Evaluation porsche 911 Essay Example | Topics and Well Written Essays - 1000 words

Evaluation porsche 911 - Essay Example History Porsche has been a name that flashes as a synonym for amazing cars in the heart of almost all the automobile lovers in the world ever since it was founded in 1931. The brand name and the technology of the world’s most beautiful cars belong to the German Genius, Ferdinand Porsche. An originally motor designing company was transformed into a world class car manufacturer by the great vision of Ferdinand Porsche around the World War II. It was the time when the Volkswagen company had to displace Porsche for his English nativity following which he had to undergo a short-term imprisonment. This incident happened to a blessing in disguise as Ferdinand’s son, Ferry Porsche, took inspiration from his father’s skills and designed his own car which impressed the car lovers very soon. As described on its website, this car, fondly called 356 as its own design project number, changed the conservative approach to the car industry by promoting it as a field of perfect in novations for style and speed (‘Porsche: historical background’). This aerodynamic version with unprecedented power packing grabbed the attention of the world very rapidly and from then Porsche became an identity of luxury. The industrial history of Porsche can thus be ranged from 1948 till date with a number of car models and specifications of engines. An overall evaluation of the company’s profile indicates Porsches firmness in retaining its uniqueness in style and marketing. Porsche cars of different strength and enticing looks came flowing into the market over the years with the makers proving their innovation in the automobile engineering for sports utility vehicles (SUVs) as the company was incorporated to public sector in 1984, around twenty years after the introduction of Porsche 911 model. Porsche 911 A car model running a hit story for over three decades may be possible only with Porsche 911. Observers can find that the switching from its dependence on Volkswagen engines and the modification tag of Beetle brand eventually helped Porsche stand as a stalwart in the car designing field. The incredible power of its engine made it a hot choice for the racers and mountain terrain riders. Moreover, this model bears the credit for being the most sort after car with unchanged model name to capture the world market. Even when the competitors had claims that it had a wrong positioning of the engine, the 911 had the reputation for being the first sports car with a five speed transmission. The name was also a significant choice after the French Peugeot had their right reserved over the use of zero in the middle of any brand name. Thus the originally 901 became 911 when the company made commercial production of 1965 model cars. Porsche 911 design Ferdinand Alexander designed the world’s most iconic Porsche cars. The design of the Porsche 911 was introduced in the market with flying colors and this stunning design assisted this model to d ominate the auto market since its launching. The terrific design of the Porsche 911 benefited the company to win the award World’s Performance Car of the Year 2012. Today, many of the leading sports car makers try to adopt different design features of Porsche 911. The company’s philosophy has been giving particular attention to better design since its establishment. The firm’

La creatividad

La creatividad Introduccion La creatividad es la llave que abre la puerta del desarrollo individual y colectivo, razà ³n por la cual las naciones que han alcanzado un alto grado de desarrollo tecnolà ³gico, industrial, econà ³mico y social invierten grandes cantidades de recursos para mantenerse a la vanguardia, ya que innovar constantemente les asegura, no sà ³lo el bienestar de sus habitantes, sino incluso la supervivencia misma. Esta necesidad de ofrecer alternativas nuevas, viables y oportunas a las distintas problemà ¡ticas que plantea nuestra sociedad globalizada, nos motiva a enfocar nuestro interà ©s de estudio en la creatividad, desde la perspectiva del individuo creativo e innovador, pues es el sujeto, el principal protagonista de estos cambios, quien utiliza esta herramienta interna para aportar los elementos que promueven el avance y crecimiento. En este sentido, el presente trabajo de grado se propone â€Å"dibujar† el perfil psicolà ³gico de personas creativas en Repà ºblica Dominicana, a partir de la descripcià ³n de sus rasgos de personalidad. Igualmente nos esforzamos en entregar un perfil social, tomando como marco de referencia el universo relacional de los individuos estudiados: familiar, social, educativo y econà ³mico; con la finalidad de encontrar en estas perspectivas externas los elementos o situaciones que facilitaron la manifestacià ³n concreta de su actividad creativa, asà ­ como aquellas circunstancias que representaron importantes obstà ¡culos en la consecucià ³n de sus metas. Esta investigacià ³n es el primer estudio de este gà ©nero realizado en nuestro paà ­s, hecho que le reviste de gran importancia ya que las conclusiones arribadas aportarà ¡n valiosos beneficios en diferentes à ¡reas. Este estudio abarca diversas zonas de nuestra geografà ­a nacional, donde nuestros sujetos de investigacià ³n han expuesto parte de sus talentos. Mediante pruebas psicomà ©tricas realizamos la exploracià ³n caracterolà ³gica, mientras que el perfil contextual es abordado a travà ©s del uso de cuestionarios y entrevistas semi II estructuradas. Indagamos asà ­ el ambiente que fue capaz de impulsar, aunque no de propiciar, el genio creativo de estos ciudadanos como mecanismo de adaptacià ³n y supervivencia a sus propias carencias. Iniciamos esta propuesta investigativa definiendo el concepto creatividad y sus antecedentes, exponiendo las teorà ­as planteadas por diferentes personalidades del haber cientà ­fico; quienes, a pesar de estudiarla desde diferentes aristas, coinciden en afirman que la creatividad es una capacidad integral de todos los seres humanos, incluso hay quienes la califican como una â€Å"actitud personal†; este potencial lo que requiere es ser fertilizado, a fin de broten sus frutos en todos los à ³rdenes. En el capà ­tulo uno, definimos las personas creativas desde la à ³ptica de diversos investigadores, a partir de una serie de caracterà ­sticas cognoscitivas, afectivas y volitivas especà ­ficas que poseen. De igual modo las perfilamos mediante su auto descripcià ³n. Es de nuestro interà ©s abordar la motivacià ³n tanto intrà ­nseca como extrà ­nseca que impulsan sus proyectos creativos, pues estas personalidades sobresalen mà ¡s por su deseo de dejar huellas en el mundo que por su puro poder intelectual. Sin dejar de lado el aspecto de la inteligencia, ya que hay autores que incluso la desvinculan del proceso creativo.. En el capitulo dos nos ocupamos del contexto creativo tratando de exponer el papel que juega el proceso de socializacion en el desarrollo y expresià ³n de la capacidad creativa. Los estudios de casos realizados nos permiten concluir que las caracterà ­sticas que definen los sujetos estudiados son las siguientes†¦ III II. PLANTEAMIENTO DEL PROBLEMA II.1 ENUNCIACIÓN DEL PROBLEMA De los individuos creativos depende el desarrollo y sostenimiento del progreso humano, gracias a la incorporacià ³n de sus ideas originales, innovadoras y eficaces. Por lo tanto, es imprescindible detectar y cultivar las cualidades de personalidad que los caracterizan. De ahà ­ la relevancia que alcanza la presente investigacià ³n, pues entregamos un perfil psicolà ³gico y social de personas creativas en Repà ºblica Dominicana, estudio pionero en su gà ©nero. La creatividad es considerada un bien social, pues el avance de la sociedad dependerà ¡ cada vez mà ¡s de la inventiva y de la capacidad de las jà ³venes generaciones1. En los à ºltimos 50 aà ±os, ha sido estudiada por muchos autores como elemento componente de la personalidad (Guilford, 1960; Sternberg, 1988; Mitjà ¡ns, 1995; Csikszentmihalyi, 1998; Goà ±i, 2003). El procedimiento utilizado consiste en identificar las personas creadoras a partir de sus realizaciones o utilizando criterios de jueces, datos autobiogr à ¡ficos, etc. y estudiar, generalmente mediante tests, los rasgos de personalidad, buscando relaciones que evidencien cuà ¡les caracterizan a las personas creadoras y las distinguen de las no creadoras.2 Tradicionalmente las investigaciones han sido enfocadas en poblaciones especà ­ficas: cientà ­ficos y artistas de todo gà ©nero; llegando incluso a considerar la creatividad como una propiedad cuasi exclusiva de estos grupos; sin embargo hay autores que la plantean como un atributo comà ºn a todos los seres humanos, distinguiendola como ordinaria, cuando el individuo la utiliza en su cotidianidad para adaptarse al medio y sobrevivir, y grandiosa cuando es responsable de los logros y progresos de la sociedad humana.3 En un principio el estudio de la creatividad se limitaba al contexto individual, posteriormente se han tenido en consideracià ³n tambià ©n otros factores de carà ¡cter 1 Saturnino De la Torre. Persona y proceso creativos. Creativitat, comunicacià ³ i mercat, 2000. http://tdd.elisava.net/coleccià ³n/17/de-la-torre-es. 2 Albertina Mitjans. Creatividad, personalidad y educacià ³n. Cuba, Editorial Pueblo y Educacià ³n. 1995, p.3 3 Federico De Tavira. Introduccià ³n al Psicoanà ¡lisis del Arte. Sobre la Fecundidad Psà ­quica. Mà ©xico. Plaza y Valdà ©s Editores. 2007, p. 46 IV social, que forman parte del escenario en el que se desenvuelve el individuo: la familia, la red social, el ambiente cultural y educativo, los adelantos tecnolà ³gicos de la à ©poca, etc. Anne Roe, una de las pioneras de la psicologà ­a moderna, considera que a veces las instituciones culturales y el ambiente reprimen el potencial creativo en vez de estimularlo. â€Å"El problema no es sà ³lo encontrar la gente que de algà ºn modo han logrado oponerse a estas presiones, sino tambià ©n el encontrar formas de cambiar la cultura†.4 II.2 FORMULACIÓN DEL PROBLEMA Estos à ¡ngulos de acercamiento y comprensià ³n de la creatividad en la relacià ³n individuo-entorno, nos llevan a formular las siguientes preguntas:  ¿Cuà ¡les carà ¡cterà ­sticas de personalidad predominan en las personas creativas?  ¿Cuà ¡les rasgos de carà ¡cter comparten los individuos estudiados?  ¿Cà ³mo se definen asà ­ mismos los creativos? (autoconcepto)  ¿Cuà ¡les factores de carà ¡cter interno y/o externo lo motivan a crear?  ¿En quà © ambiente familiar se desarrollà ³ como individuo?  ¿Cuà ¡l es la red social que le ha servido de apoyo en sus proyectos?  ¿Cuà ¡l es el nivel de escolaridad alcanzado?  ¿Cuà ¡les circunstancias econà ³micas han sido predominantes a lo largo de su vida?  ¿Proporciona nuestra sociedad (Repà ºblica Dominicana) el ambiente propicio para el desarrollo y exposicià ³n del potencial creativo en sus ciudadanos? 4 Alexandra Goà ±i. Desarrollo de la creatividad. Costa Rica. Editorial Universidad Estatal a Distancia (UENED). 2003, p. 94. V III. JUSTIFICACIÓN Identificar y describir a las personas creativas a partir de sus rasgos de personalidad, asà ­ como la relacià ³n que ha tenido el contexto familiar, social, econà ³mico y educacional con la expresià ³n y realizacià ³n creativa de los mismos, constituye un campo de investigacià ³n hasta ahora no explorado en Repà ºblica Dominicana, de ahà ­ se desprende la relevancia de este estudio, resultando à ©ste el primer abordaje de esta temà ¡tica en nuestro paà ­s. Las conclusiones arribadas reportan importantes beneficios en los siguientes tà ©rminos: Psicolà ³gicos: proporcionan un inventario caracterolà ³gico de los sujetos creativos estudiados, el cual se podrà ¡ utilizar para futuras investiga- ciones que amplà ­en el espectro de estudio de la creatividad y la influencia del ambiente en la produccià ³n creativa. De igual modo, motiva a los estudiosos del comportamiento a fijar su interà ©s en las potencialidades humanas, cà ³mo descubrirlas y fomentarlas, mà ¡s que en las patologà ­as manifiestas en la conducta. Educativos: el manejo de esta informacià ³n nos permite rediseà ±ar la enseà ±anza, a fin de que à ©sta promueva y fomente dichas cualidades de personalidad en las futuras generaciones. Gracias a esta reorientacià ³n podremos contar con individuos capaces de generar nuevas propuestas y de producir los cambios que necesita nuestra sociedad para asegurar la ruta hacia el desarrollo sostenido, rompiendo el esquema de que los estudiantes sean simples acumuladores y repetidores de informacià ³n que otros han aportado. Esta revolucià ³n educativa convertirà ¡ los salones de clase en verdaderos centros de formacià ³n de là ­deres emprendedores, al permitirseles la expresià ³n de su libre pensamiento y la concrecià ³n de sus ideas. VI Sociales: evaluar el contexto familiar, social y econà ³mico nos permite inferir cuà ¡les circunstancias externas han sido proveedoras de està ­mulos y cuà ¡les han sido inhibidoras del talento creativo. Este es uno de los aspectos mà ¡s importartes a considerar, ya que el individuo, como ente biopsicosocial, trae una dotacià ³n biolà ³gica que le antepone y supone la expresià ³n de sus cualidades, sin embargo no escapa a la externalidad: es en el ambiente que lo circunda donde ha de expresar estas virtudes, siempre y cuando este entorno le sea favorable. Es una constante en esta investigacià ³n la reflexià ³n respecto a este punto. Culturales: Aunque somos considerados paà ­s â€Å"tercermundista†, pueblo en và ­a de un desarrollo que no acabamos de alcanzar, en nuestro territorio se han formado y expresado indviduos con alta capacidad creativa, aà ºn cuando las circunstancias les han sido adversas. Este ejemplo, enseà ±a a la presente y futura generacià ³n a cultivar l a autoconfianza y trascender las limitaciones que impone el espacio que nos rodea. Promovemos asà ­ la cultura de la autodeterminacià ³n de nuestra nacià ³n. Empresariales. En este à ¡mbito, el perfil caracterolà ³gico del creativo ayuda a identificar aquellos individuos con iniciativa, inventiva, capaces de generar las ideas innovadoras a mayor ritmo, asegurando el progreso y el desarrollo en tà ©rminos productivos. Incluso hay sociedades, como la japonesa, donde ser creativos es una verdadera obligacià ³n del empleado. Esta investigacià ³n es viable pues se dispone de los recursos necesarios para su realizacià ³n. VII IV. ALCANCE Y Là MITES DE LA INVESTIGACIÓN Este estudio de caso se llevarà ¡ a cabo durante los meses agosto-octubre del aà ±o 2009; està ¡ limitado a estudiar seis personas dedicadas a diversas actividades, con diferentes niveles educativos, cuyas edades oscilan entre los 20 y 55 aà ±os de edad, las cuales està ¡n ubicadas en diversas localidades de nuestro paà ­s (Repà ºblica Dominicana). VIII V. OBJETIVOS V.1 GENERAL Describir el perfil psicosocial de personas creativas en Repà ºblica Dominicana, dedicadas a diversas ramas tà ©cnicas y artisticas, cuyas edades oscilas entre 20 y 55 aà ±os de edad. V.2 ESPECà FICOS Identificar los rasgos de personalidad de estas personas creativas Establecer un perfil caracterolà ³gico del creativo Exponer cà ³mo se describen a sà ­ mismos (autoconcepto) Establecer la relacià ³n del entorno social y familiar en el desarrollo y expresià ³n del talento creativo de estos personajes Exponer la formacià ³n acadà ©mica de los casos estudiados Identificar las circusntancias econà ³mica en las cuales se han desenvuelto Investigar las motivaciones intrà ­nsecas y extrà ­nsecas de sus creaciones IX VI. METODOLOGà A VI.1 TIPO DE INVESTIGACIÓN La presente investigacià ³n se define como un estudio de caso, enmarcado en el enfoque cualitativo, fundamentado en una perspectiva interpretativa de los datos recolectados. VI.2 TIPO DE ESTUDIO Realizamos un estudio descriptivo, debido a que nuestro objetivo principal es describir al individuo a partir de sus rasgos de personalidad, haciendo à ©nfasis en comprender la relacià ³n de su expresià ³n creativa con el ambiente que lo circunda, ya sea en tà ©rminos familiares, sociales, educacionales y econà ³micos. Es asà ­ mismo un estudio exploratorio, ya que esta temà ¡tica es planteada por vez primera en nuestro paà ­s como objeto de investigacià ³n, constituyà ©ndose asà ­ en un punto de partida para estudios posteriores. VI.3 MUESTRA La muestra estuvo conformada por seis personas, cuatro hombres y dos mujeres, dedicadas a distintas ramas u oficios, con diferentes niveles educativos, cuyas edades oscilan entre 20 y 50 aà ±os de edad. El criterio de seleccià ³n està ¡ basado en el conocimiento previo del aporte realizado y desarrollado por las personas en cuestià ³n. Los mismos està ¡n localizados en diferentes ciudades de nuestro paà ­s. (Aà ±adir el carà ¡cter sujetivo de la seleccià ³n, explicar esto.) X VI.4 TÉCNICA DE RECOLECCIÓN DE DATOS Para el logro del objetivo se utilizaron los siguientes instrumentos: a. El Test de 16 Factores de Personalidad de Raymond B. Catell (16 FP de Catell), el cual se basa en el anà ¡lisis factorial y mide 16 dimensiones de la personalidad. Cada uno de los factores posee un significado psicolà ³gico segà ºn el cual ha de interpretarse la calificacià ³n obtenida por el sujeto para su perfil de personalidad. b. Entrevistas semi-estructuradas mediante las cuales exploramos la relacià ³n persona-ambiente en sus diferentes vertientes: social, familiar, econà ³mica y educativa. VI.5 MEDIOS Y FUENTES DE INVESTIGACIÓN 1. Libros 2. Revistas electrà ³nicas 3. Internet 4. Perià ³dicos 5. Entrevistas XI VII. MARCO TEÓRICO La creatividad es la habilidad para dar existencia a algo. Francis Barron VII.1 ANTECEDENTES HISTÓRICOS DE LA INVESTIGACIÓN VII.1.1 LA CREATIVIDAD La creatividad està ¡ vinculada a todos los aspectos de la vida psicolà ³gica y social, cuyo abordaje requiere un tratamiento interdisciplinario. Es el tema central de investigacià ³n de cientà ­ficos, psicà ³logos, educadores, filà ³sofos, etc., ya que representa el factor competitivo mà ¡s determinante y sustentador de los grandes cambios que experimenta la sociedad del siglo XXI. VII.1.1.1 Definicià ³n Creatividad significa crear; implica dar vida o sentido a algo nuevo, construir, hacer crecer (en latà ­n crescere), desarrollar, aportar un sentido diferente en la solucià ³n de problemas, orientado a satisfacer los requerimientos de la sociedad en tà ©rminos constructivos. La creatividad no es sà ³lo un proceso personal de satisfaccià ³n de necesidades, sino tiene una dimensià ³n social, pues es en el contexto externo donde ha de tener repercusià ³n el resultado del proceso creativo: el producto creado. VII.1.1.2 Antecedes histà ³ricos del tà ©rmino En 1971 la Real Academia de la Lengua discutià ³ acerca de la incorporacià ³n de la palabra creatividad al diccionario de la lengua espaà ±ola, pues consideraban XII injustificable la utilizacià ³n de un anglicismo (â€Å"creativity†) cuyo significado, a juicio de los acadà ©micos de la à ©poca, era ambiguo y polisà ©mico, argumentando ademà ¡s que existà ­an otras palabras que tenà ­an significados similares. Esta anà ©cdota de carà ¡cter histà ³rico nos muestra el vertiginoso crecimiento que ha tenido un concepto que en sà ³lo tres dà ©cadas se ha transformado en una herramienta inseparable del desarrollo y de la actividad cientà ­fica, tecnolà ³gica, cultural y educativa de nuestros pueblos.5 El reconocimiento del tà ©rmino creatividad, como elemento activo en todo ser humano, ha recorrido un largo camino, en el que podemos seà ±alar las siguientes etapas: Edad Antigua: el artista no crea, sino que se limitaba a imitar la realidad; Edad Media y la Moderna Cristiana: el acto de crear era solamente atribuible a Dios. Siglo XIX: el tà ©rmino creador es sinà ³nimo de artista. 1950: este aà ±o marca el inicio de la investigacià ³n cientà ­fica de la creatividad como una capacidad intrà ­nseca humana. En esta à ºltima etapa se destaca el psicà ³logo Joy Paul Guilford, quien incorpora el tà ©rmino creatividad al vocabulario habitual de la psicologà ­a al pronunciar su conferencia Creativity ante la American Psychological Association en 1950, marcando con este hecho un antes y un despuà ©s en la investigacià ³n cientà ­fica sobre esta cuestià ³n. Aunque regularmente se considera a Francis Galton (1869), con su obra Hereditary genius, como el punto de partida al plantear el tema del carà ¡cter hereditario de los genios y creadores. Fue el primero en ocuparse de estudiar la personalidad creadora mediante un mà ©todo cientà ­fico, aunque hoy dà ­a no son sostenibles sus conclusiones. VII.1.1.3 Conceptos afines A partir del famoso discurso que pronunciara Guilford en 1950, comienza a relacionarse la creatividad con conceptos como la fluidez, la flexibilidad, la 5 Hugo Cerda. La creatividad en la ciencia y en la educacià ³n. Colombia. Edit. Magisterio. 2006, p.13 originalidad y el pensamiento divergente, pues anterior a ese momento histà ³rico se estudiaba bajo el tà ­tulo de imaginacià ³n, invencià ³n, ingenio, nià ±os dotados y superdotados o en su defecto se le consideraba un signo distintivo de la inteligencia general.6 De acuerdo a Guilford â€Å"los individuos muy creativos pueden generar ideas a un ritmo rà ¡pido (fluidez), romper lo establecido a fin de atacar los problemas desde una perspectiva nueva (flexibilidad) y generar ideas nuevas y genuinamente diferentes (originalidad)†7. OTRAS FUENTES REVISTAS ELECTRONICAS Altuve, Ubaldina. Educacià ³n y desarrollo de la creatividad. CONHISREMI, Revista Universitaria de Investigacià ³n y Dià ¡logo Acadà ©mico, Vol. 5, No. 1, 2009. http://www.iuttol.com.ve/varios/nuevos_articulos/ARTICULO_UAltuve.pdf. Consultado el 14/07/09 Chacà ³n, Yamileth. Una revisià ³n crà ­tica del concepto de creatividad. Revista Electrà ³nica â€Å"Actualidades Investigativas de Educacià ³n. Volumen 5, Nà ºmero 1. Aà ±o 2005. http://revista.inie.ucr.ac.cr/articulos/1-2005/articulos/creatividad.pdf. Esquivias Serrano, Marà ­a Teresa (2004). Creatividad: definiciones, antecedentes y aportaciones. Revista Digital Universitaria. 31 de enero de 2004. Volumen 5, nà ºmero 1. ISSN:1067-6079. http://www.revista.unam.mx/vol.5/num1/art4/portada.htm# Consultado 25/06/09 Getzels, Jacob M.; Csikszentmihalyi, Mihaly. Encontrar problemas y creatividad. Revista electrà ³nica Estudios de Psicologà ­a, ISSN 0210-9395, N º 18, 1984 , pags. 69-80. http://dialnet.unirioja.es/servlet/articulo?codigo=65910. Consultado el 02/07/09 Graà ±a, Nelly. La creatividad en la escuela. Aula, Montevideo, 2003. http://www.geocities.com/aulauy/creatividad.htm Consultado el 02/07/09 4 Martà ­nez-Otero, V. (2005). Rumbos y desafà ­os en Psicopedagogà ­a de la Creatividad. Revista Complutense de Educacià ³n, Vol. 16 Nà ºm. 1 (2005) 169 181, ISSN 1130-2496 http://revistas.ucm.es/edu/11302496/articulos/RCED0505120169A.PDF Mitjans martinez, Albertina.  ¿Como evaluar la creatividad?. Rev. cuba. psicol. [online]. 1993, vol.10, no.2-3, p.104-121. http://pepsic.bvspsi. org.br/scielo.php?script= sci_arttextpid=S0257- 43221993000200003lng=ptnrm=iso. ISSN 0257-4322. Consultado 02/07/09. Penagos, Julio Cà ©sar; Aluni, Rafael. Creatividad, una aproximacià ³n. Revista Psicologà ­a (online). Ed. Especial aà ±o 2000. http://homepage.mac.com/penagoscorzo/creatividad_2000/creatividad6.html Consultado 02/07/09. Sà ¡nchez Manzano, Esteban. Imaginacià ³n creativa y personalidad: estudio experimental sobre las relaciones de la creatividad y la introversià ³nextraversià ³n. Revista Complutense de Educacià ³n Vol. 1 (1)- 121-135. Edil. Univ. Complutense. Madrid. 1990. http://revistas.ucm.es/edu/11302496/articulos/RCED9090130121A.PDF. Consultado 02/07/09. Sternberg, R.; OHara, Linda. Creatividad e Inteligencia. Cuadernos de Informacià ³n y Comunicacià ³n. 2005. revistas.ucm.es/inf/11357991/articulos/CIYC0505110113A.PDF. Consultado el 05/08/09 Velasco Tapia, Lucà ­a. Desarrollo del Pensamiento Creativo. Universidad de Londres. Papeles del Psicà ³logo, 2006. Vol. 27(1), pp. 3-8. Enero-abril, 2006. http://www.cop.es/papeles. consultado el 12/05/09 Velasco Barvieri, Patricia. Psicologà ­a y Creatividad: Una revisià ³n histà ³rica. (Desde los autorretratos de los genior del siglo XIX hasta las teorà ­as implà ­citas del siglo XX). http://books.google.com/books?id=rDfiEDyWjAYCpg=PA60dq=teoria+gestaltica+ de+la+creatividadei=dQhoSoKSOovgyQSx37i0BAclient=safari. Consultado el 14/07/09 Ziegler, M. (2000). Creatividad, aula y arte. Revista de Educacià ³n, 15. http://educar.jalisco.gob.mx/15/15Ziegle.html, Consultado 27/06/09 5 INTERNET Breve Historia de La Creatividad. http://www.scribd.com/doc/14237127/Breve- Historia-de-La-Creatividad, Consultado 10/05/09 Castillo Balcazar, Dania R. Creatividad y uso de desechos como material educativo en la educacià ³n universitaria. Lima, Perà º 2007. http://www.cybertesis.edu.pe/sisbib/2007/castillo_bd/pdf/castillo_bd.pdf Consultado el 11/07/09 De la Torre, Saturnino. Persona y proceso creativos. Creativitat, comunicacià ³ i mercat, 2000. http://tdd.elisava.net/coleccià ³n/17/de-la-torre-es. Consultado el 29/06/09 Garcà ­a Tenorio, Marà ­a Josà ©. Definicià ³n empà ­rica de los factores de fluidez ideativa, originalidad y creatividad: relaciones con la personalidad. http://www.ucm.es/BUCM/tesis/psi/ucm-t25704.pdf. Madrid, 2002. Consultado 10/05/09 Gardner, Howard. Un retrato del creador Ideal. Revista Psicologà ­a (online). Edicià ³n Especial aà ±o 2000. http://homepage.mac.com/penagoscorzo/creatividad_2000/creatividad3.html. Consultado 02/07/09. http://apuntes.rincondelvago.com/psicologia-de-la-creatividad.html. Consultado 02/07/09. http://ineedfile.com/download_file_i.php?qq=psicologiafile=2010997desc=Aprendi zaje+Y+Creatividad+-+Psicologia+Cognitiva+.doc Huidobro Salas, Teresa. Una definicià ³n de la creatividad a travà ©s del estudio de 24 autores seleccionados. Universidad complutense de Madrid. Facultad de psicologà ­a. http://www.ucm.es/BUCM/tesis/psi/ucm-t25705.pdf. Madrid, 2002. Consultado 10/05/09 Là ³pez Pà ©rez, Ricardo. Diccionario de Creatividad. Conceptos y Expresiones Habituales de los Estudios sobre Creatividad. http://www.scribd.com/doc/6733423/Diccionario-de-Creatividad. Consultado 10/05/09 Là ³pez Pà ©rez, Ricardo. Prontuario de la Creatividad. http://www.scribd.com/doc/6562037/Prontuario-de-La-Creatividad. Consultado 10/05/09 Quià ±ones Rodrà ­guez, Maria Aracelly. Creatividad y resiliencia. Anà ¡lisis de 13 casos colombianos. Universidad Autà ³noma de Madrid. Madrid, 2006. Consultado 10/05/09. http://digitool-uam.greendata.es:1801/view/action/singleViewer.do? dvs=1242032832751~67locale=es_DOframeId=1usePid1=trueusePid2=true Rogers, Carl R. Hacia una teorà ­a de la creatividad. UNIDAD 3 Teorà ­as del proceso creativo. http://www.angelfire.com/ego/cedelacultura/unidad3.htm. Consultado el 15/05/09 Rom Rodrà ­guez, Josep; Sabatà © Là ³pez, Joan. La creatividad antes de Guilford. Universitat Ramon Llull. http://congressos.blanquerna.url.edu/spucp/Pdfs/Rom_MaqCong05.pdf. Consultado el 04/06/09 Yentzen, Eduardo Teorà ­a General de la Creatividad. http://www.scribd.com/doc/6952795/Yentzen-Eduardo-Teoria-General-de-la- Creatividad, Consultado 10/05/09 www.gestiopolis.com/canales8/rrhh/psicometria-como-ciencia-del-comportamientoy- los-recursos-humanos.htm DICCIONARIO Diccionario de la Real Academia Espaà ±ola (Online). Vigà ©sima segunda edicià ³n http://www.rae.es/rae.html ENTREVISTA Entrevista a Robert Sternberg realizada por Eduardo Punset. http://www.rtve.es/tve/b/redes/anteriores.htm 1 Robert Sternberg. Inteligencia creativa. http://www.rtve.es/tve/b/redes2007/semanal/prg217/frcontenido.htm

Hobbes, Conatus and the Prisoners Dilemma :: Philosophy Essays

Hobbes, Conatus and the Prisoner's Dilemma ABSTRACT: I want to show the importance of the notion of conatus (endeavor) for Hobbes' political philosophy. According to Hobbes, all motion of bodies consists of elementary motions he called 'endeavors.' They are motions 'made in less space and time than can be given,' and they obey the law of persistence or inertia. A body strives to preserve its state and resist the causal power of other bodies. I call this the conatus-principle. Hobbes' argument for social contract and sovereign is based essentially on this model. He proves that the natural conatus makes people (i) strive to preserve their lives and therefore to get out of the destructive state of nature; (ii) commit to mutual contracts; (iii) keep the contracts unless some external cause otherwise determines; and (iv) establish a permanent sovereign power that Hobbes calls 'an artificial eternity of life.' All this is determined by the fundamental laws of nature, essentially, by the conatus-principle. I also show that the Priso ner's Dilemma interpretation of the Hobbesian state of nature does not represent all of the essential features of Hobbes' argument. I. Conatus and Motion Philosophers in the 17th century made hard efforts to explain the beginning and continuation of the motion of bodies. The notion of conatus ('striving' or 'endeavoring') was commonly used in the explanations. It refers to the power with which the motion of a body begins and is kept on. What is this power? Descartes explained it to be an active power or tendency of bodies to move, expressing the power of God. He distinguished between motion and the tendency to move, but Hobbes was anxious to argue that conatus actually is motion. In The Elements of Law he says it to be the "internal beginning of animal motion" (EL I.7.2), and in his later writings the notion of 'endeavor' refers to the beginning or first part of any kind of motion. Because motion is for Hobbes "a continual relinquishing of one place, and acquiring of another" (De Corp II.8.10), the beginning of a motion of a body must be an infinitely small change in the place of the body. Accordingly, Hobbes defines endeavor "to be motion made in less space and time than can be given; ... that is, motion made through the length of a point, and in an instant or point of time" (De Corp III.15.2). For Hobbes, the conatus is not an inherent power of a body but is determined by the motions of other bodies.

The possible approaches towards differentiated eLearning

Differentiated direction ( or differentiated acquisition ) involves supplying pupils with different avenues to geting content ; to processing, building, or doing sense of thoughts ; and to developing learning stuffs so that all pupils within a schoolroom can larn efficaciously, irrespective of differences in ability. Research indicates that many of the emotional or societal troubles gifted pupils experience disappear when their educational climes are adapted to their degree and gait of acquisition. † Differentiation in instruction can besides include how a pupil shows that they have command of a construct. This could be through a research paper, function drama, podcast, diagram, posting, etc. The key is happening how your pupils learn and displays their acquisition that meets their specific demands. Differentiation normally includes one or more of the undermentioned countries:A. Content– Is â€Å" what † pupils learn – Includes curriculum subjects or constructs – Reflects province or national criterions – Presents indispensable facts and accomplishments – Differentiates by pre-assessing pupil accomplishments and apprehensions, so fiting scholars with appropriate activities – Provides pupils with picks in order to add deepness to larning – Provides pupils with extra resources that match their degrees of understandingB. Procedure– Is â€Å" how † pupils learn – Refers to how pupils make sense or understand the information, thoughts, and accomplishments being studied – Reflects pupil larning manners and penchants – Varies the acquisition procedure depending upon how pupils learnC. Product– Is the terminal consequence of pupil acquisition – Tends to be touchable: studies, trials, booklets, addresss, skits – Reflects pupil understanding – Differentiates by supplying challenge, assortment, and pickWhat is distinction direction?In this context when distinction is discussed, it is non about merchandise distinction by larning bringing location, as in intercrossed eLearning content compared to to the full online classs and/or cyberschools ( National Leadership Institute, 2005 ) . Nor is it about distinction in clip, as in synchronal and asynchronous acquisition. Rather, in e-diff, one of three types of accommodation is normally involved ( Hall, 2002 ; Reis et al. , 1988 ; Sizer, 2001 ; Tomlinson, 2001 ; Tomlinson & A ; Allan, 2000 ; Tomlinson & A ; McTighe, 2006 ; Willis & A ; Mann, 2000 ) : 1. Differentiation of content – Offer pupils the opportunity to get down at different topographic points in the course of study and/or proceed at different gaits. 2. Differentiation of larning manner attack – Stressing many modes of larning manner or larning penchant, such as ocular and audile scholars. 3. Differentiation of merchandise – Giving different assignments to different pupils, and turn in different work merchandises.III. DIFFERENTIATION INeLEARNINGTechnology to do content alteration on the fly is rather simple online. It can be every bit straightforward as hypertext markup language cryptography and back-end databases. The challenge is non in the bringing engineering itself, but in set uping good logic for distinction – if we are traveling to distinguish, how do we make up one's mind who gets what? Here we organize the most common e-diff schemes, based on what type of decision-making procedure and grounds is used to set up the accommodation picks. Approachs can besides be combined, or blended, in eLearning merchandises. Some of the possible general attacks are: â€Å" Diffuse † attacks to distinction, in which pupils receive the same content but have multiple chances for acquisition and are provided with different attacks for doing sense of thoughts planfully â€Å" diffused † throughout the content. Autonomous attacks, in which pupils receive different content by a mechanism of self-selection built in the content. This introduces distinction through pupil pick. Naive distinction, in which the computing machine is finding the class of distinction, non the user, no specific program or overall scheme is in topographic point in the eLearning content for why distinction is go oning, or what it is intended to intend in the acquisition context. Boolean distinction, in which package uses types of Boolean logic, such as rule-based models or determination trees, to find how to set content for different pupils. Model-based distinction, in which adept sentiment is combined with a assortment of informations mining techniques to bring forth thoughts for how content might be suitably differentiated. Language based distinction, in which the pupils from different cultural backgrounds can be benefitted. This is based on the distinction in the contents of stuffs to be delivered.Differences in the attacks1.In diffuse distinction, there is no direct purpose to measure or fit the demands of single users, or to custom-make content or feedback, as all pupils receive the same content. But adequate assortment and different beginnings of stimulation are provided to involvement and prosecute diverse audiences. This is a really common attack to differentiated direction in a traditional schoolroom learning puting. The hope is that with adequate assortment provided, everyone ‘s demands can be addressed. 2.The 2nd scheme, self distinction, allows pupils to choose their personal picks as they work their manner through on-line content. This can dwell of merely choosing the order of completion among a fixed bill of fare of larning activities or faculties, or can let much more scope of pick. The courseware design determines where pick points are. Self distinction is besides really common in on-line content. 3.NaA?ve distinction comes about about unwittingly in many eLearning merchandises. It involves altering parts of content in a more random manner, non based on the specific demands of single pupils, but merely revolving content and artworks so that screens have different images, representations and so forth each clip viewed. This might affect a randomizing factor or a shuffle map. Though diffuse and autonomous schemes can be rather consistent with improved larning aims of differentiated direction, it can be harder to do the instance for naA?ve distinction. Additions in motive and battle as acquisition shows change, for case, are difficult to reason for if the same pupil merely sees one of the shows. 4.The following scheme, Boolean distinction, uses assessment grounds to alter the flow of content for different pupils. Boolean here merely describes logic that computing machines use to find if a statement is true of false. Main Boolean operators include â€Å" and, † â€Å" non † and â€Å" or. † Operators get used with a series of regulations to depict what happens with the content as pupils make their responses. There are many differentiations among different rule-based methods, including assorted be aftering agents, bug bases and chaining algorithms. But the thought is that a set of regulations have been devised, frequently by really carefully analyzing many pupils. These rule-based boolean methods make up some of the oldest signifiers of e-diff. The simplest types look like a checklist of larning aims. Students go down the list and finish the aims. If they successfully complete 1 AND 2, they go onto 3, for case. But 1 and NOT 2 and possibly the pupil is redirected to 2A, or given some extra feedback or other larning intercession that go throughing pupils do n't acquire. Rule based methods can take much more luxuriant signifiers, and have been in really powdered ways to depict the battalion of constructs and misconceptions pupils hold in certain capable affair countries, and what to make about them. 5.The following signifier of e-diff, model-based, is really a big household of attacks that will be grouped together here for the interest of treatment. Some of the attacks are among the newer e-diff signifiers and others have been around for some clip. Most use some signifier of adept sentiment, including from instructors and other capable affair experts, combined with informations mining to bring forth thoughts about how content might be differentiated. Common data excavation techniques include a assortment of arrested development and Gaussian statistical theoretical accounts, Bayesian webs, nervous webs, point response theoretical accounts, and assorted method attacks that combine quantitative and qualitative informations to do interpretative or productive anticipations. 6.The concluding signifier of e-diff is, language-based in which the same contents are provided to the pupils in different possible linguistic communications of apprehension. On the plus side, information excavation attacks can be faster and easier than deducing complex rule-based signifiers. Besides they can let anticipations to be compared to existent pupil larning informations to ticket melody theoretical accounts. However, the inquiry frequently is which theoretical account to utilize, and why. Besides important in the instance of eLearning is whether the theoretical account truly is making an appropriate occupation of stating you something about pupils.III.CONCLUSIONDevelopers are constructing more distinction into eLearning merchandises, admiting that people have multiple waies for acquisition and for doing sense of thoughts. But distinction via engineering is complex. There are legion attacks that have rather different executions and consequences, as can be seen by the general schemes described here. As the field matures and developers explore more ways to distinguish online, it is of import that non-disclosure understandings and other rational bel ongings issues do n't close down the conversation about what these merchandises are making, and how they are making it. So, certain, allow ‘s all be different – but allow ‘s happen some common land to speak about these of import attacks to differentiation online.IV.REFERENCES[ I ] Hall, T. ( 2002 ) . Differentiated direction. Retrieved November, 2006, from hypertext transfer protocol: //www.cast.org/publications/ncac/ncac_diffinstruc.html [ II ] Parshall, C. G. , Stewart, R. , Ritter, J. ( 1996, April ) . Inventions: Sound, Graphics, and Alternative Response Modes. Paper presented at the National Council on Measurement in Education, New York. [ III ] Reis, S. M. , Kaplan, S. N. , Tomlinson, C. A. , Westbert, K. L. , Callahan, C. M. , & A ; Cooper, C. R. ( 1988 ) . How the encephalon learns, A response: Equal does non intend indistinguishable. Educational Leadership, 56 ( 3 ) . [ IV ] Tomlinson, C. A. ( 2001 ) . How to distinguish direction in mixed-ability schoolrooms ( 2nd ed. ) . Alexandria, VA: ASCD. [ V ] Tomlinson, C. A. , & A ; Allan, S. D. ( 2000 ) . Leadership for distinguishing schools and schoolrooms. Alexandria, VA: ASCD. [ VI ] Tomlinson, C. A. , & A ; McTighe, J. ( 2006 ) . Integrating Differentiated Instruction +Understanding by Design: Connecting Content and Kids. Alexandria, VA: Association for Supervision and Curriculum Development. [ VII ] Turker, A. , Gorgun, I. , & A ; Conlan, O. ( 2006 ) . The Challenge of Content Creation to Facilitate Personalized E-Learning Experiences. International Journal on ELearning, 5 ( 1 ) , 11-17.

Battle Cry of Freedom

United States History i| Battle Cry of Freedom| The Civil War Era by: James M. McPherson| | Sandra Dunlap| 4/16/2010| James M. McPherson was born October 11, 1936. He is considered to be an American Civil War historian and he is a professor at Princeton University. He received the Pulitzer Prize for his book Battle Cry of Freedom and Wikipedia states this was his most famous book. He holds a Bachelor of Arts and a Ph. D. and teaches United States History at Princeton University. Battle Cry of Freedom; The Civil War Era id a work of such vast scope necessarily emphasizes synthesis at the expense of theme. If there is a unifying idea in the book, it is McPherson's acknowledged emphasis on â€Å"the multiple meanings of slavery and freedom, and how they dissolved and reformed into new patterns in the crucible of war. † In spite of the existence of a growing class of urban workers and a burgeoning immigrant population, McPherson finds that â€Å"the greatest danger to American su rvival midcentury was neither class tension nor ethnic division.I feel it was sectional conflict between North and South over the future of slavery. † He dismisses the idea advanced by some historians that conflicts over tariff policy and states’ rights were more central to the political tensions of the 1850's than the South's â€Å"peculiar institution. † McPherson emphasizes that â€Å"by the 1850s Americans on both sides of the line separating freedom from slavery came to emphasize more their differences than similarities. McPherson is critical of previous literature that he says â€Å"lack the dimension of contingency-the recognition that at numerous critical points during the war things might have gone altogether differently† (857-858). The narrative style allows him to point out such critical moments that others would have missed or looked over. He carefully identifies instances where another outcome was possible, or even probable. His treatment of both sides in the war is evenhanded.The Compromise of 1850 was an attempt to brace a government ready to split apart with a few political two-by-fours: It gave the South a deferred decision on the question of slavery in New Mexico and Utah in return for a stronger fugitive slave law and the admission of California to the union as a free state. Four years later, the Kansas-Nebraska Act shattered this uneasy peace by repealing the Missouri Compromise line of 1820, which had banned slavery in the northern territories, and substituting the deliberately ambiguous doctrine of popular sovereignty, which left room for violent disagreement among the territorial settlers.The Kansas-Nebraska Act completed the destruction of the divided Whig Party and gave rise to the new, entirely Northern, Republican Party, whose stated objective was to prevent the spread of slavery. Although not all Republicans were motivated by sympathy for the Negro—indeed many were deeply antipathetic toward blacks and opposed slavery only in the economic interest of working-class whites—and although the party was pledged not to disturb slavery where it already existed, Southerners regarded it as a threat.The election of Republican Abraham Lincoln in the â€Å"revolution of 1860† precipitated the â€Å"counterrevolution of 1861,† the secession of the lower South and, after the firing of shots at Fort Sumter, of the upper South as well. In stressing the formation of the Confederacy as a â€Å"preemptive counterrevolution,† McPherson follows the model of historian Arno Meyer, who applied it to twentieth century Europe.Such a counterrevolution does not attempt to restore the old orders; it strikes first—preempts revolution—in order to protect the status quo before revolution can erupt. The secessionists magnified the potential threat posed by Lincoln's election, arguing that waiting for an â€Å"overt act† against Southern rights was comparable to waiting for a coiled rattlesnake to strike. The time to act was before the North decided to move against slavery, as the Southern radicals believed the â€Å"Black Republicans† ultimately would.McPherson's other important theme is that the Civil War was a political war, fought by citizens rather than by professional armies; as a consequence, political leadership and public opinion directly affected military strategy, and events on the battlefield reverberated on the home front and especially in Washington, D. C. For this reason he chose a narrative rather than a thematic format, integrating political and military events to emphasize complex patterns of cause and effect. Thus, he emphasizes that the failure of the Army of the Potomac to reach Richmond during the Seven Days’ Battle in the spring of 1862 changed Union policy rom the limited goal of restoring the Union into one of total war to destroy the Old South and consequently gave rise to the Copperhead faction of a ntiwar Democrats in the North. Antietam was a major turning point not only because Lee's Army of Northern Virginia was driven back across the Potomac, but also because it ended Confederate hopes for European recognition and military assistance, and gave Lincoln the military victory he had been waiting for as a backdrop for his Emancipation Proclamation.Especially in the North, where the two-party system still operated and the Republican position on slavery was still evolving and far from unified, Union military success or failure had far-reaching effects. The defeats at Bull Run and Ball's Bluff led Congress to establish the Joint Committee on the Conduct of the War, and the Union failure at Fredericksburg gave Secretary of the Treasury Salmon P. Chase, who aspired to replace Lincoln as the Republican nominee in 1864, an opportunity to encourage a senatorial investigation of the cabinet.Public morale in the North rose after the victory at Stones River and temporarily blunted the Cop perhead offensive against Lincoln's war policy; it plummeted again after the Confederate triumph at Chancellorsville on May 2-3, 1863, and Lincoln exclaimed in despair: â€Å"My God! my God! What will the country say? † McPherson gives military outcomes the central place in his explanation of Northern victory and Southern defeat; he is critical of theories that undervalue events on the battlefield.In his concluding chapter he reviews the various explanations that historians have advanced for the South's ultimate defeat, analyzing the weaknesses in each. Although the North was superior in manpower by two to one and had even greater economic resources, revisionist historians have denied that the South fought against odds so great as to make defeat inevitable; they have pointed out the number of small countries that won independence against even greater odds, not the least of which was colonial America against Great Britain.Such historians have argued instead that internal divis ions—the states’ rights governors who refused to cooperate with the central government, the disaffection of non-slaveholders, libertarian resentment of conscription and the restriction of civil liberties—fatally weakened the South's morale and destroyed its will to fight. McPherson discounts this argument, as well as the alternative interpretation that stresses the gradual development of superior Northern ilitary and political leadership that was evident by 1863, because both commit â€Å"the fallacy of reversibility†: If the outcome had been reversed, the same factors could be cited to explain a Southern victory. He particularly faults the loss-of-morale thesis, for â€Å"putting the cart before the horse†; defeat was the cause of Southern demoralization and loss of will, McPherson argues, not the consequence. McPherson faults most explanations of Southern defeat for failing to take into account the factor of contingency, the realization that at v arious turning points the war might have taken an entirely different turn.He identifies four critical turning points that shaped the final outcome. The first was in the summer of 1862, when Stonewall Jackson and Lee in Virginia and Braxton Bragg and Edmund Kirby-Smith in the West launched counteroffensives that prevented the Union armies from claiming what had appeared to be certain victory. This rally by the South meant that the war would be prolonged and intensified, and Southern success seemed assured before each of three successive turning points toward Northern victory.First, Union triumphs at Antietam and Perryville in the fall of 1862 turned back Confederate invasions and killed the hope of European recognition for the Confederacy; they may also have prevented a Democratic victory in the 1862 elections, which would have hampered the Lincoln government's ability to prosecute the war, and certainly permitted the president to make his Emancipation Proclamation from a position of political and military strength.The next critical time was during the summer of 1863, when success at Gettysburg, Vicksburg, and Chattanooga turned the North toward eventual military victory. The last one came in the summer of 1864, when enormous Union casualties of the spring campaign in Virginia—three-fifths as many battle deaths as in the previous three years of fighting—combined with the seeming lack of progress forced the North in the direction of peace negotiations and nearly resulted in the election of a Democratic president.William Tecumseh Sherman's capture of Atlanta and Philip Henry Sheridan's destruction of Jubal Early's army in the Shenandoah Valley made Union victory inevitable; only then, after the military situation became impossible, McPherson contends, did the South lose its will to fight. Several important long-term consequences of the Northern victory emerge in McPherson's analysis. Slavery and secession were killed forever, and the word â€Å"Uni ted States† became a singular instead of a plural oun; the â€Å"union† of states, as in â€Å"the United States are a republic† became a nation and an indivisible entity. Replacing the old federal government with which the average citizen rarely came in contact, except at the post office, was a new â€Å"centralized polity. † This national government levied direct taxes and collected them through an internal revenue service that it created itself, drafted citizens into a national army, imposed a national banking system, and instituted numerous other innovations.Eleven of the first twelve amendments to the Constitution, McPherson points out, had restricted the authority of the national government; beginning in 1865 with the Thirteenth Amendment, which abolished slavery, six of the next seven amendments greatly increased federal power at state expense. Finally, the balance of political power shifted from the South, which had controlled the presidency for tw o-thirds of the years since the founding of the republic, and had predominated in the selection of the House Speakers, presidents pro tem of the Senate, and Supreme Court justices.For fifty years after the Civil War no Southerner was elected to the presidency, none of the House Speakers or Senate presidents came from the old Confederacy, and only one-fifth of the Supreme Court justices were appointed from the South. McPherson contends that despite the South's appearance of being different from the rest of the United States, the argument can easily be made that until the Civil War it was actually the rapidly changing North that was out of step with the rest of the world. Although slavery had been largely abolished, most societies had an un-free or only semi-free labor force.Most of the world was rural, agricultural, and traditional; only the northern United States and a few countries in northwestern Europe were speeding toward industrial capitalism. Thus, Southerners were both sincer e and correct when they claimed to be fighting to preserve the republic of the founding fathers: limited government that protected property rights and served an independent gentry and white yeomanry in an agrarian society. The South's preemptive counterrevolution attempted to preserve this tradition, but Union victory in the Civil War ensured the dominance of the Northern vision of America.

Martin Luther King and Severn Suzuki - Calls to Action essays

Martin Luther King and Severn Suzuki - Calls to Action essays I Have a Dream by Martin Luther King and Address to the Plenary Session, Earth Summit by Severn Suzuki, both authors raises their concerns. In the speech I Have a Dream, Martin addresses prominent issues by exposing the racial injustice African Americans faces. I Address to the Plenary Session, Earth Summit Severn Suzuki raised her concern about the destruction of the environment. Both authors utilize their distinctive voice to passes the power in order to create some kind of hope and awareness to the audience. Both Speeches requires action to be taken to fix the concern of the context. Martin Luther King's distinctive voice is a composition of techniques that enables him to alternate the concern of his context. In this speech Martin also demonstrate that hope exists if action is taken in order to eradicate discrimination. Martin Luther Kings speech brings hope to the African American, his reason to engage with the audience is to get a closer relationship with them making it easier for him to communicate and immense the audience into a realm manifested by the distinctive concerns of his time. His quote we cannot walk alone and Let Freedom ring, the combination of the 2 quotes brings hope into the audience. We cannot walk alone the meaning of this quote is, the power of one person is unable to change anything, but together theyre able to stop racial segregation and make changes to their life. Let Freedom ring from every hill and every molehill of Mississippi this quote is very demanding, he wants freedom to fall on Mississippi City. Martin Luther King uses anaphor a and repetition to emphasize his point. I have a dream, each and every individual in this world have their own dream, every single African American have their hope and dream. African American s dream was to become free with equal rights, their d...

Pastoralism and Subsistence Methods

Pastoralism and Subsistence Methods Pastoralism is the ancient method of subsistence farming that substantially relies on the raising and tending of domestic animals. Pastoralism takes place or has taken place in most parts of the world, in climates that range from arid desert to arctic tundra and from forested lowlands to mountain pastures. The ways that pastoralists tend their flocks, then, vary widely depending on farmer flexibility, as well as the regional geographic, ecological, and social conditions. So, to a scientific researcher, pastoralism in its most basic meaning is simply stock keeping. But the study of pastoralists includes the effects stock keeping has on the societies, economies, and lifeways of the groups that keep stock and attach high cultural importance to the animals themselves. Stock Animal Origins Archaeological studies show that the earliest domesticated stock animals- sheep, goats, and pigs- were domesticated about the same time, about 10,000 years ago, in Western Asia. Cattle were first domesticated in the eastern Sahara desert about the same time, and other animals were domesticated later at different times in different areas. Animal domestication as a process still continues: ostriches, today an animal raised by pastoralists, were first domesticated in the mid-19th century. There are many different herded animals, which vary by the place of origin. Africa: cattle, donkeys, ostrichMiddle East: camels, sheep, goats, pigs, ducks, beesCentral Asia: camels, horses, cattle, sheepTibetan Plateau: yaksAndean Highlands: llama, alpaca, guinea pig, ducksCircumpolar arctic: reindeerSoutheast Asia, China, and India: camels, water buffalo, zebu, bantengNorth America: bees, turkeys Why Domesticate? Scholars believe that stock raising arose first when humans moved their domestic stock into drier lands distant from cultivated fields: but pastoralism was not and never has been a static process. Successful farmers adapt their processes to changing circumstances, such as environmental change, population density, and the spread of diseases. Social and technological developments such as road construction and transportation affect processes of production, storage, and distribution. There is a multitude of reasons that people raise stock. Live animals are kept for their blood, milk, and wool, for their dung as fuel and fertilizer, and as transportation and draft animals. They are also food storage, fed fodder that is inedible by humans to create human-edible food, and once slaughtered, they provide skins, sinew, fur, meat, hooves, and bones for a range of purposes from clothing to tools to house construction. Further, stock animals are units of exchange: they can be sold, given as gifts or bride-wealth, or sacrificed for feasting or the general community welfare. Variations on a Theme Thus, the term pastoralism includes many different animals in many different environments. In order to better study stock-tending, anthropologists have tried to categorize pastoralism in a number of ways. One way to look at pastoralism is a set of continuums following several threads: specialization, economy, technology and social changes, and mobility. Some farming systems are highly specialized- they only raise one type of animal- others are highly diversified systems which combine animal husbandry with crop production, hunting, foraging, fishing and trade into a single domestic economy. Some farmers raise animals solely for their own subsistence needs, others produce solely to be marketed to others. Some farmers are helped or hindered by technological or social changes such as the construction of road networks and reliable transportation; the presence of a temporary labor force can also affect pastoralist economies. Pastoralist people often adjust the size of their families to provide that labor force; or adjust the size of their stock to reflect their available labor. Transhumance and Nomads A major study area in pastoralism is another continuum, called transhumance  when human societies move their stock from place to place. At its most basic, some pastoralists move their herds seasonally from pasture to pasture; while others always keep them in a pen and provide them forage. Some are full-time nomads. Nomadism- when farmers move their stock far enough distances to require moving their own houses- is another continuum which is used to measure pastoralism. Semi-nomadic pastoralism is when farmers maintain a permanent home base where old people and tiny children and their caregivers live; full-time nomads move their entire family, clan, or even community as the demands of the animals require. Environmental Demands Pastoralists are found in a wide range of environments, including plains, desert, tundra, and mountains. In the Andes mountains of South America, for example, pastoralists move their flocks of llamas and alpacas between upland and lowland pastures, to escape extremes of temperature and precipitation. Some pastoralists are involved in trade networks: camels were used in the famous Silk Road to move a wide variety of goods across vast reaches of central Asia; llamas and alpacas played a crucial role in the Inca Road system. Identifying Pastoralism in Archaeological Sites Finding archaeological evidence for pastoralist activities is a bit tricky, and as you might guess, varies with the type of pastoralism being studied. Archaeological remains of structures such as pens on farmsteads and at way stations on roadways have been used effectively. The presence of game management equipment, such as horse bits, reins, shoes, and saddles are also clues. Animal fat residues- lipids and alkanoic acids of milk fat- are found on potsherds and provide evidence of dairying activities. Environmental aspects of archaeological sites have been used as supporting evidence, such as changes in pollen over time, which show what types of plants are growing in a region; and the presence of detritivores (mites or other insects that feed on animal dung). Animal skeletons provide a wealth of information: bit wear on teeth, wear on hooves from horseshoes, morphological changes on animal bodies, and domestic herd demography. Pastoralists tend to keep female animals only as long as they reproduce, so pastoralist sites typically have more young female animals than older ones. DNA studies have tracked degrees of genetic difference among herds and domestic lineages. Sources Chepstow from the West African Sahel. Journal of World Prehistory 23(2):43-77.Little MA. 2015. Chapter 24 - Pastoralism. Basics in Human Evolution. Boston: Academic Press. p 337-347.Montero RG, Mathieu J, and Singh C. 2009. Mountain Pastoralism 1500-2000: An Introduction. Nomadic Peoples 13:1-16.Nielsen AE. 2009. Pastoralism and the Non-Pastoral World in the Late Pre-Columbian History of the Southern Andes (10001535). Nomadic Peoples 13:17-35.