The World Though the Prism of Ideas Impressionism as It Is

One of the world’s most mysterious and at the same time elegant branch of arts, impressionism, is both a riddle and an answer to it. Suggesting people to take a closer look into their own minds, impressionism offered that the spectator could incorporate his vision of the world together with that one of the author.Advertising We will write a custom essay sample on The World Though the Prism of Ideas: Impressionism as It Is specifically for you for only $16.05 $11/page Learn More Despite its seeming simplicity and inspiring shapes, impressionism conveys the most complicated ideas and bases on philosophical and cultural foundation that has a history of its own. Discovering the ideas underlying the impressionists’ paintings, on can open the whole wide world in front of his/her eyes. Speaking of the techniques that the artists used in creating their impressionism masterpieces, one must note that the style which impressionists used ensued from th e peculiar vision of the world which impressionism presupposed. Oriented exclusively on the ideas and perceptions of the artists, this style of painting could not be considered as a separate trend in visual arts – this is rather a string of ideas embodied in paintings. Depicted on the paper, the world picture of impressionists turned into the door to the other world – the world where the reality mixed with the surreal to create one of the most incredible cocktails. As van Gunsteren explained, We may, first of all, certainly discount the more loose or merely lyrical usage in which impressionism means anything ‘fanciful’, ‘disorderly’ or ‘illogical’. Having done so, however, it is possible to penetrate to a fairly solid core of the new ideas and methods, which gave the group cohesion even without the formalized rules of a ‘school’ of French painters. (29) Thus, it is obvious that there is more to impressionism that mere ly distorting the usual forms and shapes, turning them into a chaotic something. With the powerful idea in the background, an impressionism painting obtains the meaning of its own. With help of the impressionism vision, one can see the reverse side of the world, the subconscious and the sub-real. Getting into the depth of people’s minds, these images depict ideas, not objects, which is why this style differs from what the mankind is used to so much. It is quite peculiar that impressionists were a kind of rebels in the sphere of art, breaking all possible laws of painting to create the ones of their own. According to Salvi, â€Å"The Impressionists broke many rues of academic painting. One was their insistence on working direct from experience† (16). This was where the idea of the plein-air technique appeared from – trying to find the right environment to create the masterpieces of their own, impressionists tried to break the boundaries of space, which led them t o creating outdoors.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More For them, painting did not mean staying behind closed doors in the cold light of a studio, but taking easel, canvas and paints and working en plein air (outdoors). This gave their canvases a feeling of spontaneity, but also required some new painting techniques. (Salvi 16) Monet offered a perfect example of what the plein-air method of painting is. With his masterpiece called The Japanese Bridge, the author managed to represent not only the new idea of art, but also the new means to create it with. Painted with the plein-air technique, this was the essence of impressionism, the very spirit of the new art. Breathing with the fresh ideas, this painting stirred the most unusual thoughts. Intriguing and capturing, this was the kind of masterpieces that gripped one and would not let go for another couple of hours. The creation requi red deep considerations and thorough meditations to understand the ideas underlying it. Monet, Claude. The Japanese Bridge, c. 1919-24. Web. Another perfect specimen of the new style of painting was the Water-Lily Pond that can be considered the perfect beginning of the impressionists’ triumph. With help of the peculiar open-air technique and the unusual, non-traditional approach to the art, the impressionism embodied in the Water-Lily Pond created quite a stir in the artistic circles. This was a new and original way of expressing the ideas without fearing of being misunderstood – for impressionism could be understood in a million of ways; everything depended on the spectator.Advertising We will write a custom essay sample on The World Though the Prism of Ideas: Impressionism as It Is specifically for you for only $16.05 $11/page Learn More Monet, Claude. The Water-Lily Pond, 1899. Web. Indeed, the new art helped people to understand art in its new shape. Hiding beyond the disguise of the chaotic and the subconscious, the paintings created by impressionists made people open their eyes and see the reality the way it is. At this point, the definition of impressionism intertwines with the idea of ripping the world of its veil. Lying bare and naked in front of the artist, the world took the most incredible shapes, which were depicted in the numerous impressionism paintings. Shockingly surreal and at the same time grotesquely true, these pieces broke new ground not only in the sphere of arts, but also in people’s lives. Considering the three theories of art which Frank suggests, one can see clearly the way impressionism develop as the time passed by. Starting from what further on was called the theory of representation, the new style developed into the â€Å"pure seeing†, which later on evolved into the â€Å"experimental aesthetics† (Frank 2006). Due to the organic and swift way in which the ideas of impressionism evolved, the latter shaped quickly and in rather natural way. Relying on their own vision of the world and their ideas concerning people and nature, artists embodied their impressions into peculiar and intriguing artworks. To understand the train of impressionists’ ideas, one has to consider the paintings by Monet as the founder of the new artistic tendency. For instance, his painting Irises is the very idea of impressionism itself: Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Monet, Claude. Irises. c. 1914-17. Web. To understand the essence of this peculiar vision, one has to consider the expressive theory. Painting their feelings on the canvas, artists could get rid of the haunting ideas for a while. But then the need to tell the world important truths took its toll on the artists again†¦ Trying to regard â€Å"the flux of sensation in its totality†, as Holt brilliantly noted, they created the world of their own, the world that mirrored the reality. In his creation Bathers at La Grenouillà ¨re, the artist also followed the famous representation style, with help of which he created most of his pieces. Like the rest of his pictures, this creation also featured the famous plein-air technique and followed the principles of the representation style. However, it must be admitted that this creation of the great artist also incorporated some elements of the traditional vision of the world as well. Monet, Claude. Bathers at La Grenouillà ¨re 1869. Web. Taking a closer look at the picture, one case that the artist deviated from the way in which he began creating the impressionist works. It has gained certain sociological meaning, for it considers the society in general rather that the sufferings of an individual. Thus, there are no doubts that the impressionist ideas were broadening as the experience of the artists grew, and the spectrum of the ideas that could be communicated with help of the paintings grew increasingly huge. This is the right time to start talking about the formal theories of impressionism. It cannot be denied that the pictures that followed Monet’s innovation in the world of art were mainly inspired by the great author of the Water-Lily Pond. However, there are no doubts that the main source of the painter’s inspiration came from their observations of the world, their meditations and their philosophical approach to understand the nature of a human being and the place the latter takes in the g reat circle of life. However, it would be erroneous to speak of formal theories as of something that fit impressionists’ ideas impeccably once applied. It would be better to suggest that the formal approach was to be tailored to the ideas of impressionism. Since the latter presupposed the denial of any norms at all, the formal approach could not be applied to the paintings strictly. As Lanier noted, Although there are similarities in their [impressionists’] art, these artists had no â€Å"formal theory† and â€Å"abandoned any fixed program.† They diminished the importance of subject matte, denied the importance of genre and subjected everything to the stamp of their own personalities and sensibilities. (79) Morrisot, Berthe. Summer’s Day. c. 1879. Web. However, it cannot be claimed that the sociocultural element of the impressionists’ paintings appeared only as time passed; one had better say that it became obvious only as certain time pas sed. Therefore, it can be suggested that the impressionism paintings helped the society get ready for certain changes in the vision of the world and the world philosophy. Since such transition could turn rather painful and ever impossible without any links to the previous experience, impressionism served as a bridge between the old and the new. Considering the paintings from the sociocultural point of view, one has to admit that the authors of the pictures were trying to communicate their opinion concerning the most important vents in the social life of the then epoch. With help of their attempts, the paintings opened a door to the world where people could face their most secret ideas and feelings and realise that these are integral parts of themselves. Every single picture created in the period when impressionism reigned spoke of the floating world, the time of changes, the instability and the attempts to relate a man to the nature. As Frank himself explains, the expressive theory of impressionism is one of the means to approach the mysterious pictures of impressionists, filled with the meaning that only the authors could see distinctly: â€Å"All art works are made by people. The skill level, persona; intent, mental state, gender, or mindset of the creator must play a role in the creative process† (Frank 96). Glancing at the creations of impressionists, one can understand that the ideas of the world as chaos were only beginning to appear in their creations, whereas most of the pictures conveyed the idea of beauty in the natural and the irrational, the blurred vision of the world. With help of the new artistic tendency, people have managed to experience an escape to an artistic Wonderland, which they must thank impressionists for. Unless Monet, Morisot, Renoir and all the rest had not contributed their viewpoint to the world of art, the latter would have been incomplete. Works Cited Frank, Patric. Prebles’ Artforms: An Introduction to the Visual Arts, 8th Ed. Upper Saddle River, NJ: Prentice Hall, 2006. Print. Holt, Ysanne. British Artists and the Modernist Landscape. Surrey, UK: Ashgate Publishing, Ltd., 2003. Print. Lanier, Doris. Absinthe the Cocaine of the Nineteenth Century: A History of the  Hallucinogenic Drug and Its Effect on Artists and Writers in Europe and the  United States. Jefferson, NC: McFarland, 2004. Print. Salvi, Francesco. The Impressionists. Minneapolis, MN: The Oliver Press, 2008. Print. Van Gunsteren, Julia. Katherine Mansfield and Literary Impressionism. Amsterdam: Rodopi1990. Print. This essay on The World Though the Prism of Ideas: Impressionism as It Is was written and submitted by user Lathan Poole to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

China & Me & Confusion essays

China & Me & Confusion essays The day after the American plane bombed the Chinese embassy in Yugoslavia, our core teacher took one whole period telling us how bad the United States was, and how we should never bow down to them. Every student in my class including myself was furious. One year after, the tragedy was written in our textbook. I read the passage about the evilness of the United States to my uncle with anger and patriotism on the phone. He said nothing, just sighed. That year, he was in America. A few years later, I was in Canada, a completely different world that turned my beliefs completely upset down, and put me into total confusion. Living in Canada has made me look at the world from a different perspective. When I was in China, my teachers and the news were my only two sources of politics. In other words, I only knew what the Chinese government wanted everyone to know. In the past, I always thought Tibet was just a one of Chinas provinces, it was trying to be separated from us, and Dalai Lama was the bad person who caused it. The idea had never budged in my mind, until the day I received my world religions textbook. On the timeline of the chapter of Buddhism, it clearly stated that, 1989 CE Dalai Lama receives Nobel peace prize. I was shocked. Why would an evil person who was trying to separate brothers of the same family like him receive a peace prize? Was the world crazy? After I read Dalai Lamas profile, another sentence shocked me even more-the Chinese took complete control of Tibet. What did they mean by took complete control? They were apart of us! They were in control the whole time! I knew some Canadians believed that China invaded Tibet, but I never could have thought that it would be included in a textbook. More sense came into me after. This was a Canadian textbook, unlike Japan, Canadians should not falsify it, but if they did not, did that mean they were telling the fact? And China invaded Tib ...

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Freedom of Speech Essay Hindi is the most commonly spoken language in India. It is the fifth most spoken language in the world with about 182 million native speakers in 1998. The script used in writing Hindi is DevanÄ garÄ «. More than 180 million people in India regard Hindi as their mother tongue. Another 300 million use it as second language. Outside of India, Hindi speakers are 100,000 in USA; 685,170 in Mauritius; 890,292 in South Africa; 232,760 in Yemen; 147,000 in Uganda; 5,000 in Singapore; 8 million in Nepal; 20,000 in New Zealand; 30,000 in Germany. Urdu, the official language of Pakistan, spoken by about 41 million in Pakistan and other countries, is essentially the same language Literature in Hindi languages (Hindi: à ¤ ¹Ã  ¤ ¿Ã  ¤ ¨Ã  ¥ Ã  ¤ ¦Ã  ¥â‚¬ à ¤ ¸Ã  ¤ ¾Ã  ¤ ¹Ã  ¤ ¿Ã  ¤ ¤Ã  ¥ Ã  ¤ ¯) includes literature in the various Central Zone Indo-Aryan languages which have writing systems. It is broadly classified into four prominent forms (styles) based on the date of production. They are; * Vir-Gathas (poems extolling brave warriors) – 11th–14th century * Bhakti era poems (devotional poems) – 14th–18th century * Riti or Srngar poems (poems of romance) – 18th–20th century * Adhunik literature (modern literature) – 20th century onwards The literature was produced in dialects such as Braj, Bundeli, Awadhi, Kannauji, Khariboli, Marwari, Angika, Vajjika, Maithili, Magahi and Bhojpuri.[1] From 20th century, works produced in Standard Hindi, a register of Hindustani, is sometimes regarded as the only basis of modern literature in Hindi.[2] Hindi, or more precisely Modern Standard Hindi, is a standardised and sanskritised register of the Hindustani language (Hindi-Urdu) that is associated with the Hindu religion. Hindustani is the native language of people living in Delhi, Haryana, Western Uttar Pradesh, Bihar, northeastern Madhya Pradesh, and parts of eastern Rajasthan,[4] and Hindi is one of the official languages of India Hindi literature is broadly divided into four prominent forms or styles, being Bhakti (devotional – Kabir, Raskhan); Shringar (beauty – Keshav, Bihari); Veer-Gatha (extolling brave warriors); and Adhunik (modern). Medieval Hindi literature is marked by the influence of Bhakti movement and the composition of long, epic poems. It was not written in the current dialect but in other Hindi languages, particularly in Avadhi and Braj Bhasha, but later also in Khariboli. During the British Raj, Hindustani became the prestige dialect. Hindustani with heavily Sanskritized vocabulary or Sahityik Hindi (Literary Hindi) was popularized by the writings of Swami Dayananda Saraswati, Bhartendu Harishchandra and others. The rising numbers of newspapers and magazines made Hindustani popular among the educated people. Chandrakanta, written by Devaki Nandan Khatri, is considered the first authentic work of prose in modern Hindi. The person who brought realism in the Hindi prose literature was Munshi Premchand, who is considered as the most revered figure in the world of Hindi fiction and progressive movement. The Dwivedi Yug (Age of Dwivedi) in Hindi literature lasted from 1900 to 1918. It is named after Mahavir Prasad Dwivedi, who played a major role in establishing the Modern Hindi language in poetry and broadening the acceptable subjects of Hindi poetry from the traditional ones of religion and romantic love. In the 20th century, Hindi literature saw a romantic upsurge. This is known as Chhayavaad (shadowism) and the literary figures belonging to this school are known as Chhayavaadi. Jaishankar Prasad, Suryakant Tripathi Nirala, Mahadevi Varma and Sumitranandan Pant, are the four major Chhayavaadi poets. Uttar Adhunik is the post-modernist period of Hindi literature, marked by a questioning of early trends that copied the West as well as the excessive ornamentation of the Chhayavaadi movement, and by a return to simple language and natural themes.

Racial Stereotypes In Disney Movies

Racial Stereotypes In Disney Movies The objective of Disney films was to transport its viewers to a magical realm of enchantment and endless possibility. Disney offered a supposed alternate paradigm in which there was the promise of a Happily Ever After. It aimed at appealing to audiences young and old and hoped to find universal viewership. Walt Disney once stated that Of all of our inventions for mass communication, pictures still speak the most universally understood language. And although it did reach audiences far and wide, for a young Indian girl watching The 1937 Disney adaptation of Snow White and The Seven Dwarfs, it gave her very little to identify with or relate to. Snow White, the first on-screen Disney Princess was rendered With lips as red as rubies and skin as fair as snow. Blatantly epitomising Western ideas of femininity and beauty, films like Snow White alienated the Non-western viewer. They created a fantasy that was centred on fixed archetypes of beauty and desirability which catered to the white, western population and had no room for anybody else. Eventually, the industry was criticised for its focus on a singular ethos and restriction to the First World. Consequently, the last decade of the 20th century saw Walt Disney Pictures release films that were now aimed at broadening its cultural spectrum. Alladin, debuted as Disneys first attempt to explore a different cultural terrain. Released in 1992, it was later followed by other culture specific films like Mulan and Pocahontas which opened in cinemas in 1998 and 1995 respectively. These films signalled a distinct departure from films that were pivoted around Western protagonists and their lived experiences. Although this new brand of films hoped to establish a sense of cultural inclusivity by venturing beyond the Western World, what became clearly evident in the process was a heavy dependence on racial stereotypes and caricatured depictions of culture. Elena Di Giovanni, in her essay Disney Films: Reflections of the Other and the Self, states that Disneys selection of certain cultures which it chose to portray, was not a choice that was arbitrary and unplanned. According to Di Giovanni, the reasons for selecting these cultures can be ascribed to precise cultural and ideological strategies. The cultures depicted in these films are either conventionally considered to be somehow inferior if juxtaposed with modern Western Civilisations and to the narrating American culture in particular, as suggested by the Saudi Arabian-born scholar Ziauddin Sardar. Edward Said was one of the first scholars to examine the complex relationship between the Orient and the Occident, one that he found to be a relationship of power, of domination of varying degrees of a complex hegemony In his 1978 publication of Orientalism, Said One of the first scholars to give a sharp account of these biased cultural encounters was Edward Said in Orientalisrn(1978). Even though primarily concerned with tracing the history of the Orientalist attitude by the West in literature, Said does not fail to consider the importance of new technologies and the media in the proliferation of this unjust tradition: One aspect of the electronic, post-modern world is that there has been a reinforcement of the stereotypes by which the Orient is viewed. Television, films, and all the medias resources have forced information into more and more standardized moulds. More recently, Ziauddin Sardar has echoed similar ideas in his 1999 publication of Orientalism, a book he writes, as assort of tribute to Saids work, therefore titling it the same. The main interest of Sardars book, whose approach is even harsher than Saids, lies in his detailed reflections upon the new, modern ways by which the Orientalist attitude manifests itself and is still spreading nowadays. By way of introduction to his work, Sardar declares that even though the project of Orientalism has way passed its sell by date, it is colonizing new territories, such new territories being related to the new geographies which are shaped and controlled by contemporary means of mass cornmunication like the cinema. A whole chapter of Sardars work is devoted to Orientalism in films, where the author sets out to explore the treatment and manipulation of other cultures within the discourse of cinema, across different genres, including cartoons, and where he makes ample reference to the Americ an hegemonic control of the cinematic medium. Sardar states that otherness is generally treated as a pattern book from which strands can be taken to draw up cultural representations which serve the purpose of entertaining audiences while reinforcing, by contrast, the superiority of the narrating culture. Thus, the the commodification of culture takes place whereby visual and verbal elements belonging to a distant world are taken and made suitable for smooth reception within more powerful socio-cultural settings. Aladdin, which was based on the Arab folktale of Aladdin and the magic lamp from One Thousand and One Nights, became the most successful films of 1992, grossing over $502 million worldwide. However, almost instantly, it was met with criticism from the American-Arab Anti-Discrimination Committee. The movie quite literally translated into an Orientalist fantasy. With glaringly distorted depictions of Arab culture, and a few pointedly offensive remarks, the movie has gone down in history as one of Disneys most controversial films. The film, which is set in the fictitious kingdom of Agrabah, introduces an ensemble cast of characters: Aladdin, a young street urchin, Jasmine, a jaded princess, Jafar, an avaricious minister of Court and Genie, the ebullient prisoner of the lamp. Although the film seems to focus on the characters as individuals, it is difficult to dismiss the overall denouncement of Arab culture, as is evident in the treatment and presentation of Arab society in the film. The vilification of Arab men in the film can be observed quite clearly through their portrayal as thugs, sorcerers, pick-pockets or beggars. Their physical attributes also seem to echo the cultural bias, with their descriptions coloured by thick lips, missing teeth, heavy, menacing brows and hooked noses. However, what is interesting to observe, is the decidedly different treatment afforded to the central protagonists. Both the hero and heroine are presented as almost exact counterparts to the white, suburban youth of the west. Aladdin seems fairly content in disinheriting his Arabian heritage, as he is cleverly christened Al, and exhibits American mannerisms through his style of speaking in the film. In the same vein, the character of Jasmine is equally americanised. Jasmine, though sporting dark flowing hair and with darker skin than her counterpart princesses in earlier films, still retains blue eyes. Though Jasmine must reflect an Arabian image, the films producers seem to find i t necessary to leave at least a vestige of tangibility that Western audiences can relate to. What one is left to ponder is whether these characters would have appealed to western audiences, had they not been endowed with these traits? This example recalls Saids own observations on Orientalist attitudes. Bring in said here. And Elena di Giovanni A whole new world then move to another song that was in fact more noteworthy. Most noteworthy, however is the opening sequence of the film, which was later revised due to harsh criticism and protests. Aladdin opens with the expository song Arabian Nights which includes the lyrics PEDDLER: Oh I come from a land From a faraway place Where the caravan camels roam Where they cut off your ear If they dont like your face Its barbaric, but hey, its home The blatantly offensive final line had to be eliminated from the home video version of the film as a consequence of the numerous protests the Disney Company received after international release. However, all the other subtle and indirect hints at the American cultures position of supremacy over the narrated Other, which is deliberately kept ambiguous and undefined in historical-geographical terms, remain untouched, and continue to carefully shape the viewers perception. One of these subtle instances in the movie can be seen in the same opening sequence. The first words which are uttered by the peddler contain an unmistakable, conventional reference to the culture portrayed: PEDDLER: Ah, Salaam and good evening to you worthy friends. The worldwide-known Arabic greeting is, however, immediately followed by good evening, as if to compensate even for the faintest sense of estrangement the viewer might feel upon hearing salaam. Orientalist preconceptions find their way into the Disney adaptation of the Chinese legend of Hua Mulan. Walt Disney Pictures released Mulan in June, 1998 and it was the thirty sixth animated feature in the Walt Disney Animated Classics. Mulan, which was once again infused with orientalist imagining of culture, uses a host of long-established, worldwide-known stereotypes on the visual as well as verbal levels. As Elina Di Giovanni points out, cultural metonymies are very often related to specific domains such as food, which provides universally identifiable socio-cultural references and ensures easy, if strongly stereotyped identification of different nations and peoples. In the case of verbal stereotypes, references to other cultures clichà ©d words and expressions tend to draw from common categories such as greetings, exclamations and titles. Greetings and exclamations, though not necessarily connected to the stereotyping of cultures, can nonetheless be frequently used to support cultural representations as they ensure simple and immediate identification. In the opening sequence of Mulan, the 1998 film which portrays the Chinese culture at the time of the invasions by the Huns, the visual and verbal cultural stereotypes employed do not contain any derogatory reference, but they are equally highly conventional. An instance of this can be seen in the portrayal and dialogue of the emperor of China who, incidentally, is always shown with the image of a golden dragon at his back to address his army generals in a situation of emergency. He is shown to exhibit a typical trait which is often associated with the Chinese culture, using words of wisdom to describe the fate of his country: EMPEROR: single grain of rice can tip the scale Moreover, one can note that the reference to the most popular element of the Chinese culinary tradition does not appear by coincidence in the emperors line. The shot which immediately follows features a large bowl of rice in the foreground with a pair of chopsticks lazily picking at the rice. This image is used in the film to introduce the protagonist herself, who will be very slowly revealed to the audience starting from her hand holding the chopsticks. But even more noteworthy, is that fact that the bowl of rice which alluded to in the beginning by the Emperor, and used in the introducing of the protagonist, Mulan is then later appropriated to serve American cultural interests by replacing the contents of the bowl(rice), with porridge and rashers of bacon and fried eggs, which make up Mulans breakfast. The bowl which contained rice in the opening scene has been deprived of its typical, if also highly conventional, Chinese content to be replaced by what looks more familiar to the American viewers, although totally remote from the eating habits of Chinese soldiers. Moving from visual to verbal examples, the use of language is an obvious vehicle for further consolidating the presence of American culture. It is worth pointing out that all the main characters in the films, although belonging to distant and exotic worlds, speak with perfect American accents. Moreover, they are very often characterized by the use of non-standard, colloquial or regional varieties of American English. This is the case of the dragon Mushu in Mulan, whose dialogue is generously punctuated with contemporary, informal American expressions. Similarly, in Aladdin, the most striking, informal and modem use of Ameriean English is to be found in the lines uttered by the genie of the lamp, appearing in different guises and often mimicking famous American personalities. His lines are filled with colloquial expressions as well as references to the contemporary American world. Pocahontas, which opened in cinemas in the year 1995, presented a thoroughly revised picture of a historical figure, appropriated suitably to appeal to western audiences. Modelled on the historical Native American figure ,Matoaka, who is more popularly known by the nickname Pocahontas, the film revamps and restructures the story of Pocahontas and showcases it as a tale where a culture under siege by British Colonialism, ends up being rescued by the White Messiah. The film clearly distorts historical facts and produces a tale that is made palatable to western audiences, with the White Settler rescuing the native tribe from a terrible fate, which, interestingly enough, would have been executed by his fellow men. The movie Pocahontas deviates from the true historical story in many ways. The most significant deviation is Pocahontas age and the nature of her relationship with John Smith. In the movie, Pocahontas is portrayed as a twenty year old woman who falls in love with John Smith, and he with her. From what we know of the historical record, she [Pocahontas] was a child when they met, probably between 12 and 14, and Smith was about 27, states Thomasina Jordan, the head of the Virginia Council on Indians, and herself a Wampanoag Native-American. However, it is not just her age that has been altered in the film version. Even her physical appearance is rendered far from factual. The on-screen Pocahontas is designed to be a tall, attractive figure, with dark, flowing hair and sharp features. This depiction in the film has been clearly designed to cater to the male fantasy of the young, exotic woman. Moulded from the Orientalist perspective, she is seen as the enigmatic princess, who captivates the young John Smith with her gentle spirit and exotic beauty. Moreover, the relationship between John Smith and Pocahontas, was that of a young girl and an older man. The relationship that the two share in the movie is entirely fictitious and completely inaccurate. Another deviation is John Smiths attitude towards the Native Americans. In the movie, Smith defends the Native-Americans, and dons the mantle of the White Messiah. Abandoning his fellow men, Smith advocates the legitimate right of the natives to possess their own land. He states that the British are the intruders and have no authority to colonise and usurp the land of the natives. This heroism, is however absent in factual accounts of the story. In reality, Smith believed that the English had a right to the land and he was not an advocate for the Native-Americans. Disney also distorts the facts about Governor James Ratcliffe. In the movie they portray him as a villainous character. At the end of the movie he tries to shoot Chief Powatan, but shoots John Smith instead. After he does this, his own men make him a prisoner and send him back to England. However, this is not confirmed in the historical account. Thus, it is evident, that even through Disneys attempt to create a more panoramic view of Society and the world, by retelling tales rooted in different socio-cultutal contexts, it is unable to rid itself of omniscient Western ideals which dictate the ways in which Non-western cultures are received. The non-western cultures can only be understood when either juxtaposed with western traditions or appropriated to appeal to a western audience. The appeal of a non-white prince must be countered with distinctly Americanised mannerisms. Tales from the East seem only to be tangible if they propagate long standing stereotypes and reinforce Orientalist preconceptions. While Disney paints portraits of cultural landscapes and attempts to traverse into the world of The Other, the question remains as to whether it is possible for the West to tell tales of a Non-White civilisation, without all the trappings of stereotypes and exoticism. Can a Media Giant like Disney truly showcase different cultures, without insinuating Western Supremacy over them all? Can they truly paint with all the colours of The Wind?

Notes on Ethics and International Human Resource Management

IHRM Session 18 Ethics & IHRM Ethics Ethics may be defined as an individual’s or society’s beliefs regarding what is right and wrong, or good and bad. Ethics is about how our decisions affect other people. It is also about the rights and duties of people, the moral rules that people apply in decision making and the nature of relationships in a society. Managerial Ethics Managerial Ethics refer to the standards of behavior of individual managers in their work. Four Levels of Ethical Questions in Business Societal – At the societal level, we ask questions about basic institutions, practices and behaviors in a society. For example, is racial discrimination right? Is capitalism the just system to allocate resources in a society? Stakeholder – At the level of the stakeholders of a business, such as customers, shareholders, suppliers, etc. , the ethical issues concern, disclosing correct information to customers, insider trading, relationship and trust with suppliers, etc. Internal Policy – Ethical issues relating to internal policy concern nature f employment policies, fairness of job contracts, work rules, motivation, layoffs, etc. Personal – At the personal level ethics refers to individual behavior in an organization and covers issues of honesty, professional integrity, etc. Tools of Ethics Values – are beliefs that are Relatively few in numbers Serve as a guide for culturally appropriate behavior Enduring or difficult to change Not tied to specific objects or situations Widely accepted by members of a society Values are the answers to the â€Å"why† questions. Rights – Claims that entitle a person to take a particular action Duties – obligations to take specific steps or obey the law Moral rules – Rules for behavior that often become internalized as moral values Relationships – People are related directly or indirectly in a society, which makes ethical behavior necessary Common Morality Common morality refers to the body of moral rules governing ordinary ethical problems. Some basic principles of common morality Promise keeping Non-malevolence Mutual Aid Respect for Persons Respect for Property Approaches to Ethics In the international context, there are three approaches to Ethics Ethical Relativism – The belief that there are no universal or international rights and wrongs. So, an MNC may adopt the practices that are accepted as right in each country, regardless of whether such practices are accepted as right in the home country Ethical Absolutism – The belief that an MNC should only follow what is accepted as ethical in its home country, regardless of which country it operates in. Ethical Universalism – The belief that there are certain fundamental principles of right and wrong that are universal in nature and accepted by every culture. MNCs while operating in different countries must adhere to these universally accepted principles of right and wrong. Ethics & IHRM The existence of universal principles of right and wrong is to an extent proved by the adoption by many countries of the world of certain universal codes of conduct. For examples: The UN Declaration of Human Rights Guidelines for MNEs adopted by OECD countries Caux Round Table Principles of Business The Caux Principles The Caux Round Table believes that the world business community should play an important role in improving economic and social conditions. As a statement of aspirations, this document aims to express a world standard against which business behavior can be measured. We seek to begin a process that identifies shared values, reconciles differing values, and thereby develops a shared perspective on business behavior acceptable to and honored by all. The Caux Principles are based on two basic ethical ideals: The Japanese Principle of Kyosei – which means living and working together for a common good Human Dignity – Respecting the sacredness and value of each person as an end in itself. The Caux Principles Principle 1. The Responsibilities Of Businesses: Beyond Shareholders toward Stakeholders The value of a business to society is the wealth and employment it creates and the marketable products and services it provides to consumers at a reasonable price commensurate with quality. To create such value, a business must maintain its own economic health and viability, but survival is not a sufficient goal. Businesses have a role to play in improving the lives of all their customers, employees, and shareholders by sharing with them the wealth they have created. Suppliers and competitors as well should expect businesses to honor their obligations in a spirit of honesty and fairness. As responsible citizens of the local, national, regional and global communities in which they operate, businesses share a part in shaping the future of those communities. Principle 2. The Economic and Social Impact of Business:Toward Innovation, Justice and World Community Businesses established in foreign countries to develop, produce or sell should also contribute to the social advancement of those countries by creating productive employment and helping to raise the purchasing power of their citizens. Businesses also should contribute to human rights, education, welfare, and vitalization of the countries in which they operate. Businesses should contribute to economic and social development not only in the countries in which they operate, but also in the world community at large, through effective and prudent use of resources, free and fair competition, and emphasis upon innovation in technology, production methods, marketing and communications. Principle 3. Business Behavior: Beyond the Letter of Law Toward a Spirit of Trust While accepting the legitimacy of trade secrets, businesses should recognize that sincerity, candor, truthfulness, the keeping of promises, and transparency contribute not only to their own credibility and stability but also to the smoothness and efficiency of business transactions, particularly on the international level. Principle 4. Respect for Rules To avoid trade frictions and to promote freer trade, equal conditions for competition, and fair and equitable treatment for all participants, businesses should respect international and domestic rules. In addition, they should recognize that some behavior, although legal, may still have adverse consequences. Principle 5. Support for Multilateral Trade Businesses should support the multilateral trade systems of the GATT/World Trade Organization and similar international agreements. They should cooperate in efforts to promote the progressive and judicious liberalization of trade and to relax those domestic measures that unreasonably hinder global commerce, while giving due respect to national policy objectives. Principle 6. Respect for the Environment A business should protect and, where possible, improve the environment, promote sustainable development, and prevent the wasteful use of natural resources. Principle 7. Avoidance of Illicit Operations A business should not participate in or condone bribery, money laundering, or other corrupt practices: indeed, it should seek cooperation with others to eliminate them. It should not trade in arms or other materials used for terrorist activities, drug traffic or other organized crime. Laws Against Bribery The USA has passed the Foreign Corrupt Practices Act, which prohibits any US company from paying bribes in foreign countries The UN Declaration Against Corruption and Bribery in international transactions makes it mandatory for the signatories to this declaration to pass laws prohibiting bribery UN Global Compact Principles PRINCIPLE ONE Businesses should support and respect the protection of internationally proclaimed human rights PRINCIPLE TWO Businesses should make sure they are not complicit in human rights abuses PRINCIPLE THREE Businesses should uphold the freedom of association and the effective recognition of the right to collective bargaining PRINCIPLE FOUR Businesses should uphold the elimination of all forms of forced and compulsory labour PRINCIPLE FIVE Businesses should uphold the effective abolition of child labour PRINCIPLE SIX Businesses should uphold the elimination of discrimination in respect of employment and occupation. PRINCIPLE SEVEN Businesses should support a precautionary approach to environmental challenges PRINCIPLE EIGHT Businesses should undertake initiatives to promote greater environmental responsibility PRINCIPLE NINE Businesses should encourage the development and diffusion of environmentally friendly technologies. Principle 10 Businesses should work against corruption in all its forms, including extortion and bribery. HR function & Ethics Studies show that HR department is involved to a great extent in drafting and implementing ethical initiatives within organizations With expertise in organizational culture, behavioral studies, change management and people related initiatives, HR is in a position to play a key role in initiating ethical conduct within organizations though everyone should be responsible for ethical conduct and behavior Ethics & MNCs For MNCs operating in widely different cultural, racial and social environments, having a self-regulatory code of ethics is even more important. The HR departments do play a key role in monitoring the ethical conduct of its PCNs, TCNs and HCNs