D. Forecast for Next 12-18 months Essay Example for Free

D. Forecast for Next 12-18 months Essay The world economic outlook is bright. World GDP growth is forecast to average slightly more than 4 percent per annum during 2006-2007. Asia will continue to act as the primary engine of global growth, though activity will also be supported by continued U. S. economic expansion of almost 3 percent annually. China will continue to register robust growth of slightly more than 9 percent per annum, and output will continue to increase rapidly also in India. Japan also appears to be entering a longer phase of stable growth. The positive global environment will be reinforced by the Euro Area, where economic growth is forecast to accelerate in response to a recovery in domestic demand (The Research Institute of the Finnish Economy). The National Institute of Economic and Social Research has recently released a set of forecasts regarding the state of world economy in 2007. Below are listed some of the key points: Global growth will quicken to 5. 1 per cent this year falling back only a bit in 2007 to a still rapid 4. 7 per cent. Inflationary pressures are rising, mainly owing to higher oil prices, but the impact of rising oil prices on inflation and output is now more muted than in the past. Global imbalances remain marked and the dollar may have to fall by a further 30 per cent in order to halve the US current-account deficit. The US economy will grow by over 3 per cent a year in both 2006 and 2007, but inflationary pressures are mounting. The Japanese economic recovery has become self-sustaining and GDP will rise by 3. 1 per cent in 2006 and by 2. 6 per cent in 2007. The Euro Area will expand by around 2 per cent a year in both 2006 and 2007, and consumer price inflation will average about 2. 5 per cent in both years. The NIESR report goes on to elaborate upon the aforementioned points: Advanced countries in the OECD bloc are participating in the upswing but the main reason for the current period of exceptionally strong global growth is the long boom in China. In 2005, China represented 15. 4 per cent of global GDP on a purchasing-power parity basis, up from 3. 4 per cent in 1980. Global inflation is rising in response to higher oil prices, but much less so than in the past. New estimates suggest that a $10 permanent rise in oil prices will add 0. 2 to 0. 4 percentage points to inflation in the United States in the four years to 2009, with a somewhat smaller impact in the Euro Area, and a still smaller effect in the UK. The global upswing continues to be accompanied by major imbalances, notably the scale of the US current account deficit, which widened by 4. 5 percentage points of GDP between 1997 and 2005. Since this deterioration has mainly financed increased consumer spending rather than productive investment, financial markets may conclude that the deficit is not sustainable. It is estimated that the dollar’s value against a basket of currencies needs to fall by a further 30 per cent in order to reduce the current account deficit by 3 percentage points of GDP. The US economy will grow by 3. 6 per cent in 2006 and by 3. 1 per cent in 2007. The economy continues to be driven mainly by consumption, which will increase by 3. 3 per cent in 2006 and by 2. 9 per cent in 2007. Housing investment is slackening but business investment, stimulated by high corporate profits, will buoy growth this year and next. Inflation is picking up and the private consumption deflator will rise by 3. 0 per cent in 2006 and by 3. 3 per cent in 2007. There now appears little doubt that the Japanese recovery from the bleak period of deflation and stagnation has become self-sustaining. The economy grew by 3. 5 per cent in the year to the first quarter of 2006 . Business investment is expanding strongly and consumer spending is expected to grow by 1. 9 per cent a year in 2006 and 2007. Average earnings, which had been falling earlier in the decade, will grow by 0. 8 per cent in 2006 and by 2. 8 per cent in 2007. The outlook for the Euro Area is for higher inflation despite a fairly modest recovery. Consumer prices will rise by 2. 6 per cent in 2006 compared with 2. 2 per cent in 2005. Tighter monetary conditions together with measures in Germany to cut the budget deficit will hold back growth in consumption and GDP in the Euro Area. Consumer spending will also be restrained by sluggish growth in average earnings as the corporate sector manages to retain its increased profitability (Barrell et al, 8-31).

Iago as the Hero of Shakespeares Othello Essay -- GCSE Coursework Sha

Iago as the Hero of Othello      Ã‚  Ã‚   A Shakespearean play always includes a typical villain character. He is boisterous, egotistical, sometimes witty, and all too eager to seek revenge. In William Shakespeare Othello, Iago is the well-liked, trusted, and brave ensign of the great Venetian general Othello, or so it appears. Iago actually possesses all of the typical villainous qualities, however Iago conducts himself with great composure, and by manipulating his counterparts, he makes people believe he is on their side. I find this characteristic to be a very intriguing one that is not easy to perform. It is perhaps Iago's villainous actions throughout this play that lead me to believe that he is the hero rather than the typical villain. In the first scene of the play, we learn that Iago is jealous of Cassio because he has just received the rank of lieutenant, which Iago was expecting to receive. It is also obvious to the reader that Iago is contemptous of Othello who granted Cassio such a high ranking. From this point on Iago is able to It is from this scene on that Iago uses his brilliance to capture the attention of the people, both onstage and off. In order to do this Iago begins by informing the Moor that his new father-in-law has found out about his new relationship to Othello, and in turn he is very angry. However, a scene earlier Iago is the one who skillfully informs Barbantio that his daughter has run off with the Moor, but he did not actually do the telling. Instead Iago used more convincing words in order to get Roderigo to think he would win the new brides heart, if only he attempted to break up the marriage first by telling the father. When Iago finally tells the Moor that Barbantio is coming for him, we ... ...ns, he does not have to be a nice man, he just has to be able to act like one. A man who can change his entire demeanor with the wind, does not have to be viewed as a role model, but he is a hero in my mind. Works Cited and Consulted Bloom, Harold, ed. Modern Critical Interpretations: William Shakespeare's Othello. New York: Chelsea House Publishers, 1987. Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55) Shakespeare, William.   â€Å"The Tragedy of Othello the Moor of Venice.†Ã‚   The Norton Anthology of World Masterpieces.   Ed. Sarah Lawall.   New York and London:   W. W. Norton & Company, 1999.   2115 – 2192. Vaughan, Virginia Mason, and Kent Cartwright, eds. Othello: New Perspectives. Cranbury, NJ: Associated University Press, 1991.    Iago as the Hero of Shakespeare's Othello Essay -- GCSE Coursework Sha Iago as the Hero of Othello      Ã‚  Ã‚   A Shakespearean play always includes a typical villain character. He is boisterous, egotistical, sometimes witty, and all too eager to seek revenge. In William Shakespeare Othello, Iago is the well-liked, trusted, and brave ensign of the great Venetian general Othello, or so it appears. Iago actually possesses all of the typical villainous qualities, however Iago conducts himself with great composure, and by manipulating his counterparts, he makes people believe he is on their side. I find this characteristic to be a very intriguing one that is not easy to perform. It is perhaps Iago's villainous actions throughout this play that lead me to believe that he is the hero rather than the typical villain. In the first scene of the play, we learn that Iago is jealous of Cassio because he has just received the rank of lieutenant, which Iago was expecting to receive. It is also obvious to the reader that Iago is contemptous of Othello who granted Cassio such a high ranking. From this point on Iago is able to It is from this scene on that Iago uses his brilliance to capture the attention of the people, both onstage and off. In order to do this Iago begins by informing the Moor that his new father-in-law has found out about his new relationship to Othello, and in turn he is very angry. However, a scene earlier Iago is the one who skillfully informs Barbantio that his daughter has run off with the Moor, but he did not actually do the telling. Instead Iago used more convincing words in order to get Roderigo to think he would win the new brides heart, if only he attempted to break up the marriage first by telling the father. When Iago finally tells the Moor that Barbantio is coming for him, we ... ...ns, he does not have to be a nice man, he just has to be able to act like one. A man who can change his entire demeanor with the wind, does not have to be viewed as a role model, but he is a hero in my mind. Works Cited and Consulted Bloom, Harold, ed. Modern Critical Interpretations: William Shakespeare's Othello. New York: Chelsea House Publishers, 1987. Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55) Shakespeare, William.   â€Å"The Tragedy of Othello the Moor of Venice.†Ã‚   The Norton Anthology of World Masterpieces.   Ed. Sarah Lawall.   New York and London:   W. W. Norton & Company, 1999.   2115 – 2192. Vaughan, Virginia Mason, and Kent Cartwright, eds. Othello: New Perspectives. Cranbury, NJ: Associated University Press, 1991.   

The Socio-Cultural Impact on Love, Marriage, and Kinship

Carine Garcon ANT 3212 Wayne A. Abrahamson Spring 2013 The Socio-Cultural Impact on Love, Marriage, and Kinship One’s perspective of the world is consistently altered by our surroundings and influenced by the events that take place. In the past approximately 50 years divorce rates have risen a significant incredibly high. Many researchers have associated this phenomena the contemporary society marriage symbolizes and values. This idea and representation of love have conversely affected and impacted relationships. Thus, the topic that will be investigated is how society and cultural has affected our notion of love, marriage, and kinship.One of the ways society has impacted the notion of marriage is that fact that the government attempts to regulate marriages. â€Å"A few states realize the importance of marriage, and they have taken action to try to change our notion on marriage. Louisiana, Arizona, and Arkansas they believed in covenant marriages. According to the journal cov enant marriage required the following†¦ This movement set out to promote and strengthen marriages, reduce divorce rates, lessen the number of children born out of wedlock, discourages cohabitation, and frame marriage as an honorable and desirable institution. † (Hawkins et al. 002:166) Because of the fact that the contemporary culture has lost sight of the significance of marriage, the government attempted to regulate the marriages within certain states. Furthermore, the state of Florida has made it harder for couples to get married and also get a divorce. The state has now implemented a 3- day waiting period for marriage licenses if couples do not seek premarital education, hoping to reduce impulsive, ill-advised unions. (Hawkins et al. 2002:166) It is clear why the government has attempted to regulate and restrict the amount of marriages that potentially can happen.Years ago marriage was considered to be a divine, sacred union shared between two people before God. This union was intended to be a union that lasted a lifetime and previously the option to dissipate the marriage did not exist. In the current state of marriage, people get married they do not see it as something that is supposed to be forever, but instead as something temporarily. Divorce has become too easy and feasible for people to obtain. I personally believe this current generation people confuse lust for love. Most people would tell someone that they love them, but instead it is really lust.It seems that no one really knows the differences between lust and love, so the two words are commonly mistaken and used in the wrong way. Even in movies and mass entertainment, love and relationships are portrayed negatively with glamour. The typical story begins with a man who convinces a girl with the idea and possibility of love. Once she is vulnerable the couple would most likely indulge in sexual intercourse. When this happens the man then leaves, the woman regrets the decision. These thi ngs are glamourized and popularized by the mass media and a result, the youth is then influenced to mimic the same.The psychological effects of the mass media are subtle, but long-term. (Galician 2004) As a child coming from a Christian background I read the bible very often. The bible is a great source to view and analyze the changes that have happened throughout the last 5 decades, because much of the ideals were based upon its contents. In the book of Matthew chapter 22:36-44 it states, â€Å"Teacher, which is the greatest commandment in the Law? † Jesus replied: â€Å"Love the Lord your God with all your heart and with all your soul and with your mind.This is the first and greatest commandment. And the second command is similar stating, â€Å"Love your neighbor as yourself. All the Law and the Prophets hang on these two commandments. † (Matthew 22:36-44) Out of all the Ten Commandments these two were considered to be the most coveted and highly regarded. This emph asis on the idea that love should be a highly heralded and powerful word in is uses and approach. The order in which these commandments are given, also place emphasis and attention towards how one who is reading the text should perceive it.In the journal, On A Paradox Of Christian Love Liu exclaimed that these two commandments direct ones love to distinct objects. (Liu 2007:681) The commandments were placed in a certain order as â€Å"first† and â€Å"second† to illustrate importance and respect. By putting these commandments in an order it is assumed that the one must achieve a spiritual love with everything in your body and mind, and only after can you love can love someone else (neighbor). The bible has influenced a large amount of the Western society and culture. From a biblical stand point you cannot love anyone else unless your love is rooted with a divine spirit.I believe that if it has to do with our culture then inversely it pertains to love, thus as a society we are blinded by what we want to see. It is critical that one see’s the need to learn to take time and careful thought into deciding whether or not we’re in love. Love is patient, so it’s okay to take your time to fall for someone because if it is true love than it will reveal itself in its own right. Also, the stress placed upon by people on love results in the spending of time and hours wondering if there is true love in their relationship.The impact that culture has had on the social relations of love have led to the belief that love is based off of what one can do for the other, while in its essence and purity love isn’t based on that logic and reasoning but emotion and feeling. In the textbook it explains how a man spent most of his time away from his home, so the child grew up under the influence of their mothers and matrilineal relatives. If praise or shame failed to control the behavior of children, the withdrawal of maternal affection had a pow erful effect. King 2003) In today’s culture and society the result adverse conditions and occurrences are happening. By contemporary society, men are supposed to be considered as the primary provider for their families. Women are widely considered to be the ones that bear the responsibility of child bearing and maintaining the stability and homeostasis of the home. Though the effect is not the extent and extreme of a mother taking away her affection from a child, but the equivalent in terms of linearity would be a mother in this day and age placing the child in time out as a form of punishment.This idea also delves a deeper in the explanation of adolescent girls who become â€Å"quickly incorporated into the highly organized female kinship group, and boys [who] sought out special friendships with each other to provide mutual support in adulthood. † (King 2003) In analyzation how love is specially affected by the socio-cultural factors of today, the analysis of the term ‘kinship’ can be addressed to further the discussion. Kinship isn’t just considered to be relationship through blood, but it also means relation by marriage, or adoption.Again television and mass has led us to believe that most families are generally tight knit and very close, but in reality most families are seriously dysfunctional. (Galician 2004) Throughout all of this dysfunction, families still manage to find some form of stability amongst them. Overall kin generally stick together, and maintain a decent relationship with each other. In the textbook King explains how marriages takes place in the Ancient areas towards the east (Massachusett, Iroquois, Cherokee). He explained that if a man had a bride in mind he would have two options.Ask a family to propose a match to the other family, or to attract the girl himself. If the guy proved himself to be worthy the family would accept the couples sexual relationship, and if it eventually at the end of the process a wedding would take place. (King 2003) The family tests the couple’s relationship based upon the sex and essentially, if the sex was proven adequate, then the couple would then get married. King further explained that an ordinary man would take extra wives to help around with their community duties or ambitions.Furthermore, in this time period bride service was very common. A new husband would go live with his in-laws to perform these duties. (King 2003) These days, a new husband would not go live with his in- laws and he most certainly wouldn’t be performing bride services. This is one example of the extreme changes that have occurred socially and culturally in regards to marriage. Conclusively, culture and media has had an impact on how we view marriage, love, and kinship. Most people no longer view marriage as being permanent, but instead as being temporary.They no longer believe in fighting to make their relationship work, they’d much rather divorce or sepa rate and prevent and reconciliation in their differences. It is worldwide postulation that love is difficult, but our culture has misled us to believe that love is effortlessly attainable. Even in regards to kinship, part of love and relationships with anyone is to maintain ties with your family. Overall, because of the socio-cultural conditions the ideas of relationships are ever changing and thus complex in its nature.References Cited Galician, M. (2004). Sex, love & romance in the mass media analysis & criticism of unrealistic portrayals & their influence. Mahwah, N. J. : Lawrence Erlbaum Associates. King, Glenn. Traditional Cultures: A Survey of Nonwestern Experience and Achievement. (2003). Waveland Press, Long Grove, IL. Hawkins, Alan J. , Steven L. Nock, Julia C. Wilson, Laura Sanchez, and James D. Wright. â€Å"Attitudes About Covenant Marriage and Divorce: Policy Implications From a Three-State Comparison*. † Family Relations 51. (2002): 166-175. Web. Huston, Ted L. â€Å"The Social Ecology of Marriage and Other Intimate Unions. † Journal of Marriage and Family 62. 2 (2000): 298-320. Web. 05 Feb. 2013. Liu, Qingping. â€Å"On A Paradox Of Christian Love. † Journal of Religious Ethics 35. 4 (2007): 681-94. Print. â€Å"Matthew 22:36-44. † The Holy Bible: Containing the Old and New Testaments Translated out of the Original Tongues and with the Former Translations Diligently Compared and Revised by His Majesty's Special Command. Nashville: Thomas Nelson, 1979. N. Print.

Discover Trompe lOeil Art in Painting and Architecture

French for fool the eye,  trompe loeil art creates the illusion of reality. Through skillful use of color, shading, and perspective, painted objects appear three-dimensional.  Faux finishes like marbling and wood graining add to the trompe loeil effect. Applied to furniture, paintings, walls, ceilings, decorative items, set designs, or building facades, trompe l’oeil art inspires a gasp of surprise and wonder. Although tromper means to deceive, viewers are often willing participants, delighting in the visual trickery. Trompe l'Oeil Art Shading and perspectiveFaux finishes3-D effects Pronounced tromp loi, trompe-l’oeil may be spelled with or without a hyphen. In French, the  Ã…“  ligature is used:  trompe l’œil. Realistic artworks were not described as trompe-loeil until the late 1800s, but the desire to capture reality dates back to ancient times. Early Frescoes Fresco from the House of Meleagro, Pompeii,1st Century.   Photo  ©DEA / G. NIMATALLAH/ Getty   In ancient Greece and Rome, artisans applied pigments to wet plaster to create life-like details. Flat surfaces appeared three dimensional when painters added false columns, corbels, and other architectural ornaments. The Greek artist Zeuxis (5th century B.C.) is said to have painted grapes so convincing, even birds were deceived. Frescoes (plaster wall paintings) found in Pompeii and other archaeological sites contain trompe loeil elements. For many centuries, artists continued to use the wet plaster method to transform interior spaces. In villas, palaces, churches, and cathedrals, trompe loeil images gave the illusion of vast space and distant vistas. Through the magic of perspective and skillful use of light and shadow, domes became sky and windowless spaces opened to imaginary vistas. Renaissance artist Michelangelo (1475 -1564) used wet plaster when he filled the vast ceiling of the Sistine Chapel with cascading angels, Biblical figures, and an enormous bearded God surrounded by trompe loeil columns and beams. Secret Formulas Dresden Triptych, Oil on Oak, 1437, by Jan van Eyck. Dresden State Art Collections, Gemà ¤ldegalerie Alte Meisterm.   DEA / E. LESSING / Getty Images By painting with wet plaster, artists could give walls and ceilings rich color and a sense of depth. However, plaster dries quickly. Even the greatest fresco painters could not achieve subtle blending or precise details. For smaller paintings, European artists commonly used egg-based tempera applied to wood panels. This medium was easier to work with, but it also dried quickly. During the Middle Ages and the Renaissance, artists searched for new, more flexible paint formulas. The Northern European painter Jan Van Eyck (c.1395-c.1441) popularized the idea of adding boiled oil to pigments. Thin, nearly transparent glazes applied over wood panels gave objects a life-like gleam. Measuring less than thirteen inches long, Van Eycks Dresen Triptych is a tour de force with ultra real  images of Romanesque columns and arches. Viewers can imagine they are looking through a window into a Biblical scene. Faux carvings and tapestries enhance the illusion. Other Renaissance painters invented their own recipes, combining the traditional egg-based tempera formula with a variety of ingredients, from powdered bone to lead and walnut oil. Leonardo da Vinci (1452-1519) used his own experimental oil and tempera formula when he painted his famous mural, The Last Supper. Tragically, da Vinci’s methods were flawed and the breathtakingly realistic details began to flake within a few years. Dutch Deceivers Tromp-loeil Still-Life, 1664, by Samuel Dirksz, vanHoogstraten. Dordrechts Museum Collection.   Fine Art Images/Heritage Images/Getty Images During the 17th century, Flemish still life painters became known for optical illusions. Three-dimensional objects seemed to project from the frame. Open cabinets and archways suggested deep recesses. Stamps, letters, and news bulletins were depicted so convincingly, passersby might be tempted to pluck them from the painting. Sometimes images of brushes and palettes were included to call attention to the deception. There’s an air of delight in the artistic trickery, and it’s possible that the Dutch masters competed in their efforts to conjure reality. Many developed new oil-and wax-based formulas, each claiming that their own offered superior properties. Artists like Gerard Houckgeest (1600-1661), Gerrit Dou (1613-1675), Samuel Dirksz  Hoogstraten  (1627-1678), and Evert Collier (c.1640-1710) could not have painted their magical deceptions if not for the versatility of the new mediums. Eventually, advanced technologies and mass-production made the painting formulas of the Dutch masters obsolete. Popular tastes moved toward expressionist and abstract styles. Nevertheless, a fascination for trompe loeil realism persisted through the nineteenth and twentieth centuries. American artists De Scott Evans (1847-1898),  William Harnett (1848–1892), John Peto (1854–1907), and John Haberle (1856-1933) painted meticulous still lifes in the tradition of the Dutch illusionists. French-born painter and scholar Jacques Maroger (1884-1962) analyzed the properties of early paint mediums. His classic text,The Secret Formulas and Techniques of the Masters, included recipes he claimed to have rediscovered. His theories reawakened interest in classical styles, stirred controversy, and inspired writers. Modern Magic Artist Tjalf Sparnaay with one of his megarealistic paintings. cc Tjalf Sparnaay   Merogers return to classical techniques was one of many realistic styles that emerged during the second half of the 20th century. Realism gave modern-day artists a way to explore and reinterpret the world with scientific precision and ironic detachment. Photorealists painstakingly reproduced photographic images. Hyperrealists toyed with realistic elements, exaggerating details, distorting scale, or juxtaposing figures and objects in unexpected ways.  Dutch painter Tjalf Sparnaay (shown above) calls himself a â€Å"megarealist† because he paints â€Å"mega-sized† versions of commercial products. My intention is to give these objects a soul and a renewed presence,† Sparnaay explains on his website. 3-D Street Art Mural for Fontainebleau Hotel, Richard Haas, Designer, Created 1985-86, Demolished 2002. Corbis Documentary / Getty Images Trompe l’oeil by contemporary artists  can be whimsical, satirical, disturbing, or surreal. Incorporated into paintings, murals, advertising posters, and sculpture, the deceptive images often defy the laws of physics and toy with our perception of the world. Artist Richard Haas made deft use of trompe l’oeil magic when he designed a six-story mural for the Fontainebleau Hotel in Miami. False finishes transformed a blank wall into a triumphal arch made of mortared stone blocks (shown above). The enormous fluted column, the twin caryatids, and the bass relief flamingos were tricks of light, shadow, and perspective.The sky and waterfall were also optical illusions, teasing passersby into believing they might stroll through the arch to the beach. The Fontainebleau mural entertained Miami visitors from 1986 until 2002, when the wall was demolished to make way for real, rather than trompe l’oeil, views of the waterside resort. Commercial wall art like the Fontainebleau mural is often transitory. Weather takes a toll, tastes change, and new construction replaces the old. Nevertheless, 3-D street art plays an important role in reshaping our urban landscapes. Time-bending murals by French artist Pierre Delavie conjure historic vistas. German artist Edgar Mueller turns street pavement into heart-thumping views of cliffs and caves. American artist John Pugh opens walls with eye-deceiving images of impossible scenes. In cities around the world, trompe loeil mural artists force us to ask: What is real? What is artifice? What is important? Sources Deceptions and Illusions: Five Centuries of Trompe LOeil Painting, by Sybille Ebert-Schifferer with essays by Sybille Ebert-Schifferer ... [et al.]; Catalog of an exhibition held at the National Gallery of Art, Washington, D.C., Oct. 13, 2002-Mar. 2, 2003.Historical Painting Techniques, Materials, and Studio Practice, by The J. Paul Getty Trust, 1995 [PDF, accessed April 22, 2017] ; https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/historical_paintings.pdfMusee du Trompe lOeil, http://www.museedutrompeloeil.com/en/trompe-loeil/The Secret Formulas and Techniques of the Masters by Jacques Maroger (trans.  Eleanor Beckham), New York: Studio Publications, 1948.