Steroid Pros and Cons Free Essays

The effects of steroid use has been widely documented, especially in the past couple of years with all the high profiled athletes subjecting themselves to a tainted legacy because of the need to keep there competitive edge while there skills where slowly diminishing with age. Sending shock waves through the sports world and fans feeling disappointed and confused, athletes have been slowly coming out In the public eye for their past and current steroid abuse. These athletes have been emotionally distressed and this I imagine is extremely hard to adapt to and handle. We will write a custom essay sample on Steroid Pros and Cons or any similar topic only for you Order Now But what bout the physical demographer bodies are enduring with these powerful anabolic drugs? This Is where a lot of different pollens come In to play, between the so-called experts and the self proclaimed experts. The so called experts being doctors and self proclaimed experts being â€Å"JUICERS† In the bodybuilding world. Some people would say â€Å"_Well look, he Is a doctor he must be right† _ and I would say that I rather take advice after a bad break up from a friend with the same experience than a happily married radio show love expert telling me what Is politically correct. But It Is very arid to argue science, which leads me to read up on many different articles from the other side. Rick Collins a writer for littleness. Com had a interesting article in 1999, that stated how the public was fooled by the physicians into thinking that steroids was not a performance enhancer and did not make people stronger. He then went on to say that congress, was more worried about making competitive sports pure and not so much on the actual health of steroid users. This being his own belief (not fact) says to me that he might be right. The United States of America has a way of gnashing athletes who use these drugs as criminals with huge penalties. This makes Rick Collins argument strong. Something that I also found pretty interesting was that the same physicians who said in the sass’s that steroids did not enhance ones performance retreated form that theory in the sass’s. This left a bad taste in the sports communities mouths and made Doctors not look so bright. Where the physicians believed to be credible sources anymore? A majority of the sports and bodybuilding community said yes, they should be credible but Just not when it came to steroids. There is a large population of steroid users that believe the â€Å"JUICE† had a positive impact on their life. These feelings probably came from people who did the drug in proper dosages. But like anything, too much can be unhealthy. Example tanning, alcohol, sleeping and so on. What I feel bothers America about steroids Is not so much the health risks. Turn on a TV and flick through the channels. I would say you can probably come across something to do with steroids, but how much you want to bet It will be about a sports figure. Do the same thing on the Internet, Google steroids. Bet you won’t get a story of a death due to steroids. Is It because there arena any stones on everyday people and steroids. No. I’m sure there Is someone who Is suffering from side effects from steroids. But who cares? It’s truly about Integrity of competition. And I believe It Is truly blown out of proportion. I am so sick of seeing these ball players getting smashed through the media, getting critiqued on every little thing they say and do. When the concerns are not about health In the news It Is always about an athlete who â€Å"Cheated† -Always drama, I feel like newspapers and articles on two writers sitting on the other side of the fence on this topic. How to cite Steroid Pros and Cons, Papers

Steroid Pros and Cons Free Essays

The effects of steroid use has been widely documented, especially in the past couple of years with all the high profiled athletes subjecting themselves to a tainted legacy because of the need to keep there competitive edge while there skills where slowly diminishing with age. Sending shock waves through the sports world and fans feeling disappointed and confused, athletes have been slowly coming out In the public eye for their past and current steroid abuse. These athletes have been emotionally distressed and this I imagine is extremely hard to adapt to and handle. We will write a custom essay sample on Steroid Pros and Cons or any similar topic only for you Order Now But what bout the physical demographer bodies are enduring with these powerful anabolic drugs? This Is where a lot of different pollens come In to play, between the so-called experts and the self proclaimed experts. The so called experts being doctors and self proclaimed experts being â€Å"JUICERS† In the bodybuilding world. Some people would say â€Å"_Well look, he Is a doctor he must be right† _ and I would say that I rather take advice after a bad break up from a friend with the same experience than a happily married radio show love expert telling me what Is politically correct. But It Is very arid to argue science, which leads me to read up on many different articles from the other side. Rick Collins a writer for littleness. Com had a interesting article in 1999, that stated how the public was fooled by the physicians into thinking that steroids was not a performance enhancer and did not make people stronger. He then went on to say that congress, was more worried about making competitive sports pure and not so much on the actual health of steroid users. This being his own belief (not fact) says to me that he might be right. The United States of America has a way of gnashing athletes who use these drugs as criminals with huge penalties. This makes Rick Collins argument strong. Something that I also found pretty interesting was that the same physicians who said in the sass’s that steroids did not enhance ones performance retreated form that theory in the sass’s. This left a bad taste in the sports communities mouths and made Doctors not look so bright. Where the physicians believed to be credible sources anymore? A majority of the sports and bodybuilding community said yes, they should be credible but Just not when it came to steroids. There is a large population of steroid users that believe the â€Å"JUICE† had a positive impact on their life. These feelings probably came from people who did the drug in proper dosages. But like anything, too much can be unhealthy. Example tanning, alcohol, sleeping and so on. What I feel bothers America about steroids Is not so much the health risks. Turn on a TV and flick through the channels. I would say you can probably come across something to do with steroids, but how much you want to bet It will be about a sports figure. Do the same thing on the Internet, Google steroids. Bet you won’t get a story of a death due to steroids. Is It because there arena any stones on everyday people and steroids. No. I’m sure there Is someone who Is suffering from side effects from steroids. But who cares? It’s truly about Integrity of competition. And I believe It Is truly blown out of proportion. I am so sick of seeing these ball players getting smashed through the media, getting critiqued on every little thing they say and do. When the concerns are not about health In the news It Is always about an athlete who â€Å"Cheated† -Always drama, I feel like newspapers and articles on two writers sitting on the other side of the fence on this topic. How to cite Steroid Pros and Cons, Papers

The Hartley Collection of Victorian Illustration Essay Example For Students

The Hartley Collection of Victorian Illustration Essay In 1955 the finest private collection of Victorian illustrations ever formed was pur chased for the Boston Museum of Fine Arts by Henry P. Rossiter, then curator of the Department of Prints and Drawings. The collection had been assembled around the turn of the century by an Englishman. Harold T. Hartley, and was sold to the Boston Museum after his death by his son, Sir Harold Hartley. The years between 1855 and 1875 were referred to as the golden decades of il lustration by Hartley and others knowledgeable in this field, and most of the collec tion is concerned with illustrations of this era, although some important forerunners and successors of the sixties† artists arc also included. More than 200 artists are rep resented by more than 1,000 unbound wood engravings, about 300 preparatory draw ings, 83 original woodblocks, and almost 500 bound volumes, including sets of the notable illustrated magazines of the sixties. In addition to the works themselves, there are significant d ocuments relating to the art of illustration in the Victorian period, in cluding a collection of manuscript letters written by or about various artists and their engravers, and a collection of books about the illustrators of the sixties which were published in the late nineteenth or early twentieth century and which are now quite rare themselves. We will write a custom essay on The Hartley Collection of Victorian Illustration specifically for you for only $16.38 $13.9/page Order now Hartleys collection contains not just the work of a few major artists but work repre senting over two hundred illustrators. This enables us to see a complete range of qual ity as well as the influence various artists had on one another. He collected a variety of objects, including prints, drawings, and woodblocks, which show several stages of the wood engravers technique as it was refined for the purposes of the illustrators of the sixties. Few collections of Victorian illustrations of this quality exist, with perhaps only the British Museum and the Victoria and Albert Museum in London having compara ble collections. Between 1855 and 1875 the art of book illustration in England reached a high point. The technique of wood engraving was a cheap reproductive means that could achieve many of the same effects as etching and engraving on metal plates. A rediscovery of wood engraving was made by Thomas Bewick at the very beginning of the nineteenth century, and by the 1850s there was a subs tantial group of commercial wood en gravers, such as the Dalzicl brothers, Joseph Swain, and Edward Whymper, who were able to render designs onto wood with great delicacy. The designers of the illustra lions were often the famous painters of the time, such as Sir John Millais or Sir Edward Leighton. Because wood was so much less expensive than metal plates, with the re finement of the wood engraving techniques illustrated publications of good quality were available to the general public for the first time. No book that was destined to attain popularity in the 1860‘s would have been published without illustrations, and in fact the public’s demand for these mass-produced images was so great that a num ber of periodicals came out featuring stories and poems illustrated with wood engrav ings designed by well-known artists. One of the main attractions of the Hartley Collection is that the variety of objects makes various stages of the technique involved in wood engraving clear to us. The black and white process begins with the artists preparatory sketch on paper. In the next step the artist repeats the sketch on a block of boxwood, often using tracing pa per to transfer the main outlines Irom his preliminary drawing on paper. A coat of whitewash is brushed onto the block before the drawing, so that the pencil lines are more visible to the engraver. (There are several blocks in the collection that are uncut, so that the pencil drawing and wash can still be seen.) The engraver then goes to work, cutting away all the parts of the design that are to print white, leaving only the actual lines drawn by the artist in relief. Usually, the blocks were made up of two or three sections, which could be unscrewed and handed out to various engravers This practice was especially helpful for a periodical when there was a strict deadline. After the pieces were joined together again, a skilled engraver would go over the joinings and integrate the various sections so that the boundaries would not be visible. To ob tain the fine Imes necessary to make the print resemble an etching, metal engraving, or pen drawing, an engravers burin was used for the more delicate areas. (The burin is a metal tool with a diamond-shaped point that cuts a fine V-shaped groove into the wood.) To keep the directional grain of the wood from hindering the burin in cutting a smooth line, the end gram was used for the surface of the block rather than the side grain. It is the use of this tool and the use of the end grain that distinguish a wood en graving from a regular woodcut. The pnnting of the block is the same as for a woodcut. The surface of the block is inked and printed in relief. When the artisan has finished his work, he pulls a proof, or a trial printing, to present to the artist for his approval. (Writers on Victorian illustra tions generally refer to any impression that was not intended for a copy of the publi cation as a proof.) The most carefully printed proofs were done completely by hand on a fine paper which was called India paper. The paper was placed face down on the inked block, and the back of the paper rubbed or †¢ burnished with a spoon so that it would absorb the ink better. Other proofs were made on India paper, with a small press. Most of the proofs collected by Hartley arc on India paper, and a great many of them were burnished rather than printed with a press. It is on these artists proofs that one often finds the artists corrections of the engraver s work in pencil or white water color, or penciled instructions to the engraver, who then uses his burin to correct the areas indic ated by ihe artist. After the cutting is finally approved by the artist, a metal cast is made, called an electrotype. This is fastened to a wooden block and used in the actual printing of the publication along with the metal type of the text. The editions of the periodicals were so large that if the original woodblock relief had been used, it would have eventually flattened under the pressure of multiple printings. Of the blocks in the collection, five are electrotypes mounted on wood. When the published version was printed in a periodical, a title and the names of the artist and engraver were often added in type below the illustration. The process of color printing employs basically the same technique, but a block must be made for every color used, in addition to a block printed in black or brown that shows the basic outlines of the composition. Edmund Evans, the craftsman for Walter Crane. .u18b25debbdf1c6e6c42a0836d100c4d7 , .u18b25debbdf1c6e6c42a0836d100c4d7 .postImageUrl , .u18b25debbdf1c6e6c42a0836d100c4d7 .centered-text-area { min-height: 80px; position: relative; } .u18b25debbdf1c6e6c42a0836d100c4d7 , .u18b25debbdf1c6e6c42a0836d100c4d7:hover , .u18b25debbdf1c6e6c42a0836d100c4d7:visited , .u18b25debbdf1c6e6c42a0836d100c4d7:active { border:0!important; } .u18b25debbdf1c6e6c42a0836d100c4d7 .clearfix:after { content: ""; display: table; clear: both; } .u18b25debbdf1c6e6c42a0836d100c4d7 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u18b25debbdf1c6e6c42a0836d100c4d7:active , .u18b25debbdf1c6e6c42a0836d100c4d7:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u18b25debbdf1c6e6c42a0836d100c4d7 .centered-text-area { width: 100%; position: relative ; } .u18b25debbdf1c6e6c42a0836d100c4d7 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u18b25debbdf1c6e6c42a0836d100c4d7 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u18b25debbdf1c6e6c42a0836d100c4d7 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u18b25debbdf1c6e6c42a0836d100c4d7:hover .ctaButton { background-color: #34495E!important; } .u18b25debbdf1c6e6c42a0836d100c4d7 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u18b25debbdf1c6e6c42a0836d100c4d7 .u18b25debbdf1c6e6c42a0836d100c4d7-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u18b25debbdf1c6e6c42a0836d100c4d7:after { content: ""; display: block; clear: both; } READ: Positive Behavior: Definition and Illustrations EssayRandolph Caldecott, and Kate Greenaway, cut the color blocks so that the colored spaces were not flat color but narrowly spaced parallel lines or other open pattern. Because of this, the printed colors had a paleness that approximated the effect of watercolor. A special advantage of this texture was that one color (yellow, for example) could be pnnted on top of another (blue) to get a third color (green), and so new colors could be made without cutting any new blocks. Some of the drawings made by the artists presented a problem to the engraver, in that the lines were not well defined, or the pencil or a wash was used to create a tonal effect that could not be reproduced in the black and white medium save by approxi mation. The role of the engraver was often that of interpreter by necessity, although some artists (who did not fully understand their own chosen medium) found the craftsmans interpretation of their work difficult to accept. John Tcnmcl, for example, always made his drawings with a 6H pencil, and the result is that they are pale and silvery, most unlike anything that actually appeared on the pages of Punch. He did not complain to his engraver but did admit to a weekly pang 1 when glancing at his own work in Punch, transformed from pale gray to sharp black and white. But he still de signed his cartoons in pale drawings rather than trying to approximate the appear ance of the finished work. In a more dramatic case, Dante Gabriel Rossetti became funous with the Dalziel brothers for transforming his designs for Tennysons Poems (1857). He was angry enough to be inspired to verse: О Woodman, spare that block! О gash not anyhow! It took ten days by dock. Id fain protect it now. Chorus—Wild laughter from Dalziels Workshop. And yet, the Dalziel brothers did some of the finest cutting of the sixties, as can be seen in Rossetti s own Minis o( t Hen-Mere. There are several instances where a series of steps toward one illustration can be assembled from the various parts of the Hartley Collection. One particularly fine ex ample is John Millaiss Lord lutton and Lidy Roberts for Anthony Trollopes novel framley Parsonage. There is a pencil drawing for the illustration which is in a highly finished state , the block, a proof on India paper , and the pub lished illustration in a bound volume of Comhill issues. The illustrated periodicals of the 1860s (including Once a Week, Cood Words, and Comhill) were vehicles for the publication of many sentimental stories and poems, illustrated with pictures that were in keeping with the melodramatic writing, but when drawn by the capable hands of Millais, Fred Sandys, or Fred Walker, had never theless a charm and sensitivity of their own, and they are interesting as art desp ite their sentimental subjects. Weekly serials were popular, with one or two wood en gravings illustrating the most emotional moment of the weeks story, such as a woman in tears over a fetter, or a deathbed scene. These stories must have had the same ap peal as the television soap operas of today to a public that depended on the illustra tions in newspapers, magazines, and books exclusively for their everyday visual enter tainment. The emotions expressed were simple but intense and perhaps served the purpose of allowing the somewhat restricted Victorian woman and child to enjoy an emotionally thrilling world vicariously, through stories and pictures. The readers de sire to identify with the stories emotions led naturally to a greater and greater de mand for realism in illustrations; thus, as soon as photography was technically able to replace wood engravings, it did so. But for thrs brief period, before final improvement in the new invention usurped the place of wood engraving in reproducing illustra tions, the inexpensive woodblocks made it possible for prints designed by first-class artists to reach the hands of the public in enormous numbers. It was the weekly ex pectation of finding a John Gilbert wood engraving in his mothers London lourml that led Hartley to accumulate his large collection of pictures. Harold T. Hartley was born in 1851, the year of the Crystal Palace Exhibition, and thus was a child of t he 1850s and 1860’s. He says in his autobiography, Eighty-eight Not Out (1939), that his interest in illustrations began when he was a child, and his collecting instincts made him clip out Gilbert’s engravings. When Hartley grew up, he was a producer of expositions in London, inspired by, but on a smaller scale than the Great Exhibition of 1851. His collection of clippings grew to a collection of proofs, drawings, and books. Hartley spent much time on this hobby, which he began in earnest in 1881. In his untiring search for proofs and drawings, Hartley met many of the 1860s artists and engravers, or their families. He carried on an extensive corre spondence with Frederick Sandys, Henry Holiday, the Dalziels, the Swains, and others. He was able to buy many things directly from the artists and engravers before they were sought after by others. In Eighty-eight Not Out he claims Long before 1901 I had ceased to be satisfied with cut-out pictures and became a purchaser of t he origi nal drawings, studies and artists proofs, many of the latter with notes and corrections. I can certainly claim to have been the first collector of these. The drawings, wood blocks, and marked proofs are unique items, and the burnished proofs are rare, as only a few of these would be made from the woodblocks themselves before the electrotype was made. In 1922 Hartley quoted a verse by Robert Brough to describe his incorrigible habit, dating from far-away boyhood. The Hartley Collection and Hartleys extensive knowledge of Victorian illustrations were shared with many alter the turn of the century in exhibitions, publications, and consultative duties. In 1901 he was asked by the Victoria and Albert Museum to be on the executive committee of a proposed exhibition of illustrations. He found the Vic toria and Albert lacking in some of the major books and periodicals of the era and helped them to build up their collection. He comments in his autobiography This was the first time that the penod known as the sixties was brought into any promi nence Enough time had elapsed that the illustrations of the sixties could be seen in art historical pe rspective, and shortly after the 1901 exhibition at the Victoria and Al bert came the first important book on the subject, Glccson Whites Illustrations of the Sixties (1905). .u8349c97c90d9ac1b160cd069567a5390 , .u8349c97c90d9ac1b160cd069567a5390 .postImageUrl , .u8349c97c90d9ac1b160cd069567a5390 .centered-text-area { min-height: 80px; position: relative; } .u8349c97c90d9ac1b160cd069567a5390 , .u8349c97c90d9ac1b160cd069567a5390:hover , .u8349c97c90d9ac1b160cd069567a5390:visited , .u8349c97c90d9ac1b160cd069567a5390:active { border:0!important; } .u8349c97c90d9ac1b160cd069567a5390 .clearfix:after { content: ""; display: table; clear: both; } .u8349c97c90d9ac1b160cd069567a5390 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u8349c97c90d9ac1b160cd069567a5390:active , .u8349c97c90d9ac1b160cd069567a5390:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u8349c97c90d9ac1b160cd069567a5390 .centered-text-area { width: 100%; position: relative ; } .u8349c97c90d9ac1b160cd069567a5390 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u8349c97c90d9ac1b160cd069567a5390 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u8349c97c90d9ac1b160cd069567a5390 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u8349c97c90d9ac1b160cd069567a5390:hover .ctaButton { background-color: #34495E!important; } .u8349c97c90d9ac1b160cd069567a5390 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u8349c97c90d9ac1b160cd069567a5390 .u8349c97c90d9ac1b160cd069567a5390-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u8349c97c90d9ac1b160cd069567a5390:after { content: ""; display: block; clear: both; } READ: How Do I Write an Example/Illustration Essay?It was followed by many other books, articles, and collections of works by various artists reproduced by photomechanical processes. Many of these works are in the collection. The second important work. Illustrators ol the Sixties, by Forrest Reid, was published in 1928 with a foreword acknowledging the use of Hartleys col lection and his valuable suggestions springing from his expert knowledge of the sub ject 7 In the 1920’s the collection made a tour of exhibitions at galleries in Gteat Britain, beginning with the Tate Gallery in 1923 and including the Royal Academy, Whitechapel Ait Gallery. Manchester, and Glasgow in 19 25, where Walter Shaw Spar row acclaimed the collection as Single in kind and excellence. Besides his own autobiography. Harold Hartley published an article on Pinwell in The Print Collectors Quarterly (1922) and one on Lewis Carroll and His Artists and Engravers in a Carroll centenary exhibition catalogue (1932). Pinwell was one of Hartleys favorite artists; the collection contains a large group ol his proofs and draw ings, and Hartley made a separate collection of his watercolors. In Eighty eight Not Out, Hartley gives Pinwell high praise: Nothing he ever did could be said to be soul less; lacking, as it often does, the craftsmans touch, yet his work always possesses a sense of beauty, pathos and mystery of life which only the eye of the poet can pierce. To no other artist has a greater power been given to invest the humblest figures and scenes of daily life with a halo of poetry.’ Hartleys article on Carrolls illustrators also shows a special interest of his, but un fortunately most of the Carrolliana in the collection were sold elsewhere before Hart leys death. However, there remains a drawing on tracing paper by Henry Holiday for The Hunting of the Snark depicting the Snark himself as a sort of giant puffer fish , which was never used because Carroll had made the Snark strictly unimaginable and wanted him to remain so.1 Holiday says of his own drawing in a letter to Hart ley: You may rely on my drawing being strictly accurate. I pledge my word that 1 have never met with any-onc however critically disposed who was able to prove a single fault in it11 The only other representative of Carroll illustrations is a set of two proofs with pencil remarks by John Tcnnicl, showing Alices entrance into and exit from the looking glass. Hartley did not limit himself to acquiring only the works that future critics might consider the best or most interesting (such as those of the Pre-Raphaelites), but be cause he himself was essentially a product of the Victorian era, he collected what the Victorians considered the best and any illustration that might happen to strike his fancy, even though it was the work of a minor artist. The scope of the illustrations of the sixties is shown in the variety of illustrators whose work appears in the collection. There are works done before the 1860s that give a historical setting for the collec tion, including a drawing by Thomas 8ewick, who began the wood engraving boom, and a drawing by llablot K. Browne (better known as Phiz), whose work was transi tional between etched illustrations and wood engravings. Bewick stands well apart from later wood engravers because he was conscious of the inherent properties of the medium and used the effects of white lines on a black background. Later, the realiza tion that with careful cutting a wood engraving could come close to reproducing the black lines of an etching led to wholesale imitation of intaglio processes. Most of Phizs illustrations for the novels of Charles Dickens were etched, but by the 1840s, when he designed the second cover for Punch, it had become possible to obtain an imitation of his etching style, although the effect was not as free in linear movement. A representative of the artists who came after the sixties period is Aubrey Beardsley. Hartley acquired about a dozen comic drawings to illustrate Virgils Aeneid, drawn by Beardsley as a schoolboy, as well as three more characteristic black and white pen drawings for illustrations to Malorys Morte dArthur. The artists of every important group of illustrators are represented in the collection, from the cartoonists of Punch to the most solemn of the Pre-Raphaelites. Hartleys collection of proofs and drawings of Punch cartoons is particularly fine. Although he had no issues of the magazine itself, there is a bound collection of Punch Almanacs and several of the leather-bound annual Pocket Books, published by the Punch of fices. Punch was, in the nineteenth century, and still is, Englands foremost comic magazine. It was started in 1841 under the influence of the Parisian satirical periodi cals such as La Caricature and Lc Charivari, and was originally titled Punch, or the London Charivari. The Punch cartoons arc especially interesting as illustrations for several reasons. First, because of the popularity of the magazine, they represent the official public humor of the time, and, second, they arc often true illustrations in the sense that the joke or caption was invented by the Punch staff of editors and writers rather than by the artist himself, and the cartoonist merely illustrated an idea. A third reason is that even if the idea for the cartoon was the artists, these pictures are still a kind of illustration, not of a literary (heme but of the political and social events of the day. One of the two most important cartoonists in Punchs first fifty years was John Ten niel. His images of public figures such as Queen Victoria, Gladstone, and Disraeli, and allegorical figures such as John Bull, Britannia, Hibernia, the British lion, and the Rus sian hear were seen weekly in the large cut of Punch. They were sometimes in tended to be humorous (as the cartoon of Disraeli as an angel, fig. 5), and sometimes not (as in the cartoon of Britannia sympathizing with Columbia at Lincolns death), but they always served as a kind of crystallization of a current event, commemorating it or commenting upon it, in a particular language of visual symbols. Tenniel, with the help of John Leech before him, Charles Keene after him, and his own controlled neo classical drawing style, transformed the hbald cartoons of the eighteenth and early part of the nineteenth century into something decent and palatable to the Vic torian public. The collection contains over a hundred onginal pencil drawings by John Tenniel, with a similar number of his proofs from Punch assignments, as well as a large number of drawings and proofs in the freer, looser style of John Leech. The proofs of Charles Keenes cartoons, more than a hundred, were considered by Hart ley* s son to be a prize part of the collection.

Learn About Spanish Interrogative Pronouns

Learn About Spanish Interrogative Pronouns Quà © and cul  are two words that can be confusing to people learning Spanish, because they can be translated as the same word into English, namely, what.  It is sometimes said that  quà ©Ã‚  is closer to what in meaning, and  cul  is closer to which. But that rule isnt always true. When to Use Accent Marks The two words, when they have  accents, are used as interrogative  pronouns  in questions to mean what or which.  Quà ©Ã‚  is the same in the singular and plural forms; the plural of  cul  is  cules. Accented  forms of these words appear only in exclamations and in questions, which includes an  indirect  question. The accented  quà ©Ã‚  is found most often at the beginning of a sentence, although  it sometimes follows de  and other prepositions, especially in indirect questions.  For example,  Ã‚ ¿De quà © color es la  camisa?  meaning, What color is the shirt?   Without accents, normally que  and  cual are not being used as a question. Most often, they are connecting words or, technically speaking, relative pronouns, translated to mean which or that. They can stand for either feminine or masculine objects as well as ideas or concepts. An example of this usage is a popular phrase,  Creo que sà ­, meaning, I think that is so. Use Cases of Quà © and Cul When Asking Questions There are a number of ways to ask questions using the words  quà ©Ã‚  and  cul.  A speaker can ask for a definition, like What is this?, which uses quà ©.  Or, you can ask for a choice selection from a group, What looks better, this red blouse or this black one?, which uses  cul. Quà ©Used for Definitions A number of examples may help explain usage of quà © asking for a definition:  Ã‚ ¿Quà © es una ciudad?,  meaning, What is a city? Or,  Ã‚ ¿Quà © hace un presidente?, meaning,  What does a president do? Or,  Ã‚ ¿Quà © significa talanquera?, asking, What does talanquera mean? Quà ©Used Before Nouns Quà © is usually the interrogative pronoun that is used right before nouns. For example,  Ã‚ ¿Quà © casa prefieres?,  meaning, Which house do you prefer? Or,  ¿Quà © libro leà ­ste?,  asking, Which book did you read? CulUsed Before Forms of Ser Cul  is used before  es  and other forms of the verb  ser, meaning to be, when not seeking a definition. For example,  Ã‚ ¿Cul es tu nà ºmero de telà ©fono?,  meaning, What is your phone number? Or,  Ã‚ ¿Cul es tu problema?,  meaning, What is your problem? Or,  ¿Cules son las ciudades ms grandes?,  asking, What are the biggest cities? Cul Used toMake a Choice Cul  is used to suggest or ask for a selection or choice from a group. For example,  Ã‚ ¿Cul miras?,  meaning,  Which one are you looking at? But,  ¿Quà © miras?,  would be used to ask when you want to know, What are you looking at? An example of the plural form of the interrogative pronoun used in making a choice would be,  Ã‚ ¿Cules quieres?, meaning,  Which ones do you want? But,  ¿Quà © quieres?,  would be the proper way to ask, What do you want? Quà © as an Idiom An  idiom  is an  expression, word or phrase that has a figurative meaning traditionally understood by native speakers. For example,  Ã‚ ¡Quà © lstima! meaning, What a shame! Or,  Ã‚ ¡Quà © susto!  meaning, What a fright!   Some of the most common idiomatic expressions that are used daily in native Spanish speech  are  ¿Y quà ©? or  ¿Y a mà ­ quà ©?,  both meaning, So what? Or,  Ã‚ ¿Para quà ©? or  ¿Por quà ©?,  meaning,  Why?

9 Part Time Jobs That Pay Very Well

9 Part Time Jobs That Pay Very Well Trying to save up or dig yourself out of debt? need a supplemental second job? Or just looking to ease back into (or out of) the workforce? Here are 9 part time jobs that can actually pay quite handsomely. If you’re going to take on a second job, you might as well make the most for your time and effort. 1. Rideshare DrivingYou can make $15 to $30 per hour and all you need is a driver’s license, a reliable vehicle, a smartphone, and the ability to pass a background check. It’s not as lucrative as it was at the very beginning of this new flexible job trend, but drivers can still make a pretty good chunk of change.2. BartendingDepending on the gig, bartenders can make anywhere from $10 to $75 per hour. you might need a training course if you don’t have experience, plus servesafe certification, which costs about $40, plus a uniform of some kind and a bar kit, but you can supplement your income working nights and weekends and, in some cases, make a killing.3. O ffice workAs long as you have the relevant experience, you can make $20-30 per hour working in an office. Companies are often desperate for extra help during a high-growth stage or for crucial projects, but sometimes don’t quite want to commit to adding any more full-time employees. These are your best bets. If you happen to have some sort of specialized skill they need, you could make even more.4. Special EventsThere are always events that need staff. The pay is roughly $12-15 per hour, and requirements are different from gig to gig, but it is always possible to make tips or work your way up to the supervisor level and make more like $20 an hour. This work is easy to find on sites like shiftgig.com.5.  BabysittingMuch more lucrative than it used to be! You can now make $13-18 per hour on the low side. You’ll need to pass a background check and/or drug test, and you’ll want to be certified in first aid and CPR, and you must speak fluent English (unless otherwi se specified), but it’s usually not that hard to find a gig that matches your schedule perfectly. There are always desperate parents and companies in need of child care help.6. Web DesignIf you have web design skills, then this is a no brainer. Work on your own time, from anywhere you like, and make anywhere from $20 to $150 an hour, depending on your business savvy and your talent. You’ll make the big bucks when you specialize in things like motion graphics or back end programming. If you hustle, there are big bucks to be made.7. Dog WalkingBe outside, hang out with dogs, make $15 to $75 per hour. in some cases, you might also need to be licensed or insured, but this is a great way to get exercise and make money at the same time. Especially if you love animals!8. TutoringTutors are really hitting it these days. If you have expertise in a particular subject, you can make anywhere from $15 to $200 per hour. Initially, it might make sense to work with a company just to k eep your work flow simple and steady, but once you’ve built up your business, you’ll be able to branch out on your own. sat tutoring is particularly lucrative.9. Business ConsultingIf you happen to be lucky enough to have an MBA from a top-tier school, and maybe also some special expertise, you can make $150 to $300 per hour. Try hourlynerd.com or other companies that pair consultants to businesses whose needs meet their specific strategic skills.

Human Resources Essay Example | Topics and Well Written Essays - 2000 words - 1

Human Resources - Essay Example The project makes a thorough analysis of the firm’s internal HR conditions and requirements based on which it presents certain recommendations. Recommendations put forth are in view of employment of HR planning in the organization, job analysis and developing job designs and descriptions. This is followed by the recommendation of a complete recruitment and selection process for Twinkle Tows Two. Finally a training and development strategy is prescribed for the organization for the development of staffs recruited to perform efficiently in their respective skills. Human Resource Planning to determine the desired staffing position for Twinkle Toes Two Before the development and application of any strategy human resource planning is required. This is because it is crucial to make an analysis of the present and future expected business conditions in order to ensure the organization’s success. ... Since a number of staffing problems were encountered during the previous establishment it is expected that staffing would require extra analysis and focus this time, which would consequently require a thorough human resource planning strategy for the organization. Moreover the organization seeks to keep facilities for accommodating 10 babies under the aged below one year, 10 children between one and three years, and fifteen children between three and six years of age. There are also long term plans of school holiday programs for children between six and nine years of age. Thus there is requirement for at least 5 childcare workers for children in the organization along with 1 receptionist, 5 general cleaning and maintenance staffs, and 3 cooks. Human resource planning is required in view of developing estimating expenses associated with recruitment of staffs against the expected revenues to be generated by the organization. It also includes training equipments costs along with wages a nd salaries of staffs and employees. Planning is required for ensuring that human resource management strategies in the organization is appropriate for maximizing productivity and profitability of the organization and making it sustainable in the market (Schuler & Jackson, 1987, p.207). Job Analysis for designing the specific jobs Job analysis is required for developing the skill requirements for the particular jobs which is consequently required for staffing of candidates in the organization. Job analysis of a childcare workers’ position reveals responsibilities such as planning and implementing programs for taking care of babies and kids. Their responsibilities include development and safety of these children, being respectful of parents as well as their children and

Terrorism and Torture Essay Example | Topics and Well Written Essays - 4000 words

Terrorism and Torture - Essay Example There is an equilibrium of political, social and economic factors that are overwhelmed by recent developments in the nature of capitalism, which substantiate the contemporary use of torture as both legal and illegal means to achieving desired goals of ruling regimes. When the news of torture and abuse of prisoners at Guantanamo Bay and Abu Gharib Jail in Iraq came out, it became starting point of detailed discussions on the ethics of interrogating with bodily harm and mental threats. Legally questioning the inhuman treatment of suspects and the imprisoned has become an important aspect of the debate on torture. There is a long and deeply entrenched debate on the matter that whether torture is permissible under certain conditions or not. The debate is of course multidisciplinary as it draws arguments from various branches human knowledge ranging from criminology to political philosophy. The emergence of 'global risk society' in twenty first century has been the locus around which such debates on torture are popping up. The underlying spirit of the pro-torture arguments is the fact that the threats to security in twenty first century are decentred and uncertain. ... Curiously, terrorism and anti-terrorism in our times aim at the one and same thing: the destruction of the enemy more than victory over him.The widening debates over the permissibility of torture for greater common good cannot be examined by detaching from the state of affairs from which the possibility of such debates arises. Influential theorists such as Hardt and Negri (2004) have argued that the present world is characterised by a civil war of global reach. The global civil war is the primordial resistance to what they understand as the materialisation of 'Empire' in which total subsumption of life has become a reality. Thus, the resistance to the empire is a fight to save life from being conquered by the global war machine of the new transnational capitalist empire. Therefore, the fight to save life from being organised under the same logic of immaterial capitalist organization is inevitably and increasingly dealt with bodily torture and organised and directed mental harm.It is important to note that the debate on torture did not come into existence in a vacuum. It is not an attempt to answer theoretical questions, which are inspired from hypothetical models from philosophers' gambles. On the other hand, as a matter of fact, the state of affairs concretely necessitates the debate on torture for the purpose of creating an adequate policy framework to deal with the complexities of new forms of violence and crimes that increasingly spreading throughout the world. The critical question is that how the constitutional democracies could answer the challenge of respecting human rights while effectively countering and mitigating the effects of