How do Psychosocial Factors Influence Cardiac Health Essay

How do psychosocial factors influence cardiac health? Cardiac related health problems are one of the leading causes of death in industrialized areas throughout the Western world.1 Psychosocial factors such as stress and anxiety are often disregarded but have a major role to play in the development of cardiac disease. These factors are mostly manageable, allowing the risk of cardiac disease to decrease. This paper aims to discuss the influence of these psychosocial risk factors on cardiac health using the findings of epidemiological studies and the pathophysiology. The management of these risk factors will also be discussed. This will aid an understanding of the psychosocial factors that may have influenced Mr. Petersen’s health and his†¦show more content†¦Anxiety is a universal response to a threat but at times that response can be out of proportion to the threat, this is an example of abnormal anxiety and is closely associated with anxiety disorders. Symptoms of anxiety disorders often relate to the heart such as: pal pitations, pounding heart, accelerated heart rate and, chest pain or discomfort.2 According to Janeway1, â€Å"stress is a physical or psychological stimulus which, when impinging upon an individual , produces strain or disequilibrium†.1 Stress is a biological, physiological and behavioural response to environmental demands. An appropriate amount of stress has protective and adaptive functions however a high amount of stress can cause pathological changes or even death.4 Exposure to stress can lead to painful emotions such as anxiety or depression, as well as physical illness.3 People under an overwhelming amount of stress may experience tachycardia, palpitations and rapid breathing.7 Pathophysiology of anxiety and stress in cardiac disease When placed in situations that cause stress or anxiety, the body initiates sympathetic activity. This is accomplished by the adrenaline response, otherwise known as â€Å"fight or flight†. This response is protective and occurs very quickly, it gives rise to an increase in metabolic activity, heart rate, breathing rate and blood pressure. In situations of chronic stress and emotional disturbances,Show MoreRelatedCongenital Heart Disease ( Chd )3504 Words   |  15 Pagesover the past two decades (U.S. Department of Health Human Services, 2017), and the decrease in the death rates from CHD, with this population now living into adulthood (Pillutla, Shetty, Foster, 2008). Costs related to the care of children with CHD are greater than $5.6 billion dollars a year, with an average hospitalization costing more than $25,000 (Simeone et al., 2014). 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The Performance Highlights Of Maruti Suzuki India Limited Finance Essay - Free Essay Example

Sample details Pages: 6 Words: 1690 Downloads: 4 Date added: 2017/06/26 Category Finance Essay Type Analytical essay Did you like this example? INTRODUCTION I am going to represent my home country one of the car production company Maruti Suzuki India Limited it normally known as Maruti Udyog limited is a subsidiary of Suzuki Motor Corporation. Japan, MSIL has been the leader of the Indian car market for over two and a half decades. The company manufacturer plant located at Gargaon and Manesar, south of new delhi.this manufacture plant produce over the million of car unites annually .just before 2 month ago company issue its own articles and company CEO announced a further investment RS.1700 cr.(17 billion)for annually car unit production 26,000 units. Don’t waste time! Our writers will create an original "The Performance Highlights Of Maruti Suzuki India Limited Finance Essay" essay for you Create order The maruti Suzuki company has car production 13 brands over 152 different variety across maruti Suzuki 800,omni and also international brands Alto and Wagon R,Swift ,A-star, Ritz and Estilo,off -roader car like Gypsy,suv Grand vitara,sedands Sx4 and swift Dzire and the newest entrant Eeco. The director and managing executive officer and admin MR.HIROFUMI NAGAO and company secretary and chief legal officer MR.ANIL RUSTGI those both spokesman said at the end of the financial year march 2010 maruti Suzuki had a market share 53.4%of Indian passenger car market.maruti Suzuki pvt ltd.company one of the largest company in asia.they sold a record 10, 18,365 vehicles in the current year 2009-10 including 1, 47,575 car units of exports outside India. The company managing director and CEO (chief executive officer) MR. SHINZO NAKANISHI said past decades in the year 2003-04 company net sales was RS.93,456 million. That was boundary by year 2004-05 in net sales 109,105 million .and in 2006-07 R S.145, 922 million and year 2007-08 maruti Suzuki net sales was RS.178, 603 million. The company revenue posted of RS.301, 197 million. Last two year CAGR is 27% of net sales. The company is listed on Bombay stock exchange and national stock exchange .the Company has over 8000 employees on its rolls. The government of Japan has honoured maruti Suzuki with the METI award for promotion of Japanese brand in India. Maruti Suzuki is one of company got the best sold car prestigious award. TO: Financial Controller FROM: Management Accountant Subject: Analysis of Maruti Suzuki Pvt ltd. Maruti Suzuki Pvt ltd.with substantial amount of car production, our main consideration has to be the ability of the company to pay for these good on time to answer this we need to consider two key aspects of their financial statements. And we have to find out what their current liquidity position is and what are the longer term prospects (profitability) for the company? It must be noted, howev er that the financial data provided in the accounts relates to the past whereas these two aspects relates to the presents and future. We shall have to use past data to help predict the future. PERFORMANCE HIGHLIGHTS SALES: Maruti Suzuki recorded in highest sales in India over 4.72 lac vehicles in the domestic and exports markets which resulted in gross sales revenue of RS.112,840 million in the term of view company growth sales 25.8% over 2002-03.that figure indicated that was highest sale in growth in the last 7 years. EARNING PER SHARE: Company doing well progress in High volume of sales in car market. With importance improvement in operational efficiencies, has translated into much higher returns on investment in Earning per Share (EPS) more than RS.5.14 in 2002-03 to RS.18.77 IN 2003-04 LIQUIDITY: The current situation has risen from 1.5 to 1.9 while the acid test has failure 1.25 to 0.72.these are not high ratio like both current and acid one but not unusual for car manufacturing companies. However, the upward trend masks a potentially difficult situation because inventories (stock) have increased 1.48 % significantly. Mean while sundry debtors downturn trend masks a potentially fin ancial situation decreased 0.88% significantly. To financial condition increased and decreased .The Maruti Suzuki ltd now has been secured loans and unsecured loans and some long term debt for the first time. These all situations give some cause for concern, though not alarm. If possible further details are needed as to why debtors have increased by 1 %(0.88% so nearly expected) resulting in an additional 5 days (13 days -18 days) credit being offered to the customer similarly, we need to know why stock levels have risen by nearly 1.48% and stock has been lying around the warehouse for an extra 4 days (19-15) this year. PROFITABILITY: The profit and loss account shows that gross sales have upward slightly but Excise duty is more liabilities in both year and given a impact of inflation, it is likely that the volume of sales has in fact increased. Gross profit in year 2007 is 0.95% while in the year 2008 gross profit is 0.94%.so 0.1% decreased in compared to both year. Than Net pro fit (operating) in same level in both years like 0.17%.and retain on capital employed in the year 2007 1.42% and in the year 2008 4.88% so increased by 3.46%. All three profitability ratios have dropped significantly perhaps suggesting one of the following: Maruti Suzuki pvt ltd car productions are past their sell by date. More achieved stock are building up and customer have been offered improved payment s terms is an attempts to attract business. A few major customer are in difficulty and they neither paying on time instalments. Many time car insurance company providing one year free insurance those who loyalty customer. But after one year they cancelled insurance. This could be happen temporary and permanent. Maruti Suzuki company has international brand car importing and exporting all over the world so intense competition from overseas has caused a reduction in the selling price and, despite this, maruti Suzuki to selling car more and more via advertising and best se rvice to providing to product because of stock level are rising. It should also be noted that the proposed dividend has risen whilst have fallen. Does this indicate confidence in the future or is it an attempt to divert attention from the current poor results. SUMMARY: The review does not reveal a thriving company but, without further information, it is hard to decide whether the situation is so bleak that you would seriously consider not supplying maruti Suzuki with their goods. Perhaps initial trading could be done on a cash basis before we felt secure enough to offer credit payments terms. Furthermore, it would be unwise for us to make any huge internal investments (purchase of machinery) until we have a bit more confidence about the long -term future of maruti Suzuki pvt ltd. On the basis of 2005-06 profit and loss accounts shown the company has not taken any loan, secured or unsecured also company registered under act section 301.the company borrowed from government en d of the year balance of such loans aggregates of rupees 639 million and rupees 538 million respectively. The company has losses as at march 31, 2005 and it has not incurred any cash losses in the financial year ended on that date or in the immediately preceding financial year. Analysis -Key % Movement for the (2007/2008) Sales increase of 1.10% (124814/113465) Cost of sales increase of 1.11% (120034/109108) These all calculated amount explain to us gross profit is high volume. Operating Expenses increase of 1.10% (106320/96653) Depreciation increase of 0.62% (2854/4568) Interest Expenses in year 2005 was 360 and 204 in 2006.so different 156 interests is increased better than last year. So company wasnt taken any loan, borrowed money from outsider source. Stock Increased of 1.32% (8812/6666) Debtors Increased of 1.09% (6548/5995) Company stock increased with 1.32% but company liabilities increased with 1.09%.so this figure indicate no any investment needed end of the year 2006. Analysis -key % Movement For the (2008/2009) Sales increase of 1.23% (188,238/152,523) Cost of sales increase of 1.22% (178,603/145,922) This figure tells us immediately that the gross profit level will be so good. Operating expenses increase of 1.28% (160,045/124,771) Depreciation increase of 2.09% (5682/2714) Increase of 2.03% (6278/3090) Both increase exceeded the sales % increase and therefore the net margin will be poorer than the previous year. Interest expenses last year 376 but this year 596.so different 220 interests is increase better that last year. So company doesnt need using borrowed monies to finance the business. Stock increase of 1.48% (10380-7014) Debtors increase of 0.88% (6555-7474) Company stock increase with 3366 (10380-7014) but this year liabilities decrease with 919 (6555-7474).so this figure indicated where additional investment has been needed. The other significant movement from the balance sheet is in the cash/liquidity position. And also positive cash from last ye ar been replaced by a bank loan this year. Links in to the interest payment shown on the profit and loss account. Ratio 2009 2008 Profitability Gross profit 0.94% (178603/188238) 0.95 (145922/152523) Net Margin 0.17% (31308/188238) 0.17% (25888/152,523) ROCE 4.88 %( 31308/2722+3695) 1.42 % (25888/13326+4905) Liquidity ratio 🙠 Short term Solvency) Current ratio 1.9:1 (30909/28187) 1.5:2 (38341/25015) Acid test Quick Ratio 0.72:1(30909-10380/28187 1.25:2(383417014/25015) Efficiency Ratio: Stock turnover 19 days (10380X365/209493) 15days (7014X365/171442) Debtors collection period 12.71 (13 days) 17.88(18 days) (6555X365/188238) (7474X365/152523) Creditors payment 42.67 (43 days) 42.81(43 days) (24492X365/209493) (20110X365/171442) Capital structure: (long term solvency) Gearings 3.90% 6.40% Borrowed capital X100/total capital (3695 X 100/94857) (4905 X 100 /76522) Interest cover: PBIT /interest 53 Times (31308/596) 69 Times (25888/376) Dividend cover: PAT /dividends 11.97 %( 17308/1445) 12.01 %( 15620/1300) Debt Ratio: 0.22% 0.24% Fixed assets +Investment +Current assets/Current liabilities and provisions.) (40,328+51,807+30,909/28,187) (29,104+34,092+38,341/25,015) Ratio 2007 2008 2005 2006 PROFITABILITY Gross profit 0.94% 0.95% 0.95% 109770/114981 0.95% 91296/95976 Net margin 0.17% 0.17% 0.16% 18542/114981 0.14% 14083/95976 ROCE 4.88% 1.42% 1.35% 18542/13640 2.89% 14083/4871 LIQUIDITY: Current ratio 1.9:1 1.5:2 1.8:2 29720/16080 1.3:1 20189/15318 Quick ratio 0.72:1 1.25:2 1.43:1 29720-6666/16080 1.04:1 20189-4398/15138 EFFICIENCY RATIO: Stock Turnover 19 Days 15Days 14 Days 21 Days Debtor collection period 12.71(13 Days) 17.88(18 Days) 18.82(19 Days) 20.2(20 Days) Creditors payments 42.67(43 Days) 17.88(18 Days) 29 Days 32 Days CAPITAL STRUCTURE Gearing Ratio 3.90% 6.40% 7.20% 8.30% Interest Cover 53 Times 69 Times 50 Times 18140/360 32 Times13805/434 Dividend cover 11.97% 12.01% 14.76% 8536/578 12.51% 5421/433 Debt ratio 0.22% 0.24% 0.25% 0.28% BIBLOGRAPHY AND REFERENCES Business Finance (Theory and practice) Eddie McLan university of Plymouth business school www.pearson.co.uk seventh Edition Financial management (Theory and Practice) Eugene F. Brigham (university of Florida,) Michael C.Ehrharat (university of Tennessee). Principles of Money, Banking and Financial Market (12th Edition) Lawrence S.Ritter (Late New York University) William L.Silber (New York university) Gregory F. UDELL (Indiana university). Brealey Mcuers (Principles of corporate Finance) McGraw Hill Richard A. Brealey (Emeritus Professor of Finance, London Business School) Stewart C. Myers (Gordon Y.Billard Professor of Finance Sloan School of management Mcissachusells institutes of Technology) INVESTMENTS (Seventh Edition) Zvi Bodie (Boston University) Alex Kane (university of California, San Diego) Alan J.Marcus (Boston College) Financial Theory and Corporate Policy Thomas E.copeland (managing director of finance dept., Cambridge) J.fred.Weston (university of Calif ornia at Los Angeles) Kuldeep Shastri (University of Pittsburgh) www.investopedia.com/university/ratio www.thetimes100.co.uk//theroy-ratio-analysis-301.php Annual Report of Maruti Suzuki www.marutisuzuki.com/annual-report-newroom.aspx Maruti Suzuki India Directors Report, Maruti Suzuki www.moneycontrol.com Maruti Suzuki Ltd 2(1)-Annual Report Analysis. www.scribd.com/Annual-Report-Analysis-Maruti-Suzuki-Ltd-2-1 www.wikinvest.com/stock/maruti_suzuki_india_(BOM:532500)

Love at First Sight Exists - 1519 Words

Love can be defined as a strong affection for one close to you. Love is a very powerful necessity in today’s world. It is the foundation of friendships, marriages as well as relative and couple relationships. This strong affection, called love, can be created through many ways; such as love at first sight or personal ties. Love at first sight is when one feels romantic passion for a complete stranger upon their first encounter. Love at first sight really exists. The beautifully written novel Memoirs of a Geisha written by Arthur Golden captures a brilliant story about hardship, love and determination. At a young and tender age Chiyochan, the main character, was sold into the geisha district of Gion, Japan from the poor fishing village†¦show more content†¦Chiyochan does exactly this. After her encounter with the Chairman, she instantly falls in love with him and vows to bring herself closer to him by becoming a geisha. 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Risk Assessment Of Information Systems Security Risks Essay

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Risk analysis encompasses not only the equipment and programs used in an organization but also covers the culture, managerial, and administrative processes to assure data security. A key factor in risk analysis is to have a goodRead MoreInformation System Risks1562 Words   |  7 PagesInformation System Risk Management Claudia I. Campos CJA 570 Cyber Crime and Information Systems Security July 5, 2010 Steven Bolt Abstract The realization of potential risks to an organizations information system has been increased in the past few years. The principles of risk management, vulnerabilities, internal threats, and external threats is the first step in determining which levels of security are necessary to protect and limit the risks to an organizations information system

Renaissance humanism Free Essays

I naively assumed that none of this would be controversial, and I was quite unprepared for the hostility it provoked among some legates to the congress, chiefly from Northern Europe, who represented what I came to perceive as the Lutheran Establishment. This group was concerned to insist on the total originality of Luther and the uniquely German Origins of the Reformation. The paper would, I think, be more generally accepted today . We will write a custom essay sample on Renaissance humanism or any similar topic only for you Order Now It was first published in Luther and the Dawn of the Modern Era: Papers for the Fourth International Congress for Luther Research, De. H. A. Barman, Studies in the History of Christian Thought, Volvo. 8 (Elided: E. J. Brills, 1974), up. 127-149. It is reprinted here by permission of the publisher . Since the peculiar mixture of responsibility and presumption in the title of my paper will scarcely have escaped the notice of this distinguished audience, I feel some need to explain at the outset that it represents an assignment on the part of those who planned our meeting. The significance of the problems to which it points is suggested by the great historians who have grappled with it in the past, albeit (a fact that should constitute something of a warning) with somewhat contrary results, among them Michelle, Diluted, and Throttles. [l] Its practical importance lies in the need of most of us to place our more limited inclusions in some broader historical framework; we must therefore reconsider, from ? 226 ? time to time, the relationship between Renaissance and Reformation. In spite of this, the subject has recently received little systematic attention, and many of us are still likely to rely, when we approach it, on unexamined and obsolete stereotypes. Obviously I cannot hope to remedy this state of affairs in a brief paper. Yet the progress of Renaissance studies in recent decades invites a reassessment of this classic problem, and I offer these remarks as an essay intended to stimulate further concussion. What has chiefly inhibited larger generalization has been the extension and refinement of our knowledge, and with it a growth both in specialization and in humility. Thus we are increasingly reluctant to make broad pronouncements about either the Renaissance or the Reformation, much less about both at once. For as scholars we are divided not only between Renaissance and Reformation, or between Italy and Northern Europe; even within these categories most of us are specialists who would claim competence only in a particular aspect of Renaissance Florence or Venice, in one phase or another of Renaissance humanism, in Machiavelli or Erasmus, in later scholasticism or the history of piety, in Luther or Calvin or the sects. Under these conditions few students of the Renaissance have cared to look as far as the Reformation; and although Reformation scholars have been somewhat bolder, they have rarely pursued the question of Renaissance antecedents farther than northern humanism. Humanism is, indeed, the one subject that has recently encouraged forays into the problem of this paper; but although Barren, Devour, Spits, Libeling, and especially Charles Trinkets, among others, have made valuable intrusions to discussion,[2] the problem is still with us, primarily, I think, because we have not fully made up our minds about the meaning of Renaissance humanism. A result of this difficulty has been a tendency to focus special attention on Erasmus as a touchstone for the Renaissance, a role for which?for reasons that will emerge later in this paper?I think he is not altogether suited. It is, however, one measure of the complexity of our subject that we cannot approach the question of the relationship between Renaissance and Reformation without somehow first coming to terms with the implications of humanism. I should like to do so, however, obliquely rather than directly. It seems to me that although humanism, which assumed a variety of forms as it passed through successive stages and was influenced by differing local conditions, was not identical with the more profound tendencies of Renaissance culture, it was nevertheless often likely to give them notable expression, and for reasons that were not accidental but directly related to the rhetorical tradition; whatever their ?227 ? differences in other respects, most recent interpretations of Renaissance humanism have at least identified it with a revival of rhetoric. ] What has been less generally recognized is the deeper significance of this revival. The major reason is, I think, that in our time the term rhetoric has become largely pejorative; we are inclined to couple it with the adjective mere. But for the Renaissance there was nothing shallow about rhetoric. Based on a set of profound assumptions about the nature, competence, and destiny of man, rhetoric gave expression to the deepest tendencies o f Renaissance culture, tendencies by no meaner confined to men clearly identifiable as humanists, nor always fully expressed by men who have generally been considered humanists. I shall try in this paper to describe these tendencies, which seem to me to have exerted intolerable pressures on central elements in the medieval understanding of Christianity. And I will suggest that similar tendencies underlay the thought of the great Protestant Reformers. Thus the significance of Protestantism in the development of European culture lies in the fact that it accepted the religious consequences of these Renaissance tendencies and was prepared to apply them to the understanding of the Gospel. From this standpoint the Reformation was the theological fulfillment of the Renaissance. I Fundamental to the cultural movements of the Renaissance was a gradual accumulation of social and political changes: an economy increasingly dependent on commerce rather than agriculture; a political structure composed of assertive particular powers; and a society dominated by educated laymen who were increasingly restive under clerical direction and increasingly aggressive in pressing their own claims to dignity and self-determination. A commercial economy and the more and more openly uncoordinated conduct of politics supplied the social base for a new vision of man’s place in the world, and of the world itself. Social experience rooted in the land had perhaps encouraged a sense of broad, natural regularities ultimately responsive to cosmic forces and inhibiting to a sense of the significance of change; but the life of a merchant community and the ambitious operations of independent rulers made all experience contingent on the interaction between unpredictable forces and the practical ingenuity and energies of men. Under these conditions the possibility of cosmic order seemed remote, but in any case of little relevance to human affairs; and the obvious rule of change in the empirical world encouraged efforts at its comprehension and eventually ? 228 ? stimulated the awareness of history, that peculiarly Hebraic and Christian?as opposed to Hellenic or Hellenic?contribution to the Western consciousness. Meanwhile new political realities and the claims of laymen undermined the hierarchical conceptions that had defined the internal structure of the old unified order of the cosmos, within which the affairs of this world had been assigned their proper place. [4] It will also be useful to observe at this point that these developments were by no meaner confined to Italy; I will touch briefly at a later point on the implications of this fact for the Renaissance problem. It is not altogether wrong to emphasize the positive consequences of these developments which, by freeing human activity from any connection with ultimate patterns of order, liberated an exuberance that found expression in the various dimensions of Renaissance creativity. Bureaucrat’s insight that the autonomy of politics converted the prince into an artist of sorts may require modification; yet the new situation made all human arrangements potentially creative in a sense hardly possible so long as the basic principles of every activity were deduced from universal principles. The notion of the state as a work of art points to the general process of colonization and reminds us that the culture of the Renaissance extended far beyond its brilliant art and literature, and was perhaps even more significant in its implications than in its accomplishments. It had, however, another and darker side. It rested on the destruction of the sense of a definable relationship between man and ultimate realities. It severed his connection with absolute principles of order, not so much by denying their existence as by rejecting their accessibility to the human understanding. It deprived him of a traditional conception of himself as a being with distinct and organized faculties attuned to the similarly organized structure of an unchanging, and in this sense dependable, universe. Above all, therefore, it left him both alone in a mysterious world of unpredictable and often hostile forces, and at the same time personally responsible in the most radical sense for his own ultimate destiny. For he was now left without reliable principles and? because the directive claims of the church also depended heavily on the old conceptions?reliable agencies of guidance. These darker aspects of Renaissance culture eventually squired, therefore, a reformulation of Christian belief, and we shall now examine them a bit more closely. Renaissance thought has sometimes been represented as a reassertion of ancient rationalism against the supernaturalism of the Middle Ages. The formulation is, of course, both inaccurate and misleading. In the thirteenth century some intellectual leaders had been notably hospitable to Greek philosophy, and had tried to coordinate it with revelation. But ? 229 ? it was precisely the possibility of such coordination that Renaissance culture?insofar as it differed from what had preceded it?characteristically denied; in this sense Renaissance thought was less rationalistic (if not necessarily less rational) than that of the Middle Ages. In fact it was inclined to distinguish between realms, between ultimate truths altogether inaccessible to man’s intellect, and the knowledge man needed to get along in this world, which turned out to be sufficient for his purposes. Thus the Renaissance attack on scholasticism had a larger implication as well as a specific target; it implied, and occasionally led to, the rejection of all systematic philosophy. From Patriarch, through Salutation and Villa, to Machiavelli, Pompano, ND the Venetians of the later Renaissance, the leaders of Renaissance thought rejected any effort to ground human reflection or action on metaphysics: and at the same time they insisted on the autonomy of the various dimensions of human concern and the relativity of truth to the practical requirements of the human condition. In this sense, although truth was robbed of some grandeur, it was also made more human; and if Aristotle was less and less respected as a vehicle of eternal wisdom, he could be all the more admired as a man. [5] Under such conditions philosophy could evidently contribute nothing to theology; indeed, its virtual effects were likely to be adverse since it encouraged malice and pride. Related to the attack on metaphysical speculation was an attack on hierarchy, which rested ultimately on metaphysically based conceptions of the internal structure of all reality. The repudiation of hierarchy was most profoundly expressed in Nicholas of Cuss’s conception of the infinite, which made every entity equally distant from?and thus equally near to?God;[6] a similar impulse perhaps lurks behind Villa’s rejection of Pseudo-Dionysus. [7] But partly because the formulations of Susan smacked too such of metaphysics, partly because the problem of hierarchy was peculiarly related to social change, the attack on hierarchy was likely to receive more overtly social expression. It took a general form in the effort to substitute a dynamic conception of nobility through virtue for the static nobility of birth,[8] a specific form in the impulse (often expressed in legislation and the practical policies of states)[9] to consider the clergy in no way superior to other men but, on the contrary, as equal in the obligations of citizenship (if generally less competent in practical affairs), at least as alienable to sin, and in as desperate a need for salvation as other men, whom it was their obligation to serve rather than to command. This suggested at least that social order was unrelated to cosmic order, but it also raised the possibility that order per SE was of a kind quite different from what had been supposed. For the age of the Renaissance was by no meaner oblivious to the ? 230 ? need for order, which indeed historical disasters had converted into the most urgent of problems. But its very urgency intensified the necessity of regarding order as a practical rather than a metaphysical issue. Bitter experience seemed to demonstrate that order had to be brought down to earth, where it could be defined in limited and manageable ways. And, as the occasional intrusions of the clergy into politics appeared periodically to demonstrate, the attempt to apply ultimate principles to concrete problems was likely only to interfere with their practical solution. This was a central point not only for Machiavelli and his polities successors; it also molded the numerous constitutional experiments of the Renaissance, with their repudiation of hierarchically defined lines of authority in favor of order through a balance of interests and their appeal to immediate local needs and the right of local self- determination. The best arrangements, in these terms, were not those that most accurately reflected some absolute pattern but those that best served the specific and limited human purposes for which they were instituted. But although a sense of the limitation of the human intellect was basic to the thought of the Renaissance, this negation had a positive corollary in a new conception of the human personality which also seemed to correspond better to the experience supplied by a new social environment. Men whose lives consisted in the broad range of experiences, ontogenesis, and human relationships that characterized existence in the bustling and complicated modern world could no longer find plausible an abstract conception of man as a hierarchy of faculties properly subject to reason; instead the personality presented itself as a complex and ambiguous unity in which the will, primarily responsive to the passions, occupied a position at the center. One result of this conception was to undermine the contemplative ideal; if man’s reason was weak but his will strong, he could only realize himself in this world through action, indeed he was meant for a life of action. Another was to reduce suspicion of the body; in the absence of the old psychological hierarchy, the body could no longer be held merely base and contemptible. Action required its use, and the new integrity of the personality reduced the possibility of attributing the human propensity to evil primarily to the physical or sensual aspect of man’s nature. Human passions now also acquired a positive value, as the source of action. [10] This new anthropology, articulated by Patriarch, Salutation, and Villa, required a reconsideration of the problem of immortality and led eventually to the ardent discussions of the soul in which Pompano figured. It also pointed to the political and historical conceptions of Machiavelli and Caricaturing, who emphasized the primacy of will and passion, as well as to the psychological interests of a host of Renaissance writers. 11] ? 231 ? In addition man was defined as a social being; if he lost one kind of participation in a larger reality, namely his abstract position as a member of the human species in the cosmic hierarchy of being, he, obtained another with, perhaps, more tangible satisfactions: his membership as a concrete individual in the particular human community in which he lived, now an essential rather than an accidental condition of is existence. Thus the values of human community now achieved full recognition. Human virtue was defined not as an abstraction but as a function of relationship with other men; man’s active nature was understood to achieve full expression only in a life of social responsibility, and indeed his happiness was seen as dependent on human community. Furthermore, since effective participation in society required some wealth, the conception struck another blow at medieval asceticism. On the other hand the demands of life in society also stimulated a vision of human existence very different from that implicit in the contemplative ideal. For life in society was patently marked by a conflict of opposing interests that could rarely (if men were honest) be identified with absolute good or evil; and to incessant struggle with other men was added, in social existence, the temptations that inevitably beset anyone who chooses to engage with rather than to withdraw from the world. The life appropriate to men in this world was thus not repose (however desperately one might long for it) [12] but a constant and morally ambiguous warfare, with the outcome ever in doubt. By the same token earthly life had also to be seen as dynamic, as subject to change in all its aspects. Human communities could be seen to rise, flourish, and decay; and the philological investigations of Renaissance humanists supplemented common experience by revealing the general outlines of ancient civilization and thus demonstrating how much had changed during the intervening centuries. [13] They also wrote histories that communicated not only this perspective on the past, with its implication that human culture is not an absolute but relative to its times, but in addition other aspects of the Renaissance vision of life: the active and social nature of man, the values of community, the incapability of conflict and change. This vision found its fullest expression in the rhetorical culture of the Renaissance. Humanist oratory was based on the conception of man as a social being motivated by a will whose energies stemmed from the passions. This conception led in turn to a distinctive concern with communication as the essential bond of life in society, as well as to a new human ideal of the well-rounded, eloquent, and thus socially effective man of affairs. The purpose of communication, in this view, could not be the transmission of an absolute wisdom, which the human mind was incompetent to reach, but the attainment of concrete and practical ends. Ђ? 232 ? Such communication had above all to be persuasive; it had to affect the will by swaying the passions, rather than merely to convince the mind; in short it needed to penetrate to the center of the personality in order to achieve results in visible acts. And the significance of the need for persuasion should also be remarked. It implied a life in society that could not be controlled by authority and coercion through a hierarchical chain of command but depended instead on the inward assent of individuals. It was therefore no accident that the rhetorical culture of Italian humanism achieved its fullest development in republics. In addition the needs of broad communication pointed eventually to the development and use of vernacular languages, a more important concern of Renaissance humanism than has sometimes been recognized. 14] II It should be immediately apparent that this set of attitudes imposed great strains on traditional Catholicism. [1 5] It undermined the effort to base earthly existence on abstract principles identified with divine wisdom, and to relate the visible and changing world of ordinary experience to the invisible and immutable realm of the spirit. Both the comforts in this relationship and its implications for the guidance and intro of lower things by higher were seriously threatened. From a Renaissance perspective the arguments by which it was supported seemed at best frivolous, at worst a specious rationalization of claims to power in this world on behalf of a group of men whose attention should be directed exclusively to the next. And behind such suspicions we may also discern the perception of man as primarily a creature of will and passion. In this light intellectual claims were likely to be construed as masks for motives that could not bear inspection; dogma itself might be no more than an instrument of tyranny. In addition, since a contemplative repose now seemed inappropriate to the actual nature of man, as well as a breach of responsibility for the welfare of others, the ideal form of the Christian life required redefinition. Finally, the problem of salvation was transformed. Alone in an ultimately unintelligible universe, and with the more fundamental conception of sin and the problems of its control opened up by the new anthropology, man could no longer count on the mediation either of reason or of other men in closer contact with the divine than himself. His salvation depended on an immediate and personal relation with God. Here it is necessary to pause for a more searching look at one of the key terms of our title: Renaissance . The conceptions I have so far reviewed ? 233 ? have been based largely on developments in Italy, and this would suggest a vision of the Renaissance, or of Renaissance culture, as initially and perhaps primarily an Italian affair. But this audience is well aware that the tendencies I have described were also present in a variety of movements outside Italy, if in somewhat different forms. It is obvious, for example, that later medieval piety exhibited similar impulses; ND that, in spite of the antipathy of humanists to scholastic speculation (though here we need to be more precise about what was actually under attack), the later schoolmate played a major if largely independent part in bringing underlying assumptions to the surface and in attempting to accommodate theology to them. 16] Perhaps, therefore, the time has come to expand, as well as to make more specific, our conception of what was central to the age of the Renaissance, and also to abandon the traditional contrast between Italy and the North, which seems to me to eve been in some measure the result of a failure to get beneath surface differences. If I have concentrated on Italian thought in this sketch, I have done so partly to bring out the fundamental unity of European spiritual development, partly because the affinities between Protestantism and later Scholasticism have been more regularly a concern of Reformation scholarship than the parallels with the Renaissance in Italy. What is nevertheless increasingly clear is that the process of redefining Christianity to bring it into correspondence with the new assumptions about man and the world as gradual, and that it was taking place simultaneously throughout Europe. Largely because of the recent profound book of Charles Trinkets, it is unnecessary to review in detail the process by which the pressures for religious change implicit in the assumptions of Renaissance culture operated among the humanists of Italy. They are already discernible in Patriarch, and they seem to have reached a climax in Lorenz Villa. In a general sense they may be attributed to the special loneliness and despair of men who could no longer regard religious truth as a body of knowledge of the name order as other knowledge that was communicable through similar kinds of intelligible discourse. Nor could the institutional fiddles encouraged by ecclesiastical authority as an alternative to rational theology provide a satisfactory solution to the problem. Not only did the idea of implicit faith clash with the growing sense of individual spiritual dignity among pious laymen; in addition, discredited by its impotence, its worldliness, the presumed irrelevance of its abstract theology, and a sacramental and disciplinary externalities increasingly inadequate to assuage the secularly intense guilt of the age, the church could no longer be regarded as a dependable guarantor of truth. Ђ? 234 ? Thus, driven by a profound yearning for immediate contact with the eternal,[17] the humanists of the early Italian Renaissance moved perceptibly toward a simple religion of grace based on the Scriptures and apprehended by the individual through faith. Patriarch typically began with insights into his own inner conflicts and the discovery that these could only be resolved by throwing himself on God’s mercy in a faith that was at once the highest form of knowledge and at the same time different n kind from all other knowledge; confusion on this point seemed to him the most dangerous error. Salutation, concerned as a sterner moralist to protect human freedom and responsibility within a religion of grace, wrestled with the problem of predestination. And with Villa Justification by faith received an even fuller exploration, the role of priest and sacrament in the economy of salvation was correspondingly reduced, and that of Scripture, the Word whose authenticity could be established by philology and which spoke directly to the individual, was enlarged. 18] Corresponding to the distinction between philosophy and faith was the demand or a sharper distinction between the church and the world; the separation of realms in one area seemed to lead naturally to separation in others. In its demands for a spiritual church, the new historicism of the Renaissance collaborated with the insistence of the Italian states on freedom from clerical interference and with their grievances against Rome as a political force. [19] The study of the historical church revealed the spiritual costs o f the confusion of realms. 20] At the very least, as men of the Renaissance with some political experience were in a position to know, the effective use of power in the world was always morally ambiguous;[21] and meanwhile the growing participation of popes and prelates in secular politics had been accompanied by an increasing neglect of the spiritual mission of the church. Thus, if reform required a return to the past, the reason was above all that the early church had been true to its spiritual characters. [22] Only a spiritual church, devoted to that which does not change, could stand above history and thus resist decay. Villa’s attack on the Donation of Constantine was not an isolated document;[23] it fleets a concern with the church, its earthly role and its spiritual mission, that runs through much of Renaissance historiography, from Muscat at the beginning of the fourteenth century to Machiavelli, Caricaturing, and Far Paolo Carpi. [24] The rediscovery of grace was closely related to the new vision of man; philosophy, as Patriarch recognized, was incapable of converting man at the crucial center of his being. â€Å"It is one thing to know,† he declared, â€Å"another to love; one thing to understand, another to will. What was required was a transformation not merely of the intellect but of the ? 235 ? hole personality, so that Christian conversion would find appropriate expression in a life of love and active responsibility for the welfare of others. And, as in the world, the essential meaner for such a transformation was not rational appeal to the intellect but rhetorical appeal t o those deeper levels in man that alone could move the will. Thus Patriarch argued for the superiority over rational philosophers of moral teachers who could sow the love of virtue in the very hearts of men. 25] For Villa rhetoric was thus the only branch of secular learning (except for philology) applicable to theology. 26] The implications of this position for the importance and character of preaching seem clear. A new conception of man was also reflected in a changed conception of God, in accordance, perhaps, not only with Renaissance emphasis on man’s creation in God’s likeness and image but also with Calling’s recognition of the reciprocal relationship between man’s understanding of himself and his knowledge of God. 27] Like man, God could no longer be perceived as a contemplative being, as Aristotle unmoved mover, operating in the universe not directly but through a research of intermediate powers. [28] Laymen active in the world required a God who was also active, who exercised a direct and vigilant control over all things, like that to which they aspired for themselves. God too had therefore to be perceived as primarily will, intellectually beyond man’s grasp yet revealing something of himself? all, at any rate, that man needed to know?in his actions, above all as recorded in Holy Scripture. And from Patriarch’s sense of the free, mysterious, and incalculable nature of God,[29] Salutation went on to defend the anthropomorphic representations f God in the Bible as a form of communication appropriate to men’s capacities. [30] Villa was, as one might expect, even clearer that the God of philosophy could not be the God of faith. 31] In spite of all this, it is nevertheless undeniable that the culture of the Italian Renaissance did not culminate in Protestantism, although even on this point our old sense of the immunity of Italy to the impulses of the Reformation is no longer altogether tenable. [32] Yet it remains true that the religious thought of Renaissance Italy remained no more than an incoherent bundle of monumental insights, and it was unable to rid itself of fundamental contradictions; again, however, the contrast with Northern Europe seems hardly absolute. Above all it failed to complete its conviction of man’s intellectual limitations, which pushed him only part of the way into the realm of grace, with full conviction of his moral impotence. Even here its vision of man suggests a deepening in the understanding of sin and the human obstacles to salvation; and there is abundant evidence of a pessimistic estimate of the human condition in Patriarch, Salutation, Pogo, Villa, and later, in a different form, in Machiavelli and Caricaturing. Yet Renaissance emphasis on the central importance of the will frequently served chiefly to nourish the moralist that so deeply permeated later medieval piety,[33] contributing both to the notion of Christianity as the pursuit of moral perfection and of the church as essentially a system of government; [34] Renaissance humanism remained, in Lather’s sense, Appealing. The consequence was, however, that Renaissance culture in Italy, like Scholastic theology in the north, helped to intensify, from both directions at once, the unbearable tension between he moral obligations and the moral capacities of the Christian that could at last find relief only in either a repudiation of Renaissance attitudes or the theology of the Reformation. But it could not resolve the problem itself, and we must ask why this was so. Part of the explanation is connected with the fact that some among the figures we have cited were lacking in theological interests, while the rest were amateurs whose major activity lay elsewhere. The result was an inability to develop the full implications of their assumptions, which was supplemented by prejudice against intellectual labor too closely resembling the Scholasticism they despised. In addition, closely attached to particular societies in which, traditionally, no distinction was made between Christianity and citizenship, they were unable to ach How to cite Renaissance humanism, Papers

Taking the Risk Why It Matters free essay sample

What does taking a risk mean? It means stepping out of your comfort zone, and at times doing new things even if it terrifies you. One of the greatest risks I have ever taken was auditioning for my high schools fall play. Not only am I a person who has no performance experience, but I also stutter. The thought of performing in front of a large auditorium full of people terrified me. The reason I decided to audition was because I wanted to try something new and get involved in my schools theater program. On the day of the auditions, there was also a special acting workshop meant to warm us up. I walked into to the auditorium, and set my backpack down. I looked around and saw about twenty people, calmly getting ready. Soon we began special acting exercises such as the Machine where one person begins a motion and a sound, and others add on. We will write a custom essay sample on Taking the Risk: Why It Matters or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Then we split into partners to rehearse parts from the play. I was incredibly anxious. After I delivered some of the lines my thespian line partner said Oh and I noticed you were stuttering. Was that for dramatic effect or do you really stutter? I was speechless. When it came time to audition, I was feeling apprehensive. I was put into a group of five and paired up with a person for a scene out of the play. I stood on a piece of faux parquet floor, left from the latest play, surrounded by the pitch black walls of the drama performance center. Across from me the director and two of his assistants sat in metal chairs like a jury about to deliver its final verdict. Needless to say I was really worried about making a good impression on the director. In the scene I played the role of a male painter disguised as a woman, because he had faked his own death in order to gain millions. The comedic effect of the scene was enhanced by the fact that my scene partner was playing an evil picture dealer bent on marrying me (the woman). We said our lines and, amazingly, I didnt stutter. Nevertheless it was awkward pretending to try and seduce a guy. Then the director had us switch roles and I played the evil picture dealer. We went through it several times, and finally the audition was over. I was so relieved, not to mention embarrassed. I left the audition thinking Well that was a flop, but hey it was a good experience, and I can always do crew. The next Monday I got a call. I had made the play. I was cast as the King of France. I was ecstatic. It was a lot fun doing the play, and it did really well. It was clear to me: My stuttering couldnt prevent me from doing the things I wanted to do, and that taking risks (even if they embarrass you) is well worth the time and effort.

Essay Art and Architecture History

Question: Write an essay on "Art and Architecture History". Answer: 1. Art and architecture in china and japan There have two types of philosophy, and it also depends on the Taoism and Confucianism. There have a different process of the Taoism teaching system with the nature with the help of the meditation. But the Confucianism maintains a social order regarding the personal discipline. Moreover, the Taoist mainly contents landscape paintings which are closely balanced against the depth and the variety of a great traditional art in China[1]. The strategies f the great Chinese individual homes stressed Confucian architectural sequence since these types of traditional gardens which also permit a massive amount of less ordered arrangement of the Taoist. Conversely, it never suggests a weakness in the features of the Chinese architecture and art. Chinese culture and their painting are always graceful and delicate since the Chinese art and also their architecture has a need to be persisted with this procedure of this construction of the bracketed timber for centuries[2]. These types of traditional formation of the expression of the Chinese artistic are needed to be applied to the Buddhists and also required when the religion mainly appeared in the country China. The Chinese aesthetic is now refined and also mostly generates and disciplined that is deceptively beautiful and straightforward. These types of philosophy mainly considered as the formation of the Chinese culture. 2. The baroque The conventional Baroque architecture were in oval or ellipse shape or more complicated plan derived from complex geometrical figure. Francesco Borromini a renowned architecture of that period have provide features general mood of the Baroque period in Italy. He had designed a church, which ground plan was in the shape of bee for honoring the patron, who commissioned to design the church. The walls of the church was all the way through alternatively concave and convex. Apart from the intricate ground plans, the consequential curving walls outstanding features of Baroque buildings. There are another most eminent architect Gian Lorenzo Bernini had made another significant architecture Church of S. Andrea al Quirinale is im portant example of Baroque architecture. The Baroque period is illustrated that the outcome of such Renaissance. Its architecture and art are mostly become more dynamic than the classism of this preceding epoch[3]. Moreover, the Baroque represents in this context a c ompetition between the Christian with the Catholic Church and they also utilize this type of services of the architects and the artists who need to stray. Moreover, Baroque architecture almost became more plastic throughout the utilization of the line in surfaces, bold and also the plans or the strategy, at times ornamentation, exotic. However, the sculpture also provides the heightened plasticity according to conveying the intensity that is emotional needed by to set up the dramatized. The painting also plays a significant role in this scenario. It always represents naturalistic, and also reveals a new symbolism and also the dynamism with the help of the motifs and light also its intimacy depend on the addressees. Baroque architecture is the examples are to be found throughout the country like Latin America and Europe. Baroque is mainly stood for an oddly shaped pearl, irregular whether it means a contorted argument, pedantic of such dialectic value[4]. It describes here a relative ly complex dialect who originating from the country Rome and also flowering during a certain period and also embraced sculpture and painting with the architecture. It was also designed to form illusion and spectacle. Conversely, most of the architecture, sculpture and painting are generating during a period like 17 the century and also it is known as "Baroque." This baroque is mainly three strands such as Easel Art, Greater Realism, and the Religious Grandeur. 3. The renaissance It is the case of the Italy. Renaissance art is mainly driven by new concept about the humanism:. It is a philosophy that had been the foundation to achieve the goal such an example like the democracy of the ancient pagan Greece[5]. Humanism played a vital role in this case a secular dogma and also religious, and it also attached and shows a great importance to worth and the dignity of an individual. Theres have several causes of the Renaissance like increased the prosperity, weakness of the church and also an age of the exploration. Moreover, the positive currents are the main evident in Italy. It is oriented though the Florence was the centre of silk, wool and also such other jewelry art and also house to the fabulous prosperity of the art-conscious and cultured Medici family. Church position in this scenario describes that to give a momentum to this Renaissance. It also permitted to spread the humanism[6]. The Renaissance epoch in the history of the art and the architecture represents the onset of the western discovery era that also appeared a common viewpoint to all aspects of the world and also nature. A European architect explores the new route of the sea, also discovered the new continents, and also they set up new colonies in the world. In this context, Renaissance technique, some contemporary and modern technology are also incorporated into the art and architecture of th e Italy. European architects, painters, and the sculptors demonstrated the new techniques and also the new knowledge. In this scenario, Renaissance, architect and the painter of the country Italy a commentator Giorgio Vasari and it was one of the classic antiquity art which drove the Renaissance, and it also developed properly to imitate and examined the nature[7]. 4. Buddhist and hindu art and architecture in india The Eastern architecture and the art start in India. The Indus valley civilization was strictly related to the Egypt and the Mesopotamia. The features of the Indian art need to be recognized. Moreover, Indian architecture and the art is developed at the time of early centuries A.D. the two types of religions like Hinduism and Buddhism. The unique model of formation of such architectural like stupas and the rock cutting temple, supple contours and also it poses a sculpture, and it also discloses "unclassical temperament. In spite of that, these are influenced in the East region like such countries Japan and China and the popularities of the Buddhism have still reduced in the country India. Moreover, Hindu communities need to continue to specify the Indian landscape with facilitate an interesting and unique temple formation and it also tries to boost some other regions such inspiring sculpture[8]. 5. Romanesque and gothic Gothic era always tries to follow the Romanesque period. But they never follow same elements. The primary difference in between Romanesque churches and the Gothic cathedrals is ideological. The two main architecture styles have a large number of similarities, but there are present several differences because of the lifestyles are totally changed in a period between two poques. Romanesque was mainly described to more for the protection than for such any aesthetic quality like gothic cathedrals[9]. Monasteries homed the saints relics and at that period relics cult became cultural factors which enhance the architecture. Moreover, Devout Christians need to undertake large pilgrimages according to venerate and visit the relics of martyrs and Saint. Roman architecture is the Roman in origin and had a substantial conceptual framework. The Gothic cathedrals were mainly made a slander skeleton and also with such flying and arches bitterness that provides impressions of luminosity and harmony[ 10]. Gothic architecture incorporated large windows of the stained glass. Gothic need to have mullioned windows and the Romanesque need to had splayed windows, as because Gothic is become more luminous than the Romanesque. References Grel, Meltem ., and Kathryn H. Anthony. 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