Thursday, July 25, 2019
Open topic logos based argumentative paper Essay
Open topic logos based argumentative paper - Essay Example Most Congressmen admit to not have reading the Act before voting to pass it but those voting in favor were overwhelming. Only one of 99 Senators (Wisconsin Senator Russ Feingold) and 66 of 423 Representatives voted against the law. The PATRIOT Act, as many citizens and legal experts alike have argued, violates the fundamental rights guaranteed by the U.S. Constitution’s first ten amendments, the Bill of Rights (Savage, 2006). This includes the freedom of speech and assembly (First Amendment); the freedom from unreasonable search and seizure (Fourth Amendment); the right to due process of law (Fifth Amendment); the right to a speedy, public and fair trial along with the right to counsel and to confront the accuser, (Sixth Amendment), the freedom from cruel and unusual punishment (Eighth Amendment) and freedom from punishment without conviction (13th Amendment). One of the most obvious tactics in the ‘War on Terror’ and the PATRIOT Act is the widespread use of racial profiling, described as when law enforcement officials use race, ethnicity, religion and even color of skin to determine which persons are more probable to commit a crime such as terrorism. The term ‘War on Terror’ has been continually invoked to justify breaches of the Constitution as well as the basic civil liberties of citizens and foreigners alike. The invocation of this phrase has repeatedly prohibited rational discussions regarding civil injustices such as profiling individuals based on their race. Therefore racial profiling has continued unabated including the profiling of young black men since September 11, 2001. The not-so-subtle insinuation is that â€Å"one cannot condemn racial profiling because to do so will hinder the war on terrorism and undermine national security†(McDonald, 2001). The popularly stated position is that racial profiling is necessary because not using this tool of law enforcement would compromise the effort against terrorism thus
Wednesday, July 24, 2019
International Resort and Spa ManagementAnalysis of the relationship Essay
International Resort and Spa ManagementAnalysis of the relationship between Customer Satisfaction and Customer Loyalty based on the Service-Profit Chain - Essay Example f service, including acquiring technology that enhances frontline workers, investing increasingly in people, revamping the training and recruiting practices, and performance based compensation. Such approaches enhance employee satisfaction, productivity and loyalty in line with the value of services and products delivers, thus promoting customersatisfaction and loyalty, which in turn enhances the profitability and growth of the organization. It is with no doubt that a loyal customer’s lifetime value is astronomical, particularly upon addition of referrals to the repeatpurchases and customer retention economics (Al-alak & El-refae, 2012, p. 199). The service-profit chain allows managers to focus on new investments that would allow for establishment of levels of service and satisfaction that would facilitate higher competitive impact. Various arguments have been established concerning the relationship between consumer satisfaction and consumer loyalty, with some individuals beli eving that satisfaction fosters loyalty while others refuting this idea. It is evident that a level of consumersatisfaction is highly likely to facilitate repeat purchases and recommendations among consumers, but does not guarantee such loyalty to the organization. The resort and spa industry is increasingly growing with news players being introduced each instance. As such, organizations within this industry are faced with highly competitive markets, which call for highly effective strategic approaches that would allow for attraction and retention of consumers. Managers within thisindustry are faced with contrasting takes on the kind of approaches that would facilitate such retention, with one facet of perspectives suggesting that consumer satisfaction would facilitate loyalty, while the other suggesting that consumer loyalty is not necessarily guaranteed by consumer satisfaction and thus other approaches should be employed. This paper reviews the relationship between consumer satis faction
Tuesday, July 23, 2019
Inter national trade Essay Example | Topics and Well Written Essays - 2500 words
Inter national trade - Essay Example International trade is in principle not different from domestic trade as the motivation and the behavior of parties involved in a trade do not change fundamentally regardless of whether trade is across a border or not. The main difference is that international trade is typically more costly than domestic trade. (Cited from Wikipedia) The reason is that a border typically imposes additional costs such as tariffs, time costs due to border delays and costs associated with country differences such as language, the legal system or culture. Another difference between domestic and international trade is that factors of production such as capital and labor are typically more mobile within a country than across countries. Thus international trade is mostly restricted to trade in goods and services, and only to a lesser extent to trade in capital, labor or other factors of production. (Cited from Wikipedia)Then trade in goods and services can serve as a substitute for trade in factors of produ ction. Question 1 The table obtained from the World Trade Organization in 2010, showed International Trade Statistics-Growth in the volume of world merchandise exports and production 2000-2007. The percentage for world merchandise exports during 2005-2007 was fluctuative, with the highest growth recorded in 2006. Agricultural products started off steadily but suffered a decline in 2007. Fuels and Mining Products were consistent in its growth over that same period. Manufacturers showed its highest growth in 2006, whilst world merchandise production was consistent but showed a marginal increase in 2007. Agriculture was fluctuating similarly to Mining which suffered a nil growth in 2007. Manufacturing was consistent until its marginal increase in 2007. Lastly, the World GDP got a marginal increase over the last two years. Four factors which may have contributed in the growth in world exports include; Industrialization, advanced transportation, globalization and multinational corporatio ns . Industrialization may be defined as the process in which a society or a country transforms itself from a primarily agricultural society into one based on the manufacturing of goods and services. Individual manual labor is replaced by mechanized mass production and craftsmen are replaced by assembly lines. (Industrialization, Anon, 2011) Characteristics of industrialization include the use of technological innovation to maximize production efficiency in order to increase economic growth. The growth of the amount of freight being traded as well as a great variety of origins and destinations promotes the importance of international transportation as a fundamental element supporting the global economy. Economic development in Pacific Asia and in China in particular, has been the dominant factor behind the growth of international transportation in recent years. Since the trading distances involved are often considerable, this has resulted in increasing demands on the maritime shippi ng industry and on port activities. International transportation systems have been under increasing pressures to support additional demands in freights volume and the distance at which this freight is being carried. This could not have occurred without considerable technical improvements permitting to transport larger quantities of passengers and freight, and this
Monday, July 22, 2019
Psychological Abuse Essay Example for Free
Psychological Abuse Essay Psychological abuse refers to â€Å"abuse that damages the psyche, or the mind. Psychological abuse happens when one person attempts to gain power and control over another.†It involves the deliberate infliction of pain or anguish to another person through verbal or nonverbal conduct designed to humiliate or threaten another person (National Committee for the Prevention of Elder Abuse). Psychological abuse if quite prevalent in the United States. Most of its victims are women. Indeed, it is estimated that about 1.5 million women get psychologically abused each year. Psychological abuse often leads to physical abuse, as well as domination of the relationship and isolation from friends and family (PsychAbuse.info, 2006).            Psychological abuse is dangerous because it poses many risks on the victim, such as acute stress, post traumatic stress disorder, and depression (PsychAbuse.info, 2006). The many documented effects of psychological maltreatment include: Other possible consequences of psychological abuse are emotional instability, low social competency, anxiety, and low academic achievement (Canadian Health Network, 2004).            Given the effects and signs of psychological abuse, the common victims are those who have no emotional or social support from family and friends. On the other hand, people who often have contact with vulnerable people are sometimes the ones who perpetrate psychological abuse. This group may include caregivers and even family members of the victim (National Committee for the Prevention of Elder Abuse).            One important issue on psychological abuse involves neglect, particularly on children. Neglect involves the omission of protection and care needed by a child, which could lead to adverse consequences such as juvenile delinquency, aggressive behavior, and child deaths (Canadian Health Network, 2004). In this connection, the fact that many children become victims of psychological abuse is a very alarming issue, particularly because of the tender age of the victims. Moreover, it is observed that may victims of child psychological abuse are emotionally disturbed, mentally retarded, or physically handicapped, although the onset of these conditions may differ as to time (Wall, 1975).            Another important issue with psychological abuse is the fact that it is believed to be the â€Å"most under-reported form of abuse.†Thus, the prevalence rates reported periodically may not be accurate since they only include those incidences that have been reported (Canadian Health Network, 2004).            Another critical issue on psychological abuse is its pervasiveness in dating relationships. It is estimated that abuse during the courtship ranges from 20 to 50 percent of men and women. There is also another concern about the increased risk of abuse in a dating relationship due to the tendency of couples to prolong the dating relationship before marriage (Burke, Stets  Pirog-Good, 1988).            All of these issues are worth exploring. Women and children appear to be at special risk given their vulnerability. Another vulnerable group is the aged, who have no support systems to rely on. References Burke, P. J., Stets, J. E.  Pirog-Good, M. A. (1988). Gender Identity, Self-Esteem,   and Physical and Sexual Abuse in Dating Relationships. Social Psychology       Quarterly 51(3), 272-285. Canadian Health Network. (2004). What is psychological maltreatment? Retrieved       February 24, 2008, from http://www.canadian-health- network.ca/servlet/ContentServer?cid=1069439898222pagename=CHN- RCS%2FCHNResource%2FFAQCHNResourceTemplatec=CHNResourcelan        g=En National Committee for the Prevention of Elder Abuse. Psychological Abuse. Retrieved            February 24, 2008, from   http://www.preventelderabuse.org/elderabuse/psychological.html PsychAbuse.info. (2006). Frequently Asked Questions. Retrieved February 24, 2008,  from http://www.psychabuse.info/Psychological_Abuse_FAQ.htm Wall, C. M. (1975). Child Abuse: A Societal Problem with Educational Implications.      Peabody Journal of Education 52(3), 222-225.
Margaret Atwood Essay Example for Free
Margaret Atwood Essay Margaret Atwood once wrote Does feminist mean a large unpleasant person wholl shout at you or someone who believes women are human beings. To me its the latter, so I sign up. This clearly shows that Atwood believes that feminism is not about depicting a woman as a strong and macho character but a real one with admirable traits and some imperfections. Cats Eye, one of Atwoods acclaimed novels, is distinctively a feminist novel that shows two different kinds of women in society. The first being the stereotypically traditional woman, who is weak and submissive to man. She illustrates this type of woman through her minor characters Ms. Smeath and Susie, both of whom play weak and traditional women who face tragedy in life. Her second kind is the heroic and feminist character that while being admirable and strong has some human weaknesses. She presents this with two unconventional protagonists Elaine Risley and Cordelia. She depicts Elaine and Cordelia as two tough but insecure women who fight to create their unique identity in the society. During the time frame of the book (1940- 1980), society was extremely male dominated especially the literary aspect of it. Most of the famous authors were male and most of the highly regarded books were written in a chauvinistic manner, depicting women as weak, vulnerable, disloyal, unimportant and narrow minded. On the other hand, men were portrayed as heroic, overly strong, and perfect in every sense. Feminist novels, throughout this time, were novels that portrayed women as the hero and protagonists rather than as women. Atwoods Cats Eye, however, differed from the typical feminist novels as it illustrated the women as admirable heroines who were strong and proud but flawed. This brought a realistic touch to the characters as readers were able to understand them better as they seemed more humanlike with strengths and weaknesses. Margaret Atwood cleverly proves her book uniquely feminist through her portrayal of characters as she explores the struggles of dual level of women in society; the stereotypical and vulnerable woman and the strong and unconventional feminist. Ms. Smeath is first introduced as a woman with a weak heart and someone who needs constant rest due to her illness. Already, readers pity her and have a mental image of a weak and frail mother who is in need of help. In contrast, if a novel of the same era were to depict a man with the same condition, he would be shown as someone who is internally very strong and despite his physical illness, he would be fighting to save himself. This is a clear example of the sexist views of society during that time. Through the description of her physical appearance, one can see that Ms Smeath believes that women should dress in a plain and conservative fashion. She is shown as wearing print housedresses which are especially saggy around the chest and Oxfords- which are very plain leather shoes. She also does not wear make-up or make fancy hairstyles and is perceived to be strict, straight and upright. This perception of her is later proven true as Atwood describes her as someone who doesnt laugh, goes to church every week and does not stand for things she does not like like the time she was told that Carols mom and dad slept on two different beds. Mrs. Smeath is not like Mrs. Campbell. For instance, she has no twin sets and views them with contempt. I know this because once, when Carol was bragging about her mothers twin sets, Mrs. Smeath said Is that so, not as a question but as a way of making Carol shut up. In the novel, Mrs. Smeath is depicted as a narrow-minded mother who believes that Elaine deserves to be punished by God because she comes from a family that is not as religious as the Smeaths. Its Gods punishment, says Mrs. Smeath. It serves her right. This shows her high-self esteem and her belief of superiority over others. Mrs. Smeath represents the dark and evil side of women in society during that time period. Another stereotypical woman, fragile and defenceless, is presented in the form of Susie, a fellow classmate of Elaines in night school. Susie is seen as someone who puts on a lot of make-up and jewellery, wears skin-tight clothes, and has a quiet voice. To Elaine, she is just a fake and dumb girl whos just fooling around in class. Elaine also suspects Susie of having an affair with their art teacher Mr. Joseph Hrbik, as she is the only one who sticks up for him when the rest of the class taunts him. In the beginning, Elaine thinks that Susie is incapable of love as she is too superficial; another stereotype of women in that society, she believes that Susie is just playing with Mr. Hrbiks feelings for personal benefit. Susie herself is incapable of love, shes too shallow, I think of her as the conscious one, the one in control: shes toying with him Susie represents the other side of the stereotypical woman in society the opposite of Mrs. Smeath. She is seen as a dependant person as she seems to be in awe of Mr. Hrbik at all times. Another proof of this is the time Susie comes to visit Elaine one last time in Swiss Chalet. Have you seen Josef? she asked. I lied not well No why would I? I just thought you might know where he was, she said. This shows that not only is Susie aware that Elaine and Josef are having an affair; she can do nothing about it, as she is too dependent on Josef. This also proves her to be weak and with a low self esteem. However, Elaine later discovers that Susie was in fact pregnant and knew that Josef would refuse to marry her and so she decides to abort the baby herself. This shows her helplessness, as she is unable to defend herself against the pain of Josef leaving her. Even in her weakest moment, the time she was in the ambulance she pleads with Elaine not to tell Josef. Together, Mrs. Smeath and Susie represent the stereotype of women as either evil and dark or weak and vulnerable in society at th at time period. On the other hand are Atwoods two uniquely feminist characters Cordelia and Elaine. Cordelia and Elaine represent the reality of women rather than the supposed roles represented by Mrs. Smeath and Grace. Cordelia represents a very strong but victimized woman of society and Elaine is the unusual central character that is a very passionate and talented with a traumatic childhood, which influences her entire life. Cordelia is first introduced in the beginning of the novel in one of Elaines first memories. Straightaway, the reader gets the impression of a rebel when the narrative voice says, Were impervious, we scintillate, and we are thirteen. Through the way they express their likes and dislikes, and the power they thought they had, one can easily make out they are feminists. Atwood uses symbolism when she writes Cordelia sits with nonchalance, nudging me with her elbow now and then, staring blankly at the other people with her grey-green eyes, opaque and glinting metal. This symbolizes Cordelias eyes as cold and sharp as metal to show Cordelias attitude towards others. Cordelia has many traits fit for a heroine for example her outer self-confidence she presents herself in an extremely confident manner despite her real feelings inside. Her independence- she is never dependant on anyone to guide her and despite having two sisters and mother to look up to, she lives life her own way almost struggling to create her own place, her own identity in the world. Her intelligence-she got promoted to a higher grade despite being younger than the rest. Her strength to become what she wants and not what the society wants her to be. And her leadership skills, which even though used wrongly, were powerful enough to ensure she was always leader. However, Cordelia has some obvious weaknesses her family. Throughout the book, Cordelia shows that she has a certain discomfort with her family, especially her father who beat her- and her sisters who were the perfect girls thus, creating a lot of pressure for Cordelia to do well. But no matter how well Cordelia did, her dad paid no attention to her. She later on reveals to Elaine that as a child she would swallow mercury so she wouldnt have to go to school, and she would dig holes in her yard so she could be safe in them and how she used to get into a lot of trouble with her dad and that she hated moving to the new house because she didnt have any good friends except for Elaine. At that moment, readers see the broken and hidden child behind the hard and cold exterior. Readers see a young girl who has been a victim to many pressures and responsibilities. Another instance of this is when Perdi says to Cordelia Pull up your socks, Cordelia, or youll flunk your year again. You know what Daddy said last time. Cordelia flushes and doesnt respond. This shows Cordelias fear of disappointing her dad and again readers see this young child just stuck in cruel and cold world, wanting to come out, but never given the chance. Another weakness of Cordelia is her self-esteem, which is very low. When Elaine and Cordelia are in high school, Elaine manages to get more attention from guys than Cordelia as Cordelia comes across as a fake person to most guys since she lacks the self-confidence to behave naturally. One more example of this is when Cordelia looses her job and tries to kill herself at home and gets sent to a mental hospital. Readers can make a connection between Susie and Cordelia, as both in times of trouble resorted to self-harm. And this proves the genuineness of Cordelias character as she has strengths of a hero and weakness of the female stereotype, which form her personality both powerful and vulnerable Elaine Risley, the main unconventional protagonist of the book when first introduced, is a successful 50 year old painter back in Toronto (her home town) to do an exhibition. She is first seen as an insecure woman with a tormenting past but as the book progresses one can fully appreciate Elaines heroic traits. One can see the journey Elaine takes the struggles she faces, the obstacles she overcomes and the memories she leaves behind. Elaine, though not the conventional heroine and perfect, is someone most women will admire as she has a lot of inner strength. There are many times where Elaine shows her inner strength especially when she walks away from Cordelia, Grace and Carol, and when she finds the inner strength (through Virgin Mary) to go back home instead of loosing consciousness at the freezing riverbank. She also finds the inner strength to walk away from a failing marriage, while having no concrete plans. Elaine also has a thirst for finding a place where she belongs, her own identity, which is why she struggles to please people- so she can fit in. She is very unique in her thoughts and actions for example when she runs past her poster and she has moustache, instead of feeling hurt or breaking down as the stereotypical women would, Elaine likes the moustache because she thinks she has achieved, finally, a face that a moustache can be drawn on, a face that attracts moustaches. She is also a proud feminist who stands up for women, when she goes to consciousness raising meeting for women, in which feminine issues are raised. She also feels bitter towards the Art Gallery of Ontario as they refused to hold her exhibit in their gallery because as she says, Because they have a bias towards old dead men. She is also seen as someone who cares for others as she is shown giving money to the poor on more than one occasion and is also seen doing things to please people even if she does not want to for example the interview with Andrea. She also shows her caring side when she finds out Graces mother has a weak heart and so she goes and checks everyday to see if Mrs. Smeath is fine. However, Elaine also has her human weaknesses like her habit on putting on masks and faking things to please people. She also develops neurotic habits such as biting her skin, pulling her hair and peeling her skin so she can feel pain and her existence. She also develops fainting fits and has suicidal impulses. She has moments where she is lost and needs help, she is afraid of galleries, and is afraid to express her emotions and all in all she hold a lot in from her past that she needs to let out in order to move on. She is also self-doubting as she has no confidence in her abilities and she is paranoid as to what other women think and say about her. She is always afraid she is going to end up like someone and so takes pleasure in knowing shes stronger than others. She struggles her entire life to create her own identity that is not pre-determined by society. Elaine and Cordelia represent the unique and real female protagonist Atwood creates to represent the true role of women in society. Through her clever way of portraying characters to represent a society much like a normal one rather than a fake one, Atwood explores the detailed struggle in the lives of all four characters, which at a first glance seem very distinct but are interconnected in their roles in the society. Atwood brings forth an unconventional protagonist, who despite being susceptible to weaknesses and flaws manages to gain the admiration of many readers through her actions in life.
Sunday, July 21, 2019
Impact Of Cultural Revolution On Fashion Designers Cultural Studies Essay
Impact Of Cultural Revolution On Fashion Designers Cultural Studies Essay To what extent did the Cultural Revolution impact designers Vivienne Tam and Han Feng and how did it affect their work? Background In 1949, after several decades of foreign aggression and civil war, the Communists took control of China and Mao ZeDong assumed power in the country. At the ceremony in Tiananmen that proclaimed the founding of the Peoples Republic of China, he began his long term of office wearing what was to become know in the West as the Mao suit. This was symbolic in signaling the inauguration of not only a social but also sartorial revolution. The years following the establishment of the PRC were a time of consolidation, reconstruction and reform. The communists believed in the power of mass movements, seen as a necessity to maintain revolutionary spirit and these took place frequently, eventually culminating in the ferment of the Great Proletarian Cultural Revolution. During the 10 years from 1966 to 1976, the Communist Party attempted to politicize every facet of life and anything that might be regarded as bourgeois or counter-revolutionary was severely repressed. The Red Guards, essentially the shock troops of the Cultural Revolution, were instructed to attack elements of old China; old customs, old habits, old culture and old thinking. Clothes were highly visible in all four categories and, inevitably, fashion was highly liable to attack. Contemporary fashion was attacked as foreign and traditional clothing as feudal and in general a concern with personal appearance was interpreted as an expression of bourgeois tendencies and extreme individualism. Indeed, one of many accounts describes the humiliation of a young woman seized by the Red Guards who forcibly removed her fashionable trousers and shoes in front of a jeering crowd and illustrates the sartorial terrorism which was common throughout China during the Cultural Revolution. It was therefore tacitly understood that dressing in a simple proletarian way was the appropriate order of the day. The government encouraged people to adopt the attire of the workers, peasants and soldiers who were regarded as the ultimate benefactors of the socialist state. The uniform of the Peoples Liberation Army was of green cotton cloth, civilian cadres wore a grey administrative uniform and workers and peasants were clad in dark blue tunics and trousers. What therefore resulted from the mass adoption of the new socially acceptable attire was a spectacle of blue, green and grey. A spectacle that both Vivienne Tam and Han Feng vividly remember. Introduction Both Vivienne Tam and Han Feng were born at the height of communist power in China and albeit in different ways, they both lived through and were influenced by the Cultural Revolution. Their individual experiences shaped their attitudes towards fashion and they are now prominent designers, recognized wordwide as well as in China. Description of Han Feng and Vivienne Tam How their lives are different: Vivienne does not live in China during the Revolution; Han Feng does Vivienne exploits Mao cult, imagery, symbolism; Han Feng opposes it completely Vivienne escapes to HongKong, remains in Chinese spectrum; Han Feng leaves to US (abandons home country completely paralleled in the abandonment of everything Communist China represented. In common: Theatrical and artistic approach, not only fashion approach Vivienne Tam Vivienne Tam was born in Guangzhou in 1957. Her father was a landlord and as the PRC was striving to eliminate private ownership, landlords were accused of exploiting people for their own profit and were thus targeted for being insufficiently devoted to state directed socialism. Tams family found themselves in a vulnerable position and as she recalls It was a really difficult time. They therefore fled to the Hong Kong, escaping the threatening Communist doctrine. Tam was left behind with her grandparents until she was three years old when she was finally able to join them helped by a couple who told authorities she was their daughter. While living in Hong Kong she was able to maintain a Chinese lifestyle while being open to the rest of the world. Hong Kong was a thriving British colony and trade center and while she continued to speak Chinese at home and followed Buddhist religious rituals she attended a Roman catholic school and began to learn English in earnest. It was this opportunity of having a bi-cultural upbringing and a hybrid way of life which not only fueled her fascination for the East meets West nuance but also taught her to be more open and accept other people and other cultures. Meanwhile, mainland China under the Cultural Revolution was not only shutting out Western culture but also Chinese culture itself, deeming it bourgeois and anti-communist. Much that was lost to the revolution in China continued to grow and develop in Hong Kong and this offered Tam a freedom of inspiration. As a fashion design student of the Hong Kong Polytechnic University, she was able to absorb the Western influence present in Hong Kong and at the same time freely investigate her Chinese cultural and sartorial heritage, an exploration which meanwhile was strictly forbidden to students in mainland China. As students in China lived under extreme repression, Tam experienced the Cultural Revolution as an observer, acknowledging the hardships but not being directly affected by them. This freedom from repression shaped her approach to seeking inspiration from the Cultural Revolution. Indeed, when she returned to visit China in the late 70s to early 80s, she experienced China almost as a tourist would. She was fascinated rather than dismayed by the blur of green and blue that surrounded her and was intrigued with Mao fashion- or anti-fashion- of putting everyone in a uniform and trying to make them equal- an attempt to cover up very real differences. She even admired the loose but tailored cut of the Mao suit and its unisex appeal; it highlighted the communist principle that men and women were equal and offered women freedom in physical movement. She noticed that this element of practicality had replaced fashion; window displays were filled with practical things instead of fashion, and she therefore ventured into the arts and crafts and home and furnishing sections of stores where she found inspiration and sources for her materials in such textiles as bedroom linens, bedspreads and towels. However, what struck her most from her experience visiting China and ultimately inspired her to create her most controversial collection was the remarkable power of Maos image. During the Cultural Revolution, portraits of Mao were ubiquitous; they hung in every living room, class room and office and Chinese people all owned Mao badges, mirrors, weavings and needlepoint works and fostered what became a cult of personality that did not immediately end with his death. People valued these items as good luck charms and Mao was effectively venerated like a God, complete with a halo. Tam was absorbed by all these style elements left from the Mao cult and collected such vintage items as inspiration. In 1994, Tam was introduced to artist Zhang Hongtu, the first artist to use Maos image in his work. She was inspired by his background and the concepts behind his work and collaborated with him to create her Mao Collection for Spring 1995. It is interesting to note their individual approaches to the project. Zhang Hongtu was born in Gansu province, attended highschool in Beijing during the sixties and later trained at the Central Academy of Arts and Crafts. He left to New York in the early 80s and, having experienced the intensity of Communist indoctrination and the overwhelming power of Maos image, began painting Mao in only a lightly humourous way, separating the image from its political undertone. It was only after the 1989 Tiananmen events that, albeit having to overcome initial strong feelings of guilt, he decided to exploit Maos image as mental therapy and as a way of expressing his own political feelings. It was an ironic reversal of the way he, as an artist, had been exploited to create propaganda art for the government. Tam sensed this political resonance in his work but instead chose to focus on its humouros element, aiming to loosen it up by amalgamating it with fashion. While Zhang Hongtu was directly responding to a need to get away from the shadow of Maos repression, escaping the authority of his image and being able to express himself politically, Tam saw the power of image and exploited it humorously as a representation of the new openness of China, using humour and warmth as a way to express the growing freedom of the Chinese people from Maos image. This highlights her inherent detachment to the emotional hardship behind the Cultural Revolution that artists who grew up under its repression feel. Tam, perhaps as a result of this detachment and thus not quite grasping the extent of the power that still lay behind Maos image, was even surprised by the strong reaction that the collection provoked. The collection comprised of 8 images of Mao; 6 of which included Mao So Young- with pigtails, a peterpan collar and gingham dress, Ow Mao- cross eyed with a bee perched on his nose against a black and yellow striped background, Holy Mao- with a clerical collar, Psycho Mao- with dark hypnotic glasses, Miss Mao- with lipstick and Nice Day Mao- as a smiley face. She printed four coloured images in a checkboard pattern, reflecting Maos changeable character and, in another design, expressed his positive and negative effects, printing the images in black and white. She also printed the images on T-shirts, deepening the texture with patterns and sequins to make the designs alive with movement and light. The striking juxtaposition of colours and textures with Maos political imagery and the resulting strongly humorous element in the designs was highly controversial, some responding to it as almost blasphemous while others deemed it tasteless. The images were compared to Warhols depiction of Mao, but, while Warhol had used the image of Mao as merely another mass icon like Marilyn Monroe, Tam and Hongtu had exploited it as a political figure which thus prompted the reaction If Mao was a dictator like Hitler or Stalin, how can it be okay to use his image as pop art? Isnt it tasteless to make fun of the suffering they caused? Tam and Hongtu contended that it was a form of critisicm to the continuing use of Maos ideology, image and flag in China and a way to further undermine the authority of Maos image; any use of Maos image which makes him less godlike, is a form of criticism. And its necessary. Yet Tam admitted that she had no idea there would be a strong reaction to the designs and it was observing the attitude towards the collection that enabled her to gain a lot of insight into Mao and his power. Han Feng Han Feng was born in Nan Jing in 1962. I grew up during the Cultural Revolution and it was difficult she explains and when she was 1 year old, authorities sent her father to another city and her parents were forced to separate. Her father hung himself and later another man she was close to also commited suicide during the Cultural Revolution. She grew up in HangZhou, Chinas artistic center, and, pursuing her childhood flair for creativity, she attended the China Academy of Fine Arts, training in graphic design as there were no fashion design programs. I started out painting how my teachers wanted me to she recalls, but then I became this crazy person who wanted to be different. It was no doubt having to endure the imposed Maoist dress code and how it stifled non-conformity which fueled Hans determination to distinguish herself; I got a T-shirt and jeans and grew my hair long so I would stand out and she gained a reputation in the academy as being a bit of a blacksheep due to her desire for experimentation and refusal to merely copy what had been done before; I wanted to learn, not copy. My teachers didnt understand that. Communist indoctrination was such that expanding creative horizons was virtually impossible. She was one of many who wished to escape the stifling repression of the tight grip maintained by the Communist Party on creative expression; We all wanted to leave China in the 1980s because there was too much pain. She met her husband who was an English teacher of the art academy, and, seeking freedom and a larger stage for her interests, she moved to New York with him in 1985. Leaving China was symbolic in asserting the approach she would take towards designing abroad; I thought, God, the Chinese-who cares? I am from China. I want to forget where Im coming, forget my past. Its just too painful to remember. The pain and struggle that characterized Hans experience of the Cultural Revolution not only determined her to leave China, but also inspired her to create designs that (whether intentionally or subconsciously) completely opposed all the elements of Maoist style, perhaps as a personal provocation and rebellion against everything it had tried to impose. When I left China she explains, everyone was wearing exactly the same thing. And it was grey. It is no coincidence that her designs are now widely recognized for their rich and innovative use of colour and that she is credited one of the most brilliant colorists in the New York fashion world. After having been limited to blue, black and red dyes which were the only ones available in dyeing shops in China during the Cultural Revolution (Antonia Finanne, 237), Han now embraces the freedom of using vibrant colours; I love designing with pure, bright colors because I didnt experience them as a child she says. Red is particularly prominent in her pallet, varying in geranium to cerise shades, as are green and blue shades of chartreuse and lime to lapis and turquoise. Her collections combine colors in subtle ways highlighted in items mixing burgundy with fuschia or pairing the different shades of green or blue, often placing paler colours alongside more intense ones for artistic effect. In addition to her use of colours, Han Feng is also known for her creative treatment of fabrics and her designs are equally characterized by their materials. Escaping the drab conformity imposed by Communist Doctrine, Han Feng reversed the changes that the Cultural Revolution had forced upon the use of fabrics in China. Chinese people had been obliged to abandon traditional Chinese fabrics such as silk and satin which, according to the Doctrine, carried a strong feudalistic connotation, and were required to adopt revolutionary cotton or patriotic wool.(Hua Mei, 98) Instead, Han Feng abandoned the bland cotton and crude wool that characterized Maoist style and zealously explored the realm of fabrics and materials that was newly available to her. Perhaps as a result of growing up in Hang Zhou, a city which had been reputed for its silk trade, she developed a keen appreciation for silk, wistfully reviving it as the fabric of her heritage. This passionate exploration and revival of fabrics and materials is clearly expressed in her collections. She works with a diverse array of materials including silk (occasionally blended with wool), organza, velvet, satin, stretch chiffon and fine polyester. These light, pliant and diaphanous fabrics which characterize her collections certainly contrast with the coarse thickness of the cotton and crude wool which she had no choice but to wear when living in China. Yet her endeavor went further then just exploring fabrics. What sparked her interest were the ways in which she could treat and manipulate the fabrics creating different textures and styles, once again delving into a creative realm which had been restricted during the Cultural Revolution. The uniformity of the Mao suit was constrained to straight ironed cotton, occasionally padded or patched, and did not allow for ruffles or any such touches of originality. It was shapeless, defined only by the square, linear attribute of the typical uniform. The description of Hans collection of 1993 in the New York times, best signaled her approach to investigating materials; She pleats fabrics into gnat-sized accordions: the tiny folds in the fabrics give drama to even the plainest polyester georgette. Her chiffon A-line dresses were cut in spirals, like orange peels. Velvet was crinkled and pleated to make a simple tank dress fit for the wedding of a barefoot contessa. Indeed, the transformation she underwent as she explored and discovered new ways of using materials is clear in the development of her designs, in particular that of her signature scarves. While she had initially launched her career in selling pleated scarves, her collection of scarves are now paisley, plaid, fringed, crinkled, embroidered and featuring colorful woven ribbon inserts; techniques that she then applied to other clothing designs. Her Spring/Summer 2001 collection highlighted her accordion-pleated skirts and crinkled silk blouses printed with impressionistic floral patterns. Han also styles fabrics in a distinctly original way, rejecting conventional tailoring and, perhaps paralleling her appreciation of the enveloping quality of scarves, she focuses on creating clothes which wrap and veil, assembling the garment as a light sculpture on the body. This quality has been admired and her clothing has been described to wrap the body as the clouds enclose a mountain. Her collections have often been defined by the way she drapes soft jerseys and chiffons and folds back the fabric as well as by the untailored loose panels of fabric floating from the backs of dresses, uneven hems and asymmetric cuts. What emerges as a result of the blending of diaphanous fabrics, textures and colours, untailored and wrapped around the body is a light, weightless and dreamily feminine appeal. This quality is perhaps what most manifestly contradicts Maoist uniform and its fundamental principle of de-feminizing women. While the squarely tailored Mao suit was specifically designed and imposed on women to conceal their curves and natural movements, Han strives to create clothes which accommodate and embrace them. She maintains that women should enjoy their bodies more and not try to hide themà ¢Ã¢â€š ¬Ã‚ ¦the body is beautiful. She thus takes pleasure inplaying with shape and making women look more feminine in a subtle way. Her 1995 fall collection, for instance, was based on curves; curved seams that bring the jackets close to the body, curved collars that frame the neck, curved backs that give a cocoon-like shape to pleated silk evening jackets or velvet coats. Emphasizing the reassertion of feminity in her style, she complements her outfits with accessories including scarves, gloves and hair ornaments. While accessories during the Cultural Revolution were limited to Red Guard armbands, army caps, Mao badges and his little red book, Hans collections feature trimmed iridescent shawls with gilded tassels, black wool gloves weaved with rows of pink bows and polytail holders linked with velvet buttons. She even makes this twist literal in her 1999 collection; one item is a high-collared Chairman Mao jacket accented with a chinchilla scarf, a subtly controversial pairing of the strict suit with the elegant touch. With the revival of feminine allure comes the emotional feeling of her clothes. Although her designs remain simple and practical, their unparalled inventiveness and originality hold a hint of haiku-like poetry, highlighting her romantic vision. In fact her fall/winter 1998 collection was inspired by the story of a love affair between a fabric trader and a young woman along the silk road to China. No doubt she was enthused by the controversial appeal of the story, exploring its romanticism and creating a more emotional collection; emotion being an element which was wholly non-existent in the cold, military allure of the Mao suit. She later skillfully accentuated the emotional and dramatic aspect of her designs to the height of theatrical flair, leading to her debut as a costume designer and ultimately her success in designing costumes for director Anthony Minghellas English National Opera production of Madame Butterfly. 1980s onwards Mao Zedongs death in 1976 brought an end to the Cultural Revolution. Later that year, the downfall of the Gang of Four, including Maos widow Jiang Qing who had implemented the most extreme policies, led to a slow loosening of laws related to dress and social constraints. In 1984, under Deng Xiaopings leadership and the open door policy of reform, certain cities were designated open as part of a new strategy inviting foreign investment. In October 21, 1984, Hu Yaobang, the General Secretary of the Communist Party, appeared on television at a meeting of the Central Committee wearing a dark-blue western style suit. Although his move was possible because of the more relaxed atmosphere following the ascendancy to power of Deng Xiaoping, he was still making a bold sartorial statement. While both Vivienne Tam and Han Feng were able to escape the confines of Communist indoctrination and establish themselves as designers in New York, they left a China that was struggling to reassert itself within the international political stage and the global economy. This struggle was (and still is) reflected in the clumsy approach people began to take to new fashions and Western styles entering China; Tam herself commented that their style was borderline bad taste and hip because they were borderline Cultural Revolution and Western modernity. Unavoidably the new danger to Chinas sartorial identity is the influx of Western brands which are threatening to create yet another type conformity and as Tam rightly observes American influence is diluting the distinctive flavor of Chinas fashion industry. Both Tam and Han Feng are now challenging the dominance of mass produced Western brands in China. Having experienced the Cultural Revolution, they do not want to see the uniformity of the Mao era simply transgress into a new Western uniformity. What they therefore want to highlight is the importance of maintaining imagination and individuality;Everything we do should express feelings and experiences. We should create not just follow fashion. Each fashion designer should have his or her signature style. While acknowledging the need for recovering individuality in China, they are both optimistic in Chinas potential; it is growing, fashion here will soon have its own personality; We had great fashion for thousands of years, then no fashion at all. Now we are finding our contemporary design voice.
Saturday, July 20, 2019
My Photo Album :: Writing Education Teaching Essays
My Photo Album Overheard at University College London: "Because when you write this way- with this pomp and circumstance covering for any substantive thought- you aren't fooling me"...... CRASH. "OUCH! Old son- you seem to have just thrown me out a window!" If I had been given this little lecture by Mr. Pomp and Circumstance, the previous scene is what would have been witnessed. I would have thrown him out a window for two reasons. First and foremost, he sounds like an obnoxious, holier than thou prick. Second and more importantly, everything he said is right on the mark. As they say, "the truth hurts." He seems to have the ability to see through my themes and realize that I am really not saying anything at all. I like the concept that our previous work is just like an old photograph. Needless to say, I have a few photographs in my collection which I might want to hide under the bed. As I page through my photo album from college, I notice that I seem to be wearing the same outfit in almost every picture. Let's just look at a few. "By becoming acquainted with the Pardoner in both the general prologue and the prologue to his tale, we become aware of his hypocritical nature. In his prologue, we find that the Pardoner is a very immoral person." Yep, that one was taken just outside of a class on Chaucer. Look at those nicely pressed khaki slacks and that perfectly ironed shirt. I can't believe I'm standing with my hand pressed to my chin deep in thought. I don't think I ever noticed those people from English 220 snickering in the background before. Here's another good one. Lanham would have a Paramedic field day with this one. "Lawrence Frederick Kohl's book, The Politics of Individualism is at once an account of America's political turmoil in the Jacksonian era and an interpretation of the relationship of these political views to the psychological nature of the American citizen during the era. In this account of the Jacksonian era, the reader is able to recognize the framework for the politics which will dominate the nineteenth century." I think this one was taken outside Gerry Schnabel's history class. That looks like my Chaucer outfit again. I used to wear that outfit for every occasion which I thought was important. I can't help but notice that it doesn't look like there is anything behind that outfit.
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