The Attacks of 9/11 and the Subsequent Global War on...

Chinese immigration to the USA was done in How do you understand the attacks of 9/11 and the subsequent Global War on Terror, in terms of political identity? Do you see it in primordial terms? How would a primordialist and constructivist each explain these events? Primordialism The primordialist view would suggest that the attacks were prompted by irreconcilable differences between Islamic culture and the West and that Islam felt threatened by the West. Essentially it states that ethnic groups and nationalities exist because there are traditions of belief and action towards primordial objects such as biological factors and especially territorial location. (Gryosby, 1994 p. 168).). There are a lot of grounds to the assumption that Islam has this attitude since Islamic fundamentalist leaders, such as Sayyid Qutb (1988) have written that their attacks have been prompted by Western interference and that Islam must separate itself totally from the West. They see themselves distinct in so many ways including in religion, blood structure, culture, history, and philosophy and think it crucial that their nation must not get sullied by Western influence. On the other hand, Islamic history has shown periods of friendly assimilation and convergence with West, with indicates that Primordialism may extend only to a certain sect or group of people, rather than to their claim that there are irreconcilable differences between the two nations. History has shown that differences may

Financial and Non Financial Measures Free Essay Example, 3500 words

On the other hand, it has been stated (Neely, 2002, 295) that ‘the key benefit in the process of deciding what to measure appears to lie in the fact that the process forces management teams to be explicit about their priorities; without precise definitions and targets it is impossible to establish appropriate measures for customer satisfaction; hence the act of deciding what to measure, forces management teams to clarify their language and make explicit what they mean when they say â€Å"we want to increase customer satisfaction’. In a research made by Neely et al. (2002, 301) the role of the non financial measures to the firm’s performance tried to be located through a postal survey of ‘1802 large service firms (employing over 250 people and with reported turnovers in excess of  £10 million)’. The main findings of this survey can be summarized to the following ones: a. ‘Ninety-two percent of mass services, 84 percent of professional service s, and 81 percent of service shops claimed to measure customer satisfaction. b. Seventy percent of mass services, 66 percent of professional services, and 64 percent of service shops claimed to measure employee satisfaction. c.We will write a custom essay sample on Financial and Non Financial Measures or any topic specifically for you Only $17.96 $11.86/page Furthermore, regarding the findings of the academic research ‘nonfinancial performance measures possess at least some degree of reliability, and that having such information audited should increase investors’ perceived reliability of those measures whereas noncomparability among types and formats likely hampers investors’ ability to use nonfinancial measures’ The operation of the financial measures in practice can face a series of difficulties. According to the study of Schuster (2000, 92-93) ‘in the process of defining value drivers and outcome measures there undoubtedly is a high potential for mistakes; particularly in the field of ‘softfact measures’ like employee motivation or organizational learning there is a risk of creating false rationalities; another problem could be the data modelling of the whole scorecard system; there is probably a lot of training and communication needed in order to avoid the impression of a ‘staff control system’ that finally leads to completely transparent employees’ III.

Iris Van Herpen Exhibition Utrecht Free Essays

The New Craftsmanship Iris van Herpen? and her Inspiration â€Å"With my work I intend to show that fashion can certainly have an added value to the world† In the Centraal Museum of Utrecht, Netherlands, renowned fashion designer/artist Iris van Herpen (1984) exhibits a highly personal side of her work for the public from 29 June until 9 October 2011. By contrasting her designs with what worked as the inspiration behind them, van Herpen’s futuristic approach to fashion is displayed with art dating back to the sixteenth to the nineteenth century creating an unusual opposition in the general mood of the show. In addition to a contrast between old and new, one will also find work by other contemporary artists that have inspired van Herpen or collaborated with her. We will write a custom essay sample on Iris Van Herpen Exhibition Utrecht or any similar topic only for you Order Now These include artists such as American-born sculptor Kris Kuksi; Dutch choreographer Nanine Linning; hat designers Stephen Jones and Irene Bussemaker; Dutch artist Bart Hess who shares van Herpen’s futuristic approach in his work; and architect Daniel Widrig whose main influence in the show was with 3D printing. Upon entering the exhibition one enters a calm space with soft music playing in the background. Looking up towards the high raised ceiling you can see Nanine Linning’s opera inspired performance piece with van Herpen’s extravagant costumes and haute couture creations in larger than life projections on the bare white walls. Below these displays one would find the original costumes as seen in the performance. Referring back to the contrast between old and new, or rather ancient and innovative, it was interesting to note which of van Herpen’s designs were paired up with what ancient artefact and why. Leaving the theatricality of Linning behind, the show carries you away from the modernity of projectors through to a series of antique items including a bookshelf, chairs and tables as well as paintings by the popular Parisian painter Pierre Joseph Sauvage and an expensive silk wall panel from Lyon in France. These were shown next to one of van Herpen’s more ‘wearable’ garments, a dress, which could be assumed to be made of fabric containing metal threads, having been concentinaed to create a voluminous shape reminiscent of coral reefs. Similar to the layout of the exhibition, Van Herpen’s approach to fashion stems from the interaction between handmade, an old-fashioned method of construction, and innovation, through constant pursuit of new techniques and materials. One of van Herpen’s most recently discovered techniques is a form of rapid prototyping called 3D printing. This technology came into use in 2003 mainly for duplicating valuable artefacts for museums. Cleverly, through collaboration with architect Daniel Widrig, van Herpen uses this technology to create what looks like sculpted dresses or headgear, once again reminiscent of the shape of coral reefs or some sorts of skeletal forms. This side of van Herpen’s collection was shown alongside work of goldsmiths form the seventeenth-century. This juxtapose truly emphasized the origins of the inspiration for her designs. There was an apparent connection between the auricular styled crockery, plates, crowns etc. and her laser sintering technique. With further regard to the 3D printing technique, the designer herself believes, â€Å"it is a matter a time before we can print the clothing we wear today†. It is truly inspiring to see an artist of such a young age produce something that has the prospects of having a massive impact on the industry itself and, well, everything really. If we can produce our clothing with 3D printing technology, maybe we can also produce furniture through the same process, or even houses, maybe even bridges and buildings. Just imagine! As for the overall impression of the exhibition itself; the concept and story behind it was thoughtful and interesting, the layout was appealing, and the work itself was beautiful and innovative. How to cite Iris Van Herpen Exhibition Utrecht, Papers

Richard Iii Monologue Essay Paper Example For Students

Richard Iii Monologue Essay Paper A monologue from the play by William Shakespeare RICHARD: Now is the winter of our discontent Made glorious summer by this son of York; And all the clouds that lowered upon our house In the deep bosom of the ocean buried. Now are our brows bound with victorious wreaths, Our bruised arms hung up for monuments, Our stern alarums changed to merry meetings, Our dreadful marches to delightful measures. Grim-visaged war hath smoothed his wrinkled front, And now, instead of mounting barbed steeds To fright the souls of fearful adversaries, He capers nimbly in a lady\s chamber To the lascivious pleasing of a lute. But I, that am not shaped for sportive tricks Nor made to court an amorous looking-glass; I, that am rudely stamped, and want love\s majesty To strut before a wanton ambling nymph; I, that am curtailed of this fair proportion, Cheated of feature by dissembling Nature, Deformed, unfinished, sent before my time Into this breathing world, scarce half made up, And that so lamely and unfashionable That dogs bark at me as I halt by them Why I, in this weak piping time of peace, Have no delight to pass away the time, Unless to see my shadow in the sun And descant on mine own deformity. And therefore, since I cannot prove a lover To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days. Plots have I laid, inductions dangerous, By drunk prophecies, libels, and dreams, To set my brother Clarence and the king In deadly hate the one against the other; And if King Edward be as true and just As I am subtle, false, and treacherous, This day should Clarence closely be mewed up About a prophecy which says that G Of Edward\s heirs the murderer shall be. Dive, thoughts, down to my soul here Clarence comes!