Democracy in Germany

Question; Write an essay on accounting for the success as well as the failures of democracy in Germany during the period 1918-33? Answer: The democracy that was set up in Germany during 1918/19 marked its outcome of its defeat of 1918 including the revolution. It was not actually the preferable choice of the German people. It was hoped by the people that overthrowing of Kaiser along with adoption democracy would enable the Allies to grant Germany some peace (Zake, 2005). To discuss about the success of the democracy, it may be mentioned the German democracy surely has but with much controversy and doubt. The mid of 1920s may be suitably regarded as the golden years for German democracy. Germany had regained her pre-war living standard. The actual potential of the recovery of the German remains a debating matter, due to the political as well as economic weaknesses that prevailed. It was tough under that democratic system to attain stable democracy. This is attributed to several political parties as well as the urge for forming coalitions. The blame was actually targeted upon the electoral mechanism of proportional prese ntation that permitted even minor parties to gather few elected members with immediately reflection, in absence of any barrier, the rise or fall of parties (Sandler, 2014). Key issue referred that the parties considered it tough to co-ordinate. This was much affected by the presence of extremist parties upon the right as well as the left. It was actually tough for the majority party to result in coalition along with other middle-class parties, since work-class voters would then mould t the Communist party, that had even a quarter of the left-wing vote always. There were even several failures of the democracy. The Weimar Republic had to face serious issues from the outset which forced Germans to either retain support from the parliamentary democracy or destroy it completely. Much of right and that of extreme left imparted the democracys most vitriolic opponents (Imperial Germany, 1867-1918: politics, culture, and society in an authoritarian state, 1996). In the face of this military alliance, left elements considered the alliance to be great barrier towards its goals. Presented by the Communist Party of Germany, they felt adequate hostility towards the Weimar Republic which sometimes cooperated with the extreme right for destroying the republic. Besides venomous political obstruction, democracy had to bear a weak economy with high inflation rates as well as unemployment rates. Inflation was instigated partially by enough wartime debts and government inevitably contracted and did not raise taxes for financing the war (Fulbrook, 1988). Infla tion destroyed several mid-class Germans, who perceived all savings as well as pensions erased off. Unemployment remained the key social issue throughout, thereby making millions of people suffer including their families. The economic set back made them vulnerable as well as susceptible towards the claims of extremist parties in politics. The so called pervasive social as well as political dissatisfaction due to Germans' grievances soon had due consequences (Hoffman and Halperin, 1947). The Treaty of Versailles in Germany was termed as humiliating as well as incapable of satisfaction. Walking the path of the Versailles treaty, disillusionment along with key democracy resulted in the instance of March 1920, the very first trial by right-wing nationalists for removing the republic, the Kapp Putsch. Here, this particular point all republican forces, the central party as well as the left were quite strong enough for frustrating the coup(Guillebaud and Reich, 1939). A strike played the role in defeating all plotters. During the year 1923 the republic faced the major crisis. In the month of January French as well as Belgian troops captured the intense industrialized Ruhr region due to the German defaults upon payments of reparations. The government even started concept of printing money at great rate and gradually became almost worthless. This marked the failure of 1923 (Ellis, 1995). Most historians would agree that several industrial leaders had identified this German d emocracy with labor unions as well as with the social democrats. Hence, Germany possessed a real tough democratic system. The president possessed the right as well as the power to call off the cabinet, then dissolve and also veto legislation. References Ellis, T. (1995). Democracy in Germany: A president speaks.Representation, 33(1), pp.3-4. Fulbrook, M. (1988). Bernstein to Brandt: A Short History of German Social Democracy; A History of German Social Democracy, from 1848 to the Present.German History, 6(3), pp.318-320. Guillebaud, C. and Reich, N. (1939). Labour Relations in Republican Germany. An Experiment in Industrial Democracy, 1918-1933.The Economic Journal, 49(195), p.519. Hoffman, R. and Halperin, S. (1947). Germany Tried Democracy: A Political History of the Reich from 1918 to 1933.Political Science Quarterly, 62(1), p.128. Imperial Germany, 1867-1918: politics, culture, and society in an authoritarian state. (1996).Choice Reviews Online, 33(07), pp.33-4080-33-4080. Sandler, W. (2014). Weimar Colonialism: Discourses and Legacies of Post-Imperialism in Germany after 1918.German History, 33(1), pp.149-150. Zake, I. (2005). Latvian nationalist intellectuals and the crisis of democracy in the inter-war period.Nationalities Papers, 33(1), pp.97-117.

Seminars Conferences Education Workshops â€Myassignmenthelp.Com

Question: Discuss About The Seminars Conferences Education Workshops? Answer: Introducation The various transactions have been discussed as follows with a view of determining their impact on the assessable income for the taxpayer (Charlotte). Assessable income Deductions The aim is to highlight the assessable income that Charlotte derives under taxation ambit of s. 6(5), ITAA 1997 that tends to deal with income based on ordinary concepts[1]. Annual assessable income from working as a lecturer = $ 90,000 Further, based on the verdict of the Thomas v FC of T[2]case, it is appropriate that house would not be considered as a place of business but rather would be limited to only the private study[3], The various expenses that can be considered as deductions under s. 8(1) are as follows[4]. Rent expenses to the extent of the area used for this purpose Running expenses which relate with electricity along with heating and cooling costs. Any decline in value of the depreciating assets can also be claimed. Under s.25(10), home repairs to the part occupied for work or assessable income production would also be deductible[5]. In line with the above discussion, the following deduction may be claimed. Occupancy related expenses (according to floor area) = (10/100)*31200 = $ 3,120 Running expenses (electricity as per floor area) = (10/100)*2000 = $ 200 Depreciation for FY2016 = 3100*0.4 = $ 1,240 Depreciation for FY2017 = (3100-1240)*0.4 = $ 744 Decline in value available for deduction[6] = 0.7*744 = $ 520.8 Deduction for repairs (internet wireless card)[7] = 0.7*180 = $ 126 Deduction for public transport[8] (s. 8(1) ITAA 1997) = $ 850 Deduction for seminar would not be available as it would not be used to generate assessable income[9]. It is known that Charlotte attended the seminar so as to cater to her personal agenda. Deduction is not available for premium of income protection insurance which protects the income is case of physical injury[10]. Hence, the premium paid for the same would not be considered deductible. Thus, net assessable income = 90000 (3120 + 200 + 520.8 + 126 + 850) = $ 85,183.2 Sale of share portfolio The intent is to determine any assessable income that would potentially arise on the basis of share sale. As per s. 6(5), ITAA 1997, dividend income is one of the components of ordinary income and would contribute to assessable income. However, whenever there is a disposal of a CGT asset, the capital gains or loss do arise and the same need to be accounted for. For the computation of the same, the cost base of the asset in accordance with s. 110-25 needs to be computed[11]. The cost base of an asset contains elements over and above the acquisition cost particularly related to financing of the asset, maintaining title and incidental costs related to selling and buying of asset. Also, as per s. 115-25, the discount method can be deployed for computation of capital gains only when these are long term in nature[12]. Purchasing price of the share (April 1, 2006) = $ 16,000 Total interest cost incurred with borrowing for the shares = $ 3,000 Incidental costs related to share sale = $ 500 Total cost base of shares = 16000 + 3000 + 500 = $ 19,500 Selling price of the share (April 1, 2017) = $ 20,000 Hence, capital gains on sale of share = 20,000 19,500 = $ 500 Outstanding capital losses from share sale (FY2016) = $3,000 Therefore, net capital gains on the share sale would be zero with a pending capital loss of $2,500. Hence, contribution to assessable income would be only in the form of dividend income in FY2017 which amounts to $ 800 (ignoring the impact of franking credits)[13]. Thus, it may be concluded that the share sale has resulted in contribution of $ 800 to the assessable income. Sale of Painting The objective is to determine if any capital gains/(losses) are made on the sale of the painting. Painting in accordance with s.108-10(2) is defined under the broad category of collectibles. Capital gains that arise from the sale of any collectible would be realisable only if the buying price is greater than $ 500[14]. Also, capital loss that arise from sale or disposal of collectible would be adjusted only against corresponding capital gains arising from collectible sale only as per s. 108(1)[15]. Buying price of the painting (FY2017) = $ 3,000 Selling price of the painting (FY2017) = $ 2,000 Also, there would be adjustment in the cost base since no additional cost incurred in buying or selling, hence the cost base would essentially constitute of the purchase price only. Hence, capital gains/(losses) = 2000 3000 = -$1,000 Thus, it may be concluded that a capital loss of $1,000 would be carry forwarded to the next year i.e. FY2018 so that it can be offset against gains from sale of collectible items. Hence, the sale of painting has no contribution to assessable income. Sale of inherited mothers property The capital gains implication of the sale of inherited house needs to be determined. A critical aspect to note is that death of the owner is not considered a CGT event and hence on accounting of the death, no capital gains or losses need to be computed. Further, when a house is passed on which had served as the main residence for the deceased from the time of construction, then the CGT treatment at the hand of beneficiary would essentially depend on the date of inheritance and property purchase and certain other conditions. Considering the given information, a particular situation is being applied. For any dwelling that is purchased after September 20,1985 and passed on after August 20, 1996, then no CGT implications would arise if both the following conditions are satisfied[16]. Either the dwelling is disposed off within a period of two years from the date of inheritance or it serves as the main residence during the period of residence Just before the death of the person deceased, the house was serving as the main residence and was not being used for deriving any income. It is apparent based on the given facts that the house has been inherited by Charlotte from her mother who died on August 1, 2016. The property was purchased by her mother on August 1, 2005 and from that day onwards, the house continued to serve as the main residence. This dwelling was passed on to Charlotte officially on October 1, 2016. Further exactly after two months i.e. December 1, 2016, the house was sold. Hence, it is apparent that all the conditions are fulfilled as mentioned below. The house has been purchased after September 20, 1985 The house has been transferred to Charlotte after August 20, 1996. It served as main residence of the deceased from the time of purchase to the time of her mothers death. Also, it was disposed within 2 years of taking possession by Charlotte. Thus, no capital gains or losses would be booked on the sale of the house by Charlotte. Sale of block of land The objective is to determine if any capital gains have been derived on the sale of the land to her son. Cost price of the land (July 1, 2016) = $100,000 Interest paid on the amount borrowed to make the purchase = $6,000 Hence, cost base of the land (s. 110-25) = 100000 + 6000 = $ 106,000 Selling price of land = $ 100 Section 116-30, ITAA 1997 is relevant here as it outlines that the selling price which is considered for computation of capital gains would be always the value which is higher between the selling price and the market value[17]. Hence, for computation of capital gains, the market value of land on the date of sale i.e. $ 120,000 would be considered. Thus, capital gains = 120,000 106,000 = $ 14,000 Net capital gains (after offsetting pending capital losses) = 14000 2500 = $ 11,500 The above capital gains would be considered in FY2017 only since the agreement for sale was signed on June 30, 2017. Also, the discount method cannot be applied to lower capital gains liability on account of the holding period not being greater than 1 year. Thus, taxable capital gains for Charlotte on account of the land sale to her son amounts to $11,500. Lottery Earnings The winnings from lottery are not subject to personal income tax since there is no skill involved in the same and it is essentially driven by chance[18]. This is in line with the commentary forwarded in IT 2584 and also Coleman v Commissioner of Taxation[19] [1999] AAT 249. Thus, the winnings at the Aussie Big Lotto would not contribute to the assessable income. References Taxable Income Computation Net taxable income arising from lecturing = $ 85,183.2 Dividend (without considering franking credits) =$ 800 Total capital gains = $ 11,500 Hence, total taxable income for Charlotte for the year FY2017 = 85,183.2+800+11500 = $ 97,483.2 Sale of share portfolioeral/Capital-gains-tax/Deceased-estates-and-inheritances/Inherited-dwellings/CGT-exemptions-for-inherited-dwellings/ ATO, income Protection Insurance, ATO https://www.ato.gov.au/Individuals/Income-and-deductions/Deductions-you-can-claim/Other-deductions/Income-protection-insurance/ ATO, Seminars, conferences and education workshops, ATO https://www.ato.gov.au/Individuals/Income-and-deductions/Deductions-you-can-claim/Other-deductions/Seminars,-conferences-and-education-workshops/ ATO, Taxation Ruling IT 2584, ATO https://law.ato.gov.au/atolaw/view.htm?rank=findcriteria=AND~lotto~basic~exacttarget=EAstyle=javasdocid=ITR/IT2584/NAT/ATO/00001recStart=1recnum=11tot=12pn=ALL:::ALL%22 Barkoczy, operations, Foundation of Taxation Law 2015, (North Ryde, CCH, 2015) Deutsch, Robert, et. al., Australian tax handbook. (Pymont, Thomson Reuters, 2015) Gilders, Frank, et. al., Understanding taxation law 2015. (LexisNexis, Butterworths 2015) Sadiq, Kerrie, et. al., Principles of Taxation Law 2015, (Pymont,Thomson Reuters, 2015)

Top Argumentative Essay Topics For College

Top Argumentative Essay Topics For CollegeWhen it comes to essay topics for college, most students start with a problem-solving approach. They begin their assignment by writing a thought provoking thesis, and then they use the essay as a way to reflect on their own academic development. However, if you are looking for a way to boost your grade point average, or perhaps increase your chances of getting into a good college, you may want to consider an argumentative essay.Writing a great argumentative essay for college can be challenging. In addition to the usual facts, figures, and information, you need to be able to mix logic and emotion to prove your points. The best argumentative essays will not be successful without this mix of content. Here are some top argumentative essay topics for college.Many different people are the main authors of the writings that form the basis of today's literature. Even if you think you know who wrote a particular piece of writing, sometimes you have to dig deeper to figure out who actually did. Here are a few examples of these types of essays.Whether your subject matter is current events, history, economics, politics, or other more broad topics, you need to be able to address and answer the questions that are posed. You should do research about the topic so that you can present your thesis clearly and concisely. Also, make sure that you know the difference between fact and opinion in order to present a well-researched point.The importance of fact versus opinion in writing is a very important component of essay writing. In fact, many professors will require you to address the difference between the two. Students who cannot fully make the distinction between the two often forget their arguments altogether. If you cannot clearly differentiate between the two, make sure that you cover both points so that you can get a better idea of where you stand.A difference between fact and opinion is something that many people can get lost on. Ho wever, in essay writing, an important difference is how you present information. You do not need to express an entire opinion about a particular issue, but rather you simply need to present facts and evidence that support your argument.Writing is an art form, and you will need to be able to get your points across to your audience. This requires you to research, assess, and evaluate your information. Therefore, when you are writing an argumentative essay, you need to use a broad range of skills to present your argument.Remember that you will need to provide a final assessment before grading the essay. Be sure that you cover all of the necessary points and that you provide a fair assessment to your students. Doing this will make sure that you do not give too much credit to someone, and also that you do not give too much credit to someone who does not deserve it. It will also help you as a teacher to be able to properly communicate with your students, so that you can provide an atmosph ere in which they can learn.

The unions of artists - THE BLUE ROSE AND THE JACK OF DIAMONDS free essay sample

The brotherhoods of creative persons THE BLUE ROSE AND THE JACK OF DIAMONDS A blue rose The largest art instruction after the art World and the Union of Russian creative persons was the Blue rose . Under this name in 1907 in Moscow the exhibition which has united group of immature creative persons, recent students of the Moscow school of picture, sculpturing and architecture followings of Borisov-Musatov has taken topographic point. Though this exhibition was alone, it has revealed a generalization of initial originative rules and in writing responses of the Masterss presented by it which have formed a particular way in Russian picture. The exhibition Blue rose has noted merely go throughing minute in their originative development, but the minute important. It was clip of the confusion which have captured a considerable portion of Russian society in ambiance of reaction after licking of revolution, clip reflected in art by an ambiguity of the intents. We will write a custom essay sample on The unions of artists THE BLUE ROSE AND THE JACK OF DIAMONDS or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The aggravated sensitiveness to sunglassess, niceties of obscure tempers generated images unsteady, get awaying, attracted creative persons to hunts of the rafinirovanno-refined coloring material dealingss, a thin is decorative-ornamental melodious beat, hard effects of the matte-flickering picturesque bill. The characteristic sample of such picture is the Blue fountain ( 1905 ) an early fabric of one of taking Masterss of a way of P.V.Kuznetsova ( 1878-1968 ) . The farther development of this creative person is typical for the bulk of Masterss of the Blue rose . It consisted in overcoming of the enlarged psychologism, in aspiration to come back to primary simpleness of esthesiss of a world. It was non, nevertheless, a manner of refusal of former picturesque system, and its logic development and flawlessness. So there is a series of the images devoted # 1079 ; # 1072 ; # 1074 ; # 1086 ; # 1083 ; # 1078 ; # 1089 ; # 1082 ; # 1080 ; # 1084 ; and the Central Asian steppes. Contemplation of huge unfastened infinites, supervising of a measuredly-quiet life of nomad folk has brought with itself uncluttering from under the power of obscure tempers, has turned the creative person from everlastingly get awaying to everlastingly existent. A Mirage in steppe ( 1912 ) one of the most perfect merchandises of this rhythm. The high sky, quiet lines of skyline, soft lineations of collapsible shelters freely disseminated in infinite, accrete with the Earth and reiterating lineations of a celestial dome, simple and rhythmical motions of the people cutting sheep, fixing the nutrient, sleeping, all it thanks to surprisingly thin, to harmonize of colour, signifiers and contours develops in # 1087 ; # 1086 ; # 1101 ; # 1090 ; # 1080 ; # 1095 ; # 1077 ; # 1089 ; # 1082 ; # 1080 ; a complete image of the universe, over which non imperiously clip. Before us primitive patriarchal idyll, Aureate Age , dream of harmoniousness of the individual and the nature, come true in world. Painting of these fabrics is based on thin # 1085 ; # 1102 ; # 1072 ; # 1085 ; # 1089 ; # 1080 ; # 1088 ; # 1086 ; # 1074 ; # 1082 ; # 1077 ; the colorful surface which have got wealths and plangency of colour tone, before obscured and dazed. Flexible unrecorded contours as if are seen through a crystalline rippling # 1085 ; # 1072 ; # 1075 ; # 1088 ; # 1077 ; # 1090 ; # 1086 ; # 1075 ; # 1086 ; by the Sun of air. Subjects thanks to it remain on a fabric as though in a suspension, are spiritualized, acquire a certain charming lightness. It seems, that all image is penetrated by a unvarying unrecorded beat, as though a soundless moving ridge of the lyrical delectation altering a image of the cogency in certain Eden vision . The thin hapless wordss of picture is combined with grave rhythmic of the composings counterbalanced and symmetric. # 1054 ; # 1088 ; # 1080 ; # 1077 ; # 1085 ; # 1090 ; # 1072 ; # 1083 ; # 1100 ; # 1085 ; # 1072 ; # 1103 ; the subject organically enters into creativeness of other participant of the Blue rose , together with # 1050 ; # 1091 ; # 1079 ; # 1085 ; # 1077 ; # 1094 ; # 1086 ; # 1074 ; # 1099 ; # 1084 ; analyzing in the Moscow school, M.S.Sarjana ( 1880-1972 ) . Picturesque method # 1057 ; # 1072 ; # 1088 ; # 1100 ; # 1103 ; # 1085 ; # 1072 ; receives the perfected signifier in 10th old ages of Twenty century under feeling of trips to Turkey, Iran and Egypt. The creative person does non compose off everything from nature, that sees an oculus, and searches a complete picturesque image, the colourful expression. Equally good as at # 1050 ; # 1091 ; # 1079 ; # 1085 ; # 1077 ; # 1094 ; # 1086 ; # 1074 ; # 1072 ; , a footing of expressiveness of its fabrics is the colour discoloration and the is ornamental-decorative organisation of the image on a plan e. Such merchandises # 1057 ; # 1072 ; # 1088 ; # 1100 ; # 1103 ; # 1085 ; # 1072 ; , as Street. Midday. Constantinople ( 1910 ) , The traveling adult female ( 1911 ) , the Date thenar tree ( 1911 ) , distinguishes that it would be possible to call dynamism of vision. It non long contemplation, and fast repair of the basic colourful dealingss in aggressively contrast comparings. If painting # 1050 ; # 1091 ; # 1079 ; # 1085 ; # 1077 ; # 1094 ; # 1086 ; # 1074 ; # 1072 ; is similar to lyrical spring, painting # 1057 ; # 1072 ; # 1088 ; # 1100 ; # 1103 ; # 1085 ; # 1072 ; a colourful apothegm refering seen. prefers the intensive, bright, decidedly directed light hiding sunglassess of colour and denudation contrasts, aggressively denominating boundary lines light and dark. In this regard its picture reminds the colour drawing, sometimes, as for illustration, in The traveling adult female , finds out similarity to application. The cogency on fabrics appears condensed in colourful exaggerations, making highs of hapless sounding. Its thenar tree put in the Centre of a canvas, it is proud elating over hapless homes the foliages which remind a violent colorful fountain, with force whipping of a bole upwards and in comprehensiveness, it seems an incarnation of self-generated power of the nature, truly a life tree . So the by, through specific activization of the picturesque signifier, # 1057 ; # 1072 ; # 1088 ; # 1100 ; # 1103 ; # 1085 ; comes to a condensation ordinary-real to ageless poetic symbols. As a way of Russian picture of the beginning of Twenty century the Blue rose is closest to symbolism poetics. A footing of this affinity is basic installing on transmutation of images of the cogency on intent to except possibility of actual perceptual experience of things and the phenomena, holding cleared in them non ordinary, high communications and values. In the all right humanistic disciplines it pours out in preference for any transmutations in domain of ocular perceptual experience to crisp perspective decreases and the unexpected foreshortenings changing the signifier of topics, to reflex ions in H2O, on glass, in mirrors, to the airless quiver dissolution contours, etc. The theater becomes sphere of the most effectual any more lone ocular, and cosmopolitan transmutation of the cogency at that clip. It has appeared that dirt where picture of the Blue rose and symbolism have met straight. The most interesting discrepancy of this duologue of painting with symbolism at theatre represents N.N.Sapunova s creativeness ( 1880-1912 ) . Together with other maestro of the Blue rose S.J.Sudejkinym ( 1882-1946 ) it became the interior decorator of symbolical play foremost in Russia M.Meterlinka ( at Theatre-studio MHT on Cook, 1905 ) . Cooperation with from here originates. # 1052 ; # 1077 ; # 1081 ; # 1077 ; # 1088 ; # 1093 ; # 1086 ; # 1083 ; # 1100 ; # 1076 ; # 1086 ; # 1084 ; in statements # 1043 ; # 1077 ; # 1076 ; # 1076 ; # 1099 ; # 1043 ; # 1072 ; # 1073 ; # 1083 ; # 1077 ; # 1088 ; Ibsen, # 1041 ; # 1072 ; # 1083 ; # 1072 ; # 1075 ; # 1072 ; # 1085 ; # 1095 ; # 1080 ; # 1082 ; # 1072 ; . On the other manus, the thaumaturgy of theater , coercing to worry unreal, invented and antic as original and unrecorded, it is transferred to easel picture. So there is a whole group of the merchandises written apropos of matching theatrical public presentations. The romantic creative person who has become isolated in the universe, created by caprices of imaginativeness, starts to accept coevalss of ain imaginativeness for the cogency. There is a transmutation symbolical the charming universe in clowning are that # 1090 ; # 1077 ; # 1079 ; # 1072 ; and the symbolism antithesis , noted by the Block in 1910, and still earlier, in the 1906 which have become by a subject of a lyrical play # 1041 ; # 1072 ; # 1083 ; # 1072 ; # 1075 ; # 1072 ; # 1085 ; # 1095 ; # 1080 ; # 1082 ; , which statement made out. From the minute of work on this public presentation at creativeness invariably there are elements of exhibition clowning, basting stylisation and grotesque. These inclinations reach the culmination in non finished image Tea imbibing ( 1912 ) A doodly-squat of diamonds The boundary is noted 1910-1911 by happening on sphere of an art life of new grouping under the causation name a doodly-squat Of diamonds . A changeless meat of the society which have existed really till 1916, the creative persons P.Konchalovsky, I.Mashkov, A.Lentulov, A.Kuprin, R.Falk who have become later by seeable Masterss of the Soviet art have made. The doodly-squat of diamonds , the holding charter, exhibitions, aggregations of articles, was a new influential way in Russian art of the beginning of Twenty century The Impressionism in all its updating was at the same time and a starting point of art development, and that originative method in which get the better ofing creative persons of a doodly-squat of diamonds saw the precedence. From the really get downing they act as ferocious oppositions of old art the art World , the refined psychologist of picture of the Blue rose are rejected from a threshold. At the bosom of discontent of immature creative persons with a province of personal businesss in the modern art societal motivations crisis in Russia, with exceptional force shown in revolution 1905-1907, and come so old ages of reaction ( 1907 1910 ) laid. This discontent with a dusk era was expressed in # 1086 ; # 1090 ; # 1074 ; # 1077 ; # 1088 ; # 1078 ; # 1077 ; # 1085 ; # 1080 ; # 1080 ; all vague, cryptic, held back in art. In a counterweight of symbolical picture of the Blue rose creative persons of a doodly-squat Of diamonds aspired to show most well motion from concentration on subjective non clear esthesiss to happening of stableness of a vision, colourss, to the constructive logic of image building. The statement of a topic and concreteness in a spatial property counterweight makes an initial rule of their art. In this connexion picture of topics a still-life is put frontward on the first topographic point. Polemic jobs of picture of a doodly-squat of diamonds have found particularly bright incarnation in creativeness of one of group I.I laminitiss. Mashkov ( 1881 1944 ) . Dark blue plums ( 1910 ) it is possible to see it as the original motto of this way. The image of the fruit laid in a inactive cosmetic composing, as though has fallen asleep halfway from rough substance of pigments of a pallet to existent colour of nature. The creative person assimilates the work to work of the handicraftsman making things. In this instance such thing is the image. The creative person approaches painting to national creativeness with feeling of an initial stuff inherent in it. In nudity of the procedure of creative activity of a picturesque thing and in hapless # 1087 ; # 1088 ; # 1080 ; # 1087 ; # 1086 ; # 1076 ; # 1085 ; # 1103 ; # 1090 ; # 1086 ; # 1089 ; # 1090 ; # 1080 ; colourful sounding the initial rule of a folk art is as though formulated by Mashkov: a combination of two parties of a national life work and a vacation. It is so declaratory, as in Dark blue plums Mashkov, confirmed by a doodly-squat Of diamonds the new attack to nature development is expressed P.P.Konchalovskim ( 1876-1956 ) in G.Jakulova s Portrait ( 1910 ) . The artist brings in traditional country of domination of psychological jobs # 1085 ; # 1072 ; # 1090 ; # 1102 ; # 1088 ; # 1084 ; # 1086 ; # 1088 ; # 1090 ; # 1085 ; # 1086 ; # 1077 ; , the confirming beginning. It eliminates everything that concerns go throughing kernel of the individual, underscoring all of what there are the steadiest, bright, in the true sense words picturesque marks of single external form. Here we deal with the specific system of simplifications peculiar to a national popular print, a plaything, a signboard. Not casually unfavorable judgment sometimes defined manner of picture of a doodly-squat of diamonds as a whole as manner of a signboard . The Same unfavorable judgment repeatedly marked a direct connexion of new coevals of the Moscow painters with modern it the Gallic picture go uping in the beginnings to Cezanne. However Cezanne s picture has been apprehended by a doodly-squat of diamonds through a cosmetic discrepancy, in peculiar Matisse. The cult of a cosmetic reigning at the beginning at creative persons of a doodly-squat of diamonds , dispersed from Cezanne s picture in one instead indispensable point: in easing of sculptural esthesis of the signifier. The feeling of materiality of a topic which artists in the first merchandises tried to accomplish, originate non at the disbursal of sculpturing-volume building of the signifier, and at the disbursal of bulkiness of the bill while the infinite looked decoratively dispersed and is frequent owing to it formless. In get the better ofing of this deficiency a known function the cubism the current of the picture happening theoretical motive to the experiments in the recommendation given one time by Cezanne to do the mental analysis of hard signifiers by their attack to the basic geometrical constellations to a regular hexahedron, a cone and a domain has played. Masters of a doodly-squat of diamonds used similar responses. So, Konchalovsky s Agave ( 1916 ) represent s a discrepancy of mastering of experience of the cubism, go throughing utmost steps of conventional splitting of the signifier. The creative person has seen a manner of the analysis of spacial dealingss in cubism. The image infinite is thought as a certain topic, from it with attempt topics represented which signifier as if interruptions, deformed, with attempt winning for them the necessary critical environment return form. Things actively take root into infinite environing them, as if get the better ofing its opposition. From here feeling of dramatic character. Things as though are on guard of the won topographic point, they do non give easy, seem hostile to the individual, aloof from it. The genre of a still-life Begins capable to reassign the new care, conformable the present with its contradictions and esthesis of nearing dazes. In picture of a doodly-squat Of diamonds value of high art has been returned a still-life. Along with a cubism the futurism one more arisen in Italy in the same old ages a picture current becomes the of import constituent of in writing manner of a doodly-squat Of diamonds from the center of 10th old ages. Proclaiming original linguistic communication of the future industrial beat of an era of scientific and proficient revolution, it demanded debut of these beats in the design of a work of art. One of its responses is installing of topics or parts of the topics taken as though at assorted times and from different points of the reappraisal. Motion of the topic, i.e. the witness, is transferred on object which is allocated with self-generated kineticss, by ability to freakish updating of the signifier. This consequence in a combination to cubic displacement of signifiers and stratification of spacial programs we see in A.V.Lentulova s cosmetic pictures-panels ( 1882-1943 ) Vasily Blazhennyj ( 1913 ) and Ringing ( 1915 ) . The image surface is thought here by similarity of the mirror jingling and split by a powerful sound moving ridge in which the colorful Moscow architecture is reflected. Refering Russian creative persons to responses of modern West European art there was a known portion of ironicalness. At # 1051 ; # 1077 ; # 1085 ; # 1090 ; # 1091 ; # 1083 ; # 1086 ; # 1074 ; # 1072 ; it has affected, for illustration, in transferring of responses of the futurism intended for look of beat of an industrial era, on perfectly other in the being object architecture. From this self-contradictory combination of modern in writing linguistic communication to images of the Moscow olden clip there is out of the blue bright art consequence the ancient architecture as though excited by invasion of industrial beat, involved in an orbit of perceptual experience of the modern individual feeling and all about in ceaseless motion. To merchandises of other representative of a doodly-squat of diamonds to R.R.Falka ( 1886 1958 ) are non curious cosmetic range of fabrics # 1051 ; # 1077 ; # 1085 ; # 1090 ; # 1091 ; # 1083 ; # 1086 ; # 1074 ; # 1072 ; , # 1073 ; # 1088 ; # 1091 ; # 1090 ; # 1072 ; # 1083 ; # 1100 ; # 1085 ; # 1072 ; # 1103 ; beauty and materiality of picture of Mashkov. The lyric poet on a warehouse of originative disposition, avoids intended # 1086 ; # 1075 ; # 1088 ; # 1091 ; # 1073 ; # 1083 ; # 1077 ; # 1085 ; # 1080 ; # 1103 ; the signifier, aspires to thin survey of a picturesque surface, achieves refined colourful harmoniousnesss. Penetrated by ambiance of religious concentration and silence, painting differs original psychologist, is allocated by ability to reproduce thin sunglassess of tempers. Not casually hence among its merchandises the considerable topographic point occupies a portrayal. One of the best images of pre-revolutionary creativeness At the pi ano. E.S.Potehinoj-Falk s portrayal ( 1917 ) . Relatives on manner to painting are A.Kuprin and V.Rozhdestvenskogo s merchandises creative persons of a doodly-squat Of diamonds , working chiefly in a still-life genre. Some sort of lasting defiance characterizes creativeness of one of organisers of a doodly-squat Of diamonds M.F.Larionov ( 1881 1964 ) . In 1911 it breaks off with this grouping and there is the organiser of new exhibitions under # 1101 ; # 1087 ; # 1072 ; # 1090 ; # 1080 ; # 1088 ; # 1091 ; # 1102 ; # 1097 ; # 1080 ; # 1084 ; # 1080 ; names Asinine tail , Target . The crude inclination of art has found In Larionov s creativeness a doodly-squat Of diamonds , connected with assimilation by professional art of stylistics of a signboard, a popular print, a national plaything, kids s pulling the most back-to-back development. In a counterweight to the bulk of creative persons of 10th old ages Larionov systematically defends the rights of genre picture, non declining the narrative narrative in a image, But the life in Larionov s genres is a particular, primitive life of provincial streets, coffeehouse, hairstylist s, soldier s barracks. One of Larionov s the most typical merchandises a image Having a remainder soldier ( 1911 ) . Grotesque, # 1091 ; # 1090 ; # 1088 ; # 1080 ; # 1088 ; # 1086 ; # 1074 ; # 1072 ; # 1085 ; # 1085 ; # 1072 ; # 1103 ; typicalness of a pose indulgence in contemplation healthy large chaps with a flower in all cheek is doubtless cast by naivete of kids s drawing. At the same clip it is large-scale images and skilfully transferred continuance lazy # 1074 ; # 1086 ; # 1079 ; # 1083 ; # 1077 ; # 1078 ; # 1072 ; # 1085 ; # 1080 ; # 1103 ; before the witness transforms a image in is thin # 1089 ; # 1087 ; # 1072 ; # 1088 ; # 1086 ; # 1076 ; # 1080 ; # 1088 ; # 1086 ; # 1074 ; # 1072 ; # 1085 ; # 1085 ; # 1099 ; # 1081 ; a smart portrayal. But therefore leer sunglassess. The relation of the creative person to pattern expressions as love sarcasm . If creative persons of a doodly-squat of diamonds , particularly in a creativeness initial phase, preferred a bright pallet, strong colour contrasts Larionov, as a regulation, addresses to subjects pedestrian and unsmooth, dim and non colour, cultivating sunglassess of the pull together colourss, accomplishing refined silvereyes and a colour harmoniousness. To merchandises of this artist fabrics of the changeless comrade and adherent Larionov in its hunts # 1053 ; . # 1057 ; were near. # 1043 ; # 1086 ; # 1085 ; # 1095 ; # 1072 ; # 1088 ; # 1086 ; # 1074 ; # 1086 ; # 1081 ; ( 1881 1962 ) . In a image canvas Washing ( 1910 ) figures of two adult females against # 1083 ; # 1091 ; # 1073 ; # 1086 ; # 1095 ; # 1085 ; # 1086 ; # 1088 ; # 1072 ; # 1079 ; # 1084 ; # 1072 ; # 1083 ; # 1077 ; # 1074 ; # 1072 ; # 1085 ; # 1085 ; # 1086 ; # 1075 ; # 1086 ; a rural landscape, compact, with heavy # 1089 ; # 1090 ; # 1091 ; # 1087 ; # 1085 ; # 1103 ; # 1084 ; # 1080 ; , are written with that is naive-touching wishing to represented which distinguishes kids s drawings, particularly when the kid reproduces good familiar, accustomed topics and state of affairss. Here we deal any more with aesthetically-game stylisation of a Demotic life, as for illustration, at # 1050 ; # 1091 ; # 1089 ; # 1090 ; # 1086 ; # 1076 ; # 1080 ; # 1077 ; # 1074 ; # 1072 ; , and with effort through crude thing art to happen a manner out of mazes of modern psychologist and # 1091 ; # 1084 ; # 1086 ; # 1079 ; # 1088 ; # 1077 ; # 1085 ; # 1080 ; # 1081 ; , to happen the lost beginnings of an is naive-complete sight at the universe. In a small spot other signifier the same inclination Acts of the Apostless in art of M. 3. Walked ( 1887-1985 ) . Extraordinary steadfast caution in reproduction most that on is matter-of-fact inside informations of conditions of the provincial backward life changed by pigments of a spicy, brilliant pallet, is combined at All Walked with antic motivations of antic flights, heavenly marks, etc. it is similar to caprices of the romantic phantasy whimsically blending ennobled and low, projecting memoirs on romantic narratives of Gogol. Pre-revolutionary creativeness of most original of painters adjoins to a crude line in Russian art P.N.Filonov ( 1883-1941 ) . Modern crudeness is understood by it merely every bit means to imitate in painting a certain complete image of the universe, the type of a universe position giving in modern # 1079 ; # 1088 ; # 1080 ; # 1090 ; # 1077 ; # 1083 ; # 1100 ; # 1085 ; # 1086 ; # 1084 ; experience representation about world myths. For the creative person of the XX-th century it was a manner to remind that makes a dorsum of a machine civilisation that is pushed aside by it on fringe of public attending, viz. about patrimonial in the individual, about that portion of the individual which it is with the nature, with its dark, is tenacious-inert, cryptic dark, forces, contact with which forms the indispensable care labour, in peculiar state, a life. So, in # 1050 ; # 1086 ; # 1088 ; # 1086 ; # 1074 ; # 1085 ; # 1080 ; # 1094 ; # 1072 ; # 1093 ; ( 1914 ) Fil onovs all is molded to each other as though in the helter-skelter upset. The complicated sentence structure of a in writing phrase suggests the witness to seek sense and sequence in combinations of capable signifiers and figures, following by thinking, that pealing in a bundle of human memory where there could be a key to the codification figure of this image. But the way of these hunts is set by the image retreating in country of crude natural myths. The usual para top and underside here is turned: plaything little houses are perceived as seeable at a distance from above so, that figures of animate beings and # 1082 ; # 1086 ; # 1088 ; # 1086 ; # 1074 ; # 1085 ; # 1080 ; # 1094 ; bent in dark celestial spheres over the universe and look in # 1079 ; # 1086 ; # 1086 ; # 1084 ; # 1086 ; # 1088 ; # 1092 ; # 1085 ; # 1099 ; # 1077 ; and # 1072 ; # 1085 ; # 1090 ; # 1088 ; # 1086 ; # 1087 ; # 1086 ; # 1084 ; # 1086 ; # 1088 ; # 1092 ; # 1085 ; # 1099 ; # 1077 ; signifiers with that self-contradictory, is angular-exact estimates from what zodiac figures in a kaleidoscope of configurations in a dark sky are outlined by a sight. Particularly tellurian scene is shown as fabulous # 1087 ; # 1088 ; # 1072 ; # 1080 ; # 1089 ; # 1090 ; # 1086 ; # 1088 ; # 1080 ; # 1103 ; , # 1090 ; # 1074 ; # 1086 ; # 1088 ; # 1080 ; # 1084 ; # 1072 ; # 1103 ; in celestial spheres, but this heavenly is at the same time and something is dense-primitive, reminding of primary engagement of the individual in zoology, about those times and about that status of consciousness when the Supreme divinity of the sky appeared in image of a heavenly cow , and cowss engendering work was ritual spiritual rite, heavenly service . It is a life what she looks from dark deepnesss of ancestral memory. Impersonal this the expression can specify a method and at the same time a subject of art of Filonov animating in the hieroglyphic signifier habitual for Russian art a manner, procedure, phases of it is impersonal-natural in religious. Specific of in writing linguistic communication, symbolical on the beginning, halves perceptual experience of seeable signifiers and qualities of the capable universe between direct and portable values. So dark in Filonov s pre-revolutionary images is both dark, and metaphysical somberness , prehistoric darkness ; originally compact figures at the same time both # 1084 ; # 1072 ; # 1089 ; # 1089 ; # 1080 ; # 1074 ; # 1085 ; # 1099 ; , and # 1073 ; # 1077 ; # 1089 ; # 1087 ; # 1083 ; # 1086 ; # 1090 ; # 1085 ; # 1099 ; ; visible radiation and colour are merged in unvarying quality, reminding consequence of a stained-glass window ; figures as much remind crude graven images, how many and mediaeval Chimeras . Many qualities of in writing system of Filonov, every bit good as the manner of creative activity the new relation to the cogency by alteration of a series forgotten a universe position , have the nearest paradigm in Vrubel s art. Leaning of creative persons of 10th old ages to experiment, to decomposition of complete art feeling for the amount of simple influences for the interest of familiarising with primary bases of art expressiveness has led to allotment of this country # 1092 ; # 1086 ; # 1088 ; # 1084 ; # 1086 ; # 1090 ; # 1074 ; # 1086 ; # 1088 ; # 1095 ; # 1077 ; # 1089 ; # 1090 ; # 1074 ; # 1072 ; in independent domain of art. In 1913 Larionov publishes the book # 1051 ; # 1091 ; # 1095 ; # 1080 ; # 1079 ; # 1084 ; which was one of the first pronunciamento of abstract art. However original leaders theoreticians and abstract art experts in Russia V.V. Kandinsky s steels ( 1866-1944 ) and K.S.Malevich ( 1878-1935 ) . From the minute of the beginning abstract painting develops in two waies: at Kandinsky it is self-generated, irrational game of colour discolorations, at Malevich visibleness # 1084 ; # 1072 ; # 1090 ; # 1077 ; # 1084 ; # 1072 ; # 1090 ; # 1080 ; # 1095 ; # 1077 ; # 1089 ; # 1082 ; # 1080 ; the verified, is rational-geometrical buildings. The abstract art applied to be in art pattern by as though bodied theory of cardinal rules of painting in general. Painting jobs were reduced by it to research of possible combinations of primary elements lines, colourss, signifiers. If Malevich and Kandinsky s abstract art develops originally entirely within easel picture in V.E.Tatlina s creativeness ( 1885-1953 ) object of abstract experiment there is one more component of painting the bill. The qualities belonging in painting to one stuff pigment, # 1058 ; # 1072 ; # 1090 ; # 1083 ; # 1080 ; # 1085 ; transforms into combinations of bills of assorted stuffs Sns, a tree, glass, # 1087 ; # 1088 ; # 1077 ; # 1086 ; # 1073 ; # 1088 ; # 1072 ; # 1079 ; # 1091 ; # 1103 ; a image plane in similarity of a sculptural alleviation. In alleged counter alleviation # 1058 ; # 1072 ; # 1090 ; # 1083 ; # 1080 ; # 1085 ; # 1072 ; heroes there are non valid topics and abstract classs of the bill rough, fragile, syrupy, soft, sparkling, entrance among themselves in hard dealingss without agencies of any concrete graphic secret plan. In architecture we face ability of art to show, non stand foring, go throughing imitation the life facts . In belongingss of a in writing surface as # 1072 ; # 1088 ; # 1093 ; # 1080 ; # 1090 ; # 1077 ; # 1082 ; # 1090 ; # 1086 ; # 1085 ; # 1080 ; # 1095 ; # 1077 ; # 1089 ; # 1082 ; # 1086 ; # 1075 ; # 1086 ; Fieldss are concluded the expressive possibilities non given, but set to the image merely as gravity Torahs are set to motion of organic structures or a beat, the size, an order of rimes are set to a poetry. Research of these possibilities besides was that experiment which has been done by abstract art. On this manner to # 1087 ; # 1088 ; # 1072 ; # 1086 ; # 1089 ; # 1085 ; # 1086 ; # 1074 ; # 1072 ; # 1084 ; the art influence, hidden in the device of human memory, XX-th century art should is inevitable to run into the art worlds where needed Torahs of expressiveness there was no clip are carried already out in completeness of a rule. New offered a manus good forgotten old and through such contact there have passed barely likely non all Masterss of alleged avant-guard in XX-th century art. Among them the outstanding topographic point belongs to to S.Petrov-Vodkin ( 1878 1939 ) . The long manner of originative formation of this maestro rich with hard hunts crowns creative activity in 1912 of a image Bathing of a ruddy Equus caballus . This merchandise is considerable non merely the internal care, but besides that in it many thorny inquiries of art of the beginning of Twenty century It have concentrated sounds as an entreaty and a inquiry and first of all that acuteness and expressiveness of the signifier recreating, a world altering images to which art of Twenty century so distressingly aspired, is reached here through development of lessons of Old Russian picture. Directly declaring consecutive communicating, this merchandise forces to remember at the same time and Abduction of Europe # 1057 ; # 1077 ; # 1088 ; # 1086 ; # 1074 ; # 1072 ; at which Petrov-Vodkin studied in the Moscow school. The image of the equestrian on a game, turning thought to folklore r epresentations, in painful the stood motion gives rise to a inquiry. Celebratory victory of colour and sleepy capturing beat of lines, a powerful Equus caballus and the immature man-teenager who has fallen asleep in non clear idea, powerlessly holding lowered reins, being given to the power of force goodness knows where pulling it, memoirs on the yesteryear and non clear foreboding of the future such combination of opposite elements symbolically on the internal construction. Owing to it besides was perceived by coevalss as a symbol of the disquieted minute. Even more systematically Petrov-Vodkin to images of Old Russian art in such plants, as Mother , Girls on Volga ( 1915 ) , addresses Morning. Swimmers ( 1917 ) . Here echoes # 1080 ; # 1082 ; # 1086 ; # 1085 ; # 1086 ; # 1087 ; # 1080 ; # 1089 ; # 1085 ; # 1099 ; # 1093 ; images in fixed # 8482 ; motions, in self-immersing of characters, in contemplation by which heroines of these images are got are hearable. In Petrov-Vodkin s creativeness value of ageless images and that towers: a dream and waking up, age stairss of a life adolescence, a young person, maternity, life circulation between a birth and decease such is a circle of these that. In intervention of a similar kind any new era expresses those the ideal representations about a topographic point of the individual in the infinite whole. In the art universe they play a function # 1091 ; # 1085 ; # 1080 ; # 1074 ; # 1077 ; # 1088 ; # 1089 ; # 1072 ; # 1083 ; # 1080 ; # 1081 ; the philosophical order, looming over variableness of the fluid cogency. Consequently in Petrov-Vodkin s in writing system all qualities of the universe topic to supervising aspire to the # 1087 ; # 1088 ; # 1077 ; to efficient, absolute conditions: Color gravitates to pure, released from atmosphere fluctuations, visible radiation has character stellar ageless visible radiation , the skyline line reproduces curvature of a planetal surface of the Earth harmonizing to a rule of alleged spherical chance which all event in infinite translates in a rank of the phenomena of infinite graduated table. In assortment of modern signifiers of art generalisation Petrov-Vodkin allocates what have the concrete art reference, an Old Russian icon and a fresco, and besides Italian # 1082 ; # 1074 ; # 1072 ; # 1090 ; # 1088 ; # 1086 ; # 1095 ; # 1077 ; # 1085 ; # 1090 ; # 1086 ; , i.e. those phenomena in graduated tables of national and European art tradition which straight approach to a threshold of the lat est distinction and analytical shattering but where the art universe and a image of the universe in art was still thought and appeared as the certain unity informing to ways of art look the imperativeness of the monumental illustriousness. As whole in feeling of a cosmopolitan nexus of times and the phenomena here that thirsts for universe contemplation to show and resuscitate in the modern art Petrov-Vodkin. # 1055 ; # 1088 ; # 1086 ; # 1075 ; # 1088 ; # 1072 ; # 1084 ; # 1084 ; # 1085 ; # 1086 ; appealing to associatory ability of art memory, he as if impulses to think, what form and an image have the modern universe and art feeling peculiar to it in # 1089 ; # 1086 ; # 1080 ; # 1079 ; # 1084 ; # 1077 ; # 1088 ; # 1077 ; # 1085 ; # 1080 ; # 1080 ; with the nature and history in infinite of the universe cultural experience. Petrov-Vodkin, every bit good as assortment of other Masterss of its coevals, old ages one of seeable Masterss of the Soviet picture, holding brought with itself during a new era unrecorded art traditions, high thoughts and perfect accomplishment.

Computing industry between Apple and Microsoft

Greek Idiots - Democracy and Voting - Myth vs Fact

Greek Idiots - Democracy and Voting - Myth vs Fact In ancient Greece, the inventors of democracy set up a law that required every person to vote, regardless of who they voted for. If anyone was found not voting, the person would be publicly marked and labeled an idiot, someone who thought their own personal needs trumped those of the society around them, and over time, the word idiot has evolved into todays usage. -Â   Isaac DeVille, Michigan State columnist It just isnt true that all Greeks or even all citizens of Athens were required to vote, and its not true on many levels. Only males (free and, originally, propertied; later, also born to two Athenian-born parents) could become citizens.Only citizens could vote.These potentially voting citizens were limited to those without a personal or inherited mark (atimia) against them.In addition, whats true about one period of democracy is not necessarily true of another. 1275a: 22-23: A citizen defined in simple terms is someone who can participate in judging [that is, serve as a juror in the court system] and in governing [that is, serve in public office, which here means not just magistracies but also serving in the assembly and on the council in systems of government that have these institutions]. Stoa Project Aristotle www.stoa.org/projects/demos/article_aristotle_democracy?page8greekEncodingUnicodeC Politics Male Athenian citizens actively participated, but voting was only a part of what was meant by democracy. Speaking well and being physically present in the communal life were crucial.The Athenian assembly, which held 6000 citizens, decided most of the issues.Citizen-orators persuaded their fellow citizen-voters.The voting itself could be conducted by a show of hands, as is seen Aristophanes comedy Ecclesiazousai, where Praxagora describes the voting in the Assembly:Its difficult; yet it must be done, and the arm shown naked to the shoulder in order to vote.Officials chose the winner based on a visual estimate of the majority of hands. They certainly werent counting exactly enough to make sure there were 6000 hands on 6000 discrete bodies. Sometimes more secretive ballots were used small, colored balls placed in urns. 6000 was not the entire citizen body, although it was a hefty portion.A body of 6000 citizens served as juries, meeting about half the days of the year, with each of the ten tribes providing its required share.A lottery selected the 400 or 500 men for the third governmenta l group, called the boule. Steven Kreis The Athenian Origins of Direct Democracy explains the idiot reference in the student newspaper: At Athens, a citizen who held no official position or who was not a habitual orator in the Assembly was branded as idiotai. This is a far cry from calling the non-voter an idiot. Idiotai is also used to distinguish the common people from the poor (penetes) and the more powerful (dynatoi). Idiotai is also used for unskilled worker. While we dont know what the population figures are for ancient Athens, and it changed over time, if there were say, 30,000 male citizens, more than a third of them were actively involved in politics at times. If we followed the Athenian example, who would feed, house, clothe, educate, and medicate the families of the politicians? Pay for time spent fulfilling the civic obligation was at first non-existent. Aristotle has several passages in his Politics explaining why. Here is one: 1308b: 31-33: It is of the greatest importance in all systems of government to have laws and the rest of governmental administration so arranged that magistrates cannot profit financially from their offices. There is a passage from a work ascribed to Aristotle in a section about Solon that probably led to the columnists idea. It comes from Constitution section 8: Further, [Solon] saw the state often engaged in internal disputes, while many of the citizens from sheer indifference accepted whatever might turn up, he made a law with express reference to such persons, enacting that any one who, in a time civil factions, did not take up arms with either party, should lose his rights as a citizen and cease to have any part in the state. Although not the last word that could be said on the issue, modern Americans are not like classical Athenians. We neither live our lives in public nor do we all want to be politicians (although neither did Socrates, even though he sat on the Athenian Boule). Requiring us to be penalized for failing to go to the polling booths andmake choices on the ballot once every 4 years because thats what they did in the birthplace of democracy misses the point of the ancient Greek democratic process. Further Reading on Greek Voting and Idiots The Tradition of the Athenian Democracy A. D. 1750-1990, Mogens Herman Hansen Greece Rome, 2nd Ser., Vol. 39, No. 1. (Apr., 1992), pp. 14-30.The Athenian Assembly in the Age of Demosthenes, Mogens Herman Hansen. Review author: Phillip Harding Phoenix, Vol. 44, No. 2. (Summer, 1990), pp. 199-200.The Ten Archontes of 579/8 at Athens, Thomas J. Figueira Hesperia, Vol. 53, No. 4. (Oct. - Dec., 1984), pp. 447-473.The Duration of a Meeting of the Athenian Ecclesia, Mogens Herman Hansen. Classical Philology, Vol. 74, No. 1. (Jan., 1979), pp. 43-49.Christopher W. Blackwell, The Assembly, in C.W. Blackwell, ed., DÄ“mos: Classical Athenian Democracy (A. Mahoney and R. Scaife, edd., The Stoa: a consortium for electronic publication in the humanities [www.stoa.org]) edition of March 26, 2003. More of Democracy Then and Now Part 1: IntroductionPart 2: AristotlePart 3: ThucydidesPart 4: PlatoPart 5: AeschinesPart 6: IsocratesPart 7: HerodotusPart 8: Pseudo-XenophonPart 9: Q. Were All Ancient Greeks Required to Vote or Risk Being Labeled Idiots?

CBC STAT Professor Ramos Blog

CBC STAT Its 5 a.m. I’m on the unit doing my job minding my own business. I’m drawing blood on   patient after patient moving along quite nicely. I come of out of my fifth patient’s room I look around and see white coats everywhere. Uh oh, shit is about to hit the fan. My workload doubles in a matter of seconds. I’ve been a phlebotomist for ten years And I quickly learned this is not just about poking and getting blood.   It’s about talking to people. It’s about social skills. About Dealing with difficult people in the midst of difficult circumstances. â€Å"The hospital† is a teaching hospital, therefore the doctors are learning how to be doctors. These are called the residents, the ones in the white coats. The residents round in teams of six to eight with one attending. The attending is the teacher for the residents. Because they are learning how to be doctors, they really don’t know how to order lab tests. This leads to patients being poked four to six times a day minimum.   This in turn leaves the patients very frustrated and angry. Because of the size of the teams and the amount of patients they need to see, they don’t always talk to each other, causing many problems. Not only do they order the same lab tests over and over, they order them incorrectly. â€Å"Can we add a lactate to that?†, he so rudely asks as I have the needle in the patient’s arm. ( No I can’t add it. He couldn’t have told this before I came in the room?) Likewise most of the doctors do not have a good bedside manner or manners in general.   This is very frustrating to be around but I have to work with them so I learn to ignore it or shrug it off. This is not something that can be taught in a book like all of their other material, it is a process learned over time.   It’s pretty funny sometimes, to watch doctors who go to school for ten years, struggle with what to say to people. Due to the HIPAA law, it makes it more frustrating for me to do my job. This law doesn’t allow me to get mentally prepared before I go into the room. Sometimes I’m shocked at what I see, from a man with no face to an amputee.   HIPAA is the Health Insurance Portability and Accountability Act. This healthcare law provides security provisions and data privacy to keep patients medical information safe. This law is so strict that I’m not even allowed to tell the patients what I’m drawing their blood for. Therefore as a phlebotomist, I don’t even know why they’re in the hospital or what they have. If a patient has HIV, the nurse is supposed to tell me but often times she does not. When I walk in the room I never know what I’m walking into. This can be shocking not only visually but emotionally. Their condition directly effects their emotional state and their attitude.   I get smacked in the face with it. I saw a man with no face, his jaw was taken off, the top of his mouth and his nose. This man was not pleasant but I wouldn’t be either if someone took off my face. I could barely keep a straight face. Patients rip out their IV’S. There are dialysis patients, patients with liver failure, these patients are usually yellow. Patients are confused and often combative, they scream, hit, cry, and complain. All these physical conditions directly affect how hard it is to get their blood, physically and Socially. The sicker they are the more frustrated and rude they are. â€Å"You can’t get my blood, I’m a hard stick, they poked me 10 times in the ER† I hear this at least five times a day. Or my personal favorite, â€Å"Good luck, my veins are small and they roll.† I can get it, the nurses in ER couldn’t draw blood to save their life. I can’t tell the patient that though. Most nurses are rude.   Nurses are not the caring gentle people you might think. Some of them only become nurses for the money. Wrong move, those people do not belong holding someones life in their hands.   The nurses that do care become hardened to the things they see on a daily basis. I can understand. Nurses can draw blood too, they just don’t try. So I have to do it. â€Å"Do you have have a BMP for room 6 bed 2?† she says with a demeaning tone. Yes I have it here. â€Å"Can you do it next hes going to CT?’ And she walks away. Although its been ten years and now I’m an expert at drawing blood I don’t think its possible to ever be an expert in dealing with these people. I’m human of course and get frustrated too. It’s the field we’re in. We see some daunting things, it’s hard to watch. As a result people become hardened, Usually this happens by default and without the person being aware. It has advantages though. It would not be good if a doctor or nurse cried every time they learned a patient took a turn for the worse. Watching this transformation from sweet to hardened keeps me aware. I don’t ever want to become that way. Learning to deal with these people gives me motivation to be grateful. Its hard to be in a bad mood when I’m drawing a patient with a colostomy bag, or an amputee, or when the patient is crying because they are overwhelmed with their diagnosis.   After a while the procedure gets easier and easier, however it is oftentimes very heartbreaking to constantly see people hurting.   And It is easy to get caught up in the chaos, to get lost in the procedure, in the hustle bustle of the day.   It does help when the cancer patient I am drawing is the one cheering me up. I catch myself complaining about some silly little thing like forgetting to return an item to the store or because I’m not happy with my coworkers. The person in the hospital bed struggling for their life offers me a better perspective and tells me they will pray for me. It really makes me grateful for my health and for JESUS. I get a quick reality check. I’m Healthy, I’m working in the A.C. Li ving in beautiful southern California. I have a lot to be grateful for. I didn’t learn these lessons from just one patient, one nurse, or one doctor. I learned this through many of them over time. Nor did I learn it from one or two situations. It didn’t happen only once and then I learned and was a better person immediately after.   It doesn’t work that way, at least not the way I learn. It wasn’t easy learning to deal with these people, it took patience and practice. It was a long process but now I can usually let it roll off my shoulders. I am grateful because this a skill I can now use anywhere I go and for the rest of my life.