Market Research The World Keeps Evolving Day By Day

Luan Bui 008971677 Spring 2016 SE172 Market Research As the world keeps evolving day by day, technology has become an essential thing in our daily lives. Many tech-companies have been established due to huge expectation from people who are always enthusiastic about new inventions. However, not so many companies could survive in very competitive markets like PC computing, software, hardware, etc. In the early 1990s, as PC computing began to proliferate in the industry, software development faced a crisis. Expected estimated the time for a startup business to have a shippable application in production was about three years. This was even worse when it came to others area in the industry. For example, in aerospace and defense, the average time for a typical complex project could easily be more than 20 years. As a result, many projects ended up being cancelled in the middle of the development phase. Some were complete but did not meet all the business’s current needs. Conclusively, project management is the primary cause for those f ailures. Fortunately, the agile process management has been established from a small group of software leaders to solve the management issue. Agile is a set of development methods which promotes adaptive planning, early delivery. Not only that, it also encourages rapid and flexible responses to requirements changes at any phase of the development process. It is true to say that agile process has given companies, businesses a more sophisticatedShow MoreRelatedMechanical Engineering is a field that requires constant updating. With the advent of new600 Words   |  3 PagesMechanical Engineering is a field that requires constant updating. With the advent of new technology, growing fields, and an unpredictable global market, it takes a lot of divisive planning in order to engineer a career path for myself that is suitable for any number of growing fields. 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The Role of Activist Agences in Shaping the course of Women’s History Free Essays

There is no doubt that activists and activist agencies have played a role in shaping the history of women, and a large amount of the historiography of women’s history has given excessive attention to the role of activists. Popular history tends to take a Rankeian view of events, focussing instead on the role of the individual, rather than the deeper underlying social, political and economic causes of history. The traditional Liberal view of the struggle to obtain the franchise is that the suffragettes, via their militant tactics and under the leadership of the Pankhursts ensured that women were granted the vote, and that this solved all the injustices between the sexes. We will write a custom essay sample on The Role of Activist Agences in Shaping the course of Women’s History or any similar topic only for you Order Now This simplistic view of events however ignores the wider changes that were taking place in the economy and society, as well as placing a larger emphasis on certain activists, rather than looking at the broader picture. The militant activities of the suffragettes were never sufficient enough to frighten the government or the wider public into extending the franchise to women, their acts of violence towards property were often small scale and petty. It also ignores the role of the suffragists led by Millicent Fawcett, who were far more significant in obtaining the vote for women, for they were the ones who reasoned rather than fought with men and showed that women could deal with political matters. Activists continued to use similar tactics in the 1970s to demand changes in the law, such as free nursery places (as removed from local councils responsibilities under the 1980 Education Act) and better maternity benefits. The real changes came about however, not due to the prominent high profile activists, but to the grass roots campaign where women won seats on town and city councils. Historians can often look for the big story to write about, sometimes however the big story is made up of lots of little ones. Women’s position in the economy changed prior to the war as well. Industrialisation brought about the end of small scale family run workshops and there has been a transition to large workshops. The sexual division of labour in mills and factories was seen as a natural occurrence and women did not object to being paid less and exploited more than male workers. Trade unions did not favour equal roles in industry for women out of the fear that it would take men’s jobs from them. The benefits in industry that women gained during WWI were temporary, and as soon as men returned from the war women were forced back out of their jobs. One view of the effects of WWI is that giving the vote to women was a reward for their hard work during the war, in the munitions and armaments factories. At the same period as activists had allegedly gained a better position for women via the vote, laws such as the Restoration of Pre-war Practices Act (1919) which enacted the agreements between the government and trade unions that women’s war work was only temporary. Various activist agencies organised resistance to this, however they proved futile. The changing role of women economically in the latter part of the c20 was not due to activists but due to the wider structural changes the war effected on the country by World War 2. Following the Second World War the changing nature of commerce in the UK made it uneconomical to prevent women from working and by 1947 there were more women workers than in 1939 (Bruley). The deindustrialisation of the UK between 1979-1990 saw a large increase in the numbers of women in employment. Margaret Thatcher’s economic reforms created huge unemployment, although when employment levels started to recede, women were back into employment quicker than men. This was due to skilled secondary industry jobs being replaced with low skilled tertiary jobs which could get away with paying women less and reducing employees rights due to the reforms Thatcher introduced. In 1990 60% of low paid full time workers were women and Carole Buswell found that in the same year large proportions of women were earning less than the EU recommended minimum wage in tertiary industries, even in jobs such as banking and insurance 40% of the workers fitted this category. This is because even in well paid jobs, such as banking and insuarance, women were restricted from progressing high up the career ladder by having to take maternity leave to bring up children, if they were even considered for promotion in the first place as many of these companies were strongly male dominated. The Women’s self image has changed a great deal since the beginning of the c20, when women saw themselves primarily as mothers and wives, though in working class environments this attitude persisted for a lot longer than in wealthier and better educated social groups. Sue Sharpe found in her 1976 book â€Å"Just like a girl† that working class girls in Ealing in the 70’s still expected to marry a husband who would take care of them financially and that they would be responsible for childrearing. Women’s level of deference has decreased greatly from the beginning of the century when they were almost voiceless, to the present day where girls have become at least as vocal as men, if not more. Deep running social trends such as this cannot be changed over night by activists and this lack of change in the working classes could be interpreted as evidence that women’s liberation movements have largely been for and by the white middle classes Many women in the 1970s though who had started to redefine their own roles started to live in new ways, such as communally with other women. A large amount of feminist activists adopted Marxist ideology and blamed the oppression of women on the capitalist exploitation of women as a labour force as well as for the unpaid labour they do domestically. In the 1980s, with its ethos of the individual, women started to appear slowly in positions of power, however their high profile was due to their unusualness. However many women were shocked and against this attitude and the 80s saw many women reject the materialist society and take up campaigns against issues like nuclear disarmament such as the women at Greenham Common. Activists continued to play a role through the 70’s and 80s although as in previous times they were often the central figureheads of larger movements based on mass upheavals. As the UK became an increasingly egalitarian society into the 1960s due to the increasing levels of education and the secularisation of society, women started to realise that the restrictions on career options were chiefly the traditional roles of women and a lack of education. Large amounts of feminists were students and so they had the opportunities to study the past and see the oppression that women had faced and also how little women appeared in history. The Crowther Report (1959) released middle class grammar school girls from the â€Å"domestic† curriculum, opening the door to many more job opportunities. However women were still restricted in the workplace by having to be responsible for rearing children as well as attempting to have a career. Viola Klien argued in â€Å"Women’s two roles† (1956) that modern societies were unable to afford to not have women working, this capitalised on fears that the UK would fall economically behind the USSR where nearly all women worked. Although activists led the women’s liberation movement and campaigned against articles such as Miss World and unequal pay, mainly the reforms came from elsewhere. Equal pay was finally made a reality when the Fawcett Society (a group of feminists) took the government to the EU court to enforce the Equal Value Amendment. How much has changed for women in the last 100 years is debateable. Certainly there have been many legal improvements and women are no longer the second class citizens they were at the beginning of the century. However according to some feminists, women are still oppressed by society as whole, being expected to take care of children and do housework as well as to have a job. Opponents to this argue that women are the natural carers of children and that there are no real obstacles in the way for women to have both a job and family if the women works hard enough and balances her time. This group of opponents is not exclusively male. Both Thatcher and Queen Victoria were against women’s rights, Thatcher’s attitude being that â€Å"well I made it so why can’t they? † and latter believing in the traditional division of the sexes based upon religion and tradition. Men still continue to run the top jobs, with Angela Coyle finding in 1988 that at the very top of companies women made up only 5%. Until 1997 the maximum proportion of women MPs had been approximately 10%. This number was only increased in the 1997 election when Tony Blair supported positive discrimination by adopting an â€Å"Emily’s List† policy. This meant that in safe seats women be put forward as candidates, the result was 100 women MPs, however this policy was later declared illegal. As women are still expected to take care of children, maternity leave and career breaks for the bringing up of children harm their promotion prospects, resulting in a â€Å"glass ceiling† that often needs the sacrifice of family life in order to break through. Although women appeared to become visible in the media, this is often because the ones who did make it to the top were so unusual that they were worthy of media interest. Solutions to the problem are hard, some feminists argue that the only way the position of women will change is if men think differently too, however this is idealistic to say the least. Bruley reaches the conclusion that women are still disadvantaged because although women now have the franchise and careers, they still have to bear the brunt of childbearing, caring and networking. How to cite The Role of Activist Agences in Shaping the course of Women’s History, Papers

Identities and Culture Department for Environment

Question: Discuss about the Identities and Culture Department for Environment. Answer: Introduction Celeste Olalquiaga uses the essay Artificial Kingdom to pain a clear concept of nostalgic kitsch and melancholy kitsch. This concept will form the premise upon which the discussion is anchored to illustrate the kitschs view as nostalgic on one hand and melancholic on the other hand (Kjellman-Chapin 2010). The paper seeks to understand this concept by paying a close examination on what Olalquiaga's concept of nostalgic kitsch and melancholy kitsch reveal through based on the above mentioned book and other relevant sources (Sturken 2007). A thorough investigation of Olalquiagas perception of kitsch both in terms of nostalgia and melancholy forms the premise upon which paper is embedded. The subsequent section is, therefore, a discussion on Olalquiaga's concept of nostalgic kitsch and melancholy kitsch (Sturken 2007). Discussing Olalquiaga's Concept of Nostalgic Kitsch and Melancholy Kitsch In case souvenir remains being describe as remembrance commodification, then kitsch becomes the souvenirs commodification (Olalquiaga 2002). The souvenir automatically becomes numbed upon the freezing of the commemoration as an active material with the capability of evocating (Benjamin 1969). Kitsch, therefore, describes the dispersed wreckages of the aura and the dream image traces changed to loose from the respective matrix and then being multiplied by the nonstop industrialization beat which covers the emptiness left behind by the demise of the aura as well as the failure of modernity to deliver the radiant future promises it already made (Olalquiaga 2002). Rodney on the other hand describes a dream picture caught alive for the individuals continuous admiration sake (Sturken 2007). He would have, therefore, permitted to complete his lifespan in a manner of the other hermit crabs do individually with no splendor were Rodney not so minute as well as tender (Olalquiaga 2002). He is seen perishing a number of times, actually three-fold. Rodney is, therefore, a kitsch which is manifested when he captivates with the inauthenticity frailty of his tinny, flawed figure wedged in the flawlessly smooth, round, relentless surface of the glass globe. Rodney thus speaks for the people who desire to listen regarding the desperateness of trying to detain life (Kjellman-Chapin 2010). In terms of memory as well as loss, kitsch frequently play a considerably more complicated role beyond the mass-culture criticism of kitsch permits for (Olalquiaga 2002). As highlighted by Celeste Olalquiaga who pens down regarding melancholic kitsch as well as nostalgic kitsch, the two types of kitsch are separate kinds of memory kitsch which illustrates the needs that feed into the kitschs consumption (Kjellman-Chapin 2010). Kitsch describes the attempt to recover the experience of immediacy as well as intensity via an object (Sturken 2007). Because this repossession can solely be partial as well as transitory, as the fleetingness of memories well as testifies, kitsch is an essential aspect of the mystical nature of the aura, and its destruction (Olalquiaga 2002). The above argument is the reason kitsch could be viewed as the wreckage of the aura which is an uneven track of sparkly dirt whose looming evanescence creates it extremely tantalizing (Olalquiaga 2002). For Olalquiaga, nostalgic kitsch describes a kind of commemoration which smoothes over the concentration of the loss experience , choosing the suitable portions of the subsequently amalgamating them into the memory which may forget the initial strength of a shocking involvement of loss while the melancholic kitsch, being in the arrangement of souvenirs, withstands the existential loss sagacity (Kjellman-Chapin 2010). The kitsch of memory hence functions in a certain manner in connection to the loss. Memory kitsch is closely linked to tourism (Kjellman-Chapin 2010). This is because the art of tourism has had an association with the production of the object of kitsch; Eiffel Tower key chains, Tower of London dessert plates as well as the Mount Rushmore spoon rests (Kjellman-Chapin 2010). James Clifford, in his popular essay, On Collecting Art and Culture, he maps the art-culture split in connection to how authenticity is awarded to art as well as cultural objects (Kjellman-Chapin 2010). The art of tourist is classified, alongside commodities as well as curios, as the lowest form of the culture: not-art as well as inauthentic. In tourists art, therefore, the past remain trapped within the souvenir which is a status of inauthenticity makes precise which tourist art is easily dismissible (Kjellman-Chapin 2010). Olalquiaga sketches out the different between 2 conflicting kinds of kitsch. These are the nostalgic and the melancholic kitsch (Kjellman-Chapin 2010). The nostalgic kitsch is bad while the melancholic kitsch is decent. The nostalgic kitsch features by an imaginary of maintaining the historical alive in the fancy of people (Kjellman-Chapin 2010). On the other hand, the melancholic kitsch acknowledges the damage that has taken place and subsequently grieves it without any pretense that there could be slightly compensation, imaginary or else (Kjellman-Chapin 2010). It is seen how Olalquiaga grieves Rodney as he is, irreversibly dead, somewhat than permitting herself to be swayed by his picture into the dream of an ideal past (Kjellman-Chapin 2010). This is an excellent age whereby Rodney was still fortunately at the residence on the floor of the ocean (Sturken 2007). The familiarity of the melancholic kitsch is argued to be that of a penetrating as well as enduring damage which arises inside the domain of the unconscious memory (Kjellman-Chapin 2010). This is permanently distance from the people whereas the nostalgic kitsch anchors on individuals sagacity of an incessant time of a lost moment that can be reconstructed as well as reinstated as a make-believe of what might have happened (Kjellman-Chapin 2010). When Olalquiaga inscribes that Rodney is kitsch-melancholic kitsch-she attaches the captivation she feels to the point that he is current to her stare as if in a time pill that has unpredictably presented him from unidentified, bizarrely additional measurement of period, talking, for the people who wish to eavesdrop, regarding the desperateness of trying to delay life, the narcissism of dangling on what is already vanished, the attractiveness of scripts of time (Kjellman-Chapin 2010). However, there exists no sagacity of damage, of remorse, of a historical world to which Rodney truthfully fits as well as which people can recuperate: solely an copy, derived from the individuals given sagacity of time previous as well as postponed nowadays in the current, like a vision picture whose association to people has remained irrecoverably lost (Kjellman-Chapin 2010). The groundwork for the above concept of kitsch is given by Olalquiaga's understanding of Benjamin that, whereas he certainly not inscribed regarding kitsch since, separated between nostalgic kitsch and melancholic kitsch or reminiscence in his individual script on the Proust and Baudelaire (Kjellman-Chapin 2010). Benjamin was as well as captivated by bibelots as well as bric-a-brac, the commodified confusion of the colonnade which is the department stock as well as the Victorian internal that offered that productive surrounding for the development and, people could say, the concluding victory of kitsch (Sturken 2007). Benjamin offers Olalquiaga not solely with a typology which she may employ to kitsch, however, with a framework of fervent engrossment with the misplaced as well as grimy debris of culture that features the realm of kitsch (Sturken 2007). Olalquiaga discovers in Benjamin a friend, viewing him as such an intermittent being which is the contemporary fascinated to kitsch, whose literatures she is able to utilize in the construction of a defense against a Broch Hermann, Dorfles Gillo as well as Greenberg Clement that detested it as a true modernity opponent (Kjellman-Chapin 2010). The difference that Olalquiaga creates, inferring from Benjamin, concerning melancholic kitsch and nostalgic kitsch allows Olalquiaga to protect at the smallest the melancholic section of what somewhere else she already referred the dark side of the moon of modernism (Kjellman-Chapin 2010). Olalquiaga concurrently period is completely aware that such comprise shielding product culture individually, provided that it is neither the presence nor the absence of commodification that separates decent from evil in kitsch, however, the features of the commodified object (Kjellman-Chapin 2010). Olalquiaga cites Benjamin over and contends that merchandises are vision images or wish pictures denoting desires of utopian (Sturken 2007). Olalquiaga goes further by arguing that merchandises as talismans (reminiscences changed into souvenirs) may obtain a lifetime of their individual as Rodney has, becoming an appealing being whom my networks further say greetings to where they call in (Morand 1929). The challenge is that she inscribes as if the charm of Rodney alongside her connection to him could, individually, supersede the volume of thoroughly contended censure of the kitsch; as if Rodney may be relieved or excused on the foundation of an insufficient effective quotations from Benjamin (Sturken 2007). Olalquiaga is correct, I suppose, to view kitsch as the supplementary, concealed expression of modernism as well as to astonishment why the contemporary art need to be acclaimed whereas Rodney is destined, however, the argument in contradiction of kitsch are never inconsequential (Kjellman-Chapin 2010). As reflected in Tomas Kulkas manuscript Kistch and Art, published in 1996, there is a proposal of three defining conditions of kitsch. One of the condition is that kitsch is depiction of objects and themes which are increasingly charged with stock emotions (Kulka 1996). Condition two hold that object and themes manifested by kitsch remain promptly as well as naturally recognizable (Olalquiaga 1998). The third condition hold that kitsch does not substantially enrich the peoples association linking to the depicted themes or objects (Kjellman-Chapin 2010). Based on these conditions, Kulka makes a firm argument that kitsch has to unavoidably be viewed as spoon-feeding its people with typecasts (Kjellman-Chapin 2010). This confirms the viewers in attitudes as well as sentiments that are already engrained deeply (Detr 2009). This thus plays to the type of the foreseeable reaction stimulated by the images of puppies as well as kittens of a range of kinds, mothers with babies, kids in moans, long-legged women with sensuous lips as well as alluring eyes (Sturken 2007). It further describes beaches with palms as well as colorful sunsets, happy mendicants, miserable faithful ancient dogs, as well as pastoral Swiss village framed in a maintain panorama (Detr 2009). Olalquiaga might also makes an argument that recluse crabs tumble hooked on a fully separate classification, however, I am never unquestionable that such an argument may be convincing, nor do I recognize how confident that people can be that the expressive provokes of melancholy as well as nostalgia are as unique from respectively supplementary as Olalquiagas arguments claim (Baudelaire 1863) A question that arises is whether a recluse crab secluded in a glass sphere as a Nature Gem certainly altogether that vary from an Atlantis rebuilt on a Bahamian seashore or false shells of Hubert Robert, all of which Olalquiaga provides as instances of kitsch, just due the fact that one is physical, the others not real, one melancholic, the other nostalgic (Kjellman-Chapin 2010)? Both groups of object appears to me to trade on the deep-seated opinions as well as foreseeable rejoinders of the viewer (Detr 2009). Celeste provides a thoughtful examination of the origin of kitsch alongside what kitsch tells people regarding the skirmishes amid the artificial and real, modernity and tradition, melancholic and nostalgic right from Olalquiaga's domesticated glass-globed recluse crab Rodney to the Victorian epochs Crystal Palace (Benjamin 2008). She artfully traced this kind to the mid-1800s as well as creates kitsch as the responsiveness of damage which is a longing for substances to assist repossess the previous as well as explicates how such relics react or retort to a deep-rooted human need for connotation as well as association with nature (Kjellman-Chapin 2010). Conclusion The Artificial Kingdom has attractively elucidated such a cultural aspect as an effort to repossess what development has demolished (Kjellman-Chapin 2010). The essay has, therefore, presented a detailed discussion of Olalquiagas concept of nostalgic kitsch as well as melancholy kitsch (Sturken 2007). From the information presented in the discussion above, a reader can easily understands at a glance Olalquiaga's perception of nostalgic kitsch as well as melancholy kitsch without any form of complexity (Kjellman-Chapin 2010). Therefore, both nostalgic and melancholic viewpoints and concepts of kitsch have been well investigated and presented in this essay (Kjellman-Chapin 2010). References Baudelaire, C., 1863.The Debris of the Aura. Le Peintre de la vie modern. Benjamin, W., 1969. Illuminations. Edited by Hannah Aribendt. Translated by Harry Zohn. Benjamin, W., 2008. The work of art in the age of mechanical reproduction. Penguin UK. Detr, A., 2009. A Better Quality of Life. A strategy for sustainable development for the United Kindom. Department for Environment, Food and Rural Affairs, London. Kjellman-Chapin, M., 2010. The politics of kitsch. Rethinking Marxism, 22(1), pp.27-41. Kulka, T., 1996. Kitsch and art. Penn State Press. Morand, P., 1929. The Souvenir."L'avarice," IN Les sept peches capitaux. Olalquiaga, C., 1998. The artificial kingdom: a treasury of the kitsch experience. Olalquiaga, C., 2002. The artificial kingdom on the kitsch experience. Minneapolis, University of Minnesota Press. Sturken, M., 2007. Tourists of history: memory, kitsch, and consumerism from Oklahoma City to Ground Zero. Durham, Duke University Press.