Omnivore Omnivores have the advantage of being able to find food in a variety of places. Therefore, if one prey source diminishes, they can fairly easily switch to another one.  Some omnivores are also scavengers, meaning they feed on dead animals or plants, which further increases their food options. They do have to find their food- omnivores either wait for their food to pass by them or need to actively seek it out.  Since they have such a general diet, their means of getting food is not as specialized as carnivores or herbivores. For example, carnivores have sharp teeth for ripping and gripping prey and herbivores have flatter teeth adapted for grinding.  Omnivores may have a mix of both kinds of teeth- think of our molars and incisors as an example. A disadvantage for other marine life is that marine omnivores may be more likely to invade non-native habitats. This has cascading effects on native species, which may be preyed-upon or displaced by the invading omnivore. An example of this is the Asian shore crab which is native to countries in the Northwest Pacific Ocean but was transported to Europe and the U.S. where it is out-competing native species for food and habitat. Examples of Marine Omnivores Below are some examples of marine omnivores: Many crab species (including blue, ghost and Asian shore crabs)Horseshoe crabsLobsters (e.g. American lobster, spiny lobster)Some sea turtles- like Olive ridley and flatback turtles- are omnivores. Green turtles are herbivores as adults, but omnivores as hatchlings. Loggerhead turtles are carnivores as adults but omnivores as hatchlingsCommon perwinkle: These small snails feed mostly on algae but may also eat small animals (like barnacle larvae)Some types of zooplanktonSharks are generally carnivores, although the whale shark and basking shark may be considered omnivores, as they are filter feeders that eat plankton. As they mow through the ocean with their enormous mouths open, the plankton they consume may include both plants and animals. Using that line of reasoning, mussels and barnacles may be considered omnivores, since they filter small organisms (which may contain both phytoplankton and zooplankton) from the water Omnivores and Trophic Levels In the marine (and terrestrial) world, there are producers and consumers. Producers (or autotrophs) are organisms that make their own food. These organisms include plants, algae, and some types of bacteria. Producers are at the base of a food chain.  Consumers (heterotrophs) are organisms that need to consume other organisms to survive. All animals, including omnivores, are consumers.   In a food chain, there are trophic levels, which are the feeding levels of animals and plants. The first trophic level includes the producers, because they produce the food that fuels the rest of the food chain. The second trophic level includes the herbivores, which eat producers.  The third trophic level includes omnivores and carnivores. References and Further Information: Chiras, D.D. 1993. Biology: The Web of Life. West Publishing Company.Harper, D. Omnivorous. Online Etymology Dictionary. Accessed September 29, 2015.National Geographic. Autotroph.  Accessed September 29, 2015.The Oceanic Society. What Do Sea Turtles Eat? SEETurtles.org. Accessed September 29, 2015.

Katharine Burr Blodgett Invents Non-Reflective Glass

Katharine Burr Blodgett Invents Non-Reflective Glass Katherine Burr Blodgett (1898-1979) was a woman of many firsts. She was the first female scientist hired by General Electric’s Research Laboratory in Schenectady, New York (1917) as well as the first woman to earn a Ph.D. in Physics from Cambridge University (1926). She was the first woman to receive the Photographic Society of America Award, and the American Chemical Society honored her with the Francis P. Garvin Medal. Her most notable discovery was in how to produce non-reflective glass. Early Life of Katharine Burr Blodgett Blodgetts father was a patent lawyer and head of the patent department at General Electric. He was killed by a burglar a few months before she was born but left enough savings that the family was financially secure. After living in Paris, the family returned to New York where Blodgett attended private schools and Bryn Mawr College, excelling at mathematics and physics. She got her masters degree from the University of Chicago in 1918 with a thesis on the chemical structure of gas masks, determining that carbon would absorb most poisonous gasses. She then went to work for the General Electric Research Lab with  Nobel Prize winner  Dr. Irving Langmuir. She completed her Ph.D. at Cambridge University in 1926. Research at General  Electric Blodgett’s research on monomolecular coatings with  Langmuir led her to a revolutionary discovery. She discovered a way to apply the coatings layer by layer to glass and metal. These thin films naturally reduce glare on reflective surfaces. When layered to a certain thickness, they completely cancel out the reflection from the surface underneath. This resulted in the world’s first 100 percent transparent or invisible glass Katherine Blodgett’s patented film and process (1938) has been used for many purposes including limiting distortion in eyeglasses, microscopes, telescopes, camera, and projector lenses.   Katherine Blodgett received U.S patent #2,220,660 on March 16, 1938, for the Film Structure and Method of Preparation or invisible, nonreflective glass. Katherine Blodgett also invented a special color gauge for measuring the thickness of these films of glass, since 35,000 layers of the film only added up to the thickness of a sheet of paper. Blodgett also made a breakthrough in developing smoke screens during World War II. Her process allowed less oil to be used as it was vaporized into molecular particles. In addition, she developed methods for deicing airplane wings. She published dozens of scientific papers over the course of her long career. Blodgett retired from General Electric in 1963.  She did not marry and lived with Gertrude Brown for many years. She acted in the Schenectady Civic Players and lived on Lake George in the Adirondack Mountains.  She died at home in 1979. Her awards include the Progress Medal from the Photographic Society of America, Garvan Medal of the American Chemical Society, American Physical Society Fellow, and Boston First Assembly of American Women of Achievement honored scientist. In 2007 she was inducted into the National Inventors Hall of Fame. Patents Granted to Katharine Burr Blodgett U.S. Patent 2,220,860: 1940: Film Structure and Method of PreparationU.S. Patent 2,220,861: 1940: Reduction of Surface ReflectionU.S. Patent 2,220,862: 1940: Low-Reflectance GlassU.S. Patent 2,493,745: 1950: Electrical Indicator of Mechanical ExpansionU.S. Patent 2,587,282: 1952: Step Gauge for Measuring Thickness of Thin FilmsU.S. Patent 2,589,983: 1952: Electrical Indicator of Mechanical ExpansionU.S. Patent 2,597,562: 1952: Electrically Conducting LayerU.S. Patent 2,636,832: 1953: Method of Forming Semiconducting Layers on Glass and Article Formed Thereby

Midnight Yoga - Industry Definition Assignment Example | Topics and Well Written Essays - 750 words - 1

Midnight Yoga - Industry Definition - Assignment Example   Similarly, the organization has given children the opportunity to learn and explore in the designated forest as this allows them to grow up into individual who is creative, and those that are willing to appreciate the natural world. (Desikachar, 1999). Apparently, the industry has four dedicated individuals who have played the huge role in ensuring that all the organized charitable events receive the best audience for funding. It is worth mentioning that, these individuals have continued to engage in events that are more related to the community and particularly on the issues of environment and child help. These medications have not been without the yearning for more education as all of them are students in various universities in parts of Columbia (Kaminoff, et al., 2012). Yoga is denoted as a type of exercise that pertains to physical and mental aspects of the body with the aim of uniting the body, mind and spirit. It is carried out by both genders, and has been there since the early 60s, and has only advanced as a result of the changing world and its continuous increase in demand (Stephens, 2010). It is apparent that the popularity of Yoga industry across the world has been steady in the last five years with most countries not taking much interest. Nevertheless, the world is gradually taking much interest due to its publicity and associated benefits. To be specific, Canada is currently the leading country in the world in the popularization of yoga. In fact, it is believed that British Columbia leads the yoga popularity game, other parts of Canada such as Alberta have also followed suit in popularity (Education, 2008). Apparently, it is estimated that the rate of growth in Midnight Yoga is 78%, particularly in Canada. This has been facilitated by the urge from people to keep their body fit. Actually, it has been stipulated that most people have received the motivation for this practice for the number of reasons. To begin with, Yoga has been confirmed to enhance flexibility at around 78% in both male and female.     

Manegment Essay Example | Topics and Well Written Essays - 500 words - 1

Manegment - Essay Example HRM is a tactical and inclusive way of managing people and the place of work customs and atmosphere. An efficient HRM enables employees to contribute successfully and productively to the overall company course and undertakings of the company’s goals and objectives. In the recent past, HRM has moved from its traditional duties and emphasising more on planning, monitoring, and control (Martocchio 4). There was a time I worked as an attendant in a large motel. I interacted with the HRM department during the recruiting process and attended various training sessions organised by the motel and conducted by the HRM department. In this motel, the HRM handles any issue concerning leave days, off days, payslip problems and even medical cover. When I left the motel, I got an exceptionally strong recommendation letter drafted and authenticated by the HR manager. I had a truly delightful time working in this motel; I got promoted two times, and that can attest to the fact that I had a tremendously positive experience with the HRM. In the future, I look forward to secure employment in the same hotel and probably a chance to work in their HR office. Any HRM team is led by a HR manager who reports to a high authority. The authority could be an operation manager or a general manager depending on the organization’s hierarchy of power. Some human resource managers may report directly to the CEO or directors of the company. All the activities of a HRM department are managed by the departmental manager, but at times, the other managers may help him/her, especially during recruitment, firing, and appraisal of the employee performance (Martocchio 9). I have always been passionate about handling people from different creeds, religions, races, social orientations and backgrounds. I believe that, when I choose this course, it will help me achieve my dreams since it is

Censorship: Helpful Or Hindering? Essay example -- essays research pap

What exactly is censorship? Some feel censorship is a violation of their rights. Others say censorship is a must in the violent, abusive world we call â€Å"society.† Who has the right to censor? Who doesn’t? What needs to be censored, and what doesn’t? The fact of the matter is that there are many pros and cons in the music and entertainment industry about censorship. Personally, I believe that the consumers and viewers should be charged with the ultimate responsibility of censorship. One major area in which there is much argument on censorship is that of television. Since its invention earlier this century, television has become the most popular format for entertainment. We can be entertained, informed, and inspired by programs on television. But nowadays, television stations are becoming less restrictive about the content in their programs. More violence, profanity, and nudity than ever before now graces our television screens every night. Clearly, there are things that children should not be seeing on television. Therefor, the new v-chip legislation in process requires all television manufacturers to install an electronic device that allows parents to set the tolerance levels for violence, profanity and nudity. However, are children’s viewing habits the responsibility of the government or the parents? A good point can be made that there is far too much violence on television today, and that an invention such as a v-chip would help immensely. But what about such violent dra...

Certified Public Accountant

They should analyze the relationship of academic performance of BAS students in their true accounting profession. There is a strong positive relationship between these two variables. Since there is a positive correlation, it reveals that there should be written policies that state the benchmark of required grades for accounting subjects in order to maintain a possible high rate of passers. Standardized Table of Specification (TOSS) is also recommended in order to give weight on a more important topic of the program.The school is given the privilege to require standard admission requirements to the program as reflected in its manual of regulations for students (SHED, 2007). In the united States and some other countries in the west, to become a Certified public Accountant (CPA) in a specific state, you must not only finish a bachelor's degree. You must also present some requirements that will qualify you as an applicant. In order to be qualified, there is an aptitude test that you shou ld pass. The said test will measure not only the cognitive but also the affective side of the person taking it.In the Philippines, being a Certified Public Accountant (CPA) is as hard to get as in other countries. For example, in the Far Eastern university (FIJI), Students wishing to pursue a degree in accountancy leading to the CPA examination shall be enrolled initially in BASS-Major in Internal Auditing. After completing the course requirements for the first four years of study, the student shall be granted the degree of Bachelor of Science in Business Administration-Major in Internal Auditing.Qualified students will be eligible to proceed to a fifth year of study, after which they will be granted the degree of Bachelor of Science in Accountancy which will qualify them for the CPA examination. At the end of the five-year program, the successful student shall have earned two separate degrees (BASS-IA and BAS). To simplify the situation, you have to study and finish a related cours e first before pursuing the degree in accountancy. There is a different scenario in other universities. There is a retention program that mandates every student to have an examination conducted yearly and pass it in order to continue studying Accountancy.If they failed to do so, they are required to shift to another business related courses. To name a few, University of the Philippines (UP), De La Sale University (DULLS), and Polytechnic University of the Philippines (PUP) are some of the universities that regulate this program. In this instance, they should study accountancy first and if they fail, they will have no option but to pursue another business related course to continue their studies. This means a different pathway to a quite different career. In Our Lady of Fatima University (LOFT), the same retention program applies.Freshmen students, after their second semester, will take a qualifying exam and pass it for them to continue studying as a sophomore accounting student in t he next school year. Sophomore students, during summer vacation, will also take a qualifying exam in order to be a junior accounting student of the university. If the students failed to pass the exam, they have no choice but to shift to another program related to BAS which they like or continue the study in accounting with the degree Of Bachelor of Science in Accounting Technology (BASS), a non-board program.The study aims to know the goal of the retention program implemented in ELF] for their BAS students and if it is a necessary venture for them to take it. Statement of the Problem As accountancy students themselves, the researchers want to study and investigate the advantages and disadvantages of taking the qualifying exam of students taking up Accountancy. The researchers also want to find out the learning that the students will gain from taking the qualifying exam and if these help them to enhance their knowledge and skills in accountancy.The study also wants to express the fee lings of both parties (the students and the university) on why the university should implement this kind of retention program and observe the effects of the implementation of the retention program in producing professionals of the country. The questions can be summarized as follows: 1 . What is the passing rate of accountancy students in qualifying exam in accountancy? 2. What are the struggles/difficulties met by test takers? 3. What are the benefits of the qualifying exam for accountancy students? 4. What will be the effect of this to the public? 5.How will the finding may be utilized? Sass motion/Hypothesis 1 . The passing rate of accountancy student in the qualifying exam in accountancy should be more than 50% 2. The students will face more challenges, pressure and stress before taking the test such as long time of reviewing, deprivation of their sleep, and the expectation of their parents to them. Time pressure is also one of the obstacles that should have to be overcome by the examinees during the examination. 3. The lessons that they will learn in the qualifying exam is of great help to them when they already finish the degree in accountancy.The exam will hone their potentials that they already have and use it to the career that they have chosen, and that is to be a professional accountant. 4. The qualifying exam will produce better accountant and will help in the progress of the country because they have professionals who have excellent background and expertise on the field they have chosen. 5. The findings can be a source of information in finding the season of the implementation of the said retention program. Significance of the study Accounting Department. This study would be able to give assistance to everyone in the Accounting Industry.It will be a great source of information regarding the continuous improvement of programs for the higher rate of qualified accountants. Sophomore Students of College of Business and Accountancy. The researcher will be able to assist the students who will take the qualifying exam about the proper preparations, the do's and don't, and other tips that will be their advantage in taking the exams. Teachers and Professors of the Program. Knowledge of this study will guide professors and other instructors in the improvement of the curriculum for the betterment of their teaching strategies that will benefit both the students and themselves as well.Future Researchers. The study would be able to give aid, support, guidance and advice to the future researchers who will also study similar issues. Some of its part could have a resemblance in their study so it would be a great comfort for them to know the facts regarding the problems alike. Scope and Delimitation This study was conducted to determine the advantages and disadvantages of taking the qualifying exam in Accountancy. The retention program implemented by the university has been advised as a basis of the learning of the students and if they are cap able of taking Accountancy.This study will discover the knowledge the students will acquire in taking the qualifying exam and how it will help them improve their knowledge and skills in Accountancy. This study would be most relevant to the third year students of Our Lady of Fatima University (LOFT-Antipodal Campus) taking up the degree program of Accountancy. However, this study will not cover other branches of Our Lady of Fatima University due to time and financial constraints. It was not possible to cover a argue number of respondents because getting them required more resources, considerable time and other logistics.Materials and Methods The Researchers aim to discuss the advantages and disadvantages Of students taking the qualifying examination in Accountancy which today's concerned of accountancy students who wants to graduate as accountants however they required to pass the qualifying examination first. The information related to the topic is gathered in different references s uch as books, research papers, online sources and survey questionnaire. The Researcher chose selected third year Accountancy students of Our Lady f Fatima University as their respondents.The particular student will answer the provided survey forms that indicated information on what are their views (advantages and disadvantages) on taking the qualifying examination. The data will be analyzed through the use of a table that serves as the summary of the response or the answer of the respondents who took the survey question. In addition, the Researcher will also ask some faculty of College of Business and Accountancy about their opinions in the advantages and disadvantages of taking the qualifying examination for the students. Definition of terms Accountancy.

Bunraku and Kathakali theatrical traditions - Free Essay Example

Sample details Pages: 14 Words: 4344 Downloads: 9 Date added: 2017/06/26 Category Art Essay Type Argumentative essay Topics: Drama Essay Did you like this example? Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research.   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cult ural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices.   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, à ¢Ã¢â€š ¬Ã‹Å"Bunrakuà ¢Ã¢â€š ¬Ã¢â€ž ¢ was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (à ¢Ã¢â€š ¬Ã…“What is Bunraku?à ¢Ã¢â€š ¬?) Today, à ¢Ã¢â€š ¬Ã‹Å"Bunrakuà ¢Ã¢â€š ¬Ã¢â€ž ¢ is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usuall y hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (à ¢Ã¢â€š ¬Ã…“What is Bunraku?à ¢Ã¢â€š ¬?)   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name à ¢Ã¢â€š ¬Ã‹Å"Kathakalià ¢Ã¢â€š ¬Ã¢â€ž ¢ directly translates into à ¢Ã¢â€š ¬Ã‹Å"story-playà ¢Ã¢â€š ¬Ã¢â€ž ¢. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan)   Ãƒâ€šÃ‚  Ãƒâ€šÃ ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution:   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   Bunraku Theater evolved from two different groups. T here was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Historical plays were focused on the lifestyle and stori es involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Sim ilar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOà ¢Ã¢â€š ¬Ã¢â€ž ¢s Intangible Cultural Heritage list. (paragraph of references)   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali or iginated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished version of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to d o with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into à ¢Ã¢â€š ¬Ã‹Å"pure danceà ¢Ã¢â€š ¬Ã¢â€ž ¢, à ¢Ã¢â€š ¬Ã‹Å"suggestive dance with the aid of postures and gesturesà ¢Ã¢â€š ¬Ã¢â€ž ¢, and à ¢Ã¢â€š ¬Ã‹Å"dramaà ¢Ã¢â€š ¬Ã¢â€ž ¢. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this stage action c ompletes the art of Kathakali today. (paragraph of references)   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great simil arities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice.   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is describ ed as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characterà ¢Ã¢â€š ¬Ã¢â€ž ¢s personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the musical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references)   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cy mbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. There is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references)   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the perf ormance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculin e face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This headà ¢Ã¢â€š ¬Ã¢â€ž ¢s facial expression indicates strong willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yokanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arenà ¢Ã¢â€š ¬Ã¢â€ž ¢t supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. (paragraph of references) found on Japan Arts Council web site   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing faci al features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head used for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) found on Japan Arts Council web site   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage.   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   These typical heads resembling various characters can also be foun d in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characterà ¢Ã¢â€š ¬Ã¢â€ž ¢s valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. Taadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) found on the Cochin Cultural Centre web site   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   Make-up in Bunraku is centered on the presentation of the different heads. I n Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement:   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanterà ¢Ã¢â€š ¬Ã¢â€ž ¢s message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (à ¢Ã¢â€š ¬Ã…“The Puppetsà ¢Ã¢â€š ¬?) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements.   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppetà ¢Ã¢â€š ¬Ã¢â€ž ¢s head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppetà ¢Ã¢â€š ¬Ã¢â€ž ¢s right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppetà ¢Ã ¢â€š ¬Ã¢â€ž ¢s left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to bring the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of reference s)   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This à ¢Ã¢â€š ¬Ã‹Å"languageà ¢Ã¢â€š ¬Ã¢â€ž ¢ is based upon mudras. There are twenty-four basic mudras, or à ¢Ã¢â€š ¬Ã‹Å"lettersà ¢Ã¢â€š ¬Ã¢â€ž ¢ that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the fac ial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references)   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion:   Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚  Ãƒâ€šÃ‚   Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bun raku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific additional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwinà ¢Ã¢â€š ¬Ã¢â€ž ¢s theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. https://www2.ntj.jac.go.jp/unesco/bunraku/en/contents/creaters/tayu.html. Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. https://www2.ntj.jac.go.jp/unesco/bunraku/en/contents/dolls/female/index.html. Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. https://www2.ntj.jac.go.jp/unesco/bunraku/en/contents/dolls/male/index.html. The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. https://www2.ntj.jac.go.jp/unesco/bunraku/en/contents/whats/history01.html. The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. https://www.sagecraft.com/puppetry/definitions/Bunraku.hist.html. Kathakali. The Art Forms of Kerala. Web. 17 July 2009. https://www.malayalamresourcecentre.org/Mrc/culture/artforms/kathakali/kathakali.html. Narayanan, Akavoor. Kathakali The Total T heatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. https://www2.ntj.jac.go.jp/unesco/bunraku/en/contents/creaters/operator.html. Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. https://www.artindia.net/kathakali.html. Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. https://www2.ntj.jac.go.jp/unesco/bunraku/en/contents/whats/index.html. Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. https://www2.ntj.jac.go.jp/unesco/bunraku/en/contents/dolls/female/index.html. Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts C ouncil. Web. 17 Jan. 2010. https://www2.ntj.jac.go.jp/unesco/bunraku/en/contents/dolls/male/index.html. Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. https://www.cochinculturalcentre.com/kathakali.php. Don’t waste time! Our writers will create an original "Bunraku and Kathakali theatrical traditions" essay for you Create order