Tactics of Conflict- Communication Class Case Study

Tactics of Conflict- Communication Class - Case Study Example At any moment of the day, you might have to deal with the arguments of your lover, the intransigence of a friend, or the unreasonableness of parents. This case study will explore the different tactics in different cases that have been encountered through personal experiences in reference to the communication of the participants found in this chapter Avoidance The tactic of avoidance in interpersonal relationships has its own place and time to do, and also not to do. According to Wilmot and Hocker (2007) â€Å"Avoidance can supply time to think of some other response to conflict† (p.139) since some people basically need time to deliberate how they deal with a problem since not all individuals can deal with conflicts decisively. On the other hand, Wilmot and Hocker (2007) also explain that â€Å"Avoidance tends to demonstrate to other people that one does not care enough to confront them and gives the impression that one cannot change† (p.139). Usually when the matter is of a very serious concern, avoiding the conflict would not be considered helpful on the long run. Here is an example scenario made by Wilmot and Hocker (2007): Brent: There is something bothering me. Janette: I’m way too stressed to talk about anything now. Brent: I’m upset about what you said about me at the party. Janette: You’re picking on me. Leave me alone! Another time! Brent: When are we going to talk about things that bug me? You never want to talk if I’m upset. Janette: You aren’t respecting what I told you about my stress. I’m going for a walk. See you later. (pp. 134-135) It could be understood that Brent wants to decisively be upfront with a problem to Janette. On the other side, Janette does not want to confront the matter immediately. She likely wants to avoid that issue either to deal with when she is ready, or just wants let the problem pass by without further fussing. Either way, both individuals will not see the problem tog ether eye to eye. The tactics of avoidance is one that involves verbal denials, topic evading, indirect or misdirecting remarks, or just pushing back or away the matter. If the problem is nothing serious, avoidance is helpful. But if the matter is serious, avoidance would not solve the conflict at all. Competition Unlike the shying away game of avoidance, competition is straight forward in dealing with conflict. Competition by Wilmot and Hocker (2007) â€Å"is characterized by aggressive and uncooperative behavior-pursuing your own concerns at the expense of others† (p.145). This tactic is usually in favor for those who prefer in dealing with conflicts in a very direct and dominating manner. The advantage pointed out by Wilmot and Hocker (2007) that â€Å"Competition can be appropriate and useful when one has to make a quick, decisive action, such as in an emergency†¦ It is useful if the external goal is more important than the relationship with the other person, such a s in a short term non-repeating relationships† (p.145). Wilmot and Hocker (2007) make this case example: A human service agency competes with others for grant money from United Way. A limited amount is available, so the best proposal for solving a human service problem will be funded. The director of the agency

BUSINESS PLAN Essay Example | Topics and Well Written Essays - 750 words

BUSINESS PLAN - Essay Example Founded by Jorge Tapia, this testing facility furnishes a learning platform for local students studying in private and public schools, universities and graduation programs. There are two categories of authorized Cambridge ESOL centres, internal and open centers. Open centre have authority to conduct examinations for all candidates, regardless of whether they are enrolled in the institution or not (University of Cambridge, 2013). Vision statement Our corporation aims at educating masses of Guayaquil, helping them to gain fluent grip over English language within least time period and at lowest costs and thereby achieve success in globally recognized examinations. ... s: Strong barriers to entry by currently existing businesses Strict regulations, quality standards and close surveillance by Cambridge Market study This centre shall aim at catering students residing in localities of Guayaquil and Quito and other neighboring suburbs of Ecuador. Educational reforms in this region is one of the most underfunded and neglected national aspects (Pineo, 1996). Moving towards urbanization, these highly populated areas of Ecuador are gaining educational awareness. Recent statistics show that 37.6%, 34% and 12.7% of population has easy access to primary, secondary and superior education respectively. About 62% of total population (9.1 million people) represents the age group that can be targeted for providing FCE education while 66% represents the urban educated population (INEC & Quito Town Hall, 1990 & 2002). Mostly adults, especially males, have received some form of education, thereby indicating that masses are inclined to take educational measures (Carri on and Vasconez, 2003). Majority of citizens are moving towards learning English since this is the dominant language that is needed for public dealings and communications in foreign ties. Therefore, it has become a necessity for them now. To cater this, large number of institutes exists currently in both the territories that have a well-established market share and reputation, including Southern Cross Teacher Training Centre, EF School of English and British School of Language. However, I claim to provide exclusive and differentiated services to students with excellent trained faculty, career counseling mentors, technology-based teaching methods, tailored services and individual attention for each student at lowest costs. Marketing strategy Since these areas of Ecuador are most populated

Leukemia Research Paper Example | Topics and Well Written Essays - 1750 words - 1

Leukemia - Research Paper Example The different types of leukemia present with different clinical features and there are differing signs and symptoms. The condition affects the bone marrow as well as the blood with the presence of altered cells in the bloodstream. Different diagnostic procedures are utilized to diagnose this condition. These include the full blood count as well as blood smears. Biopsy of the bone marrow is also performed for a definitive conclusion. Each form of leukemia has its own pharmacological treatment directed towards treating the condition. Bone marrow transplant is the last treatment resort for all types of leukemia. Neoplasms within the blood arise when there is disruption in the normal pattern of differentiation of blood cells. Leukemia falls within the classification of the cancerous pathological conditions of the blood which results in a rise in the white blood cells at their site of production that is the bone marrow as well in the blood which is present in the circulation. There is no specific definitive cause that has been identified for this condition but there are many risk factors and proposed causes which are considered to increase the susceptibility of the development of leukemia. Leukemia is a malignancy which is further categorized into many subtypes. These include the acute lymphoblastic leukemia (ALL), acute myeloid leukemia (AML), chronic lymphocytic leukemia (CLL), chronic myeloid leukemia (CML), adult T-Cell leukemia and hairy cell leukemia (Davidson et al 2009; Kumar et al 2005). The occurrence of leukemia has been associated with different causes. It has been analyzed that alterations in the normal chromosomal development which may be due translocations as well as rearrangements in the chromosomal structure may lead to leukemia. An interesting aspect of leukemia is that it is seen to be present at a higher rate in the people who suffer from other genetic pathological conditions. A higher incidence of acute

BUSINESS PLAN Essay Example | Topics and Well Written Essays - 750 words

BUSINESS PLAN - Essay Example Founded by Jorge Tapia, this testing facility furnishes a learning platform for local students studying in private and public schools, universities and graduation programs. There are two categories of authorized Cambridge ESOL centres, internal and open centers. Open centre have authority to conduct examinations for all candidates, regardless of whether they are enrolled in the institution or not (University of Cambridge, 2013). Vision statement Our corporation aims at educating masses of Guayaquil, helping them to gain fluent grip over English language within least time period and at lowest costs and thereby achieve success in globally recognized examinations. ... s: Strong barriers to entry by currently existing businesses Strict regulations, quality standards and close surveillance by Cambridge Market study This centre shall aim at catering students residing in localities of Guayaquil and Quito and other neighboring suburbs of Ecuador. Educational reforms in this region is one of the most underfunded and neglected national aspects (Pineo, 1996). Moving towards urbanization, these highly populated areas of Ecuador are gaining educational awareness. Recent statistics show that 37.6%, 34% and 12.7% of population has easy access to primary, secondary and superior education respectively. About 62% of total population (9.1 million people) represents the age group that can be targeted for providing FCE education while 66% represents the urban educated population (INEC & Quito Town Hall, 1990 & 2002). Mostly adults, especially males, have received some form of education, thereby indicating that masses are inclined to take educational measures (Carri on and Vasconez, 2003). Majority of citizens are moving towards learning English since this is the dominant language that is needed for public dealings and communications in foreign ties. Therefore, it has become a necessity for them now. To cater this, large number of institutes exists currently in both the territories that have a well-established market share and reputation, including Southern Cross Teacher Training Centre, EF School of English and British School of Language. However, I claim to provide exclusive and differentiated services to students with excellent trained faculty, career counseling mentors, technology-based teaching methods, tailored services and individual attention for each student at lowest costs. Marketing strategy Since these areas of Ecuador are most populated

Workbook Diseases of the Human Body Essay Example for Free

Workbook Diseases of the Human Body Essay Assignment: For each scenario that follows, explain how and why you would schedule an appointment or suggest a referral based on the patient’s reported symptoms. Be sure to first review the â€Å"Guidelines for Patient-Screening Exercises† found on page iii in the Introduction section of your Workbook. A male patient calls for an appointment. He reports experiencing the sudden onset of excessive thirst and urination. He says that he is thirsty all the time and cannot seem to get enough to drink. How do you respond to this phone call? This patient suffering from a sudden urge to drink fluids as well as excessive urination is a sign of polydipsia. What polydipsia means is excessive thirst and a way one may have this condition is to have diabetes mellitus, which means there is an excessive amount of glucose in a persons blood which travels in the bloodstream and increases the symptoms that this patient is experiences (Polydipsia, 2008). In this case, the patient needs to be seen right away to be evaluated by their physician. A female patient calls the office and says she thinks she has swelling in her neck and is beginning to experience difficulty swallowing. How do you respond to this phone call? When the female patient called, she was on the phone talking about her neck swelling and how it was difficult to swallow things. In this case, I would schedule an appointment for a physical because she may be suffering from simple goiter which means her thyroid glands are enlarged and I would advise her not to worry because it wont be cancerous but her medical history should be reviewed and see if there is any reason for this to be happening or if it just came out of no where (Dugdale, 2012). An individual calls the office stating he is experiencing periods of rapid heartbeat and palpitations, insomnia, nervousness, and excitability. He states that despite excessive appetite and food ingestion, he is losing weight. How do you respond to this call? I would listen to what the patient has to say and after noting the symptoms suggest he may have hypoglycemia. What this basically means is low blood sugar also known as insulin shock and his blood sugar may be below 70 mg and in some cases it can be very deadly so I would tell him to go to the emergency room immediately and have his blood sugars taken care of before serious harm will happen (A.D.A.M., 2012). A woman calls the office stating that her husband, who has been diagnosed with diabetes, is experiencing excessive thirst, nausea, drowsiness, and abdominal pain. She just noticed a fruity odor on his breath. She wants to know what to do. How do you respond to this call? I would listen to the womans explanations of what her husband is going through and suggest that he may be going through something known as ketoacidosis. The reason ketoacidosis gives a fruity odor off is because the body is trying to get rid of excess acetone in the breath. This can be a very life threatening issue and I would advise going to the emergency room as soon as possible (Medline Plus, 2010). A patient calls the office saying she has started experiencing weight loss, excessive thirst, excessive hunger, and frequent urination. She also tells you her mother and aunt have diabetes. She says she just does not feel right. How do you respond to this call? With the way this woman was explaining her problems describes diabetes mellitus because if ones blood sugars are high it can cause everything that this woman is experiencing and I would advise her to see a physician promptly for and evaluation and to make sure her levels are not too elevated (Wikipedia, 2012). Sources: A.D.A.M. (2012). Pubmed health. Retrieved from http://www.ncbi.nlm.nih.gov/pubmedhealth/PMH0001423/ Dugdale, D. (2012, June 4). Pubmed health. Retrieved from http://www.ncbi.nlm.nih.gov/pubmedhealth/PMH0002161/ Medline Plus. (2010, Feburary 22). Breath odor causes and considerations. Retrieved from http://www.nlm.nih.gov/medlineplus/ency/article/003058.htm Polydipsia. (2008). Retrieved from http://medical-dictionary.thefreedictionary.com/polydipsia Wikipedia. (2012, August 16). Wikipedia. Retrieved from http://en.wikipedia.org/wiki/Diabetes_mellitus

Identity In Post Colonial Australian Essay

Identity In Post Colonial Australian Essay In the second half of the 20th century, after two centuries of colonial oppression and assimilation policies in Australian history, political and social break thoughts of aboriginal people in to the dominant European culture was bought to an end, thus enabling Aboriginal Artists to have the freedom to express their traditions, culture and identity. According to Oxford Art Online, the Simultaneous explosions of the Australian art market in the 1990s, gained international recognition for Aboriginal Art that emerged into the contemporary Aboriginal art that appealed to White Australias conflicting a desire for cultural reconciliation. The recognition of artistic production in Aboriginal communities across Australia enabled artists to explore themes of cultural alienation. The first wave of contemporary Aboriginal painters including Clifford Possum, Rover Thomas, Paddy Bedford and Emily Kame Kngwarreye, utilized repertoires of dots, blocks of color, with stimulating negative spaces or gestural brushstrokes to evoke the sense of a sacred, collective knowledge. Collectors and museums began to actively collect contemporary Aboriginal works, whose conceptual paintings reinterpreted Australian colonial history. Today Aboriginal Australians are producing art in the remote regions where artists continue to explore their connections with their ancestral land and traditions of ground designs, body art, painted canvases, and bark paintings using contemporary materials. The practice of art is seen differently by indigenous art-makers than their contemporary artist counterparts; the works themselves often have a lot in common with much contemporary artwork, particularly with conceptual, installation and issues-based art. However, in early times, art had a different function than the modern ideas of self-expression or decoration; created with spiritual and hunting/survival purposes in mind. The identity of the individual artist/maker of cave paintings, masks and other traditional art forms was not as significant as it is today. Still, the traditional art objects perceived today also as a work of art, and valued for its aesthetic qualities. In addition, they are exploring contemporary art forms such as photography, film, multimedia, theatre, sculpture, printmaking, and installation. Artists such as Tracey Moffat, (b.1960), Fiona Foley, (b.1964), and Gordon Bennett (b.1955), whom consider indigenous art as a way to express political and social issues in new forms of contemporary media, reflects unique perspectives of a distinctive experiences. Whilst their art proclaims aboriginal identity, it often acts as a medium for cultural renewal, operating beyond the classical idioms, conforming to the inspiration from aboriginal practices and European, and other visual language and techniques. As, written in Wally Caruanas book, Aboriginal Art, chapter 6, Artists in the Town and City: In the second half of the twentieth century, as the movements for the recognition of aboriginal rights gained momentum, urban and rural artists found compelling reasons to produce art. Aboriginal people required imagery and symbols with which to express their ideals and inspirations. These issues of dispossession, broken families, racism-the secret history of Australia- and an intensifying of the sense of cultural identity provided strong motivation, and these themes are all apart of the repertoire of artists. For instance, works by aboriginal instillation and mixed media artist Fiona Foley, from Harvey Bay, Frazer Island, engages with the history, ideas, family tradition from her cultural heritage from the Wondunna clan of Badtjala tribe from her mothers side, and her work reflects the remembrance of colonial oppression, the colonized vision of Australia and her ancestors. Foleys work deals with the issues of displacement and dispossession of land, the people and some of her work is highly political, committing herself to the history of Aboriginal people and represents racism and violence and identity, and raises issues from a historic and contemporary cultural view. (http://eprints.utas.edu.au/2644/6/part5, (Morphy, Illus 260, 273). Annihilation of the blacks (1986), is a frightening sculptural installation which is a part of the permanent collection of the Australian National Gallery (Caruana, 1993).The work represents the massacre of the disturbing treatment of Aboriginal people by the colonizers; the work consists of a white figure standing in front of 9 hanging black figures. The upright forked posts and cross poles are a powerful symbolic medium in traditionally-oriented Aboriginal communities for shelters and homes (Reser, 1977b). It is also a sacred complex and symbol for the first residence of the Wagilak in Arnhem Land, which represents the Kunapipi ceremony (Berndt, 1951). Also within the young Aboriginal boys waiting to be born again, as young men, are viewed metaphorically as flying foxes, hanging from the beam, it is said that the flying fox ancestral spirits brought circumcision to the central Arnhem Land clans and because the flying fox is a central totemic species to clans in this region. Fiona Foley often draws inspiration from traditional Aboriginal culture and life, while making powerful and contemporary political statements. All of this gives the sculpture a very strong traditional as well as contemporary symbolic quality, with multiple and intertwined meanings and messages. Annihilation of the Blacks 1986 wood, synthetic polymer paint, feathers, string 278 x 300 x 60 cm Collection National Museum of Australia, Canberra Image courtesy National Museum of Australia, Canberra  © the artist Photograph: George Serras, National Museum of Australia http://www.mca.com.au/general/FFoley_resource.pdf In her large sculptural installation work such as Land Deal, 1995, is about the response to the words of the nineteenth colonial official John Batman, when he described how he purchased 600, 000 acres from local aborigines in Port Phillip, in exchange for beads, blankets and knives, scissors. (http://eprints.utas.edu.au/2644/6/part5.pdf). This work consists of a spiral of flour on the floor; representing the loss of lifestyle and health that consequently came about during white settlement, and also by invoking the genocidal colonial practice of poisoning the flour given to aboriginal people, (Evans, Raymond, Fighting Words: Writing about Race, University of Queensland Press, St. Lucia, 1999. The work also incorporates the objects, which hang from the walls. The real projection is that her expression to suggest the indigenous loss the land, as a dialogue of transaction, reminding the public of the cold absence of indigenous voice, and the lack of understanding that for the ongoing cam paigns for land return in which Foley and her own family have embarked in. Land Deal 1995 installation view, Savode Gallery, Brisbane, 1995 mixed media, flour, found objects, text dimensions variable Collection National Gallery of Australia, Canberra Image courtesy the artist and National Gallery of Australia, Canberra  © the artist http://www.mca.com.au/general/FFoley_resource.pdf Foleys personal searches to discover Badtjala material culture by referring to these objects, examining the history of their collection and interpretation. Foley reclaims their true significance to Aboriginal people. The ambiguous relationship between the descendants of the white settlers and Australias original inhabitants in Fraser Islands recent history as the struggle for recognition of native title for the Badtjala people continues. Avril Quaill Gordon Bennett, also from an aboriginal heritage from his mothers side; he was an orphan from Cherbourg reserve 240km northwest of Brisbane. Known for his paintings, installation and multimedia art forms focuses on a more personal viewpoint of past and present struggle for identity as an Australian of Aboriginal and Anglo-Celtic descent. His works present and examine a broad range of philosophical questions related to the construction of identity, perception, and knowledge. (http://www.ngv.vic.gov.au/gordonbennett/education/intro.html) within cultural and historical inequities created by European settlement in Australia, (http://www.ngv.vic.gov.au/gordonbennett/education/02.html) For example, he uses his self-portraits as a concept of self-identity and questioning stereotypes and labeling on a larger national scale, immersed within a White European culture. Bennett was unaware of his Aboriginality until his early teens as he described this knowledge as a psychic rupturing, (Ian McLean, Towards an Australian postcolonial art in Ian McLean & Gordon Bennett, The Art of Gordon Bennett, Craftsman House, 1996, p. 99). (Ian McLean, Towards an Australian postcolonial art in Ian McHis art attempts to depict the complexity of both cultural perspectives. Self portrait (Ancestor figures), 1992 deals with broader issues of cultural identity as well as personal identity. The installation consists of images of his family and drawing. The self- portrait of the artist seems to be present everywhere within the installation but is in fact nowhere. The dresser draw labelled self is closed while the drawers for history and culture that is partly open and partly closed. Bennett in dicates the need to be reconciled within the context of culture and history to develop a full sense of identity. An understanding of self in the context of family does not seem enough as the mirror, acts as a chronic symbol within his work, is not a two- dimensional illusion but an honest construct. The viewer does not confront the artist, but self. Bennett uses this symbol because: In the mirror, everything is possible because nothing is there (Ian McLean, Towards an Australian Postcolonial Art in The Art of Gordon Bennett, p.105) Gordon Bennett born Australia 1955 Self portrait (Ancestor figures) 1992 chest of drawers, watercolour, photocopies, lead, rocks, masking tape (variable) (installation) Collection of the artist, Brisbane  © Courtesy of the artist Photography: Phillip Andrews http://www.ngv.vic.gov.au/gordonbennett/education/02.html What emerges for all who take part in this piece is in fact an examination of the self. The I am from Self portrait (But I always wanted to be one of the good guys) is replaced with We all are. In addition, the grid and perspective lines on the floor represent another symbol acting as the groundwork of the installation that appears to confirm this sense. In European tradition, the means to map a particular space, land, etc alludes to ownership and territory. It recalls the way stereotypes, labels, identities, and systems of thought are fixed. On each corner of the grid are the letters A B C D . While these may indicate the way maps are constructed to find different locations, they also represent the first letter of racial slurs. Identity is fixed and self is understood in the context of words such as Abo, Boong, Coon and Darkie . The Other is clearly marked out as not only different but by necessity inferior. These contrasting and complex meanings and ideas are not accidental. Bennett purposefully constructs these layers to blur fixed ideas and raise questions about the way identity is constructed. He uses his self as the vehicle to do so. Lean & Gordon Bennett, The Art of Gordon Bennett, Craftsman House, 1996, p. 99) You have to understand my position of having no designs or images or stories on which to draw to assert my Aboriginality. In just three generations, that heritage has been lost to me. Gordon Bennett 9 Blood is a potent symbol and has historically been a measure of Aboriginality. In the past Quadroon, was a socially acceptable term used to label Indigenous people as a way of establishing genetic heredity. The purer the bloodlines, the more Aboriginal you were. Mixing of pure blood with European blood was feared by Europeans, authenticity was at risk and identity diluted. As an Australian of both Aboriginal and Anglo Celtic descent, Bennett felt he had no access to his indigenous heritage. He states: The traditionalist studies of Anthropology and Ethnography have thus tended to reinforce popular romantic beliefs of an authentic Aboriginality associated with the Dreaming and images of primitive desert people, thereby supporting the popular judgment that only remote full-bloods are real Aborigines. Gordon Bennett 10 Gordon Bennett explores these ideas in Self portrait: Interior/ Exterior , 1992. Once again, the arena of self- portraiture becomes a vehicle to take over and challenge stereotypes. Here he exposes the truth of colonial occupation it was a bloody conquest. Bennett depicts self as a black empty vessel, coffin- like with lash markings almost disguised by a thick layer of black paint. Literally opening up this black skin of paint are the words cut me. They act as deep welts created when tissue scars. Gouged into the skin like a tattoo, these markings will never heal or fade away. They powerfully describe pain and violence. Bennett only uses two colours, symbolically, red and black. Gordon Bennett born Australia 1955 Self portrait: Interior/Exterior 1992 synthetic polymer paint on canvas on pine frames, leather stock whip, paper tags (1-2) 187.0 x 60.0 x 25.0 cm (each) (1-3) (variable) (installation) Collection of the artist, Brisbane  © Courtesy of the artist Photography: Phillip Andrews http://www.ngv.vic.gov.au/gordonbennett/education/02.html There is no physical body. The coffin- like box acts as the body, both inside and outside are scarred with Pollock inspired lashes of paint. These scars are not just physical they are also emotional. This imagery is reinforced by the whip neatly hanging on the wall beside the body. Ultimately, this piece, one of a series of welt paintings, explores identity through pain, exploitation and suffering. Bennett does not wish to romanticise or sanitise this bloody history. The viewer is challenged to face it. The blood splashed and flowing under the layer of black skin does not discern the colour of the skin it contains, only the potency of life. Bennett challenges the viewer with contrasting identities. The oppressors, those who use the whip, and the oppressed, those enslaved by the whip. These opposites are not absolute. Bennett is more interested in exploring what lies between. My work is often seen as about exploring my identity in order to secure it, like Im searching for it, like Ive lost it somewhere, which is the total opposite to what Im doing. Sure, Im exploring identity, but Im trying to make it obvious about how open it is; how its a process of the negotiation of these different sites of memory, human relations. It is all those other things, and it shouldnt be closed off. It shouldnt be a thing that constricts nor should it be an imposed thing, from outside oneself, like a prison. Gordon Bennett 11 Bennetts art practice attempts to remove the obstacles that interfere with a positive development of self. Tracey Moffatt, born into a fostered white family in Brisbane, close to were her Aboriginal ancestors grew up, on a mission outside of Brisbane called Cherbourg, (Moffatt qtd. in Rutherford 52, plays a huge part in representing a multicultural role in society as she examines the ways Australias colonial past enlightens the present. The photographs, mostly still from her film-making, places a narrative images into many of the stories being told, representations past and present times in Aboriginal History, her perspective seems to identify to her Aboriginality and feminist view point. However, she cautiously uses her style of narratives with multiple and specific politics concern of Australian identity, with an inspiration of the lives of her Aboriginal heritage and culture. Her unique visual style of cinematic images challenges the stereotypes of race and gender, with issues symbolic of political references, (http://admin5.lisjc.lism.catholic.edu.au/~mark/Visual%20Arts%20documents/Id entity%20unit/Tracey%20Moffatt%20from%20Australian%20Artists.pdf) Her compelling and very powerful photographic works such as Up in the Sky 1998, is a sequence of twenty five monochromatic narrative photographs set in the vast desert concerning the Australian Stolen Generation. Indigenous Australian children were taken from their families and forcibly relocated under Government policy was enacted and performed on location in Queenslands outback, (http://www.answers.com/topic/tracey-moffatt). In these images Moffatt refers to both the collective memory of her own personal experiences as well as the constructing reality of the influence of culture, alienation, desolation, and the wider concerns of remote living. Tracey Moffatt Up In The Sky # 1, 1997 series of 25 images off set print 61 ÃÆ'- 76cm 72 x 102 paper size Edition of 60 http://www.roslynoxley9.com.au/artists/26/Tracey_Moffatt/73/32634/ In her films still Night Cries: A rural Tragedy 1989, she represents the truth and memory about a mother and daughter relationship with a focus on events that took place focusing on Death, childhood, loneliness and memory. The film brings forth the powerful issues related to the black and white relations of Australian history during the attempts to assimilate Australian Indigenous people into the white society, (http://www.qag.qld.gov.au/__data/assets/pdf_file/0018/27504/qld_edu_kit_web.pdf) Tracey Moffatt: Night Cries: A Rural Tragedy, Still, 1989 http://www.qag.qld.gov.au/__data/assets/pdf_file/0018/27504/qld_edu_kit_web.pdf Tracey Moffatt . The interest in Aboriginal art which has flourished since the 1970s has created new opportunities for indigenous artists, as their work leaves the communities to be shown in museums and galleries around the world. Meanwhile, the imperatives to produce art for traditional purposes continue, and the expanded environment in which indigenous art now operates has created further compelling reasons for artists to continue expressing the values of their culture to the wider world. In the public domain, Aboriginal art can be appreciated for its spirituality and aesthetic qualities, and as a reflection of the social and political achievements and aspirations of the peoples who create it. . Avril Quaill: World of Dreamings, Traditional and modern art of Australia, An exhibition held at the State Hermitage Museum, St Petersburg | 2 February 9 April 2000 H , Robinson: Feminism-art-theory: an anthology, 1968-2000, Wiley-Blackwell, 2001 Bonwick, J., John Batman, the Founder of Victoria, Melbourne: Samuel Mullens, 1867. Caruana, W., et al, The Eye of the Storm: Eight contemporary indigenous Australian artists, Canberra: National Gallery of Australia, 1996. Cooper, C., Aboriginal and Torres Strait Islander Collections in Overseas Museums, Canberra: Aboriginal Studies Press, 1989. Elder, B., Blood on the Wattle: Massacres and maltreatment of Australian Aborigines since 1788,second edition, Sydney: New Holland Publishers, 1998. Moon, D. & Krause, J., Deutsche Auswanderer Hope and Reality, History of the nineteenth century German settlement of Mount Cotton in south east Queensland, Cleveland, Queensland:Redland Museum Inc., 1999 Gordon bennetts ref: Gordon Bennett, The manifest toe in Ian McLean & Gordon Bennett, The Art of Gordon Bennett, Craftsman House, 1996, p. 33 Ian McLean, Towards an Australian postcolonial art in Ian McLean & Gordon Bennett, The Art of Gordon Bennett, Craftsman House, 1996, p. 99 Gordon Bennett, The manifest toe in The Art of Gordon Bennett, p. 22 Rebecca Lancashire, Blurring the lines of history, The Age, Monday 5 May , 1997 Kelly Gellatly, Citizen in the Making: The art of Gordon Bennett in Gordon Bennett (exh. cat.), National Gallery of Victoria, 2007 p. 16 Gordon Bennett, The manifest toe in The Art of Gordon Bennett, p. 34 Gabriella Coslovich, Bennett puts on a brave face, The Age, 28 April, 2004 Ian McLean, Towards an Australian Postcolonial Art in The Art of Gordon Bennett, p.105 Gordon Bennett & Chris McAuliffe, Interview with Gordon Bennett in Rex Butler (e d.) What is Appropriation? An Anthology of Writings on Australian Art in the 1980s and 1990s. IMA Publishing, Brisbane, 2004, p. 27 http://leonildeviljoen.wordpress.com/2009/11/02/fiona-foley/ http://www.quitnow.info.au/internet/main/publishing.nsf/Content/C143D432E3817918CA2571F10000CC3A/$File/indall.pdf http://www.newrepublics.com/GordonBennettHomeDecor.pdf http://www.australiacouncil.gov.au/__data/assets/pdf_file/0006/33990/cda_5.pdf http://findarticles.com/p/articles/mi_go1931/is_1_27/ai_n29415749/ http://findarticles.com/p/articles/mi_go1931/is_1_27/ai_n29415749/pg_2/?tag=content;col1 http://www.artaustralia.com/images/currentbookpdf/Tracey%20MoffattVol41No2.pdf http://www.artlink.com.au/articles.cfm?id=2596 http://archive.sensesofcinema.com/contents/cteq/00/10/night.html

The KMT lose the war more than the CCP winning it :: essays research papers

The question asks if the CCP really won the war because of tactics and skill or if the KMT lost the war not because the CCP beat them but if they brought their loss upon themselves. As the CCP and KMT were preparing to fight, the majority of people perceived that the KMT would win the war easily. After all, America was prepared to pour billions of dollars into funding the KMT in order for them to win the war. With America on their side the KMT had a powerful American-trained and American-equipped army of three million men. They held all the big cities, all the main railway lines, and some of the richest provinces. Money was abundant and they had large stocks of weapons. In comparison, the CCP were nothing. They held only countryside areas, no air force, no navy and an army of only one million men. They did not have the backing of a single foreign country. I think that the KMT could easily have won the war but instead lost it. The KMT had always been very cowardly. Their cowardice was shown during the Japanese Invasion, when they moved west to Chongqing. This isolated themselves from main cities and could be seen as them isolating their people. The relocation showed that they were unwilling to fight against Japan for their country and therefore unprepared to fight any war. However, America made sure that the KMT were airlifted out of Chongqing and into key cities to stop the CCP from gaining more land. The KMT were did not plan well in advance and could not handle the money that was meant to benefit them properly. The rapid inflation of the currency was causing great hardship for many civilians in the KMT-held cities. As money lost its value, many workers went on strike, hungry crowds stormed shops, riots broke out and public order collapsed. This was very bad for the KMT as people stopped supporting the KMT and went over to the communist party’s side. Another example of the KMT not thinking ahead can be seen during the Japanese invasion. During this time, they never gained support from the peasants which made up most of China. Instead, they bullied them by imposing high taxes on them which made them even more unpopular with them. So instead of gaining supporters they lost what were potential supporters.