Current Trends in Construction in Nigeria Essay Example for Free

Current Trends in Construction in Nigeria Essay I work in a building and civil engineering Company, registered to conduct business in construction, real estate, civil, mechanical and electrical engineering works. Generally, housing and infrastructures are big matters in Nigeria, like it is with most developing economies in the world, and personally I believe Nigeria has the potential to be one of the biggest construction markets on this planet. While the world is still struggling to emerge from the global economic collapse, Nigeria’s construction industry is growing fast and is likely to grow astronomically over the next decade, according to forecasts made in a June 2010 reports by Global Construction Perspectives and Oxford Economics. These trends in every way have necessarily placed a demand on professionals in the construction industry, and in few cases where they are lacking quacks in the industry end up taking advantage, mostly this quacks are responsible for a reasonable amount of collapsed buildings and abandoned infrastructures. Estimates suggest that current growth in the Nigerian construction industry is greater than that of India. Indeed, the report found that â€Å"Nigeria’s population of approximately 154 million is urbanizing at one of the fastest rates in the world, but construction is currently only 3.2 per cent of the Gross Domestic Product. From 2009 to 2020, only Nigeria and India will enjoy higher growth rates than China in their construction output.† ( These trends are generally common around the world but focusing my attention to my present location, construction works are basically addressed as projects, thus there is a union between construction projects and projects management. In construction there is the demand to control and manage human resources, financial resources and even plants and machinery as the case may demand. But the gap between management structures of these resources remains a loop holes for wastage and inefficiency, grossly affecting the quality and standards of buildings and infrastructures. Most ambitions of the Nigeria government- such as creating much-needed housing, improving public services, developing its tourist sector, improving transport links, creating new jobs and eradicating poverty — can be linked to the construction sector and personally my little niche contribution to the construction industry in Nigeria and the world at large- though minute, is not so difficult to outline as I have worked on managing government funded projects which had to do with the development of ICT and Library for a community in the Niger- delta region of Nigeria, I have also worked for a group of foreign investors here in Nigeria where I rendered appropriate construction services aiding to set up and revamp retail stores in Nigeria for a South Africa brand. The outlook of trends for construction is an excellent one and this is having an expanding effect on the global community. â€Å"According to a study published by the Anderson Economic Group, an average of 1.2 million project management positions will need to be filled each year through 2016.† â€Å"The demand for project managers is definitely growing,† says Sheree Rulard, senior recruiting consultant for Beeline RPO, a workforce solutions firm with offices in the United States, United Kingdom and Canada† . (http://www.villanovau.com/project-manager-jobs/). The two main factors contributing to this increased need for project managers, they are: †¢ A shift in demographics (especially due to the rise in retirement-aged workers) †¢ Growth in global projects worldwide† ( http://www.villanovau.com/project-manager-jobs/) Particularly in Nigeria there is much of infrastructural works that are desperately needed. Roads, ports, bridges and airports etc the country’s archaic railway network, barely altered since colonial days, is also in great need of an upgrade. Roads, in particular, are a problem. Only the capital Abuja and, to a lesser extent, the coastal metropolis of Lagos, has a reasonable road network. Nationwide, road fatalities are one of the most common causes of death. The entire modules appeal to me personally but I foresee† planning and budgeting with risk† as a major module that will provide me insight in the field of construction and improve my personal skill with an adequate planning ability. Most times I spend more of my working hours on construction sites, reviewing and tracking work pace and work standards, where there is on a daily basis an average of about between 50-300 persons working depending on the size and stage of the project and a couple of times am at the office building.

Feminist Research Into Soap Opera Audiences

Feminist Research Into Soap Opera Audiences Feminist Research into the field of television has made a vital contribution by studying the genre of soap opera and its audiences. The understanding of the relationship that the genre share with its audiences is important in gaining knowledge about why this genre has remained such a popular form, despite the continuous criticism that has been receiving from the television critics and journalists. Feminist researchers such as Ien Ang, Dorothy Hobson, and Lesley Henderson etc focused their research of soap operas in exploring how soap opera audiences use this genre as a medium to engage into social debates and interpret the drama in their own ways. Rather than focusing on the text alone, they have elaborated on how audiences bring their perspectives in the stories. These authors have tried to put themselves in this scenario and explored the study as fans rather than just being critics. As Brunsdon(1995, p.50, cited in Henderson, 2007, p.8) notes, On the one hand, there is a perceived incompatibility between feminism and soap opera, but, on the other, it is arguably feminist interest that has transformed soap opera into a very fashionable field for academic inquiry. The aim of this essay is to out light on and the work of this feminists by analysing and exploring the key concepts such as active audiences, and breaking away from the allegory that soap opera audiences are passive watchers. The aim is also to understand why women have always been the dominant members of the soap operas. Do they enjoy this genre merely for entertainment? If no, then what understanding do they bring to soap operas? Another aspect that this essay touches upon is to critically understand whether soap opera writers lack creative ability, as people especially non soap opera viewers, often think that the storylines of such genre are dragged and over dramatized. Lastly, it touches on the social relevance that soap operas have, apart from just being considered as a source of melodrama and entertainment. Talking about television is part of the everyday work culture of both men and women (p 175). Discussing storylines in the form of gossip or debate, criticizing or applauding, sympathizing with the characters and relating to incidents that unfold in reel life with the real lives, are some of the processes through which soap opera audiences find this genre so entertaining. Breaking the myth of passive viewer One of the most crucial contributions made to the media studies by feminist researchers is the understanding of the relationship between soap operas and its audiences. The answer to the question why the soap opera is so popular lies in understanding the relationship it shares with its audiences. The effects that soap operas can possibly have on its viewers form the basis of their success or failure on television. Feminist researchers have time and again exhibited the importance of understanding the audience/text relationships. But, often soap opera audiences are stereotyped as passive viewers. As the term suggests, passive viewers are the ones who just blindly accept the information that is provided to them. There is a misconception that the members of this category do not use their own knowledge and understanding while watching the soap operas, as they are a product of fiction and fantasy. According to Hobson (2003, p.166), journalists and critic s often stereotype the soap opera audiences as easily duped mass, who fall prey to the melodramatic storylines. This assumption is stated by Seiter et al too (1997, p. 162). They add that critics feel that viewers usually turn off their brain cells while watching a programme, hence losing any critical ability to judge the merits and demerits of a soap opera. They do not understand the difference between what is real and what is fictitious. In a recent episode of BBCs Eastenders, the show tackled with the issue of cot death and baby swap. The episode was subject of a lot of debate and criticism. Viewers termed this particular storyline as awful tragic and sensationalism, especially since it was aired during the New Years time. Joyce Epstein, director of the Foundation For The Study Of Infant Deaths (FSID) was quoted in Mailonline saying, I just hope that people realise that this is fiction, this is not real life. I would hope people can view it as something that happens on screen and is not real life. Apparently, the show received around 5000 complaints about how the subject was so sensitive and the events were exaggerated. This means that the viewers were in fact critical of the subject and brought their own understanding to the topic. Another analysis of this could be that maybe viewers always have had opinions about soaps, its just that now their opinions are more visible because more and more people are using web tools and the whole issue is sometimes blown out of proportion to gain the attention. A viewers interpretation of the text could be in any form a moral argument, a social debate, a group discussion or a part of everyday gossip. Through all these means, it can be said that audiences are bringing their own experiences and opinions to the show and also add their perspectives to the stories. Soap operas depend on the audience following the stories and need their audience to be loyal and watch regularly (Hobson, 2003, p.161). This exemplifies that soap operas are constantly thriving on the support of its audience, and if the audiences discontinue their support, then soaps cannot run for a long time. According to Gillespie (1996, p.13), spending time on watching soap operas is a productive way to understand how viewers consume the text, images and narratives. This thought is also resonated by Slade, who supports the concept of active audience and asserts that viewers do not just accept a producers perspective of a particular story, add their own meaning to it through their reactions. This statement in a way contradicts the famous Hypodermic syringe model which subscribes that audiences are under the spell of media producers and that the audiences act and think according to what the media is trying to tell us, rather than putting your understanding to the media texts. Philip J. Hanes(2000) suggests that rather than understanding the audience/text relationships through effects model terming audience as passive viewers, it is important to focus on a new approach through Uses and Gratification model , as this model focuses on how audiences use and interpret media texts rather than focusing on what effects media has on the audiences. According to the model, audiences have specific needs and actively turn to the media to consume various texts to satisfy those needs (Hanes). Originally targeted towards women above the age of thirty, are shows like Desperate Housewives and Sex And The City. These are now widely popular amongst women in their twenties. Male viewers also e njoy these shows because of the glamour quotient; these viewers would otherwise avoid soap operas. Audiences are not blank sheets of paper on which media messages can be written; members of an audience will have prior attitudes and beliefs which will determine how effective media messages are (Abercrombie 1996, 140, in Hanes April 2000). In her research on audience reception of American Prime time show Dallas, Ien Ang (1985, p.26) found that each of the viewers watching the show shared an exclusive relationship with its characters and storyline. This experience or bond that they feel could be a product of their thinking, their social surroundings, and their background or depending on their social class and age group. Gender studies Why do women audience dominant this genre? As mentioned, soap operas heavily thrive on their viewers attention. And a large part of this audience is dominated by women. Because this genre deals with storylines and themes that are melodramatic, emotional, fantasy based, critics would argue that that are the reasons that soap opera producers can easily attract womens attention. But, feminists researchers believe that there are valid and important reasons as to why women love viewing these types of programmes. Undoubtedly, Soap operas are a means of entertainment, and provide the pleasure of viewing fictitious lives. Emotional realism, the fantasy world, melodrama are some of the reasons that evoke women to watch soap dramas but at the same time, it is important to note that female audiences bring a whole new meaning and knowledge to the soap opera viewing experience. One of the most exceptional qualities that women possess (as a gender) is the ability to relate and empathize with experiences. However, Ang(1985, p. 82) argues th at the fact that women love watching soaps is not so much associated with their social surroundings, especially housewives per se and that they are inclined towards a melodramatic lifestyle. Rather she points out that women are accustomed to tackle any situation psychologically, filled with a lot emotions. Hence, it becomes easier for them to identify with tragic structure of feeling inscribed in the dramas. In her work on audience reception of Crossroads, Hobson (2003, p.168) observed that women related the content of Crossroads, with their own personal lives, by relating the stories and characters with everyday lives. The problems depicted in the programme bore resemblance with the problems that they experienced. A lot Indian audiences, (again mainly women) enjoy watching soap operas because they feel that some of the situations or events in these programs teach them how to tackle family issues, since most of the dramas revolve around family lives as the main theme while rivalry, extra marital affairs, form the sub themes. Another important aspect that attracts women towards soap operas is fantasy world, which offers things and experiences that one cannot experience in real life. It acts a mode of escape from a daily routine in to the world full of possibilities. Pleasure of fantasy lies in its offering the subject an opportunity to take up positions which she could not in real life.The best example could be that contemporary soap operas such as Desperate Housewives and Sex And The City (SATC) narrate the story of women who are independent, powerful and charismatic, but at the same, they are shown to have their share of lifes struggles, and as expected they manage to work their way through domestic problems and family quarrels. For women viewers, such situations act as a means of forgetting their own personal problems by getting engrossed in such programmes. It gives them a chance to divert themselves from the pressures of their mundane life. Women form a personal bond with such characters and start im agining themselves to be like those fictitious characters. For some women, solving a domestic issue is too serious an issue, but when from a third persons point of view, they watch a TV character going through the similar situation, it tend to imagine the issue as a minor one. Moreover, apart from emotional involvement, these shows celebrate free spirited nature of womanhood by focusing attention on female friendships. In her interaction with women via group discussions on SATC, Deborah Jermyn found out that the programmes realism lay predominantly in its depiction of the womens friendships and conversation particularly within the scenes where they meet together as a group to talk.(Akass and McCabe, 2004, p.214) Moreover, the location of the show, New York, for some women, added the escapist quality to their life. However, Mary E. Brown makes a contrasting point here. She argues that soap operas usually portray women characters as passive and powerless on one hand, and sexual objects for men on the other (Brown 1990, p. 75). She gives the examples of strong and positive women characters such as Christine Cagney from Cagney and Lacey, and Maddie Hayes from Moonlighting. The former portrays the life of two strong, independent, working women living life in a modern way. Brown stresses that such positive representation of women on soaps operas act as potential role models of its female audiences. From such a perspective, it is only logical to claim one should strive to offer positive role models by supplying positive images of women. (Brown, 1990, p.83). Hobson (2003, p. 178) echoes Brown views by noting that The women characters that were seen as the most popular were those who had to struggle against the vicissitudes of life. British soap operas often are based on the topic of emotional realism. They are considered to be realistic in nature. In her discussion on English soap operas, Hobson found out that women audiences felt that the female characters in the show held strong popularity because they had the ability to cope with difficulties. Such qualities, as per Hobson are considered as admirable (Hobson 2003, p.178). Many of the characters in the series Coronation Street and Crossroads were women who themselves had to confront problems in their everyday lives, and the resolution or negotiation of these problems within the drama provided point of recognition and identification for the women viewers(167-68) Gender studies play a vital role in understanding how different members (male or female) of audiences think about a particular soap drama. It has been mentioned above how women have the ability to relate to the fiction and bring their own meanings to the soaps. Women, especially housewives who are considered as the prime targets of this genre, generally find this medium to get away from their mundane domestic life. Hence, they switch on to soap operas and watch stories of women who either have better or worse lives than theirs. It gives them a reason to escape from their own surroundings for a while. Men, on the hand, ideally prefer entertainment. They think that soap operas are dramatized beyond belief. They believe that soaps are generally slow and even a little fictitious incident in them is dragged and hyped. Moreover, they cannot be bothered to watch every episode of the show. In short, they are not brought to think emotionally as women usually do. This is an argument put forward by some theorists that identity of a soap opera viewer is inscribed in the soap itself. Soap operas identity is most dominant by women viewers. The competences necessary for reading soap opera are most likely to have been acquired by those persons culturally constructed through discourses of femininity. (Morley, 1992, p.129 cited in Chandler, 1994). Death of creative writing? Due to the qualities that soap operas inherit: exaggerated storylines, melodramatic imagination, tragic structure of feeling, emotional realism, escapism, it is often assumed that they tend to lack creativity and originality in terms of writing. In the recent years, there has been an increase in number of soap operas that are being produced. This might give television critics a reason to think that soap operas have nothing new to offer to its audiences, except stretched storylines and themes. This genre is originally meant to provide entertainment and the reason that it is successful in doing so, is because its audience loves it. They love being a part of writers fictitious world and then, also have the advantage of bringing their own endings or beginnings to these soaps. Moreover, it should be noted that the makers of such soap operas often take examples from real life events and situations and then play them out by adding drama and fiction to it. More importantly, the issues that formed the basis of stories were those which were important and relevant at the time when they were conceived and had a place within the planned storylines (Hobson 2003, p. 201). Since, they cater to a vast amount of audiences, it is impossible to the soap producers to not be reflective and not tackle the everyday issues. In a recent episode of BBCs Eastenders, the show tackled with the issue of cot death and baby swap. The episode was subject of a lot of debate and criticism. Viewers termed this particular storyline as awful tragic and sensationalism, especially since it was aired during the New Years time. The example that is previously mentioned about Eastenders, also to a certain extent implies that soap opera storylines do take instances from real life events. Another quote by Joyce Epstein, (FSID) saying, I would hope people can view it as something that happens on screen and is not real life. However, she did say that, But cot death does happe n (Thompson, 2011). This shows that scriptwriters do take instances from real life or issues that affect people and played them out on screen. Rather than saying that soap opera writers lack creativity, it should be said that they possess reflectivity, the tendency to reflect their views through dramas, while keeping in mind its relevance. As Henderson notes, Creeber challenges the perception of a decline in quality programming and argues that we should not lament the death of the single play but should instead celebrate the generic hybridity of television drama (Creeber, 2004, p.15, cited in Henderson, 2007, p.15). A T.V drama writer has the whole world of imagination to choose from, (Henderson, 2007, p. 9). They have the gift to experiment with the storylines, introduce new characters from time to time, bring mini climaxes and dramatize cliff hanging moments. The Eastender example manage to grab the eye balls apart from becoming a topic of debate, and both these points work in the favour of the show, because it keeps the audiences hooked and possibly also get the attention of viewers who are not regular watchers. According to Henderson, 2007 (p. 168), the production team behind the working of soap operas most often bring their own experiences to the show, hence acting as surrogate audience. Hendersons thoughts are echoed by Hobson as well. Hobson argues that the biggest advantage soap operas have as compared to other genres is that this genre has the scope to engage the audiences by exploring the events based on daily lives. Soap opera writers stay true to their audiences by showing their high creative ability to adapt real life situations rather than manipulate them. The repetitive nature of soaps, with its core of established characters, may also allow a level of identification and empathy which is impossible to replicate in other fictional forms. (For example, the single play) p 174 h) Ang states a rather different view on this. She asserts that exaggerated plots and themes function as metaphors for lifes torments.(Ang, 1982, p.63) She adds that this should mean that there is a lack of creativity or originality in the soap operas as critics who opine this ignores the structural function that lays this genre. The repetitive nature of soaps acts as metaphors for lifes torments in our culture, speaking directly to the imagination of the public.(Ang, 1982, p.64). An exploration of the important issues in everyday life, the soap opera provides a set of representations which can be seen as vibrant reflections of reality. They work because they reflect important issues and they connect with the experiences of the audience; unless they make that connection they will not succeed. After all, shows like Eastenders have always talked issues such as teenage pregnancy, issues related to drugs, suicides and extra marital affairs. Social relevance Lesley Hendersons research in the field of television fiction stresses on the argument that television fiction is not simply is a site of pleasure but it also is a site of definitional power (Henderson, 2007, p.8). She also adds that Soap opera has emerged as a format within which controversial or socially sensitive issues are played out (Henderson, 2007, p 12). As soap operas cater to a wide range of audiences across the world, it becomes important for the broadcasters to own up a moral responsibility by imparting social education to the audiences, apart from just entertainment. When producers realised that the audiences were slowly getting alienated from family dramas, they shifted their focus on socially relevant issues like Child marriage, eve teasing, female infanticide and other important issues and incorporated them into stories. Soon, the television fiction saw a huge change in the way soap operas were earlier perceived. Women, Men and children and elders, everyone started wa tching soap operas again and applauded the creative teams for talking about issues that were long ignored. Television fiction has largely been studied as a site of entertainment and pleasure despite its importance in relaying social meanings and cultural forms (Grispurd 1995, p.21, cited in Henderson, 2007, p.7). A recent T.V drama, Nivedita, talks about the issues of HIV/AIDS. Inspired from education oriented soaps operas produced in South America, this soap opera follows the route of education as entertainment, as described by its makers. Its a 26 episode series and at the end of episode, viewers get to see a short message on HIV/AIDS awareness by celebrities. In a developing country like India, where HIV/AIDS epidemic is one of the major concerns, a soap opera like Nivedita is a good way to educate the audiences about the epidemic. Besides, in India, television and film actors are considered as demi gods, whatever they do, good or bad, audiences keenly observe them. According to marketing strategy followed by media owners, incorporating a social message as a part of storyline is an eff ective tools because viewers relate to them in a better way (Pain, October 2010). The secret is to make sure that the drama remains recognisably real while subtly redefining reality in such a way as to alter perceptions of what is normal and good (Carlin 2003 in Henderson, 2007,, 2007, p.18-19). The fictional soap operas and the situational comedies give us an impersonal way to begin a debate about moral issues. (Slade, 2000, p. 424) Slade(2000, p.422-423) provides an example of Mirada de Mujer, a Mexican high quality telenova. Based on the life a women character Marie- Inà ©ss, this soap opera dealt with controversial themes such as AIDS, unwanted pregnancy and extra marital affair. It became a topic of debate not only in domestic sphere but also in the Mexican press. The life events of this central character were a constant topic of debate among Mexican household. Thus, this telenova was successful in generating enough controversy and encouraging people as well members of the audiences in participating in social debates. But, in order to be a success in terms of attracting the audiences, such soap operas need to thoroughly understand the audiences needs as well. The producers of soap operas that deal with a certain social message need to make sure that the message is clearly put across to the audience, for them to continue watching the show. (Henderson, 2007, p.19) They should avoid making the drama look like a documentary or a commentary. Contemporary soap operas audiences feel the need to be entertained with every scene. Hence, a right balance of entertainment and seriousness is a must for such a soap drama. How is this genre different from other dramas? Unlike some of the other genres such as crime, the format of soap opera is not meant to be full of suspense, where the audiences are supposed to tune in everyday to see the suspense unfold, rather this genre is a product of a long, slow, and complex fiction which becomes successful in engaging the audiences, as they are tempted to know more about the storyline and characters. According to Ang (1982, p.57), even as the theme is recurring and repetitive, it works in the favour of the audience, as they start viewing the show not as an outsider but as one of members of that show. aUnlike a talk show, where audiences are just made sit and watch two people converse, in soap operas, the main theme is constructed in a way that it seems never ending. Life in a soap opera is full of troubles crime, rape, burglary, extra marital affairs. The French semiologist Violette Morin points out, for example, that the popularity of the television serial could derive from the fact that the life depicted in it seems to proceed more slowly than real life. (Morin cited in Ang, 1982, p.81) This could mean that in todays contemporary society, where people have to just rush through moment, due to time constraints, they till crave for a life in slow motion. A small incident in a soap drama stretches for minutes, sometimes days, hence bringing a melodramatic meaning to audiences life, which they normally do not experience. The longer they run the more impossible it seems to imagine them ending.(Geraghty, 1991, p. 11, cited in Chandler, 2004) Conclusion: Undoubtedly, as Charlotte Brunsdon put it, soap operas today have become a subject of many syllabuses, rather than being considered merely an object of ridicule. While it has been mentioned that audience engage and contribute their understanding in the viewing of soap operas, it should also be kept in mind the judgment of this knowledge and comprehensive study largely depends on a viewers own awareness of culture and experiences, meaning that a particular story or a scene in a soap, could possibly have different meanings. It can also be concluded that soap operas take the process of communication beyond the experience of television viewing itself, in the form of social debates, imitating the fictional characters and their lives. Through the analysis of Angs work, it can be said that soap opera audiences relate to the metaphors that storylines often depict and this is study is relatable to contemporary soap opera audiences as well. The pleasure of watching a soap lies in i ts exaggerated plots, emotional sufferings and cliff hanging plots. The experience of watching a soap drama is very personal too, because everything is told from a personal viewpoint. Another assumption that can be disrupted from the research on Active audience is that contemporary soap opera audiences have become smart and aware of that content they are watching. They can no longer be fooled by the programme markers. That means, even programme makers have to deal with certain challenged to keep the viewers engaged. So, it is a possibility that in an effort to keep the audiences glued to the drama, producers today resort to techniques such as over dramatizing the events, sensational stories, spreading true or false link up stories of their TV actors in media, because today since news spread really quickly, owing to the internet and hence, such means help the producers in grabbing eyeballs. After all, any publicity is considered to be good for such shows. Lastly, it is important to understand that soap operas were originally meant to offer a company to housewives, who fitted their daily routine work around soaps. A domestic life of any person is filled with all kinds of emotions. These are used as metaphors to depict situations and events in soaps. While it is a valid argument that emotions are portrayed in extreme ways of melodrama, it cannot be denied that these metaphors are sourced from real life events, more or less. Apart from providing entertainment to their audience, a soap opera producer also holds the responsibility to regular be reminded of their social responsibility as a broadcaster. Critics, who view soap operas as merely a source of repetitive pleasure, need to understand that socially relevant themes can also act as means of pleasure for the audiences. After all, bringing up socially relevant issues too form a source of moral debate in the contemporary society. But when what has happened in the last thirty years or so is, a strange restructuring of presenting women on screen. This point is most valid with context to contemporary shows such as SATC and Desperate Housewives. While it has been pointed out that such shows celebrate the true spirit of women, but at the same time, shows trivialises the female condition by making them into money hungry, male craving pieces of physicality. A valid query could be do they want anything else? is the changing the attitude of the people or are people forcing their opinions onto shows? Similarly, another stereotypical notion arises when one views Indian TV soaps, where the traditional housewife is shown as the positive role model while the sexy modern thinking woman is the vamp. The strange aspect of this is that these stereotypes are still prevalent; somehow these facts are overlooked by audiences because of the popularity this genre holds. Lastly, the reason that audiences keep coming back to their favourite soap operas each and every day lies in the fact that they not only do they relate to the storylines and characters but it is the personal experiences and memories that these soaps show which intensifies their relationship with this genre, because they feel that they have been through such situations at some point of time. As Hobson (2003, p.202) puts it, The future of soap opera of intricately interwoven with the power and desire of the audience.

Imperialism :: essays research papers

‘Examine the Causes of European Imperialism After 1870’ European control and power over other nations was not a new ideal prior to 1870; in fact the process was in place as early as the 14th century. Disease and geography are only two of the factors that prevented European colonisation until the 19th century. Many factors led to the massive rise in imperialism after 1870, both internal and external. European imperialism stems from the capitalistic greed for cheap raw materials, advantageous markets, and good investments. These ideas motivated the search for new markets because Imperialists would rather invest in new markets rather than raise wages of domestic workers. Not only was the cheap production of goods a motivating factor, but the quest for markets to sell manufactured goods contributed as well. Going along with this greed was the drive to expand authority by land acquisition or economic and political control over other nations. The quest for economic domination and advantage Europeans often denied the capitalistic greed as a factor in the cause of imperialism and had other ways of defining the motivation. Many stated that Imperialism was the natural effect of the idea of ‘survival of the fittest.’ This is best represented by Rudyard Kipling in the book ‘White Man’s Burden,’ which describes the notion that European Imperialism was simply the natural way that stronger nations gained power and those unable to keep up would be taken over. The Industrial Revolution also played a huge role in European imperialism. European nations had ease dominating non-Europeans due, in part, to the power retained from industrialisation. The Industrial Revolution provided tools such as guns, railway systems, steamships, and others, making it easier to overcome nations with less technology.

The Human Brain Essay -- Health, Diseases, Brain Damage

The human brain is a big, intricate—yet delicate, structure in the human body. It is the key structure in cognitive function. Any damage to the brain does not only â€Å"erase† memories but also may â€Å"deceive† the brain to erroneously remember a new object as being familiar (2010). The innovative researchers at Cambridge University investigated this phenomenon in their research on The Paradoxial False Memory for Objects after Brain Damage. The publication began by stating the widely acceptable premise that medial temporal lobe damage results in the inability to remember new experiences soon after they are learned. They indicated that the general belief is that this occurs because the ability to remember such information becomes compromised after a short period of time. They therefore deduced based on this premise that such information or experiences are either lost or become inaccessible to the extent that when such experiences are presented and re-experienced, they appear as if they are new or never have been learned. They therefore set out to explore this premise by using the generally used model of memory impairment, the â€Å"the standard object recognition memory model.† According to James Hampton, a well-renowned Professor of Cognitive Psychology at City University London, â€Å"recognition is the process of matching a perceptual representation of the stimulus item [into] stored representations of previously [exposed] stimuli† (2003). This stored information is known as structural representations based on the visual-spatial nature of the retained information (Moss and Hampton, 2003). â€Å"Object recognition memory is the ability to discriminate the familiarity of previously encountered objects† (Gaskins et al., 2009). The standard object ... ...indings from the simulation were valid because animals that suffered damage to the perirhinal cortex saw novel objects as familiar. Based on the support of these simulations and their laboratory findings, I agree with the notion â€Å"that object recognition memory impairments does not result from damage to the memory system. Rather brain damage that results in such impairments only compromises only a [precise] type of complex stimulus representation† (McTighe et al., 2010). Such may be the case of individuals with cortical brain damage such amnesia and Alzheimer’s disease based the combination of perirhinal lesions and object recognition impairments similar to the findings in this research. However in order to evaluation between and the paradoxical phenomenon, more research is needed and further representation-hierarchical simulation testing must be performed on humans. The Human Brain Essay -- Health, Diseases, Brain Damage The human brain is a big, intricate—yet delicate, structure in the human body. It is the key structure in cognitive function. Any damage to the brain does not only â€Å"erase† memories but also may â€Å"deceive† the brain to erroneously remember a new object as being familiar (2010). The innovative researchers at Cambridge University investigated this phenomenon in their research on The Paradoxial False Memory for Objects after Brain Damage. The publication began by stating the widely acceptable premise that medial temporal lobe damage results in the inability to remember new experiences soon after they are learned. They indicated that the general belief is that this occurs because the ability to remember such information becomes compromised after a short period of time. They therefore deduced based on this premise that such information or experiences are either lost or become inaccessible to the extent that when such experiences are presented and re-experienced, they appear as if they are new or never have been learned. They therefore set out to explore this premise by using the generally used model of memory impairment, the â€Å"the standard object recognition memory model.† According to James Hampton, a well-renowned Professor of Cognitive Psychology at City University London, â€Å"recognition is the process of matching a perceptual representation of the stimulus item [into] stored representations of previously [exposed] stimuli† (2003). This stored information is known as structural representations based on the visual-spatial nature of the retained information (Moss and Hampton, 2003). â€Å"Object recognition memory is the ability to discriminate the familiarity of previously encountered objects† (Gaskins et al., 2009). The standard object ... ...indings from the simulation were valid because animals that suffered damage to the perirhinal cortex saw novel objects as familiar. Based on the support of these simulations and their laboratory findings, I agree with the notion â€Å"that object recognition memory impairments does not result from damage to the memory system. Rather brain damage that results in such impairments only compromises only a [precise] type of complex stimulus representation† (McTighe et al., 2010). Such may be the case of individuals with cortical brain damage such amnesia and Alzheimer’s disease based the combination of perirhinal lesions and object recognition impairments similar to the findings in this research. However in order to evaluation between and the paradoxical phenomenon, more research is needed and further representation-hierarchical simulation testing must be performed on humans.

Heart of Darkness in Relation to its Title Essays -- essays research p

The Parallel meaning of the novella with its title- Heart of Darkness The title, Heart of Darkness, aptly chosen, can be very strongly linked to the novel. IT can be used to describe Joseph Conrad’s views on civilization, the individual mind and the land into which he ventures. These sum up his opinions on the bourgeoise society, uncivilized society and the faults of human nature, linking them to the land under one common theme and thus establishing the title. ‘Heart of Darkness’ can most noticeably describe Marlow’s journey into the heart of the land. A dominant symbol in the novel is of the river- the snake- â€Å"But there was in it one river especially, a mighty big river, that you could see on the map, resembling an immense snake uncoiled with its head to the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of a land† (71). This river brings him into what has become a ‘dark’ place- â€Å"It had ceased to be a blank space of delightful mystery- a white patch for a boy to dream gloriously over. It had become a place of darkness† (71). As in snakes and ladders, you start at the head and go towards the tail. This leads him into evil (snake symbolism), danger (uncoiled), and deeper towards Kurtz, whom the snake has swallowed towards the tail. As he travels along, just as the snake’s body grows thinner, so do the tolerance levels of those who thin k they are civilized. First Fresleven clubs a black village chief, then a brawl breaks out, and this progresses to all-out insanity, where cannibals, primitives, Inca-like natives and, eventually, Kurtz, reside, where he loses any control he had of his life, doing anything for more ivory, and realizes this in his dying moments. Marlow again mentions headin... ...ke hell break loose. Voyage into the land increases the themes of death and chaos. However, with the trek into the heart of the land, the other two concepts significantly grow- civilization becomes more and more edacious, and the dark heart of each individual is more likely to burst free. This may very well explain how when with his aunt, Marlow is so resisting that he states that the company is totally profit-oriented. By the time he has been at the station for a period of time and reads Kurtz’s book, he actually considers his views on the inferiority of the natives. Also note how the continent ‘got to’ Fresleven, causing him to go insane. The half-hidden, negative side in each concept becomes the ‘heart of darkness,’ both relating it to the title and a very unifying theme. Bibliography Conrad, Joseph. Heart of Darkeness. New York: Chelsea House, 1987.

Love’s Last Shift

Love’s Last Shift by Cooley Sibber has something for everybody and therefore it is hailed as the opportunistic work. Its ‘virtues’ are many and it caters to the needs of audience of all types. It highlights the conflicts of the gender roles. It appeals to the sentiments of men and women both as it is the same old story through the ages– It is between him and her. The play doesn’t depict that the interests of men and women need to be at the loggerheads always and they should ever remain at war. It concedes that sentimental reconciliation is possible, though it leaves the hearts and minds of parties involved in the conflicts, damaged. This play has been hailed as the Restoration Comedy. It has daring sex scenes and enjoyable farce. From the point of view audience, such family dramas are immensely liked, for each man identifies himself with the male character and each woman with the female character. And the final reconciliation between the two calms he agitated minds of both male and female.   In the ultimate analysis, such a favorable result to the conflict is desired and welcomed by both. Summary of the plot: Amanda has a unique problem; it could as well be the problem of most of the wives. It is about reformation and rehabilitation of her husband. She earnestly desires to control her husband, Loveless, who has been   going astray. His only pastime for the last ten years is to budget his time between the brothel and the bottle. He goes to the extent of not recognizing his wife, when he returns to London. She seduces him, acting like a top-class prostitute, at her luxurious house, and Loveless is totally taken by her physical charms and guile. She treats him throughout the night, gives him everything the mad and crazy body-loving, sensuous man desires to have from a woman. The high drama goes on till the morning, when she reveals to him her true identity. The fickle-minded Loveless is greatly impressed by her faithfulness, and a reformed individual emerges out of his dubious â€Å"movement that drove laughter from the stage and ushered in the platitudinous sententiousness and dreary exemplars of moral propriety that abound in eighteen century sentimental comedy.†(Love’s†¦) Love’s Last Shift is his first play. (1696) In the meantime, the love-adventures of Sir Novelty, always fascinated with the women, that he comes into contact,   add to the humor of the play. His fickle-mindedness and weakness before the feminine charms is understandable by the male audience. The comedy depicts the status and position of the women of that era, and how she worked to maintain the essential dignity of the family life in the trials, tribulations, duty and beauty of her life. Character analysis: Taking to consideration to the era to which the play belonged, it needs to get the credit it deserves. The interesting character of Sir Novelty, who flirts with many women, but at the same time remains deeply interested in maintaining his own appearance, is the example of the then prevailing fashion trends. His witticisms are enjoyable and demand attention. Polygamy is nothing new in a society, but the style in which it is characterized in the play like the role of John Vanbrugh’s sequel, is thoroughly enjoyable. The play was the hit of the era but has not stood the test of the time. The characters of this sentimental comedy dominated the English stage for nearly a century. â€Å"Although Cibber drew extensively on the comedy of manners—his plays are sometimes said to be four acts of manners comedy followed by one act of sentimental comedy.†(Loves†¦) The rest are supportive roles, but each doing justice to the identity of the character to which it was created. The rakish young lover, Sir Novelty’s mistress Flareit, Sir Novelty Fashion etc. Love’s Last Shift confirms to the pattern of three such comedies by Cibber, â€Å"a husband and wife whose marriage is either in ruins or seriously in jeopardy, which mainly because of the man’s failure to appreciate his wife’s true qualities and his consequent pursuit of extra-marital sexual conquests. In each case, however, the husband is brought to a realization that true bliss is martial, and he, repents and reforms, virtue and ‘bourgeois’ morality emerge triumphant.†(Loves†¦)   In the present case, the wife has the taste of sweet revenge against her erring husband. Conclusion: Love’s Last Shift is Cibber’s first play. He â€Å"has often been accused of marking the beginning of the end of true comedy. Cultural historians would prefer to see his comedies as a symptom of the decisive social, political, and economic changes that took place during his lifetime, but there is no doubt that Cibber did much to transform comic drama in those years of transition between 1690 and 1710 during which the essentially satirical comedy of manners gave way to the essentially exemplary comedy of sentiments.†(Loves†¦) The fact that the play keeps the interest of the audience alive for a century means its characters have got to be truly exceptional and they must have weaved the magic on the stage. As for the criticism in the play, everyone has the right to criticize the prevailing social conditions. The suspenseful and comic sequences when Loveless makes love to his own wife, without being aware of it, are highly amusing. The role of Sir Novelty Fashion is challenging and has capacity to offer still challenge to the modern fashion-designer. References Cited: Article: Love’s Last   Shift (I696), has often been accused of marking the beginning of the end of true comedy. Cultural historians would prefer to see†¦ jstor.org/sici?sici=0306-2473(1976)6%3C278%3ATSC(LS%3E2.0.CO%3B2-J – Retrieved on May 5, 2008.

Character Analysis of Aminata: Book of Negroes Essay

The Book of Negroes by Lawerence Hill started as a story of the capture of a West African girl and her journey to become a slave. Her traumatizing experience was written with a desperate tone that was achieved through the use of literary devices such as metaphors and alliteration. Emphasis was put on the conflict between Aminata and society which helped to develop her as a hopeful character. â€Å"We walked for many suns, growing slowly in members, lumbering forward until we were an entire town. Each time, people swarmed out to stare at us. Initially, I believed that the villagers were coming to save us. Surely they would oppose this outrage. But they only watched and sometimes brought out captors roasted meat in exchange for cowrie shells and chunks of salt. Some night when they had us lie down in fields, our captors paid village women to cook for us-yams, millet cakes, corn cakes, sometimes with a bubbling peppered sauce. We ate in small groups, crouching around a big calabash, spooning out the hot food with the curved fingers of our right hand. While we ate, our captors negotiated with local chiefs. Ever chief demanded payment for passage through his land. Every night, our captors bartered and bickered well into the evening. I tried to understand, in the hope of leaning something about where we were going and why† (p. 34, Hill). In this quotation, Aminata’s journey is described with a bleak and demoralizing tone. The journey of Aminata and her hostages lasted â€Å"for many suns† and wore down their hope for freedom and their faith in humanity. The hostages continued â€Å"lumbering forward† as â€Å"an entire town of kidnapped peoples,† with no hope of being saved. When â€Å"people swarmed out to stare at us †¦Ã‚  we initially believed that the villagers were coming to save us. † Eventually the captives realize that the people are only interested in making exchanges with their captors. This leaves the hostages with the forlorn realization that no one would make an attempt to liberate them. The captives were demoralized further when they â€Å"crouched around a big calabash, spooning out hot food with the curved fingers of our right hands. † As captives, the native West Africans were treated as less than human. Like animals, they were forced to gather around a bucket of food and eat without tools. The lack of respect and dignity given to the captives corrupted their sense of self-worth until there was little left but the instinct to survive. Literary devices are a key element in setting the tone of this novel. As the captives were continuing they were â€Å"slowly growing in number†¦ until we were an entire town of kidnapped people. † This metaphor emphasizes the number of prisoners the captors have taken hostage and that the group goes far beyond Aminata. It also emphasizes the amount of power the captors have other the captives. Even though the captives outnumber the captors, the captors are still capable of preventing any rebellion and power within the hostages. Another literary device that highlights the hopeless situation of the captives is parallel structure. On their journey they â€Å"passed village after village, and town after town. † The us of parallel structure creates a sense that the journey of the slaves is perpetual and induces the feeling that the slaves are stuck on a ceaseless journey. This also contributes to the hopeless mood of the novel; with no end in sight the slaves find little to look forward to. Although the captives lose hope in their future, Aminata manages to keep a part of herself hopeful and this is essential to her characterization. Aminata knows that there is a very small chance of escaping, but she also knows that if she has more knowledge of the captor’s plans, she has a better chance at freedom: â€Å"Every night I heard the captors barter and bicker well into the evening. I tried to understand, in the hope of learning something about where they were going, and why. † This also demonstrates her thirst for knowledge. Growing up Aminata strived to learn reading and writing and any other skills she could. She does not let go of this part of herself even in her futile situation. As well as being hopeful and clever, Aminata proves to be innocent and naive. While travelling through villages she believes â€Å"the villagers were coming to save us. Surely they would oppose this outrage. † But Aminata eventually realises that the villagers are not interested in freeing the captives. The only concern the villagers have is to make deals with the captors. Her ideals, that the people of her country would band together to bring a stop to their exploitation, are crushed and strips her of her innocence on her journey to slavery. Aminata finds herself in many conflicts with many different elements. One example is the conflict between her and society. Society viewed Aminata and her fellow prisoners as less than human and with little value. The slaves were treated like animals, â€Å"people swarmed out to stare at us†. They are seen as another species and not as people with intelligence and skills. But contrary to the beliefs of the society, Aminata is an intelligent and skillful girl whose thirst for knowledge is never put to rest. She continues to try â€Å"to understand the chiefs, in the hope of learning something. † She also knows how to read and write which is considered extremely valuable in her culture. But because society views slaves as non humans who are not capable of being intellectual, Aminata’s capabilities are not seen by others and she is continual seen as an inferior. The Book of Negroes tells a story about the degrading experience many had to go through because they were seen as inferior. This degradation is apparent through the demoralizing and bleak tone. But Aminata manages to keep hope and a clear head and provide a beacon for herself and others around her. She continues to expand her horizon of knowledge and aspire to better herself. Although she is faced against the power or society, Aminata holds strong to herself and carries on. Her story is told with the use of literary devices such as parallel structure and metaphors to emphasize the desperation and inadequacy of her journey. She manages to look past all the horrors that surround her and hope for a better future, and perhaps with her strong will and knowledge she will achieve this someday.