Analysing Public Art and Geography

Analysing Public Art and Geography How can public art challenge the gendered nature of space? The world is getting more and more visual, and increasingly meanings are communicated through visuals (Rose, 2001). It is the aim of this research proposal to outline the final year project that is going to focus on interdisciplinary themes of space, art and gender. It will demonstrate how human geography engages with visual art, and how the research linking the two has expanded over the past few decades. It will show the issues that one may be presented with when researching art. An explanation will be given of how gender and body are viewed in geography. Geography and visual art Geography is recognised as a very visual discipline (Driver, 2003; Tolia-Kelly, 2012), that extensively engages with our vision (Roberts, 2012), and geographers have long been using various types of visual imagery and objects in their work (Garrett, 2011; Rose, 2003). Over the past decades, namely since the cultural turn, there has been greater interest in potential links between visual arts and geography (Rose, 2001). During this time the field of research has expanded from looking at landscape paintings from earlier centuries, to analysing broader spectrum of artistic mediums, both digital and analogue (Hawkins, 2012). It is understood that everyday images and objects that we see are not meaningless and static things, but are imbued with meanings that affect our behaviour and interaction with the world (Hall, 1997). Art in public space The term ‘art’ itself is an extremely broad concept, and there are many sub-disciplines in art that can be used to narrow down the research. This particular research is going to be focused on art in urban space. Nowadays many urban spaces are rich with artworks which are done in various mediums, and by utilising various methods. Arguably the traditional form of art in public space is public art. Public art commonly is defined as â€Å"either permanent or temporary artworks, including social and contextual art practices which are commissioned for openly accessible locations, that is, outside conventional settings such as museums and galleries (Zebracki, 2013:303).† An artwork may have an intended meaning, a set of ideas or ideals that its author wants the world to receive, and a meaning that is created by the audience upon its consumption (Baldwin et al., 1999). What makes it hard to predict how public art will be consumed, are the diverse publics or audiences that encounter it. A piece of art may be aimed at general public, but when different social groups read it , the diversity of meanings that it actually produces have to be taken into account. Therefore, in this sense the study of public art becomes a study of â€Å"the reception of art by [its] publics (Miles, 1997:85).† Geography, body and gender Geographers see body as a space. Many quote Rich when he talks about the body as â€Å"the geography closest in (1986:212).† It is the border between the inner world and the outer world. It is a space that is sexed and gendered, where sex is a biological product and gender a social one (Valentine, 2001). However, more recent academic work blurs the lines between the two, arguing that there is evidence of cases where bodies do not abide by the traditional views of sex and gender (Cream, 1995), and that both should be considered as social (Valentine, 2001). In social research gender is understood as â€Å"social, psychological or cultural differences between men and women (Knox and Pinch, 2010:235).† Historically geographers have viewed differences in gender roles as socially constructed (Castree et al., 2013). Therefore, characteristics that constitute what it means to be masculine or feminine are subject to change in space, place and time. More recently academics such as Judith Butler (1990) have challenged this view, and suggest that gender is a performance, rather than what one is. She argues that gender is performed through ritualistic repetition. From this viewpoint, which some call as post‑structuralist (Jagger, 2008), gender is â€Å"sustained through acts, gestures, mannerisms, fashion, and lifestyle (Castree et al., 2013:172).† Identities, roles and spatial relations between males and females in geography have often been analysed utilising feminist viewpoint. Predominant argument of feminist philosophy is that women in many areas of life are still unfairly treated as being in a subordinate position to men, and that the Western society remains largely patriarchal (Knox and Pinch, 2010). New Genre Public Art, Body and Gender Massey (1994) describes how large public spaces are reserved for males, and how often artworks depicting bodies of women are produced by men contributing to the male gaze, which extends outside the walls of galleries and museums (Miles, 1997). This prevalent masculine worldview is challenged by activism that is empowered by forms of new genre public art (Lacy, 1995). If we are to consider the relationship between public art and gender, the historical divorce that has existed between body and city, where most public artworks are found, should be kept in mind. Undesirable body processes are expelled from the city, and the civilised body is expected to contain them (Miles, 1997). This idea comes from the Cartesian view that body should be subject to mind (Longhurst, 1997). In Western culture body has become associated with negative traits, emotions and femininity, and mind with rationality, knowledge and masculinity (Valentine, 2001). Furthermore, it is somehow seen that men transcend the body, for whom it is merely a container of their mind, and that women are more affected by their â€Å"fleshy† (Longhurst, 1997:491) instincts and therefore their bodies. Moreover, this view has had an influence on social sciences. Rose (1993) argues that white males tend to other difference, and that this has shaped how geography has been studied over the years. It was only in the latter part of the 20th century that academics started to critically look at how mind has been given privilege over the body in geography (Longhurst, 1997), and it was recognised that in fact everyone is affected by their embodiment (Rose, 1997). Body is the tool through which masculinity or femininity is acted out (Puwar, 2004). As performativity suggests, these materialise through the act of doing. It is therefore the aim of this research to analyse how public art captures these performances, and how it communicates and constructs gender in the eyes of its publics. Case study Butler’s work is often linked with gender and performativity, but it is rarely used when public art is studied. This research will try to expand the body of work on new genre public art considering gender politics. It will take into the account the latest research on gender and performativity, and will analyse how perceived gender roles are read through performances and acts that are captured in public artworks. Greater Manchester has been chosen as the site for the research, with public artworks that range from sculptures depicting historic figures from Britain’s imperial past, such as, Queen Victoria, to contemporary street art that seeks to challenge the status quo, such as found in Northern Quarter. Conclusion This research proposal outlined the final year project that will analyse public art and gender by looking at performances that are captured in artworks. It demonstrated how body and gender are understood in geography. It showed how body is an agent through which gender is acted out, and how body as an artistic subject captures these performances. Art has been an important part of geographical work and research in the past, and as the visual imagery and objects become more important in the modern society, more and more meanings are conveyed through visuals. This research will explore what meanings public art conveys about gender roles, and how these meanings are read by artworks’ publics. The main aim of this research is: to analyse the way public art can challenge the gendered nature of space. The objectives to achieve this are: to explore the way that Tankpetrol aims to disrupt traditional genderings of public space; to analyse the meanings encoded in the artwork of Tankpetrol; to analyse the consumption of Tankpetrol’s artwork and how it impacts on people’s ideas of gendering public space. References Baldwin, E., Longhurst, B., McCracken, S., Ogborn, M. and Smith, G. (1999) Introducing Cultural Studies. Athens: University of Georgia Press. Butler, J. (1990) Gender Trouble: Feminism and the Subversion of Identity. London: Routledge. Castree, N., Kitchin, R. and Rogers, A. (Eds.). (2013). A Dictionary of Human Geography. Oxford: Oxford University Press. Cream, J. (1995) ‘Re-solving riddles: the sexed body.’ In Bell, D. and Valentine, G. (eds.) Mapping Desire: Geographies of Sexualities. London: Routledge, Driver, F. (2003) ‘On Geography as a Visual Discipline.’ Antipode, 35(2) pp. 227–231. Garrett, B. L. (2011) ‘Videographic geographies: Using digital video for geographic research.’ Progress in Human Geography, 35(4) pp. 521–541. Hall, S. (1997) ‘Introduction.’ In Hall, S. (ed.) Representation: Cultural Representations and Signifying Practices. London: SAGE, pp. 1–12. Hawkins, H. (2012) ‘Geography and art. An expanding field: Site, the body and practice.’ Progress in Human Geography, 37(1) pp. 52–71. Jagger, G. (2008) Judith Butler: Sexual Politics, Social Change and the Power of the Performative. London: Routledge. Knox, P. and Pinch, S. (2010) Urban Social Geography: An Introduction. 6th ed., London: Pearson. Longhurst, R. (1997) ‘(Dis)embodied geographies.’ Progress in Human Geography, 21(4) pp. 486–501. Miles, M. (1997) Art, Space and the City: Public Art and Urban Futures. London: Routledge. Puwar, N. (2004) Space Invaders: Race, Gender and Bodies Out of Place. Oxford: Berg. Rich, A. (1986) The Politics of Location, in Blood, Bread and Poetry: Selected Prose 1979–1985. London: Norton Co. Roberts, E. (2012) ‘Geography and the visual image: A hauntological approach.’ Progress in Human Geography, 37(3) pp. 386–402. Rose, G. (1993) Feminism and Geography: The Limits of Geographical Knowledge. Cambridge: Polity Press. Rose, G. (1997) ‘Situating Knowledges: positionality, reflexivities and other tactics.’ Progress in Human Geography, 21(3) pp. 305–320. Rose, G. (2001) Visual Methodologies: An Introduction to Researching With Visual Materials. London: SAGE. Rose, G. (2003) ‘On the Need to Ask How, Exactly, Is Geography â€Å"Visual†?’ Antipode, 35(2) pp. 212–221. Tolia-Kelly, D. P. (2012) ‘The Geographies of Cultural Geography II: Visual Culture.’ Progress in Human Geography, 36(1) pp. 135–142. Valentine, G. (2001) Social Geographies: Space and Society. London: Pearson. Zebracki, M. (2013) ‘Beyond public artopia: public art as perceived by its publics.’ GeoJournal, 78(2) pp. 303–317. LINARDS DAVIDANS

Marketing Segmentation Essay

The selection of segmentation method and a doctor’s diagnosis are similar in that they both use a process of elimination to narrow down the field to find the correct product for the customer, or diagnosis for a patient. The doctor begins with a series of questions, and basic testing to â€Å"start segmenting the market†, once the doctor has a better understanding of the possible ailments, the â€Å"product mix† is identified and she is able serve the customer/diagnose the problem. A general doctor begins his assessment with more of a mass marketing effort, meaning there is a huge width and depth of possible diagnosis, but once she is able to narrow down the field she begins to segment. Whereas a specialist, i.e. dermatologist is already working in a segmented market and has the ability to better understand potential and actual customers, from the get. In both cases segmentation helps the doctor to better understand their market and serve their customers well. Describe a products consumer product type and the associated market mix considerations. Clinique even better clinical dark spot remover is a specialty product that I recently purchased. I was willing to purchase this product at a high cost based on the reputation of the brand and the promotional promises of reducing age spots. I immediately thought this product would work because it was Clinique. The marketing mix for this product all fall within the specialty product category. The product is a luxury item, it is more expensive than your average corrective cream, you can only buy it in department stores and the promotion stresses brand status. I would guess this product’s target market is women in their mid-thirties to mid-fifties, above average income, concerned with their health and moderately active. Product – Luxury product Price – Expensive Place – Limited and exclusive, few outlets per market Promotion – Targeted communication, stress brand stratus. â€Å"Price Sensitivity Effects†. 1.Unique Value Effect – A Rolex watch has low price sensitivity and is a product in which the unique attributes of the product are highly valuable. 2.Switching Cost Effect – High costs incurred if switch is made to a different product (low price sensitivity). An example of the switching cost effect with low price sensitivity my bi-annual switch from one Cable Company to their competition. No costs are incurred for me, and the competition typically bends over backwards to get my business. 3.Difficult Comparison Effect – Kodak vs. Nikon would be an example of difficult comparison effect, both brands are reputable and the projects are at a higher price point. I would be more price sensitive when purchasing because they are both great. The brand is known as reputable and comparisons are easy to make, (high price sensitivity) 4.Price-Quality Effect – price used as a signal in judging quality (low). When I purchase soda, I go for the lowest price and look for a sale. 5.Shared-Cost Effect – others will pay for a large portion of the cost of the product. If my company helped to pay for my MBA I would be less sensitive to the pricing, because I wouldn’t have to shoulder the burden of the whole cost.

You Suck: A Love Story Chapter 1

For my readers, by request ACKNOWLEDGMENTS Thanks, again, to the usual suspects: my agent, Nick Ellison, and Sarah Dickman, Arija Weddle, and Marissa Matteo at Nicholas Ellison, Inc.; Jennifer Brehl, Kate Nintzel, Lisa Gallagher, Michael Morrison, Mike Spradlin, Jack Womack, Debbie Stier, Lynn Grady, and all my friends at William Morrow; and, of course, to Charlee Rodgers, for putting up with the frozen turkey bowling. Chapter One Get Over It, a Lot of People Are Dead â€Å"You bitch, you killed me! You suck!† Tommy had just awakened for the first time as a vampire. He was nineteen, thin, and had spent his entire life between states of amazement and confusion. â€Å"I wanted us to be together.† Jody: pale, pretty, long red hair hanging in her face, cute swoop of a nose in search of a lost spray of freckles, a big lipstick-smeared grin. She'd only been undead herself for a couple of months, and was still learning to be spooky. â€Å"Yeah, that's why you spent the night with him.† Tommy pointed across the loft to the life-sized bronze statue of a man in a tattered suit. Inside the bronze shell was the ancient vampire who had turned Jody. Another bronze of Jody stood next to him. When the two of them had gone out at sunrise, into the sleep of the dead, Tommy had taken them to the sculptors who lived on the ground floor of his building and had the vampires bronzed. He'd thought it would give him time to think of what to do, and keep Jody from running off with the old vampire. Tommy's mistake had been drilling ear holes in Jody's sculpture so she could hear him. Somehow, during the night, before the bronzing, the old vampire had taught her to turn to mist, and she'd streamed out of the ear holes into the room, and – well – here they were: dead, in love, and angry. â€Å"I needed to know about what I am, Tommy. Who else was going to tell me if not him?† â€Å"Yeah, but you should have asked me before you did this,† Tommy said. â€Å"You shouldn't just kill a guy without asking. It's inconsiderate.† Tommy was from Indiana, and his mother had raised him to have good manners and to be considerate of other people's feelings. â€Å"You had sex with me while I was unconscious,† Jody said. â€Å"That's not the same,† Tommy said. â€Å"I was just being friendly, like when you put a quarter in someone else's parking meter when they aren't there – you know they appreciate it later, even if they don't thank you personally.† â€Å"Yeah, wait until you go out in your jammies and wake up all sticky in a cheerleader outfit and see how grateful you are. You know, Tommy, when I'm out, technically, I'm dead. Guess what that makes you?† â€Å"Well – uh – yeah, but you're not even human. You're just some foul dead thing.† Tommy immediately regretted saying it. It was hurtful and mean, and although Jody was, indeed, dead, he didn't find her foul at all – in fact, he was pretty sure he was in love with her, he was just a little embarrassed about the whole necrophilia/cheerleader thing. Back in the Midwest people didn't mention that sort of thing unless a dog dug up a pom-pom in some guy's backyard and the police eventually discovered the whole human pyramid buried under the swing set. Jody sniffled, completely for effect. Actually she was relieved that Tommy was now on the defensive. â€Å"Well, welcome to the Foul, Dead Thing Club, Mr. Flood.† â€Å"Yeah, you drank my blood,† Tommy said. â€Å"A lot.† Damn, she should have pretended to cry. â€Å"You let me.† â€Å"Again, being considerate,† Tommy said. He stood up and shrugged. â€Å"You just let me because of the sex.† â€Å"That's not true, it was because you needed me.† He was lying, it was because of the sex. â€Å"Yes, I did,† Jody said. â€Å"I still do.† She held her arms out to him. â€Å"I really do.† He walked into her arms and held her. She felt amazing to him, even more amazing than she had before. It was as if his nerves had been dialed up to eleven. â€Å"Okay, it was because of the sex.† Great, she thought, in control once again. She kissed his neck. â€Å"How do you feel about it now?† â€Å"Maybe in a minute, I'm starving.† He let go of her and stormed across the loft to the kitchen, where he pulled a burrito out of the freezer, threw it into the microwave, and hit the button, all in one smooth motion. â€Å"You don't want to eat that,† Jody said. â€Å"Nonsense, it smells great. It's like every little bean and pork piece is sending out its own delicious miasma of flavor vapor.† Tommy used words like ;miasma; because he wanted to be a writer. That's why he'd come to San Francisco in the first place – to take life in big bites and write about it. Oh, and to find a girlfriend. â€Å"Put the burrito down, and back away, Tommy,† Jody said. â€Å"I don't want you to get hurt.† â€Å"Ha, that's cute.† He took a big bite and grinned at her as he chewed. Five minutes later, because she felt responsible, Jody was helping him clean bits of masticated burrito off the kitchen wall and the front of the refrigerator. â€Å"It's like every bean was storming the gates of repressive digestion to escape.† â€Å"Yeah, well, being refried will do that to you,† Jody said, stroking his hair. â€Å"You okay?† â€Å"I'm starving. I need to eat.† â€Å"Not so much eat,† Jody said. â€Å"Oh my God! It's the hunger. I feel like my insides are caving in on themselves. You should have told me about this.† She knew how he felt – actually, she had felt worse when it happened to her. At least he knew what was happening to him. â€Å"Yeah, sweetie, we're going to have to make a few adjustments.† â€Å"Well, what do I do? What did you do?† â€Å"I mostly fed off of you, remember?† â€Å"You should have thought this through before you killed me. I'm fucked.† â€Å"We're fucked. Together. Like Romeo and Juliet, only we get to be in a sequel. Very literary, Tommy.† â€Å"Oh, that's a comfort. I can't believe you just killed me like that.† â€Å"And turned you into a superbeing, thank you very much.† â€Å"Oh, crap, there's burrito spooge all over my new sneakers.† â€Å"You can see in the dark, now,† Jody said cheerfully. â€Å"Wanna try it? I'll get naked. You can look at me in the dark. Naked. You'll like it.† â€Å"Jody, I'm starving over here.† She couldn't believe that he didn't respond to the naked persuasion. What kind of monster had she created? â€Å"Okay, I'll find you a bug or something.† â€Å"A bug?! A bug!? I'm not eating a bug.† â€Å"I said there'd have to be some adjustments.† Tommy had been dealing with more than a few adjustments since he'd come west from his hometown of Incontinence, Indiana – not the least of which had been finding a girlfriend, who, while smart, sexy, and quick-witted, drank his blood and tended to fall unconscious at the exact moment of sunrise. He'd always suspected that she might have just picked him because he worked nights and could walk around during the day, especially since she'd once said, â€Å"I need someone who works nights and can walk around during the day,† but now that he was a vampire, he could close the door on that insecurity and open another onto a whole new world of insecurities he'd never even considered before. The appropriate age for a vampire is four hundred years old – he should be a world-weary and sophisticated creature, his human anxieties long since overcome or evolved into macabre perversions. The problem with a nineteen-year-old vampire is that he drags all of his adolescent insecur ities into the dark with him. â€Å"I'm really pale,† Tommy said, staring at himself in the bathroom mirror. They'd figured out early on that vampires do, indeed, cast a reflection in a mirror, just like they could tolerate proximity to crucifixes and garlic. (Tommy had run experiments on Jody while she slept, including many involving cheerleader outfits and personal lubricants.) â€Å"And not just winter in Indiana pale. I'm, like, pale like you.† â€Å"Yeah,† said Jody, â€Å"I thought you liked the pale.† â€Å"Sure, it looks good on you, but I look ill.† â€Å"Keep looking,† Jody said. She was leaning against the door frame, dressed in tight black jeans and a half shirt, her hair tied back and streaming down her back like a flaccid red comet tail. She was trying not to appear too amused. â€Å"Something's missing,† Tommy said. â€Å"Something besides color.† â€Å"Uh-huh.† Jody grinned. â€Å"My skin cleared up! I don't have a single zit.† â€Å"Ding, ding, ding,† Jody onomatopeed, signaling that Tommy had hit on the correct answer. â€Å"If I had known my skin would clear up, I'd have asked you to change me a long time ago.† â€Å"I didn't know how to a long time ago,† Jody said. â€Å"That's not all, take off your shoes.† â€Å"I don't understand, I – â€Å" â€Å"Just take off your shoes.; Tommy sat on the edge of the tub and took off his sneakers and socks. â€Å"What?† â€Å"Look at your toes.† â€Å"They're straight. My little toe isn't bent anymore. It's like I've never worn shoes.† â€Å"You're perfect,† Jody said. She remembered finding out this condition of vampirism and being both delighted and horrified because now she felt that she'd always need to lose five pounds – five pounds that were preserved for eternity. Tommy pulled up the leg of his jeans and studied his shin. â€Å"The scar where I hit myself with a hatchet, it's gone.† â€Å"And it always will be,† Jody said. â€Å"You'll always be perfect, just like you are now. My split ends even went away.† â€Å"I'll always be the same?† â€Å"Yes.† â€Å"Just like I am now.† â€Å"As far as I know,† Jody said. â€Å"But I was going to start working out. I was going to be buff. I was going to have abs of steel.† â€Å"No, you weren't.† â€Å"I was. I was going to be an awesome hunk of muscular man-meat.† â€Å"No, you weren't. You wanted to be a writer. You were going to have little stick arms and get winded when you hit the back-space key more than three times consecutively. You're in great shape from working in the grocery store. Wait until you see how you can run.† â€Å"You really think I'm in great shape?† â€Å"Yes, I thought I made that clear.† Tommy flexed his chest in the mirror, which showed not at all through his flannel shirt. He unbuttoned his shirt and tried it again, with little effect, then shrugged. â€Å"What about the writer thing? Will my brain always be like this? I mean, will I get any smarter, or is that stuck in time, too?† â€Å"Well, yeah, but that's because you're a man, not because you're a vampire.† â€Å"You spiteful harpy.† â€Å"I think I've made my point,† Jody said. Jody had put on a red leather jacket, even though she could no longer feel discomfort from the cold fog coming in off the Bay. She liked the way it looked with her black jeans and a low-cut black lace camisole she'd rescued from a Nordstrom Rack Store before some slut got hold of it. â€Å"Come on, Tommy, we need to go find something for you to eat before we run out of night.† â€Å"I know, but I have something I have to do. Give me a minute.† He was in the bathroom again, this time with the door shut. Jody heard the zipper of his jeans go down, then a slightly breathless man-scream. The bathroom door flew open and Tommy, his pants and underwear around his ankles, bunny-hopped in two great leaps across the bedroom. â€Å"Look at this. What's happening to me. Look at this!† He was pointing furiously to his penis. â€Å"It's like I'm some radioactive mutant freak.† Jody went to him and grabbed his hands – held him steady, looked him in the eyes. â€Å"Tommy, calm down. It's just your foreskin.† â€Å"I don't have a foreskin. I'm circumcised.† â€Å"Not anymore,† Jody said. â€Å"Evidently, when you turned, it grew back, just like your toes straightened and your scars all went away.† â€Å"Oh. You don't find it creepy, then?† â€Å"No. It's fine.† â€Å"You want to touch it?† â€Å"Thanks. Maybe later.† â€Å"Oh, sorry, I freaked. Didn't realize. I – uh – I still feel like I have to finish what I was going to do.† â€Å"That's fine,† Jody said. â€Å"You're fine. You go finish up. I'll wait.† â€Å"You're sure you don't want to give it a quick fondle?† â€Å"If I do, can we get out of here?† â€Å"Probably not.† â€Å"Well then, back in the bathroom you go.† She spun him around and gave him a gentle shove. He bunny-hopped his newly recovered foreskin back into the bathroom and closed the door. Jody shuddered at the sound of the door closing. She hadn't thought about whether or not Tommy would retain his incessant horniness after he turned, she had just wanted a companion who could understand what she was, what she felt, what the world looked like through vampire eyes. If it turned out that he was going to be nineteen forever, she might end up having to kill him for real.

Evolution Of The Purpose And Power Of Roman Military

Toby A Ms. Behan Latin 1 04/26/2017 The Evolution of the Purpose and Power of the Roman Military In the lifetime of Rome, from a monarchy to a republic, and also its final days as a empire, it has shown to be one of the world s most powerful military forces against almost any enemy it faced, despite the losses that followed. Also that in the history of Rome has show to use the military as an instrument of power to gain leverage in the political status and standing of Rome. Throughout its history and different tactics it used, the Roman Army was shown to be a strong culture until its dying days. In Rome s foundings it was still small, in comparison to its neighboring city states. By the means of its military, is became one of the†¦show more content†¦The Roman culture was divided into two classes the Patricians and plebeians. The patricians are the 1 percent of morden U.S, meaning that they own almost everything and control a monopoly on almost all political offices excluding ‘Tribune of the plebs†. Which is a representative of the plebeian class. Almost in every scenario in which the plebs tried to get laws passed through their Tribune never worked so they turned to what they had power in, which was the military. Two Tribune of the plebs in Rome s early history that tried to overthrow the Republic is the Gracias brother, who both died in a riot against the senators. A quote that i believe shows the partial key to the success of military of Rome. â€Å" If you were apart of a Roman legion discipline was a major part of your life. Every soldier acted only on command in battle and in camp. There was no bending of the rules, regardless of the excuse. If a soldier fell asleep while on watch. His punishment would be given a beating by every other soldier who was put in danger my his mistake. This fear of harsh punishment is one reason that roman soldiers fought so hard and so bravely during battle.(Lassieur, Allison, 40). It explains the consequences of putting the army in danger. The Military oath of the roman army was strictly followed in result is insite to what a legioner would follow, Writing that the â€Å"cavalry†¦ and the infantry. . . .used to swear of their own free will that they would notShow MoreRelatedCounter Reformation And The Counter Reformation849 Words   |  4 PagesElectronic Encyclopedia published an article about Catholi c Reformation, and it wrote that â€Å"Counter Reformation, 16th-century reformation that arose largely in answer to the Protestant Reformation; sometimes called the Catholic Reformation. Although the Roman Catholic reformers shared the Protestants revulsion at the corrupt conditions in the church, there was present none of the tradition breaking that characterized Protestantism. 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For this discussion, the Greeks and the Romans will be specifically highlightedRead MoreWar As A Fundamental Way Of War1247 Words   |  5 PagesSince the beginning of time, humanity has resorted to war as a fundamental way to settle their differences. Clausewitz described war as the act of force to compel the enemy to do our will. Sun-Tzu believed the purpose of war was to subdue the enemy without fighting. Regardless of the definition, every culture has its motives for why it goes to war and how it should be conducted. Nation states go to war to gain access to new territories and resources, settle religious differences, and defendRead MoreAmerican vs Guatemalan Constitution1344 Words   |  6 PagesAmerican Constitution Vs. Guatemalan Constitution A comparative study The American Constitution has as its precedent, the event when Thomas Jefferson wrote most of the Declaration of Independence in 1776.  Ã‚   Its purpose was to announce to the world that the 13 English colonies in North America  had decided to become independent from England to start a new country; where their own ideals and precepts were held to make and American Union. The U.S. Constitution states fundamentalRead MoreWar and Society: Is War a Cultural or Biological Phenomenon? Essay1071 Words   |  5 Pagesprocedures of war; military science. 2. a. A condition of active antagonism or contention: a war of words; a price war. b. A concerted effort or campaign to combat or put an end to something considered injurious: the war against acid rain. The etymology of the word â€Å"war† can be traced back to the Old High German language word â€Å"werra† meaning strife; akin to Old High German â€Å"werran† to confuse. These words were used sometime in the 12th century. Marcus Tullius Cicero, a Roman philosopher, onceRead MoreGunpowder Revolution In The Revolution1069 Words   |  5 PagesCanadian Science and Technology Museum. It made such a change in the world through giving Europeans power, accomplished by facilitating the renaissance and allowing them to conquer much of the world. Gunpowder was able to evolve and change along with these powerful European states. What began as an invention in China Lorge, 818-820 became a horrific weapon in the hands of the Europeans. This evolution was a by-product of the social structure, and less though, but significant, economic structure of