Entrepreneurship in developing countries. A case stady of Equatorial Essay

Entrepreneurship in developing countries. A case stady of Equatorial Guinea. Can entrepreneurship provide the economic diversification needed to survive outside the oil industry - Essay Example This study seeks to explore the reasons why there is a dearth of entrepreneurs in Equatorial Guinea and the difficulties encountered by those already established in the country. The study examines the difficulty in registering firms, intricacy of obtaining credit and lack of government incentives. Similarly, the study examines the role of entrepreneurial education and women involvement in self-employment. The research is based in the various urban provincial centres in Equatorial Guinea utilising a primary research strategy was employed a thematic qualitative method to answer the research questions. Additionally, a secondary research was conducted centred on available relevant literature. The study revealed that there many difficult obstacles and hindrances to entrepreneurs in the country ranging from a dearth of qualified personnel, low work ethic, poor government policies and corruption. Nonetheless, the study has indicated a positive correlation between enhanced training and entrepreneurship with those empowered by business skills willing to embark on self-employment. This study will build upon existing research on the economic impact of developing an entrepreneurial culture and spirit in developing countries but will particularly focus upon the need for diversification among the resource rich nations who nevertheless still suffer from the Dutch Disease and the Resource Curse syndromes. The study is based in Equatorial Guinea, a central African country that has all the above ingredients despite being endowed with enviable natural resources including ample hydrocarbon deposits but still ranks as one of the poorest countries. The study aims at determining whether diversification from overreliance on a single natural resource predominantly through embarking on self-employment is feasible within Equatorial Guinea and

German Essays Immanuel Kant and Moses Mendelssohn

German Essays Immanuel Kant and Moses Mendelssohn The interpretation of the enlightenment by immanuel kant and moses mendelssohn. The Enlightenment, an intellectual movement that considerably influenced scientific and social thinking of the eighteenth century, was exposed to a profound analysis by Immanuel Kant who connected the concept of enlightenment with personal freedom, pondering over ‘private’ and ‘public’ usage of reason, and Moses Mendelssohn who introduced the notions ‘civil enlightenment’ and ‘human enlightenment’ to differentiate between social and individual understanding of enlightenment. While Kant looked for the ways to achieve a balance between public and private usage of reason, Mendelssohn paid attention to the differences between human and civil enlightenment, revealing the difficulties of acquiring this balance. However, in their definitions of enlightenment both Kant, the follower of the German Enlightenment, and Mendelssohn, the originator of the Haskalah, the Enlightenment of Jews, uncovered â€Å"the tension between the agenda of enli ghtenment and the exigencies of society† (Schmidt 5). Making an attempt to provide his definition of the Enlightenment in the essay â€Å"Answering the Question: What is Enlightenment?† written as a response to the Reverend Zollner, Immanuel Kant states that â€Å"enlightenment is man’s release from his self-incurred tutelage† (83). Thus, according to Kant, enlightenment is achieved through personal freedom that is impossible to acquire without such crucial human traits as courage and intellect (Belas 457-460). However, Kant’s definition of enlightenment expels an open struggle, because it can return people to tutelage, depriving them of the possibility to achieve enlightenment. Proposing to eliminate certain church and state restrictions, Kant applies to two different usages of reason that constitute true enlightenment – ‘private’ usage and ‘public’ usage. As Kant points out, â€Å"By the public use of one’s reason I understand the use of which a person makes of it as a scholar before the reading public. Private use I call that which may make of it in a particular civil post of office which entrusted to him† (89). Although the philosopher draws a parallel between these concepts, he points at the fact that the private usage of reason should be subjected to certain limitations, while the public usage of reason should be kept free, because â€Å"it alone can bring about enlightenment among men† (Kant 89). In this regard, Moses Mendelssohn’s definition of the Enlightenment is similar to Kant’s definition, but Mendelssohn relies on different concepts in his analysis. Mendelssohn regards enlightenment as the acquisition of particular knowledge that creates the necessary balance between a person as a citizen and a person as a human being. In view of this definition, Mendelssohn differentiates between ‘civil enlightenment’, which corresponds with certain social interests, and ‘human enlightenment’, wh ich deals with individual knowledge of a person and, according to James Schmidt, â€Å"paid heed neither to some distinctions nor to the maintenance of social order† (5). However, unlike Immanuel Kant, Moses Mendelssohn admits that there are some particular cases when public aspects of enlightenment should be strongly restricted. As Schmidt states, â€Å"While Mendelssohn was willing to concede that there might be certain unhappy circumstances in which philosophy must remain silent lest it pose a threat to public order, Kant was uncompromising in his insistence that the public exercise of reason should never be restricted† (5-6). To some extent, Kant’s attitude can be explained by that fact that the philosopher interprets enlightenment through the issues of religion, considering the existing religious dogmas as an obstacle towards personal freedom (Lassman 815-820). Thus, regarding freedom as one of the most crucial aspects of enlightenment, Kant simultaneously brings up a question of people’s independence from religion, while Mendelssohn points at freedom within religious faith. In this context, Kant tends to define enlightenment in practical terms, while Mendelssohn analyses theoretical aspects of enlightenment, claiming that â€Å"Enlightenment seems†¦ to have to do with the theo retical, specifically with reasoned apprehension of the world in an objective sense† (313). Operating with the notion ‘Bildung’ that means knowledge in a wider sense of the word and combines two social elements – enlightenment and culture, Moses Mendelssohn claims that enlightenment greatly depends on culture. As the philosopher puts it, â€Å"Enlightenment is to culture as theory is to practice, as discernment is to morality, as cultural criticism is to virtuosity. When viewed objectively in and of themselves, they exist in the closest possible synergy, even if they can be viewed subjectively as separate categories† (314). In view of this definition it is clear that for a person as a citizen both culture and enlightenment are important, because, according to Mendelssohn, â€Å"all practical virtues only acquire meaning in relation to life in the social sphere† (315). However, for a person as a human being enlightenment is more crucial than cu lture. On the other hand, Mendelssohn states that enlightenment contributes to theoretical usage, while culture is better applied to practical usage. But those nations that manage to combine both culture and enlightenment achieve the highest level of the Enlightenment, like the Ancient Greeks. Mendelssohn considers that modern societies rarely achieve this standard, as he claims, â€Å"Nurembergers have more culture, Berliners more enlightenment, the French more culture, the British more enlightenment, the Siamese more culture and little enlightenment† (314). The similar notion is expressed by Kant who points at the fact that various religious dogmas deprive people of the possibility to achieve freedom and enlightenment; that is why modern people only strive for enlightenment, but they do no live within enlightenment. According to Kant, people find it really difficult to get rid of someone’s guidance, especially the guidance of church or state. But Kant puts major responsibili ty for such dependence from religion on people who are unable to appropriately use their intellect to acquire true enlightenment. The philosopher thinks that religion destroys people’s selves and deprives them of the possibility to attain the equilibrium of private and public usage of reason. For Kant, enlightenment is determined by a person’s capacity to freely utilise his/her reason. Theoretically, every person has rights and abilities to utilise his/her reason, but in practice only some individuals reveal power and courage to achieve enlightenment. For instance, Kant states that a priest should restrict his private usage of reason, because he follows the religious dogmas of his church; however, he should not restrict his public usage of reason, if he can make some useful offers and provide new knowledge. In this regard, Immanuel Kant regards enlightenment as a continuous progress, but he states that â€Å"a public can achieve enlightenment only slowly† (84). The philosopher acknowledges that some social changes can result in the elimination of certain biases or dogmas, but these old prejudices can be replaced by new biases and rules of behaviour that may slow down the process of enlightenment. However, Kant points out that enlightenment can be delayed onl y for a short period of time, but â€Å"to give up enlightenment altogether, either for oneself or one’s descendants, is to violate and to trample upon the sacred rights of man† (86). Kant considers that the eighteenth century is the age of enlightenment, as various religious issues are exposed to critical analysis by some individuals who apply to reason to enlighten themselves. Discussing the issue of enlightenment, Mendelssohn reveals that â€Å"reason could demonstrate the fundamental truths of natural religion† (Arkush xiii). Mendelssohn claims that reason provides new understanding of religious dogmas, and it is this particular understanding that contributes to people’s enlightenment. In this regard, Mendelssohn manages to adjust the Enlightenment’s rationality with religion, although the philosopher realises that enlightenment provides people with free will and thinking, while religion controls people’s actions and thoughts. In view of this interpretation of enlightenment, Mendelssohn’s viewpoint corresponds with Kant’s vision, as both philosophers support the notion that true enlightenment can be achieved by those individuals who are able to dispute, but at the same time obey. For Mendelssohn and Kant, the ability to dispute reveals people’s reason and courage, while the ability to obey reflects their enlightenment. Thus, enlightenment is more than a simple process of acquiring certain knowledge; rather it is a particular stand, which people may create. However, according to Kant, society can acquire enlightenment more easily than an individual, if taken into account the fact that public usage of reason is not exposed to any restrictions. As Kant states, â€Å"it is difficult for an isolated individual to work himself out of a dependency that has become virtually second-nature to him† (84). The philosopher considers that only some individuals manage to overcome this dependenc y; however, as Kant further claims in the essay, â€Å"but that a public at large might manage to enlighten itself is, in contrast, something quite possible† (84). Unlike Kant, Mendelssohn points at the necessity of some limitations and states that enlightenment can be achieved, if every person receives freedom of religious faith. But Mendelssohn claims that this freedom is possible if two major institutions of power – state and church are separated. Making an attempt to draw a parallel between the ideas of the Enlightenment and Jewish religion, Moses Mendelssohn regards enlightenment as a crucial aspect of Jews’ emancipation (Shmueli 167-169). In this regard, Mendelssohn’s interpretation of enlightenment is based on the principles of natural religion and reason that contribute to the formation of enlightened society (Meyer 29). Kant’s definition of enlightenment is founded on the connection between reason and modified authoritative laws. However, both Mendelssohn’s and Kant’s ideas of enlightenment are cantered on the concept of freedom, although the philosophers utilise different approaches in their interpretation of the role of freedom in the process of enlightenment. As Immanuel Kant regards enlightenment as both a continuous progress and a particular attitude or responsibility, he considers that a person is able to achieve freedom and enlightenment only if he/she changes himself/herself. In other words, enlightenment serves as a specific tool, through which a person expresses his/her self, and, on the other hand, it is a certain command that a person gives himself/herself and provides to other individuals. Therefore, Kant presents enlightenment as a progress in which people act together and as an individual expression of courage. Taking this interpretation of enlightenment into account, it is clear that Kant differentiates between the usage of reason and the sphere of obedience, but the philosopher clearly demonstrates that both states depend on people’s courage and intellect. For instance, if a person pays his/her taxes, but expresses his/her negative attitude to the taxation system, he/she reveals intellect and courage that speak of his/her maturity. In this case, a person acquires enlightenment that results in his/her inner freedo m. In his interpretation of enlightenment, Mendelssohn points at freedom of conscience; this freedom is closely connected with people’s religious faith. According to Mendelssohn, a state should not influence religious faith of people; it is this particular freedom of choice that constitutes the core of Mendelssohn’s definition of enlightenment. Critically analysing Jewish religious dogmas through the idea of enlightenment, Mendelssohn manages to overcome the existing religious biases and bring together Christian and Jewish religions (Beiser 92-93). For Moses Mendelssohn, such changes constitute true enlightenment, reviving humanism and indulgence. Although both Mendelssohn and Kant apply to religious aspects in their interpretations of enlightenment, they utilise different viewpoints. Kant discusses the issue of enlightenment through religion, because he considers that the existing religious institutions are too harmful for people; thus it is crucial to reduce their influe nce on individuals, utilising reason to challenge church authorities. Kant considers that a person should reject the prevalent religious stereotypes and produce new standards for himself/herself in accordance with reason and free will.   Unlike Kant, Mendelssohn points at the fact that the process of enlightenment is religious in its essence; that is why the philosopher makes an attempt to conciliate religious issues with rationality of philosophical thinking (Sorkin 35-42). Despite the fact that Mendelssohn regards Judaism as religion that possesses the highest level of reason, he nevertheless criticises some aspects of this religion, destroying traditional understanding of Judaism (Altmann 13-19). Mendelssohn considers that enlightenment can provide people with the logical interpretation of certain religious issues. The philosopher thinks that simple faith in God is not able to prove the existence of God, but, applying to reason, people are able to find answers to all controversial religious aspects. As Arkush points out, in his definition of enlightenment Mendelssohn reveals that â€Å"reason could demonstrate the fundamental truths of natural religion; that is, the existence of God, providence, and immortalityâ €  (xiii). Kant expresses the similar notion, claiming that reason can both prove and disapprove the existence of God; in other words, reason inspires both people’s beliefs and doubts. But only analysing two sides of the issue with the help of reason, an enlightened individual is able to realise the essence of the universe and his/her own existence. In this regard, Kant reveals the idea that even the striving for enlightenment relieves people of their dependence and provides them with freedom. On the other hand, contrasting such aspects of enlightenment as reason and freedom with immaturity and dependence, Kant opposes Mendelssohn’s appreciation of Judaism. For Kant, Judaism greatly depends on a materialist world; it is a religion that utilises people for its own benefits, depriving them of freedom and enlightenment.    The differences between Kant and Mendelssohn are intensified even more when the philosophers discuss the dawning of the age of enlightenment. According to Moses Mendelssohn, the era of enlightenment would hardly come, because throughout their history human beings have moved onward and backward, preventing further development of humankind. Moses considers that an individual person is able to acquire a certain level of enlightenment; however, entire humankind creates constant limitations and laws, either religious or state, which hinder the process of enlightenment. In his analysis of enlightenment Kant expresses a different viewpoint; in particular, he claims that humankind always progresses in its development. Although the philosopher acknowledges the existence of some limitations and obstacles, he points at the fact that these limits may only slow down the process of enlightenment, but they can never completely destroy it. As Kant regards enlightenment as a continuous progress, he r ealises that people, utilising reason and acquiring some knowledge, will continue to strive for enlightenment. And it is this aspiration for profound knowledge and understanding of human existence that Kant interprets as enlightenment. In this regard, Kant thinks that it is really important to draw a parallel between past and present generations, analysing various stages of their development. On the other hand, Kant reveals an obvious obstacle to the progress of enlightenment; as people usually analyse only separate parts of the universe, they fail to combine these elements into a complete picture. As a result of this inability, human beings may find it difficult to influence each other and fully integrate into the process of enlightenment. However, despite these obvious differences, both Kant and Mendelssohn in their interpretation of enlightenment make attempts to maintain the ideas of rationalism without an open rejection of the existence of God. This is especially true in regard to Moses Mendelssohn who does not challenge the existence of God, but opposes the existing religious laws that create the unchanging truth for believers, depriving them of the possibility to achieve enlightenment. Thus, both Mendelssohn and Kant define enlightenment through the analysis of the practical ways to achieve enlightenment; however, unlike Mendelssohn, Kant bases his definition on ce rtain negations, such as ‘dependence’, ‘immaturity’, ‘shortage of courage’. In this context, Kant demonstrates that the first step in acquiring enlightenment is the elimination of everything that deprives people of reason and freedom; only overcoming the first stage of elimination, a person is able to proceed to the second stage of acquisition. Analysing the definitions of the Enlightenment by Immanuel Kant and Moses Mendelssohn, the essay has revealed that Kant’s interpretation of enlightenment is based on the concept of freedom and mainly deals with a person’s ability to overcome immaturity and inner fears. Discussing enlightenment, especially through religious aspects, Kant provides two major concepts that constitute his vision – ‘private’ and ‘public’ usage of reason. Mendelssohn’s interpretation of enlightenment reflects a close connection between enlightenment and culture, but the philosopher’s distinction of ‘civil enlightenment’ and ‘human enlightenment’ demonstrates the difference between a person as a citizen and a person as a human being. Although both Kant and Mendelssohn adhere to public and private aspects in their understanding of enlightenment, their interpretations considerably differ. In particular, Kant considers that t he public usage of reason should be kept free, while the private usage should be exposed to certain limitations; unlike Kant, Mendelssohn thinks that in some cases the public usage should be restricted, or otherwise it may produce some negative consequences for society. In this regard, Kant’s definition concerns a practical side of the issue, although it is based on the principles of ‘escape’, for instance, escape from inner fears toward maturity. On the contrary, Mendelssohn’s definition is created on a theoretical basis and interprets enlightenment through the principles of ‘achievement’. However, both Immanuel Kant and Moses Mendelssohn point at the necessity of freedom in the Enlightenment, despite the fact that Kant tends to maintain the idea of freedom from religion, while Mendelssohn supports the idea of freedom within religion. Works Cited Altmann, Alexander. Moses Mendelssohn, A Biographical Study. Alabama: University of Alabama   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Press, 1973. Arkush, Allan. Moses Mendelssohn and the Enlightenment. Albany, NY: State University of New   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   York Press, 1994. Beiser, Frederick. The Fate of Reason: German Philosophy from Kant to Fichte. Cambridge and   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   London: Harvard University Press, 1987. Belas, L. Kant and the Enlightenment. Filozofia. 54 (2000): 457-463. Kant, Immanuel. What is Enlightenment. Foundations of the Metaphysics of Morals and What is   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Enlightenment. By Immanuel Kant. New York: Macmillan, 1990. 83-90. Lassman, Peter. Enlightenment, Cultural Crisis, and Politics. The Role of Intellectuals from Kant   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   to Habermas. The European Legacy. 5 (2000): 815-828. Mendelssohn, Mo ses. On the Question: What does To Enlighten Mean? Philosophical Writings.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   By Moses Mendelssohn. Trans. and ed. Daniel O. Dahlstrom. Cambridge: Cambridge   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   University Press, 1997. 313-317. Meyer, Michael. The Origins of the Modern Jew. Detroit: Wayne State University Press, 1967. Schmidt, James, ed. What is Enlightenment?: Eighteenth-Century Questions and Twentieth-Century   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Answers. Berkeley, Los Angeles, London: University of California Press, 1996. Shmueli, Efraim. Seven Jewish Cultures: A Reinterpretation of Jewish History and Thought.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Cambridge: Cambridge University Press, 1990.   Ã‚   Sorkin, David. Moses Mendelssohn and the Religious Enlightenment. Berkeley: University of   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     California Press, 1996.

Parental Involvement in School Systems Essay example -- essays papers

Parental Involvement in School Systems Parental involvement in school systems is a vital part to the success of many different types of people’s success. Therefore the purpose of this research paper is to investigate the importance of parental involvement in elementary, middle, and high schools, as well as the influence this has on the migrant students. Although, there are many conflicts that occur while trying to get the parents involved in the school systems. This all leads to increased academic success, and proves that it is the best way to go in most cases. â€Å"Many factors affect student performances, latest fad is no cure-all†(Weaver, Reg 2003). Although the involvement of parents in school systems doesn’t fix everything according to the quote, but it does help out a lot in mostly all situations. Elementary Schools First, the parental involvement in Elementary school systems is very important to the young school student. There are many different factors affecting the way school students learn. â€Å"And public opinion recognizes that after parental involvement, teacher quality, and class size make the biggest difference in how much students learn†(Weaver, Reg 2003). This long process of getting parents involved in the school systems has been going on since 1857, and will continue as long as needed be. â€Å"Helping young parents understand how they can help their children by reading to them and staying involved in their academic lives makes a huge difference†(Weaver, Reg 2003). Getting the teachers involved in the school doesn’t have to deal all with the government, but it has to deal with just the parents and teachers communicating better with each other. When the teachers ar... ...the students are benefitted when the parents and teachers work together through online communication, and the help the students receives through this process. Weaver, l. and Barerra, j.(2003).Improving parental involvement, Eric Data base, journal 4 pages This is another article that deals with the way when parents and teachers are involved together how their children have increased academic success. Weaver, r.(2004).Solution isn’t that simple. USA today news pg.10 The article is about the importance of elementary school teachers and parents getting involved with each other to help the success of their children. Welsh, p.(2003).Value of parent-teacher meetings increases at a high school level. USA Today pg. 21a This article is about the importance of parents and teachers talking and communicating even at the high school level.

An Analysis on “American Gothic” by Grant Wood Essay

â€Å"Without atmosphere a painting is nothing.† This is a quote by Dutch painter and Etcher. There have been several painters who focused on the atmosphere of the locations or spots that they chose to draw on their canvas. However, some of the painters founded themselves mysteriously involved into the environments of places that they visited. One of those painters is Grand Wood, who painted the American Gothic. Wood made certain atmosphere the bases of his painting and through his unique style of painting impressed everyone who liked good artwork. As a result, the painting stands amongst the likes of Mona Lisa and other highly famous paintings today. American Gothic by Grant Wood American Gothic by Grant Wood is one of the most famous painting in the history of arts. The Art Gallery of Chicago is the place where American Gothic was displayed for the very first time and it is the very gallery that still keeps the painting. In search of visiting a fine piece of art, in person, I visited the Art Gallery of Chicago. There, along with many other paintings, American Gothic was also displayed for the visitors to see. Experiencing American Gothic through Computer VS in Person When I visited the gallery 263 and finally looked at the American Gothic painting by myself, I realized the importance of seeing an artwork by one’s own eyes instead of looking at in on a computer or in books. The painting made that was oil painted on Beaver Board was 78 x 65.3 cm in size and there was the signature of Grant Wood on the lower right corner on the canvas along with the year 1930. Since I was there just to see and analyze the American Gothic, I stayed in front of the painting after other visitors moved towards other paintings. Masterpiece Turned Into Senseless Parodies As we all know there have been countless parodies of the American Gothic out there, some of which are harmless parodies while many of them are totally absurd attempts. After looking at the painting for several minutes I got a bit uncomfortable because I found the two characters (Painter’s sister and his dentist) a bit creepy. The way the lady is looking at her father, who  seems to be a hardworking farmer, and way the farmer is looking at us holding a pitchfork in his hand is what gives the painting another meaning than just two individuals standing in front of a farmhouse made using Carpet Gothic style. However, creating parody after parody by different people is what I find disrespectful to the legendary art such as this one. If you praise something, you should respect it and not make fun of it or use it is a source of humor because I found everything in the American Gothic but humor. Existence of Conflict in Concern with the Expectations of Society Earlier we have discussed themes and roles of the artist that conflicted within the expectations of society. If we talk about whether or not the American Gothic had elements that conflicted within the expectations of society, we would have to say yes. For the reason that not everyone sees a particular thing in the same way, various people perceive certain things in different manners. Same is the case with American Gothic as Lunday, in one of her most interesting articles said that; â€Å"Some perceived the work as a scathing parody of the Midwest—one outraged farm wife even threatened to bite off Wood’s ear.† (Lunday, 2012) The Fame and Acceptance Earned By the Artwork There is a complicit that American Gothic holds within the expectations of society. However, the amount of praise this painting has received completely outweighs the negative remarks or reviews that it received. As Lunday mentions in the very article ‘Honest and Creepy, Satire and Homage: Grant Wood’s American Gothic’: â€Å"Meanwhile, Gertrude Stein and other critics praised the painting as a cutting small-town satire, the visual equivalent of Sinclair Lewis’s Main Street. Still others saw the painting as honoring the Midwest and its strong values.† She furthermore said; â€Å"During the Great Depression, the masterpiece gave hope to a desperate nation, and it helped shape the notion of the Midwest as a land of hard work and honest values. Today, the painting is firmly embedded in our cultural vocabulary.† (Lunday, 2012) Without Atmosphere a Painting Is Nothing It is apparent that Wood believed that the environment of a painting is the most important element of a painting. This particular painting proves this point as the painter chose his dentist and his sister as his subjects just because there was no other model available to pose for the painting in front of the wood farmhouse. Wood took help of his mother in making his paintings as she would agree to become the subject for many of Wood’s paintings. However, while Wood decided to paint the American Gothic, he realized that his mother won’t be able to stand in the field for that long while he paints, so he chose his sister instead. Wood chose his dentist and his sister because he couldn’t afford to lose the opportunity of painting the Carpenter Gothic style farmhouse that he came across while visiting the small town of Eldon in his native Iowa. This reminds me of a quote by Rembrandt Harmenszoon Van Rijn, which seems completely fitting to what Grant Wood was all about : â€Å"Without atmosphere a painting is nothing.† ― Rembrandt Harmenszoon Van Rijn Wood’s imagination was wide-ranging. He foresaw the fame and acceptance that this particular painting will get by analyzing the environs around the wood farmhouse. When he saw the house’s strange yet compelling arched window in the Carpenter Gothic style, the first thing that came to his mind was to find out what sort of people lived there. However, instead of knocking on the door, the painter decided to capture the farmhouse in paint and tease out the story for himself in effort to sort through the puzzle, piece by piece. (Lunday) â€Å"I imagined American Gothic people with their faces stretched out long to go with this American Gothic house. – Grant Wood. Final Words American Gothic doesn’t fall in the category of Primitive art as the elements it holds are usually found in such paintings and artworks that are related to modernism. Though countless individuals made parodies of American Gothic but actually the real artwork cannot be copied or reproduced to give another painter fame and fortune. The idea of anchoring a painting on the environs of a farm field and a farmhouse was the creativity of Grand Wood which cannot be repeated again in the history of arts. However, if one bases his art practices around the quote â€Å"Without atmosphere a painting is nothing.†Ã‚  there would be minor chances that we might see another painting somewhat as good as American Gothic.

Stefan’s Diaries: Bloodlust Chapter 8~9

Chapter 8 October 4, 1864 As a human, I'd thought it was my mother's death that had shaped the men Damon and I would become. I'd called myself a half-orphan in the initial days after she died, locking myself away in my room, feeling as though my life had ended at the young age of ten. Father believed grieving was weak and unmanly, so Damon had been the one to comfort me. He'd go riding with me, let me join the older boys in their games, and beat up the Giffin brothers when they made fun of me for crying about Mother during a baseball game. Damon had always been the strong one, my protector. But I was wrong. It is my own death that has shaped me. Now the tables have turned. I am the strong one, and I have been trying to be Damon's protector. But while I have always been grateful to Damon, he despises me and blames me for what he has become. I had forced him to feed from Alice, a bartender at the local tavern, which had completed his transformation. But does that make me a villain? I think not, especially as the act had saved his life. Finally, I see Damon the way Father had seen him: too imperious, too willful, too quick to make up his mind, and too slow to change it. And as I had also realized earlier this evening as I stood just outside the dim glare of the gas lamp, the body of the dead nurse at my feet: I am alone. A full orphan. Just as Katherine had presented herself when she came to Mystic Falls and stayed in our guesthouse. So that's how vampires do it, then. They exploit vulnerability, get humans to trust them, and then, when all the emotions are firmly in place, they attack. So that is what I will do. I know not how or who my next victim will be, but I know, more than ever, that the only person I can look out for and protect is myself. Damon is on his own, and so am I. I heard Damon steal through the city, moving at vampire speed down the streets and alleys. At one point, he paused, whispering Katherines name over and over again, like a mantra or a prayer. Then, nothing Was he dead? Had he drowned himself? Or was he simply too far away for me to hear him? Either way, the result was the same. I was alone–Id lost my only connection to the man Id once been: Stefan Salvatore, the dutiful son, the lover of poetry, the man who stood up for what was right. I wondered if that meant that Stefan Salvatore, with no one to remember him, was really, truly dead, leaving me to be anyone. I could move to a different city every year, see the whole world. I could assume as many identities as Id like. I could be a Union soldier. I could be an Italian businessman. I could even be Damon. The sun plunged past the horizon like a cannonball falling to earth, dipping the city into darkness. I turned from one gaslit street to the next, the soles of my boots rasping over the gravelly cobblestones. A loose newspaper blew toward me. I stomped on the broadsheet, examining an etched photo of a girl with long, dark hair and pale eyes. She looked vaguely familiar. I wondered if she was a relative of one of the Mystic Falls girls. Or perhaps a nameless cousin whod attended barbecues at Veritas. But then I saw the headline:BRUTAL MURDER ABOARD THE ATLANTIC EXPRESS. Lavinia. Of course. Id already forgotten her. I reached down and crumpled the paper, hurling it as far as I could into the Mississippi. The surface of the water was muddy and turbulent, dappled with moonlight. I couldnt see my reflection–couldnt see anything but an abyss of blackness as deep and dark as my new future. Could I go for eternity, feeding, killing, forgetting, then repeating the cycle? Yes. Every instinct and impulse I had screamedyes. The triumph of closing in on my prey, touching my canines to the paper-thin skin that covered their necks, hearing their hearts slow to a dull thud and feeling a body go limp in my arms. Hunting and feeding made me feel alive, whole; they gave me a purpose in the world. It was, after all, the natural order of things. Animals killed weaker animals. Humans killed animals. I killed humans. Every species had their foe. I shuddered to think what monster was powerful enough to hunt me. The salty breeze wafting from the water was laced with the odor of unwashed bodies and rotting food–a far cry from the aroma across town, where scents of floral perfume and talcum powder hung heavy in the air of the wide streets. Here shadows hugged every corner, whispers rose and fell with the flowing of the river, and drunken hiccups pierced the air. It was dark, here. Dangerous. I quite liked it. I turned a corner, following my nose like a bloodhound on the trail of a doe. I flexed my arms, ready for a hunt–a gin-soaked drunk, a soldier, a lady out after dark. The victim didnt matter. I turned again, and the iron-scent of blood came closer. The smell was sweet and smoky. I focused on it, on the anticipation of sinking my fangs into a neck, of wondering whose blood Id be drinking, whose life Id be stealing. I continued to walk, picking up my pace as I traced the scent to an anonymous back street lined with an apothecary, a general store, and a tailor. The street was a replica of our own Main Street back in Mystic Falls. But while wed only had one, New Orleans must have had dozens, if not hundreds, of these corridors of commerce. The rusty smell of iron was stronger now. I followed twists and turns, my hunger building, burning, searing my very skin until finally, finally I came to a squat, peach-colored building. But when I saw the painted sign above the door, I stopped short. Sausages in their casings hung in the buildings grimy window; slabs of cured meat dangled from the ceiling like a grotesque childs mobile; carved ribs were nestled in ice beneath a counter, and in the far back, whole carcasses were strung up, draining blood into large vats. This was a butcher shop? I sighed in frustration but my hunger forced me to push the door open anyway. The iron chain snapped easily, as if it were no sturdier than thread. Once inside, I gazed at the bloodied carcasses, momentarily mesmerized by the blood falling into the vats, one drip at a time. Over the sound of the raining blood, I heard the slightestping, no louder than the twitch of a mouses whiskers. Then came the light shuffle of toes passing over concrete. I reared back, my eyes darting from corner to corner. Mice scuttled beneath the floorboards, and someones watch ticked in the building next door. All else was quiet. But the air around me suddenly felt thicker, and the ceiling lower somehow, and I became acutely aware that there was no back exit in this room of death. â€Å"Who goes there?† I called into the darkness, whirling around, my fangs bared. And then came movement. Fangs, eyes, the thud of footsteps closed in around me from all corners. A low, guttural growl echoed off the bloodstained walls of the shop, and I realized with a sickening jolt that I was surrounded by vampires who looked all too ready to pounce. Chapter 9 I crouched low, my fangs elongated. The heady scent of blood permeated every corner of the room, making my head spin. It was impossible to know where to attack first. The vampires growled again, and I emitted a low snarl in response. The circle closed in tighter around me. There were three of them, and I was caught, like a fish in a net, a deer surrounded by wolves. â€Å"What do you think youre doing?† one of the vampires asked. He looked to be in his mid-twenties and had a scar that ran the length of his face, from his left eye to the corner of his lip. â€Å"Im one of you,† I said, standing at my full height, fangs on display. â€Å"Oh, hes one of us!† an older vampire said in a sing-songy voice. He wore glasses and a tweed vest over a white-collared shirt. But for the fangs and red-rimmed eyes, he could have been an accountant or a friend of my fathers. I kept my face impassive. â€Å"I have no ill business with you, brothers.† â€Å"We are not your brothers,† said another with tawny hair. He looked not a day over fifteen. His face was smooth, but his green eyes were hard. The older one stepped forward, poking his bony finger against my chest as if it were a wooden stake. â€Å"So, brother, nice evening to dine or die. What do you think?† The young vampire kneeled next to me, gazing into my eyes. â€Å"Looks like hell do both tonight. Lucky boy,† he said, ruffling my hair. I tried to kick him, but my foot simply flopped harmlessly against air. â€Å"No, no, no.† While the scarred vampire watched wordlessly, the boy grabbed my arms and wrenched them so sharply and abruptly behind my back that I gasped. â€Å"Dont be disrespectful. Were your elders. And youve already done quite enough disrespecting already, if Miss Mollys house is any indication.† He drawled her name as if he were a benign, genteel Southern gentleman. Only the steel grip on my limbs betrayed that he wasnt anything of the sort. â€Å"I didnt do anything,† I said, kicking again. If I were to die, then Id die in a fight. â€Å"Are you sure?† he asked, looking down at me in disgust. I attempted to twist away, but still I couldnt budge. The elder vampire chuckled. â€Å"Cant control his urges. Impulsive, this one. Lets give him a taste of his own medicine.† With a flourish, he released me from his grasp, pushing me forward with strength Id never before felt. I hit the plaster wall with a crash and fell on my shoulder, my head cracking against the wooden floorboards. I cowered beneath my attackers, the realization sinking in that if I were to survive this encounter, it would not be by might. â€Å"I didnt mean to do anything. Im sorry,† I said, my voice breaking on the word. â€Å"Do you mean it?† the young vampire asked, a glint in his eye. The sound of wood breaking assaulted my ears. I flinched. Would one vampire stake another? This was not a question I wanted answered the hard way. â€Å"Yes. Yes! I didnt mean to come in here. I didnt know anyone was here. I only just arrived in New Orleans,† I said, scrambling for an excuse. â€Å"Silence!† he commanded, advancing toward me, a jagged piece of wood in his hand. I pressed my spine into the damaged wall. So this is how it would end. With me dying on a makeshift stake, killed by my own kind. Two hands crushed my arms, while another two pinned my ankles together so forcefully that it felt as though I were stuck under boulders. I closed my eyes. An image of Father lying prone on his study floor swam to the forefront of my mind, and I shook my head in agony, remembering his sweating, terrified face. Of course, Id been trying to save him, but he hadnt known that. If he was watching, as an angel or a demon or a mere specter condemned to haunt the world, hed be thrilled to see this scene unfold. I squeezed my eyes tighter, trying to evoke some other memory to the fore of my mind, one that would take me to another place, another time. But all I could think of were my victims, of the moment when my fangs sliced into their skin, their plaintive wails descending into silence, the blood dripping down my fangs and onto my chin. Soon, all the blood Id taken would be released, seeping out of my own body and back into the Earth, as I was left to die, for real this time, forever, on this wooden floor. â€Å"Enough!† A female voice sliced through the montage in my mind. Immediately, the vampires let go of my hands and feet. My eyes sprang open, and I saw a woman gliding through a narrow wooden door in the back. Her long blond hair descended in a single plait down her back, and she wore mens black pants and suspenders. She was tall, though slight as a child, and all the other vampires shrank away from her in fear. â€Å"You,† she said, kneeling next to me. â€Å"Who are you?† Her amber eyes gazed into mine. They were clear and curious, but there was something about them–the darkness of the pupils, perhaps–that seemed ancient and knowing, which stood in sharp contrast to her rosy-cheeked, unlined face. â€Å"Stefan Salvatore,† I answered her. â€Å"Stefan Salvatore,† she repeated in a perfect Italian accent. Although teasing, her voice didnt seem unkind. She ran a finger gently along my jaw, then placed her palm against my chest and she pressed me against the wall, hard. The suddenness of the movement stunned me, but as I sat, pinned and helpless, she brought her other wrist to her mouth, using her fang to puncture the vein. She dragged her wrist along her teeth, creating a small stream of blood. â€Å"Drink,† she commanded, bringing her wrist to my lips. I did as I was told, managing to get a few drops of the liquid down my throat before she yanked her hand away. â€Å"Thats enough. That should fix your wounds at any rate.† â€Å"He and his brother have been wreaking havoc all over town,† the large vampire said, his makeshift stake pointed at me like a rifle. â€Å"Just me,† I said quickly. â€Å"My brother had no part in it.† Damon would never survive the wrath of these demons. Not in his weakened state. The blond vampire wrinkled her nose as she leaned even closer toward me. â€Å"Youre what, a week old?† she asked, leaning back on her heels. â€Å"Almost two weeks,† I said defiantly, lifting my chin. She nodded, a hint of a smile on her lips, and stood, surveying the shop. The plaster wall was partially caved in, and blood smeared the floor and speckled the walls, as though a child had stood in the center of the room and twirled around with a wet paintbrush. She tsked, and the three male vampires simultaneously took a step back. I shivered. â€Å"Percy, come here, and bring that knife,† she said. With a sigh, the youngest vampire produced a long carving knife from behind his back. â€Å"He wasnt following the rules,† he said petulantly, reminding me of the Giffin boys back home. They were both bullies, always ready to kick a kid in the schoolyard and then turn around and tell a teacher they had nothing to do with it. She took the knife and stared at it, running the pad of her index finger over the gleaming blade. Then she held it back out to Percy. He hesitated a moment, but finally stepped forward to take it. Just then the girls canines elongated and her eyes flushed bloodred. With a growl, she stabbed Percy right in the chest. He fell to his knees, doubled over in silent agony. â€Å"You hunt this vampire for making a scene in town,† she seethed, stabbing the knife in farther, â€Å"and yet you attempt to destroy him in this public space, in this shop? Youre just as foolish as he is.† The young vampire staggered to his feet. Blood streamed down the front of his shirt, as though hed spilled coffee on himself. He grimaced as he pulled the knife out with a sucking sound. â€Å"Im sorry,† he gasped. â€Å"Thank you.† The woman held her wrist toward Percys mouth. Despite her youthful look and apparently violent temper, she also had a mothering quality that the other vampires seemed to accept, as if her stabbings were as normal to them as a light swat would be to a high-spirited child. She turned toward me. â€Å"Im sorry for your troubles, Stefan. Now, can I help you be on your way?† she asked. I looked around wildly. Id thought no further ahead than escaping this room. â€Å"I â€Å" â€Å". . . dont have anywhere to go,† she said with a sigh, finishing my thought. She glanced toward the other vampires, who were now huddled in the corner of the room, heads bent in conversation. â€Å"Ill just be going,† I said, struggling to my feet. My leg was fine, but my arms shook, and my breath came erratically. With local vampires watching my every move, where would I go? How would I feed? â€Å"Nonsense, youre coming with us,† she said, turning on her heel and walking out the door. She pointed to the young vampire and the one who wore glasses. â€Å"Percy and Hugo, stay and clean this place up.† I had to practically run to keep up with her and the tall, scarred vampire whod watched my torture. â€Å"Youll need someone to show you around,† she explained, pausing only slightly. â€Å"This is Buxton,† she said, grabbing the elbow of the vampire with the long scar. We walked down street after street until we neared a church with a tall spire. â€Å"Were here,† she said, turning sharply to enter a wrought-iron gate. Her boots echoed against a slate path that led to the rear of a house. She opened the door, and a musty scent greeted me. Buxton immediately walked through the parlor and up a set of stairs, leaving me and the young female vampire alone in the darkness. â€Å"Welcome home,† she said, spreading her hands wide. â€Å"There are plenty of spare rooms upstairs. Find one that suits you.† â€Å"Thank you.† As my eyes adjusted to the darkness, I took in my surroundings. Black velvet curtains fastened with golden rope blocked every window. Dust motes floated in the air, and gilt-framed paintings covered the walls. The furniture was threadbare, and I could just make out two sweeping staircases with what looked like oriental runners and, in the next room, a piano. Though at one point this must have been a grand house, now the soiled walls were cracked and peeling, and cobwebs draped over the gold-and-crystal chandelier above us. â€Å"Always enter through the back. Never draw back the curtains. Dont ever bring anyone here. Do you understand, Stefan?† She looked at me pointedly. â€Å"Yes,† I said, running a finger along the marble fireplace, cutting a path in the inch-thick dust. â€Å"Then I think you will like it here,† she said. I turned to face her, nodding in agreement. My panic had subsided, and my arms no longer trembled. â€Å"Im Lexi,† she said, holding out her hand, allowing me to raise it to my lips and kiss it. â€Å"I have a feeling that you and I will be friends for a long time.†