The Death Of Infectious Diseases - 1895 Words

â€Å"A century ago, the top three causes of death were infectious diseases. More than half of all people dying in the United States died because of germs. Today, they account for a few percent of deaths at most. We owe much of that, of course, to antibiotics,† states Aaron Carroll a professor of pediatrics at Indiana University School of Medicine (Carroll). Now, once easily treated bacterial infections are increasingly difficult to treat and rid from a patient’s system because antibiotics can no longer effectively treat some common diseases. Antibiotics are overused and overprescribed; medical professionals use antibiotics to treat viral infections when they are intended for bacterial infections only. With consistent overuse, antibiotic†¦show more content†¦Antibiotics, also known as antimicrobials, are drugs, which fight infections caused by bacteria in both humans and animals. Their primary use is to combat bacterial infection by either killing the bacteria or making it difficult for it to grow and multiply with the use of growth inhibitors. Also, antibiotics do not have any effect on viruses (â€Å"Antibiotic Resistance†). The intended use of antibiotics is to treat infections or disease caused by bacteria such as Salmonella, Gonorrhea, and Influenza. Sir Alexander Fleming discovered antibiotics in 1928 after returning to his lab to find Petri dishes contaminated with Staphylococcus Aureus and later realized the mold had the ability to inhibit the growth of bacteria (Markel). The bacteria growth-inhibiting mold Dr. Fleming discovered later became the drug penicillin. This new medication’s first use was fourteen years after his discovery, in March 1942, to successfully treat a patient who had developed a bacterial infection after miscarrying, which later led to blood poisoning (Markel). More often than not doctors prescribe antibiotics to treat viral infections when their primary purpose is to fight bacterial infections. The inappropriate use of antibiotics in the medical field is the leading cause in the ever-growing trend of antibiotic resistance. Another ramification to this cause is inadequate diagnostics. Regularly, healthcare providers must use incomplete or imperfect

Americans love freedom we love money we love capitalism....

Americans love freedom; we love money; we love capitalism. Capitalism is most definitely an element of dominant culture amongst the citizens of the United States. In American culture it is easy to see that many of our institutions, including public schools, indoctrinate the children whom they serve with a common American idealism: capitalism is good, communism is bad. Being a citizen of the United States and not being a capitalist is verging upon the fringe of an unwritten taboo. If there is one thing that is true: capitalism does work, and the dominant thought of the United States is that it works the best. But is this true? Does capitalism really work the best? In this essay, I will begin by explicitly defining and analyzing†¦show more content†¦What I have described as capitalism is not just an economic system; it is a social system that has engrained itself into the core of American rationalism, to the point at which it is onerous to dissociate our values from our economic system. Which leads me to my ensuing point: where did capitalism come from and by what means was it engrained into our culture? Instances of capitalism can be traced all the way back to mercantilism in the fourteenth century in Western Europe. The ownership of land was becoming a more basic concept; however the ownership was concentrated in the upper class. The proletarian began to take their place as the laborers due to the fact that they either had no means of production or, even if they did, their rate and efficiency of production was shadowed by that of the big land owners and their workforce of other laborers. This is enough information to get the point across that this method of economic organization was what developed the economical situation, coupled with the desire for religious freedom, which caused many peasants to immigrate to North America in the first place. So, moving on, why did the people once again adopt capitalism? Personally, I agree with Weberâ €™s theory. Weber believes that Protestant religious belief systems, including Calvinist, Pietistic, Baptist, and Methodist sects, played a role in theShow MoreRelatedCapitalism And Capitalism1896 Words   |  8 PagesIn the first chapter of his book Capitalism and Freedom, Nobel Prize-winning economist Milton Friedman discusses several ideas such as the intimate and â€Å"by no means unilateral† correlation between politics and economics, the inefficiency of collectivism and central planning, and the essential role of economic freedom and capitalism in achieving political freedom (8). What all these ideas have in common, though, is that economic freedom precedes political freedom and, as a result, the latter dependsRead MoreCapitalism : Is Capitalism Good?946 Words   |  4 PagesCapitalism is a subject that can be considered deeply controversial. There are many who tout the benefits that capitalism provides to the economy and the progress of human society. 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From Modernism to Post-Modernism Free Essays

The Modernists wanted to free art from the constraints of classicism and to promote critical, free thought but whether or not they succeeded is still a matter of debate.   It began with Manet’s Impressionism on to the outrageousness of Dali’s Surrealist Manifesto. It was an intellectual attack on classical thought. We will write a custom essay sample on From Modernism to Post-Modernism or any similar topic only for you Order Now Modernism and its successor, Post-Modernism indulged the artistic world in the subject of intellectual critical thinking and individualism and could be seen as the bravest contradiction to what art was previously believed to be. Modernism infiltrated every form of thought including philosophy, law, music, literature and architecture. It wanted the world to have their own thoughts and not believe what they were told to believe. Yet how different was Post-Modernism from Modernism? Did it succeed in changing the way people think and is it really ‘art for art’s sake? In this essay we examine these questions with reference to artist who were prominent Modernists. By definition ‘modernism’ is â€Å"period dating from roughly the 1860’s through the 1970’s and is used to describe the style and ideology of art produced during that era.†(Witcombe, 1997). Therefore this era of art included styles such as Impressionism, Surrealism and Realism. It is a broad spectrum from which to work. Arguably, Monet was the father of Impressionism, who saw the value of art no longer in reproducing the subject in detail and to perfection, but rather to capture the moment in time that could never be captured again. Professor Witcombe of Sweet Briar College says that it is generally agreed that Edouard Manet was the first of the ‘modernist’ painters (Witcombe, 1997). Classical artists had been preoccupied with classical subjects, particularly in the ‘Romantic’ period such as Delacroix and David (Witcombe, 1997). Modernism appeared to have failed in the early 20th Century, with the collapse of the Communist movement. It seems that at that stage looking at Surrealism for example, free thought and freedom of expression was about to be tested again with the onset of the World Wars. Yet where Modernism itself began and where it ended is still largely a mystery to most people. For instance, looking at the work of Cezanne in the early stages of the Modernist period, the essential ‘breaking down’ of subjects to their smallest most geometric states gave rise to a form of minimalism that contradicted the complexity of the Modernist age. Sigmund Freud ushered in the ‘new age’ of mental evaluation with world-shaking consequences and his ideas stretched from philosophical thought through to the film industry. Acceptably known to have influenced the work of painter Salvador Dali and film-maker Alfred Hitchcock, Freud’s ‘modern’ thought was seeking to ‘free’ the mind of the constraints of classically accepted reality. Essentially (as with the Cezanne’s art), this meant breaking humanity down to its smallest and simplest parts. As Witcombe describes it, â€Å"it should be clear that modernist culture is Western in its orientation, capitalist in its determining economic tendency, bourgeois in its class character, white in its racial complexion, and masculine in its dominant gender.†(Witcombe, 1997). As art became freed of the bonds of classical feudal law, so society attempted to pursue ‘liberalism’ with Karl Marx’s Utopia rising and falling abruptly with the failure of Communist Russia. There was at this stage too a profound interest in understanding the human interaction. The old idea of science as a purely empirical discipline gave rise to the human element in the work of sociologist Max Weber (Ludington, 2000). Artists no longer wished to conform to a particular style of art but preferred to create their own signature style. Even in the Impressionist school, a distinguishing factor could be found in each of the artists making them individual: Monet, Renoir, Manet, Degas and Van Gogh. Picasso’s solid external outline and geometric shape can be seen distinctly in the work of Paul Cezanne, meaning that his idea was not entirely original but influenced by previous artists. The idea of being unique and ‘inventing’ a new art was and always will be contested by the reality that and ‘influence’ ‘recreates’ the already created. Modernism was meant to free the artist of this exact emotion as well as being representative of the present social climate. This could be seen effectively in the work of Gustav Klimt and Antoni Gaudi in the early 1900’s. The Art Nouveau period specifically identified the new-found freedom of money and if there was none, to at least pretend there was. Casa Battlo (1906-1908), Antoni Gaudi architectural piece, resembled the carefree nature of the Art Nouveau period. Being completely fantasy and out of this world it appears it could have been made from an assortment of candy rather than brick and mortar. The dream-like realm for which Surrealism became known is subtly different to this in its pure indulgence and decadence. Previously the Church had been the patron of the arts, meaning that most of the art that was endorsed was done so with the understanding that it would be classical in nature, therefore ranking Gaudi as particularly rebellious in this aspect. The Renaissance architect Brunelleschi, who’s Dome of the Cathedral in Florence can be seen as poles apart from Gaudi’s offering, was controlled by the needs of the Church rather than pure self-indulgent imagination like Gaudi’s. Another aspect of Modernism that came into dramatic play was the advent of photography. With this reproduction of images it was no longer necessary to reproduce subjects as they were in reality or to record events. It did not take long for philosophical writers such as Roland Barthes to recognise that even with these remarkable prints of the past, they could never truly represent the subject they captured. With a photograph of his mother he was convinced that yes, this was his mother but, no it was also not his mother. It was in effect a picture of his mother. Rene Magritte in this era also painted his famous pipe entitled Ce n’est pas une pipe, which said that while it was a pipe, it also wasn’t. The reasoning behind this was that if you cannot actually smoke it, it cannot be a pipe. The question was to what extent does Modernist ‘unpacking’’ become ‘over unpacking’? The ‘unpacking’ process of Modernism in terms of art is perhaps best seen in the work of Salvador Dali. â€Å"[Freud’s Interpretation of Dreams was] one of the capital discoveries of my life†¦I was seized with a real vice of self-interpretation, not only of my dreams but of everything that happened to me†¦Ã¢â‚¬  (The Great Artists. Vol 73: 2311). The Persistence Of Memory 1931, by Salvador Dali is oil on canvas and is 9  ½ inches by 13 inches in size. It shows a series of stopwatches melted over the motifs and there is ‘double imagery’. It includes a side profile of Dali himself. Completely Surrealist, Dali worked alongside Breton on the Surrealist Manifesto which attempted to free mankind of the constraints of the mind. â€Å"Surrealism will usher you into death, which is a secret society. It will glove your hand, burying therein the profound M with which the word Memory begins.†(Breton 1924). This was the core of Modernist thinking, that man should by all intents and purposes link beyond the real (or imagined reality) to what he really is (unpack himself). Like Freudian psychology the belief in Surrealism is that repressed memory locates itself in the subconscious constantly. This was called the superego, the responsibility of man to appease this memory leads to unexplained and unresolved dreams that often recur (Freud.1949:77). Compare this to the era we now live in, (the Post-modern era into which we have slipped) and the difference is that we are now trying to free ourselves from the constraints that Modernism has put on us. Post-Modern artists still toy with the idea that what is chiefly within us is expressed through creativity. But now the addition of technology to the equation makes us the ‘controller’ of the said creativity. Computer technology replaces the need for composed qualities in artwork (specifically graphic) meaning that there has to be a marriage of technological advancement and artistry in order for the artist to survive. Going back in time to the first expressions of rebellion in art such as Grunewald and Bosch, who represented dreams in their art and compare this to Dali who interprets the dreams. It becomes clear that what is believed to be an entirely new movement in art is really only a manifestation of experiments used in the past. With World War I II the former quest for world domination attempted once again to put the world of art under the scrutiny of the powers that be but did not succeed. This means that the completed change was here to stay, that the movement from Impressionism to Surrealism and through to Pop Art and Op Art was free to mobilize itself into the future. â€Å"Earth to earth ashes to ashes dust to dust†, 1970, Lawrence Weiner, Guggenheim Museum, was what Post-modernism has offered us. In comparison to the fine art of the past few centuries, this piece does not seem to amount to much, but then it is an example of what humanity has become and therefore holds specific importance. A plain grey, white and black plaque with the words ‘earth to earth ashes to ashes dust to dust’ written across it reveals to us an human race that is really and honestly empty. It is not entirely correct to say Modernism has succeeded in its purpose, but to say that it has failed is also untrue and perhaps a little unfair. Times have changed and continue to do so. The greatest archives we have in memory of the evolution of man are in our art. Modernism as an ideal failed, communism failed and to a degree Freud failed, but the gift they gave us was a solid movement into a time that has been littered with the ‘new’. Modernism failed in that it became the cult-like movement of constraint that it tried so hard to break. It succeeded in producing an art that was truly indicative of the individual. Modernism is, regardless of its successes and failures, a distinct mark in history in the same way that the Renaissance was to the 1400’s-1500’s. We no longer paint young ladies on swings with farthingales and voluminous skirts, because they do not exist in our world. We hardly go to war in kilts and with battleaxes either because so much of our time has changed. The continuum of thought and critical thinking still plagues us with the knowledge that there are some things we will never explain or understand. However the world changes, our creativity is always there. Sources: Breton, Andre. 1924. The Surrealist Manifesto. (http://www.screensite.org/courses/Jbutler/T340/SurManifesto/ManifestoOfSurrealism.htm) Freud, S. 1949.The Ego and the Id. (The Hogarth Press Ltd: London) Ludington, Townsend. 2000. A Modern Mosaic: Art and Modernism in the United States. The University of North Carolina Press. http://uncpress.unc.edu/chapters/ludington_modern.html The Great Artists.1986. Vol 73: Dali.(Marshall Cavendish Ltd: London) Witcombe, Christopher Professor. 1997. â€Å" Art Artists: The Roots of Modernism.† Part One: What is Art? Sweet Briar College. http://www.arthistory.sbc.edu/artartists/modernism.html Witcombe, Christopher Professor. 1997. â€Å"Art Artists: Modernism and Post Modernism.† Part 4: What is Art? Sweet Briar College. http://www.arthistory.sbc.edu/artartists/modpostmod.html                                     How to cite From Modernism to Post-Modernism, Essay examples

Debate Research in Art History Essay Example For Students

Debate Research in Art History Essay Debate That as Annunciation scenes (of the angel Gabriel telling the Virgin Mary she will bear the son of god) deal with the same subject, they will be very similar i.e. â€Å"Seen one Annunciation scene, seen them all.† Negative Team Hi, I am Camilla, the leader of the negative team summing up our case that if you have seen one annunciation scene you’ve certainly not seen them all. First I would like to recap in some detail the 2 sides to this debate. Affirmative Team The affirmative team claim that as Annunciation scenes shows the archangel Gabriel entering the house of the Virgin Mary to communicate to her that she will soon bear the child Jesus, whose name means the Savior. The scenes must be similar, repetitive, lacking in originality, static, they are all mere bland replicas of the same story, they have taken a narrow point of view dealing with works only up to the 16th century. They have failed to consider the general or original Annunciation style e.g. some well known iconography, amount of gold used and medium. Negative Team We however disagree, if you look at Annunciation scenes from the 19th century onwards, by artists of different gender, ethnicity and beliefs it is possible to see that different effects have been created through settings, color, gesture and figures. Even though the subject is the same, there are features which are innovative, different which bring out the artists own distinctive style in which they believe is their own personal painting on what the Annunciation really is. Even though these modern artists have been given influence from early renaissance artists it doesn’t mean that they cannot incorporate their own style within their paintings. Leading to conclude you that if you have seen one Annunciation scene you most definitely haven’t seen them all. Affirmative Team We would like to rebut the argument thank you. Negative Team Yes Affirmative Team Well in Martinis Annunciation for instance there is the marble floor, the archangel, the pot of lilies, the half closed book of Mary and her throne, and the gold background. This is very much the same as every other Annunciation scene I have seen..don’t you agree? There is no way these â€Å"modern† artists have taken a completely different look on the Annunciation and made it unique to the original painters like Martini. Negative Team Please go more in depth with what your trying to say. I would certainly like to hear more. Affirmative Team He has brought some realistic details into the painting by doing so. Martini has chosen a distinct and singular moment of the Annunciation to depict. His work is considered an absolute masterpiece and one of the greatest examples of Sienese Gothic painting, characterized by the wonderful elegance of both line and color. The Archangel has just touched ground in front of the Virgin as shown by his unfold wings and his swirling mantle. The scene seems a theatrical performance, as stressed by the comic strip like sentence in the middle of the composition with the greeting of the angel. Negative Team Can I just interrupt you there!! From what I am seeing right now, all of the figures to me are giving the same message as every other painting ive seen. I am starting to get very bored right now. Affirmative Team Well the Virgin Mary is portrayed almost surprised and frightened by the sudden appearance. Her movement, so prim and elegant, adds a certain effect of sophistication to the work. The altarpiece has a gold background, so bound to tradition, and still very much in demand for the depictions of sacred stories. These types of artists adhered therefore to what customers required. Well for this purpose Martini included some delightful details in the main scene as the marble floor, the mantle of the archangel, the pot of lilies, the half-closed book of Mary and her throne, all of which suggest a real space, otherwise penalized by the gold background. The painting is then fully Sienese for the beauty and the gentleness of lines and colors, just in opposition to Florentine style, more related to the volume and the shape. Martini has chosen a distinct and singular moment of the Annunciation to depict. The immediacy of the still-flowing cloak of Gabriel, the presence of the greeting that became a prayer and the holy distress of the Virgin are key aspects to the religious and artistic power and foresight that Simone Martini employed when executing this master altarpiece. His style elaborated Giotto, pushing the level of detail and attention to move even further. Affirmative Team Maybe you could convince me that all Annunciation scenes are not the same with your next paintings but I highly doubt it. My opinion is very strong towards this and I wont be changing my mind any time soon. Negative Team Well now to recap our argument based on research. Affirmative Team Go ahead. Negative Team First let us go back to John Colliers work who is an American artist born on June 26, 1948. His painting of the Annunciation (2000), is painting that is a beautiful example of inculturation–the Gospel penetrating to the deepest core of a culture. Affirmative Team What an earth are you talking about? Negative Team Well let me explain then. In the constant interplay between culture and faith, it is refreshing to come across an artist who is so aware that he has a dual duty; first to capture the figures of salvation history, and second to do so in a way that is familiar and challenging to his audience. Collier does an amazing job doing what artists have done for hundreds of years. Affirmative Team Doing what? Negative Team He contemporizes the moment of the angel’s greeting which is making it more modern. Affirmative Team That is pretty much what I have seen in every other painting. The same angel portraying the same message with the lilies right near him? Hutus' and Tutsis' EssayAffirmative Team The similarities from this painting are exact to most paintings I have seen so far. The overall look and message from this painting gives me no confirmation that its different. Its a bland replica of the same story, he’s failed to consider the general or original Annunciation style e.g. some well known iconography, amount of gold used and medium. I have nothing more to say about this painting. It disgusts me! Negative Team I would like to rebut thank you! He started getting inspired in religious art when he saw a painting of Madonna holding baby Jesus in her hands. What he got from this was a the peaceful message. He says his art is very open minded. His work is very Chinese influenced which reaches out to the people of China and the rest of the world. He Qi hopes to express the Gospel message through traditional Chinese art styles while introducing western colors to this tradition. He thinks he has to much suffering in his life that he doesn’t want to share it with the people in his artwork. He wants to always give a peaceful message. One can better understand the art of He Qi when it is seen as a reinterpretation of sacred art within an ancient Chinese art idiom. Chinese religious art, being an expression of Buddhism, was historically typified as a tranquil and utopian portrayal of nature, often painted with black ink and water. He Qi is especially influenced by the simple and beautiful artwork of the people in rural China. Within that framework, he seeks to redefine the relationship between people and spirituality with bold colors, embellished shapes and thick strokes. His work is a blend of Chinese folk art and traditional painting technique with the iconography of the Western Middle Ages and Modern Art. Affirmative Team I have nothing more else to say about this painting. It disgusts me Im very sorry! Negative Team Alrightthank you for your opinion. Another artist we dealt with was Henry Tanner. He was an African-American artist born in 1859–1937. He is a realist painter, focusing on accurate depictions of subjects. Tanners body of work is not limited to one specific approach to painting. His works vary from meticulous attention to detail in some paintings to loose, expressive brush strokes in others. He was also interested in the effects that colour could have in a painting. Many of his paintings accentuate a specific area of the color spectrum. The Annunciation expresses the intensity and fire of religious moments, and the elation of transcendence between the divine and humanity. Tanner often experimented with light in a composition. The source and intensity of light and shadow in his paintings create a physical, almost tangible space and atmosphere while adding emotion and mood to the environment. Affirmative Team Excuse me may I say that even though he has brought some sense of mood and emotion into the painting, I can still only think of how much this gives the same message as every other Annunciation scene ive seen. Mary is still the same young girl in every painting. Maybe you could persuade me to think otherwise but right now its just another replica after replica. Negative Team I’ve been trying to persuade you this whole time affirmative team. This is the last time I can prove a point to you. Maybe this time you will understand? In his Annunciation, we find a very young Mary visited by the indiscernible angel Gabriel, her face aglow in his glorious light as he announces the coming of her Son, the Messiah and Savior of the world. Her youth, innocence, and prayerful submission are dramatically portrayed by Tanner in a very humble, human setting. She is not â€Å"saintly† or other-worldly as are many presentations of the annunciation. She is a real girl found on a real day in a real setting. Notice her face. It is both a vision of uncertainty and obedience. It perfectly presents the question of her heart to the angel, â€Å"But how can I be with child when I have not known a man?† Her gown and the covers of her bed are amazingly presented to us by Tanner’s skill. And imagine the playfulness he must have had in presenting her few toes to us from under the blanket. Swaddled in a striped, luxuriantly wrinkly robe, Mary sits on her rumpled bed with folded hands and looks sideways at the apparition with a slightly suspicious expression. Turning the angel into such an abstraction makes the mystical event almost plausible for an age of science. He modernized to the extent of embracing Gauguin-like style. But that led to bland, flattened illustrations like those you might find in a mass-market Bible. In his last two decades he experimented with mixing different kinds of paint that he built up into layers usually keyed to a ghastly candy-blue colour. Affirmative Team I am sorry to say this negative team, Im still not convinced after all of these paintings that they are different? To me all I see is the same story repeated one after the other. Negative Team Sorry I wasn’t able to convince you today but thank you for your opinions affirmative team. Negative Team In conclusion we will reiterate our argument we concede that the Annunciation paintings deal with the same basic subject throughout any artist. But we have proven to you that artists not constrained patronage by patronage, of different ethnicity, following different art movements. They are inspired by their own distinctive agenda or style. Each individual â€Å"modern† artist have chosen to slightly incorporate their own beliefs into the each painting of the Annunciation scene. They have all produced very unique versions of the Annunciation so you cannot say â€Å"Seen one Annunciation scene, seen them all.