En in Translation

The Japanese word en is pronounced precisely as it is spelled, and is translated to mean fate, or kamra. Depending on the context of the sentence, it ma also mean a blood relationship, connection, or tie. Japanese Characters ç ¸  㠁ˆã‚“ Example Kare towa en mo yukari mo nai. He is a complete stranger. Sutekina goen ni kansha shimasu. I am grateful to have met you. Note Go 㠁” of Goen 㠁”ç ¸  is the respectful prefix (polite marker). O 㠁Š or go 㠁” is used to express respect or simple politeness.

Iranian political state and art - Free Essay Example

Sample details Pages: 9 Words: 2715 Downloads: 7 Date added: 2018/12/17 Category History Essay Type Research paper Level High school Did you like this example? Introduction The following essay is a summary about Iranian political state and how use of art to present their political culture is related. The essay will focus mainly on revolutionary and post-revolutionary artworks. The paper will consist of comparisons and contrasting views about how political influence has been affecting and if its still affecting artists and their artwork. Don’t waste time! Our writers will create an original "Iranian political state and art" essay for you Create order Iranian government which since attainment of independence appears to be the main director of art content entering or leaving Iran has seem to be running on dictatorship leadership. This paper will expose how the relationship between the Iranian government and artists has changed overtime and how deep was the government politics interfering with Iranian art. Iranian art culture has been an underground activity mostly run by artists who do not fear the governments laws that limit them from freely practicing their talents and sharing it to the world. With the Iranian revolution events in 1979 where Western-backed Shah was overthrown and replaced by an Islamic state run by the Alyatollah Khomeini, there has been a tight political atmosphere ever since that affects its relationship both internally and externally. The country underwent a big change in power and social life. Having a set of wars with Iraq its neighboring country also brought questions on what was happening in Iran, but w ith these revolution artist took to the stage to demonstrate their heart felt desire by drawing about things happening around them just as any artist would do. The art culture in Iran divided into revolutionary (years of modernization) and post revolution. Revolutionary period This period of art presentation occurred between 1960- 1989, with artists like Bahman Mohasses being the pioneer of encouraging artists with his unwavering, relentless and demanding attitude toward showing and educating people with his art work. Artworks done during this period were never openly displayed to the public and world because of laws set by the new ruling Islamic government. Bahman Mohasses used a style of referencing classical mythology and history of sculptures, he introduced a very unique style that dealt on caricature and later expanded into theatre-directing and painting. He is one major alumnus on how art can lead people into reacting against and also reflect the complexity of politics in a society. Iranian film making has been featured around the world with some film makers like Parviz Kimiavi. He was born in 1939 and has got some of his work edited in the 1970s where he produced works like Gowharshad Mosque, P like Pelican and Bazare mashhad. His films were a bit ethnographic with a singular and always impressionistic style. He made them to have a compelling mixture of documentary and fiction, with a movie like P like Pilican had a story focused on a character named Aqa Seyyed Ali Mirza; who was a reclusive person who was encouraged by nearby youths to engage with the titular pelican. During the period of 1979-1988 Iranian government was mostly dominated with revolution of 1979 and then the Iraq war of 1980-1988. The things that helped and pushed for revolution in Iran being their culture and art works. On the pre-revolutionary era, the shah and his Empress were seen as the main supporters of Iran culture and art. The shah believed that culture and art will help in developing Iran and make the Iranians to have a national identity than to have a non-western culture of modernization. The step of using art to show case the real culture by shah was however not supported with the inequalities within the country about culture and social; Th ereby helping in the growth of the revolution that lead to the overthrown of shahs government who was supported by the Europeans. The revolution affected a lot of things in the country with its major hit being on the nature of how the citizens are interacting around their public spaces. The country was under a lot distress followed by eight years of war with Iraq that caused deaths and sorrow all over. Researchers believed this was a political and social related war that Iran was facing. Art was the only means that helped show the world what Iran was facing and even be part of their history they will live to remember. The visual artifacts captured that time are what showed what really transpired in Iran, with the help of photographers like Bahman Jalali and Rana Javadi who took their time come up with documentary evidence of what really occurred and led up to the overthrown of shah. These photographers took their photos during 1978 to 1979 and later published them in the book Day s of Blood, Days of Fire. The contents of his work being released late in 2010 after his death because of the laws that Iran government had placed and its involvement in Iranian art works. Some artists used a different approach to showcase their art skills, with an artist like Kazem Chalipa who was born in1957 at Tehran village. He was a very prominent painter among the revolutionary generation, whereby his work was a combination of religion and the potent symbols and political vocabulary used during the revolution. His art work was constantly used as posters during the Iran-Iraq war. The use of his art work as posters was a big indication of how politics was in relation with Iranian art culture. The posters are now being used as evidence to relate the citizens of Iran with the revolution era. Revolution era was filled with various art developments through the help and support of the overthrown shah. After Islamic took over museums set up were now less used. Some schools like Saqqakhana School gained international prominence for their art work. The government offered an arts festival called Shiraz Arts festival that was organized in Persepolis. The festival offered opportunities to show case international musicians, dancers and artists, all this was before Islam taking over Iran. With the opening up the festival shah made a point of developing a museum for Iranians called Tehran museum to show case both western and Iranian artists. Some of the artists that were featured in the museum were like Feremarz Pilaram and Hossein Zenderoudi who used techniques such as modern painting, abstracting letters and calligraphy. With a Master of tradition encouraging painters t use calligraphy which consisted of oil paint and canvas to produce words not only content as it was done traditionally. An artist like Sohrab Sepheri who was both a poet and a painter managed to travel the world by visiting Japan and India; he made his painting to feature simple brushstrokes and colors that showed his appreciation of nature and of Zen philosophy. The art culture was like the main economic provider of Iran with Shah taking advantage of the offers western countries offered them by not equally distributing the resources thereby making the court to start protesting his leadership. Ardeshir Mohassess for instance used cartoons to demonstrate the corruption and misuse of monarchical leadership in Iran and the world in general. Although in 1976 the Shah banned his work and this made him to flee the country to Paris and later on U.S.A because Shah used his power to oppress those who defied his ruling. Nahid Hagigat was an artist to born in 1943 and used prints to show case the tension that was among the males in society under government interventions. Print making was a unique technique during that time so it worked well to her advantage. Post-revolutionary art work After the period of revolution art work was still a major tool of showcasing political operations in Iran. The post-revolution era being between 1989-2014 shows a different set of artistic culture being adapted in Iran that are being used till now to showcase their culture and political arenas. Most of the artist during this time had studied abroad and knew the social conditions in Iran. The late Chohreh Feyzdjuo, who was an installation artist, came up with installations and assemblages that acted as commentaries in commercialization of contemporary art and global art market. She used materials that related to the past Iran like vegetable fibers and rolls of her own canvas over painted in black. She inspired artists like Barbad Golshiri, he had a writer for a father thereby giving him a tactful method of writing which was use of guerilla tactics. For example, by giving tribute to Feyzdjuo he came up with a sarcophagus-shaped tomb on top of Feyzdjuos grave in the cemetery at Pantin . These was him showing the nation of how the anonymous graves that the martyrs were placed in are not allowed to be done any inscription on them as it was not allowed by the regime. Photography was also used to pass message and lessons that the nation and culture of Iran had on their citizens. Bahman Jalali inspired various phtotographers during his time like Mazdak Ayari, Behzad Jaez and Tahmineh Monzavi. Ayari for instance took his photos mostly concentrating on his domestic life and family. He did that for ten years by narrowing his talent to capture his family social life and cultural life in Iran. The practice gives an open and full insight into the contemporary life of Iranians which gave him a step to open up the theme about boundaries between private and public existence. In the early 2000s, Behzad Jaezs work in photographs is seen to depict religious schools in Tehran and Qom exposing the day-to-day activities and life of the students. His images indicate and tell a story of different social backgrounds of pupils, thereby giving a clear picture of life in contemporary Iran. Monzavi is also one vibrant photographer born in 1988 who is influenced by diversity. He takes photos centered on individuals who failed in following rules and were convicted or sent away as refugees. He has a series of photos about a girl called Tina who is a transvestite and lives a life of a refugee. His work is aimed at exploring the effect of social exclusion and pains that come with it. He is fearless on exposing his photos to the world making him a very vibrant member of the art culture. Arash Hanaei was also an artist during this time that used digital techniques to reimagine and re-contextualize the Iranian capital city. He used to create digital views of Tehran starting from a source photograph. His work from a psycho-geographical approach of art is seen through the process of erasure covers and reveals so much. His technique of art that entailed to isolate and erase certain elements made it to attract viewers to a poetic view. Example of Hanaeis piece is with the murals of the martyrs and advertisement of hoardings. His work was like an exploration of Tehran which helped to see its history and present. In the mid of 1990s Iranian film industry started to go international with some film producers doing things underground because of the government ban on show casing films without their approval. Jafar Panahi was sentenced for a six year sentence and a 20 year ban on film making being introduced after putting blame it was affecting the national security and causing propaganda. Panahi was sentenced for the release of a proposed documentary on the 2009 post-election unrest. An Iran expert who wants his name anonymous states that for example, there is a film that subtly addresses the AIDS issue without once mentioning the diseases name and even goes to a point and highlighting every form of art in Iran is a form of protest. Iranians are cons tantly trying to find gaps in the law. After the 2009 elections some of the remaining artists who are Iran have been complaining that fewer and fewer permits were being granted to artists who want to either paint or do music. Iran has a law in which one has to acquire a permit from the Ministry of Islamic Culture and Guidance to work professionally. But many have disapproved such laws by practicing their arts underground and even making the underground channels to be the major platforms for artists in Iran. Back then in 1998 Mohammed Khatami who was a former minister of culture became the president and gave some bit of breathing space to the artists. Galleries had more opportunities to show case their work and even adapt new works. Places like Tehran Museum being brought back to life until now, some history work that was being hidden was let out to the public and films made available for kids to watch. Historical films were now allowed to be filmed and some artists took them t o America from filming. Example is the former soldier and fruit-stall holder known as Khosrow Hassanzadeh, who became a painter and poet and manage to show in his series wars some of the disturbing works that would have been critical to the war and the regime. A scholar and philosopher from Iran says this words on behalf of a catalogue presented by Bita Fayyazi that consisted of ceramics molded from cockroaches that do not simply glorify fallen creatures despised by humans, but reveal the extent of the damage caused by a claustrophobic situation, where the sole refuge is the solitary prison of their own repression. Photographs have seen to take a major step in visualizing problems faced in Iran. Especially women in Iran who feel that the rules and laws bestowed upon them limits then to do a lot of things; A 24 year old photographer called Shadi Ghadirian show cases some of his photographs in Tehran museum that seem to describe defiant young women who are wearing Qajar costume but seen posing with modern objects like vacuum cleaner, bicycles that are prohibited, pepsi cola cans. Her use of these photographs is a way of showing or speaking on behalf of the women who seem to not have one voice. We finally have the work of Fereydoun, who does film and came up with a series called Collages Rostam and Sohrab. This film was inspired by a 10th-century poet Ferdousi,s The Book of Kings. The film was epic with a taste of Iranian culture, where it described the limitations of individual monarchs and stressing Irans national instead of Islamic identity. It described the struggle between modernization and tradition where modernism is represented by the son Sohrab and tradition by father Rostam. It showcases the tragedy that unveils when the father kills his son just in the belief of being unworthy king. It teaches the world how the tragic struggle leads to not considering family bonds and personal dignity. Conclusion Art work in relation to Iranian politics is seen to have a major impact both during revolution and after revolution. The artistic works done during this periods vary according to the political state the country is facing from change of power to being ruled by an Islamic president who disoriented the social culture and placed women under certain laws that undermined them some basic human rights. Art is seen to have helped in starting the revolution but is also seen to be a big help on returning the country back on its feet. Art was becoming a major economic earner for Iran at some extent but opticians say this as an obstacle for their demands. The artists are witnessed to be taking part in educating the world on what is happening in Iran from cultural to evolution of the state. Art therefore was a major weapon the politicians could not sustain so they had to put laws to be able to manage and control what the artists portrayed to the world. Summary It is evident that politics and Iranian art were two things that mattered in the state. Artists were like politicians but with the task of informing the nation and world what really the politicians were doing to the nation. The artistic work done after revolution exposed a lot that occurred during the war with Iraq and also the laws that were undermining the state if it was planning to rebuild itself. Often artists will try to do work that goes along with the laws placed but others would do what they see appropriate and valid to their situation. The development of underground platforms so as to be able to showcase their art work is seen as a step to help the country with its political position.

The New Weave- Culturally Inclusive Curriculum Free Essays

The New Weave- Culturally Inclusive Curriculum A ‘culturally inclusive curriculum’ is the planning and delivery of education to ensure that social and cultural perspectives are reflected in all aspects of teaching and learning across the curriculum. Any part of the curriculum cannot be primarily altered by the teacher, so in order to adapt a culturally inclusive curriculum a collaborative support is needed as a means of creating sustainable change and improvement that integrates successful outcomes of programmes into mainstream schooling practice. The needed support will rely on expertise, decisions and the involvement of key stakeholders such as; parents, teachers, the community and the Education Department in establishing, implementing and monitoring the procedures. We will write a custom essay sample on The New Weave- Culturally Inclusive Curriculum or any similar topic only for you Order Now Going through all this procedures is as important as culturally inclusive will not only involve within the classroom but within the community and the school. This assignment will be discussing the importance of culturally inclusive curriculum to students learning, then describe how as a teacher would facilitate the sharing of cultural experiences of students, outline the challenges faced when facilitating of cultural experiences and how it was dealt with and finally the concluding with the fact that diverse cultures in schools is emerging. Education is an introduction to worthwhile learning with teaching methods that must be morally accepted. Culture is the background or foundation of a person’s upbringing within their society which includes their store of important knowledge, skills and values expressed through their language and passing them on to the younger generation for the sake of cultural continuity and survival. In this context, education and culture are inextricably linked since the content of all education has value of structure that is associated with a particular cultural scheme. As education and culture are inextricably linked, culturally inclusive curriculum is a vital approach to the education system. In most Oceanic societies today, traditional cultural values underpin much of what people emphasise and think about, and continue to be the framework that people use to justify their behaviour and to explain the behaviour of others†. (Thaman, 1988). To embrace the knowledge of diverse cultures of all students in education is to understand the cultural backgrounds of the students, from there, teac hers will be able to create a learning space for their students’ which is known as ‘culturally inclusive curriculum’. With different cultural backgrounds and heritage ‘culturally inclusive curriculum’ is based on reflecting on students’ prior knowledge, views, values and understanding, teachers can then build on that foundation with activities and resources that are familiar to the students. The importance of a ‘culturally inclusive curriculum’ approaches have various benefits in the classroom, the school and the community. The Solomon Islands Education Strategic plan 2002-2004 takes this into consideration when it states: †¦there is an acceptance that education has increased tensions with communities†¦The education system is seen by many as being unconnected and antagonistic to the social and cultural values on which Solomon Island communities and society is based†¦Education must be available to all regardless of gender, ethnicity and socio-economic background of citizens. (Ministry of Education, Solomon Islands 2002:1-2). The approaches will be describing how a teacher would facilitate the sharing of cultural experiences of students which with benefits that will explain the essential features that will reflect back towards the students’ wellbeing that will be focused on enhancing students learning. The approaches are: Teaching programs will meet the specific needs of students from diverse backgrounds to ensure equitable learning outcomes where students are provided with support to develop language and literacy proficiency. While English is the major shared language within the Pacific Island countries, it can be used as a tool and mean of communication for our literacy and language development of the social, cultural, community and economic vitality of our nation to draw upon adoption of cultures such as language and a wide variety of languages other than English. Activities that they will be able to relate to, for example are: 1. Sharing ideas of the different uses of plants for medicinal purposes and other uses and plant names. This idea will bring students to able to make connections with other cultures as some plant names and uses will be similar. e. g. similar names of coconut; ini- Nauruan, naniu- Fijian and niu- Tongan and Hawaiian. 2. A discussion, students share stories of adapted languages. e. g. Story of how the Ikiribati and the Nauruan adopted a word A European boy came off a ship with a pet dog, the Ikiribati and the Nauruan bserved carefully at the strange looking creature and they asked each other, â€Å"What is it called? † The European boy called his dog, â€Å"come here Rover† The Ikiribati went back to his people and told them that the creature (dog) is called a ‘Dagamea’ as from the word ‘come here’. The Nauruan went back to his people and told his people that the creature (dog) is called ‘Robar’ as from the word ‘Rover’. Un til now in Kiribati, dagamea mean dog and in Nauru, robar means dog. These benefits are: Schools actively engage with parents and community members from diverse backgrounds to support the engagement and learning of their children this will enable the classroom to become an independent space which promotes open dialogue and communication to allow for personal and social education and will also encourage a cooperative learning. Students will develop an understanding and respect for different cultures, religions, values and views, as they are able to understand and see the similarities between their own cultural backgrounds and other cultures and relate to them. Diverse cultural backgrounds of all students are recognised and valued so no students are being left out but will be given the opportunity to express and share their own cultural background and build on their prior knowledge in a diverse and meaningful way this will enable students to gain confidence in their self image. The inference are the approach will analyse the cultural similarities, it is human nature that having something in common always attract interest and will create a diverse society within the classroom. Students will view that culture is a web of interrelationships and will provide meaning to and a framework for their existence in a particular society†. (Thanman , 2001). Pacific education must prepare our children for the reality of life beyond the walls of the classroom, the schoolyard and their familiar society; they must be a prepared for the complex life beyond their comfort zone, but to prepare them to inculcate values and character that would enable full a nd positive participation in both local cultural community life and in the global community. However, there is yet another perspective of the issue concerning the idea of sharing cultural experiences of student which are the challenges teachers will face when utilizing the idea. It is always best to speculate and evaluate the idea of adopting changes and the pedagogy used. In spite of the importance highlighted of the idea of sharing cultural experiences let us not overlook the challenges which the teacher will be facing. Challenges that I may be facing as a teacher are to mention a few are; trying to get to know all the cultural background of all my students and not leaving one behind due to my lack of knowledge and understanding, coming to terms with my own cultural beliefs, religion and values into accepting other beliefs, religions and values and the limited understanding of what curriculum reform was about and unable to satisfactorily implement the new curricula. Trying to get to know all the cultural background of all my students and not leaving one behind due to my lack of knowledge and understanding, is as a teacher, more research, planning and extra hard work have to be carried out. As some cultural experiences maybe dominant than the other, as a teacher I have to try to balance them out and be resourceful and creative in planning activities to be made as equally interesting and not letting one culture dominate the other. Coming to terms with my own cultural background, religion and values and accepting other beliefs, religions and values. As an adult without the opportunity of a culturally diverse upbringing or teacher training on the issue, it will be a challenge to understand and interrelate with other cultural beliefs especially when it comes to religion and beliefs. While moulding my students to be culturally diverse I will be going through the same process and learning myself. The limited understanding of what curriculum reform was about and unable to satisfactorily implement the new curricula of ‘culturally inclusive curriculum’. Due to my lack of knowledge of other cultural backgrounds, it will be a challenge to implement or even teach the new cultural inclusive curricula. In conclusion, culturally inclusive curriculum is an important approach in this modern time, as even though there will be challenges when teachers are actually facilitating the sharing of cultural experiences within the classroom. Culture inclusive in our curricula is becoming a demand due to the increase of multicultural backgrounds of students which has brought attention to educators to take action on the issue. Diverse cultures in Pacific schools is increasing so let us use this as an opportunity to prepare our children to be able to strive in the wider global network. Bibliography Ministry of Education, Solomon Islands. 2002. Education strategic plan 2002- 2004. Government of Solomon Islands, Solomon Is. Thaman, K. H. (1988). Ako and Faiako: cultural values, educational ideas and teachers’ role perceptions in Tonga. Unpublished PhD thesis, University of the South Pacific, Suva. Thanman, K. T. (2001). Culturally inclusive teacher education in Oceania. International Education Journel, 26 (5), 1-2. How to cite The New Weave- Culturally Inclusive Curriculum, Papers

TOK Note Arts Essay Example For Students

TOK Note Arts Essay Intentions of the artist: Work of art by someone with the intention of evoking an aesthetic (beauty) espouse in the audience, Critics: something that was not originally intended as art may now be treated as such, and this art might simply be junk 2 Quality of the work: Great work of art is a perfect combination of form(depicts such as a face, a landscape, etc) and content(the way it is put together such as unity, order, etc) Critics: some arts show originality, but require little technical skill such as kitsch and forgeries 3. Response of spectators: the general public prefer the familiar to the strange and content to form Expert opinions guides us to decided which works of art are genuinely worthwhile understand the meaning of a work of art; sophisticated) Other ideas about arts Everything can be looked at from an aesthetic point of view Inexhaustibly: ideal spectator helping us to distinguish enduring art from art Which is merely fashionable Judging art Essential Ideas and TOOK vocabulary: The paradox Of aesthetic judgment: Standards of judgment justifies certain art works (good or bad) Cannot argue about tastes in the arts Should aesthetic judgments be disinterested? In our aesthetic judgments we are suitors for agreement Disinterested not aesthetic response Should appreciate it from a more universal standpoint. Acknowledge great figures even if it is not the taste one prefers Are there universal standards in art? Psychological factors: humans have similarities in our aesthetic judgments; naturally tend to tint the dormer peaceful and the latter disturbing Kumar and Melamine: discover what kinds of painting people find most attractive Depicted landscapes in which one can see without being seen Metronome of the human pulse is the biological basis for our sense of rhythm in music Critics argue that our cultural differences end up with broadly similar tastes ex) dominated by American culture Cultural differences: universal elements running through all cultures; but this should not blind us to the differences between them Art and knowledge Art as imitation: Mimetic theory of art purpose of art is to copy realty; desire to achieve a perfect likeness Photography captures the essential you: creative reinterpretation Of reality Drawing attention to previously unnoticed features of reality; arts make it visible New movements in the arts challenge our understanding of reality, and many great artists w ho struck out in new directions were not recognized by their contemporaries as it was hostile to spectators. Art as communication: Communicate a message to spectator To understand the language of the art, one needs basic knowledge of the grammar and vocabulary of art (what is being communicated is worthwhile or not) Two dimensions Horizontal explore the breadth of human experience Vertical explore depth Communicate emotions use of music or poem to make sense of the depth and intensity and uniqueness of ones feeling Art as education: Art as a moral provocation provoke emotions that influence our behavior or shape our attitudes by offering us a range of role-models Approach to a more universal perspective on things For example, literature develop our ability to empathic with other people by imaginatively placing LIES to a situations that lie beyond the frontiers Of our own experience Critics: argue that art should be judged purely on its aesthetic rather than its ethical merits as it may lead up being both a bad artist and a bad preacher Plato versus Aristotle: Plato inflaming the emotio ns, art weakens our ability to lead rational lives Aristotle art does not incite emotion as much as purge, or cleanse us of it Catharsis cleansing effect Science, art and truth Both are trying to make sense of the world by looking for patterns in things Reason, imagination and beauty: Science: patterns are expressed in mathematics and logic appeal more to reason Art: needs to have a good imagination if one is to come up with new ways of looking at things, Discovered or invented?