Contibution vs status among women in the world war essays

Contibution vs status among women in the world war essays Has the status of women in Canada matched their contribution to the Canadian society? While the men where off in Germany the women had to do all of the mens jobs. After a while the women were aloud to enlist in the war. After the war many women had lost all of the accomplishments that they had gotten through out the war. Have women got the gratitude that they deserved through out the war and their contribution to Canada. During WWI and WWII many women had to fill in on jobs that were considered for men. Most women were being paid less and almost always had men for bosses. Although it was still there, the social division between men and women was slowly disappearing. Women were doing an extremely good job filling in on mens jobs. Through out WWII women were starting to be aloud to enlist in the military and other jobs of those types. Most all of the women that were enlisted in CWAAF, CWAC and WRCNS were ignored until the solder shortage. Through out the wars many of the trades grew for the women of Canada. In May 1944 CWAC was finally aloud to go to war for Canada. There was much triumph for the women solders of Canada. Although their were many triumphs through out the two wars, there were also many set backs for Canadian women after the wars. Most Canadian women were expected to just quite their jobs and go back to womens work. The equality barrier that had kept Canadian women from Working had come rushing back. After the wars many were fired from their jobs to make room for the male veterans that came back from the war. After the Two wars there were many setbacks for all women in Canada. I do not believe that the Canadian women of the past have gotten enough gratitude for their contributions that they have made to Canada in WWI and WWII. Although the social divisions between men and women were fading they were still there ...

Why Im a Proud Dominican essays

Why I'm a Proud Dominican essays Located in the middle of the chain of islands that make up the Eastern Caribbean is a beautiful island known as "The Nature Island of the Caribbean". It's a spectacular and lush with flora The Dominican flag consists of a central emblem that shows the national bird of Dominica, the Palmchat, in flight, flying toward greater heights, fulfillment and aspirations. The ten lime green stars represent the ten parishes. The colors red, yellow, black, white and green speak boldly of Dominicas commitment to social justice, equal status, the sunshine of our land, our main agricultural produce, the clarity of our rivers and waterfalls, and the purity of aspiration of our people. Our island is rich in black soil that gives us a fertile forest and creates lushness of the island. The national flower, sabinea carinalis, is an indigenous flower and has always been present on our island. Therefore, it can be said that this flower represents the continuity of our young people and longevity of our elders. The national anthem, popularly referred to as The Isle of Beauty retained upon achieving our independence speaks boldly to me as it reflects the splendor, blessings, unity, hard work and the natural beauty of our island. Dressed in my colored tie, black pants, white long sleeve shirt, red sash and black shoes, I am noticed by all who see me. Nothing seems to impress visitors to Dominica as much as our clothing, in either one or the other version of our Creole wear. Music, culture, people and wild celebration merge to form what we know as Carnival. It is the most festive time of the year where there are no enemies and ev...

Steamboat Bill, Jr. 1928 Essay Example | Topics and Well Written Essays - 750 words

Steamboat Bill, Jr. 1928 - Essay Example Moreover, the film gets thrilling as ones goes through the incredible stunt that are dangerous (Wickstrà ¶m). A reflection on the plot, stunt, comedy, director, themes, and soundtrack helps in analyzing the film. The plot of the movie begins at the steamboat. Steamboat Bill is shown as being a high tempered man but also an acclaimed pilot. He is also seen as heavily built with a strong stature as compared to his compatriots. He receives a letter of the impending son visit. The son had lived with his mother since being a child and had just graduated from a renowned college in the east. The son arrives dressed in a unique way that did not please his father. He was dressed in a polka-dot tie, beret, and pencil-thin moustache (Miller and Feaster 1). The father is also not pleased of his body stature as he thought he would meet a stocky person. As a result, the father with his mate Tom Lewis engages in ways that could transform his son. At the time of his arrival, a strong opposition faced the father in the steamboat business from the business magnate J.J. King (Tom Lewis (Miller and Feaster 1). To make the matter worse, King daughter arrives in the area for a visit and get acquaintance with Will iam Jr. (Miller and Feaster 1). The fathers of the two are strongly opposed to their unions. In fact, they make desperate attempts to prevent the two from meeting. In the meantime, William junior shows weakness in harnessing the ropes of piloting a steamboat. On the other hand, Bill’s boat is condemned in the river as authorized by King. He is annoyed and confronts bill and this land him to jail. This provided an opportunity for William junior to prove himself as he tried to get his father from jail (Miller and Feaster 1). He also manages to save his father boat from the junk heap and reunion with Kitty (Miller and Feaster 1). First, film is designed in a way it captures the attention of the audience. The capture takes place

International Politics on the World Stage Essay

International Politics on the World Stage - Essay Example The Iranian President's victory also a hardliner seems to reflect on my theory that what US seems to do is rather being counter productive and is winning more supporters for these hardliners. The Muslim brotherhoods popularity and victory is another example of the growing challenges. As theory in governance for the Middle East clearly shows that not one of the Middle Eastern states except Turkey and Israel is democratically ruled. The mode of extremism started right after the soviets invaded Afghanistan and the Americans led by the CIA in collaboration with states such as Pakistan and various warlords labeled the conflict as jihad calling on the Muslims who wished to fight for the new world a fight against the evil they said was communism. As the soviets were defeated and retreated in 1988 and as the Americans left these people who were religiously fervent began to settle in these areas branding their own version of Islam by enforcing the Shariah law. These people with weapons began to settle in their respective countries countering threats from their various governments, with no democracy in these middle eastern states new recruits seemed to fill in to these camps as unemployment and poverty was on the rise while as they saw the Americans as the enemy who had occupied the holy land of Mecca led by a Saudi billionaire fugitive who fought alongside the CIA before launched a whole scale war against the Americans in general leading to first the blowing up of US embassies to USS Cole disaster to the September 11 terror attacks on new York and Washington. What we see is a world where various circles claim it to be a clash of civilization where the ever growing insurgent activities in Iraq and other parts of the create an unholy environment for the Muslims in general. The Palestinian conflict remains the bone of contention between the west and not only amongst the Islamic Middle Eastern nations but the whole Islamic world to. The inhabitance of Israel of evacuating t he land it occupied in 1967 war and to a two state solution where the Palestinians and Israelis can live peacefully side by side is a distant dream away as Israelis refuse to give up control over Jerusalem which is sacred to both parties. While under patronage of UN a solution can be formed which can be acceptable to both parties where the Israelis have to leave the settlements in the west bank, while having the joint custody of Jerusalem under a UN peacekeeping umbrella guarding the new frontier laid between the leaning wall and the Al-Aqsa mosque. UNs incapability in solving the international conflicts fuelling in Palestine, Kashmir and Chechnya seems to give a rise in extremist activity as they see no hope from this world body to make a decision for their regard. Except for passing resolutions accustomed on a piece of paper this body hasn't taken any constructive decision in solving any of the conflicts regard. While the importance will be restored once as UN takes proactive measures in countering these tactics by ensuring that no innocent person is harmed especially by state form of terrorism which in return gives rise to a struggle with the force of the gun labeled as terrorism in the west as the person affected

Contemporary Exhibition Essay Example | Topics and Well Written Essays - 250 words

Contemporary Exhibition - Essay Example According to the essay  Cindy Sherman is a fashionable master of the socially critical photography. Often, she features as a key picture in the â€Å"Pictures Generation.† Sherman’s focus in picture photography has always been to call into the question relating to the seductive and more oppressive influence of the media over personality and collective identities. She calls for her audience’s attention by powerful technology and maquillage that lies back of the countless images that circulate in an unremittingly public persevered in culture. Amongst the unsettling themes lying behind her extensive series of personal portraiture in numerous guises falls under the sexual desires and the domination of the fashioning of her self-identity by the means of self-deception.From this paper it is clear that Sherman’s ideas in photography lie in the long convention of self-portraiture and the theatrical role-playing in the field of art. She uses the camera and the ve ry tools used in everyday cinema, for example, makeup, stage scenery, and costumes. These help her to create an identity that recreates common illusions, or the iconic snapshots signifying numerous concepts. The concepts she fosters are like a public celebrity, sexual adventure, self-confidence, socially sanctioned, existential conditions, and ultimately, entertainment. Sherman’s photographic portraiture intensely emphasizes in the present although extending a long custom in arts that makes the audience reconsider certain common stereotypes as well as the cultural assumptions.   

Cafeteria Food Essay Example for Free

Cafeteria Food Essay Some people think that school cafeterias should be required to provide low-fat and/or vegetarian lunch options to accommodate the government’s nutritional guidelines, but all students do not eat the same. In my essay about cafeteria food, I will explain what students want in their food. I will also share the likes and dislikes in the food and what we can do to improve it. Cold pizza, undercooked hamburgers and brown lettuce sounds nasty. Many students from different states and districts have to deal with that every day at their schools. The food from the cafeterias used to be good, with a sweet flavor, but in the last few years the food had taken a different flavor, a flavor that cannot be tolerated by the students. The students need a better quality in their food, don’t they? It’s time for a change, a change to food, so students can be satisfied while their eating, a change to food that can be really worth it. As a matter of fact, we students pay money to the district every year and this is what we get? It’s time for a change. Everybody knows that eating healthy was from the past. However, now students and not necessarily just students eat fast food like McDonalds or Taco Bell. Now everybody does, which can be a good and a bad thing. The changes of the food’s taste has made many students to not eat at school, or even made students to bring lunch, and this as a matter of fact causes the school to lose money. In all actuality is the loss of money causing the school to give students poorly made food? If the schools would serve students food from places like Pizza Hut and Subway I can guarantee that most or all students would eat at the cafeterias and it would benefit to both school and students. These types of foods would be so great to have in schools, but unfortunately the district and the governments have taken action and unfairly, they have set down laws that prohibit these foods in the schools. They have settled these laws because they want us as students to eat healthy, but if they want to keep us healthy, why are they giving us food with a bad and nasty taste? Also, with these laws they keep students like me away from eating too much â€Å"junk† food because they can cause obesity. But do they keep on giving us food that is not even worth the amount of money our parents give to the government every year? If they were the ones who eat all of the nasty food given by the cafeteria they would of get tired of eating cold pizza and uncooked hamburgers with brown lettuce just like we the students do. In conclusion, we all understand what the government and the school system is trying to do with this healthy eating program. They want to promote healthy eating habits in an effort to prevent obesity. Although nutrition is important, students feel that there is a better way to have healthy food without ruining the taste. Therefore, in an effort to keep students healthy and leave with their stomachs satisfied we should all come together to realize that we are the ones that have to make it through the school day with the food.

Tamil Cultural Identity Abroad Cultural Studies Essay

Tamil Cultural Identity Abroad Cultural Studies Essay Bharatantyam has been embedded in the Tamil culture since centuries, transmitted from generation to generation and evolving over time to uphold its sacredness and its representation of the states traditional identity. Today Bharatanaytam has spread worldwide, performed and practiced across countries and accepted by both traditional and modern masses. However it was only after its rebirth in 1930, when the Devadasi Act was passed, and due to E. Krishna Iyers reworking of the dances movement vocabulary into a socially accepted dance form (On, 2011), that Bharatanatyam gained its respectable social status and hence today plays a crucial role in portraying Indias cultural and traditional identity. This portrayal may be seen as what Bourdieu would call a habitus, which is created through a social, rather an individual process leading to patterns that are enduring and transferrable from one context to another (Powercube, 2012). More precisely, Bharatanatyam is a social measure used to main tain and promote a certain habitus, defining the cultures values which are transferred both through time and across the nations, whilst also acting as a guide for the Tamil generations today. This essay analyses, based substantially on Bourdieus habitus theory, to what extent Bharatanatyam shapes Tamil cultural identity, especially abroad. Art forms in general, especially when practiced over centuries, have proven to be central to any articulation of ethnic identity (Hyder, cited in David, 2009) and this is even more true when a population lives outside of its home nation. There were, and still are, a significant amount of Tamilians that immigrate from India and Sri Lanka to the United Kingdom, especially during and after the British colonialism period. For many Tamilians in London, especially the older generation, Bharatanatyam is the element that contains within it all of their cultural and religious identity: it represents an idealism that they must try to incorporate and preserve. Bharatnayam acts as what Foster would consider an ideal body, something that the material body looks up to and tries to achieve. This ideal cultural representation in Bharatanaym has been transmitted over the years to future generations and to this day young Tamilians explain how Bharatanatyam is part of [their] culture and prevents the culture and religion [from] being forgotten, especially in the West (David, 2009). Two students, Maya and Mahumita, reinforce this statement by confirming that studying Bharatanatyam is their way of learning about their cultural heritage whilst living abroad. For example, most of Bharatanatyams bodily movements and facial expressions bear a prominent representation: that of Tamil womanhood. This can be seen in small gestures such as the applying of the kumkum on the forehead (in representation of the third eye), the plaiting of the hair or the folding of the sari, all symbolizing a feminized social body (David, 2009), describing how a woman should appear and behave in this cultural context. Another more specific example would be that of the heroine character, known as the nayika, and how she uses stylized gestures to prepare herself to meet the hero, the nayaka. Through these gestures the dance transmits an idea of femininity and grace which acts as an ideal for all Tamil women to t ry live up to and admire. This also links to Bourdieus concept of doxa, which is formed through a combination of unspoken norms and beliefs that are taken-for-granted assumptions or common sense behind the distinctions we make (Powercube, 2012), which in this case is the portrayal of how women are expected to behave. These characteristics that Tamil women need to behold are part of an unstated conduct that is reinforced through the dances movements and storytelling, constantly reminding the Tamil population, and women in particular, what their role is society is. As author Ann R. David explains, for the Tamil middle class, Bharatanatyam promises respectability and a traditional femininity and is, therefore, a prized carrier of tradition (David, 2009). As a result, purity of Tamil tradition, their rituals and religion, their language and their social behaviour, such as the importance of womens chastity in the Tamil civilization, is upheld substantially through Bharatanatyam it is co nsidered an influential tool used to craft social status and conduct, uniting Tamil cultural identity across the world. However, first-generation Tamil immigrants, and especially Tamil Hindu groups, are concerned that the external pressures of the West may overwhelm the younger generations and cause them to lose sight of their national identity as Tamilians. In order to preserve this sense of cultural identity, several schools have been built abroad to encourage and indulge the youth in their Tamil culture, ensuring that their roots are not forgotten. These classes would, according to Ann R. David, allow the transmission of traditional culture and assist immigrants in maintaining Tamil identity in local diasporic settings where the acquisition of Tamil social, cultural, and religious values does not necessarily take place (David, 2009). Most Sri Lankan Tamil temples and Tamil weekend classes in London are led by Tamil conservationists who try stay true to their cultural identity by discouraging their dance pupils to attend international performances to keep them from any outside influences. In additi on, most of the syllabus is written and taught in Tamil, despite the fact that the second generations are likely to have grown up with English as their first language given their educational and social context. This obsession to ensure that Bharatanatyam is practised and incorporated in the lives of immigrated Tamilians means that, as a result, the dance now bears more rituals and ceremonies attached to it today than it had during the period of its revival (David, 2009). For example, the offering of flowers on stage, known as pushpanjali, and the dedication of bells on the stage are common rituals now that were not required previously in Bharatanatyam. As part of their cultural essentialism none of the teachers in the London Tamil temples have introduced any creative or slightly unconventional material to their students, ensuring that the history of the dance is untouched in order to transfer a pure concept of their Tamil cultural identity. This may be considered as what Bourdieu re fers to as misrecognition, similar to Marxs concept of false consciousness, which is the conscious manipulation of a certain group or individual. In this case, the conservationists use Bharatanatyam to encourage certain social pressures that have been accepted without questioning such as, as previously discussed, the role of obedient women in the Tamil society. But is this pressure of preserving Tamil traditions through Bharatanatyam having the contrary effect and pushing away the younger generations from exploring their cultural identity? Some may argue yes, as certain teachers and practitioners, mostly in other countries in Europe and in North America, support Tamil nationalism through change and development. Aided and supported by the LTTE (Liberation Tigers of Tamil Eelam), Tamil Sri Lankan nationalism in particular is encouraged to evolve through more creative Bharatanatyam choreographies. For example, a Bharatanatyam piece was choreographed narrating the story of a military woman who sacrifices her male relatives to be a part of the Sri Lankan war. These types of narrations are unconventional compared to any of the traditional Bharatanatyam stories which usually involve Gods and their relationship with mankind. Another example would be the Akademi centre today whose goal is to enlarge received aesthetic definitions of the traditional and classical through strategic acts of cultural translation and situate Indian dance on the multicultural map of Great Britain (Meduri, 2004). Therefore, this modernising of Bharatanatyam and the usage of its representative symbolic movements to express contemporary concerns is going against the work of the preservationists. This contemporary development of Bharatanayam can be seen as creating a new, more current and perhaps global cultural identity. This sense of global identity seems to be growing, even in Britain, especially amongst the second generation as they have no strong, direct ties to their homeland. They hence tend to see themselves more as British, British Asian or British Hindu citizens who are made up of both cultures, yet belong strongly to neither of them. These young Tamilians are part of a global youth culture (Saldanha, cited in David, 2009) which means that they hold a global identity, unlike their elder relatives who struggle to maintain their traditional cultural identity whilst living in a different country amidst a completely different set of values. In the late 20th century all Indian dance forms were put under the label of South Asian dance, despite the fact that South Asia evidently consists of many more countries than just India, hence not only creating a rather vague category for these Indian dances but also merging internationalism within nationalism. The specific classical dance Bharatantyam being thrown amidst numerous other Indian dances and renamed as a part of a South Asian dance was a huge turning point as it enlarged the Indian label and made visible the diverse dance, performance, and theatre practices of the Indian/Asian diaspora (Meduri, 2004). But some Bharatanatyam dancers and teachers, such as Mira Kaushik, encouraged this relocation of Bharatanatyam dance within the broader category of South Asian dance. Kaushik claimed that although Indian dance might look Indian, it is South Asian dance in the United Kingdom because it is performed not just by immigrant dancers from India but by hundreds of South Asian dancers belonging to the different nations of Pakistan, Bangladesh, Nepal, Sri Lanka, India, and Africa (Meduri, 2004). One may argue that Kaushik challenges the idea that Bharatanatyam is specially reserved for Tamilians as their source of cultural identity; she brings a whole new concept to Bharatanatyam by suggesting that it can appeal, be understood and perfo rmed by many other nationalities. This reform therefore alters and reshapes the key tool Bharatanatyam that traditionally promotes the estalished Tamil habitus. By reintegrating Bharatanaytam with a more futuristic and contemporary aspect, it challenges the cultures original habitus and its centuries of unquestioned customs. Therefore Bharatnatyam may actually be seen as a source of creativity and as a catalyst for a new global identity, rather than a source of tradition and preservation of a purely Tamil identity. Bharatnayam has been adopted and reworked since the very beginning of the 1900s by the West, especially in the United States to begin with. For example, in 1906 Ruth St. Denis, the co-founder of the dance company Denishawn, was hugely inspired by South Asian dance and she immersed herself in Indian writings and culture. She used these resources to later on choreograph dance pieces, such as Incense, The Legend of the Peacock, Radha and further on group productions such as The Flute of Krishna in the 1920s. Another distinct dance pioneer, La Meri, even created a rendition of Swan Lake through Bharatanatyam vocabulary. Especially since the 1930s Bharatnayam has opened up as men now feel comfortable to interpret womanly roles, whilst also many dancers from outside of the Tamil nationality have beg an practicing Bharatanatyam, even to a professional level. But does this globalisation of Bharatanatyam necessarily affect the preservation and the influence it has on the Tamil population and their cultural identity? Rather on the contrary, although Bharatantyam has been increasingly globalised since the early 1900s, the dance in itself to this day remains associated with tradition and symbolism. Both in local Indian communities and abroad, Bharatanatyam is an art that globally and continually promotes the habitus of the Tamil community and its values: whether a non-Tamilian dances it, whether a contemporary story is being told, whether a man dances a womans character the movement vocabulary and the concepts behind the dance remains the same for example, even the interpretation of Swan Lake by Le Meri through Bharatanaym essentially needs to use the dances symbolized codes to tell the story. Bharatanatyam is based intricately on traditional meanings, and therefore whatever context it may be placed in, it will stay true to its Tamil origin . Especially in countries such as Britain and Indonesia where the Tamil population is significant, Bharatanatyam remains a key pathway to not only identify themselves with their distant Tamil customs and embody their cultures habitus, but to spread it worldwide. Word count: 2,005