Comparative Analysis of the Theories and Methods Used in...

The following paper is a comparative analysis of the theories and methods used by the authors of â€Å"Inked into Crime? An Examination of the Casual Relationships between Tattoos and Life-Course-Offending among males from the Cambridge Study in Delinquent Development† (Jennings, Hahn, Farrington 2014) and â€Å"Nonmainstream Body Modification: Genital Piercing, Branding, Burning, and Cutting† (Myers 1992). Jennings, Hahn, and Farrington’s article investigates the correlation between tattoos and deviant behavior. In addition, the researches ultimately want to discover if the relationship between tattoos and crime may in fact be casual, or are just another symptom of developmental risk factors and personality traits (Jennings, Hahn, Farrington 79).†¦show more content†¦Included in the study were males, females, homosexuals, heterosexuals, and bisexuals. Myers spent a vast amount of time exploring various workshops and tattoo/piercing studios observing, in terviewing, and lecturing individuals on his current study. An example of this is when Myers attended the Living in Leather Convention as he stated â€Å"I was able to expand my involvement by showing my body modification slides to several people, attending parties, and helping out at the host organization’s hospitality suite† (1992:176). Though both studies rely heavily on body modification, they differ in a couple of ways. While the first study was considered a longitudinal study, the second one was considered a quasi-experimental study. The first study was done in a period of 53 years while the second study was done in a period of 2 years. Another difference is that the first study relied on a different type of sampling than the second. The first one involved quota sampling because the researchers knew exactly who they wanted to choose for participants in their study. The second study involved both random and accidental sampling for data observation and collection. I believe that Jennings, Hahn, and Farrington’s (2014) study was less effective than Myer’s study. Though Jennings, Hahn, and Farrington’s study is the first longitudinal study to measure tattoo-crime link, there are a few limitations. Instead of using a quota sample of

William Shakespeare s Romeo And Juliet - 1306 Words

As outlined in Aristotle’s Poetics, tragedies are meant to follow a specific structure. In a tragedy, heroic characters often give in to their various flaws and end up dying as a consequence, resulting in an outpouring of grief from the audience. Shakespeare’s Romeo and Juliet is often cited as a prominent example of the tragical genre, with Romeo’s crime of passion against Tybalt resulting in the complication of his relationship with Juliet, and ultimately, the duo’s demise. However, despite its status, Romeo and Juliet contains a number of elements that lend themselves more to comedy than tragedy and result in a play with a much more comedic slant than it would appear to have at first glance. It is through the playful character of†¦show more content†¦Only a short time later, Mercutio continues: â€Å"O Romeo, that she were, O that she were / An open-arse and thou a popp’ring pear!† (2.1.37-38). While appearing to be just an a postrophe at first, given the fact that the scene in question takes place within a forest, the aside takes on a completely different meaning when it is explained that a â€Å"popp’ring pear† is a euphemistic phrase created by Shakespeare and that Mercutio instead is making a sly remark about Rosaline’s anus. This sort of discourse very easily shows how Romeo and Juliet contains more comedic elements, with Mercutio’s demeanor adding a certain degree of mischievous, distinctly upbeat individuality to the tragedy. To further expand upon this point: In Poetics, Aristotle mentions that â€Å"†¦Tragedy [aims to represent men] as better than in actual life† (2); however, characters in the play are, more often than not, left scandalized by things Mercutio says, or end up having conversations with him that do not serve any greater purpose than to emphasize the whimsicalness of his character. For instance, in act 1, scene 4, Mercutio recites a lengthy monologue about dreams, to which Romeo responds: â€Å"Peace, peace, Mercutio, peace! / Thou talk’st of nothing† (1.4.95-96). When Mercutio describes Tybalt to Benvolio in act 2, scene 4, Mercutio describes him very

Bibliography A Welsh Folk Museum

Question: Describe about the Bibliography for A Welsh Folk Museum? Answer: Castel Veechio Museum: Themes and Issues: - Project Castel vecchio Museum Location- Verona, Italy Architect - Restoration by Carlo Scarpa Built - 1958-64 Castel vecchio Museum is a museum in Verona, northern Italy, situated at the eponymous medieval castle. Restoration by the architect Carlo Scarpa, between 1959 and 1973, has enhanced the appearance of the building and exhibits. Scarpa's unique architectural style is perceptible in the details for doorways, staircases, furnishings, and even fixtures designed to hold a specific piece of artwork. The museum displays a collection of sculpture, statues, paintings, ancient weapons, ceramics, gold works, miniatures and some old bells. The castle vecchio museum is just not a simple restored building with arts work in it. Its an assembly with everything worked out. This museum is included in Verona card and without that card it costs 6 EUR for its visiting which is assumed to be a fair price according to the numbers and quality of the artwork exhibited. The most important thing about this museum is its architecture. When seen from the top of one of the rowers the Verona can be seen easily. The questions which I will be addressing are- How architected the building of Castle vecchio museum. Which type of architecture technology is used by the architecture? Why the architect choose this museum for restoration. Why this museum is so important. The importance of castle vecchio museum is that this is a very old building built in the 14th century and that time it used as barracks during the wars and after that the famous architect Carlo Scarpa restored and redesigned this building and this became a museum for science. This is the largest museum in Italy as this has a variety of sculptures, frescos and paintings and most of these artworks are religious or spiritual theme. Dissertation outline: - Themes and issues about castle vecchio museum. Addressing questions. Importance of the castle vecchio museum. Dissertation outline. Executive summary. Visual material. Carlo scarpa done the work of restoration of the castle vecchio museum which was earlier a war barrack made in 14th century. The every part of this museum is designed and architected by the famous architect Carlo scarpa it is done during the period of 1958 to 1974. Rooms of this museum are disposed as in any other museum, but the windows, the lamps and the stands for artworks have been all conceived by the genius of Carlo Scarpa. The floor is never linked in a straight line to the wall, as not to disturb, as leaving a space in the case the wall would like to move around or we, with our imagination, could not keep stable the walls. The arches act like filters, from one room to the other. We notice that the main beam divides the roofing into two pieces and seems to indicate us the path to follow. The way goes on throughout the exhibition without hitches, leaving us often speechless, guiding us onto the top of the surrounding walls, in a succession of spaces designed with masterly care. Image: Inner architecture of the museum The bells of the museum are designed to put alongside of the staircase in such a way that they seems like as they are perfectly positioned. Image: Bells of the castle vecchio museum By going to the sculpture of Can Grande della Scala and to the other art pieces exposed outside. We take the only possible way. It is 30 meters long and, in this space, we go on looking all around, keeping silence. While we are getting to the entrance, we perceive that something is changing, as if we are going higher. This sensation is due to the vegetation that lowers while we are moving on. Iron beams are provided by the Carlo scarpa in order to support the roof structure. The beam is a double structured and a single piece is also mounted on the upper side of these double structured beams in order to evenly distribute and lessen the load on every beam. Image: Beams of castle vecchio museum Element, material or facade came close up to or occupied with another, there required to be a retort, a thicken or tapering, or solidifying, a texture change or smoothing, an understanding of which constituent is in the superiority. The stairs are designed in such a way that there should be always a dim sunlight in order for proper visualization of the stairs. Thats why the Carlo Scarpa attached a holed window like pattern at the end of stairs. The stairs are made of red sandstone on the surface and black stone commonly known as granite on the side surfaces, For the purpose of better outfit and looking and polishing. Image: Stairs of castle vecchio museum The doors of castle vecchio museum made in such a way that they consist of double gates at each and every gate among them one is made of glass and the other is made of wood with rectangular blank holes provided in it. The gates are designed by keeping in mind the requirements of both better looking as well as security of the museum. Because of security purpose the wooden gates are provided with a high thickness level. Image: Gates of castle Vecchio museum The design was continually aiming to create a private experience between the viewer and the object, where the object is offered up as if in an outstretched hand, to facilitate a very personal interaction. We can see this in his earlier work at the Gallerie dellAccademia in Venice, where he experimented with alternatives to the wall and the plinth and first introduced the beautifully detailed display easel. Scarpa was constantly reinforcing the importance of the object in the way he displayed it, maximizing its own intrinsic worth from the fixtures supporting the objects to the contrasting colored felts adjacent some of the paintings. Each work of art is displayed with fine distinction and sensitivity. In the ground-floor sculpture galleries he formed a five-room enfilade, drawing visitors through each aperture with the use of large, thick, textured slabs of stone that clad the archways to create a more human scale to the dimensions of the passageway, matched to the spring line of the arches. As you walk through towards the first gallery from the museum entrance, you step onto a small hollow ramp that is rather like a drawbridge, a contrasting element to a raised solid gallery floor. Everything is considered. In each of the somewhat asymmetric galleries, he has pulled the floor away from the obstruction to set up his own geometrical lattice and used irregular bands of concrete and stone, set at various widths to suit the displays. As horizontals, running across the gallery floor, they purposely slow you down on your way through, and set up a fresh controlled dynamic for the objects to function within. Sometimes Carlo Scarpa worked with the floor banding in the design of the displays, sometimes across them. At the walls, he carefully wrapped the stone edge of the new layer of floor into the recessed channel as if to embed it, so that it didnt appear as if the new surface had just been dropped in randomly. The sacellum, which protrudes from slightly inside the gallery into the courtyard, shows the depth of thinking behind the design. It clearly reads as a new intervention and feels like stepping into a polished plaster box, with rich red floor covering used to suit the more cherished dimensions of the space. The display of each object is meticulously considered. The leg of the nearest present cabinet, for example, is not allowed to come down arbitrarily onto the floor, but instead Scarpa positioned it so that it suited the section of the floor and was clearly part of the new layer of involvement he was creating at Castel vecchio museum. Visual material: - Image: castle vecchio museum outer look Image: View from top side of castle vecchio museum Image: Inner beam supporting and stair visualization References: - A welsh folk museum: st. Fagans castle In-text: (A Welsh Folk Museum: St. Fagans Castle, 1946) Bibliography: A Welsh Folk Museum: St. Fagans Castle. (1946). Nature, 158(4022), pp.783-784. ALEXANDER, C. An Attic Relief from Lowther Castle In-text: (Alexander, 1949) Bibliography: Alexander, C. (1949). An Attic Relief from Lowther Castle. The Metropolitan Museum of Art Bulletin, 7(6), p.162. BERGSTRM, C. M. Skokloster Castle - one of the worlds foremost Baroque museums In-text: (Bergstrm, 2001) Bibliography: Bergstrm, C. (2001). Skokloster Castle - one of the worlds foremost Baroque museums. Museum International, 53(2), pp.36-40. BRUCE-MITFORD, R. L. S. The Castle Eden Vase In-text: (Bruce-Mitford, 1941) Bibliography: Bruce-Mitford, R. (1941). The Castle Eden Vase. The British Museum Quarterly, 15, p.73. BRUNO, A. Rivoli - a castle for contemporary art In-text: (Bruno, 1986) Bibliography: Bruno, A. (1986). Rivoli - a castle for contemporary art. Museum International, 38(1), pp.4-8. CARTER, J., CASTLE, C. AND SOREN, B. Taking stock: museum studies and museum practices in Canada In-text: (Carter, Castle and Soren, 2011) Bibliography: Carter, J., Castle, C. and Soren, B. (2011). Taking stock: museum studies and museum practices in Canada. Museum Management and Curatorship, 26(5), pp.415-420. CASTLE, M. Blending Pedagogy and Content: A New Curriculum for Museum Teachers In-text: (Castle, 2006) Bibliography: Castle, M. (2006). Blending Pedagogy and Content: A New Curriculum for Museum Teachers. Journal of Museum Education, 31(2), pp.123-132. FLOWER, R. The Wyatts of Allington Castle In-text: (Flower, 1935) Bibliography: Flower, R. (1935). The Wyatts of Allington Castle. The British Museum Quarterly, 9(4), p.117. GRABOWSKA, J. The exhibition of amber in the Malbork Castle Museum In-text: (Grabowska, 1966) Bibliography: Grabowska, J. (1966). The exhibition of amber in the Malbork Castle Museum. Museum International, 19(2), pp.125-128. HISTORICAL MUSEUM IN CAPE COAST CASTLE In-text: (Historical Museum in Cape Coast Castle, 1971) Bibliography: Historical Museum in Cape Coast Castle. (1971). Africa, 41(02), p.160. IOANNIDES, M. Progress in cultural heritage preservation In-text: (Ioannides, 2012) Bibliography: Ioannides, M. (2012). Progress in cultural heritage preservation. Heidelberg: Springer. KRAUEL, J. AND OCKRASSA, A. New concepts in renovating In-text: (Krauel and Ockrassa, 2005) Bibliography: Krauel, J. and Ockrassa, A. (2005). New concepts in renovating. Singapore: Page One. KRCALOV, J. The Prague Castle Picture Gallery In-text: (Krcalov, 1966) Bibliography: Krcalov, J. (1966). The Prague Castle Picture Gallery. Museum International, 19(1), pp.31-38. MCLAUGHLIN, C. Rethinking Visual Anthropology:Rethinking Visual Anthropology In-text: (Mclaughlin, 1999) Bibliography: Mclaughlin, C. (1999). Rethinking Visual Anthropology:Rethinking Visual Anthropology. Museum Anthropology, 22(3), pp.71-73.

The Creation Of The Universe The Earth free essay sample

The Creation Of The Universe, The Earth, And Human Beings Essay, Research Paper In the beginning at that place was merely darkness. For many 1000000s of old ages this darkness remained. There were no stars, no Sun, and no Earth. But one twenty-four hours something really particular happened. The darkness created visible radiation. It was a really little sum of visible radiation but it was merely plenty. The light became the hubby of the dark. After a long while both the visible radiation and the dark became world-weary. The light began to diss the dark and the light replied with every bit rough insults. # 8221 ; You are non every bit beautiful as I! # 8221 ; said the light. # 8221 ; Ha! You are much uglier than I! # 8221 ; said the dark.Eventually they began to contend. None could prevail over the other, nevertheless, because they both were equal in power. Dark had a small spot more strength but visible radiation had a small spot more craft. We will write a custom essay sample on The Creation Of The Universe The Earth or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page They continued to contend for a really long clip until one twenty-four hours the visible radiation was tired and she called to the dark. # 8221 ; We must make existences that will give more significance to our lives for we must populate together for eternity. # 8221 ; The dark agreed and so it was settled. They would gestate two new existences. One would be female the other would be male and the two siblings would be fertile and give birth to the existence. The light gave birth to a God, the first God, and his name was Thrakath. He was the Godhead of the existence and the boy of the visible radiation and the dark. The visible radiation besides gave birth to Tria and she was the Godhead of the existence, the girl of the visible radiation and the dark and the married woman of Thrakath.Both Thrakath and Tria lived together within the light and dark for a long clip making the existence within their heads. After they had finished believing they decided to implement their programs. Firs t they created the stars. There were many stars throughout the existence and both Thrakath and Tria were pleased. But the stars finally became troublesome so they decided to make the sun.The Sun became the male monarch of the existence and he was really brilliantly so he could be seen from far and broad. The stars feared him and so once more began to act in an appropriate manner. He besides was really hot and warmed the one time cold existence so that life would be possible.Then, Thrakath and Tria decided to do planets. They made eight planets, one every month for eight months. These planets were much smaller than the stars and they worshipped the Sun and revolved around him. They waited three more months until they created the 9th planet. This planet they named Earth and decided to do her particular. The other planets became covetous but the of all time present Sun discouraged them from exposing unrest.The Earth became highly weary of her life so Thrakath and Tria gave her a friend who would be her ageless comrade named Moon. Moon and Earth became good friends and they stayed together. Thrakath and Tria were really pleased with what they had created but they were non rather finished.They were tired of creating, however, and so they created an earth-god name Terra who would develop and populate the earth. Terra wasted no time in getting to work. First he created water and then he created land. When he had finished he thought to himself how very beautiful Earth was and he was also pleased. Then he reached into his pockets and took out some seeds. Terra proceeded to plant these seeds in the land. They were all different types of seeds and from them sprang many different trees. Some bared fruit and others didn’t.Terra thought to himself that the plants were nice but were not interesting enough so he planted special seeds that would grow into animals. Only two of each type of animals were created but they mated and reproduced and populated the earth. He then thought to himself that the animals were interesting but were not very smart. He wanted to create individuals who, like himself, could also create. So after much thought, he created people.The people were ve ry smart. They learned much by just observing the environment around them. They used the plants to create tools and shelter for themselves. They also used plants for food. They killed some of the animals and used them for clothing and also for food. Terra was ecstatic at what he had created and bragged about the people to Thrakath and Tria who were interested.For many hundreds of years the people were good, taking only what they needed from the earth and obeying the wishes of Terra, the earth-god. They always remembered to worship him for they owed him much. The people loved Terra and each other and were happy. They reproduced and soon populated the earth along with the animals.But then humans started to do bad things. They began to kill each other, waste the food, and disobey Terra. They no longer worshipped him and many forgot him altogether. The people thought that they could live well without respecting the earth-god. Terra the earth-god became very displeased and so he created a great and terrible monster to deal with the people. The monster was named Dragga and he was a violent and terrifying beast. He swept down upon the earth with great fury and devoured as many people as his immense belly could hold. Those that he could not eat he grabbed with his enormous claws and snapped in half.The people were horrified and called out to Terra to have mercy and save them. Terra heard their cries and had pity for them so he created a great earth warrior named Hercles to slay the beast. Hercles had superhuman strength and possessed a sharp, double-edged sword. He travelled many miles to find Dragga and when he found the monster he immediately slayed him. The people were grateful to Terra for sending them such a fearless warrior to slay Dragga and made Hercles their King. With Hercles as their king, the people of the earth once again became prosperous and the world was returned to order.