Comparison and Analysis of Museum Architecture

Comparison and Analysis of Museum Architecture In the late 1790s, several influencial members of the Prussian government requested that a museum was to be built to house the royal collection that would constitute a valuable contribution to the states cultural mission. Due to struggle with Napoleon and Prussias defeat in 1806 with victory in 1813 at Leipzig, the project was delayed until 1822, when Architect Karl Friedrich Schinkel took on the project. The Altes Museum was built between 1823 and 1830. It is one of the most important works in the architecture of Classicism. It has a lucidly ordered exterior and an interior structure of great precision after the Ancient Greek style, Schinkel pursued Humboldts idea of the museum as an educational institution open to the public. The Altes museum was originally built to house all of Berlins art collections, it has accommodated the Collection of Classical Antiquities since 1904. Between 1943 and 1945 the building was severely damaged by fire. Reconstruction work continued up until 1966. Since 1998 the Collection of Classical Antiquities has displayed its Greek collection, including the treasury on the ground floor of the Altes Museum. The Egyptian Museum has, since August 2005, shown its collection on the upper floor where it will remain until it moves to the Neues Museum in 2009. Karl Friedrich Schinkel was associated with leading poets, philosophers, and statesmen of his day. Some of their discussions involved aesthetics and the purpose of art, which did more than influence him passively. He sought to apply such theories to his architectural work. The Altes Museum was intended to be simply an extension of the Royal Academy, but Schinkel insisted he wanted it to be an autonomous building sited at the northern end of the Lustgarten, opposite the palace. In order for this to occur, because of the buildings intended size, a canal had to be filled in and a number of smaller buildings were removed to make way for the museum.It has been sited to face the palace and inserting it between the River Spree and a number of smaller buildings allowed him to accommodate the projects not so generous budget. Since only the museums facade needed ornamentation worthy of such an eminent neighbor as the palace, the Konigliches Schloss. The museum was located on axis with the palace and was adjacent to the cathedral and arsenal, giving it a central place among these three pillars of the Prussian state. It was to become a magnificent icon of its time. The museums relations with the state only went so far, with the facade, significantly, bore an inscription acknowledging the kings leading cultural role, although the museum was in no sense an extension of the court or an expression of royal power. The facade may have bore the kings name, but the buildings interior was to belong to art and its public. The Alter Museum appears a monumental masterpiece on the exterior, but not much can be said for its interior. It is preserved by recognising the courts role in the cultural life of Prussian society, while simultaneously disallowing this acknowledgement of power from affecting the museums internal logic. The building presents us with one face to the outside, while presenting another on the inside, reminiscent to the Janus symbol of one head with two faces, a double-edged sword, or the opposite sides of a coin. Schinkels museum attempts to suggest how art is connected to the world socially, culturally, and morally,within the context of the three pillars of Prussian society, as symbolised by the palace, arsenal, and cathedral. In the Altes Museum, it is impossible to ignore the buildings use of architectural forms traditionally reserved for religious buildings.The ground floors center is called the rotunda, which is a direct reference to the Pantheon as well as the Museo Pio Clementino. Art history and Aesthetics developed simultaneously over the course of the 18th century. These formed the hierarchy for the Altes Museum. The ground floor housed art from the ancient world, and the second floor contained paintings by period and style.Classical art was not arranged in any particular order, but was presented as one entity, it was not considered as another period, although they were carefully arranged according to the contemporary precepts of art history. This distinction between classical and postclassical, assumes that classical art is timeless, ideal and foundational. The monumental order of the eighteen fluted ionic columns, the wide stretch of the atrium, and the rotunda is an explicit reference to the pantheon in Rome, and finally the grand staircase which are all architectural elements where up to this point, were reserved for stately buildings. The Solomon R. Guggenheim Museum, New York (1956-59) Frank Lloyd Wright has described the design of this building in a number of letters to its founder, Solomon R. Guggenheim, and in several statements made during the time of its design and construction. Both Wright and Guggenheim died before they could see the museum completed. This particular museum is in a class of its own. Featured in a number of famous Hollywood films for its famous levels of circulation in a spiral form. This particular distinctive building was Frank Lloyd Wrights last major work. From the street, the building looks approximately like a white ribbon curled into a cylindrical stack, it is slightly wider at the top than the bottom. Its appearance is in sharp contrast to the more typically boxy Manhattan buildings that surround it. Internally, the viewing gallery forms a gentle helical spiral from the main level up to the top of the building. Paintings are displayed along the walls of the spiral and also in exhibition space found at annex levels along the way.This museum can be described as clean beautiful surfaces throughout the building, all beautifully proportioned to human scale. These surfaces are all lighted from above with natural daylight beaming down into the main foyer. A feature that many historic museums lacked in previous times and failed to accomplish so well. This Museum seems to have an atmosphere of harmonious simplicity where human proportions are maintained in relation to the picture or painting on show. There is a fluid quiet created by the buildings interior where the new painting will be seen for itself under its favourable conditions, not conflicting with the buildings interior making it the centre piece of attention. The paintings are all situated in perfectly air conditioned chambers, essential to the preservation of these great pieces of art and sculptures. The walls of the Solomon R Guggenheim Museum and spaces, inside and outside, are one in substance and effect. The walls slant gently outward forming a giant spiral for a well defined purpose. One can view this as a new unity between beholder, painting and architecture. The pictures are inclined, faced slightly upward to the viewer and to the light in accord with the upward sweep of the spiral, the paintings themselves are emphasised as features in themselves and are not hung square but gracefully yield to movement as set up by these slightly curving massive walls. In a great upward sweep of movement the picture is seen framed as a feature of architecture. The flat plane of the picture detached by the curve of the wall is presented to view much as a jewel set as a signet ring. Precious as itself, unique in its identity. Slightly tilted curving away of the walls against which the pictures are placed not only presents no difficulty but facilitates viewing, the wide curvature of the main walls is a positive asset to the painting. The gentle upward, or downward, sweep of the main spiral-ramp itself serves to make visitors more comfortable by their very descent along the spiral, viewing the various exhibits. The elevator is doing the lifting, the visitor the drifting from alcove to alcove. The diameter of the spiral increases as it ascends so that the depth of the chambers is as a result greater at the upper levels. The partitions between the chambers act as bearing walls. Criticism of the building has focused on the idea or presumption that it overshadows the artworks displayed within, and the apparent difficulty to properly hang paintings in the shallow windowless exhibition niches that surround the central spiral. Despite the rotunda generously being lit by the large skylight, the niches are heavily shadowed by the walkway itself, leaving the art to be lit largely by artificial lighting. The walls of these niches are neither vertical nor flat with most being gently concave, meaning that canvasses are being mounted proud of the walls surface. Limited space within the niches mean that sculptures are generally relegated to plinths amid the main spiral walkway itself. Prior to the Museums Grand Opening, twenty-one artists, including Willem de Kooning and Robert Motherwell, signed a letter protesting the display of their work in such a space. Although there was criticism towards Frank Lloyd Wrights design of the Museum, it was deemed controversial. There were also fans of his design who admired and cherised the museum for what it was. Wrights great swansong, the Solomon R. Guggenheim Museum of New York, is a gift of pure architecture or rather of sculpture. It is a continuous spatial helix, a circular ramp that expands as it coils vertiginously around an unobstructed well of space capped by a flat-ribbed glass dome. A seamless construct, the building evoked for Wright, the quiet unbroken wave. Spiro Kostof. A History of Architecture, Settings and Rituals. New York: Oxford University Press, 1985. p740. Entering into the spirit of this interior, you will discover the best possible atmosphere in which to show fine paintings or listen to music. It is this atmosphere that seems to me most lacking in our art galleries, museums, music halls and theaters. Frank Lloyd Wright. Frank Lloyd Wright, The Architectural Forum, January, 1948, Vol 88 Number 1. p89. The Solomon R. Guggenheim Museum has become a cultural icon and can be seen widely throughout popular culture. It is featured in Matthew Barneys The Cremaster Cycle, Bye Bye Birdie, Men in Black, When in Rome, Downtown 81, and prominently in The International, where a major shootout occurs in the museum. In fact a life size replica of the museum was built for this scene. The New Yorker magazine has included the museum multiple times on its cover and in various cartoons. Berlins Judisches Museum (Jewish Museum) September 2001 In one of the worlds biggest genocides ever before seen in history, WWII was a dark unstable era. From the German Nazi camps to the gas chambers of a very grim world, human beings were being cattled like animals from camp to camp, starved enough to die from hunger due to lack of food and water or forced into the chambers of death, only to be suffocated by the belief of a Nazi dictator, Adolf Hitler. This was the Jewish Genocide. Berlins Judisches Museum (Jewish Museum is housed in a remarkable modern building designed by Daniel Libeskind. The museum was opened in September 2001. Some say it was shaped a bit like the Star of David and containing bizarre angles to symbolise the Holocaust, the Judisches Museum is the largest and most unique Jewish museum in Europe. It takes you back in time sending a chill down your spine giving you a sense of what really happened back then in the holocaust. The circumstances of the museums foundation and the collections it is based on, the people who have directed its development can be found here as well as personalities of public life who are dedicated to the intercultural understanding of the Jewish Museums and pHYPERLINK http://www.jmberlin.de/main/EN/04-About-The-Museum/05-Prize-UT/00-award_ceremony.phprize for understanding and tolerance. Like in any other new structure built whether it being a church, museum, hospital or home, numerous views and opinions where expressed in relation to the Jewish Museum in Berlin. Visitors had seen Libeskinds new building as either a spectacularornormal museum. It was recognised as a deconstructivist masterpiece, a groundbreaking creation, with its intellectuality in the form of a house, or even an exhibit in its own right. Daniel Libeskind placed great emphasis on peoples perceptions of the building and these are formed day after day. The museums modern architectural elements of the Libeskind building comprise of the zincfacade, the Garden of Exile, the three Axes of the German-Jewish experience, and the Voids. Together these pieces form a visual and spatial language rich with history and symbolism. Not only do they house the museum with its exhibits, but they also provide visitors with their own unique experience as they walk through the spaces, taking them back in time almost like a time capsule, being able to understand what the museum is trying to portray and what story it is trying to tell. The new building of the museum is best described as Zig-zag. The design is based on two linear structures which when combined, form the body of the building. The first line is a winding one with several kinks while the second line cuts through the whole building. At the intersections of these lines, there are empty spaces otherwise known as Voids. These voids rise vertically from the ground floor of the building up to the roof. Daniel Libeskind imagines the continuation of both lines throughout the city of Berlin and beyond. Almost like a destructive train line travelling through europe not knowing where its going to end up. An irrational and invisible matrix (Daniel Libeskind, 1995) The facade of the Jewish museum barely enables a conclusion to be drawn in regards to the buildings interior. Neither levels nor rooms become apparent to the observer. The positioning of the windows are primarily narrow slits that follow a precise matrix. They are also based on a network of connections. During the design process, architect, Daniel Libeskind plotted the addresses of prominent Jewish and German citizens on a map of pre-war Berlin and joined the points to form an irrational and invisible matrix in which he based the language of form, geometry and the shape of the building. The New Building is coated in zinc, a material that has a long tradition in Berlins architectural history. It consists of untreated alloy and titanium with zinc that will oxidize and change color through exposure to light and weather over the years. A Void is not really a museum space. (Daniel Libeskind, 1999) Voids represent a central structural element in the New Building and form the connection to the Old Building. In the Old Building, there is a staircase that leads down to the basement through a Void of bare concrete which joins the two buildings together. Five voids run vertically through the New Building. They have walls of bare concrete, they are not heated or air-conditioned and also hardly any artificial light, they are quite separate from the rest of the building. The upper levels of the exhibition, the Voids are clearly visible with black exterior walls. The Museums Voids refer to that which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes. (Daniel Libeskind, 2000) In the museum there are also underground passageways that link the Old Building with the Libeskind Building. These passageways have no official entrance. There is a path system as you pass by the great void made of three axes symbolising three realities in the history of German Jews. The first and longest of these axes is the Axis of Continuity. This axes connects the Old Building with the main staircase otherwise known as the Sackler Staircase which leads up to the exhibition levels. Daniel Libeskind describes the Axis of Continuity as a continuation of Berlins history, it is the connecting path from which the other two axes branch off. The Garden of Exile attempts to completely disorient the visitor. It represents a shipwreck of history. (Daniel Libeskind, 1999) The second of the axis is the Axis of Emigration which leads outside to daylight and to the Garden of Exile. On the journey to this great garden, the museum walls are slightly slanted and close into eachother, almost symbolising a path of destruction that plagued the past of german history. The floor is uneven and ascends gradually. A heavy door must be opened before the crucial step into the garden can be taken. Almost a portrayal in fighting your way through hell to get to heaven, making the jouney that worth while. Or is it ? The Garden of Exile is reached after leaving the axes. The whole garden is on a 12ÂÂ ° gradient and disorients visitors, giving them a sense of the total instability and lack of orientation which was experienced by those who were driven out of Germany. Russian willow oak that grew on top of pillars in the garden symbolised hope. The third of axiss is the Axis of the Holocaust which is basically a dead end. This axis becomes narrower and darker and ends at the Holocaust Tower. Glass cases on the way display documents and personal possessions devulging to the private and public life of their owners who were killed. These three underground axes symbolise the connection between the three realities of Jewish life in Germany. The new Glass Courtyard at the Jewish Museum in Berlin was built from a design titled Sukkah which is Hebrew for thatched booth, by Daniel Libeskind. This glass courtyard is the second extension to the museum. The structure itself consists features of the New Building with its shiny silver facade and the Old Building, it is a successful synthesis of old and new. This combination is strengthened by the further addition of the Glass Courtyard to the ensemble. The light flooded Glass Courtyard has its own distinctive feel. While the Libeskind Buildings zig-zag form is a metaphorical reference to destruction of German-Jewish history, theSukkah theme is one of social gathering appropriate for a courtyard. There is also the new glass roof that covers the U-shaped courtyard at about 670mÂÂ ² in size. It is supported by four freestanding bundles of steel pillars. It portrayed the structure of a tree which was the main inspiration for creating the supporting pillars, which extend into the roof forming a steel network. The integration of the Glass Courtyard with the existing Old Building posed an architectonic challenge. This glass construction does not outplay the Old Building, the landmarked Collegienhaus which was erected in 1735, in scale and appearance stands proud an independent to the new building. The Glass Hall was a complex building project, interelating the old museum with the new Jewish museum. It was deemed unconventional for both construction and materials used. Due to the expressive and asymmetrical geometry in Libeskinds design, it presented enornmous challenges to those involved in the construction process, such as the structural engineers and facade planners involved. Steel being used for such a project was also very unusual to them as well. They were used to steel that normally supported construction with right-angled or curved geometry. In the Glass Courtyard it formed branches and treetops. Almost like painting picture out of steel. Metal alloy steel, out of all materials used, demonstrated one of the most unconventional uses of steel in contemporary architecture. Four branching steel bundles each consisted of three steel pillars with the rough estimated diameter of a tree. Their function is primarily static, also in the case of fire, they contain media cables within, offering some protection to the cables. The roof girders were assembled and bolted together onsite at the building site at roof height. The weight of the pillars weighed up to six tons each and the roof girder sections weighed up to eight tons each, a crane had to be formed that withstood a bearing capacity of 200 tons necessary. The Glass Courtyard now provides the museum with space for a variety of events, such as educational workshops, concerts, theatrical performances, and receptions for up to five hundred people. It also serves to extend the museums entrance area and thereby improves the regulation of visitor flow and circulation.The new room is located a few steps way from the main entrance and its existing infrastructure. It includes cloakrooms, ticket counters, and the museum restaurant. To date over four million people have visited the Jewish Museum. It is well know for its diverse cultural and educational programs. The Glass Courtyard provides a suitable and architecturally appealing solution, which will enable this vibrant development of the museum to continue in the future. In conclusion the Altes Museum is a typical example of classical architecture which date back from Ancient Greece and the Rome Empire. It signifies a sense of formality and power amongst the people of its time. Royalty and size of structures were more common in those times rather then smartly designed structures that could achieve the same purpose. Such structures such as the Guggenheim Museum in New York, although very large in scale, it was a building designed after the turn of the century, that sparked controversy and disbelief that something of that scale and facade could be built in a congested city environment. It was considered fantasy rather then a reality. It was built and it achieved the same purpose as the Altes Museum in Berlin, but it was designed better and more cleverly incorporating the use of natural light throughout the whole structure and the use of continuity in circulation, which made the design one of the worlds most prominent buildings. Following on from such a magnificent structure in New York, we come back to Berlin, where Berlin followed a similar approach in redesigning and extending New Jewish Museum. No one ever thought that something of so significant in history could be reinvented in a way where it takes people back in time to the hurt and pain of Nazi Germany. This museum was created in such a way that it completely blew away the traditional approach of a museum. The buildings special features that include spiraling walls, sloping floors, a windowless Holocaust Tower, and symbolic lines of windows that resemble wounds. When it comes to the Holocaust, a design approach such as this one, executed perfectly, cannot come up, close and personal as this remarkable museum.

Can Artificial Drainage of Wetlands Have Detrimental Effects on the Cha

Introduction: Wetland soils are widely diverse. They are found from the arctic to the tropics. They can be mineral or organic, seasonal or year-round, marine or freshwater. The one thing they all have in common is that, for at least part of the year, they are saturated with water. This saturation has a significant impact on the soil's characteristics such as the biota, chemistry, and physics. However, over the past century more than half of all the wetlands in the United States have been drained for agriculture and other uses such as construction. When the soils are drained the characteristics are drastically changed. This paper is an attempt to describe the changes in artificially drained soils and to consider a few of the consequences of these changes. Body: The physical properties of saturated soils vary somewhat from wetland to wetland but are characterized by certain processes. One is the interaction of the soil with the watertable. Three patterns of possible groundwater flow have been considered: water could flow into the saturated areas from the surrounding area (discharge), making the saturated area the focal point; water could flow through swamps because of local relief (flow-through); or water could flow from the saturated zone into surrounding areas (recharge) possibly due to differential water use by plant communities or pumping (Crownover et al, 1995). There can also be vertical exchange of water between the groundwater and saturated soil. For example, capillary effects pull water upward into the soil from the water table. Besides the vertical and horizontal flow of water, the area of the soil taken up by water is important. Wetland soils are either saturated or nearly saturated so that much of the pore space is... ...ne flatwood landscape: Soil Science Society of America Journal, 59, 1199-1206. Fausey, N.R., Brown, L.C., Belcher, H.W. and Kanwar, R.S. (1995) Drainage and water quality in the Great Lakes and cornbelt states: Journal of Irrigation Drainage Engineering, 121, 283-288. Leventhal, E. (1990). Alternative uses of wetlands other than conventional farming in Iowa, Kansas, Missouri, and Nebraska: EPA/171/R-92/006, 145 p. McBride, M. B. (2003) Environmental Chemistry of Soils: Advances in Environmental Research, 8, 5-19 Mitsch, W.J. and Gosselink, J.G. (2000). The value of wetlands: importance of scale and landscape setting. Ecological Economics, 35, 25-33 Schipper, L.A., Harfoot, C.G., McFarlane, P.N., and Cooper, (1994) Anaerobic decomposition and denitrification during plant decomposition in an organic soil: Journal of Environmental Quality, 23, 923-928

Sexual and Maternal Instincts in James Fenimore Coopers Last of the Mohicans :: The Last of the Mohicans

Cora Munro's Sexual and Maternal Instincts in James Fenimore Cooper's The Last of the Mohicans Cora Munro's relationship with her younger, fairer sister Alice demonstrates a distinct mother-daughter pattern that manifests itself in every interaction between the two women. Throughout James Fenimore Cooper's The Last of the Mohicans, the character of Cora continuously hides her sister's face in her bosom as an indication of undying protection from the ravages of the American frontier. Alice depends on Cora as her champion and defender but, most unmistakably as a mother figure. Cora maintains a immutable position of motherly nurture with her sister, however, when interacting with other frontier characters, Cora shifts her style of human interaction towards a conscious understanding of her gender capacity. Though not overtly sexual, Cora does demonstrate a cognizance of female sexuality and feminine influence on various male characters. Cora does not often demonstrate motherly instinct while practicing the powers of her sex; rather, her authority particular to each sphere man ifests itself during situations of great conflict and tension concerning Alice or, separately, the other surrounding male characters. The narrator refers to Cora's motherly intuition in many instances, but most especially when Alice demonstrates a case of need or dependence. When Alice shows doubt and fear, Cora immediately rushes to protect and soothe her. Cooper writes, "For many moments the elder sister looked upon the younger, with a countenance that wavered with powerful and contending emotions. At length she spoke, though her tones had lost heir rich and calm fulness, in an expression of tenderness, that seemed maternal" (109). Cooper writes clearly of the strong bond that exists between the sisters while illustrating a power relationship that has Cora playing the role of shepherd and Alice as that of a small, helpless lamb. Moreover, Cooper repeatedly shows the character of Alice grasping onto the arm of Duncan Heyward†¹an obvious physical need for refuge and shield†¹while Cora remains free of an explicit male bond and receives the admiration of the remaining men from afar. Alice, the weaker of the two, appeals to her sister for attention while Cora remains aloof and confident. Cooper, at many instances, describes Cora with almost beatific characteristics which heighten her esteem and power as a female character. Her motherly feelings towards Alice verge on the saintly; Cora often rises above common human sensibility and takes on the role of a martyr in the manner that a mother would for her child.

Loser : Microsoft

â€Å"Still, though Microsoft’s goals are good, it’s implementation needs work.† This was Philip E. Ross’s main point in his article â€Å"Loser: Microsoft to Spammers: Go Phish.† In the article, Ross discussed the two spam e-mail countermeasures developed separately by Microsoft and the partnership of Cisco and Yahoo. Although he admitted that the systems developed – Sender ID by Microsoft and Domain Keys Identified Mail (DKIM) by Cisco/Yahoo – had their own advantages, he also confesses to believing that DKIM is the better anti-spam proposal. He goes as far as writing, â€Å"For our purposes, that makes Microsoft Corp. the loser.† After discussing the difference between Microsoft’s and Cisco/Yahoo’s designs – a Sender ID verifies that an e-mail really came from where it claims to have come from by comparing the message’s Internet Protocol address from the IP address of its claimed origin; while DKIM tacks an encrypted digital signature to the e-mail’s header and this signature contains instructions on where to find the algorithm – Ross reveals the one great loophole to Microsoft’s Sender ID. It is not able to differentiate between spam and forwarded e-mail. And Ross says this can make or break Microsoft’s anti-spam system. As Ross says, the only way to get around Sender ID’s glitch is to cut and paste a message you plan to forward. But this, Ross explains, makes sharing harder; thus, possibly resulting to lesser people e-mailing. Although Ross presents Cisco’s Jim Fenton’s claim that DKIM also has its own fault in that it is more easily confused by e-mail changes while in transit, he still has another negative comment on Microsoft. He mentions critics’ speculations that Microsoft may have other things in mind with the control of spam e-mails – speculations that may have stemmed from the company’s tight grip on Sender ID’s intellectual property. Yet even with this presentation of arguments against Microsoft’s Sender ID, Ross still believes that the Redmond, Washington computer giant is serious about eliminating spam and that they have what it takes to come up with the standard in spam countermeasures. For now though, Microsoft’s intentions are not enough and they have yet to work towards polishing their processes. Philip Ross made a well-informed article with â€Å"Loser: Microsoft to Spammers: Go Phish†. He was able to provide evidences to all his claims and was able to back-up his assumptions. But even with a fair presentation of both sides to Microsoft’s Sender ID, Ross still had the tendency to settle more on the negative side of the system. This was especially apparent when he brandished Microsoft as the â€Å"loser†, when a less negative term could have sufficed. Ross’s points, though a little biased, were admittedly insightful. His mention of Microsoft’s attempt at secreting their anti-spam technology’s intellectual property does make one wonder why such a secrecy. I do hope that assumptions on the possibility of this technology being exploited will turn out to be not true – because true to Ross’ words, nobody wants to be strong-armed. However, even I have to agree with Ross’s suggestion that perhaps Cisco and Yahoo can add Microsoft to their team and all three can work towards a stronger anti-spam system. Since the fight against spamming is not about one company’s supremacy over another but about making e-mail more reliable for all users, Cisco, Yahoo, and Microsoft must try to work together for the benefit of millions of e-mail users. And it was good that even Fenton and Microsoft’s Harry Katz concur that this is a good idea. Philip Ross may have his own biases regarding Microsoft’s Sender ID and it was slightly apparent in the article. But his proposal for making the current situation better is indeed something that current industry bigwigs should look at. Reference Ross, Philip E. (2007). Loser: Microsoft to Spammers: Go Phish. In Spectrum Online. Retrieved September 28, 2007, from http://www.spectrum.iee

Corrections and Treatment Essay

Community-based treatment The three community-based treatment efforts which I would like to focus attention on are Intensive Outpatient Counseling Services, abbreviated as (IOP) next, a community based program known as: Child Mental Health and lastly Emergency Crisis Response. Community-based treatment efforts vary between states however, the purpose and importance of these treatment efforts are identical. Larry J. Siegel, Brandon C. Welsh authors of: Juvenile Delinquency: Theory, Practice, and Law quote the purpose: â€Å"Provide care, protection, and treatment for juveniles in need†. Institutionalization Issues affecting institutionalized juveniles reflects possible detrimental successful compliance with respect: to community-based efforts. Likewise, institutionalized juveniles are faced with the reality of prison life and a concern is introduced to wither or not juveniles will learn criminal behaviors. Lastly, the opportunity to provide individualized and/or group counseling even more so education is a separate affecting issue of institutionalized juveniles. The juvenile justice system should be concerned with those issues, because it clearly represents foreseeable safety issues for incarcerated juveniles and staff. Separately, the potential for reoccurrence: entry or criminal charges to the justice system leading to overcrowding. With that a final concern to the justice system might reflect mental health issues that are not able to be diagnosed in incarcerated juveniles, this would impact cost or funding within the justice system. Two of the three Intensive Aftercare Programs discussed in Juvenile Delinquency. The Core that I would like to focus attention on are Juvenile Boot Camps and Wilderness Programs, the importance of aftercare programs  offer the opportunity for juveniles to have a safe place to go. Another aspect that can be considered aftercare programs, redirect negative attitudes in juveniles and: potential for reoccurrence criminal behavior. In the reading materials, The Core the following statement is provided â€Å"exposure to a wholesome environment; where the  concepts of education and the work ethic are taught and embodied in adult role models, troubled  youth can regain a measure of self-worth.†

Case study of the hydropower development in Argentina Essay

In this paper I would also discuss one more case of the hydropower regulation and assessment. The next country to be discussed is Argentina. This country also possesses considerable hydropower potential. It has been estimated that the country has the potential of production of 169,000 GWh/year . Argentina relies in its future development on hydropower as a source of energy. That’s why its scientists resort to close examination of various aspects of hydropower development and impact on environment and society. Great emphasis is also placed on the financial aspect of hydropower development and legal regulation of hydroelectric plants and dams construction. Therefore, Argentina greatly relies on sustainable development, which can be defined as â€Å"the process which meets the needs of the present without compromising the ability of future generations to meet their own needs† . Sustainable development of the hydropower potential of the country requires deep consideration and cooperation of three basic components – economic growth, environmental security and social justice . There are several acts, which serve the legal basis of the hydropower development in Argentina. One of the most important of them is The Electricity Regulatory Framework Law, which implemented the National Electricity Regulatory Commission (ENRE). ENRE is an independent item, which operates within the framework of the Secretariat of State for Energy. The latter in its turn creates the regulations, which control the work of the electricity industry . The Energy Secretariat (SENER) is the legislative component, which is responsible for the energy policy implementation. Within its frame this legislative body has one more component, the National Electricity Regulator (ENRE), which is responsible for actual application of the regulatory framework stated in the Law 26,046 of 1991 . ENRE is responsible for regulation and supervision of whole energy sector under federal control, while the other utilities are regulated by provincial regulators. The other important regulatory body of the energy sector is CAMMESA (Compania Administradora del Mercado Mayorista Electrico), which supervises whole wholesale electricity market through establishing the price of electricity, operating the electricity system and the controlling the commercial transactions in the electricity market Very important role in the energy sector of Argentina is given to the Electric Power Federal Council (CFEE), which was established in 1960 and currently plays the role of the administrator of the Funds, which given to special electricity operations. CFEF also performs consulting function of the National and the Provincial Governments regarding the power industry, new projects and researches, public and private energy services, and electricity tariffs and prices as well as changes in the legislative base of the power industry The National Promotion Direction (DNPROM) within the Energy Secretariat (SENER) regulates creation and implementation of programs concerning renewable energies and energy efficiency. The Secretariat for the Environment and Natural Resources (SEMARNAT) is in charge of the questions concerning environmental policy. The legal basis of Argentina concerning the energy is Law 25,019 from 1998 and Law 26,190, from 2007. Changes to this law, made in 2007, focus on the national interest in renewable energy sources in regard with the public services. The law states that within the next ten years the consumption of the energy, produced from the renewable sources, will grow up to 8 %. The other main point is that law establishes a Trust Fund, which promotes the development of the renewable energy. Hydropower is recently viewed in Argentina as a potential key source of energy. On the one hand its advantages are clearly visible: it has less negative impact on the climate change as compared with fossil fuels, it’s relatively clean and environmentally-friendly, low-cost and renewable. However, not all the researchers are so optimistic. Many of them claim that hydropower plants have a negative influence on surrounding area and society. As one more proof they point at additional expenses in case of shortfalls . Sometimes, these disadvantages are even overemphasized, which presents hydropower in the negative light, or even present it as potentially dangerous. In the process of the research I found a very interesting fact, showing that such claims for the most part come from the most unexpected source – NGOs, the primary intention of which is conservation. However, in this process they seem to completely disregard such important aspects of the country development as poverty alleviation, obtaining a valuable source of cheap energy and promotion of the safe water environment, which can be provided by hydropower plants . Environmental and Social Impact Assessment of the hydropower plants in Argentina is based on the Sustainable Guidelines of the International Hydropower Association, which focus on environmental, social and economic aspects of the hydropower plant construction and operation . In order to develop new hydropower projects in accordance with the newest ecological and social requirements, Argentina greatly relies on five key areas characterized by Dr. Kofi Annan on the World Summit on Sustainable Development in 2002. These five key areas include: water, energy, health, agriculture and biodiversity . Conclusions. So, in this paper I investigated the role of the hydropower as an alternative source of environment, associated expenses and benefits to the society. I also made a review of the history of the hydropower as a source of energy and compared it with the other sources. I made an overview of the legislative base of two countries – China and Argentina concerning hydropower energy and their potential of development of the hydropower as an alternative source of energy. References ADB, Summary Environmental and Social Impact Assessment: Nam Theun 2 Hydroelectric Project in the Lao People’s Democratic Republic. Manila: Asian Development Bank, 2004. Online. Available at: 30 September 2007. Advantages of Hydropower. Online. Available from: 30 September 2007. Atkins, W. , Hydropower: Impacts and Trends. Online. Available from: 30 September 2007. Buckley, L. Hydropower in China: Public Participation and Energy Diversity, Online. Available from: . 30 September 2007 Becker, H. A. Social impact assessment: method and experience in Europe, North America and the developing world, London, UCL Press, 1997. BP Annual Report, 2006, Online. Available from: 30 September 2007. Burdge, R. J. , A Community Guide to Social Impact Assessment, Middleton, USA, Social Ecology Press, 2004. China Passes Renewable Energy Law, Online. Available from: 2005. Coordinacion de Energias Renovables, Potencial de los aprovechamientos energeticos en la Republica Argentina, 2006. Devoto, A. , Hydroelectric power and development in Argentina, ENTE Nacional Regulador de la Electicidad, 2005. Graham, I. , Water Power, Austin, TX, Raintree Steck-Vaughn, 1999. Hydropower, Online. Available from: 30 September 2007. Interorganizational Committee on Principles and Guidelines for Social Impact Assessment , 2003. Integrated Environmental and Social Impact Assessment Guidelines. Tunis: African Development Bank, 2003. Online. Available at: International Association for Impact Assessment, Online. Available from: 30 September 2007. Kellert, S. R. , Macmillan Encyclopedia of the Environment, vol. 3. New York, Macmillan Library Reference USA, 1997. Learn about Hydroelectric Power Alternative Energy Source, Online. Available from: 30 September 2007. Petts, J. Handbook of Environmental Impact Assessment, Blackwell, Oxford, 2005. Renewabables Global Status Report. Online. Available from: 30 September 2007. Rosso, A. La construccion como herramienta del crecimiento continuado. Sector electrico. Evaluacion de las inversiones necesarias para el sector electrico nacional en el mediano plazo. Camara Argentina de la Construccion, 2006. Rules of land compensation and people resettlement in medium and large hydraulic and hydroelectricity projects. State Council, 1991. Ryan, V. Advantages and Disadvantages of Hydropower, Online. Available from: 30 September 2007. Summer of International dissent against Heavy Industry, Saving Iceland. Online. Available from: 30 September 2007 Sadler, B. , Verocai, I. & Frank Vanclay. Environmental and Social Impact. Assessment for Large Scale Dams. Middleton, WI: The Social Ecology Press, 2000 Taylor CN, Bryan CH, Goodrich CG. Social Assessment: theory, process and techniques. Middleton, WI, The Social Ecology Press, 2004. The Historic Mechanicville Hydroelectric Station, IEEE Industry Applications Magazine, Jan/Feb. 2007 Tremblay, V. , Roehm and Garneau, Greenhouse Gas Emissions – Fluxes and Processes, Springer, 2005. Xiaogang, Yu & Jia Jiguo. An Overview of Participatory Social Impact Assessment for Manwan Hydropower Station in Lancang River. Asian Science and Technology Institute, 2000.

Caught Up in Different Worlds

The short story Caught Up in Different Worlds is a fascinating piece that takes the readers through different jaunts of experiences of a woman called Sylvania, a good pretender who can imply to be happy even if sad, and can also appear to be sad when really happy. She is caught in different escapades that force her to fake what she does not feel. When wedding Horace, she pretends to be happy, yet in a real sense, she hates what she goes through. Later, when Horace dies, she pretends to be at a great loss, yet feeling relieved at last. This study examines the story alongside different stylistic devices used by the author. The devices include anaphora, asyndeton, polysyndeton, and kenning. Sylvania's parents arrange her marriage with Horace in accordance with their culture where parents decide whom to marry their sons and daughters. That is done to ensure they marry the right person. Even if they do not agree, children are obliged to accept their parents' verdicts. As a result, Sylvania pretends to be happy to meet Horace as her husband, but inside her is a heart of pain and despair that is forced to accept something she does not feel for. The story is a captivating piece about the experiences of a woman living in a world controlled by her parents who choose to express what she does not feel, just to conform to their expectations. She appears to be happy from outside, yet suffering from inside.AnaphoraAnaphora is one of the stylistic devices used in the story. It is the repetition of common or similar words at the start of consecutive phrases in conjunction with the pinnacle of the story. The author uses anaphora to express Sylvania's feelings on the last day of the wedding. While in her room, he engages in a monologue repeating the words ‘How I wish they understood'. The speaker uses the statement to explicate her inner feelings about what she is yet to face. The reader is able to see a jovial woman from outside but is in pain from inside. At one time, she opted to run away not to wed Horace, but on the other hand, she is strongly held by the love and respect she has for her parents. Horace, on the other hand, is comfortable and promises to be a good husband. The readers follow the story keenly to see how Sylvania would survive in the arms of a man she does not have any feeling for. At the end of the story, Horace involves in a road accident that claims his life. In that too, Sylvania pretends to be grieved and saddened by the death of her husband, but from inside, she is happy that she is free at last and makes her own decision. The culture allows a widow to remarry any man of her choice without being dictated by her parents. Therefore, the story is about a character that lives by pretense to please the people around her.AsyndetonAsyndeton is an act of omitting conjunctions between clauses, words, and phrases. In the story, Sylvania eulogizes her husband as loving and caring by the statement, â€Å"Horace, is loving, caring.† the people who listen to her are carried by her expressions to realize that they have not stayed for long in the marriage and feel that it is a great loss to her. She makes them think so by appearing so, but on the other hand, she feels relieved and happy at last. She falsely narrates how she was happy to have him as her husband, yet by the time of a wedding, she had thought of running only to be kept by the love and respect she has for her parents. In fact, the readers usually have an extended advantage over the characters since they can see the holistic story of what takes place. Among the people attending the two events, wedding and burial go home with a different image of Sylvania. They think that she is happy when she is very sad. On the other occasion, they think of her to be sad, yet she is the happiest. Therefore, any written piece has a lot for the readers compared to the characters involved.PolysyndetonPolysyndeton is structurally opposite to asyndeton. It involves the use of a conjunction between each phrase, word or clause. The use of polysyndeton is apparent at the beginning of the story where Sylvania is informed about the impending wedding. According to his father, though not named in the story, Horace is a good man with standard discipline and qualities of a husband. When given the news, Sylvania appreciates and accepts to marry as a demand of the custom, while inside her heart she does not have any feeling for him. Similarly, when the message of his death is delivered to her, she appears to be shocked and wails bitterly, yet feeling better to finally live a life that is uncensored by her parents. The other uses complete sentences that are well conjunct to express Sylvania's inner world. The story is so electrifying to see the way Sylvania is able to pretend and get away with it. In fact, Horace also lived with Sylvania for their short time in marriage imagining that she loved him, but not really. From this plinth, Sylvania represents many people in the society who live in particular ways just to impress the people around them, yet they do not like what they are. Therefore, it is an educating piece for the readers and the society to avoid putting more pressure on people to an extent that they live to express what they are really not.KenningKenning is used to creatively describe something in a more creative and skillful way. Chopin uses the same in her story on the first page, paragraph four and five. The story gives the readers an outlook of what Sylvania looks like while inside her room, during the wedding and when eulogizing her husband. As depicted in the story, she narrates her experience with Horace right from the time they had their first encounter. She also refers to him as a loving, caring and responsible husband. The readers can imagine a woman who enjoyed her marriage. They see someone at a great loss, more so because the marriage did not last long. Two things they are not aware of is that Sylvania did not enjoy the marriage, did not support her parents' choice and is very happy to have the news about the death of her husband. Life is a journey where two people can walk together facing the same direction, but not having a common destiny. Horace and the people around him thought that his wife loved her. When he died, people thought that it was a blow to his wife. However, the truth of the matter is that no assumptions were consistent with whatever Sylvania was.ConclusionThe story gives the readers an outlook of Sylvania, more so whatever she feels about the wedding and the death of her husband. People living around her are very unclear about what she really is. The story is a captivating piece about the experiences of a woman living in a world controlled by her parents. They choose a husband for her and she pretends to like it, yet not. When the husband dies, she pretends to be in a great pain of loss yet happy inside. It represents the people in the society who can smile to please people, but from inside, they suffer. Therefore, it has a lot for the readers to desire. Study Outline Attention Getter: The short story Caught up in Different Worlds is a fascinating piece that takes the readers through different jaunts of experiences of a woman called Sylvania, a good pretender who can imply to be happy even if sad, and can also appear to be sad when really happy. Thesis Statement: The story is a captivating piece about the experiences of a woman living in a world controlled by her parents who choose to express what she does not feel, just to conform to their expectations. She appears to be happy from outside, yet suffering from inside. Main PointsPoint#1: Anaphoraa) Explanation of anaphorab) How it used in the storyc) It's relevance to the storyPoint#2: Asyndetona) Explanation of asyndetonb) How it used in the storyc) It's relevancePoint#3: Asyndetona) Meaning of asyndetonb) How it is used in the storyc) It's relevancePoint#4: Polysyndetona) Meaning of polysyndetonb) How the author used it in the storyc) It's significance in the storyPoint#5: Kenninga) Meaning of Kenningb) How it is used in the storyc) It's relevance. The readers learn a lot from the story, more so the inner world of Sylvania. It tells more about living in a bigoted society. It paints the picture of the pressure that the society places on people to live according to certain expectations. The story is an electrifying piece with much for the readers to desire.