Criticism Philosophy Essay

Not too many people can listen none defensively, or none antagonistically, to criticism. And very few of those who listen admit it when they see that they are wrong. The thing is, we think that admission of guilt, or of being wrong, or that we have made a mistake, is a sign of weakness. Yet true failure is repeatedly refusing to see your faults. Learning to listen to criticism is a life skill that we’d all do well to master. It is about keeping our hearts open (deferring judgment), and ensuring that we are not emotionally aroused (intimidated, irritated, etc.) by our critic (this is deferring reaction). Learning to listen to criticism is about carefully absorbing what is being said, and then honestly evaluating if it is fair, true, constructive or destructive. Only after we’ve carefully listened to and evaluated the criticism can we respond to it. SECTION B: HOW TO TAKE CRITICISM 1). See criticism as an opportunity to work together with the critic to solve the problem; not as an adversarial situation. Even if you can’t solve the problem together with the critic, consider the moment they criticize you as an opportunity for all of you to grow from whatever the problem is. See it as an opportunity for straightening things out; as an opportunity to hear them out, question them where you need clarity; and as an opportunity for you to clarify what needs to be clarified. This calls for changing your mindset; for changing your attitude (from an adversarial one to a positive one) towards criticism. 2). View criticism as valuable information about how to do better, not as a personal attack. Criticism, regardless of whether it is used as a constructive or a destructive tool, can provide us with valuable feedback on our performance. It provides us with feedback on where we’ve fallen short, and that (i.e., knowing what we need to improve on) is important for our learning and growth. So even when your critic uses criticism as a destructive tool (e.g., as a personal attack, or as a way to put you down, or as a way to manipulate you, or as a way to maintain a psychological advantage), identify his intention but decide to pay particular attention to the criticism itself. Evaluate the criticism itself, and identify what feedback you may get from it. To be able to evaluate the criticism, you must †¦ 3). Listen carefully to what is being said. This is taking up all the data, and evaluating it to see if it has any validity. 4). Watch the impulse to defend (See Defense Mechanisms): Just listen and evaluate. Know the difference between emotional thinking and rational thinking; use your head, not your heart. Don’t give in to your emotions (be it laughter, anger, fear, or whatever): simply listen! 5). And if the criticism is too upsetting, ask to resume the meeting later; after a period to absorb the difficult message, and cool down a bit. SECTION C: HOW TO GIVE CONSTRUCTIVE CRITICISM 1). BE POLITE AND SENSITIVE. This is a call for empathy; for being attuned to the impact of what you say, and how you say it to the person on the receiving end. The person (on the receiving end) is most likely to be defensive. S/he may resort to loud and angry words, or may even cry. Be ready for whatever reaction (including rebuffs, or attacks to hurt you back; breaking down into tears; begging you for forgiveness and sympathy; and so on. There is a whole catalog of reactions to criticism: be ready for any of them, and maintain your calm). 2). BE SPECIFIC. Don’t criticize the whole person (by using global labels or sweeping generalizations). It is demoralizing for people to know that there is something wrong without knowing what the specifics are, so that they can change. Focus on the specifics; saying what the person did well, what was done poorly, and how the situation could be changed. The following approach is very effective (I call it the VWXYZ-approach): V – Tell the person what they did well (â€Å"You did this and that very well.†); W – Tell the person how happy you are, and/or how beneficial to you (or to the organization) this positive input was; X – Tell the person what was poorly done; Y – Tell the person what the damage means to you (or to the organization); Z – Give the person suggestions, if you have any, as to how the situation can be changed or rescued. Tell them how they would be expected to handle a similar problem in future. 3). OFFER A SOLUTION (See Z above). The critique, like any useful feedback, should point to a way to fix the problem. Show the person other possibilities and alternatives. 4). BE PRESENT. Critiques, like praise, are most effective when given face to face, and in private. Writing a memo, letter, or email robs the person receiving the criticism of an opportunity for response or clarification. In conclusion, you have to differentiate between criticizing someone and fighting them because of your own secret agenda. When you criticize, you want the person to improve, so that s/he can be better, or so that you can live in harmony together. But when you fight someone, you criticize out of hate or resentment: your agenda is to hurt, not to help. SECTION D: THE MYTH OF REALITY We all see reality through different colored glasses. Our feelings, inborn abilities, psychological make-ups, personalities, egos, characteristics, physical or emotional well-being, fears, desires, needs, wants, beliefs, and so forth, all play a role in our perception of reality. The assertion, †THERE ARE NONE SO SURE ABOUT (THEIR PERCEPTION OF) REALITY AS THOSE WHO ARE TOTALLY DELUSIONAL,† has a grain of truth in it; at least when it comes to things that can be disputed. Since our perceptions of reality differ, those who criticize us do so based on the perceptions (of reality) that they have in their minds. Our critics’ perception of the reality of what they are criticizing us of usually differs from ours. If one perception can be demonstrated to be 100% correct, then those on the wrong side of perception should admit that they are wrong, without any fear of being conceived as weak! The real truth is that admitting that you are wrong (when you realize that you are) is a sign of being strong minded. If, as in many cases, none of the various perceptions of the conflict-causing situation can be demonstrated to be 100% correct, then we should acknowledge that our perceptions are different, and simply agree to disagree. Before you criticize someone, be sure that your own perception of reality is 100% correct. If you are not so sure, be sure to point out from the onset that you (and the one you are criticizing) have different perceptions of reality, but you are not sure whose perception is correct. You may then criticize the other person’s perception, and then defend your own. SECTION E: TYPES OF CRITICISM Behind each criticism, there is an INTENTION to either put down the one being criticized or to help them (i.e., to build them up). Whether one intends to build up or to destroy, they will use STATEMENTS which are either FACTUAL, or FALSE, or (as is usually the case) a MIXTURE of TRUTHS and LIES. To analyze and evaluate someone’s criticism, we have to LISTEN very carefully to what they say. If we are not sure that we have heard them correctly, we have to SEEK CLARIFICATION. We have to: I). IDENTIFY THEIR INTENTIONS (to help or to put down); II). DETERMINE THE MANNER IN WHICH THEY CRITICIZE US (are they patronizing/condescending/adversarial or tactful/sympathetic/building up?); III). DETERMINE WHETHER THEIR INFORMATION IS ACCURATE OR WRONG. We must SEPARATE FACT FROM FICTION. We now look at the different types of criticism. 1. CONSTRUCTIVE CRITICISM This occurs when your critic is motivated by the desire to help you; that is, when the person who criticizes you means well. Their manner of presenting the criticism may be good or bad, and they may possess facts, or a mixture of facts and fiction, or only inaccurate information. But the important thing is what drives the critic is the desire to help you. 2. DESTRUCTIVE CRITICISM In this kind of criticism, your critic’s intention may be one or more of the following: 2.1). PUTTING YOU DOWN. This may be in the form of a pointless nagging, or habitual recitation of your failures, or calling you names when they criticize you, or making sweeping generalizations; 2.2). ONE-UPMANSHIP. This occurs when one tries to maintain a psychological advantage over you, or to prove that they are better than you; 2.3). MANIPULATION. The critic may criticize what you are doing in an attempt to get you to do something else. This is often called CHILD PSYCHOLOGY. o SECTION F: RESPONDING TO CRITICISM There are two ways of responding to criticism; one is Ineffective Response, and the other is Effective Response. 1. INEFFECTIVE RESPONSE STYLES These are: 1.1). AGGRESSIVE STYLE. The techniques used include: – Counter Attacks; – Insulting or name-calling; – Loud Denials; – Mocking (Cynicism); and – Sulking in anger. This style of responding to criticism is adversarial, and often leads to fights and/or resentment. 1.2). PASSIVE STYLE. In this style of response to criticism, you agree, apologize, or surrender at the first sign of (a usually destructive) criticism. You may panic and tremble physically. Or you may remain silent in a coward manner (which is different from sulking angrily). In this response style, you give your critic too much power, while sending your own self-esteem crashing rock-bottom. You do not seek clarity, and you do not even try to defend yourself. You do not try to give clarity, even where you feel you have been misunderstood, or wrongly accused. You may even take responsibility/blame for things that you have not done or said. Your fear overpowers you, and you just wish to be left in peace! 1.3). PASSIVE-AGGRESSIVE STYLE. This may involve being silent, but not fully cooperative. Or you may respond passively by apologizing and agreeing to change, only to get even with your critic later; by not being fully committed to whatever you promised; or by botching it up; etc. 2. EFFECTIVE RESPONSE I). TRY TO DETERMINE YOUR CRITIC’S PERCEPTION OF REALITY. When someone criticizes you, ask yourself what may be their perception of reality; ask yourself what may be driving him/her to criticize you. Remember that we all see reality through different colored glasses. Resist all urges to respond (aggressively or passively, through panicking or being submissive) before evaluating the criticism. If you are not sure what your critic’s perception of reality is, and if you are allowed to, ask them (See III below). If you are not in a position to ask them directly, evaluate their criticism; for you may get, from the criticism itself, an idea of what your critic’s perception of reality is. In any case, it is important to be sure of what your critic’s perception of reality is. II). EVALUATE THE CRITICISM. It may be possible to tell from your critic’s tone of voice, from their facial expression, or from their posture, what their intentions of criticizing you are. It may be possible to tell this from context (this applies especially when you get a written critique). It is important to IDENTIFY what your critic’s INTENTIONS are. Whilst evaluating your critic’s criticism, do not jump into conclusions, and do not rush to responding. Forget your self-esteem, and concentrate exclusively on the criticism. – As already mentioned, you first have to identify your critic’s perception of whatever they are criticizing you of. – Next, identify the critic’s intention: Do they wish to build up or to destroy/hurt? Is their criticism constructive or destructive? – Next, determine the manner in which the critic gives the criticism: is it good or bad? Are they patronizing/condescending, or are they considerate of your own feelings? Hear their tone. Do they want to help or hassle? – You may also take into consideration your relationship with the critic. Is it a loved one? Is it your boss or superior? Is it a friend? Or is it someone who doesn’t even know you that much? Whatever the case, you want to live in harmony with the critic; but you also want to correct misconceptions. You want to clear the air, and clarify what needs to be clarified. – Check whether the criticism is accurate. Is the critic using facts, a mixture of truths and lies, or only lies? III). PROBE. As already pointed out in I), when someone criticizes you, they have a certain perception of what they are criticizing you of, and it is your right to be sure that you correctly understand what they say. – Ask your critic to be specific; not to make sweeping generalizations. – Ask him to support his claims. – Ask him whether he is sure of what he is saying. – Ask him what his perception of the situation is, and whether he is sure that his perception is correct. – Ask him to give examples of where you went wrong, and to tell you how you should have performed in those instances. – Ask your critic to tell you exactly What you must do. Having probed the critic, and having evaluated his criticism, decide whether his criticism is constructive or destructive; decide whether his manner of presenting the criticism is good (considerate) or bad (patronizing/condescending); and whether the information he uses is accurate, inaccurate, or a mixture of truths and lies. We now give guidelines on how to respond to (constructive and destructive) criticism. 2.1 HOW TO RESPOND EFFECTIVELY TO CONSTRUCTIVE CRITICISM. Depending on your critic’s nature, he may couch his constructive criticism in terms of good suggestions for change, or he may patronize you. However well-meaning someone may be, patronizing and/or condescending (which occurs when someone tries to appear better) is bad, and is likely to provoke an adversarial reaction. This is because when someone is patronizing us, we are bound to feel uncomfortable, and we may give in to impulsive negative reactions. So even when your critic has good intentions, the MANNER of GIVING the CRITICISM may spoil it all (See â€Å"HOW TO GIVE CONSTRUCTIVE CRITICISM† in ‘CRITICISM PHILOSOPHY I’). In criticizing you, your critic will use some statements which are true or false, and/or some statements whose truth values may be unknown. He may have accurate or wrong information. – If, in criticizing you constructively, your critic uses accurate information, or facts, to patronize you, or uses facts in a condescending manner, you may acknowledge the truth or validity of his point(s), but point out that his patronizing (or attempts at appearing better) is spoiling or defeating his good purpose (i.e., to help). – If your critic puts his (accurate) information in a good manner, acknowledge the facts and thank him for pointing them out. Tell him that you are going to consider his points. – If your critic’s information is inaccurate, you may correct him. Thank him for trying to help if his manner is good; but if, in addition to using wrong information, your critic’s manners suck, tell him that not only is his information inaccurate but his patronizing or condescending is really uncalled for. – If your critic uses a mixture of facts and lies, acknowledge the facts (and give thanks for them), and correct misconceptions. 2.2 HOW TO RESPOND EFFECTIVELY TO DESTRUCTIVE CRITICISM Let’s now suppose that you have determined, to your satisfaction, that your critic’s intention is not to help you, but: to put you down; or to maintain a psychological advantage over you; or to manipulate you. As in the constructive case, your critic will use some statements; some of which may be true, whilst others may be false. In handling such a critic, simply acknowledge what is true and refute what is a lie. Disprove what needs to be disproved, and state your opinion on what is neither here nor there. It is important not to pick a fight, but to concentrate on the criticism.

Grade Inquiry Essay

Project context Innovation have made possible for the operations of the computer easy enough in processing records system such as, creation of data, storing, filing and retrieval of data. This Online Grade inquiry with subject evaluation and SMS notification is a process whereby a department head input the grades of the students who are enrolled to the said department and evaluates what subjects should they be taking after they passed their current enrolled subject for them to take their proceeding subject to the next semester after the input of data to the system. The system sends also the grades to the students via SMS every end of the trinal exam who is enrolled to the said department before that they will give first the data to the registrar in order to send the data to the students because the registrar clarify first the data because one of the foremost responsibilities of the registrar office is to keep the student’s grades data secured for their records and purposes. The head of the sa id department may now easily encode the data to the system and give the standing records to their students without a consuming a lot of time and gives convenient kind of servicing to the student. The system basically keeps all the records of the students about their grades and class subjects and it will determine if a particular student passed or fail the subject and it also display announcements like meetings and dates of signing of clearances etc. Purpose and Description Our project focuses mainly on keep in track of the students grade and subject and also sending the grade of the student via SMS who are enrolled to the said department. This system on the other hand can display important announcement like meetings and news. By this, the head of the department can easily gives the grades of a student by just encoding the grades of the students into the system. And also if the head of the department has special announcements to make to the said department, the students can easily read the announcement made by the dean even if they are not in the school. Statement of the problem General: The manual submission and distribution of the grades in the department (BSBA) or in the registrar (NDKC). The time consuming of subject evaluation at the registrar’s office. Specific:Â  The students need to go directly to their respective department or at the school registrar to inquire their grades. The long processes of inquiry of grades are inconvenient, tiresome, and some instances are time consuming. Objectives General: To develop an online grade encoding, inquiry and evaluation system. To develop a system that will lessen the registrar’s tasks in encoding of grades. Specific: To develop a system that can able to send grades automatically via SMS. To develop a system that is convenient and less effort to inquire the grades of the student. Scope and Limitations The proposed system is concerned in sending SMS about the student’s grades and displays the evaluation of a student and announcement. This covers only the grade data; their class subjects to evaluate; and announcements to post and only limited to the following: 1. Send SMS about students Grade; 2. Displays evaluation of the student and the announcement of the dean; 3. Control the records of the students; 4. Update the records; 5. Organize new coming data; Scope The request of the grades can be done through any network of mobile phones/ cellular phones. The head of the department only has the authority to the system. The head of the department can encode grades of the students through online. The system automatically back-up the records being encoded. The device use in the system is for inquiry only. The head of the department can print the summary of grades and also the subjects taken by the students. Limitations It cannot be used for conversation. The system has no capability of handling delayed messages. If the responsible of inputting grades submitted a wrong grade of a student, the system is not reliable of human error. The system cannot accept landline number in registration for the students as their contact number. The system can be accessed by internet connection only. Significance of the study: This study was made to find out the use of online – based system that will lessen the time for transaction, accommodation and convenience of releasing the grades of the students. The college of Business of Administration which is one of the top departments of NDKC with high population which is fit to this project for us to cope/manage all the records about their student grades class subject evaluation and announcement using the said system. Through this project the said department can easily organize all the records of the students and keep in track in its database. The department would have a website that can easily use and can interact between the department and with their students. The system provides accessibility to the head of the department only and can update the grades and give evaluation to the subjects taken to the certain student. Students can receive their grades via SMS, view their evaluation subject and also can see what their head of the department announcement s. The said department will be assured of an accurate, high performance and a high level of security using the system. One benefit is that the students will know the announcements of their college dean and receive or to know their grades anywhere, as long as they are connected to the internet.

Examine the links between poverty and literacy in the developing world Essay

Examine the links between poverty and literacy in the developing world - Essay Example From here, we can now try to discuss the link between the two in a deeper fashion. This paper will revolve around the relationship between poverty and literacy. It will discuss on how literacy can be used to reduce the poverty level in the developing world. On the other hand, it will deal with how lack of literacy can lead rise in poverty level in developing world. Abdi and Cleghorn (2005), state that developing countries are known to be the poorest countries in the world. These countries are going through many economic issues. The countries have poor infrastructure, lack of clean water, high mortality rates, poor governance etc. They are known to have the largest number of the illiterate people. Majority of the illiterate people are women. The question is, why do these countries have the largest number of illiterate people? One of the possible answers is that they lack good education sectors that can provide the relevant education systems. Lack of funds is the main reason for the poor education systems. This increases the level of illiteracy. Literacy is one of the tools that can be used for economic, political, cultural and social drives. This means that if this tool is not incorporated well, then the poverty level will rise. It is, therefore, true that literacy can be used to eliminate poverty levels in the developing world. This can only t ake place if people are educated well. Children should be given freedom to learn in order to reduce the illiteracy level in the near future thus, reduced poverty (Abdi &Cleghorn, 2005, p.45). Developing country like India is known to be poor not because of lack of resources but it is due the corruption that takes place in the government. When the government allocates resources for the education sector, these resources are stolen by most of the government officials. These officials are supposed to ensure that the resources reached education sectors but they are lost on the way. The education system becomes

The BuyRite Project Research Paper Example | Topics and Well Written Essays - 2750 words

The BuyRite Project - Research Paper Example In this regard, a research exercise will be conducted in order to substantiate practicability of the Input-Transformation-Outcome model as used in the BuyRite Project. In this case, we will strive towards developing a coherent research report meant to acquire knowledge on the theoretical construct of the model, followed by efficiency of this model in addressing actual problems in commercial contexts. Introduction International Concrete Operations Company (ICO) seeks to improve its management processes, especially within the procurement sector. Despite being good in utilizing entrepreneurial principles to achieve business goals, it still lags behind in terms of internal management. Consequently, ICO’s competitors are capable of achieving significant goals with better management. In this regard, ICO have developed a mechanism through which superior, middle level and subordinate employees will be made to acknowledge the role of efficient management in addressing business problems within a competitive environment. In order to objectively respond to the procurement problem, the company’s chief executive established position of National Procurement Manager. The appointed manager’s duties involved formulation and implementation of BuyRite Project. Fleming (2003) says that with implementation of this project, ICO would respond to procurement challenges by reducing cost of supply undertakings and general operation costs. Upon completion of a feasibility analysis, stakeholders approved that BuyRite Project would prove instrumental in addressing immediate needs of the multinational corporation within the cement and concrete industry. Earlier studies on the company’s procurement activities showed that inefficient procurement process coupled with lack of purchase responsiveness from potential customers causes increase in procurement costs. In the past, ICO had tried adopting ideal supply techniques in synchronizing activities of procurement staff and suppliers. Later on, those supposedly ideal techniques proved ineffective, especially due to increased competition within the industry. In this regard, BuyRite Project was thought to being effective in addressing increasing procurement cost in current business environment. This is because the project applies principles of Input-Transformation-Outcome model. In this research, we will appraise effectiveness of this model in enhancing reduction of procurement costs. Research Statement With respect to theoretical content, a systematic research exercise should have a strong statement, which provides an insight and direction on the purpose of that exercise. A research question will serve the purpose of developing a specific description of an underlying topic of study, which in this case involves effectiveness of Input-Transformation-Outcome model. For clarity purposes, every research exercise should begin by providing a basis of study insinuated through a research statement and a res earch question. Based on these acknowledgements, statement for this report asserts that Input-Transformation-outcome model (ITO) creates a direct relationship between customer’s use of outputs and subsequent outcomes realized by a company. At this juncture, I can say that this entire research will seek to provide a comprehensive response to this issue Input-Transformat

Fieldwork observaion Essay Example | Topics and Well Written Essays - 750 words

Fieldwork observaion - Essay Example I was there on the 19th of September 2012, as from 1.00 to 1.20 pm. It was quite hot with temperatures of approximately 150 C to 230C. There was no reaction from the people I came across, eight in total, five males and three females. Two of the males were wearing long pants and T-shirts while the other three were in shorts and T-shirts. All the three females were wearing pants and T-shirts of various complexities. The lack of reaction is attributed to the fact that these people were not interested in what those around them thought or said about their behavior. From observation, all those people were overwhelmed by the beauty of their behavior’s implications. It was surprising to note that all these people cared about their cigarette. It is what makes their world; it is what gives them comfort and relaxation, presumably enabling them to forget the reality. I never thought of it this while in the same group. I had been blinded by the thought of pleasure then, and the thought of having no worry or responsibility over anything or anyone, let alone myself. The results of this field experience profoundly support our four-part definition of culture. Culture, being a set of learned and shared attitudes, beliefs, values, customs and meanings, is encompassed in providing a distinction in the existence of the persons concerned in the field study. In terms of how culture is learned, it is evident that every person in this location learned how to smoke through someone else, or through an experience or an exploration. With time, people have continued loving what they like, and smoking has become part of their lifestyle. With regard to how culture is shared, members of the same group often share similar beliefs and values. As such, these people find fulfillment in being with their kind, with those whom they share this behavior. Having a shared notion about smoking eliminates a considerable difference among them, and they can more easily intermingle with each other. The similarity in behavioral patterns reflects a deeper level of sharing culture since smoking has become a norm for these people. This is essentially with regards to homogeneity of these people’s interests (Davis 200). It is also evident that culture is reliant upon language and symbols. From the study’s observation, the people have a unique way of communication, for instance when one would like to light up his or her cigar with another’s. This codal communication enables understanding at a higher level and also creates a feeling of belonging among these people. Cultural integration refers to how a certain culture borrows some attributes from another, and so it becomes seemingly integrated in the other culture. Smoking has been borrowed from cultures of other people and has been integrated in this environment. It has become integrated due to its consistency. From my knowledge, the behavior at this place has been continuous and takes place at the area over a long t ime. So, smoking has become a custom for this particular premise. In terms of being patterned, the custom has thrived in the area, with many young adults wanting to experience the zeal. In the current society however, smoking should not be patterned due to the many avenues advocating against it. Smoking has however become an adaptive custom in this area and is not likely to diminish significantly. In conclusion, Santa

Public Policy Research Paper Example | Topics and Well Written Essays - 1750 words

Public Policy - Research Paper Example This feeling is induced by the primary chemical agent of this drug, which is delta-9-tetrahydrocannabinol (THC). The Drug Enforcement Administration (DEA) and the National Drug Intelligence Center (NDIC) considers marijuana to be â€Å"a leading drug threat to the country.† However, U.S. law enforcement authorities generally regard marijuana as a lower threat than cocaine and diverted pharmaceuticals because it has least association with violent crime and property crime. Marijuana is the most readily available and widely used and abused illicit drug in the nation. Owing to its high prevalence, marijuana use has found acceptance among several adults and adolescents and a perception prevails that the drug is not harmful. Over the last few years, a tremendous growth has been witnessed in the usage, distribution and selling of marijuana in different regions of US. Usage of marijuana entails certain side effects. According to researchers, it causes problems in daily life and its us age can worsen a person's existing problems. In addition to that, declining mental and physical health, relationship problems, lower life satisfactions, less academic and career success have been reported, by heavy users of marijuana, as potential side effects. Furthermore it has also been reported that, students among marijuana users are more likely to drop out from school. In the field of work, frequently marijuana usage has been associated with side effects such as accidents, workers' compensation claims, increased absences, tardiness and low job turnover. (Drug abuse, 2012a). However, despite the illicit usage and trafficking of marijuana and the potential risks of consumption, efforts are being made to legalize the drug (White house, 2010). This has been a major public policy issue in the recent past and is a source of continuous debates taking place in the assembly. This research paper will involve a thorough analysis of the scope of this public policy concern and how it affects the public as well as the government. The p roposed policies for addressing this issue will also be discussed and suitable recommendations will be made accordingly. Scope of the public policy concern In the recent times, marijuana legalization has been the pivotal issue being discussed in the â€Å"We the People† petition site launched by White House. This website was launched with a view of providing the US citizens with a means to lobby for relevant issues. The marijuana petition has recorded more than 55,000 signatures, an astounding 20,000 more than any other issue on the website, which demonstrates the importance of the issue. Despite the relative importance of the issue, the government has refrained from responding to the marijuana petition. According to the National Survey on Drug Use and Health (NSDUH) conducted in the year 2010, marijuana is the most heavily used illicit drug (17.4 million past-month users). In that particular year, 76.8 percent of current illicit drug users accounted for the usage of. Out of that, 60.1 percent users only smoked marijuana and no other drug (Ali, 2011). Adolescents and young adults are the most frequent users of marijuana. As far as 8th-graders

The Virtues of Ambition by Joseph Epstein Research Paper

The Virtues of Ambition by Joseph Epstein - Research Paper Example He bases this  argument  towards viewing ambition as a  delightful  and supremely crucial aspect of both  society  and humanity. He argues in such a manner as to shun those that view  ambition  from a wrong point. Consequently he also argues out the need for control and  constraint  when it comes to ambitions such that they do not  turn  for the worst. According to Epstein, ambitions make a person what they are in  form  and character, in daily life. It is the  thing  that describes what a person is or will  become  that is different from the common humanity features. That through these ambitions one gets dreams and desires. These dreams and desires may not always be favored by courses of life, but this should not stop people from being ambitious (Mei & Dasgupta, 2007). The unpredictability and uncertainty in the outcomes of the future should not stop one from being  ambitious  in life. This is because through the possible  achievement  of such ambitions a person discovers themselves and gains their desires. He continues to  argue  that being  ambitious  is suitable for a  person  as it enables for the fulfillment of one’s dreams or the dreams of others. One can be  ambitious, to gain glory, love, distinction, wealth, and fight for the welfare of others, among other aspects (Mei & Dasgupta, 2007). ... Moreover, there is a strong link between  ambition  and  individualism  (Mei & Dasgupta, 2007). These are people that work for their own  achievement  disregarding those of others. This trend bears Jesuitical behavior where people think their personal achievements are beneficial to others. This aspect tends to downplay morals of the ambitious, as a result, brings questions to their achievements. These are such questions that  rise  crimes against humanity such as  greed  and corruption. Though this is sometimes true, it harms those that are  true  successful  of  ambition. Epstein argues that the negative view of  ambition  has raised a  trend  of hypocrisy amongst people towards the subject. This is through shunning away from  ambition  and the aspects that come with it such as  success. It is evident in the media the educated saying that they have given up on the idea of  ambition  while they are the products of  benefit  from  ambition  itself.  People do not own up to their dreams of success while others  form  a  state  in which such fruits of success seem to be  normally  available attributes to them.  Other people have developed a natural state of  distrust  of ambition, as a result, view ambition as an uncontrollable part of humanity. Some even go to the extent of blaming ambition for the misdeeds that  happen  in their life. He  further  argues that to shun  ambition  to guard against its adversities is to  restrain  its successes. Through ambition, people  desire  and such de sires  amplify  their hard work and  discipline  towards the  achievement  of such goals.

Child and Youth Friendly Banking Product Development Guide Research Paper

Child and Youth Friendly Banking Product Development Guide - Research Paper Example Today the youth population globally is 1.2 billion representing the world’s largest youth population (UNCDF, 2012). This research analysis examined the feasibility of offering child and youth friendly banking products (CYFI) as a partial solution to the problems confronting children and young people in terms of achieving a viable economic future. In order to analyse the challenges and opportunities for CYFI, an empirical study was conducted in which a total of 10 executives from different banks were interviewed. It is concluded that the provision of CYFI can only be achieved through a multi-agency approach which includes policy makers, legislators, bankers, educators and other financial services. This partnership is necessary to overcome the risks associated with contracting with minors, the relative immaturity of minors relative to their ability to understand and take responsibility for financial management and other challenges that will be identified in this research report analysis. Table of contents INTRODUCTION LITERATURE REVIEW CHAPTER 1 1. Introduction 2. Research Question 3. Methodology 4. Literature review CHAPTER 2 1. Why are child and youth friendly banking products important? 2. What would the ideal child and youth financial product look like? 3. What is the current state of child and youth friendly banking products? 4. What are real-life examples of characteristics of child and youth friendly banking products? 5. What is the current state of certification? CHAPTER 3 1. Findings 2. Conclusion Reference INTRODUCTION According to the CYFI access to financial products by youth and children is described as either a savings or checking account held by a child or a young person who is under the age of 18. The child or young person is also required to have significant control over the account and includes means by which the child or youth has â€Å"financial incentives†, includes strategies for communicating employment, is connected to financ ing the child or youth’s education, canvasses the child or youth’s â€Å"satisfaction†, and has â€Å"internal controls† for monitoring these factors. Once the criteria as set forth below is met, the financial institution offering CYFI is eligible for certification for providing Child and Youth Friendly Banking Products (Child & Youth Finance International). The Child and Youth Finance Movement began the initiative for encouraging and implementing policies and services that comport with five core principles. The first of these core principles are informed by international human rights and in particular the Convention on the Rights of the Child 1989. In this regard, the first core principle maintains that children and young people are entitled to human and economic rights and protections. The second core principle advocates that institutions have a duty to operate their business affairs so that children and

Religious Influence on Japanese Art Term Paper Example | Topics and Well Written Essays - 1500 words

Religious Influence on Japanese Art - Term Paper Example Japanese art spans a wide range of media and styles including ancient pottery, wood and bronze sculptures, silk and paper calligraphy, ink painting and performing arts (Nobutaka 52). Japan has historically been subjected to invasions by new and alien cultures, ideas and religions. As the Japanese assimilated and imitated the foreign cultural and religious elements, their forms of art also took a shape influenced by the changes (Tsutsui 104). Although a majority of Japanese people are not exclusively identified as adherents of a certain religion, the strongest indigenous religion is Shinto (Sokyo 89). Buddhism and Confucianism strongly influenced prehistoric Japanese art. It was a representation of nature in a spiritual perspective unlike the secular perspective of scientific realism (Abe 64). Shinto, a form of nature worship has existed from ancient Japan (Sokyo 89). It means the way of the gods. A kami is a Shinto deity (Sokyo 90). Through Shintoism, the Japanese worshipped spirits thought to inhabit in natural phenomena like waterfalls, rocks and mountains. The kami were not initially represented symbolically, but rather, their perceived habitats were demarcated. However, with the adoption of the developed Buddhism and Confucianism styles of art, the Japanese people were prompted to introduce art into Shintoism, creating Shinto sculptures and paintings (Sokyo 101). They also created artifacts used in worship that symbolized kami. These were mostly in the form of protective items and amulets. The protective items and amulets used in the ancient Shinto religion were also a form of art (Sokyo 101). They used small wooden plaques called Ema to write and draw pictures of their wishes and placed them in shrine grounds for the wishes to be fulfilled by the deities (Abe 55). Of uda were religious talismans curved out of wood or formed from paper and metal, with names of kami inscribed on them for delivery of good luck. Paper modeling may also be traced back to daruma, which are paper doll representations of Bodhidharma, an Indian monk (Sokyo 101). The Shinto faithful used them to forward wishes to the kami. Another form of paper modeling is the inuhariko, a paper dog used to pray for good births. The Shinto also molded earthenware bells in the form of zodiacal animals called dorei, for use in prayers for good fortune. In Shinto architecture, the earliest shrines constructed to house ancestral spirits are a suggestion of the outline of single dwelling homes in ancient Japan. Similar to the ancient Japanese domestic homes, the shrines were entirely wooden (Sokyo 102). Japan’s relationship with Korea and China paved the way for the infiltration of artistic techniques and styles (Tsutsui 111). As Buddhism moved from Korea to Japan with it came artistic influences such as Buddhist texts, architecture and icons (Sugimoto 230). Art and craft specialists also migrated to Japan from China and Korea and participated in creating the new arts. With the introduction of Buddhism in the mid 6th century, Buddhist temples and Shinto shrines began to incorporate the same architectural designs. The structure of the Shinto shrines got more elaborate under the Chinese and Korean influence (Sugimoto 230). Since shrines also reflected family dignity, the designs were commissioned by noble families and many more structures were built in Nara and Kyoto cities (Sugimoto 231). Buddhist art in Japan is categorized into periods or eras. It shaped Japanese art from the 6th to the 16th century (Tsutsui 109). The Amida sect of Buddhism laid the foundation of Buddhist art in Japan. Prince Shotoku encouraged Buddhist art in the Suiko period while Emperor Shomu encouraged it in the Nara period of 645 to 784. In these eras, indigenous Shinto arts were taking the shapes of Buddhist arts and architecture, and the demand for Buddhist paintings increased among the wealthy Japanese

Does Shakespeare successfully present Henry V Essay Example for Free

Does Shakespeare successfully present Henry V Essay My interpretation of a hero is somebody who is sincere and caring. They must be polite and well mannered. Someone who is strong and has a strong will in a tough situation. A person who is heroic, fearless, brave and courageous all rolled into one. A person who isnt afraid to say what they believe in. They must be confident and determined to follow something through to the very end and to fight for what is theirs. A person who is a good speaker and can put their point across to an audience. They must be prepared to make sacrifices as part of their job. Although all of the above things are important attributes of a hero I think there are two more important attributes. The first is to be loyal. To be loyal to your friends, family and country. Without loyalty there can never be trust. The second is the ability to change. To realise there is something wrong with you or your attitude and to do something about it. Ely and Canterbury talk about one of these attributes in Act one Scene one of the play. The ability to change. Shakespeare writes about one of the main attributes of a hero in the very first scene. When Canterbury looks back on the prospect of Henry being a King he says that, The courses of his youth promised it not. Canterbury believes this because as a youth, His companies unlettered, rude and shallow, His hours filled up with riots, banquets, sports, And never noted him any study. As Henry grows older though, never was such a sudden scholar made. Henry changes because he knew he had to. That takes determination and courage. No matter what anyone said he followed it through and did what he had to do. In the very first scene of the play Henry is already being talked about before we have even met him. Shakespeare has done this because he is giving Henry a real heros entrance, just like in any good film, he is telling the audience who he is and what he does. Canterbury and Ely are setting the scene and trying to make his entrance seem dramatic. Shakespeare does this to tell the audience that Henry is a well-known and well-talked about person. In other words Shakespeare is showing the audience that Henry is powerful. In Act one Scene two Henry is introduced to us for the first time. A first impression of him would be that he is very diplomatic and polite. Sure, we thank you. My learned lord, we pray you to proceed. Later on in the scene though, when the French challenge him he does not turn it down. Henry is pondering whether to stake a claim to the French throne. When he is sent a mocking gift of, Tennis balls, my liege. He acts on his instincts and declares war on France. This is very brave because it leaves him open to criticism and it could turn out to be the wrong decision. In Act two Scene two Henry finds out that three of his lords, and friends, are traitors. He is upset by this, What shall I say to thee, Lord Scroop, thou cruel, Ingrateful, savage and inhuman creature? Although they are his friends he knows that he must, Arrest them to answer to the law. They are his friends but like any hero he must make sacrifices. Being a hero isnt just about fighting or being brave its also about thinking about and helping others. In Act three Scene one Shakespeare shows Henry giving a moving speech to his soldiers outside the walls of Harfleur. Once more unto the breach, dear friends On, on you noble English Be copy now to men of grosser blood, And teach them how to war Cry God for Harry, England and Saint George! Henry just doesnt go into battle and expect everybody to win. He knows how they must be feeling and he tries to encourage them. Henry also demonstrates that he is willing to do everything that his job entails. Shakespeare shows the audience another heroic quality by, instead of sending one of Henrys soldiers to do something for him, he writes it so that Henry does it himself. This is shown in Act three Scene four when he says, How yet resolves the governor of the town? This is the latest parle we will admit, Therefore to our best mercy give yourselves. Henrys strong words push the Governor of Harfleur to give in. As soon as Henry and his army are let into Harfleur he is showing good initiative by already thinking about the next stage, Upon the soldiers, we will retire to Calais. Shakespeare shows the audience again of Henrys heroism by showing us he can be polite and that he has good manners. How now, Llewellyn? Camest thou from the bridge? Although Henry is like a friend to his soldiers, just like a hero Shakespeare shows us that Henry must face up to his responsibilities. Bardolph has been caught stealing and he says, We would have all such offenders so cut off in our marches through the country there be nothing compelled from the villages. Even though things arent going as well as they should be Henry doesnt give up. In response to Montjoys offer for him to name his ransom he says, My army but a weak and sickly guard. Yet, God before, tell him we will come on Through France himself and such another neighbour stand in our way. Yet again in this extract of a speech Henry shows his strong beliefs in God. All of the above quotations came from Act three scene seven. Shakespeare makes the play very dramatic by using a chorus at the beginning of every act. These are very effective because it gives the audience a taster of what is going to happen but not enough to explain the act fully. This means that the audience want to know what is going to happen and when something does happen it makes it all the more dramatic. In Act four Scene one Shakespeare presents us the audience, with Henrys many heroic qualities. Not showing any signs of worry or weariness he tries his best to raise the morale of his soldiers. There is some soul of goodness in things evil For our bad neighbour makes us early stirrers, Which is both healthful and good husbandry. Henry also shows us like any hero or any person that he has feelings. He borrows a cloak and walks around the camp asking people what they think of him. King: Then you are a better man than the king. Pistol: the kings a bawock and a heart of gold, a lad of life, an imp of fame, of parents good, of fist most valiant. Later on in an argument (while in disguise) with Bates Henry stresses, I think the king is but a man as I am. The violet smells to him as it doth to me. Shakespeare shows the audience that Henry has a different side to his personality, he is caring and understanding. Rather proclaim it, Westmorland, though my host That he which hath no stomach to this fight Let him depart. He then shows us that he isnt just all talk and that he is brave by saying, We few, we happy few, we band of brothers-For he today that sheds his blood with me Shall be my brother. Henry again refers back to his belief in God by saying, Take it, brave York. Now soldiers, march away, And how Thou pleasest, God, dispose the day. He shows us this in Act four Scene three. You know when someone is a real hero because another person compares him or her to an already famous hero. Shakespeare does this in Act four Scene seven when Llewellyn compares Henry to Alexander, If you mark Alexanders life well, Harry of Monmouths life is come after it in incident well. Later on Henry shows again that he does have feelings. All of the boys guarding the luggage have been killed, I was not angry since I came to France Until this instant. When Henry knows that they have won the battle he is not boastful; this is another great attribute of a hero shown very clearly to the audience by Shakespeare. Instead he says, Praised be God, and not our strength, for it. He then shows that he is not afraid to show everybody his roots. I wear it for a memorable honour, For I am Welsh, you know, good countryman. Even though he is enjoying the moment of winning he has to get on with his job, Bring me just notice of the numbers dead On both our parts. Once again Henry refers to God, To boast of this, or to take that praise from God, Which is His only but with this acknowledgement, That God fought for us. During the battle Shakespeare uses another dramatic device by using very short scenes whilst everyone is fighting. This means that everything is constantly changing and the audience doesnt know what is going to happen next. It also builds up tension because Shakespeare is moving from one camp to the next. One minute you are in the French camp then the next you are in the English camp. After winning the battle Henry has to get back to his duties as king. Shakespeare shows the audience this side of Henry to show us that he is not just wrapped up in the glory of winning, he instead shows us that he is a true hero and still will face up to his responsibilities. Peace to this meeting, wherefor we are met. He then shows that a hero is just like any other man by trying to court the French kings daughter, Katherine. Fair Katherine if you will love me soundly with your French heart I will be glad to hear you confess it brokenly with your English tongue An angel is like you And therefore tell me, most fair Katherine, will you have me? After agreeing the peace treaty Henry says, prepare we for our marriage The above quotations were taken from Act Five Scene Two. Overall I think Shakespeare has been very successful in presenting Henry as a hero. He is everything a hero could be. He has shown the audience that a hero could be sitting amongst them, that a hero is just an ordinary man or woman. The audience can relate to this because one day they themselves know that they could be a hero. I also think that the play was more effective in Elizabethan times than it is now. This is because when Shakespeare wrote this particular play Queen Elizabeth was coming to the end of a very successful rein and she had no one to succeed her. The Elizabethan community were very worried that there wouldnt be anybody as good to take over, especially not a man. Shakespeare then wrote this play showing a truly heroic, male King. This raised the hopes of the Elizabethan people and made the play much more effective and much more popular.

Indian Fashion And Textiles

Indian Fashion And Textiles Indian fashion is rich in tradition, vibrant in colour and beautiful. Bold colour and metallics created by the inventive drapes of these textile catches the imagination like no other contemporary clothing. Some Indian dress designers combine western trends with an Indian touch, creating garments which are outstanding. (www.wordiq.com) The Indian traditional fashion is vast and influential throughout the world. It is one of the richest cultures. The culture of India is an amalgamation of diverse sub-cultures like languages, textiles, crafts, dance, architects, food and customs. In Textile Surface Decoration, Margo Singer argues that, India has its own ancient tradition of silk weaving and can boast many indigenous silk moths. The country produces several types of silk. India became a major exporter of silk and is still the largest producer of silk after China. It also has a vibrant tradition of block printing (often using indigo), which dates back many centuries. Traditional techniques are still used today. Indian textiles have been exported since the 15th century; today the main textiles centres are Gujarat, Rajasthan and Andhra Pradesh, where block printing workshops still produce fabrics dyed with vegetable and chemical dyes for clothing, furnishing and fashion exports. British India 15th-16th century As written by Beverly Lemire and Giorgio Riello, the trade of textiles from India to European countries was seen in 12th and 13th century (Ottoman period) where silk was imported from Asian countries like India and China. Emergence of fashion in Europe was visible in the revolutionary commodities painted and printed Indian cotton textiles which came in seen towards the end of the 15th century. These textiles represented the Asian imports into Europe, showed the widespread consumption of Indian textiles and also worked as a source of inspiration for European manufacturers. By the early sixteenth century, imports increased which in turn attracted generations of Europeans due to the unmatched brilliance and fastness of colour and the striking designs of printed Indian cottons. European fashion in this century was not just created through the adoption and use of Indian goods but it was shaped by the Indian culture, motifs and techniques used. Ritu Kumara a famous Indian designer in her book Costumes and Textiles of Royal India stated that in 1601 that British East India company had established centres for trade in India in cities like Madras, Surat, Calcutta and Bombay. In this century British began to develop textiles for their own markets. They expanded and established factories in India and started exporting to other countries. They exported silk ikats, cotton pieces goods, indigo and fine embroideries from cities like Gujarat in western India and Bengal in eastern. According to her, England was not the only European country where Indian textiles were popular ,places like France were also charmed by the widespread heritage of India. (Costumes and Textiles of Royal India by Ritu Kumar,1999 pg.52,53 and 54) 17th-18th century Indian cotton textiles first started to appear in the first decade of the 17th century in the form of Chintz which refers to, any floral printed furnishing fabric, made of cotton or linen, and often glazed. It is often defined as Indian cloth on which a pattern has been produce by hand drawing with a bamboo pen (kalam) and dyeing with mordants and resists. They are originated from the south -east India, in the area that came to be known by European as the Coromandel Coast. Influence of chintz has been in the form of coverlet, quilt, hanging, plates, dress, overdress, petticoat and other form of garments which are present in the Victoria and Albert Museum. (Rosemary Crill,) As Ritu Kumar refers to the history and writes that the demand for Indian textiles had reached such heights in 17th century in the British and French culture which resulted in prohibition of anyone wearing or using any Indian textiles so as to promote their own silk and textiles. But these prohibitions were difficult to impose and failed and the trade continued. She also writes that, by the 18th century dresses made of Indian muslins and the woven shawls which were draped over them became fashionable. The Kashmir shawl was one of the most sought after luxuries in Europe by the end of the 18th century which was very expensive and was exported from northern India. Ritu Kumar stated that Forbes Watson acknowledged, that the intrinsic aesthetic refinement of Indias clothing required an understanding of oriental tastes which according to him would ensure a market in India for the same. His study advocated the sophistication of colour and form of Indias textiles in order that English manufacturers might achieve the sense of rhythm and harmony inherent in them. He explained that British manufacturers followed a rule of exporting or making things with an essence of British culture rather than taking its true Indian form which in turn failed as Indian manufacturers could do it best originally and the products value decreased when it lost its true essence. And thus realising the fact how a charm of an Indian product was with its true colour and not modified. In her book evidences of trade from the east to the west can be seen till the early 20th century in wardrobes of the royal British. (Costumes and Textiles of Royal India by Ritu Kumar,1999 pg.55,62 and 63) 1900-2000 Just like a painting, or a song, fashion also plays a main role in the fusion of different cultures and influences. Eastern and Western cultures engage in an important part in the Fashion trends of today. These two are fused in the fashion industry in many ways, the British borrowing from the Russians, India from the French, Japan and Germany, and the list continues. According to Priyanka Arora, Since 1890 till the present world fashion has seen tremendous influences from the Indian culture in the British fashion resulting from the artists and designers renowned interest in Art Nouveau. She believes that Indian textiles and work can be seen in any store or designer line. Eastern inspired clothing like embroidered tunics, beaded necklines on dresses and shirts, jewelled handbags in Sari fabrics, reminiscing different characteristics from the East have been influencing British designers . Pashminas, for example, are now an everyday basic item for most British women. Around the 1940s the Nehru jacket became a big trend and thanks to The Beatles and it is still an acclaimed collar style in shirts, coats and jackets. Even pagoda sleeves was an eastern trend which was incorporated in western fashion. The most noted designers according to her bidding on exotic eastern style in their creations are: Max Mara, exploring sexy necklines and strong fabrics ,A rmani, Jean Paul Gautier and Versace are only some of the top names reaching out to their masculine lines by including eastern elements to their creations, like pants made with fabrics, necklines, printed belts and sandals with the use of heavy silk. She also argues that the Boho Chic look, on the other hand is a representation of western influence on eastern culture. Thus concluding by saying that its a unique style where one can appreciate the fusion of both worlds with the modern and contemporary side of the western fashion and just a hint of eastern flair in the jewels and beading. Season to season, we see fashion face some radical changes, but the east and west mixture is inescapable, resulting always in a beautiful, artistic and also commercial masterpiece representing a multicultural society of designers and consumers. http://www.fibre2fashion.com/industry-article/11/1032/fashion-fusion-from-east-to-west-and-back-again1.asp Laura Jacob writes and depicts about work of renowned designers from all around the world in the book The Art of Haute Couture(SKREBNESKI) in which Christian Lacroix collection of 1990 shows a gown which has high end Indian embroidery with hand accessories influenced from India. (The Art of Haute Couture(SKREBNESKI)by Laura Jacob) Salvatore Ferragamos famous customers in the late 1930s was Indira Devi, the maharani of Cooch Behar. Ferragamo had designed about 100 shoes for her which were adorned with pearls, rubies, emeralds and diamonds which were sent from India by the maharani. These were reproduced for his collection in the year 2003 for an opening of a new store. As Laura McLean -Ferris has written about KENZO a world famous designer who evolved in 1970s that his designs are a combination of details which have been taken from all around the globe, creating a fusion of folklore styles that vibrate with a blend of fantasy and reality. Which brings out the importance of fusion of a cultures in her view of the designers work. It also talks about how KENZO used both east and west traditions together to create an aesthetic that is globally appealing. (fashioning fabric) 2000 and beyond As Elyssa da Cruz quoted for the Indian based designer Manish Arora who emerged on the London runway in late 2005.His work embodies western modishness and native Indian symbolism, all manifest in a lavish array of textiles. The opulence of his label derives from the textiles revived back in India and crafted into a contemporary western silhouettes. Ashish considered as a lead figure in the new generation of British fashion, his work is a blend of contrast of eastern and western cultures .His use of traditional and contemporary design with high quality textiles and Indian handcrafting techniques has marked its importance in the global fashion.(IC) Jennifer Trak has talked about designers Abujani Sandeep Khosla are synonymous with classic Indian style and elegantly draped silhouettes. Creative use of materials like sequin, pearls against lavish fabrics have made their garments the choice of numerous celebrities from Bollywood and Hollywood. Laura Mc Lean-Ferris has quoted about KENZOs 2005 collection which was called An English Garden in India autumn/winter 2005.this collection was inspired by heavy Indian embroideries, Indian silks and taffetas. EDC has shown glimpses of Christian Lacroix autumn/winter 2002 collection which shows multi coloured rustic paisley pattern embroidery which is a very famous Indian motif. Dries Van Noten a Avant garde designer has proven himself to be a visionary couturier whose multi-ethnic inspired designs have always been a hit in the fashion world. He believes in global perspective ,reinterpreting existing themes, motifs, traditional hand-crafting techniques from diverse locales such as northern Africa, India and Japan to create his designs. His work has been highly inspired by Indian textiles which can be seen in his collections of autumn/winter 2006 and 2007. (fashioning fabric) Shikha Chadha Bhatia expands about the Indian fashion and designers and states that India has been one of the developing international markets along with China. She feels with India Fashion happening twice a year, starting in 2003, local designers are recognising the need for collections with more of an international appeal. She unveils the collections and thoughts of Indian Designers as follows: Ravi Bajaj one of the leading fashion designer of India says that, The Indian fashion industry is on the brink of change. Not only are Indian designers increasingly staging catwalk shows abroad but, in an effort to appeal to an international market, they are creating alternatives to themes synonymous with Indian fashion such as heavy embroidery, loud colours and traditional motifs. Taking inspiration from other cultures, Indian designers are increasingly aiming for global appeal. Ritu Kumar, one of Indias most well-respected designers believes that, despite the changes, Indian fashion has kept its signature. For the last two years, embellishments on clothes are changing, silhouettes have an international look, but overall thematically the essence is Indian. She says Indias edge comes from its textile tradition as costly textile processes like stone-washing and tie dye are more affordable in India than in the west. Kumar also points out that textiles are more varied because manufacture is not fully mechanised and so allows for smaller runs and experimentation. Kiran Uttam Ghosh,Indian Designer his spring/summer 2003 collection has been inspired bohemian colour and the exuberance of pattern.it reveals 70s hippie look featuring patchwork, mismatched sleeve lengths and uneven hemlines. Tiered chiffon, hipsters, kaftans and tie dye shirts are key in a rainbow of colours including hot pink, acid yellow, coral, turquoise, blood red, ivory and black. http://www.wgsn.com/content/wgsn-ms/magazine/features/2002/nov/mm2002nov15_005478.html INDIAN HANBAGS GO GLOBAL by Cezca Chanelle Cezca Chanelle states about Indian handbags getting a global recognition in reference to the following designers like, Designer Judith Leiber the luxury American handbag brand collaborated with an Indian renowned designer Suneet Verma in 2008 to design a collection of couture handbags and clutches. Suneet Verma designed Ganesha bags that have been used as art deco pieces which were flaunted by style icons like Sex and the Citys Sarah Jessica Parker and the famous singer Jennifer Lopez on the red carpet. She states about Meera Mahadevia an handbag designer whose metal bags embellished with stones were showcased at the Vendome Luxury Exhibition in Paris earlier this year. Her couture collection retails in luxury stores like Neiman Marcus in the US and Selfridges in London. She also refers to another Mumbai-based handbag designer Nandini Mariwala whose clientele includes Hollywood stars like Lindsay Lohan and Halle Berry as well as international royalty. Her current collection of day bags which is a limited edition are hand-knotted and embroidered which are sold via luxury store Harrods in London. She comments that, Maybe its time Louis Vuitton and Prada took a back seat now. http://luxpresso.com/news-couture/indian-handbags-go-global/2279 Spring 2009 Trend Reports for women fashion by style.com In the Marrakech Express theme based collections of Marc Jacobs, Reem Acra and Tibi influences of Indian silhouettes and work can be clearly seen which depicts the power of Indian fashion. http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0HYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47HYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47iphoto=75HYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47HYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47play=falseHYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47HYPERLINK http://www.style.com/trendsshopping/trendreport/011309/slideshow?loop=0iphoto=75play=falsecnt=47cnt=47 Spring/Summer 2010 trends for interiors by WGSN The trend speaks about the glamour and eccentricity of staged entertainment, revel in a sense of drama and satirical humour. Embrace outrageous and unconventional decorative combinations from the East and West, old and new, to create a surreal, playful environment. The designs being Western but the inspiration of play of colours being Eastern has given this trend and collections an edge to the others. And as quoted by Elsa Schiaparelli, In difficult times fashion is always outrageous. I believe it justifies that different things or cultures can be put together even if one is different from the other to create something that is outrageous. http://www.wgsn.com/content/wgsn-ms/trends-info/features/ti0861/ti086120_index/ti086120_ou.html WGSN has aggressive plans for Indian fashion industry August 06, 2009 (India) WGSN, worlds leading fashion and style forecaster, in 2009 has updated for a partnership with the fast growing fashion retail market in India. They also announced their Global Trends Style Forecast for season 2010-2011.It will be focusing on the Fashion designers, manufacturers and retailers to partner and help them in moving up the value chain to tap opportunities in local and global fashion industry. This shows the importance and development of the Indian fashion market and its influence globally. As Juliet Warkentin, Head Content WGSN said, With a rich and diverse cultural history and huge talent base, we believe India has the potential to play a major role in global fashion Industry. With Indian companies across sectors making a global impact, its now turn for Indian fashion industry. And at WGSN we want to share our knowledge and experience to partner the Indian fashion industry in their quest to be world class players. http://www.fibre2fashion.com/news/fashion-news/newsdetails.aspx?news_id=75777 Role of Culture As Michel Klein (designer) quoted in the book Yves Saint Laurent (Forty Years of creation), without looking back to the past, without playing with disguise, he created a contemporary fashion with very cultural inspiration. For YSL the influence of culture in all its aspect is only a source of inspiration. http://www.fibre2fashion.com/industry-article/market-research-industry-reports/the-text-of-indian-text-styles.asp Consumer behaviour Consumer behavior is the study of when, why, how, and where people do or do not buy a product. It blends elements from psychology, sociology, social anthropology and economics. It attempts to understand the buyer decision making process, both individually and in groups. It studies characteristics of individual consumers such as demographics and behavioral variables in an attempt to understand peoples wants. It also tries to assess influences on the consumer from groups such as family, friends, reference groups, and society in general. (http://en.wikipedia.org/wiki/Consumer_behaviour) As Maria Costantino has explained consumer behaviour provides a number of concepts that help fashion marketers think about and understand their customers, and market research provides techniques for measuring those concepts. Understanding consumer and their buying behaviour draws heavily on psychology and anthropology as well cultural history.